Ultimately tie nineteenth century gave rise to four main styles: fly, scarves and shawls, Ascot, and the four-in-hand or long tie (Hart 1998). Developments in photography since the mid-nineteenth century historians commissioned to review the tapes costume from this time onwards in detail, and nineteenth-cards often show only the head and shoulders-visit proved an invaluable resource for researchers (Ettinger, 1998).
Evolution of some of the styles popular Regency, shelling tie down at the end of the nineteenth century, the two dominant figures recognizable: the butterfly and wing bat (Fink and Mao 1999), both of which have a constant presence in menswear, even today, but especially in associated with formal wear.
Scarves, however, tend to be associated with the working classes that originally brought them out of necessity. Popular with men and women and is characterized by a square folded into a triangle, scarves can be tied in dozens of ways to protect and decorate your neck (Mosconi and Villarosa 1985).
As with the headscarf Gordian early nineteenth century, became popular Ascot in 1880, when the upper middle classes in English society began to wear for Royal Ascot and other outdoor events (Hart 1998). Initially silky smooth, Ascot had ended square sheet that has passed the front of his shirt and held in place with a pin scarf. Many were sold finished in very bright colors (Gibbings 1990).
According to NonprofitDictionary, the tie or long tie vertical emerged as sport young men in 1850, but it is disseminated within a decade (Fink and Mao 1999). More of an explanation for its alternative name, four-in-hand. Some believe it is a reference to the four-in-hand Club, a gentlemen’s club in London whose members bound their ties with the knot of four-in-hand (Fink and Mao in 1999), while others suggest that its node and rear ends resembled the reins of wagons with four horses led by members of the English aristocracy (Chaille 1994). The first versions of this style of binding was simple rectangular strips of material with identical square ends that have not reached the lower breastbone that armor was usually worn (Chaille 1994). Practically since neither hindered or interrupted motion, adopted by both workers and recreational classes, stiff collars gave higher, those soft shot down.
As the Victorian middle class grew and male clothing has become increasingly homogeneous (dark, dark coat and jacket and trousers in a limited number of cuts), were bands a sign of social status (Gibbings 1990). The development of the club, the school, and the regimental band meant that those in the know have been able to identify the social rank of a man in the first place based on the color and pattern of the tie wearing. Even in the twenty first century, some sectors of British society still believe that the stripes on his tie define an individual for himself and for others (Sales, 1998), and the term “old school tie” still reflects affiliation to specific, privileged class .
Although women had worn ties and scarves in various forms along with their male peers first out coquetry (Chaille 1994), was in the late nineteenth and early twentieth century, the band gained a meaning politicized. The development of the Rational Dress encouraged women to adopt a dress that not only allowed greater freedom of movement, but it was essentially more masculine appearance (Gibbings 1990). As the woman suffrage movement took off, tie when worn by women, has become a symbol of independence and feminist beliefs (Chaille 1994).