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Undergarments

Undergarments fundamentally remained mostly the same throughout the era but due to changing silhouettes, certain things changed.

Women

Chemise: This is the underdress worn by all women under everything else. It would have made of linen and cotton and like most of the clothes of the Victorian era, changed with the times. In the early period (1837-40s), the chemise was loose and commonly knee length. The next twenty years, 1850s-1870s, the chemise got slightly more fitted. In the 1880s, due to the changing shape of evening gowns which we will discuss later on, sleeves chemises started being worn. Became more fitted as corsets tightened. Some chemises featured lace or embroidery for elegance.

Pantaloons: These are linen or cotton pants like items of clothing. They weren't really popular in the early end of the era but after crinolines started being used, they became a staple. Toward the end of the era, the pantaloons became wider and more flared.

Combinations: This is an undergarment worn from the 1870s on that combined the upper and lower layers into a single unit - almost like a longer version of a bodysuit. The crotch was split to allow the lady the freedom to use the lavatory.

Corset: Corsets are the structured garment that is worn on the upper body to support the breasts. It wasn't all about giving a lady a snatched waist. The corset started out longer in the 1830s-40s and the boning was commonly whalebone (Not actually bones of whales) if your lady can afford it or a substitute. In the 1850s-60s, corsets were shorter, the boning was replaced with steel which lent to the more rigid figure ladies were after. In the 70s-80s, corsets adopted a more prominent curve at the waist in order to support the bustle of the decades. The 90s, saw corsets becoming less restrictive and more breathable with more flexible options for boning.

Corset covers: Were like short vests worn over the corset to protect the fabric of the dress from the eyelets and fastenings of the corset worn from about 1840 on.

Hip pads: Worn tied around the hips to take the pressure off the hips frol the corset and bustle, worn around the 1870s-80s.

Stockings: Stockings essentially stayed the same but different fabrics and ways of securing them did change over time. The 1830s-40s, stockings were secured by a garter ribbon and usually made of wool or cotton. Wealthier women could opt for a patterns or a higher quality of fabric. The 1850s-60s, saw the rise of the silken stockings for wealthier women but the way of securing them remained the same. The 1880s-1901, saw the appearance of elastic garters and plain black stockings became more popular than colour.

Crinolines: A crinoline was a hooped petticoat that made skirts wider. These were made of linen and horsehair at first but crinolines were soon fashioned out of light spring steel. Working class women did wear them but they were much less pronounced and lighter. In the early Victorian era, crinolines were not used. But in the 1850s-60s, women started to wear them and by the late 60s, the biggest crinolines would span the skirts to almost five feet. Crinolines are so tied to our idea of the Victorian era but they were really only around for a short period of time.

Bustles: Bustles were there to add more junk to a lady's trunk, if you will. They were padded cushion like things or frameworks used to enhance the back of a lady's gown. Wealthy women had very prominent bustles while working class women would have worn them less pronounced. Bustles were worn in the 1870s-80s, just on the heels of the death of the crinoline. But once the 90s hit, the bustle lost popularity and skirts became slimmer.

Petticoats: Petticoats are lighter skirts of linen and cotton worn in layers over structured garments and under the main dress. They were worn for warmth and for structure. Before the dawn of the crinoline and the bustle, multiple layers of petticoats were used to add volume to the skirts. But during the crinoline and bustle eras, petticoats were no longer worn for volume but to keep the layers from snagging on each other. Women from wealthy classes and working class women both wore petticoats, but working class women wore much sturdier ones while the wealthier women would have worn lighter and more decorated versions.

Men

Shirts: Under-shirts were worn as a base layer for men. The shirts were usually made of cotton or linen and had long sleeves. In the early Victorian era, shirts were longer and worn tucked into trousers and had high collars. In the 1850s-60s, shirts became stiffer; they were pleated at the front and the collars were lower and stiffened. By the 1870s-80s, shirts became even more stiffer thanks to the trend of starch and worn with detachable collars which would be held in place with pins. By the 1890s-1901, shirts became a part of outerwear rather than a base layer retaining the starch and detachable collars.

Drawers: These are linen/cotton underpants. In the 1830s-40s, they were loose and worn long at the knee. Drawers in the 1850s-60s, became more fitted and flannel was beginning to become a popular fabric. In the 1870s-80s, drawers got even longer, reaching mid-calf and were now secured with buttons at the waist. Drawers remained popular for wealthier men past this point.

Union Suits: Union suits were a singular item of clothing that combined the underwear to a long-sleeved shirt. They were mainly worn by working class men, especially men who worked outside. Though invented in the 60s, they were not popular until the end of the era. And yes, they could go to the bathroom in them. There were two helpful flaps.

Stockings: Stockings were worn by men, usually made of wool or cotton and held in place by garters. Wealthier men opted for silk stockings around the 1850s-60s. Like the women, elastic stockings emerged around the later part of the era. Stockings were also secured by stocking suspenders, which were clipped to the waist for support.

Suspenders: Men did not wear belts in this era so suspenders were the only way to hold up one's pants. They were worn under waistcoats. In the early period from the 1830s-1850s, suspenders were made from leather or woven fabric and attached with buttons. In the 1860s-1880s, suspenders became elasticated and thanks to Mark Twain, yes that one, they became adjustable. From the 1890s to 1901, suspenders were still popular but belts were taking over and suspenders were mainly worn by the upper class as a symbol of sophistication.

Day Wear

If the undergarments only changed a little, the outer layers changed significantly. Fashion really took off in this era, giving us some of the most recognisable silhouettes.

Women

Day wear for women changed with each decade due to changing status symbols and expectations. I'm going to break it down to skirts, sleeves, hats and bodices to show the differences between each era.

Skirts:

1830s-1840s: Wealthier women favoured dresses that sported wide skirts. Working class women had less voluminous skirts.

1850s-1860s: Wealthier women wore very large crinolines that expanded the skirts into an extreme bell-shape. Working class women wore crinolines too but their skirts did not reach the volume of the wealthier class, mainly out of practicality.

1870s-1880s: As I mentioned above, wealthy women wore very prominent bustles which sort of pulled back the skirts giving it a flat shape to the front and a larger bump in the back (the mullet of dresses if you will). Working class women also wore bustled skirts and they were far less pronounced.

1890s-1901: Skirts became simpler in shape for both classes and now could be worn as part of a two piece suit or as a dress.

Bodice

1830s-1840s: Bodices of this era featured high necklines for day wear and ended in a V-shape, to make that waist look snatched.

1850s-1860s: Bodices started to become more structured and the necklines began lower slightly, taking on square or more rounded shapes.

1870s-1880s: High collars came back into fashion and bodices became longer. The tailored jacket look started to become popular for both upper class and working class.

1890s-1901: Bodices became longer and the tailored jacket and skirt combo was still alive and well worn by both upper and working class women.

Sleeves

1830s-1840s: The gigot or leg o' mutton sleeves became popular in the 1830s. Theses were very large at the upper arm and slimmed down as it reach the wrist. Toward the end of the decade, sleeves became a little more fitted. Pagoda sleeves were also popular in this decade, where the sleeve was more voluminous toward the elbows. These were worn by both classes, with the working class women wearing far more understated versions while the wealthier ladies went a bit crazy with it.

1850s-1860s: This decade saw the rise of the bishop sleeves. This sleeve was gathered at the shoulder and slimmed toward the wrist for a close fit. Bishop sleeves slimmed down at the decade came to a close but the pagoda sleeves became even wider. Working class women would wear versions of them but much more refined versions.

1870s-1880s: Sleeves began to adopt a little puff at the top with a slim sleeve that gradually grew larger as the decade drew to the close. Both classes of women would have worn them but working class women would wear slimmer fitting sleeves.

