SELECTED WOMEN'S COSTUME PATTERNS OF THE PERIOD 1890 TO .1900 This" for. flu Dogm d M, A, _ MICHIGAN STATE UNIVERSITY , Albert W. Seinter, Jr. ' 1959 ll flj I"!!! Ulzllfllflllfll fl” (lfl LI“! 1!! ill”! Ill! 1!; ".1", [11 || SELECTED WOMEN’S COSTUME PATTERNS OF THE PERIOD 1890 TO 1900 BY ALBERT w. SENTER, JR. A THESIS Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech 1959 Copyright 1959 Albert W. Senter, Ir. ABSTRACT According to costume historians, the contemporary document, or illustration drawn by an artist of the period, is the only sound basis for the pictorial phase of costume. By the same token, the contemporary pattern, drafted by a tailor or dressmaker of the pe— riod, is the only sound basis for the reproduction of the period costume. After a survey of available costume literature it is found that there is a need for a selection and analysis of primary source materials to be used in construction of period costumes for the stage. It is the purpose of this study to present a collection of au- thentic patterns of women’s costumes of the decade between 1890 and 1900 to be used as the basis for the construction of women’s theat- rical costumes of this period. The study is limited to the ten-year period because of the great variety and quantity of costume types in vogue during the era. Since 1863, the Butterick Company had been publishing patterns on tissue paper for the home dressmaker. Other fashion journals published patterns with individual issues of their magazines. Many were in the form of unsealed line drawings with directions for drafting each form. Others published patterns on full- sized sheets to be traced. This study utilizes primary sources of the latter two forms. The forty-five patterns contained in the study are presented as good examples of the garments worn in the period. Using these patterns, the costume technician is able to execute faithfully designs for al- most any style in vogue during the period. ii The study reveals that the first five years of the era were a transition from the silhouette of the bustle with its “V” necklines, fitted sleeves, soft skirt held out in the back by the enormous bus- tle, and yards and yards of elaborate ruffles and froufrou; to the stiffly regal costume pOpular in 1895. The “V” neckline gave way to the high standing collar which continued to be worn well into the new century, while the fitted sleeve of 1889 grew rapidly into the huge balloon sleeve, reaching its greatest size about 1896. The skirt became stiff and assumed a tentlike appearance balancing the immense sleeves. After 1896, the sleeves receded to a more normal size and the skirt lost its stiffness and took on a softly flaring sil- houette in 1900. The extreme of the style was reached in 1895 or 1896 while moderation prevailed at the beginning and end of the era. The period under surveillance was an age of gilded elegance, the age of the Vanderbilts, the Astors, and the Rockefellers—an era of regal dignity. Exquisite workmanship and perfect fit delineate the style of the period, and all the clothes had a richness that was char- acteristic of this dignity. By using the patterns of the period and keeping in mind the fit, the wrinkle-free bodice, the beautifully exe- cuted sleeve, and the graceful sweep of the heavily lined skirt, the costume technician can faithfuuy execute the costume designs of the period. Only by studying thoroughly the construction details of the patterns used for the original garments and by adapting these details to modern construction procedures can the costumier and his assis- tants capture the glamour, the elegance, and the theatricality of the period—{in de siecle. iii PREFACE The author wishes to express his sincere gratitude and thanks to Dr. Orville K. Larson and the rest of the members of his gradu- ate committee—«Miss Agnes G. David, Dr. Moiree Compere, Miss Hazel B. Strahan, and Dr. Paul Deutchman—for their help and en- couragement in this investigation and analysis of the period patterns in this thesis. He also wishes to extend his appreciation to Miss Mary Shipley for her help in gaining the privilege of photographing the costumes of the period in the various collections of historical costumes in the Department of Textiles, Clothing, and Related Arts of the College of Home Economics. For the privilege of being able to use the fashion plate illus- trations, many thanks go to Mr. James H. Wells, of Evanston, Illinois, the owner of the collection. Appreciation is also expressed to Miss Marjorie M. Smith, of the faculty of the University of Michigan, under whom the author worked as costume assistant, during which time he first learned the value of the period pattern and the great gaps existing in pattern iv research. Miss Smith’s encouragement on a study of patterns for theatrical costumers led to the writing of this thesis. Finally, he wishes to thank his parents for their help and encouragement in the editing and publishing of this manuscript. TABLE OF CONTENTS PREFACE ................................... LIST OF ILLUSTRATIONS ....................... LIST OF PATTERNS ........................... INTRODUCTION ................... . ........... CHAPTER I. THE ERA ............................ II. A COSTUME OF DIGN'ITY ................. III. THE PATTERNS ....................... IV. CONCLUSION .......................... APPENDIXES ..................... . ........... A. Fashion Plates of the Period 1890—1900 ....... B. Plays to be Costumed in the Period 1890—1900 ...... . . ........ . ........... C. Contemporary Notes on Dressmaking from Fashion Journals, 1890 to 1900 .......... D. Contemporary Fashion Notes from Fashion Journals, 1890 to 1900 ............. BIBLIOGRAPHY ............. . ................. vi 11 21 31 97 102 103 114 116 124 129 II. LIST OF ILLUSTRATIONS Page ...................................... 104 Fig. 1. Gown with Greek Style Drape, 1890 Fig. 2. Afternoon Gown, 1891 Fig. 3. Reception and Afternoon Gowns, 1892 Fig. 4. Visiting Costumes, 1892 . .................................. 105 Fig. 1. Calling Costume, 1893 Fig. 2. Calling Costume, 1893 Fig. 3. Walking Dress, 1894 Fig. 4. Dinner Dress, 1894 ...... . 106 Fig. 1. Visiting Costume, 1894 Fig. 2. Dinner Dress, 1894 Fig. 3. Afternoon Costume, 1896 Fig. 4. Mourning Costume, 1896 ...................................... 107 Fig. 1. Evening Cape, 1892—1900 Fig. 2 Going Away Suit, 1892—1895 ...................................... 108 Fig. 1. Tennis or Golf Costume, 1895 Fig. 2. Fashion Figures Fig. 3. Ladies Street Toilette, 1895 Fig. 4. Ladies’ Spring Afternoon Dress, 1895 vii Plate 1. Evening Dress, 1892—1895 Fig. 2. Evening Blouse, 1895 1 Visiting Costume, 1896 2. Calling Costume, 1896 Fig. 3. Street Costume and Fancy Waists, 1896 4 Afternoon Costume and Fancy Waists, 1896 Carriage Toilette—by Felix, 1895 Calling Costume, 1899 Street Costume, 1899 Street Costume, 1899 "11 H- m. 2‘5”?!" 