by C. Willett
Linen-faced paper collars and dickeys were being worn by ‘unfashionables. ’
One learns that in 1877 the sizes of collars ran from 12 to 16, in stages of half inches; ‘very few of the two latter are called for.’
For informal day wear and in the country the double collar continued in use, often the collar and shirt having faint coloured stripes or inconspicuous floral patterns.
The cuffs, now stiffened with starch and closed by links set close to the border, were allowed to protrude half an inch beyond the coat sleeve, though at a third of an inch your social reputation would perhaps be more secure.
The evening dress-shirt was at first made with slightly pleated front, but a perfectly smooth front became usual in the 1870’s. It was, of course, starched. Three studs were shown, a fashion which continued in spite of an attempt by the Prince of Wales in 1877 to introduce the single stud front.
With the dress shirt a winged collar, somewhat shallow, was worn, and an extremely narrow white bow. The old frill-fronted shirt had passed to the servants’ hall. ‘The dress of one generation becomes the livery of the next.’5
‘From 1860 the French cambric prints were introduced for day shirts. The effect of the American Civil War was to make the price of cotton so high that linen became used for the whole shirt, cotton being dispensed with. In shirts the principal changes (between 1860 and ’70) were shown in the breast line being made into 7, 9, 11 and 13 plaits, instead of the 5 as formerly, and for evening wear, the tucks or plaits were greatly worn across the front from centre plait, instead of up and down. The plain front had not yet made its appearance. The shape of the breast was being made similar to the opening of the dress vest … it was during this period that separate wrists came into use, also linen and coloured fronts to cover flannel and other shirts at the breast. . . . From 1870 to ’80 the principal event was the introduction of the plain breast. It began first by a plain breast with a centre plait, but eventually the centre plait was dispensed with till even the stitching is not shown at the present day. … For evening wear a small frill was added to the opening at top side of breast but this fashion lasted only a short time. The cuffs became the shape they are now. Collars changed but slightly.. . . From 1880 to ’90 a new feature was having only one stud in the breast instead of three;6 the using of piqué for the breast instead of linen. . . . Coloured (day) shirts had the pattern and stripes across the breast and up and down the cuffs, instead of the old plan of up and down the breast and round the cuffs. . . . Separate collars changed into a straight collar all round and from that into a collar with a peak or turn-down in front. The turn-down- all-round was still worn and is to the present day.’7
2. THE VEST
Usually woollen; hip length, with narrow neck band and centre opening closed by four buttons. The sleeves terminated in woven cuffs.
3. THE DRAWERS
Woollen; ankle length. Closed by four buttons at the front opening. A gusset let in at the back of the waistband, drawn together by cross tapes.
With the knickerbocker suit short woollen drawers were used.
4. NIGHTCLOTHES
Either a nightgown, ankle length, or a nightshirt reaching to the knees.
The night-cap was ceasing to be worn, at least by the younger generation.
WOMEN
1. THE CHEMISE
Of longcloth, linen or cambric, this usually had a narrow edge of trimming at neck and sleeves, and down the front opening, which was closed by buttons. The front might also have vertical tucking on either side.
The evening chemise was cut very low, sometimes with a back- fastening.
In 1876 ‘chemises are now made with breast seams shaped to the figure so as not to take up more room than possible beneath the stays.’ ‘Underclothing has reached a luxury unknown in any age. The most modest lady has now her chemise and drawers trimmed with flounces of real lace alternating with tucks, frills and insertion. A fashionable chemise looks like a baby’s christening robe.’ 1879 saw ‘chemises with pleated gussets on either side of the bust,’ and in four types: (1) Like a Princess dress. (2) With three box-pleats in front, and gored back. (3) With a front like a chemisette and much trimmed. (4) Made like a cuirasse with one gore in the centre of the back. The goring was required to diminish the bulk, when the dress had become excessively tight. We must add, however, that many of the surviving specimens are of a much more homely description.
In 1882 cambric, batiste and nainsook, trimmed with lace, were becoming fashionable materials, and the garment was usually gathered at the waist, and sleeveless. The sleeveless chemise en princesse, two yards wide, with a flounce at the hem and a deep pointed stomacher, appeared in 1882 for wearing under a trained dress.