1890s-1901: The leg o' mutton sleeves emerged again and they were back and bigger than ever at the early part of the era, large and in charge at the top and gradually thinning as it reached the wrist. As the decade closed out, the puffy shoulders started to get way slimmer.

Hats

1830s -1840s: Bonnets were worn by both classes, usually of straw or cloth. They would cover the ears and all the hair. By the 40s, velvet and silk was starting to become a popular fabric for the upper class. Working class women would also wear bonnets. During the end of the decade, bonnets began to pull back from the face. Working class women might wear a mob cap while working. Neither class of women would leave the house without a bonnet. Hats could be decorated with ribbons and cloth flowers.

1850s-1860s: Bonnets were still worn but hats became taller with and higher crown. The upper class became to make decorations more ostentatious, with fabric flowers, feathers and jewelled broaches. Working women would still wear their hair under caps when working but would wear simpler versions of the bonnet and the newer taller versions. By the end of the decade, hats began to get smaller and sailor hats and toques started to become popular. This was mainly due to large hairstyles worn by the 60s but hats were still heavily decorated.

1870s-1880s: Bonnets grew higher-crowned with wider brims that turned upwards from the face, by the end of the decade ladies were wearing larger and flatter designs. The embellishments got even more excessive. Working class women would wear less extravagant versions while out and about, wearing caps while working. To keep these often heavy and cumbersome hats in place, women would secure hats with pins, which were long needle like implements that doubled as tools for self-defence.

1890s-1901: Wide-brimmed hats were popular and decoration got every out of hand for upper class ladies. The demand for feathers saw to the extinction of many birds. But as the decade ended, some women especially the working class started wearing much smaller and flatter versions of the brimmed hats like boaters so they could be more active.

Men

Day wear for men did change over the decades, but the changes were more subtle than the ladies.

1830s-1840s: In this era, men wore trousers, shirts and coats. Frock coats was the most popular style of coat for during the day and as the decade wore on, they became longer and more fitted for the wealthier set of men. For working class men, simple coats of wool were popular. Waistcoats were often worn in this decade by both classes, the working class would wear them far more simpler while the wealthy class favoured louder patterns and fabrics. Trousers were high-waisted and slim for the wealthy class, it was even popular to wear them with instep straps to keep the trousers as straight as possible. The working class favoured a straight leg and also. Shirts for the wealthy class would have high stiff collars, worn with stock ties and cravats. Working class men would also wear cravats but their collars wouldn't be as high. Wealthy men would pair it with a top hat while working class men favoured flat caps.

1850s-1860s: The frock coat was still in fashion for the wealthy class but the fabrics changed over time and men favoured double-breasted coats in this era. The paletot was also worn in this era, featuring a peaked lapels and was worn unbelted. Working class men stuck with the same style of coat. Working class men stuck with the same waistcoats and trousers. Shirt collars were lower for both classes and both continued to wear cravats and ties.

1870s-1880s: This era featured more change for the men. This was the era of the morning coat and tailored suit, frock coats started to become less popular. Working class men wore sack suit jackets, which were less fitted and easier to move in. Trousers started to get slimmer again for both classes. Wealthy men started to carry walking sticks along with their top hats and gloves while working class men carried on with their flat caps.

1890s-1901: This is the era of the three-piece suit, where the jackets, trousers and waistcoat would all match. Trousers remained slim and jackets got shorter. The working class wore three piece suits also but these were more practical and made of sturdier fabrics.

Evening Wear

The Victorian age was still an age to party and evening wear was different to what anybody would wear outside on the street.

Women

1830s-1840s: For the wealthy, evening gowns sported large skirts, tight bodices and short sleeves that bared the shoulders. Wealthy women would accessorise with long gloves, fans and decorative combs for their hair. Working class women would stick to a simpler silhouette but the skirts would be as thick as they could afford and often sported high waists. Working class women had higher necklines for their evening wear and would usually wear whatever jewellery they had.

1850s-1860s: For the wealthy, skirts were even wider thanks to crinolines, necklines were lower and usually square or sweetheart in shape. Sleeves were puffed and short. Again women would carry fans and wear gloves. Working class women again would stick to a simpler silhouette with long sleeves though they could wear shorter sleeves if they wanted. They would style it with whatever jewellery, usually a nice broach.

1870s-1880s: For the wealthy, with crinolines gone and bustles in, skirts were less bell shaped and now, flat at the front with the bustle in the back to add volume. Décolleté necklines showed off the shoulders and upper chest. Gloves were a must. Working class women again kept it simpler, their bustles much smaller. Necklines were lower but far higher than that of the wealthy class.

1890s-1901: For wealthier women, evening gowns grew slimmer and the décolleté styles neckline remained popular. Gloves were a must. For the working class, women would wear slimmer gored skirts with square or v-necklines, still higher than that of the wealthy class. Again they would pair this with whatever jewellery they had.

Men

1830s-1840s: Wealthy men would wear tailcoats, with waistcoats of rich pattern and fabrics. Trousers like daywear remained narrow and might have featured a stirrup to keep them straight. Cravats would be of richer fabric and often pinned with more expensive pins. Cufflinks would also be worn. Top hats tied the look together. For the working class, men would likely wear a clean outfit very much like they would wear during the day.

1850s-1860s: Wealthy men still hung on to tailcoats but this era saw the rise of the tuxedo jacket, waistcoats got shorter and it was popular for them to be double-breasted. Cravats were abandoned for bow ties and men adopted leather shoes to tie the look together. Top hats were still a must. Working class men began to adopt the sack suit jacket for evening wear but they typically wore day wear suits on evenings out.

1870s-1880s: The wealthy men started to wear waistcoats with lapels, bowties became standard for evening wear and dinner jackets overtook tailcoats. Working class men stuck to the sack suit jacket and their day wear.

1890s-1901: Wealthy men's waistcoats started to get more fitted and started sticking to plain white or cream. Bow ties got smaller and tuxedos became the prominent style of evening wear. Opera hats overtook top hats both both would still be worn. Working class men still stuck to using a clean day wear suit on a night out.

Bed Wear

The Victorians also had a whole wardrobe to go to bed in.

Women

1830s-1840s: Both classes of women wore nightgowns, that featured high-necklines and long sleeves. Nightgowns were loose and comfortable for both classed but wealthy women could afford finer cotton and linen and had more elaborate decoration while working class women had simpler versions. Nightcaps would be worn to protect the hair.

1850s-1860s: Nightgowns were still worn by both classes and the working class version remained the same but wealthier women started to opt for more opulent versions with ruffles, trims and embroidery. Nightcaps are still worn.

1870s-1880s: Wealthy women started to wear nightgowns with more fitted waists while working class women stuck the same style.

1890s-1901: Wealthy women's nightgowns became much lighter and delicate and working class women still stuck with the simple nightgown but sometimes adopted more softer fabrics and designs when available.

Men

1830s-1840s: Both classes would wear nightshirts which were basically oversized shirts. Wealthy men could afford finer fabrics and often paired their bed time gear with a robe, matching slippers and a dapper nightcap. Working class men would wear nightshirts of more sturdy fabric, like flannel and would wear nightcaps.

1850s-1860s: Wealthy Men began to wear more tailored and finer nightshirts while working class men stuck with the simpler version.

1870s-1880s: The nightshirt remained the same for both classes.

1890s-1901: The nightshirt remained the staple but pyjamas started to pick up popularity, for both classes all but taking over the nightshirt by the end of the Victorian era.

Children

Children experienced a boom in fashion during the Victorian age. It was in this era where children's fashion started to follow trends.

