Dress design Part 15

At the commencement in 1837 the huge sleeves gathered at the wrist were still in evidence, especially as a gauze oversleeve to evening attire, and they continued thus to the fifties, but very large sleeves were really dying out and the usual reaction was setting in; the full-shouldered sleeve had turned a somersault and was neatly gathered tight from the shoulder to the elbow, the fullness falling on the forearm, and this was gathered into a tight setting or wristband. The =V=-shaped front to the bodice was kept in many dresses by a collar or two tapering from the shoulders to the waist, the fullness of the breast often being tightly gathered at the shoulders, besides a few inches in the front point of the bodice. A very plain tight-fitting sleeve became fas.h.i.+onable, and on most of these we find a small upper sleeve or a double one as shown in A, Plate x.x.x (see p. 266); this was sometimes opened at the outer side. These sleeves continued till about 1852. In 1853 a bell-shaped sleeve is noticed in ordinary dress, and this continued in various sizes till 1875, reaching its fuller shape about 1864. These types of sleeves were usually worn over a tight one or a full lawn sleeve gathered at the wrist; most bodices with this sleeve were closely fitted and high in the neck, the waist often being cut into small tabs. We also notice for a few years in the early fifties the deeper part of the bell curved to the front of the arm, giving a very ugly appearance. A close-fitting jacket also came into evidence till about 1865 with tight sleeves and cuffs, sometimes with a little turn-down collar and a longer skirt as in Fig. C, Plate x.x.xIII (see p.

282). This particularly fine embroidered specimen, in imitation of the 18th-century style, is interestingly cut away short at the back to allow for better setting on the crinoline. There is another type of sleeve seen about 1848, of a plain, full, square cut; these became varied in shape, being opened up the side and generally trimmed with wide braids.

This clumsy character is seen up to 1878, the later ones being fuller in cut. Zouave jackets were occasionally worn in the forties and later in the early sixties, when the wide corselet belt was again favoured.

Skirts at the beginning of the reign were fully set out on drill petticoats, stiff flounces, and even whalebone, so it was hardly "a great effect" when the crinoline appeared about 1855, though a furious attack was made against it at first; this undersetting developed to its fullest extent between 1857 and 1864, and many dresses in the early sixties were also worn short, showing the high boots of this period.

At first the crinoline was slightly held back from the front by ties, and again in the sixties it was often kept with a straight front, the fullness being held to the back, till the appearance of the bustle brought in another shape. The skirts were now pulled in tight to the front of the figure and bunched up at the back, with a train or shaped flounced pieces overlapping each other caught up under the bustle, as in Fig. B, Plate x.x.xIII (see p. 282).

[Ill.u.s.tration: Plate x.x.xI.--

(_a_) Embroidered Muslin Outdoor Dress, 1855-65.

(_b_) Riding Habit. 1845-75.

(_c_) Gauze Ball Dress. 1840-55.]

[Ill.u.s.tration: FIG. 118.--Dress improvers, 1865-1875.]

Mantles of a c.u.mbersome type and shot-silk capes with long pointed fronts were worn, often heavily fringed, the former also being mostly decorated with braided designs. Large Paisley shawls were much used all through this reign, besides the cape and hood with its fine ta.s.sels which became very fas.h.i.+onable in the sixties.

Gloves and mittens are seen both long and short, the latter often beautifully embroidered on the back in the French style. Hand-bags were often carried, of which examples are given in the plates of a variety of shapes; the favourite materials for their make were velvets and silks decorated with bullion, sequins, braids, needlework, and beads, and these bags were richly set in gilt, silver, or steel mounts.

Parasols were still heavily fringed, and were of the usual shapes. A very small one was carried in the carriages, and are even seen on the ladies' driving whips.

Shoes continued in the same heelless sandal character to the sixties for evening wear, but from the forties most outdoor shoes had a heel and large rosettes. With the seventies came round toes with a low round front and bow, and high shaped heels came to stay till the present day.

Boots of white satin, kid, or coloured silks were chiefly worn till the seventies, reaching just above the ankle, laced up the inner side, but many wore elastic sides from the fifties; the toes of these were rather square, and a toe-cap and front seam was made in many of this type. In the forties a tight rosette was sometimes placed low down towards the toes, and later, a huge bow was sewn on the front. High boots b.u.t.toned towards the side and very much shaped, with pointed round toes and high heels were sometimes laced and finished with a pair of ta.s.sels. Spats were always fas.h.i.+onable through this period.