1 Afternoon Costume, 1899 2. Afternoon Costume, 1899 Fig. 3. Calling Costume, 1899 4 Street Costume, 1899 Photograph of a full-sized pattern sheet viii 110 111 112 113 PATTERN l-I 51.2.5? V F4 SESEEElESRRE LIST OF PATTERNS Eton Jacket (1890) .......... Sham Skirt (1891) . . . . . ..... Fan-back Skirt (1391) ........ Train Skirt (1891) .......... Empire Sleeve (1892) ................... Watteau Skirt (1892) ......... Fernand Sleeve (1892) ....... Henri 11 Cape (1392) ......... Conchita Sleeve (1892) ...... . Watteau Jacket (1892) ........ Gilberte Sleeve (1892) ....... Empire Gored Skirt (1892) . . . . Adrienne Sleeve (1892) ....... Seamless Skirt (1892) ........ Traveling Mantle (1892) .................. Spring Jacket (1893). . ........ Tzarina Sleeve (1893) ........ ix ........... 36 37 38 39 40 41 42 43 44 45 47 48 49 50 51 53 56 PATTERN Page XVIII. Theatre Cape (1893) . . .................. 57 XIX. Duchess of York Sleeve (1893) ............ 58 XX. Worth Godet Skirt (1894) ................. 59 XXI. Yoked Cape (1895) ..................... 60 XXII. Blouse Bodice (1895) ................... 61 XXIII. Bodice (1895) ......................... 63 XXIV. Rejane Sleeve (1895) ................... 64 XXV. Bodice-Jacket (1895) .................... 65 XXVI. Paquin Train Skirt (1895) ................ 6'7 XXVII. Loose Jacket with Lapels (1895) ........... 69 XXVIH. Elbow Puff Sleeve for Summer Fabrics (1895) . . 70 XXIX. Hip Length Wrap with Valois Collar (1895) . . . . 71 XXX. Spring Cape a Godets (1895) .............. 73 XXXI. Bodice with Cape Collar (1895) ............. 74 XXXII. Pleated Coat (1895) .................... 76 xxxm. Six Godet Paquin Sktrt (1895) ........ . . . . . 78 XXXIV. Cape (1895) .......................... 79 xxxv. Box Jacket (1895) ...................... 80 XXXVI. Double-breasted Jacket (1896) ............. 81 XXXVII. Bicycling Costume (1896) ........... . ..... 82 PATTERN Page XXXVIII. Paysanne Opera Cloak (1896) .............. 84 XXXIX. French Gored Sleeve (1896) .............. 86 XL. Low-cut Bodice (1896) .................. 87 XLI. Jacket (1896) ......................... 88 XLII. Three-quarter Length Wrap (1896) .......... 89 mm. French Gored, Tight-fitting Skirt (1897) ...... 91 XLIV. Jacket with Vest and Valois Collar (1897) ..... 93 XLV. New French Skirt (1897) ................. 95 INTRODUCTION There is a trend in theatrical costume today of turning away from pedantic, historical accuracy toward a stylization of historical fact. In creating the costumes of any given period, regardless of stylistic approach, the costume designer has come to realize that the basic silhouette of that period can be achieved only by using a pattern created by a tailor or dressmaker of that period. The modern theatrical costumer owes a great debt to the tailors and dressmakers of history. Too much emphasis cannot be placed upon their importance in dictating the styles of a particular era, for it was they who cut the actual pattern for a costume.1 With the addition of an extremely subtle dart, they could, for example, change the bodice of a gown as much as five years. This ability on the part of the tailor or dressmaker to create and dictate fashion with the cut of a scissors makes them extremely important to the study of historical costume. 1For a twentieth-century example of this see Cecil Beaton, The Glass of Fashion (New York: Doubleday, 1954). A pattern “adapted” from a modern pattern will not produce the same historical line as supplied by a period pattern. In speak- ing of the quality of the illustrations in many historical costume stud- ies, James Laver notes that many authors have been content merely to redraw the clothes of the past, and when this is done, it always carries with it an element of falsification. It is impossible for any artist to escape completely, the atmosphere of his own age. Accord- ing to Laver, “the contemporary document is the only sound basis for the iconography of costume.”2 If the contemporary illustration by an artist of the period isthe only basis for the pictorial phase of costume, then certainly, the contemporary pattern created by a tailor or dressmaker of the period is the only somd basis for the reproduction of a certain period style. The garment of the period has a certain feeling which can only be reproduced by studying thor- oughly the construction details of the pattern used for the original garment and adapting these details to modern costume construction procedures. A survey of the available costume literature devoted to his- tory of construction reveals that outside of books by Lucy Barton 2James Laver (ed.), Costume of the Western World, Fashions of the Renaissance (New York: Harpers, 1951), p. x. and Doris Edson,3 and Adrien Harmand,4 very little has been pub- lished concerning the construction of period costumes from authentic patterns.5 There is a general need for a selection and analysis of primary source materials which may be used as a basis for stage adaptation. These source materials, for example, should be particu- larly valuable in the educational theatre where the great plays of the past are constantly being produced, because the educational theatre relies heavily upon the art of the costumer to enhance the elements of design and acting by means of appropriate styles of costuming. Among the playwrights of the past frequently produced in the educa— tional theatre are those of the period 1890—1900——including such writers as Wilde, Pinero, Chekov, Ibsen, and Shaw. Thus, an analy- sis of authentic costume patterns of this era is of particular signifi- cance to the costumer, especially in the educational theatre. It is the purpose of this study to present a collection of authentic patterns of women’s dress of the decade between 1890 and 3Period Patterns (Boston: Walter H. Baker, 1942). 4Jeanne d’Arc—Ses Costumes, Son Armure (Paris: Libraire Ernest LeRoux, 1929). 5Although not devoted to patterns, the following will be of interest as occasionally there is a pattern diagram illustrated. Carl Kohler and E. von Sichart, Praktisch Kostumkunde (Munich, 1926). Herbert Norris, Costume and Fashion (London: volumes in a series published various dates). 