em singularly unsuitable for mourners garb, since we tend to associate them with innocence and sunlight. But it is important to remember that cultural associations with colors are not full characterizations of the colors themselves; white could just as easily be associated with bones, and yellow with jaundice or other illness. The coupling of black coloring with dull, uncomfortable textiles such as wool, crepe, and gabardine, creates an immediate environment for the mourner that is one of bodily denial. The long funeral ceremonies of the 19th century necessitated patience with itchy, overinsulating clothes. The long periods of mourning required the immediate family of the deceased to wear clothes that detracted from their individuality or attractiveness, and which inspired only sadness in those they encountered socially (Harpers Bazar, 1886). This denial of individual comfort in pursuit of piety is one of the most salient features of any culture dominated by Christianity, although it usually occurs ceremonially, as the exception and not the rule. In conclusion, the mourning practices of the 19th century were inextricably bound to the clothing associated with mourning. Being widowed was an expensive process, which in the middle and upper classes required the purchase of an entirely new wardrobe made along extremely specific guidelines that prohibited certain fabrics and adornments until a certain period of time had elapsed. The occurence of many wars and revolutions during the 19th century, which precipitated the deaths of many men and women, may have contributed to the codification of mourning. Certainly the mourning practiced by Queen Victoria after 1861 influenced the upper and middle classes of Britain and America. Overall, the style and cut of the clothing did not change in the most general sense, which, in an era when popular fashion was beginning to take a particularly strong hold, is not terribly surprising. However, t...