FIG. 75. JACONET UNDER-BODICE. FROM ‘THE YOUNG ENGLISHWOMAN,’ 1876
FIG. 76. RED FLANNEL DRAWERS AND CHEMISE (WITH STOCKINETTE HEM AND WRIST). MASSACHUSETTS, c. 1880
2. DRAWERS
The old form continued, but in 1868 drawers with five or six tucks at the knee and an edging of lace came into use. In 1876 ‘the new drawers are left open a finger’s length up the outer side and the opening closed by three buttons,’ a style in which the legs ceased to be entirely separate. Silk or flannel (figure 74) was becoming the usual material, and in 1877 ‘ladies who do not wear foulard wear drawers of flannel under their cambric drawers.’
With the tight dresses the garment ‘should barely reach the knee and have a trimming of torchon or insertion with a frill,’ while some preferred drawers of chamois leather. Unfortunately no specimen has survived of ‘plush drawers, quite tight, with a deep frill of lace at the knee’ (1881).
3. COMBINATIONS
In 1877 ‘the new style of combining chemise and drawers’ originated. The garment had either a back or a front opening, and some were made with high neck and long sleeves. Occasionally there were buttons round the hips to which the petticoats were fastened.
Materials used were linen, merino, nainsook, calico, cambric, and washing silks, often pink or cream-coloured. By 1878 ‘combinations are usually worn.’ and to obtain the desirable svelte figure ‘chamois leather combinations are worn over the other underclothing; not on any account next the skin.’
The function of the garment is betrayed in the comment: ‘In the present day the object of dress is no longer to conceal but to display the female form divine.’
4. PETTICOATS
The colours became less aggressive. Whereas in 1867 ‘we never remember seeing so great a number of red petticoats in the streets,’8 by the next year ‘white petticoats are permissible for day, even in the winter,’ though ‘fancy alpaca, linseys, cashmere, or quilted silks are more suitable.’ The white day petticoat ‘should have a pleating nine inches deep; for evening goffered flounces as long as the dress.’ With the return of the bustle the white petticoat was frequently pulled in just below it with draw-strings. A white petticoat of horsehair or moreen, with the back flounced to the waist, often took the place of the crinolette.
The garment became steadily more complex, with, in 1872, flounces of embroidery or lace reaching above the knees, and could be worn over ‘four or five plain white petticoats slightly starched’ (figure 77). In 1874 the front and sides were gored, and the back, made with tie-backs, had stiffly starched muslin frills to the waist; by 1876 the petticoat might be replaced by a muslin flounce on the inner side of the skirt ‘so that the limbs are clearly defined.’ Evening petticoats, elaborately trimmed with lace and layers of lace-edged flounces ascending to the waist, with finer flounces over them, were rightly described as ‘really works of art,’ but for ordinary day wear a cambric petticoat over one of pale blue or pink flannel was a general custom.
In 1877 came the Princess petticoat, buttoned down the back to knee level and made of white material or coloured silk. With it the flannel one was omitted, and instead ‘a second narrow skirt fastened to the edge of the stays reaches the knees and is edged with a deep kilting which descends to the ankles, bordered wi
th torchon.’ At this date the walking petticoat was 2 yards wide, while for trained dresses the petticoat, also trained, was four yards wide, the front and sides being gored. The train was sometimes buttoned on at the hem, thus making it detachable. Frequently, for day, short underpetticoats of knitted wool, chamois leather, winsey and serge, were also worn.
By 1882, in addition to the flouncing, steels were inserted at the back, presaging the imminent return of the bustle; while the Princess petticoat, now buttoning down the front, was developing five box-pleats at the back of the waist, which were made to stand out, bustle-wise, by bands or ties attached to the side seams inside. Many evening petticoats, untrained, had at the back five stiff flounces, each made to stand out by means of a draw-string.