1900, to be used as the basis for the construction of women’s theat- rical costumes of this period. Even the examination of so short a period necessitates some limitations because of the great variety and quantity of costume types. Therefore, this study is limited to women’s costumes, mainly because of the extreme distinctive types of women’s dress within this ten-year period. The fabrics used to create the gowns of this glamerous era present a study in themselves, too long to be included; therefore, a detailed discussion of them is omitted. Obviously, the actual garments would provide the very best source of patterns for this study. Unfortunately, because the number of garments available was extremely limited and the garments them- selves too fragile for extensive examination, this kind of evidence was not available. Patterns published in fashion journals and sup- plementary pattern sheets constituted the next best evidence. As these are available, they become the primary source material for this study. Historically, the printed-pattern had never been readily available until the latter part of the nineteenth century. Previous to this period, prominent tailors would publish treatises on cloth- ing, from time to time, containing historically important charts of patterns.6 However, as tailoring became more complex and more de- pendent upon the skill of the designers, these grand couturi‘ers were no longer willing to write and reveal their closely guarded secrets to the world of fashion. The fashion plate appeared a little before the French Revo- lution (circa 1785), and in 1830 GodeXs Ladies’ Book appeared with its now-famous hand-colored engravings of the latest styles from Paris. Many smaller magazines soon tried to imitate the style of Godey’s Ladies’ Book, but the only two to survive for any length of time were Peterson’s Magazine and Graham’s Magazine. Clothing designers soon recognized the importance of the fashion journal in the dissemination of fashion information and used them to their ad- vantage, forcing styles to change rapidly. Many changes in costume styles can be followed in the fashion plates in God_ey’s Ladies’ Book 6The first publication by a tailor of note appeared late in the sixteenth century. This was the _I_.ibro de Geometria, Practica y Traga (Madrid: Giullermo Drouty, 1589), by Juan de Alcega. His- torically, the book is important because de Alcega presents charts of patterns of garments worn in his time. Several later authors, realizing the importance of this work, included some of the charts in their books on costume history. At this time, Spain was well known for its tailors and the tailor in Spain enjoyed a much higher position than his fellows in other countries. Other books of pat- terns to be noted are Francisco de la Rocha Burguen, Geometria y Traqa Perteneciente a1 Oficio de Sastres (Valencia, 1618) and Martin de Andu’xar, Geometria y Trazas Pertenecientes a1 Oficio de Sastres etc. (Madrid, 1640). from 1830 to 1898. In addition, and pertinent to this study, these fashion plates were often supplemented by pattern sheets which per- mitted the readers to reproduce the styles depicted in the fashion plates. In 1863, the American, Ebenezzer Butterick, made the first commercial paper patterns available to the home dressmaker. Made of tissue-weight paper, they have changed little in appearance since they were first presented, for the same type is still used in today’s commercial patterns. Butterick’s tissue-paper patterns replaced the heavy, oiled-paper forms American women had used previously in making their clothes. With the arrival of the commercial paper pat- tern, handy hints for the home dressmaker and even printed pattern charts appeared in almost every issue of the contemporary women’s magazines.7 The task of finding these pattern charts was not easy. Both Godey’s Magazine (retitled from Godey’s Ladies’ Book) and Peterson’s Magazine, which formerly had printed pattern charts, had stopped the practice by the time our investigation begins, and from 1890 on their fashion news consisted entirely of word pictures supplemented from 7E.g., La Mode de Paris, The French Dressmaker, The Paris Album of Fashion, Harper’s Bazar |sic|, La Mode Illustrée, and L3 gsmme Royal. time to time by a few line engravings. Extant copies of the few pub- lications that still printed pattern charts of the last decade are ex— tremely rare, preserved in libraries such as the New York Public Library, the Library of Congress, and the Library of Michigan State University. Before engaging in an extensive survey of the fashion trends, Chapter I reviews the economic, political, and social life from 1890 to 1900. It is not meant to present a full-blown picture of the era, complete in every detail, but is intended only to supply the reader with necessary background information. Great Britain, France, and the United States were chosen to serve as a cross section of the milieu in the period——Britain for the cultural and literary heritage which she gave to the United States and the fact that many plays produced in America at that time were British; France was chosen for its importance in fashion; and the United States because it was a young country, its ideas covered many interests and were much the same as those across the Atlantic. Chapter 11 surveys the stylistic trends of women’s costumes during the ten years, noting the changes in the silhouette and point- ing out the distinctive features of the various periods within the decade. It should be noted that at this time there were few if any regional differences in costume in the western world. Although there were national and regional costumes worn by the peasants at home (and more elaborate styles for Sunday and festivals), these, however, form a subject in themselves not aprOpos to this study. The costume under consideration is that worn in the drawing room or ballroom—in other words a universal costume worn by Madame Parisienne, Lady London, and Mrs. New York. The pattern charts, accompanied by brief construction notes, are presented in Chapter III. The selection of the charts was de- termined by the costume requirements of the plays written between 1890 and 1900. With these patterns, the contemporary costume tech— nician is capable of creating most of the necessary women’s costumes, of any fashidn trend, required during this decade. In the final chap- ter, a construction philos0phy is formulated, setting forth basic prin- ciples which are helpful in re-creating the costumes of the period 1890—1900. A series of appendixes follow the main body of the study. The first (Appendix A) contains fashion plates and photographs of actual garments of the period so necessary to this study. In addi- tion, an example of a full-sized pattern sheet such as was published with some fashion journals of the era is reproduced in a reduced scale. Inasmuch as the various plates and photographs are referred to constantly throughout the text, for the convenience of the reader they are placed at the end of the study, mounted on