1830s-1840s: Wealthy young boys would wear something call a skeleton suit which featured a short jacket paired with high-waisted trousers. Young girls would wear similar dresses to adult women, only scaled down. Working class children would wear similar clothes to their parents also. Boys would wear dresses up until the age of 6 and then transition to shorts and then trousers when they reached their teens.

1850s-1860s: Wealthy Boys wore short jackets and knee-length trousers and wealthy girls would wear short dresses until their teens, where the hem would be gradually let down as they approached their teens. Working-class children stayed mostly the same. Boys would wear dressed until 5 and then moved to shorts, then to trousers as they aged.

1870s-1880s: Wealthy girls would wear bustle like dresses which were still short and were lowered as they aged. Wealthy boys would wear shorts and jackets until they aged toward trousers. Working class children wore the same style. Older girls would start wearing corsets.

1890s-1901: Wealthy children began to wear more practical clothes. Sailor suits were popular for young boys and girls started wearing looser dresses. Working class children started wearing less restrictive clothes but similar to the style of their parents.

Children's clothes used as a signal to show how close they were to adulthood by style and cut of their clothes. Working class children might adopt adult styles a little later but this is an average guide.

Boys

0-5/6: Boys would have worn dresses with pantalettes underneath.

6-8: Out of dresses, boys would wear knickerbockers/short trousers with shirts and jackets.

12-14: Boys started to wear long trousers and started wearing clothes resembling men's wear.

16-18: The boys would start to wear suits.

Girls

0-5/6: Girls wore short dresses with pantalettes.

7-10: Dresses would start to become slightly longer and would mimic adult styles.

12-16: Girls started would start wearing corsets, their skirts would start to be let down even more.

18+: By 18, a girl would start adopting adult fashions with all the trimmings.

Hair and Make-up

Victorians are known for being stiff and traditional so the idea of make-up was little scandalous for them, since make-up was associated with... women who were on stage *gasp, pearls clutched*. But make-up was still attempted and eventually became popular.

1830s-1840s: Women would have steered clear of make-up in this era but wealthy women did venture into discreet versions to make the skin paler and the lips redder, using rice powder and natural stains like beet to stain their lips. Working class women usually stuck to the ye olde pinching their cheeks to add colour.

1850s-1860s: Wealthy women stuck the subtle art of looking like they weren't enhancing their complexions. Pomade would add shine to the lips and oil to the eyelashes for more lustre. Working class women also went for subtler make-up, using make-up made from things they could find in the home.

1870s-1880s: Wealthy women started wearing rouge but a very light coat and tweezed brows started become popular too. Working class women stuck to the usual lip stains and powders but every minimal.

1890s-1901: Wealthy women started to veer toward natural and softer looks with more delicate stains. Working-class women still used home made make-up. Both classes would use things like rosewater for skincare if they could afford it.

This was make-up for 'respectable' women. But other women like actresses, singers in music halls, opera singers and ladies of the night wore heavy make up. The trends for them were:

Pale skin: Paleness was attributed to wealth since a sign of being wealthy was not going out in the sun or at least going out without a parasol. Women would achieve the look with rice powder, lead-based powders or zinc oxide. Sounds healthy? Nope.

Rouge: Rouge was applied to the cheeks and lips. Lips were dark, cheeks were very pink and everything popped. Rouge could be purchased over the counter but could be made at home with beets and other fruits and veg like berries.

Eye Make-up: Eye make-up was dark, eyes were lined with kohl or a the cheaper option, charcoal.

Eyebrows: Eyebrows would be shaped and darkened with soot, charcoal and even burnt cloves.

Lips: Lips were also applied with beeswax or oils to make lips look suppler and softer.

Hair

Hair is just as much as a tell tale sign of decade of this era and for class. Hair went a little mad during the Victorian era. Hair was another way of telling a young lady's age. If she's under 16, her hair would be down and styled simply but as soon as she reached that age, she could start wearing her hair up and styled. Note that working class children would probably tie their hair up earlier, especially if they were working in factories or in service.

1830s-1840s: Wealthy women wore their hair parted and styled over the ears with braids tucked around the ear, or in rolls and curls over the ear with a bun gathering the rest of the hair in the hair. Wealthy women would cover their hair with a bonnet when heading out and wore tiaras or hair jewellery or flowers in their hair for the evening. Younger girls might wear their hair with barley curls. Working class women wore very simple versions of these styles but usually kept it practical especially if they were out working. Bonnets would have been worn outside the home.

1850s-1860s: Wealthy women wore their hair with centre parts and ringlets over the ear. Chignons became popular, featuring low buns at the top of the neck and base of the skull. Working class women tended to keep their hair up, braided sometimes to protect the hair and keep it clean. Bonnets would be worn by both classes during the day.

1870s-1880s: Wealthy women began to style their hair more elaborately, with more braids and higher styles. Tight curls around the face were popular in evening styles. Wealthy women would style it with tiaras, flowers and hair jewellery in the evening while during the day, they would wear bonnets. Working-class women kept to practical styles like braids and low buns with bonnets during the day.

1890s-1901: Wealthy women started to opt for softer approaches. Hair was still worn up but women began to lean toward pompadours, low coiffures and the famous Gibson Girl style which was all very soft around the face. The evening styles would still feature tiaras, jewellery, feathers and flowers while ladies wore bonnets in the day. Working-class women emulated these styles when they could but they were simpler versions.

Hair Care

The Upper Class: Hair would be washed frequently with soap and for women herbal rises and oils, Empress Sisi used raw eggs and brandy to wash her hair. Men would wear their hair short but style it with oil and pomade. Women would wear their hair long. Brushing it 100 times a night was a ritual many women swore by to keep hair healthy and strong.

The Working Class: Hair would have been washed with soap and less frequently. Some women would bathe their hair in vinegar to kill any boarders on their scalp. Hair was brushed and combed and kept tidy for both men and women, with more emphasis on practicality than wow factor.

Facial Hair

Facial Hair also faced trends in the Victorian era. From moustaches, beards to sideburns, each decade saw their own way of styling them or whether wearing one was accepted.

1830s-1840s: Wealthy men wore their faces clean-shaven, preferring sideburns or moustaches. Working class men kept their facial hair mainly because the process of doing a full shave was painstaking and since they had to do it themselves, time consuming. If they worked in service, they may have been forced to keep their face clean shaven.

1850s-1860s: For wealthy men, beards started to become popular. They were kept trimmed and neat. Working class men kept their beards and facial hair for the same reasons as before.

1870s-1880s: Beards started to become more of an art form, along with moustaches getting shaped with wax. For working class men, they still kept beards and facial hair but neat and trimmed where they could.

1890s-1901: The beard craze was over and the clean-shaven look was back. Men started wearing handlebar moustaches, made popular by the Kaiser. Working class men started shaving their beards and adopted styled moustaches.

Shoes

We have gone head to ankle at this point. I have not forgotten about shoes.

1830s-1840s:

Women: Wealthy and upper class women wore kid leather boots during the day and slippers for the evening. Working-class women usually only had a singular pair of shoes and they were nearly always leather lace up boots, worn for their sturdiness rather than their fashion.

Men: Wealthy men wore polished leather shoes while working men, like the women, wore leather boots.

1850s-1860s:

Women: Button-up ankle boots became fashionable for wealthy women for day wear. These could be made of leather or suede. Working class women stuck to their leather boots which could now be lace up the side.

Men: Wealthy men started wearing the Oxford shoe. Working class men stuck with their lace up leather boots.

1870s-1880s:

Women: Wealthy and upper class women wore high-button boots with slippers for the evening while working-class women stuck with their own leather boots.