5. CRINOLINE, CRINOLETTE AND BUSTLE
While in 1867 horsehair petticoats, gored, and sewn into an elastic waistband, were often substituted for it, yet the crinoline in a small size was not wholly discarded for several years. Frequently it was not more than a few hoops suspended by bands from the waist, open in front and used to support the bustle. By 1869, hooped only at the back, this became the crinolette ‘of steel half hoops with horsehair or crinoline flounces forming a bustle.’
FIG. 77. (a) LONGCLOTH UNDER PETTICOAT, 1873 ; (b) CRINOLETTE FOR TRAINED DRESS, 1873 ; (c) JACONET UNDERSKIRT WITH TRAIN, 1876; (d) UNDERSKIRT, 1879
The actual bustle, appearing in 1868, was at first a matter of a few steels or whalebone inserted into the top of the petticoat behind and pulled into half hoops by means of tapes attached on its inner side; the next year it had become a structure of steel half hoops the size of a melon, often fixed permanently on to the top of the crinolette. Early in the 1870’s the bustle extended downwards with puffings and flounces of crinoline material, strengthened with a few horizontal steels, the whole reaching to the sides over the hips. ‘It rises high above the waist and is of vast dimensions’ (1871). By 1873 it had narrowed and lengthened, consisting of a dozen steels encased in material and held in position by elastic bands; under the ‘tie- back’ skirt it projected backwards without adding to the width; and by the next year ‘the bustle is fast disappearing,’ though, to judge from contemporary photographs, this was far from being universally true. Then, in 1881, there were rumours that ‘tournures are coming back with a vengeance’; at least the petticoat began to develop suspicious signs of its approaching arrival. It was characteristic of the squeamishness of that period that the name ‘bustle’ was, in the 1880’s, considered a little coarse. ‘Tournure’ or ‘dress improver’ was a more ladylike appendage to the lower back.
6. THE CORSET
In the late 1860’s, and during the phase of tight-lacing, there is abundance of contemporary evidence that a waist measurement of seventeen to twenty-one inches was not merely a fashionable aspiration but a frequent realization, obtainable, in 1867, by Thomson’s ‘glove fitting corset,’ in which the front fastenings were held together by a spring latch; or by the French back-fastening corset with a long steel busk down the front. Prices of these were 12/6 and 21/- respectively.
The corset was comparatively short until 1875, when ‘the long corset and tight-lacing to give the long slender figure fashionable’ accompanied the change of dress design (figure 78). At this period it was discovered to serve a double purpose; in addition to its well- known effect on male susceptibility it had also, it seems, a moral function. ‘It is an ever-present monitor indirectly bidding its wearer to exercise self-restraint; it is evidence of a well-disciplined mind and well-regulated feelings.’ Thus this ingenious contrivance of whalebone would inflame the passions of one sex while restraining those of the other, bringing man on to his knees while woman remained stiffly erect.
‘The swan-bill corset for wearing under cuirasse bodice, 14/6,’ of 1876 and subsequent years had a long front-fastening busk terminating below in a powerful curved end, for it seems that figures ‘as they advance in years develop unduly and require a strong busk to keep them down.’
FIG. 78. CORSET. FROM ‘THE MILLINER AND DRESSMAKER,’ 1879
With the sheath-like dresses at the close of this period, back-fastening corsets returned to favour, as the front fastenings interfered with the close fit of the bodice. Such corsets might be covered with black satin and edged with a bertha of lace so that the camisole could be omitted, while, to save space, the over-petticoat was buttoned direct on to the corset.
In 1878 suspenders, attached to the bottom of the corset and clipping on to the stockings, began to take the place of elastic garters, and by 1882 ‘the suspender is made of satin and elastic with gilt clips, with a shaped belt fitting the corset.’
7. THE CAMISOLE
This, often called ‘petticoat bodice’ became more shaped to the figure, acquiring in 1878 a heart-shaped opening. It was often of calico, though better qualities might be of nainsook edged with a frill or with lace.
8. THE VEST
From 1875 onwards this was often of washing silk in various colours, and was made with long or short sleeves. More ordinary materials were merino or flannel, particularly for winter wear.
