How the epidemics influenced female fashion identity in Brazil
Around 1563, Brazil’s first epidemic impact happened in Bahia, exotic and paradisiac land that already had natives and inhabitants communities. As we know, the first Portuguese embarkations reached the Brazilian east coast in 1500, bringing not only jewelry to be exchange but smallpox.
Smallpox became tragic in pre-colonial Brazil, travelling from Itaparica Island to São Paulo leaving an infectious path behind. Reaching Rio de Janeiro in mid-1600, smallpox traced its spot in history books, killing more than thirty thousand natives.
The colonisation process itself completely transformed the Brazilian fashion concepts, burying indigenous cultural identity and replacing it with European fashion trends and bourgeois personality. Historians suppose that Portuguese settlers knew the risk of smallpox spread and contamination, however, they use to drop infected clothes near to indigenous communities.
Happily, nowadays smallpox is no longer a problem.
It would be a mistake to claim that the vaccine arrived in Brazil immediately after the release of the first samples in 1796. The effective application and the death control numbers were only possible with the Brazilian vaccine, in late 1811.
Moving on to 1849, the Yellow Fever frightened the Rio de Janeiro population, killing at least 34% of the city.
The cause of spreading was the arrival of a slave ship from New Orleans, also, Emperor Dom Pedro II had trouble to deal with political questions. In 1848 the “Revolução Praieira” preached independence ideals in the state of Pernambuco, claiming for a republic, however, it was stopped in 1849.
Sooner in 1850, the Queiroz Law officially made the slave trade illegal, opposing the Emperor wills, who was pressured by Great Britain.
The structure of Rio de Janeiro was terrible and unprepared for an epidemic. Many urban and sanitary measures had to be taken to assure a decent life quality, especially for the poor residents. Like any absolutist government, the first instinct was protecting the nobility and royal members.
The 1850 fashion identity was defined by strict and tight corsets with long sleeves accompanied by a voluminous skirt for women. Influenced by the Rococo style, the dresses used to be as detailed and decorated as possible.
The contrast of pieces marked the decade introducing a small waist and a full skirt, where were add lawers below. The V-shaped neckline created an imponent look that contributed to a more long-defining silhouette, sometimes trimmed with ribbons and strips.
The fashion was conservative and formal, defined with bell-shaped sleeves, no inch of skin exposure, and eventually traditional accessories like shawls.
After the first outbreak, there was a change in the way of thinking about style and traditional customs. My conclusions are that being sick, uninspired, and unmotivated opened society’s ideals, betting in colourful patterns and youthful necklines.
The “en Coeur” and shoulder necklines pop up as a new feminine proposal. The desire for a small waist continued to show in the more accentuate V-shape corset, contrasting with the voluptuous skirt.
The bold colours and prints became more popular and were considered a new elegance status between the Portuguese royal court and nobility in Brazil. Remembering the dresses above were strictly wore in the evening time, allowing short sleeves.
Empress Teresa Cristina appeared using the V-shaped corset in a bold red colour and a voluminous skirt. For the little princesses, the V-shaped details were a popular choice as well the shoulder neckline, following a more traditional clothing style.
In 1873 and 1876 new outbreaks happened, leaving around 7000 deaths.
Concerned about the progress of Yellow Fever and not satisfied with the previous results, Dom Pedro II initiated new health measures campaigns. The biggest doubt was how and through where the disease spread. They did not have any clues about the mosquitos.
At the beginning of 1870, women start to give more emphasis on the back of the clothing, adding more volume backward and not in the front. The trim of the bodices meant to match the skirts, creating a high technique of drapery construction.
The bustle was a very popular element in 1870 identity, made with fabrics and crinolines. The bell-shaped sleeves were kept during day designs, conserving the traditional look. The desire for the contrast between the bottom and top was left aside, giving space to a more realistic silhouette, prioritising natural corsets, and a natural waist shape.
Fringes and buttons details showed up vividly as a decoration expression.
The shoulder and “en Coeur” necklines were used in evening moments, creating a modern look. The drapery technique was widely explored in everyday dresses, considered a luxury item.
After the outbreaks, a new way of remodelling fashion showed up. Deeply inspired by Alexandra, Princess of Wales, a famous fashion icon in time, who popularised the “princess line” style, which became a trend in late 1877.
The trend most evident characteristic is the slim body look. Styling a skirt underneath the flat bodice and seaming tucks and darts on it contributed for a thinner look.
The elbow-length sleeves and the square neckline accompanied laces frills in the bodice and skirt. It is important to notice that the bodice returns to the V-shape, however, is seamed under the waistline, aiming a slim waist.
The bustle was replaced by extra volume below the knee area, especially in draped trains backward or in long fabrics in the front, providing an idea of movement.
The narrow silhouette was baptized as “cuirasse” bodice.
In 1918, Brazil was no longer an Empire. The Proclamation of the Brazilian Republic was a coup d’état that officially ended Emperor Pedro’s reign in 1889.
Brazil’s economy was lead by the Amazon rubber boom, extractivist rubber trees activities in the Amazon Forest. Considered the Belle Époque until 1913 this glorious time allowed people to build their empires.