Men: Wealthy men's dress shoes started to become pointed at the toe in this era. Working-class men kept their heavy boots.

1890s-1901:

Women: Wealthy women still wore buttoned boots for day wear but heeled evening shoes started to pick up popularity. Working class women opted for boots with much lower heels.

Men: Wealthy men started wearing two-tone Oxford shoes started becoming popular along with regular leather dress shoes. Working class men still stuck with lace up leather boots.

Fabrics and Colour

What clothes are made of was a tell tale style of taste, wealth and class during their era. What colours and fabric you wore heavily relied on what you could afford and what was available to buy if you could. With the Victorian age an age of new innovations and the opening new channels of trade - *clears throat *stealing - new fabrics and dyes came on the market.

Women

1830s-1840s: Wealthy women could afford most fabrics at this time but favoured heavy silks, along with plush velvets and loud patterns. For summer weather and casual wear, light patterned muslin was popular. Working class women favoured cotton and linen and wool which was often patterned. Wealthy women spiced up their dressed with trim and lace at the collar. Wealthy women favoured golds, ivories, dark blues, pinks and greens in this era. Working class women favoured darker and neutral shades because they were easier to clean.

1850s-1860s: Wealthy women started to adopt fabrics like silk poplin, moire and faille. Fringes and flounces were popular embellishments and women tended to opt for darker pallets like navy, brown and purple. Working class women still wore cotton and wool. Favourite patterns of the time were stripes and plaid and they stuck to relatively solid colours like deep blues and navy.

1870s-1880s: Wealthy women preferred silk blends, satins and brocade in this era, often heavily beaded and embroidered. Rich colours were popular, like jewel tones like ruby red, sapphire blue and deep blues and greens. Working class women started adopting floral patterns in their cotton and wool dresses thanks to mass production of cheap cloth. Deep greens, yellows and deeper greys were popular in this era for the working class.

1890s-1901: Wealthy women started opting for softer fabrics, so silk, chiffon, lace, and gauze were heavily used. Ribbons and lace were favourite embellishments. Softer colours were used, such as pale pinks, blues, peaches. Working class women wore lighter cottons and wools, still patterned and beginning to favour lighter shades such as pale reds, blues, green, and pinks.

Men

1830s-1840s: Wealthy men favoured finer wool and broadcloth. Velvet and silk were used for formal wear. Working class men worn mainly wool, cotton and linen, of a coarse weave for heat. The colour palette favoured deep blue, black, fawn and plaid for the wealthier crowd while more muted colours, like browns, deep blues and greens and black were favoured by the working class.

1850s-1860s: Wealthy men favoured greys, blacks for the city and tweeds for the country side. Silk and moire would be used for evening wear. Lighter colours would be worn while on holiday. Working class men still wore wools, linens and cotton and stuck with practical shades in browns, blacks and deep blues.

1870s-1880s: Wealthy men wore more satin, brocade and silk for formal wear while sticking the wool for their suits for the city, linen suits would be worn by the sea side. Browns, blacks and navy were popular choices for the city while lighter shades were popular in while on holiday. intricate embroidery. Working-class men wore the same wool and cotton but now their shirts were decorated with small patterns like pinstripes.

1890s-1901: Wealthy men started wearing lighter wools, silks, linens thanks to new ways of making fabric giving them sleeker looks. Working class men also benefitted from the boom in textiles, brighter colours were more widely available but still stuck with wool and cotton. Wealthy men stuck with dark greys and blacks were worn for the city with lighter shades for the summer.

Tale of Two Wardrobes

The main thing about the Victorian age and clothes, is the clear disparity between rich and poor. From everything to colour, to fabric, to quantity and quality, you would know exactly who was who by what they were wearing.

Poorer families often made clothes by hand so most items would often be worn until they were either too small or worn away, with the scraps likely refused again. Families would hand down clothes to younger children, it wouldn't have been strange to see a child wearing boots too large or swimming in a shirt or dress. Clothes were often repaired rather than replaced. Due to the fact that making clothes was time consuming and cost money, rips were patched with other fabrics or sewn up and too short skirts were let down to give them a few more months of life. Most poorer families would have a limited range of clothes, usually two changes of clothes for day to day wear and an outfit reserved for occasions like going to church.

Wealthier families could afford to have clothes custom made by professionals. They would have had an outfit for every single need and undergone multiple changes per day, especially if they were in the upper echelon. Their clothes would be washed by servants so they tended not to mind discarding their clothes three or four times a day. They could pass clothes between siblings and from parent to child but these were often cut down to create new outfits by professionals.

Hygiene

You may imagine the Victorian age as a time for unsanitary conditions and terrible hygiene and you wouldn't be too wrong. This was the time of cholera, of rampant typhoid and consumption. But the Victorians, even the poorest of the poor did wash.

Personal Hygiene

The Upper Class: As mentioned before the wealthy did bath more often mainly thanks to the fact they had somebody else to fetch the water for them, had indoor plumbing in some cases and had more time on their hands. Teeth were cleaned with powder, mainly made of crushed seashells, chalk and charcoal for whitening. Perfumes were at their height for the era, with men and women wearing cologne and scents.

The Working-Class: The working class were not dirty because they were lazy or slovenly as many contemporaries thought. The main issue was a lack of water and time for regular bathing. This lead to people turning to public baths to wash in their spare time. Teeth were cleaned with salt or baking soda or charcoal but dental care was not a priority since most of them were working long hard hours. To keep fresh, they would have used soap and sachets of herbs.

Clothes

Upper Class: The upper class had servants to clean their clothes and care of them. Shoes were shined by hall boys and clothes were kept spick and span with regular checks. Men could get their suits and shirts pressed and starched in their own house.

Working-Class: Like I said before, water and time was in sort supply so clothes were washed a little less frequently. Very often the women or the house or if the family could afford, a washerwoman, would be in charge of washing the clothes by hand with a mangle, board and soap. It was very laborious work.

Mourning

And finally, we get to it. The biggest trend of the Victorian age was the visualisation of mourning. This was all thanks to (takes very deep breath) Queen Victoria herself who wore mourning for her husband, Prince Albert. Victoria's dramatic and intense mourning set a new trend for dramatic rules around what one could and should wear when mourning.

Stages of mourning

Mourning came in three stages each with their own set of does and don'ts. The upper class would have followed the rules religiously but the working class would cut the mourning time down, especially if it interfered with their survival and work.

Deep Mourning: Full black, every thing black, women might even wear thick veils. Women would wear minimal jewellery but it would all be pearls or jet. Men would wear black frock coats, jackets, waistcoats and trousers along with black cravats. Deep mourning typically lasted a year and a day.

Ordinary Mourning: Black clothing with very little trim. Women might add lace or beading, all in black to their dresses. Lasted about 6mths.

Half Mourning: This was the final stage of the process where the black could be put aside and colours such as greys, mauves, lilac and lavender could be worn. Lasted about 3mths.

Changes in the decades

Men

1830s-1840s: Full mourning suits for the upper class. Working class men would wear a black armband around their upper arm.

1850s-1860s: Mourning attire grew much simpler, men could now get away with black waistcoats and an armband on their upper arm. Working class men stuck with an armband on their arm.

1870s-1880s: Mourning customs got further relaxed, a wealthy man could get away with a dark suit. The working class still used a simple armband.

1890s-1901: Mourning attire was much more relaxed, men could now wear dark colours with dark accessories. Working class men still wore an armband.

Women

1830s-1840s: Very heavy black gowns, worn with black bonnets, and thick veils for wealthy women. Wealthy women would typically already have mourning outfits ready for any occasion. Working class women often had to dye old dresses black for funerals and mourning, some stuck with a black ribbon or armband around the arm.

