Chapter 13 The Crinoline Period Notes PDF

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1 The Crinoline Period C. 1850-1870 HISTORICAL BACKGROUND ● Increasing width of women’s skirts ● Peterson’s Magazine ● Cage crinoline, device for holding out women’s skirts WORTH AND THE PARIS COUTURE ● Hoopskirt given credit to Charles Worth ○ Englishman ○ Had French wife wear his dresses ○ Presented designs to Princess Pauline von Metternich of Austria ○ Dress most respectable and notorious women of the world ○ Designed clothing so each part would fit interchangeable ○ Chambre Syndicale de la Couture Parisienne: organization of couturiers that continues to this day England ● Ideal woman was a virtuous wife and mother ○ Example of Queen Victoria ● Increase in imports and exports ● Expand production of iron and steel, industrial growth ● Great Exhibition of 1851 France ● Worth helped Paris become fashion center of Europe ● Second Republic after King Louis Philippe abdicated in 1848 ● French president, Louis Napoleon, nephew of Bonaparte, assumed title of Emperor Napoleon III ● 1852, regained leadership of Europe ● Masked balls ● Louis Napoleon conservative with simple tastes, but court was very colorful ○ Ribbons of the Legion of Honor ○ Wife had little interest in clothes ● Third Republic much more somber The United States ● US Civil War ● Manufacturing in Northern states ● Agriculture in south ● Morill Act ○ Land-grant system of higher education ○ coeducational ● “Domestic sciences” for women ● Women’s rights movement ○ Many legal and social restrictions ○ No legal control over property ○ Lacked the vote ● Religion had strong influence in antebellum America ● The Gold Rush and the Origins of Levi’s ○ Gold at Sutter’s Mill in California 1848 ○ Levi’s (blue jeans): blue denim with pockets secured by rivets, Jacob Davis, but Levi Strauss patented the design

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The Civil War and Dress ○ Accelerated the spread of mechanization and the factory system ○ Production of shoes increased ○ Southern women relied on ingenuity to keep up with fashion

PRODUCTION OF CLOTHING: THE SEWING MACHINE ● First patents taken in 1840s ● 1857, James Gibbs with simpler, less expensive machine ● Isaac Singer most successful machine ○ Innovative sale methods ● Ready to wear uniforms ● Attachments for braiding, tucking, pleating EARLY ATTEMPTS AT DRESS REFORM: THE”BLOOMER” COSTUME ● Increasing number of petticoats in 1840s ● Feminists in America saw these as impractical and confining ● Turkish trousers: full legs that were gathered to fit tightly at the ankle ○ Elizabeth Smith Miller and cousin, Elizabeth Cady Stanton ○ Susan B. Anthony ● Bloomer costume ○ Pair of full trousers gathered at ankle ○ Dress with knee-length skirt ○ Bloomers GYMNASTICS FOR WOMEN ● Athletic costume for women ● Colleges included a calisthenics or exercise program ● Bathing dress in bloomer style SOURCE OF EVIDENCE ABOUT COSTUME ● Extant garments ● Women’s magazines ● Photography ● Carte de visite ● Portraits and paintings COSTUME FOR MEN AND WOMEN: THE CRINOLINE PERIOD ● Silhouette for women had fitted bodice to the waist and then immediately widened into a full round or dome shape ○ Armhole seams placed below the natural shoulder on upper part of the arm ● Fabrics were crisp ● Taffetas ● Shot: iridescent fabrics, created by weaving one color in the warp yarns and another in the weft yarns ● Barge: attractive silk and wool blended fabric, relatively sheer, crisp and lightweight ● Synthetic coal tar dyes in 1856 ● Mauve: vivid magenta shade ● Some men’s waistcoats and trousers had buckles that were used to adjust their fit Costume Components for Women Garments

