Between Convention and Freedom: 19th-Century Fashion in the New Adaptation of Bolesław Prus’s "The Doll".
Updated: Oct 7
Would Izabela Łęcka Wear Trousers? Reflections on the Transformation of the Female Silhouette at the Turn of the Century.
Recently, Netflix's new series "The Doll", directed by Paweł Maślona and based on the novel of the same title by Bolesław Prus, has been enjoying great popularity. As a rival to the series adaptation, a feature film directed by Maciej Kawalski has recently hit cinemas, drawing crowds of high school students from across Poland (Fig. 1). For students of these schools, the novel is mandatory reading in preparation for the matura exam. A debate has raged in the public sphere regarding which version is better and more faithfully reflects the realities of the era and the content of Prus's novel itself, as well as which version more clearly reveals the artistry and acting craft.
The creation and concept for the character of Izabela in the series version—completely different from the depiction in the book, strongly personifying an advocate of upcoming cultural transformations, fighting for women's emancipation and their right to make their own life choices or access higher education—awakened in me a reflection on changes in clothing at the end of the 19th century as a prelude to opening up to entirely new forms and silhouettes of the 20th century.
Over time, women will discard the corset and crinoline; the first female ambassadors wearing trousers and elements of the male wardrobe will appear. In subsequent decades—both in fashion and in art or architecture—aspects of functionalism, utility, and minimalism will be prioritized over ornamentation and excess. The simplicity and geometrization of form according to the principles of Bauhaus (a school of craft, art, and architecture founded by Walter Gropius in Weimar in 1919) or fashion designer Coco Chanel, who promoted the postulate of fashion understood as function, freedom, and minimalism, will pave the way for principles that remain highly relevant today and never go out of style. Coco Chanel used to say: "Before you leave the house, look in the mirror and take one thing off"—propagating the concept that true elegance relies on shedding unnecessary adornments.
In contemporary furniture making, the simple and functional Scandinavian style maintains such a strong position for years that currently no one can imagine that the global giant of the Swedish store chain Ikea could suddenly shut down its investments—who among us has never had a piece of furniture or at least a household accessory from this well-known chain? Would contemporary women allow themselves to suddenly be forbidden from wearing trousers one day and forced to wear corsets that restrict movement and deform the silhouette? Modern fashion promotes minimalism, comfort, freedom of movement; it is no coincidence that the "utility" trend—practical solutions where aesthetics stem directly from function—exerts such a powerful influence on street fashion. Are these not the very same postulates declared by the Bauhaus school from the beginning of the 20th century or the great fashion reformer Coco Chanel?
Returning, however, to the 1870s—the era that forms the backdrop for Bolesław Prus’s "The Doll" —let us immerse ourselves in the realities of Warsaw and Paris during the age of Positivism and the Industrial Revolution. We shall examine the artistry of the opulent, intricately decorated, and multi-layered costumes of the period, which feature prominently in the two film adaptations discussed here. We will also explore how social transformations and new metal constructions—made of iron and steel—revolutionized architecture and influenced the fashion of the time.
The Era of the Crinoline
The year 1851 marked a turning point in the history of art and fashion. It was then that the Industrial Exhibition in London took place in the newly erected Crystal Palace, designed by Paxton. Iron and steel constructions were beginning to appear in the architecture of the time. The female attire itself, with a crinoline skirt, gave the ladies of that era an architectural, pyramidal shape—with a wide surface upon which decorative ornament could be freely placed.
Initially, the term "crinoline" referred to a petticoat made of stiffened linen fabric blended with horsehair; however, after 1856, a new form emerged—a type of "cage" made of steel wire. Its creation was inspired by the surrounding metal architecture, including the Crystal Palace—a fact that highlights the connections and interdependencies between fashion and other artistic disciplines in the 19th century. Interestingly, when the great urban planning reformer Haussmann demolished twelve thousand old houses while creating the urban concept of new Paris, it was joked that wide boulevards were being designed just for ladies in crinolines.
Crinolines came in various shapes: conical or dome-shaped. They reached a record size in 1859—180 cm in width; later, they became flatter in the front and elongated at the back, thus transforming into the bustle. As Andrzej Banach (art critic who authored a key publication on fashion—one of the most important Polish works dedicated to the theory of dress - "On 19th-Century Fashion") stated: "The crinoline was an arrogant garment, if only because it claimed so much space for itself, and by extending furthest from the body line, it created the illusion of a provocative distance" [1]. The observation of a growing "distance" between people, created by the construction of dresses at that time, seems accurate, as, for example, the custom of walking arm in arm had to be abandoned due to the dimensions of the crinoline. It was therefore an uncomfortable attire, which additionally required wearing an equally uncomfortable corset (fig. 2).
When discussing 19th-century garments, it is worth recalling the key events of that era, including the creation of the first sewing machine in the United States in 1825, which was gradually improved and owes its current form to Singer, who patented his model in 1851. The first fashion exhibition, held in London, also dates back to that same year. In the 1850s, technical progress and well-developed international trade contributed to the global spread of Parisian fashion, alongside the emergence of the first department stores and fashion magazines. In 1858, moreover, the English tailor and designer Charles Frederick Worth opened his establishment in Paris—the first haute couture fashion house in history. New elements appeared in both men's and women's wear depending on their purpose; among other things, specialized travel and sportswear took shape. In women's fashion, alongside the crinoline, outfits emerged that testified to the growing aspirations towards women's emancipation.
