Tuesday, December 29, 2015

Corsets

Continuing the profiles of women's undergarments: the much-maligned corset or stays.  Both terms appear interchangeably in the period--with "stays" more common than "corset" in the preceding decades, as far as I can tell--though modern usage is more likely to style a steel-boned article as a "corset" and a corded one as "stays".
Corset, c. 1861-3
This example is shaped with curved pieces seamed together.
Corsets are widely used for women's and children's clothes of the 1860s; some men wear a similar garment dubbed a "belt".  Worn over the chemise (and possibly the drawers), the corset acts as a foundation for the other garments: it distributes the weight of petticoats and dress over the the entire torso, while simultaneously smoothing the line of the upper body and supporting the bust.  The closely-fit dresses of the 1860s tend to wrinkle and look unkempt when worn without a corset.  A corset also provides great back support for the working woman.
Corset, c. 1860
The three studs belong to a separating metal busk, which allows 
the corset to be taken on and off without fully unlacing the back.
At it's most basic, a corset is a tightly-fitted under-bodice; gores (triangular inserts) or curved seams allow the shape of the garment to follow the figure. Steel or whalebone "stays" or "bones" (examples here) keep the fabric smooth; this may also be accomplished by closely-set cords quilted into the garment. The fabric used in corsets needs to be tightly-woven and have little stretch.  A solid wood or separating metal busk supports the center-front of most corsets.  Whether it opens at the front or has a solid panel there, the corsets of the 1850s/60s almost universally lace up the back.  This does not make them "one size fits all"--rather, it is what allows the garment to be fastened sufficiently snug.  A "spring" or gap of several inches between the back edges is desirable, so that the corset is not too loose.  A very large gap is less supportive of the back.
Corset, 1840s
This corset has the shoulder straps, solid busk, and long line
of the early 1800s.  By the 1860s, shorter corsets are more common.
Stays from The Workwoman's Guide, 1838/40
Like the above, they are shaped with triangular gores over the
bust and hip, and have a solid center busk and shoulder straps. 
Pattern pieces from Godey's (1857).  Now without shoulder straps,
these stays are still shaped with gores at the bust, hip, and stomach.
The stays open in the front with a steel busk. An identical pattern 
appeared in Peterson's two years before.
The "Corset de Medici", Peterson's1855
Gored "French Corset" from Godey's, 1862
"Victoria Corset", Godey's, 1862
Gored Corset from Der Bazar, 1865
Curved seam corset with separate hip pieces.
Patented by Lavinia H. Foy, 1868.
This probably the time to mention that Gone with the Wind is post-period fiction, and that tight-lacing corsets is 1) universally condemned, and 2) going out of fashion by the 1860s.  Medical texts blame it for everything from scoliosis to consumption to deformed ribs to miscarriage.  This 1863 book gives the average waist measurement as 27"-29", contrasted with that of tight-lacers (23" or even 21")--earlier, in 1845, a similar article gave the same "normal" measure of 27"-29", but claimed that most women laced down to 24", and some even to 20".  As for fashion:
A very small waist is rather a deformity than a beauty. To see the shoulders cramped and squeezed together, is anything but agreeable; the figure should be easy, well developed, supple: if Nature has not made the waist small, compression cannot mend her work. Dress may do much to lessen the awkward appearance of a thick waist by clever adaptations; by the use of stays both easy and well fitting; by a little extra trimming on the shoulders which naturally makes the waist appear smaller. All this may be done without injury; no stays can answer the purpose so well as those made by a good French stay-maker, who has the art of taking a sort of model of the figure by the extreme exactness of her measurements." --The Habits of Good Society, 1859/1863
Another text gives ideal "proportions" (scaled from the Venus di Medicis):
...therefore, the waist of a person five feet three inches high should not be less than twenty-five and a quarter inches; of five feet five inches, twenty-six inches; of five feet seven inches, twenty-six and three quarter inches; of five feet eight inches, twenty seven and a quarter inches. --Medical Common Sense (1863) 
It concludes that "a very small waist is a defect rather than a beauty, and nothing can be truly beautiful which is out of proportion."