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Chemise and drawers under a corset and a hoop Placed petticoat on top of hoop Undergarments made of cotton or linen Chemise was short sleeved, knee-length, full, little decoration Drawers knee-length and trimmed at edges with tucking, lace, or embroidery ○ Crotch left unseamed and open ● camisole/corset cover: placed over corset, waist-length garment shaped to figure, short sleeves, buttoned down the front ● Corsets shaped with gores of fabric and inset gussets of elastic ○ Corsets shortened ● When crinoline declined in size, corsets became tighter ● Cage crinoline or hoop skirt ○ Shapes varied ○ Round in 1850s ○ Flatter in front and full in back 1860s ● Single petticoat decorated with lace, embroidery, or small tucks placed over hoop ● Daytime dresses either one piece or two pieces ● “Dropped” shoulder ● Separate daytime bodices ended at waist and fastened up back or front with buttons or hook eyes ○ Some cut like a jacket and had extensions called basques (flared out below the waist) ● Necklines high, without attached collars, finished with bias piping ● Many sleeves open at the ends and worn with removable lace or muslin undersleeves (called in French engageantes ) ● Bell shaped sleeves were narrow at shoulders and ended b/w elbow and wrist ● Pagoda sleeves: narrow at shoulder and expanded abruptly to a wide mouth at the end ○ Sometimes shorter in front, longer in back ● Some sleeves had double ruffles ● 1860s, sleeves were frequently closed at the end ● Separate blouses worn with skirts ○ Generally had high necks and closed sleeves ● Red garibaldi blouse: popular in 1860s, inspired by Italian soldiers ● Skirts widened through 1850s and into 60s ○ 50s, dome shaped ○ 60s, more pyramid shaped with fullness in back, less fullness at waist, skirts gored instead of gathered, waistline above anatomical level ● Skirts with braid at hem to keep from fraying ● Princess dress: new, one-piece style cut without waistline seam ○ Long gored sections extending from shoulder to floor were shaped to fit at the waist ● Washable aprons ● Fichus: criss cross and tied in the back ● Canezou: term applied to a variety of accessories including fichus, muslin jackets, chemisette neck fillers ● Difference for evening wear seen mostly in necklines, sleeves, types of fabrics ● Most evening dresses had off the shoulder necklines, either straight across or with a dip at the center (en coeur), and wide bertha trim ● Sleeves were short and straight ● Late 1860s, some sleeveless dresses has straps or ribbons tied over shoulder ● Skirts trimmed with artificial flowers, ribbons, rosettes, or lace Outdoor Garments

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Sleeved, unfitted coats of many lengths Sleeved, fitted coats of many lengths Sleeveless loose capes, cloaks, shawls Pardessus: sleeved outdoor garment Paletot: sleeved outdoor garment that fitted the figure Pelisse-mantle: double-breasted, sleeved, unfitted coat with wide, flat collar and wide, reversed cuffs Mantle: three-quarter-length coat, fitted to waist in front, full at the back, with either long loose sleeves or full, shawl-like sleeves cut as part of the mantle ● Shawl mantle: loose cloak, reaching almost to the skirt hem ● Talma-mantle: full cloak with tasseled hood or flat collar ● Rotonde: shorter version of the talma-mantle ● Burnous: hooded cape ● Zouave: short, collarless jacket, trimmed with braid and often worn over a garibaldi shirt Hair and Headdress ● Parted in center and drew over ears smoothly or in waves and then into a bun or plaits at the back of the head ● Pads placed under the hair at the side helped give a wider appearance ● Evening, curls arranged at back of the head ● False hair supplemented ● Snood: net to confine hair during day ● Older women wore small, muslin day caps with long lappets or ribbons ● Small hats more fashionable by 1860s ● Hats with flexible brims ● Bergere straw hats ● “Pork pie” hats with low, round crowns and small brims turned up at one side ● Beaded hair nets, lace kerchiefs, jeweled hair ornaments for evening Footwear ● Stockings made of cotton or silk, white preferred ● Daytime shoes had square toes and low heels ○ Some had rosette trimmings over the toes ● Evening shoes made of white kid or satin ● 1860s, evening shoes colored to match gown ● Boots cut to above ankle and closed with lacing, buttons, elastic sides Accessories ● Gloves short and fitted for daytime with wide cuffs ● 1850s, short white in evening ● 1860s, elbow length and white for evening ● Fingerless mitts for for day or evening ● Handkerchiefs ● Folding fans ● Muffs ● Parasols ● Swiss belts: cut wide with a triangular piece in front Jewelry ● Bracelets, earrings, brooches, necklaces ● Materials: cameo, coral, cabochon stones (cut in convex form without faces), colored glass, jet Cosmetics ● Use of “paint” considered bad taste among “ladies of quality” ● Homemade cosmetic remedies