double sheets to that they may be unfolded and laid out alongside the text for ref- erence, particularly in relation to Chapter II, where they are dis- cussed in detail. Appendix B lists a series of frequently produced plays written or costumed in the 1890’s, for which this study should prove a valuable aid. Appendix C reprints selected contemporary articles on dressmaln’ng, and finally Appendix D reprints additional historical bibliographical materials useful to the costume designer interested in this period. The bibliography for the study follows the Appendixes. The study reveals that the first five years of the era were a transition from the silhouette of the bustle with its “V” necklines, fitted sleeves, soft skirt held out in the back by the enormous bus- tle, and yards and yards of elaborate ruffles and froufrou; to the stiffly regal costume pOpular in 1895. The “V” neckline gave way to the high standing collar which continued to be worn well into the new century, while the fitted sleeve of 1889 grew rapidly into the huge balloon sleeve, reaching its greatest size about 1896. The skirt became stiff and assumed a tentlike appearance balancing the immense sleeves. After 1896 the sleeves receded to a normal size and the skirt lost its stiffness and took on a softly flaring silhouette 10 in 1900. The extreme of the style was reached in 1895 or 1896, while moderation prevailed at the beginning and end of the era. In all cases the contemporary document was used as the source of all information in this study. The designers of period costumes have realized the importance of the contemporary document for a feeling for the style of the period. The technician should, by the same token, realize the importance of the contemporary pattern for the faithful execution of costumes for this, the era of gilded elegance, the great age of the Goulds, the Astors, the Vanderbilts, and the Rockefellers, the period which was fin de Siecle. CHAPTER I THE ERA Fin de siecle was the term on everyone’s lips in the last decade of the nineteenth century. It was part of the vocabulary of an era that enjoyed the brilliant wit of Oscar Wilde. Although lit- erally translated, fin de siecle meant “up to date,”1 as used at this time it meant much more—up to date in an era of gilded ele- gance, colossal expansion, mushrooming industries, widening horizons ——an era which was very much aware of itself and the reforms it was maldng or experiencing. Great Britain had reached the height of her imperial power about 1885. British pride in the fact that “the sun never set on the British Empire” and the prosperity she had enjoyed from the profit- able reciprocal commerce with her colonies had Silenced the earlier criticism of imperialism. Advocating the policy of free trade had proved very profitable to the Empire, providing a proud and pros- perous England. IGodey’s Magazine, CIOCXII (January, 1896), 109. 11 12 France had been a serious competitor with England in colo- nial expansion but the wars on the Continent gave England a chance to forge ahead of France in both colonization and industrialization. The acquisition of Tunis in 1882 greatly bolstered French morale and prestige as it was the first successful achievement of France after the disastrous Franco-Prussian War and the harsh terms of the 1871 peace treaty. The French attempts at expansion in Egypt, Madagascar, Indo-China, the Congo, and Oceania created tension across the English Channel that almost resulted in war between England and France. I The United States, although disclaiming any imperialistic ambitions, was also expanding its territories. AS a result of the Spanish-American War, during the McKinley administration, it ac- quired Puerto Rico, Guam, and the Philippines. By peaceful means, Hawaii and certain Samoan Islands were also added. The United States was advancing to the rank of a leading world power. Politically, the atmosphere differed greatly in the three coun- tries. In England, Victoria’s long reign gave the country a feeling of unity and confidence. As her reign was drawing to a close, she had been made Empress of India and her country grew and prospered until it was one of the most powerful EurOpean nations. Her Dia- mond Jubilee, in 1897, demonstrated that the Queen by her conduct 13 and character had earned for herself a pOpularity which has no parallel in history. It was a glorious reign. Never had any mon- arch ruled so many important peOple who made such an impact upon the rest of the world. Her prime ministers were men of outstanding stature—Lord Melbourne, Sir Robert Peel, Lord John Russell, Ben- jamin Disraeli, and William Gladstone. The long, stable years of Victoria’s reign were in sharp con- trast to the ever-changing governments of the Third Republic in France. There, parties and principles were ill-defined and the pub- lic generally apathetic except when such spectacular scandals as the Dreyfus Case and the expose of the Panama Canal frauds aroused their emotions above their laissez-faire attitude. The Dreyfus Case stirred up a storm of controversy not only in France but all over the civilized world. The decisions of the various courts, in 1894 and 1895, created a wave of anti-Semitism which lasted for many years. The respect and reverence of the English for their aging mon- arch found no counterpart in France where presidents and ministers resigned or fell in rapid succession finding the responsibilities of the offices untenable with little or no power to discharge their duties prOperly and too little public support. It was a period unprecedented for the scurrility of libels on public men. Early in the decade the Assemblee started to work on social and labor problems but little 14 was accomplished. The scandals and indecisive action were symp- tomatic of the unhealthy conditions of France. Not a single outstand- ing statesman emerged from the decade. Politically, the era in the United States was an exciting one. The issues on currency and tariff were close enough to the people to make each presidential election a hard-fought contest. In 1888, Benjamin Harrison defeated Grover Cleveland almost entirely on the platform that a high tariff would result in higher wages. However, when they passed a higher tariff over an already high one, the pub- lic reversed itself and in 1892 elected Grover Cleveland, who advo- cated a lower tariff to lower the cost of living. His term started out with one of the worst panics the United States ever suffered. Bank after bank failed; bankruptcy and poverty were followed by strikes leading to riots and great destruction of pr0perty. Cleve- land finally intervened in the Chicago Pullman Company strike, send- ing federal tr00ps on the pretext of safeguarding the mails. This was one of the beginnings of the extension of governmental power as necessary for the general welfare of the people. This panic was the direct result of the currency and tariff situations. After a hard fight, Cleveland was able to put the country back on the gold standard, make some modifications in the tariff, and start the coun- try toward a period of outstanding prosperity. 