1850s-1860s: Mourning dresses became more structured and were often permitted to be more embellished with details such as jet beads for the wealthy women. It was the same story with the working class woman, she would wear an existing black dress, dye an old dress or stick with a ribbon/armband.

1870s-1880s: Mourning fashion was more commercialized, letting wealthy women have more of an array of choice in mourning though they still had to follow the rules. Working class women could purchase cheaper black fabric to make a mourning gown.

1890s-1901: Mourning rules relaxed and the stages got shorter, allowing for more colour sooner than before. It was the same for working class women, who typically had already shorter periods of mourning.

Mourning Relationships

If a Victorian donned black every time a person died, the era would have been boring af. So the rules called for different relationships to be marked by set periods of mourning.

Widows: Would mourn for two years, with one year for full mourning, nine months of ordinary mourning and then three months of half mourning. A widow would not be seen often in public.

Widowers: Yeah, get this. Husbands only had to mourn 3-6mths.

Parents/Children: Parents would mourn children and children would mourn parents for about six months.

Siblings: Siblings would mourn for six months.

Aunts, uncles, cousins: Three months.

Friends: Six weeks.

Helpful Visuals

Comparison between 1850s-1880s - AstaDarling

Housemaid GRWM 1890s - AstaDarling

Fit for a Queen: Victoria GRWM - AstaDarling

Casual Day Wear 1880s GRWM - AstaDarling

Evening Wear Men and Women (Upper class 1850) -AstaDarling

Corset Myth - Asta Darling

Sitting in a Crinoline - AstaDarling

Formal Men's Wear Upper Class 1890s GRWM - Pinsent_Tailoring

Working Class women in 1890s GRWM - The Sewlo Artist

Working Class Women in the 1860s - HistoryIsBeautiful

Working Class Women in the 1850s - Katelyn Kearns

GRWM 1840s Working Class - Pour La Victoire

Working Class Men 1850s - CrowEyeProductions

1840s Gentleman GRWM - Prior Attire

1830s Gentlemen Day and Evening GRWM - Prior Attire

1870s Upper Class Lady Morning/Afternoon/Evening - Sew_Through_Time

ANIMALS:

catenarwhal: #mandatory 'how cows produce milk' mention#i'll never recover from that one I fear

piromantic: #one time i saw someone fake their way through describing how spiders behave

pluto-lichen: horses

misskittypotter: #stardew valley faking its way through what fresh fish smell like

pa-pa-plasma: #saw someone faking their way through knowing what a seal is once #i still am fucked up over that one to this day. they just straight up did not know #& they were NOT good at guessing it either like it was clear they had never googled that animal ever #& was only just now realizing via answering questions from anons that seals are not!! what they assumed. initially

SEX:

dykevandyke: #what a prostate is #and where it is located #as in. external.

dreamyeyedrose: #I remember back in the ff.net days reading an Ichigo/Renji fic where the writer assumed the penises go inside each other #and I was like “I mean I don't know how it works for sure I don't have one but idk if that's how it works”

SOME OTHER FOOD STUFF:

thetrekkiehasthephonebox: #add another one to the list bloggers#this character is cooking a salad

shosta: #still baffled about the published work that didn't know food could freeze

sun-dari: #once i read a fic where the author didn't understand cinnamon

alto-tenure: #read something recently where the author was just. blatantly wrong about spices

dramatic-dolphin: #i saw someone try to fake their way through what ramen is once. like 14 years ago.#but i remember.#i was very confused about ramen for a few months. they were writing it so authoritatively.

the-celery-stalks-at-midnight: #i will never ever forget someone putting leftover fries in the microwave to reheat them and setting the timer for five minutes

typeghost: #this sparked a memory of a hannibal fic where the author had to fake their way through writing about gravy

draculin: #the one fanfic where the author knows about coffee only as a concept wrote a character as a coffee drinker#was very interesting#I don't remember the fandom or the plot but I was mesmerized by the coffee actions and choices

11235811235811: #there's a lot of faking their way thru congee in the svsss fandom i'll also note

fishali3n: #read one where the person clearly didnt know what tofu is

emmy-everafter: #in the aftermath of shadow and bone s2 i saw a lot of people pretending to know what stroopwafels are #babes they are more like cookies than breakfast waffles #like yes there is a waffle pattern but you're not gonna cut into a stack of them with syrup and sugar#🤣🤣🤣

NON-FOOD STUFF:

red-umbrella-811: Shoutout to Dame Agatha Christie for faking her way through what a wrench is in a very popular published work.

bluebeetle: #once saw someone have a character put an entire phone book in their pocket

nonametis: #- sex talk in languages other than english #<- or just the petnames in a different language other than English

sadisticpony: #the fanfiction i saw this week where op DIDNT KNOW HOW AUTOMATIC DOORS WORKED #and that they arent in peoples homes!!! of course. also opening the automatic door for someone is unironically very funny but its not #its not like. grabbing the door handle to let someone in. helpppp

danmeichael: #reminds me of the fic with the figure drawing class where the character started with the feet. #i love you feet first figure drawing author

meowmix1100blr: #me watching this one fic absolutely obliterate what the board of directors does

vexedhexes: #one time i read an architect character making a doorway bigger by building a bigger door #what a beautiful world. #OH. also gravity falls fic where they go 'oh piedmont is in california so its warm all year round'

leveragehunters: #characters going to a beer garden #And it's literally a garden outside the pub#It was a very cute mistake

fitofpique: #yes! #grown men do not get blind drunk off two beers #but i am possibly guilty of the hypothermia one #assuming it does not make you very horny?

dadvans-likes: #always thinking abt the soup kitchen fic #the entire setting of the fic was 'soup kitchen' #and i very quickly realized #the author did not know what a soup kitchen was #and they thought that soup kitchens only served soup #fic

msmargaretmurry: #i love fanfiction #once read a fic where the characters played 20 questions #but the author seemed to not know how to play 20 questions and was just kind of winging it........ #immaculate

shakespeareaddict: #Look I know not all of us are hockey experts #But it takes about ten seconds of research or any attention paid to the show to realize #That the Stanley cup playoffs are not in fucking September

baejax-the-great: #the funniest one i saw #was someone faking what church is like #like 1. they really didn't have to write an entire church experience for their fic #and 2. they had clearly never even watched a show where people went to church #it was bonkers weird

twosunson: #things ive seen authors faking #knowing how to unclog a drain #knowing. literally any history #knowing what ketamine looks like (apparently- oregano) #(you know who you are)

waterhorseyblues-ao3: #beltane being celebrated in winter #wales being portrayed as a completely separated land from england (i wish) #characters getting up after weeks of bedrest like that dosnt completely fuck you up

violetfairydust: #i once read a fic where the flight time from london to seattle was 3 hours

this is kind of hard to format so im just going to do the image id followed by its annotations as a list, i hope thats good

FIRST PAGE

CARDINALS: everyday wear -> main colour is red, symbolising the blood they are willing to shed for christ.

[image id: three cardinals in everyday wear standing next to each other, smiling at the camera. the one in the middle is not wearing a sash, and the one on the left is not wearing an elbow-length cape. they are all holding briefcases. end id]

zuchetto: scarlet watered silk skullcap

cassock: black wool with red silk piping. 33 buttons for the 33 years that christ lived. sometimes called a soutane, or if the pellegrina is attatched, a simar.

this weird second sleeve thing isn't in the movie design.

fascia scarlet watered silk sash with tassels. symbolises celibacy (wide eyed emoji). optional but almost always worn.

pectoral cross: personalised cross suspended from a chain over the chest.

gold ring: gifted by the pope to symbolise the bond with the papacy.

its hard to see, but the inside of the cassock and pellegrina is also red

pellegrina: optional elbow length cape that matches the cassock. these don't typically have buttons, but in the movie they do. they're also slightly longer in the movie.

clerical collar: white plastic, cotton, or linen collar. in the movie design, there is no slot for the collar in the front.