NINETEENTH CENTURY. VICTORIA. MALE.

The same modes of doing the hair remained till the sixties, parted at one side and worn rather long and waved, with the side whiskers or beard all round the chin. The side whiskers were allowed to grow long between fifty-five and seventy, and full beards also became fas.h.i.+onable, while the hair was parted in the centre from front to back and flattened on the forehead.

The favourite top-hat still reigned supreme, many of which retained the tapered top and large curled brim till about 1855, and a bell shape was frequently seen in the fifties, but the real straight chimney shape was seen throughout till the eighties, with a rather narrow brim, and often of white or fawn-coloured cloth. The bowler hat increased in appreciation, being of a short type, with smallish brim. A short flat felt hat, with rather straight brim, also came into favour from the fifties; little round caps and caps with ear-flaps, for travelling, &c., were also in general use.

The frock-coat kept the rather tight sleeves and tight waist, and full square skirt, with back pockets, also a deep lapel, sometimes with a velvet collar, and small cuffs; a breast-pocket was often placed on the left side, and in the fifties the type of morning coat with rounded-off fronts at the skirt appeared, also a small collar and lapel. Square-cut jackets and tweed suits similar to our present shapes, but heavier in cut and with braided edges, were much in use. Velvet or fur-trimmed overcoats, and heavy travelling-coats, also capes and Inverness capes, were all in vogue.

Waistcoats became b.u.t.toned higher in the neck, and the stock-collar was supplanted in the sixties by a turn-down collar, and small tie or loose bow; many still affected the black stock and pointed collar to the seventies, when a high round collar began to appear.

Coloured and fancy waistcoats were much worn till the eighties, and evening dress was similar to the present cut, with slight differences in the length of lapels and waistcoat front.

The trousers were made with the front flap till they were b.u.t.toned down the front about 1845, and side pockets became general. Braids may be noted down the sides in the fifties, and are seen now and then all through the reign, while large plaids and stripes were highly esteemed.

Short Wellington boots were chiefly preferred up to the sixties, and trouser-straps and spats were fas.h.i.+onable all through the reign. The heavier lace-up boot came in during the fifties, and a very shaped type of fas.h.i.+on appeared in the sixties.

Having now completed the general survey of Costume, the following pages are given up to the cut and measurements of various antique garments.

PATTERNS OF VARIOUS REIGNS FROM ANTIQUE COSTUME

WITH NOTES AND MEASUREMENTS

I have striven to gather as many representative patterns of dress types and accessories as possible, and also give many measurements from the various examples, when I have been unable to obtain a complete pattern.

The character of cut and proportion is the essential point in the study of dress design, and the intimate knowledge of periods. When seeing a collection of patterns, one is astonished at the great variety in cut used to arrive at the different bodice types. Several patterns of single pieces are given, as it aids one to find the fellow-part; for example, the photo of a back given in Fig. C, Plate III (see p. 55), will go with the front cut on page 290; even though these two pieces did not belong to the same body, the cut is seen from which to design the missing part. Often a small piece is wanting for the top of the shoulder, which can easily be supplied to fill the sleeve measurement. The types of tr.i.m.m.i.n.gs in the different centuries will soon be acquired by a careful student, and the proportions of patterns will be valued for gaining the character. I believe with this collection one could get the true effects of any style of dress seen in the period prints. The drawings are mostly scaled for the half, and the measurement, in inches, will be found by dots on the top of the collotypes, and by a marked line on the pattern pages.

One must note, with the 18th-century dress, the sleeve cuffs can be changed, so I give, on page 300, a full-size measurement of the elbow-cuff seen in Fig. A, Plate XVI (see p. 167), and a deeper one of this style is seen on Fig. C, Plate XII (see p. 135), gathered seven times at the elbow. The plain square type was pleated in the front as given on page 300, and a variety of this character is shown on Fig. B, Plate XV (see p. 154). Though many patterns may be found remarkable in proportions, an allowance is often to be made for the undersetting, as well as for the thick, straight corsets worn to the end of the 18th century.

I give several specimens of quilting on petticoats of the 18th century, which will probably be found useful to artists; the measurement is also given of their circ.u.mference, which attained similar proportions to those set on the Victorian crinolines, going 3 to 4 yards round: four 18th century ones measured 100, 114, 116, 120 inches, and they are often 1 inch longer at the sides, to allow for setting over the panniers; a pattern is given on pages 213 and 332. The embroidered pockets on page 300 were worn in pairs at the sides on the petticoats, and only showed when the dress was looped up. The extra lawn sleeves, given on page 287, show how precious the superfine linen was held, with its superb gathered work, lace ruffles, and often fine embroidery; these pieces could be looked after with special care in the laundry, and could be tacked, pinned, or b.u.t.toned on when required.