Sports teams and academies were born in different spots. The inauguration of the cable cars rode to Sugar Loaf Mountain in Rio happened to be a mesmerizing leisure activity.
Unfortunately one of the biggest tragic events marked the 1910’s decade with horror and greed. World War I changed the planet’s pattern of consuming and selling, ranking of power and industry, and the political relationships.
The Spanish Flu pandemic arrived at the capital of the country in 1918. Possibly affecting 8% to 10% of Brazil’s population, the disease was easily spread during World War I conflicts. Historians believe that the flu reached the Brazilian coast in September through an English ship, that made several stops in the northeast and southeast of the country, further-reaching rural towns.
The symptoms were fatigue, fever, chills, and trouble in breathing, frequently diagnosed as pneumonia. The numbers of deaths are still unsure due to the wrong diagnoses, estimating 50 million victims worldwide. The health measures taken are similar to the ones of Coronavirus, that recommended avoiding public spaces, properly washing hands, suspending school classes, and encouraging the use of face masks. A popular homemade medicine was the drink mix of lemon and cachaça, typical Brazilian liquor, which did not have any scientific studies related to, certainly some sort of fake news of the decade.
The fashion in the 1910 decade is divided into two periods, before World War I and during it.
The new style in the early decade appeared as a new proposal of a more natural silhouette, called by the S-shape. Influenced by the Orientalist ballet, the pieces became more vibrant, fancy, and shimmering. The biggest name of the time was Paul Poiret, a French stylist who development multiples fashion trends, for example, the “hobble skirt”; a tight and long defining piece, the chemise dress style; leaving the corset aside and embracing a more loose silhouette, and the “lampshade tunic”; inspired by the odalisques clothing, adding cone frames on the top of the skirts.
During the war, fashion was heavily inspired by army clothing. Round 1915, women preferred more simple and rustic styles, choosing trousers, overalls, and skirts above the knees.
Military uniforms became popular and were usually styled with tunics, long jackets, and belts. Neutral colours were chosen for day occasions, ornamented with buckles and buttons details as well as the use of high heels.
In Brazil, the military uniforms wore women from different ages, including the First Lady. Hats were also trending in the formal events, usually in the opposite colour of the dress.
Women in the picture carried personal belongings in visits and day exits, pointed out as umbrellas, fans, and handbags, which models can be compared to messenger bags.
The flu was officially over in 1920, leaving with it the president Rodrigues Alves on his mandate, who was the first Brazilian president to be elected twice. Some medical specialists consider the Spanish Flu as the “biggest medical holocaust in history” which lost its infectious potential after 1920.
The two hypotheses suggest that doctors became more efficient in the treatment of the symptoms, and the other consists of the virus genetic mutations, that lighten the symptoms.
The fashion in 1921 was strictly influenced by the impacts of World War I, bringing minimal, plain, and romantic aspirations to the clothing. The casual common style was baptized as “la garçonne” or “the flapper”, an unforgettable fashion character.
Coco Chanel was the biggest designer of the decade, whom legacy rules most of the parades trends nowadays. Her Chanel empire disposes of luxury items, ranging from makeup to clothing. The casual 1921 dresses used to be fabricated in simple fabrics, creating a feminine and delicate look to women’s wardrobe. Other designers like Jeanne Lanvin popularised the androgynous and charming “robes”, usually preferred in light or pastries colours.
The evening dresses appeared in short and long forms, following a more comfortable proposal. The inverse hemline and waistline brought simplicity to pieces, beautifully ornament, creating glamorous and chic evening looks. Beadwork, rhinestones, pearls, sequins, silk embroideries, and gemstones were popular in decorations. Headbands, tiaras, and turban hats were common in evening events as well the extravagant jewelry and long gloves.
In Brazil, fashion followed European trends. It was very common to see young ladies showing off their flapper dresses and neutral-colored hats. Pearls necklaces were also a beautiful accessory, stylish with mini purses.
It’s possible to notice Mrs. Lou Hoover (left) and Mrs. Sofia Barros (right) wearing typical 20’s clothes. The turban hat was ornamented with feathers and the wide brim hat was very popular between women.
In the following picture, the Brazilian artist Tarsila do Amaral appeared in one of her rarest portraits wearing dazzling earrings. The dark dress also deserves attention, contrasting with the sequins beadwork.
Women used to dress elegant and classy, usually in little friends groups gossiping about nothing in particular. The walking was taken by a group of three ladies, hugging and holding each other’s elbows. Hats were a sophisticated accessory among south girls.
Fashion made up society. It teaches class, pain, identity, and honor. Well, there are more details about it you certainly can find better explained, like clothing history and designer concepts, but the intention is to share a little bit about the history of my country, especially the women’s. Due to the Coronavirus pandemic we are living, what to expect?
TikTok trends? Extravagant ready-to-wear pieces? Diversity in Haute Couture collections? A more sobber style? The comeback of 60’s fashion?
Still a mystery, however, we keep reading the news and watching the shows, expecting more.
“Beauty begins the moment you decide to be yourself.” — Gabrielle ‘Coco’ Chanel
