A History of Gothic & Mourning Fashion

  Words and Visuals by Melina Clowns

Mourning is a universal experience that has demanded its own unique social customs across every culture throughout human history. A big part of those customs has been in relation to specific dress styles one should wear to represent death. Throughout much of our history, black has been associated with death and, therefore, was the color one would wear when in mourning. That tradition dates back to Roman times and the Middle Ages, where it took on a much more concrete place in society. During the Victorian Era, mourning fashions and practices became a central part of the culture as dictated by Queen Victoria. For women, especially, they were expected to alter entirely, not only their wardrobes but also their lifestyles for long periods of time. Social practices around death were such a big part of life that much of the art from that time period was made for mourning or in some way related to it. Portraiture, photography, literature, and jewelry were all art mediums that became key elements in the Victorian mourning process. “Taking inspiration from the Medieval and the morbid, the Gothic literature of the late 18th and 19th Centuries signaled a fascination with dark romanticism, science, and the occult. Occupying the realm between “wonder and terror,” Gothic fiction gave way to Victorian ghost stories and the Hammer Horror films of the 1930s.” (Underground England, John Shepard). The styles from the Victorian era informed fashions relating to death for centuries afterward and has greatly contributed to the existence of modern-day gothic subcultures. The gothic aesthetics in fashion that we see today not only relate to death but to specific musical influences and lifestyle philosophies. Gloomy bands of the 1970s and 80s London inspired a dark subculture that rose to popularity, being closely tied to the punk movement in its adjacent aesthetic and similar political ideals. That culture became known as ‘goth’ and has since inspired many unique variations on the style, which have grown to become individual subcultures. Today, popular fashion designers are finding new ways to reinvent the same gothic imagery that we have been gaining influence from for centuries. Creating their own aesthetics and movements, which will only continue to spread through the minds of creatives, the ones truly at the heart of the gothic movement.

    The image of black mourning clothing as we know it today has been traced back to Romans wearing dyed black wool togas to mourn and honor the losses of their loved ones. They referred to these dark togas as a toga pulla or a toga praetexta and were only worn by the elite of Roman society. This continued over time and led to women in the Middle Ages wearing dark veiled head coverings in addition to black clothing. Though it was not until the Victorian era that wearing black mourning clothing became a custom participated in by every social class. This is largely due to the expense of dying clothes very dark. In other places across Europe and Asia, white was also a common color to show one in mourning, as it was the cheapest color of fabric. Black was the most common color worn to elite funerals, but white, gold, and muted colors were also accepted up until the 1800s. Some English and French royals chose to wear purple when mourning to display their power, as no one else could afford to wear clothing with purple dye. Over time, mourning dress in Western society began to be a combination of black and white garments, with fashions and social protocols very similar to the fashions and intentions of nuns. Nuns were made to dress in black and white garments with large veils that expressed their chastity and humility. Women were essentially expected to lead a similar lifestyle if they had lost their husbands. They had to focus completely on self-isolation and prayer, as well as a specific dress code including white head coverings. Early Christian widows followed those customs, choosing to emulate nuns, and used white to show the purity of their emotions towards their lost loved one. 

        Children were not expected to participate in mourning dress customs, as many regarded it to be too dark for them. Leading up to the Victorian era, displays of mourning for prolonged periods of time became more normal. A good example is the mourning period of George and Martha Washington following the passing of their daughter in 1773. They both remained in states of public mourning for fifteen months. A record of their orders for mourning attire reads“Washington ordered from London a “genteel Suit of Second Mourning, such as is worn by Gentlemen of taste, not those who are running into the extreme of every fashion,” as well as a “genteel mourning sword, with belt, swivel, etc.” Martha required a “Black Silk Sacque & Coat” with “1 handsome Fan” (Carter-Lome). 

        Queen Victoria brought mourning restrictions to a height during her reign from 1837 to 1901. This was because of how greatly she was affected by the death of her husband, Prince Albert, who passed in 1861. During this period, mourning practices were a big part of life for every social class, and no longer just the elite. Women were put through the most intensive of these practices, with strict time constraints on outward mourning dress and behaviors. Depending on who in a woman’s life had passed, she would be required to dress and act in certain ways for designated lengths of time. If a woman’s husband had passed, she would go through three stages of mourning over the course of one to two years. Each stage had unique dress expectations, but all required the widow to be in ‘full’ dress through the entire mourning period. If her child or parent had passed, she would mourn for six to twelve months. If one of her grandparents or extended family members had passed, she would need to be in mourning for three to six months. 