5 Costume Components for Men ● Long or short cotton or linen underdrawers and an undervest of cotton or linen ● Shirts had no major changes ○ Lost decorative tucking or ruffles ○ Evening shirts had embroidered or ruffled fronts ● Points of collar extended to jaw ● Ties and cravats were wrapped around the collar ● Suits made of coats, waistcoats, trousers ○ Coats did not button, worn open ○ Dress coats (tail coats) cut with short, square “cut in” in front and tails at the back ○ Evening coats were black, some with velvet faced lapels ● Frock coat fitted through torso, skirt not overly full ○ 1860s coat waistline dropped somewhat, less well defined ○ Lengthened after 1855 and remained long for rest of period ○ Morning coats curved back gradually from the waist, curve less pronounced in 1860s ● Sack jacket: lounging jacket in England, loose, comfortable jacket with no waistline, straight fronts, center vests in back, cuffless sleeves, small collars with short lapels ● reefers/pea jackets: loose, double-breasted jackets with side vents and small collars, also worn as overcoats ● Daytime waistcoats ended above natural waistline ○ Single or double breasted (wider lapels) ● Trousers fit close to leg ○ Pegged-top styles: wider at top ○ 1860, leg widened somewhat ○ Striped or checked fabrics ● Braces: suspenders ● Knickerbockers/knickers: cut with loose legs and belted into a band that buckled just below the knee (sportswear) ● Dressing gowns ○ Decorative fabrics ○ Night caps and smoking jackets Outdoor Garments ● Some overcoats were fitted with defined waistline while others had no waist definition ● Coat-cape combinations ● Chesterfield: either single- or double-breasted ● Frock overcoat: cut along the same lines as frock coat, but longer ● Inverness capes: large, loose overcoat with full sleeves and a cape ending at wrist length ● Raglan cape: full overcoat with an innovative sleeve construction, sleeve joined in a diagonal hole seam running from under the arm to the neckline Hair and Hairdress ● Hair fairly short, curly or waved ● Long, full side whiskers ● Mustaches more popular in 1850s, by 1860s clean shaven no longer fashionable ● Top hat ● Wide awake: low crown and wide brim made of felt or straw ● Caps, bowlers, straw hats ● Stetson hat: 1865 by John B. Stetson, western US, broad-brimmed, high-crowned felt hat of beaver and rabbit skins Footwear

6 ● Laced shoes ● Half or short boots with elastic sides or buttoned ot laced closings ● Long boots ● Short or long gaiters (spatterdashers) Accessories ● Canes and umbrellas with decorative handles ● Gloves Jewelry ● Watches and watch chains ● Tie pins ● Rings ● Buttons and studs COSTUME FOR CHILDREN ● Infants who couldn’t walk wore long gowns ● Until 5 or 6 girls and boys wore skirts ● Infants wore caps, which were quite decorative Costume Components for Boys and Girls ● Girls wore shorter versions of women fashions ● Skirts lengthened as girls aged ● At 4, girls and boys wore dresses ending just below the knee ● At age 16, girls’ skirts 2 inches above ankle ● Older girls wore hoops ● Pantalettes Footwear ● Ankle-high boots ● Slippers ● Striped or plain colored stockings Hair and Headdress ● Boys had short hair ● Girls’ hair dressed in ringlets around face ● Boys wore caps, straw sailor hats, small pillboxes, smaller versions of men’s hats ● girls ‘ hats resembled women’s Costume Components for Boys: After age 5 or 6 ● Trousers or short pants similar to men’s clothing ● Knickerbockers, cut full to knee where they gathered into a band and buttoned or buckled closed ● Knickerbocker suits added a short, collarless jacket to these pants, for older boys also a vest ● Sailor suits made up of trousers or knickers, blouse with a flat square collar, and a V-shaped neck opening ● Sailor blouse style known as “middy” ● Smaller versions of outdoor garments ● Knitted, wool jersey suits for swimming POST PRESENTATION NOTES ● Parasols were pretty small, more like an accessory than an umbrella ● Couture comes into play because people were dressing alike, so fabrics were the distinguishing factor ● Women wore many layers (maybe 10, most of them underwear) ● Rural men wore more rough and colorful fabrics for shirts...