[image id: a half body image of a cardinal, in a white version of the everyday cassock. end id]

in tropical countries cassocks can be white instead.

[image id: a screenshot from the conclave movie, specifically from lawrence's homily. it is cropped only to show his hand, and there is a ring on his middle finger. end id]

lawrence's ring

[image id: a full body shot of a cardinal walking to the right. he is wearing in a long black cloak. end id]

tabarro: black broad-cloth cloak with shoulder cape. technically no longer allowed (?) but i think that's just the red version.

[image id: a half body shot of a cardinal smiling at the camera. he is holding a biretta and wearing a long red cape that is fastened by a red ribbon. end id]

ferraiolo: scarlet watered silk cape fastened by a ribbon. not that common anymore i think? (hence why only tedesco, being more traditional, wears it)

[image id: a screenshot from the conclave movie, specifically the start, when lawrence is walking down a road. it is cropped only to show lawrence's upper body. he is in his everyday wear, and wearing a black cape end id]

longer, buttoned pellegrina. basically a black mozzetta (see choir dress)

[image id: a screenshot of the conclave movie, of bellini in the cafeteria. cropped to only show his upper body. he is wearing a black coat. end id]

[image id: a poster for conclave, with a line up of tremblay, sister agnes, lawrence, and bellini. cropped only to show their upper bodies. end id]

no opening for clerical collar, with the exception of bellini's coat/jacket.

no second sleeve.

[image id: a small doodle of cardinal tedesco wearing his red cloak with coloured lineart. he is holding his vape. end id]

SECOND PAGE

CARDINALS: choir dress

[image id: a fullbody shot of a cardinal in full choir dress. he is holding his hands at his front. end id]

mozzetta: scarlet elbow length cape. made of wool with silk lining. 12 buttons for the 12 apostles.

pectoral cross: personalised cross suspended from a red and gold cord. the cord also has a tassel in the back.

cassock and fascia: the same as everyday dress except that the cassock is red and not black.

rochet: white linen or muslin tunic, usually with a lace trim. designs of the lace vary from person to person. rochets are very different in the movie - with the exception of benitez, all the rochets are the same. they all reach to the mid-calf rather than the mid-thigh or knee. they're very plain, with no lace trim or other designs.

biretta: square, ridged cap worn over the zuchetto. one corner has no ridge, and is always worn on the left. not actually worn in the movie, but you can see it on the way to and in the sistine chapel.

[image id: two images of the cord used to hang a pectoral cross on a grey background. the first shows the full cord, with a hook on one end and a tassel on the other. there are three knots at different points on the cord. the second image is a close up of the tassel. end id]

[pointing in between the two knots closest to the tassel] neck goes in here, fastened by these knob thingys (you can see this when lawrence is getting ready for the "pope who doubts" homily).

[image id: a doodle of cardinal lawrence with coloured line art. he is in his choir dress, stressed and holding a turtle. end id]

[image id: a cardinal and a monsignor walking past an altar in a church. the cardinal is in choir dress, and is wearing a red cape with a very long train. the monsignor is wearing a purple cassock and holding the train of the cardinal's cloak above the ground. they are both facing away from the camera. end id]

cappa magna: long as fuck red watered silk cape with a 7 metre long train. hood is lined with ermine fur in the winter. rarely worn in modern times, and only in processions. like the galero, generally only the traditionalists care for it.

[image id: full body shot of two cardinals looking at booklets. they are both in choir dress. one of their rochets is more lacy, and the other more plain. end id]

more examples of rochets, including one that looks similar to benitez'

[image id: a half body shot of a cardinal in choir dress. he is also wearing a long red cape and wide brimmed red hat. he is holding his hands at his front. end id]

galero: scarlet wide brimmed hat with 15 tassels attached at the sides. used to be given by the pope to every newly created cardinal, but is no only made on request. the only example i can find of a modern day cardinal wearing a galero is cardinal burke, who is a mega traditionalist/conservative freak. a galero is still featured on the cardinal coat of arms however.

[image id: cardinal tagle's coat of arms. in the centre is a shield, with a long stemmed double barred gold cross behind it. above the shield is a red galero, with 15 tassels attached on each side. they are arranged in a triangle shape on either side of the shield. at the bottom is white scroll with the motto "dominus est" in black text. end id]

shield and motto varies, but always has a galero

[image id: a behind the scenes photo from conclave. john lithgow, carlos diehz, robert harris, lucian msamati, and ralph fiennes are standing together in the set for the sistine chapel, smiling at the camera. the actors are all in choir dress. end id]

much longer, more simplistic rochet with a big as fuck hem. it's also slightly off white?

like in the book, benitez' rochet is too long, reaching to the bottom of his cassock. it also has a more "realistic" trim design. unlike the rest of the cardinals it seems to be pure white (hello symbolism).

benitez doesn't have a cord

THIRD PAGE

POPE -> main colour is white to symbolise purity

unlike the rest of the catholic clergy, the pope's dress isn't strictly regulated. what each pope wears varies and usually reflects their own views - e.g. pope benedict xvi wore a lot of clothes that had fallen out of use in the papacy, while pope francis refused to wear a lot of the more ornate clothing (basically, you can do what you want).

[image id: full body shot of pope francis walking towards the camera. a monsignor stands behind him. end id]

base everyday wear is the same as cardinals a bishops, but all white. always a simar.

[image id: full body shot of pope benedict xvi. he is speaking into a microphone, reading off a piece of paper. end id]

pope's loafers are traditionally red to represent the blood of saints, but both francis and leo instead have black shoes.

fascia has gold tassels, and is traditionally embroidered with the papal coat of arms. francis and leo have plain fascias

[image id: pope benedict xvi greeting people in saint peter's square. cropped to show only his upper body. he is wearing a red straw hat that has gold detailing. end id]

capello romano, red straw hat with a strip of red silk around the crown, embroidered with gold. also called a saturno.

[image id: a doodle of pope innocent xiv in his white cassock, with colour line art. he is smiling and making a peace sign. end id]

yay !

[image id: half body shot of pope paul vi, who has two fingers raised. he is wearing a red cloak that has gold edges. end id]

red papal tabarro, not used since benedict xvi.

[image id: four images of the rings worn by the pope. the first is of benedict xvi's, gold with an engraving of saint peter. the ring is on his ring finger as he hold a piece of paper. the second image is of pope francis', silver with an engraving of a cross. it is on his ring finger as he holds his pectoral cross. the final two images are two different angles of pope leo xiv's ring, which is gold. one shows that the inside has an engraving of leo xiv's coat of arms. the other shows that the inside also has his name engraved, and the outside has an engraving of st peter. end id]

ring of the fisherman/piscatory ring customised to each pope. usually gold (francis' is gold plated silver), with an engraving of saint peter. the fisherman part is a reference to mathew 4:19 and mark 1:17, where jesus tells saint peter and the apostle andrew that he will make them "fishers of men". presented to the pope during his inauguration (there's only been 5 inaugurations - i can't find who presented the ring for john paul i & ii, but both benedict xvi and francis had it presented by the dean of the college of cardinals (i.e. lawrence). leo xiv of course had cardinal tagle, who isn't dean - the rules for papal inaugurations are quite vague so each individual pope does whatever. in the days of papal coronations the ring would be presented by the camerlengo (i.e. tremblay)

[image id: half body shot of pope john paul ii greeting someone off screen. he is wearing full papal choir dress, including a stole. end id]

[image id: a screenshot from pope leo xiv's first appearance as pope. he is wearing full papal choir dress and waving. a monsignor and bishop stand either side of him. end id]

in choir dress, pope wears a rochet and red mozzetta over his everyday wear, as well as a stole sometimes. i don't think francis ever wore ful choir dress, but he did sometimes wear just a stole.

mozzetta is satin, not wool

gold cord

stole of the four evangelists, much more heavily embroidered than a typical stole.