       The three grief periods were referred to as: deep mourning, half or second mourning, and light mourning. Deep mourning is supposed to last a year and a day from when a woman’s husband had passed. She would be required to wear a full-length but fairly simple, black dress, with modest jewelry and a black veil to cover the widow, made of a pressed silk fabric called crepe. These veils were referred to as mourning or weeping veils, as they allowed the widow to remain hidden from society while she might weep in public. Showing emotion outwardly was another common practice of the time. Many women cried, fainted, and had dramatic ‘spells’ in public view to show how in touch with their emotions they were. During this period, if jewelry were to be worn, it would be kept very modest, except for pieces made specifically to wear in mourning. Socially, women in this stage were required to fully isolate themselves and could not go out in public unless to attend church. They were also unable to accept any invitations from those outside their close, immediate family. The half mourning period was required to last six to nine months and was a lot less restrictive in its social rules. Women in this stage no longer had to wear veils and extremely modest clothing. Though they were still encouraged to wear black and dark colors, white details on dresses were permissible, and wearing lots of ornate jewelry was common. During the half mourning time, women’s dresses did not have to be covered in crepe fabric but were still to include crepe pleats and gathers on the bodice and skirt. Light Mourning was the final period and allowed women to wear muted colors such as grey, lavender, or dark green. However, if one were to wear any white clothing during mourning, it would need to be trimmed with black piping. Dresses at this time were also allowed to include decorative beading. 

     ✤ Light Mourning ✤

   ✤ Half Mourning ✤

    ✤ Deep Mourning ✤

        Widows were definitely the most socially restricted out of any group of people during the Victorian era. If she were not to adhere to the mourning dress expectations for the amount of time deemed socially acceptable, she would be viewed as disrespectful and happy to have lost her loved one. Especially if a widow who was young and attractive did not follow the restrictions, she would also be seen as a sexual deviant or overtly promiscuous. As written in The Etiquette of Mourning (1906), “The discarding of mourning should be affected gradually. It shocks persons of good taste to see a light-hearted widow at once jump into colors from deep black, downing as though she had been counting the hours. If black is to be dispensed with, let it be slowly and gracefully, marked by quiet unobtrusiveness.” To no surprise, men did not have to conform to the same social restrictions as women did, including mourning practices. If a man had lost his wife, he would only be required to mourn for three to six months and would also be encouraged to remarry quickly afterward. Men’s everyday clothing during the Victorian era was typically black, so when in mourning, men would not have to alter their wardrobes very much. Though they were expected to wear some symbol of their mourning, such as a black arm band, designated jewelry, specific handkerchiefs, or dark fabrics on their hat. This was more so required of men who had lost their wives. Mourning jewelry and art were greatly popular during this period and were usually made using the hair or portraits of the deceased. Lockets and cameo portraits were delicately carved and made into ornate jewelry, while hair would be woven together into intricate patterns and placed in tiny glass frames, which were then fashioned into accessories. 

        By the 1900s, mourning dress was such a big part of societal expectations for everyone that there grew a demand for ready-made mourning wear. Before this, anyone not in the top social class was relying on altering their clothing to fit mourning regulations themselves. Women would create crepe garments to fit over other dresses since that was less expensive than making an entire dress out of mourning crepe. At this point, the societal demand forced manufacturers to start mass producing mourning clothing and accessories that were advertised in catalogues. Stores such as Bloomingdale's and Sears began carrying ready-to-wear mourning dress lines. Some companies started to focus only on creating the crepe silk used for mourning garments. The most popular being the British company, Samuel Courtauld. The Victorian emphasis on death and mourning stuck in many parts of society and western culture has continued to associate black with death, as it is still today the color one should wear to mourn. Victorian aesthetics around death have been referenced over the last eighty years or so as a basis for the evolution of goth culture. Restrictions on mourning for women continued through the 1920s and evened out between men and women in the 30s. This allowed for the experimentation with darker colors and more gothic imagery in fashion that was not just for mourning, starting in the 1940s. It became popular for female film stars and models of the time to wear dark lip shades and more dramatic eye makeup on top of dark clothing. It was not until the 1960s and 70’s that gothic clothing as a specific style began to come together. That was because during those decades, teenagers became their own recognized group within society, who began to experiment with art and music styles that led to individualized subcultures. Punk was one of the most important subcultures that set the stage for goth to form from it. 