The 16th and 17th century collars were mostly attached to the chemise or s.h.i.+rt, as is seen in many of the old prints. On page 289 I give examples of shape of the various stomachers, which will be found useful for getting the characteristic proportions. The scarves worn round the body of the 17th century cavaliers were from 2 feet 3 inches wide to 3 feet 6 inches, and from 8 feet 6 inches to 7 feet in length.

[Ill.u.s.tration: Plate x.x.xII.--

(_a_) Silk Dress. 1860-70.

_Pattern, see p. 346._ (_b_) Gauze Walking Dress. 1850-60.

(_c_) Silk Dress. 1848-58.

_Pattern, see p. 344._]

The stocking top, Fig. C, Plate VI (see p. 74), is probably of similar proportions to the woollen one in the Victoria and Albert Museum, on which the bell-top circ.u.mference is 36 inches, and the full length of stocking 38 inches. On page 285 a cap of three pieces is given; their real design is at present unknown, but I trust the Museum authorities may soon discover their placing, for many of these pieces are in existence, and this set in my collection is impressed with a beautiful pattern. The bodice, Fig A, Plate X (see p. 119), should have been set on a stiff-fronted corset to give it the straight style, as it is charmingly proportioned and clean in outline. I have also measured a short circular cloak of the early 17th century, which is 34 inches in diameter, with a square collar 10 inches deep; and another cape of the late 16th century, 40 inches in diameter. On page 290 will be found the smaller tabs which are placed round the jerkin, with a deep front point, as in Fig. A, Plate VIII_a_ (see p. 103); the collar of this type often rises 2 inches in the front to 3 inches at the back, in order to carry the stiff ruff or deep turned-down collar. Tabs of the smallest dimensions, in the earlier Elizabeth and James character, generally have six pieces from front to the middle of the back, which are from 2 to 3 inches deep. The epaulets are made in small stiff tabs, caught together in two places only, and so have plenty of give in the shoulder movements; they run to 2 inches at the widest part, and do not continue right under the arm. Fig. D, Plate V (see p. 71), has the middle seam of the back open from the waist to within 2 inches of the collar, which is noticeable on many of the later Charles I coats. Long ap.r.o.ns are conspicuous through the 17th century, and one measured was 42 inches wide, gathered to 15 inches at the waist; they were decorated with three bands of embroidered insertion down the front, with a 3-inch plain border, edged with small lace; this is typical in character of design, as is also the same style of linen cape seen on a figure, page 159. A similar one, lent by Sir Robert Filmer, is at the Victoria and Albert Museum; also a cap, of which I give a pattern, A, page 285. The smaller type of embroidered ap.r.o.ns of the late 17th and 18th centuries measure 40 inches wide, 19 inches deep, with the centre dipping to 17 inches; another shape is 26 inches wide, 18 inches in centre, and 13 inches on sides. The bodice, with deep skirt, Fig. B, Plate XVIII (see p. 183), is a type seen all through the 18th century, both longer and shorter in the skirt. The pattern of the 17th-century breeches is interesting as regards the cut, the upper part being kept plain, otherwise the gathered fullness would have disturbed the set of the jerkin tabs; the band of these breeches has six hooks either side to back, which fasten to eyes on an under flap sewn on body of jerkin. The epaulet on this pattern is only a -inch piece, braided with two narrow braids, and the bows on tabs are of ribbon, 1 inches wide.

The three patterns of capes given on pages 349, 350 will be found useful, as they are simple and very typical of the Victorian times, long shawls being otherwise much used. The fullness of the Elizabethan overdress seen on B, Plate II (see p. 42), is 66 inches to the back seam, and the Fig. C, on the same plate, is 47 inches. The "jump," or jacket, Fig. A, Plate III (see p. 55), is 100 inches round, the fullness of the sleeve 13 inches, and the length of back 32 inches. An over-tunic of the early 17th century is interesting to examine, though it is a specimen of German costume.

[Ill.u.s.tration: Plate x.x.xIII.--

(_a_) Silk Dress with Court Train. 1828-38.

(_b_) Silk Afternoon Dress. 1872-78.

(_c_) Silk Coat and Skirt. 1855-65.

_Pattern, see p. 320._]