[image id: half body shot of pope benedict xvi in choir dress. he is not wearing a stole and his mozzetta is lined with white fur. he is holding his hands at his front. end id]

pope benedict revived the winter mozzetta - made of velvet and lined with ermine fur

[image id: half body shot of pope benedict xvi waving. he is wearing a bright red cape and a red cap with white fur lining. end id]

matches with the camauro, a winter cap of the same materials briefly brought back by pope benedict.

[image id: half body shot of pope benedict xvi walking to the left. he is wearing choir dress but no stole. his mozzetta is white and lined with white fur. end id]

paschal mozzetta, used during easter.

FOURTH PAGE

LITURGICAL VESTMENTS

you can see lawrence don the following before his "pope who doubts" homily. each item has an attached prayer that should be recited while putting it on. worn over the cassock and fascia. before they even start dressing, the priest/bishop/etc washes their hands. [grey text] give virtue to my hands, o lord, that in being cleansed from all stain i might serve you with purity of mind and body [end grey text]

only writing the translations of the prayers here, but they would be recited in latin

[image id: a drawing of a priest in a black cassock. a white cloth is draped around his shoulders, and he is tying a string that is attached to it around his waist. the cloth and strings is pictured again next to him. end id]

[image id: someone wearing a black cassock, with a white cloth over their shoulders, fastened at the waist. the image is cut off at the person's neck and hips. end id]

amice: rectangular cloth draped over the shoulders and secured at the waist. no longer mandatory. first draped over the head when dressing. [grey text] place upon me, o lord, the helmet of salvation, that i may overcome the assaults of the devil.

[image id: a full body shot of a priest in a full length, long sleeved white tunic. he is holding an open book, and there is a mirror behind him, where you can see his full reflection. end id]

[image id: a screenshot from conclave, specifically when lawrence is getting ready for mass. it has been cropped to show only lawrence. he is wearing a white, long sleeved tunic and is looking down. end id]

alb: long white linen garment that covers the cassock. [grey text] make me white, o lord, and cleanse my heart, that being made white in the blood of the lamb i may deserve an eternal reward. [end grey text]

[image id: doodle of lawrence in full vestments, with coloured line art. he hold his hands at his front and looks sad and pathetic. end id]

he was forced to eat cement when he was 75

[image id: an image of a person's waist. they are wearing a white tunic, secured by a white cord. end id]

girdle/cincture: wool cord worn around the waist. [grey text] gird me, o lord, with the cincture of purity, and quench in my heart the fire of concupiscence, that the virtue of continence and chastity may abide in me. [end grey text]

[image id: a drawing of a priest wearing a long sleeved white tunic. he is placing a cloth decorated with a cross on his left arm. the cloth is show again next to him, where is can be seen that it has two cords attached to it. end id]

[image id: a long silk cloth that is folded over. the inside is gold and the outside is white, decorated with gold crosses. the ends flare out and has gold tassels. there is a gold cord attached to the middle. end id]

maniple: silk cloth worn on the left arm, fastened with a cord. symbolises the devotion & toils of priest. not always use anymore. [grey text] may i deserve, o lord, to bear the maniple of weeping and sorrow in order that i may joyfully reap the reward of my labours [end grey text]

[image id: a mannequin with a long sleeved white tunic. a long purple silk scarf with gold embroidery is draped around the neck. a matching purple cloth is draped over the left arm, which has been pinned to the chest. end id]

stole: silk band worn around the neck, symbolising priestly authority. [grey text] restore to me, o lord, the robe of immortality, which was lost in the transgression of our first parents, and, inasmuch as i approach your sacred mysteries in an unworthy manner, nevertheless, may i be deserving of eternal blessedness. [end grey text] the pectoral cross can be worn under or above the stole.

[image id: a mannequin wearing a purple chasuble with heavy gold embroidery. the mannequin has been positioned to hold a black biretta at the chest. the image has been annotated as "gothic". end id]

[image id: two images. one is a half body shot of a priest wearing a green chasuble and walking to the left. the chasuble is not as ample as usual, and more closely resembles a tunic. the second image is a similarly cut chasuble laid out on a grey background. it is gold and has heavy floral embroidery. the images have been annotated as "roman". end id]

chasuble: covers all other vestments. can't find what its made of but let's be real it's probably silk or brocade. worn during mass. roman style is considered more traditionalist, and is a lot less common. [grey text] o lord, who has said, "my yoke is sweet and my burden light," grant that i may carry it as to merit thy grace. [end grey text]

[image id: two priests at the front of a parade in a street. they both have heavily embroidered gold capes draped over them, and are holding their hands at their front. end id]

cope: silk/brocade heavily embroidered cape worn in liturgical functions outside off mass, such as baptism or matrimony. i don't think it has a prayer?

[the rest of the page is a section with a gold background labelled "bishops only"]

[image id: a plain white mitre on a table, next to a red zuchetto and fascia. the tails have red tassels. annotated as "simplex". end id]

[image id: a high angle picture of a mannequin head wearing a plain gold mitre. the inside of the centre is red. end id]

[image id: a folded white mitre propped up on a table. heavily embroidered with gold thread. end id]

mitre: white or gold silk folding hat with 2 tails at the back. has 3 styles:

simplex - funerals, mass, lent, good friday.

auriphrygiata - celebration of sacraments (baptism, matrimony, ordination, etc).

pretiosa - principal mass, feast days.

[image id: half body shot of three bishops outside a church. they are all wearing full vestments, but with a cope instead of a chasuble. they all have mitres and are holding croziers in their left hands. end id]

crozier: staff stylised like a shepard's crook, symbolising a bishop's role as a shepard.

[image id: a cardinal in a red chasuble walking toward the camera. there is a wool band around his neck. he is looking down and his left hand is at his chest. end id]

pallium: wool band worn around the neck. has sick black crosses. symbolises the lamb carried on christ's shoulders. often has gold pins in 3 of the pins to symbolise christ's crucifiction. given to metropolitan archbishops by the pope (archbishops that oversee multiple dioceses, i.e. tedesco & sabbadin, but not lawrence) can only be worn inside the archbishop's diocese, with the exception of the pope.

FIFTH PAGE

LITURGICAL VESTMENTS ... 2!!

[image id: a screenshot from pope leo xiv's inauguration, specifcally when he receives the fisherman's ring. the image has been cropped to only show pope leo. he is wearing a white chasuble and a pallium. end id]

[image id: pope benedict xvi sitting on a throne. he is wearing full vestments, as well as a circular shawl, and a pallium with red crosses. end id]

benedict xvi briefly introduced a papal pallium with red crosses, but francis eventually switched back to a black one, with leo xiv doing the same.

benedict xvi also reintroduced the papal fanon, a gold striped circular shawl, though it hasn't been used since then.