    ✤ 1930s/40s Gothic Fashion ✤

        The 1980s marked the official and undeniable presence of goths as not only a fashion style but, most importantly, a lifestyle surrounding specific music influences. The use of the word ‘goth’ for this aesthetic movement began after the popular band Joy Division was deemed ‘gothic’ by Martin Hannet in 1979. Bands with similarly dark sounds were also given this label, and those who listened to them began to develop a dark aesthetic to match with a look very similar to that of Victorian mourning attire. Some of the key bands that grew this culture were also Bauhaus, Sisters of Mercy, and Siouxise and the Banshees. They curated a gloomy sound with both angelic and deep vocals accompanied by atmospheric electronic rock. Lyrics in this genre revolved around themes of death and romance. These bands all came out of the UK, where the gothic movement started as a small, localized trend and then eventually spread to the United States on the back of the punk movement. However, unlike punk, goth culture had a heavy emphasis on tailored fashions and nightclubs. The most famous of those clubs, The Bat Cave, in London, was said to be the birthplace of goth music. The musical movement made its way across continents to Latin America and Asia, where the subculture evolved even further based on each culture’s unique flair. Throughout the 1980s and 90s, goth music continued to create new genres and subcultures to go with them. The original 1980s goth style shows distinct parallels to the art and dress of the Victorian period, when society had an obsession with dark themes, death, and the occult. “Porcelain skin, eyes painted ebony and haunting, brooding songs; the wail of Siouxsie and the Banshees was a call to arms for young goths” (Underground England, John Shepard). Early goth style consisted mostly of all black clothing with dramatic silhouettes, high collars, and giant platform boots. Spiked leather jewelry, clothing with macabre motifs, and fishnet/mesh fabrics were also incorporated heavily into 1980s goth style. Dark makeup and hairstyles were also very important to achieve the goth look of the time. ‘Goths’ would paint their faces white and add heavy black eye makeup, lipstick, and shadows on their face to give them a ghostly, vampiric look. They would also tease their hair into a huge mess to look disheveled as though they had literally just climbed out of a grave! 

    ✤ 1980s Goth ✤

        The original gothic style that emerged in the 80s is now referred to as a ‘trad’ goth style and is just one of many goth subcultures that exist today. Because so many elements of the gothic style have come from Victorian culture, there has become a specific sub-genre of goth specifically for Victorian-inspired styles. This style is often referred to as Romantic or Victorian goth and is highly centered around historical fashions and combining romantic imagery with a dark Victorian aesthetic. Romantic goth style uses a color palette of dark reds and purples alongside black and incorporates lots of lace or ornately patterned fabrics. The desired silhouettes, accessories, hair, and makeup of the style are meant to closely replicate that of Victorian dress. 

 ✤ Romantic Goth ✤

  Out of the gothic sub genres that we have today, there are no two alike, even though many people associate goth with just one style, that is, wearing only black. One subculture far different from the romantic style is referred to as Cyber Goth and blends elements of the gothic style with a sci-fi, futuristic aesthetic. It is trademarked by gas mask accessories, tubing, and wires worn in your hair, reflective clothing, and dramatic metal jewelry. Cyber Goth became popular largely from its presence and influence in rave culture. As rave fashion began to develop into its own subculture, people started to blend it with other styles like goth. This led to modern-day cyber goth, with heavy technological influences and a color palette consisting of both black and neon colors.

 ✤ Cyber Goth ✤

  Another interesting iteration of gothic style can be seen in ‘Lolita’ fashion, a style originating in the 1980s in Japan, originally by young girls as a way to rebel against the beauty standards for women’s fashion at the time. As Japan’s unique fashion sub-cultures grew, the gothic movement eventually made its way there and led to the birth of ‘Gothic Lolitas’. Lolita fashion centers around a highly feminine, delicate style that blends historical elements of the Rococo and Victorian periods. An important pillar of Lolita style is also modesty, which translates to lots of layers, high socks, and frilly collars. Gothic Lolita has become such an interesting style because it explores the duality between very delicate, feminine, innocent imagery, and death, and the occult. 