15 With the administration of President William McKinley, the United States began to think of itself as a whole and not as indi- vidual sections of the country. Three states entered the union dur- ing this decade—Idaho, Wyoming, and Utah. There seemed to be no end to the growth of the United States. This was evidenced again in the territories which we obtained through the Spanish-American War in 1898. The passage of the Sherman Antitrust Act during this decade was an indication of the growth of big business. The era closed with a feeling of stability and contentment similar to that en- joyed by England. In the realm of literature, H. G. Wells looked into the future with The Time Machine (1890) and Sir Arthur Conan Doyle created the p0pular Sherlock Holmes. Rudyard Kipling wrote the Barrack Room Ballads based upon his service with the army in India, and later produced “Recessional” for Victoria’s Diamond Jubilee. Across the channel in France, Emile Zola dominated the lit- erature of that country with his thoughts of the new “slice of life” school of naturalism. Marcel Proust began to write during this dec- ade and was destined to become one of the most important writers of France after the turn of the century. In America, Stephen Crane, who had shocked the country with Maggie: A Girl of the Streets in 1890, followed that with the ever 16 pOpular Red Badge of Courag_e. Among the other men of letters of the time were included historian Henry Adams, economist Thorstein Veblin, home economist Fannie Farmer, and historical novelist Mary Johnston. In the American theatre, the playwrights were undistinguished and very little of their work survives today, but Great Britain, how- ever, was blessed with many excellent playwrights. Stimulated by Ibsen’s interest in the problem play, the English authors began to consider seriously the problems of their day. Arthur Wing Pinero was one of these. The four plays which he wrote during the last decade of the nineteenth century are still produced all over the English-speaking world. There were few years during this time that did not see a play by Henry Arthur Jones. His influence re- mains today. He wished to have the drama recognized as literature and the old practice of writing plays revived. The one hundred plays Jones wrote during his lifetime are out of date today. His books on theory of playwriting, however, still stand as important foundation stones for what may be called the modern drama. He advocated a freer form of theatre, the abolition of censorship, and the reform of the copyright laws. George Bernard Shaw wrote music criticism for the London Star and The World under the nom de plume of Corno di Bassetto. 17 Completely overshadowing his music criticism, however, were his ar- ticles on dramatic criticism. Published later as Our Theatres in the Nineties, these essays set a new standard for theatrical criti- cism.2 Many times we forget that Shaw’s first excursion into the theatre was in the form of criticism and that he (did not write his best-loved plays until after the turn of the century. The unfortunate Oscar Wilde had great success during the first five years of the decade. Lady Windermere’s Fan was written in 1892 and was followed in 1895 with his most pOpular play, The Importance of Being Ernest. He wrote Salome in French and it was played by Sarah Bernhardt, but the play was banned in Britain for many years. Simultaneously, James M. Barrie began to write for the theatre, producing The Little Minister in 1891. In France, Zola’s ideas of naturalism also influenced the theatre. His plays are most uninteresting but he must be consid- ered as a distinguished writer of criticism and dramatic theory. Maurice Maeterlinck excelled in the form of the poetic drama. After a minor play, L’Intruse, in 1892, he showed his true skill with the writing of Pelleas et Melisande in 1898. In the same year Edmund Rostand wrote his great Cyrano de Bergerac, which became one of * 2Phyllis Hartnol, The Oxford Companion to the Theatre (2d ed. rev.; London: Oxford University Press, 1957), 735. 18 the most pOpular plays of the French fin de siecle as staged by Constant Coquelin, who created Cyrano.3 Across the channel, the Bancrofts earlier established the vogue for drawing-room comedy and greatly increased the public’s respect for the profession of the actor. Henry Irving and Ellen Terry were playing to sold-out houses at the Lyceum Theatre. Ir- ving became the first actor to be knighted for service to his art. Lillie Langtry, or the Jersey Lily as she was called, began her acting career with the Bancrofts but eventually left them to set up her own management and toured the United States several times. Although unimportant as an actress, Lottie Collins was typical of the music-hall figure of the day. Her one song, “Ta-Ra-Ra-Boom- De-Ay,” she made famous in 1891 and sang it for many years after that. Although lacking playwrights, the United States did have some good actors. Modjeska was concluding her career on the stage when the era began. Julia Marlow played many roles with much success and eventually married E. H. Sothern. Trained by David Belasco, Mrs. Leslie Carter began her fabulous acting career which extended 3Edwin J. Emerson, A History of the Nineteenth Century Year by Year (New York: P. F. Collier and Son, 1902), III, 1814. 19 well into the new century. The statuesque Lillian Russell was dis- tinguished chiefly for her work in light Opera and burlesque. The most powerful force in the American theatre was the Syndicate, a trust owned by Six men headed by Charles Frohman of New York. It seized control of all the theatres in the United States and made the owners of the theatres little more than janitors in their own establishments. It would not c00perate with any of the opposition theatres and closed its doors to all actors who refused its terms. The protests of the actors went unheeded, and many such as Mrs. Fiske were forced to seek halls to play in. It even forced Madame Bernhardt to resort to a circus tent.4 Charles Frohman, as head of the Syndicate, was the virtual emperor of the theatre world in the United States. He was called by many, “the maker of stars,” but he himself believed that a star was made by the audience. He met a tragic death on the Lusitania in 1915. Augustin Daly divided his time between his two repertory companies in London and New York until his death in 1899. The rage for bicycling was imported from France and greatly influenced the life of the pe0ple. The United States Census of 1900 4Oral Sumner Coad and Edwin Mims, Jr., The American Stage (“The Pageant of America,” Vol. XIV; New Haven, Connec— ticut: Yale University Press, 1929), p. 308. 