This issue had already emerged at the end of the 18th century, as in 1793 it was enacted that "everyone is free to wear such attire and ornaments as suit them" [2]. However, this decree clearly emphasized gender distinction, which meant that women had no opportunity to wear elements typical of men's attire, mainly trousers. It was then that the first manifestations of feminism gradually began to take shape; attire became a campaign in the spirit of the struggle for women's rights. It is worth paying attention to this in connection with understanding fashion as art, given that, due to their gender, it was difficult for women to operate in those times on artistic ground: in painting, sculpture, or architecture.
Women expressed their rights, their own identity, and opposition to inequality through clothing. Feminist Amelia Jenks Bloomer, striving for women's emancipation, began wearing trousers in 1851 (the name of cyclist trousers of those times—wide knickerbockers, "bloomers"—even derives from her surname) (fig. 3). However, the famous French poet, lover of Chopin and Balzac—George Sand—contributed most to popularizing men's attire.
The Era of the Bustle
Along with Positivism in literature, Impressionism in painting, and the construction of the Eiffel Tower in 1889, the era of the bustle arrived. The crinoline was discarded in favor of a more natural look, known from Monet's paintings such as "Woman with a Parasol" or Seurat's "A Sunday Afternoon on the Island of La Grande Jatte" (fig. 4).
The bustle (tournure in French) means posture, carriage; it referred to a specific detail of the attire of that time, namely initially a form of gathering or pinning up at the back of the skirt, and later a frame—a type of saddle resting at the back of the hips, from which the train cascaded down (scaffolding made of wire mesh or a pad at the back of the skirt) (fig. 5). Just as in architecture newly erected iron and steel structures represented a certain evolution, the bustle in comparison to the crinoline marked a measure of progress toward a reduced silhouette; women no longer claimed as much space for themselves and could move around more freely in it. In Impressionist attire, the body dissolved in folds of silk and lace, while the decoration of the dress became an end in itself, a form of "art for art's sake".
In men's fashion, the characterization known to us from Manet's painting "The Luncheon on the Grass" prevailed (fig. 6). The figures of men depicted in Manet's painting are dressed in attire that reveals their social status and affiliation with the dandy circle. The precursor was George Brummell, who became the arbiter of fashion at the English court and a symbol of dandies. The characteristic attire of representatives of this social group included: a cane, a scarf, a hat, and gloves, often light-colored trousers and waistcoats, and on top a "canotier" straw hat. In addition, a long tie or bow tie was worn, or a "cravat" neckerchief wrapped several times around the neck with a folded collar. Dandies were men with a well-groomed, impeccable appearance, famous for their refined taste, and who selected the details of their wardrobe with great care. Not only the clothing, but also their entire posture and gestures were studied. Raised head, straightened posture, disheveled hair, and a specific, relaxed way of being. Dandies also did not part with their scent bottle of perfume, which they were the first to apply directly to the skin.
Alongside French fashion, the English scene was important at that time, revolutionizing the history of dress. In the mid-Victorian era, specifically in the years 1870–1880, a group of artists, poets, and writers created the so-called Aesthetic Movement. At its head stood, among others, William Morris—later founder of the Arts and Crafts movement—English poet and playwright Oscar Wilde, and members of the Pre-Raphaelite Brotherhood.
The English word "aesthetic" signifies "pure beauty"; it can also be interpreted as "artistic beauty" or even the concept of "art for art's sake". The movement rejected the ugliness of mass-produced goods resulting from the Industrial Revolution, contrasting them with the beauty of handcrafted items. Its adherents harbored an aversion to sewing machines, which—by simplifying the ornamentation process—ultimately contributed to the over-decoration of dresses. Influenced by the Pre-Raphaelites—and specifically by the painter Dante Gabriel Rossetti, who created and immortalized on canvas a new image of women wearing loose, corset-free dresses that allowed for freedom of movement and a natural look—a breakthrough, and indeed a reform, in fashion took place.
Discarding the corset was a necessary change that had to happen at last, if only for health reasons. In addition to the so-called "aesthetic dress," whose form referenced the Middle Ages or the Renaissance, the fashionable image of a woman was complemented by: red hair, pale faces, and green eyes. The dresses were decorated by hand using embroidery techniques. Sunflower, daffodil, or other organic motifs appeared on them; furthermore, new, exotic dyeing techniques and original patterns of printed fabrics designed by William Morris were introduced (fig. 8).
19th-century fashion, with its extraordinary richness of detail, geometry of forms, and wealth of fabrics, is not merely a closed chapter of history described on the pages of novels or immortalized on Impressionist canvases. Although the days of crinolines and bustles belong to the past, the fascination with old-world tailoring and the history of dress constantly returns—both in film adaptations and in museum spaces.
For anyone wishing to see firsthand how the silhouette of 19th-century women and men transformed, fashion museums serve as an excellent point of reference, allowing one to explore the secrets of tailoring craft, corset construction, or the evolution of historic fashion. Worth recommending are four of the most important fashion museums with the largest and most comprehensive collections in the world: the Victoria and Albert Museum (V&A) in London, Palais Gallier in Paris, The Costume Institute at The Metropolitan Museum of Art (Met) in New York, and the Kyoto Costume Institute (KCI) in Kyoto.
Reflections on the fashion of Prus's era and its modern screen adaptations are worth taking beyond the printed page into physical space by visiting the unique, ongoing exhibition "Chic and Convention". Showcasing 32 costumes from Maciej Kawalski's film adaptation of "The Doll" at the Royal Łazienki Museum in Warsaw, the exhibition runs until December 13, 2026 (fig. 9).
Don't miss this exhibition—and be sure to let us know in the comments below the post which costumes made the greatest impression on you!
Author: Edyta Kurdas
[1] Maguelonne Toussaint-Samat, A History of Costume, p. 349.
[2] Andrzej Banach, On 19th-Century Fashion, 1957, p. 307.
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