✤ Gothic Lolita ✤

        Outside of these, there are many, many other specific styles that have evolved alongside the expansion of goth as a music genre. Other notable styles include gothabilly, nu metal, emo, southern gothic, nu wave, and vampire goth. All of those aesthetics come with their own distinct look, sound, and lifestyle practices. Because of goths’ associations with the dark and occult, many people have the preconceived notion that those who are a part of that culture would themselves be dark and demonic. However, this could not be further from the truth. The philosophy and lifestyle this style originates from is based on the principles of the punk movement, which include fighting for the oppressed, finding community, and encouraging creativity, diversity, and individualism. There is nothing inherently violent or evil about being goth!

         The aesthetic of gothic and mourning fashions has become big even on the modern runway. Some of the most successful fashion designers today base their brand identities on similar themes. For example, Alexander McQueen was one of the most influential designers in recent culture. He was responsible for creating decades of spectacular designs that explore both life and death intensely. His fall/winter 2009 ready-to-wear collection he called the Horn of Plenty. This collection follows a strict black, red, and white color palette and reimagines Victorian silhouettes, with highly exaggerated, gothic details. Dark lips, models head to toe in black leather and crepe, and dramatic head coverings were all staples of this collection and brought the gothic movement into high fashion. 

✤ Alexander McQueen ✤

        Ann Demeulemeester is another designer known for her dark aesthetic and blending of masculine and feminine. In fall 2010, she released a ready-to-wear line that consisted mostly of red and black looks. The collection explores the blending of masculine and feminine silhouettes in highly tailored jackets and pants with a strong gothic influence. The way that Demeulemeester played with textures in this collection gave a modern flair to those tailored pieces. She layered black leather, feathers, and beading in such a unique way. It gave the impression of ornate Victorian detailing, only with such different materials. 

✤ Ann Demeulemeester ✤

        The deep cultural significance of mourning clothing throughout history, and particularly the Victorian era, has set the basis for what we now recognize as gothic fashion. From the early customs of Roman elite wearing black togas to display grief, to the intensive and performative mourning customs of the 1800s, society has long used dress as a way to express and navigate loss. Such specific customs regarding death were established during the reign of Queen Victoria, where mourning dress became not just a social expectation, but a moral obligation, particularly for women. The strict timeframes, fashions, and expected behaviors of Victorian mourning shaped not only how death is processed in society but also established an enduring visual aesthetic around loss, death, and emotional expression. That visual language has remained so ingrained within our culture that it led to the gothic fashions of modern day, which reinterpreted that historic aesthetic into something both traditional and disruptive. 

        As mourning dress shifted from a personal practice to a societal performance, it also allowed for society to deeply explore themes of death, romance, and the macabre in art, fashion, music, and literature. The dark influences on art began a movement that inspires designers, musicians, and creatives to this day. Gothic fashion emerged from these expressions, merging the visuals of Victorian mourning with the political and artistic rebellion that started in punk culture. This gave birth to a unique community centered not only around dark fashion styles but a music-based subculture with a philosophy rooted in individualism, creativity, and romance.

         The official beginning of Gothic styles 80s and 90s marked the start of an intentional `involvement of darkness in fashion. The early goth movement of the 1980s closely followed the influence of the late 1970s punk movement in the UK. ‘Goth’ music centered around bands such as Bauhaus, Siouxsie and the Banshees, and the Cure, who defined the signature gloomy, technological style of the genre. With the rise of music-based subcultures, fashion became a form of self-expression that communicated values, interests, and community. Today, gothic fashion has evolved into a diverse culture of styles—from the historically inspired Romantic and Victorian goth to the futuristic Cyber Goth and the delicate Gothic Lolita. Each of these specific styles references mourning fashion in some way. Modern designers like Alexander McQueen, Rick Owens, and Jean Paul Gaultier have further elevated these aesthetics, proving that gothic fashion can be continuously reinvented and considered high fashion. Ultimately, the transition from mourning practices to gothic fashion is one of transformation. What began as a means of publicly navigating grief has become a powerful visual language for self-expression, art, and resistance. Gothic fashion allows people to explore identity through beauty, darkness, and history. As long as humans continue to grapple with the complexities of life and death, mourning and gothic fashion will remain intertwined in our cultural consciousness.

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