20 reported that few things used by men have ever created such an im- pact upon the life as the bicycle.5 Many cycling clubs were formed, and when society took up the sport everyone cycled. So pOpular did the sport become that William K. Vanderbilt provided “wheels” for the guests at his Newport estate who had formerly ridden horses. Charles and Frank Durea built the first successful gasoline automobile in 1893, and later in Detroit Henry Ford produced his quadricycle. Motoring was going to become a very important part of our transportation system. Such was the world of the people in the 1890’s—the ideas that influenced them and the events which made the headlines. Every- thing they did or said was reflected in the spirit of the age—the age that was lmown as fin de siecle. 5Quoted by Fred C. Kelly, “The Great Bicycle Craze,” American Heritag_e, I (December, 1956), 69. CHAPTER II A COSTUME OF DIGNITY At the beginning of the era, women’s fancy turned briefly toward simplicity in dress, perhaps even to comfort. In fact, the first two years may be called a transition from the extremes of the bustle period to the tightly laced hourglass figure of the 1890—1900 period. Concern with simplicity did not continue for long, however. Paris fashion, barely one hundred years from the liberty-minded women of the French Revolution, decreed the corseted wasp waist, and the women of the western world bowed to the order.1 Shoes with needle-like toes and heels kept pace with the eighteen-inch waist. The costume historian may wonder at the unrestricted balloon “sleeves and the froufrou ruffles holding out the wide Skirts as they swept the streets. The fashions of this era have been called the most absurdly unhygienic of any age.2 The eminent contemporary physiologist, Professor Huxley, believed that women, unlike men, did 1Lucy Barton, Historic Costume for the Stage (Boston: Walter H. Baken, 1935K p. 498. 2Ibid. _ 21 22 not use the diaphragm when breathing. The fact of the matter is, in his day they could not! 3 The dominant silhouette of the era is that of huge balloon sleeves, wasp waist, sweeping skirt, best characterized by the hour- glass silhouette of the “Gibson Girl,” created by Charles Dana Gibson. The idea that this tightly corseted creature could possibly ride the bicycle or play tennis seems unbelievable, but that she did. One would expect that eventually his hourglass figure would rebel, but throughout the entire period the corset strings remained taut. Regardless of suit, coat, bodice and skirt, or gown, this silhouette dominated the era. The undergarments of this period are a separate study. Since the corset controlled the silhouette, however, its structure must be considered. It was made of heavy muslin, shaped by sewing pieces of whalebone and steel strips at vantage areas. This foundation en- cased the body, using three sets of laces, and the three areas of the body—bust, waist, and hips—were thus controlled. If nature had not amply endowed the figure, an inflatable rubber bust “improver” fur- ther enhanced the. female figure. 3C. Willett Connington, English Women’s Clothing in the Nine- teenth Century (London: Faber and Faber, Ltd., 1937, 1948), p. 269. 23 The so—called best dress or gown, in fact the majority of the costumes of the woman of the era, were not what we think of today as a dress, but were matching bodice and skirt; in other words, the two-piece dress. Almost without exception, bodices were separate from the skirt.4 Basically, these bodices were made of stiffly boned cambric to which the desired fabric was attached and ornamented. This ornamentation was limited only by the dressmaker’s ingenuity. Three types of bodices, called jackets, that should be con- sidered at this point are the Eton (Plate I, Fig. 4b; Plate 11, Fig. 3; Plate III, Fig. 1; Plate V, Fig. 1; Plate VIII, Figs. 2, 4; Plate D(, Fig. 3), the Hussar (Plate DC, Fig. 4), and the Figaro. Each style was worn over the skirt band with a white or checked waistcoat. These waistcoats were sewn into the jacket. Worn with the skirt, these were the forerunners of the three-piece suit. The lapels (sometimes called revers) were at times severely tailored and varied in width, although some dressmakers made the lapels full and draped in soft folds. At the beginning of the era, the necklines of the bodices were considerably higher than the “V” and round necklines of the pre- vious bustle era. To keep abreast of rising necklines, dressmakers ‘ 4One exception was the princesse, a style which was usually confined to house dresses. 24 devised little neckpieces that fit into the neck opening. These in- serts could match the bodice, but often interest was added to the costume by the use of another color. Beginning as simple one- or two-inch collars, they grew in size. By 1895 they gave the impres- sion of framing the face and emphasizing the head (Plate II, Fig. 2; Plate III, Fig. 3; Plate VII, Figs. 1, 3). An interesting neckline treatment, as described in Godey’s Magazine in 1896, combines the pOpular stand-up officer’s collar fastened tightly at the throat and framed by the stylish Valois of velvet or lace, wired to make it stand out (Plate VIII, Fig. 3).5 For formal evening wear, the lady retained her femininity by using the square, round, or heart-shaped neckline with the armscye6 high on the Shoulder, thus accenting the sleeve (Plate VI, Fig. 2). As the era drew to a close, the high, stiff collar of the men’s shirt was adapted to a feminine counterpart, the shirtwaist. With the shirt- waist the woman wore an ascot or four-in-hand tie (Plate V, Fig. 1). The Sleeves of this period were to some extent influenced by the necklines or at least by the flared collars. The small fitted sleeve of 1889 changed its silhouette rapidly to a large balloon-like ___—— 5Godey’s Magazine, CXIOGI (January, 1896), 100. 