Thursday, December 24, 2015

The Christmas Tree

Godey's, 1855
DRESSING THE CHRISTMAS TREE IN GERMANY   
This is performed with great ceremony and mystery, on Christmas Eve, by the elders of the family without the knowledge of the younger members. They deck a large evergreen with presents of various kinds: to toys, bonbons, and such trifles, are added things of more value and use--working materials for the girls, knives, &c. for the boys, and books of amusement and instruction for both. Little tapers are attached to the branches of the shrub; and at break of day the children are roused from their slumber, and when all are ready (for no one is allowed to enter singly) they are admitted into the room where the illuminated tree greets their eyes. Great is the anxiety of the young party to see who has been provided for, since the idea they are taught to entertain is, that these tempting objects are bestowed by an invisible agent, as a reward for good children, and that the naughty and ill-conducted will find no share allotted to them...
--The Mirror of Literature (1831)

Monday, December 21, 2015

Drawers

"...those comfortable garments we have borrowed from the other sex, and which we all wear, and none of us talk about."
-The Welcome Guest, 1860

Drawers, from Der Bazar 1865
Drawers may be worn under or over the chemise, per personal preference (based on modern experience--still working on period references for adults).  They're becoming popular by the 1860s, correlating with the widespread adoption of hoopskirts.  Instructions for making and embellishing drawers show up in ladies' magazines.  Like chemises, these undergarments are commonly made of white cotton or linen which is easily washed and cheaply replaced.  Trims are likewise sturdy and washable: self-fabric tucks, whitework embroidery, or strong lace.  Flannel drawers are an option for cold weather (that's wool flannel).

The Workwoman's Guide (1838) describes women's drawers as "two separate legs sewn into a band, which is made to button before or behind, at pleasure". Drawers fit loosely, and may fasten at the front or back, with buttons, tapes, or drawstrings.  For adult women, the center seam is left open--the loose fabric covers everything, while allowing one to use the necessary without removing many layers of clothing. Those unconvinced should read Mrs. Clark's cautionary tale.
Linen drawers with self-fabric tucks, ruffle,
and small lace edge. 1860s
Cotton drawers with whitework. 1850s
Children's drawers may have a closed center seam, and fasten over both hips.
Peterson's 1858: pattern for child's drawers
Wool drawers with braidwork hem.  Though intended
for a girl age 7-9, they have an open center seam and
back tie.  The front button hole may be used to fasten
the drawers to a pair of stays.
A note on terminology:

In reenactment circles, one may hear drawers called  "bloomers", "pantaloons", "pantalets", etc. Here's what I've been able to uncover of period terms and definitions:

The Dictionary of the English Language by A. J. Cooley (1861) defines pantalets as "loose drawers worn by females and children", drawers as "a kind of light under-breeches", and pantaloon as " garment embr[acing] breeches and stockings in one piece; an old man or buffon dressed in pantaloons, one of the ch. characters in pantomines; a kind of trousers fitting closely about the ankles."

Drawers: A bifurcated undergarment, worn by men, women, and children with some differences of cut.  They are usually made of washable white cotton or linen, with warmer versions are of red or white wool flannel.  When worn by children in short dresses, the lower edge may sometimes be visible (as with pantalets).
"Ladies and gentlemen wear drawers, now, at all seasons; very thin ones in summer and thicker, or woolen over linen or cotton in winter. Ladies wear them for protection from dust, and to avoid accidental exposures; while gentlemen require them to protect their outer clothing from perspiration, and their skins from the roughness of kerseymere." --The Illustrated Manners Book, 1855

Pantalets/Pantalettes: Long, white cotton (or linen) pants or leggings with decorative bottom edges that cover the leg below the skirt hem, and are meant to be visible.  In the 1830s, these are ubiquitous for children's wear; even so, except for two school uniform references in 1838, I've seen no mention of girls over 12 wearing them, and only the occasional derogatory remark to suggest adults wearing pantalets (such as this 1842 reference to an older woman making herself ridiculous while attempting to look young). An 1845 story mentions "that [dress] in which I first felt myself a woman--that is, when I first discarded pantalettes".  Of the five mentions of "pantalettes"in Arthur's Home Magazine (1857), two are specifically for a "small girl", two for a 10-year-old, and one for a boy still in dressesNumerous sources in the 1860s use "pantalets" as a shorthand for childhood.
Pantalets, 1850-55. 
Pantalets, c. 1838
Visible pantalets seem more common in the 1830s/40s than in the 1860s.  In these family portraits, for instance, the Bellelli girls (c. 1860) wear skirts short enough to show their calves, with no pantalets. Fifteen to twenty years earlier, the Thompson girls all have ankle-length white pantalets under their short skirts.
The Bellelli Family by E. Degas, c.1858-62
Lewis G. Thompson Family by H. Rockwell, c. 1842-5
Pantaloons: Sometimes confused with pantalets in the period.  As noted above, a breech/stocking combination which has become stereotypical by the mid-19th century.  Also, close-fitting trousers. The word from which "pants" is a derived.