9. THE NIGHTDRESS
This gradually became more ornamental. In 1867 it developed a stand-up collar and a yoke, the front being tucked (figure 80). By 1876 it was ‘as much trimmed down the back of the bodice as the front,’ and the next year ‘some are made with a Watteau pleat; the front with long pleats down each side of the centre pleat; buttons are no longer put on a flap but in the centre pleat; collars and deep cuffs are usual.’
FIG. 79. “CANFIELD” BUSTLE, c. 1888
The usual material was longcloth; more elegant specimens, of foulard, were regarded with some suspicion as being ‘very thin,’ while some, even, were ‘open down the whole of the front and trimmed with a frill.’ And by 1880 ‘the latest idea in nightgowns is to carry the trimming entirely down the front to the hem.’
10. THE NIGHT-CAP
During the 1870’s this was revived in a picturesque form as an ornamental mob-cap, which, however, did not survive that decade.
FIG. 80. (left) NIGHTDRESS 1870–80; (right) PETTICOAT, c. 1880
It should be noted that although the number of undergarments was, if anything, increased, their texture was becoming progressively thinner and more flimsy; with the tight-fitting dress at the close of the period the actual number was reduced to a minimum.
The amount of underclothes required in a trousseau costing £100 in 1867, included:—
12 Chemises trimmed with insertion, at 15/6; or with real lace at 18/6.
12 Nightdresses at 22/6; 6 at 25/-.
12 longcloth Drawers, trimmed with work, at 10/6; or with lace at 12/6.
4 longcloth Petticoats, tucked and frilled, at 21 /-; 3 cambric ditto, embroidered and frilled, at 27/6; 2 French piqué, frilled, at 22/6.
1 dress Petticoat, superbly embroidered, 3 guineas.
6 Camisoles trimmed with lace, at 12/6.
6 patent merino Vests at 7/6; 6 ditto of India gauze, at 6/6.
4 flannel Petticoats at 13/6.
2 pairs of French corsets at 16/6.
2 Crinolines at 15/-.
All garments were machine-sewn (lock-stitch), and generally bought ready-made.
* * *
1 The Queen, 1875.
2 The Queen, 1875.
3 ‘With a hat all awry and an octagon tie.’ W. S. Gilbert: Bab Ballads.
4 The Tailor and Cutter.
5 The Tailor and Cutter. A very old observation. Cf. ‘The dress of the master of one generation may survive as that of the servant in another.’-W. N. Webb : The Heritage of Dress, 1912.
6 The metal stud with the base cut into a crescent shape for greater ease in insertion appeared in 1869.
7 The Tailor and Cutta, 1895.
8 ‘Scarlet cloth petticoat, the lower 12 inches kilted, 18/-’ (1868). ‘Coloured quilted silk petticoats from 35/-; satin from 40/-; cashmere, 15/-, of all colours’ (1869). ‘Camlet petticoats with five flounces, 10/6’ (1870).
X
1883—1896
THE economic depression which overshadowed most of this period curbed the extravagance of dress which had been so conspicuous; new influences were at work. Among them in a more sober atmosphere was a growing appreciation of hygiene and a demand for ‘sensible’ underclothing.
Both sexes were exploring the joys of outdoor sports, for which appropriate costume was needed. ‘At no time in history have the human nerves suffered as they do now from the wild speed at which life travels, and the pressure of occupations and amusements,’ was the observation of a contemporary; the spectacle of men riding ‘penny-farthings’ (described as ‘cads on castors’) and women experimenting with Rational Dress meant that new impulses were stirring.
Innovations in feminine costume, however, were checked by the prudish dread of arousing unwelcome sex interest; a horror of the human body seems to have been the hall-mark of gentility. Yet, in spite of these psychological barriers, there was a fundamental urge towards greater physical freedom.
With such conflicting impulses, some eager for progress, others shocked by the signs of the time, the resulting picture was confused; we see in the fashions a spirit of guarded reticence through which natural instincts struggled for expression, inhibited by a traditional attitude of mind. In such circumstances Providence will sometimes supply an unexpected solution of the problem; a great war, for example, will release gentility from its intolerable bondage. In the present instance a less violent event served the purpose, namely the invention of a bicycle which women could ride. It converted the lady into a biped, and supplied her with a momentum which carried her headlong into the next century.