[image id: a full body shot of pope benedict xvi walking in a precession. he in full vestments and waving. in his left hand he hold a gold staff with a cross on top. the staff has been annotated as "pius xi". end id]

[image id: a head shot of pope francis in church. he is in full vestments and adjusting his glasses. in his left hand he holds a gold staff with a cross on top. the staff has been annotated as "benedict xvi". end id]

[image id: three head shots of different popes in full vestments holding the same staff, annotated as "paul vi". the staff is silver and has a statue of jesus on the cross on top. the first is of pope paul vi. it is black and white, and has been cut off to not show his face. the second is of pope john paul ii turned to the left, waving. the third is of pope francis, looking tired. end id]

instead of a crozier, the pope uses a ferula, a staff with a cross on top. there have been a lot of different designs for the ferula, with the most recently used being the ferulas of pius xi, paul vi, and benedict xvi.

[image id: pope francis with a mosignor and two deacons walking to the right in a procession. pope francis and the priests are in full vestments. their chasuble and tunics are green and plain. end id]

[image id: a line up of a priest, a deacon, a cardinal, and another priest. they are all smiling off to the right. the priests and cardinal wear a chasuble, and the deacon a tunic, all of which are slightly different shades of purple with gold embroidery. end id]

[image id: three bishops at church. they are all in a line looking to the right. they all wear plain, pale yellow chasubles. end id]

[image id: a priest and a bishop walk towards an altar in an empty church. they are both wearing red chasubles and holding paper palm leaves. the priest holds an ipad that has been annotated as "ipad ??" in grey text. there is a person filming them on a tripod behind them. end id]

[image id: a half body shot from behind pope francis in a procession, with a deacon in front of him. they are both in full vestments, and their chasuble and tunic are a pale pink. end id]

the colours of the maniple, stole, and chasuble varies depending on the event. only the main events are listed below because theres a lot <3

green - ordinary time (i.e. nothing else going on). [grey text] hope, growth, life. [end grey text]

violet - advent, lent, all souls day, requiem mass (funerals). [grey text] humility, penance, preparation. [end grey text]

white/gold - christmas, easter, baptism, matrimony, ordination (the pope isn't technically ordained but it's also used here). [grey text] joy, glory, innocence, purity. [end grey text]

red - palm sunday, good friday, pentecost, funerals of popes. [grey text] sacrifice, charity, the blood of christ [end grey text]

rose - gaudete sunday & laetare sunday (in advent & lent respectively - can choose either rose or violet). [grey text] anticipation, joy, repentance. [end grey text]

SIXTH PAGE

BISHOPS, ARCHBISHOPS, & MONSIGNORI

[image id: two half body shots of bishops holding their hands at their fronts. the first one is wearing choir dress and against a brown background. the second is wearing his everyday wear and in a church. end id]

bishops and archbishops wear basically the same as cardinals, except with purple instead of red (symbolising authority i think? not as well defined as cardinal red) plus some other details.

this includes accessories like the ferraiolo. galero specifically is green with two sets of 6 tassels for bishops and 10 for archbishops.

green and gold cord

piping on the cassock, mozzetta, etc is more red than the rest of the purples

[image id: a grey mannequin head on a white background. it is wearing a purple biretta with a pom on top. end id]

biretta has a pom

[image id: a full body shot from the conclave movie, when lawrence, mandorff, and o'malley find out about the new cardinal. lawrence is facing the camera and looking at o'malley, both mandorff and o'malley are facing away from the camera and looking at lawrence. they are all wearing their everyday cassocks. end id]

ok so researching for monsignori is driving me up the wall. first of all mons. is not an actual role, it's an address for priests with one of 3 honourary titles (apostolistic protonotary, honourary prelate, chaplain of his holiness). second, mons. o'malley is a bishop in all but title. he dresses as a bishop, and is secretary to the dean, a role typically held by a bishop. idk man ig in the conclave-verse bishops can be monsignori, or maybe a monsignor is higher up in the catholic hierarchy than irl.

monsignor o'malley has the same outfit as archbishop mandorff

[image id: from the conclave movie, o'malley in choir dress. he is holding a clipboard and looking off to the left. end id]

WHY IS HIS ROCHET SLEEVE DIFFERENT ITS THE ONLY ONE LIKE THIS ??? anyways bishop choir dress. i love this picture btw he looks so ouppy

[image id: two full body shots of a monsignor in two different styles of choir dress. both are wearing white tunics over a purple cassock, and the first has an additional sleeveless purple tunic over it. in the first image he is closing the doors to the sistine chapel, and in the second he is outside, holding his hands at his front. end id]

[image id: a full body shot of a monsignor walking to the left. he is wearing an everyday cassock and fascia, but no pectoral cross. he also has a purple cloak, and a black biretta with a purple pom. there is a metal pin on his left breast. end id]

[image id: a half body shot of a monsignor in front of an altar, facing the camera. he is wearing an everyday cassock and fascia, but no pectoral cross or skullcap. there is a metal pin on his left breast. he is holding an open book. there is a "yonhap news" watermark at the bottom. end id]

black biretta

no pectoral cross

no zuchetto

[image id: three simple diagrams of monsignor choir dress. the first two have a purple cassock, and the last is black. they are all wearing a white tunic, and the first has another purple, sleeveless tunic as well. they all have black birettas with poms, the first pom being purple and the last two being black. end id]

choir dress is closer to that of other priests, using a surplice instead of a rochet.

[pointing at tunic] surplice

SEVENTH IMAGE

MISC

[image id: a screenshot of conclave, from the end of the movie when lawrence is looking outside his window. he is wearing a black shirt with a priest collar, and a black sweater vest. the image has been cropped to only show him. end id]

when to wear what:

liturgical vestments -> celebrating/co-celebrating the eucharist.

choir dress -> public liturgical functions that the person is not the celebrant of.

daily dress -> day to day work

informal dress -> can be worn when daily dress would be impractical, in more informal work, or when "off-duty". black or grey clothes, including a shirt that allows the priest's collar to be seen.

[image id: a screenshot from conclave. a half body shot of sabbadin, who is turned to the left. he is in everyday wear, and holding a cigarette. the image has been cropped to show only him. end id]

[image id: six franciscan priests smiling at the camera. they are all wearing simple grey habits and pectoral crosses. end id]

if a priest is a member of an order, they can wear their habit instead of a cassock. sabbadin wears a franciscan habit in everyday wear, but not in choir dress.

[image id: a screenshot of conclave. tedesco sitting in the sistine chapel alone. he is wearing choir dress, and a shirt sleeve can been seen peaking out of both of his arms. he is vaping, the smoke obscuring the bottom half of his face. the image has been cropped to show only him. end id]

as for what they wear under their cassocks, i think it's just a shirt and trousers. you can see the sleeves peaking out in the movie. the only real rule is that the stockings/socks they wear should match their cassock (i.e. black in everyday, red/purple in choir dress, white for the pope). only other thing of not is that the pope typically wears white trousers, though francis wore black. anyways, [homophobic dog "i know what you are" meme]

[image id: several labelled doodles of characters, titled "proper forms of address". the first is of pope innocent xiv, who is calm and smiling. labelled "pope - your holiness". the second is of lawrence, who is sad and looking downwards. labelled "cardinal - your eminance". the third is of archbishop wozniak, who looks stressed or panicked. labelled "archbishop - your grace". the fourth is just text that says "(are there any bishops in conclave ??)". labelled "bishop - your excellency". the fifth is of monsignor o'malley, who is smiling. labelled "monsignor - reverend monsignor". the final is of john ward from faith: the unholy trinity, looking to the left, concerned. labelled "priests - reverend father". end id]

who's winning the sad pathetic priest war, john ward or lawrence.

[image id: a doodle of op, making a peace sign. he is looking to the right and making a ":3" face. end id]