Trousers/Trowsers: Outer garment covering the lower limbs from "the waist to the knee or the ankle" (The Imperial Dictionary, 1861); universally worn by men and by boys over the approximate age of five.  Adopted by some female "dress reform" advocates in conjunction with a shortened skirt. On page 53, The Workwoman's Guide (1838) uses "trousers" to describe the leg portion of garment comprising drawers and a "body" (bodice). It also features a girls' "Turkish Trouser" pattern which seems to be full pantalets gathered at the ankle.
"Skirt of black velvet, sufficient short to
show the edges of the worked trousers."
Frank Leslie's New York Journal (1857)
Bloomer:  A derisive name for dress reform advocates or women perceived as unfeminine.  The "bloomer costume" (also known as "reform dress" or the "American costume") is the dress reformers' new style of clothes: a knee to mid-calf length dress worn over matching pants or trousers. The "Turkish Trowser" (gathered at the ankle) style is especially associated with dress reformers, though some favored a plain pant leg; despite modern usage, I've found no period reference to the trouser portion of the ensemble specifically being called "bloomers", though the shortened skirt, or the whole outfit may be thus named.

In short, "drawers" are an undergarment, occasionally also called trousers.  Pants, pantaloons, and trousers all describe male outer garments. Pantalets are intentionally-visible underwear worn by young girls and very young boys; sometimes (rarely) the term refers to women's drawers.  Bloomers are the entire short-dress-and-trouser ensemble worn by some women in the 1850s and occasionally into the 1860s.

Monday, December 14, 2015

Flattery

Godey's, January 1863
How to treat flattery.—If a gentleman approaches you with words of flattery, and profuse attentions, especially after a short acquaintance, extend no encouraging smile or word ; for a flatterer can never be otherwise than an unprofitable companion. It is better, by a dignified composure, to appear not to notice, than, with smiles and blushes, to disclaim flattery ; since these are frequently considered as encouragements for further effusions of these " painted words."
You may with propriety accept such delicate attentions as polished and refined men are desirous of paying, but never solicit them, or appear to be expecting them. 
--The Lady's Guide to Perfect Gentility (1856), 147

Sunday, December 13, 2015

Christmas at the Fort, 1857

On Saturday December 12, Fort Steilacoom hosted it's annual "Christmas at the Fort" candlelight tour.  Captain Jones, Mr. Miller, Mr. Alexander, and yours truly participated, portraying soldiers and their friends celebrating Christmas in 1857 in Washington Territory.  Despite a close call by Father Christmas, we are pleased to note that no one lit themselves on fire on the Christmas Tree this year.

Quarters 3 closed for foundation work, so some scenes were moved to tents outdoors; in Quarters 1, there was a Christmas Tree, music, and delicious cake provided by Mrs. Capt. Mowett.  Quarters 2 saw a lively dance by the younger officers and their sweethearts.

Our brave leader dressed sensibly for the weather.

Tuesday, December 8, 2015

Holiday Party

In lieu of a December meeting, the 4th's annual holiday party occurred last Saturday, December the 5th.  Thanks to Mr. & Mrs. Keyes for hosting.

Tuesday, December 1, 2015

Walking in Mud, 1856

"When tripping over the pavement, a lady should gracefully raise her dress a little above the ancle. (sic)  With the right hand, she should hold together the folds of her gown, and drawn them towards the right side. To raise the dress on both sides, and with both hands, is vulgar.  This ungraceful practice can only be tolerated for a moment, when the mud is very deep."
--The Lady's Guide to Perfect Gentility (1856) p.80 

Harper's Weekly, February 1865