6Armscye—-the Opening for the arm in a garment into which the sleeve is set. 25 t0p, with a tightly fitting forearm. By 1895, this enlarged sleeve was created by two distinct types, the bishOp or Paquin sleeve and the 1eg-o’-mutton sleeve. The bishop sleeve consisted of two sepa- rate parts of outer fabric fastened to the lining base, whereas the fabric of the leg-o’-mutton sleeve was cut in one piece and fastened to the lining base. The weight of the fabric governed the type of sleeve used, for the bishop sleeve was suited to light-weight, softer materials, whereas the heavy brocades and velvets styled well into the leg-o’-mutton design:7 In either style, however, the goal of the dressmaker was a voluminous puff. This puff was controlled by tacking the folks to the inner linings, which allowed the dressmaker to vary the puff outline to suit the individual figure.8 Early in the era, the puff stood up, for the armscye was out high} on the shoulder (Plate 1, Figs. 1, 3, 4). As the large flaring collars grew in pOpu- larity, the armscye retreated to a normal shoulder position and the puff was tacked to spread out over the upper arm. As the new century approached, the elaborate puff practically disappeared, re- turning to a fitted sleeve (Plate IX, Figs. 1, 2, 3, 4).9 7The Delineator, XL (July, 1892), 3. 8Ibid. 9Carolyn Merion, “About the Modified Sleeve,” The Woman’s Home Companion, XXIV (March, 1897), 16. 26 Various types of ornamentation were used on the tight fore- arm, such as lace or embroidery. A turned-back cuff was occa- sionally seen. Godey’s Magazine notes the use of matching collars and cuffs.10 For evening wear, the tight-fitting lower sleeve was often omitted and a lace ruffle or sheer fabric drape was used at the elbow (Plate VI, Figs. 1, 2). As the sleeves of the decade began with a simple silhouette and grew in size, the skirts of the era did the same. The fanciful bustle had disappeared, and in the first years of the nineties the skirts were not much wider at the bottom than at the hipline. Skirts were cut in one piece, with a single seam at the back, fitted on the hips and at the front, with the excess material pleated in at the back. Skirts were floor length, and for evening and the carriage wear a small train was often worn. The advent of bicycling forced the appearance of a skirt of ankle length, at least for cycling. To prevent the skirt from clinging, a foundation skirt, fas- tened to the same band as the outer skirt, was worn.11 Two other methods preventing clinging were also used——a heavy interlining of 12 very stiff material, and pieces of whalebone or narrow strips of loGodey’s Magazine, cxxxn (March, 1896), 330. 11 See pattern of sham skirt. 12Cunnington, p. 370. 27 spring steel sewn into the seams. This latter method probably fore- cast the much advertised “La Pliante,” an invention for holding out skirts at the back, developed about 1895.13 As the decade progressed, the desire for wider skirts brought about a skirt styled with gores, to produce a flaring hemline. By 1896 gores were used to an extent never seen before or since. The seams produced by a large number of gores provided areas for the spring steel or whalebone stays to hold out the voluminous material in the hemline. The most common method of holding out the skirts, however, was a heavy interlining. Skirts by this time were as full as they were at any time during the decade—a maximum of nine yards around the bottom (Plate VII, Figs. 2, 4). For the most part, throughout the period, skirts remained plain, without surface ornamentation, reserving decoration for bodices and sleeves.14 As the century drew to a close the skirts lost their stiffness and fell gracefully to the floor in soft folds. Some modera- tion in width at the bottOm was apparent, although this edge still measured five yards (Plate IX, Fig. 1). 13Countess Laetitia [pseud?], “Fashion Notes from Countess Laetitia,” The French Dressmaker, XL (October, 1895), 111. 14The Ladies’ Home Journal, X (March, 1893), 66. 28 Coats styled on the previously described silhouette of the era were many. Often they were enhanced by elbow-length capes. Such capes were also worn directly over the dress or with the jacket- skirt combination. Until 1896, hair styled close to the head was pOpular. Hats were small to go with the hair style, such as little toques that fit over the psyche knot and little bonnets that tied under the chin. The latter were favored by older women. With the introduction of the pompadour style of hair arrangement, hats assumed greater pr0por- tions. Known today as the Merry Widow style, these wide hats with brim burned up on one side and down on the other provided a bit of rakishness to the lady’s costume. As the hat deveIOped in size, the quantity of decoration also increased. Hats were said to be “more strange than tasteful.”15 For example, whole birds with wings out- stretched were used to adorn these head coverings (Plate VIII, Fig. 4). Except for mourning, veils were not used (Plate III, Fig. 4). Jewelry was used sparingly. Hair ornaments for evening wear consisted of combs, feathers, and jeweled pieces. Earrings were not in style. A band of brilliants was sometimes worn as a choker for formal evening wear. Lacy pins were used to ornament the bodice 15Countess de Verissey [pseud?], “Paris Fashions as They Are,” La Mode de Paris, VI (May, 1895), 66. 29 and hold little watches in place. Bracelets reappeared at the end of the era.16 The skirts of the early years of the decade were without pockets, and so little chatalaine bags were in vogue. As pockets were added in the, stiffly lined skirts, bags were no longer needed. As a result, it was prOper for a lady to carry only a card case, not a purse}.7 Afternoon walks sometimes required fancy parasols, and in the evening a fan was carried. Footwear of the period was characterized by sharply pointed toes and heels on shoes that were either laced or buttoned. Tops of Shoes were often made of contrasting leather or decorative fabric. Low, long vamped slippers were correct for formal evening wear and were made of white or cream kid or covered with fabric and some- times ornamented with a cut-steel buckle or a fabric rosette. To summarize, the period might be described as moving from moderation in the elements that characterize the period to extremes midway in the era and then reverting back to moderation and the earlier simplicity in structural design. The sleeve, gently silhouetting 16Mary Katherine Howard, “Correct Summer Styles,” Wom- fl’s Home Companion, XXIV (June, 1897), 15. 17Isabel A. Mallon, “The Art of Dressing for Visiting,” The Lager Home Journal, x1 (April, 1894), 20. *— 30 the arm in 1890, approached a balloon-like appearance in 1896 and then returned to a moderate, simple line at the period’s close. The softly fitting skirt of 1890 had, by 1896, developed an almost tentlike appearance. Then, omitting the linings and mechanical devices, it diminished again at the end of the era to a soft skirt which now flared at the bottom. Hats followed the same pattern of moderation to extremes and back again to moderation. In the tightly corseted waist, however, moderation was rejected. As the era began, the trend to tight corseting continued as in the previous decade and re- mained through the period with the eighteen-inch waist in vogue in 1900. CHAPTER III THE PATTERNS The patterns comprising the bulk of this chapter are repro- duced from American fashion journals of the period under consider- ation. None of the journals are published today with the exception of Harper’s Bazaar, and it no longer includes patterns. There were three methods of presenting patterns to the public. A limited number of patterns similar to our present tissue-paper variety were made and sold by publishers of several journals. Chief among the pattern manu- facturers was the Butterick Company, which had been publishing pat- terns since 1863; its journal was The Delineator. Other periodicals which published patterns in this manner were Vogue, Ladies’ Home Journal, and Woman’s Home Companion. The second method used unsealed line drawings with instructions for drafting the actual full- size pattern. The home dressmaker was required to construct a paper pattern in order to cut and sew her garment. Finally, full- sized pattern sheets were inserted in the fashion journal. These Sheets were approximately four feet square, and three to eight dif- ferent full-size garment patterns were printed on them. The form 31 32 of each pattern was laid on the sheet and outlined in a distinct type of line (dotted, stars, dots and dashes, etc.), then the next pattern was superimposed so that the resulting diagram was a most confusing maze of lines, looking very much like a modern road map. The dress- maker had to transfer the parts of the pattern she wished to make on to wrapping paper by following each line of the pattern form with her tracing wheel, a long and tiring process which must have been most discouraging to the amateur dressmaker. Many times a large form would be folded back on itself or the form was cut into two or more pieces. The whole process was complicated by the fact that many times designs for embroidery were Scattered among the pattern lines. A photograph of a full-sized pattern sheet is shown in Plate X. A person using these patterns for construction may use his Own method of enlargement. The patterns reproduced here have been drawn to a one-eighth—inch scale. Probably the easiest and quickest method is the use of an Opaque projector and enlarging a sample one-inch line to eight inches on the wall to achieve the scale accurately. Then trace the various forms on heavy wrapping paper taped to the wall. If an Opaque projector is unavailable, it is pos- sible to trace the form on a large piece of wrapping paper and en- large, extending all points from one point exactly eight times the dis- tance within the miniature form. This method is illustrated on page 35. 33 The notes for construction of these patterns are necessarily brief, as they are intended only to clear up any ambiguities in the patterns. The various forms have been so arranged on the pages that the actual matching points in joining the forms are self-explana- tory. ‘ It will be noted that arrows indicating the grain of the fabric have seldom been included, because the patterns of the period seldom indicated the grain except in the case of some skirts. Thus the problem of the grain of the fabric must be left to the judgment of the person using the patterns. For some of the patterns, a pen-and-ink sketch of the finished garment is included. These sketches are not intended as research illustrations but only as guides for the construction technician to see approximately how the garment will look when finished, using the pattern given. The names of some garments in this chapter are purely inven- tions of the magazines from which they were taken. For example, the Rejane or the Empire sleeves might have been called something entirely different by another magazine, but actually both would come under the general category of the Paquin sleeve mentioned in Chap- ter II. The names, then, are just convenient ways of identifying the various styles of garment. 34 The following selection of patterns should allow a technician to create authentic costumes of the many styles in vogue throughout the period, since the patterns were drafted by and/or the directions for their drafting were written by a tailor or dressmaker of the period. In this way the designer’s sketches can be executed faith- fully and the true silhouette for the period can be achieved by the period pattern——the only sound basis for the reproduction of a true period style. Enlarging without an Opaque projector. Extend lines through important points on the small form to eight times the distance within the small form. This example has been enlarged three times the small form. 35 I ETON JACKET Harper's Bazar 1890 .91. EE VF- Cut the Jacket according to the pattern. Interline all parts. Construct the entire jacket in the usual manner. Join the shoulder seams and then the center-back collar seam 22:22, Attach the back of the collar matching 25-93. Cut a facing for the front using the entire front for the pattern and attach. Tack the facing as usual and roll the collar back. Take up the darts in the vest section. Whip each half of the vest securely into the jacket, matching points‘g,‘g, and.3' Tack the jacket front to the vest in several places, holding it into the body. The entire jacket-vest combination fastens down the center front of the vest. Use the sleeve lining pattern on page . ¥ cf II THE SHAH SKIRT La; Mode 93 Paris 1891 Cut this skirt according to the pattern. Do not interline this shirt. Construct according to usual procedures, matching letters. Pleat excess naterial in at the back and sew a tape casing across the back where indicated. Fasten tape at the side gore and adjust to lake the skirt fit the hips, holding the material in at the hack of the skirt. Placket should be in one of the side-front seams. 38 III THE FAN-BACK SKIRT 1:; Mode 51; Paris 1891 This skirt is cut from one piece of material. Lay the center-front on the fold and cut according to the pattern. Take in darts at the waist. Seam center-hack seas. A muslin lining is sufficient for this skirt. If desired, the folds of the train may be held in a little by tapes. This skirt must be worn over the Sham Skirt on the proceeding page. Note: this skirt is folded back on itself. c5 ""9 3““! ' P20! 3:3 A 39 o. f IV TRAIN SKIRT 2 Mode 93 Paris 1891 ‘Cut this skirt according to the pattern. A muslin lining is sufficient for the correct drape. Construct in the usual manner, matching the letters. Note: pattern is folded back on itself in two places. Pleat excess material in at the back and hold in to the hips by a stay tape from side gore to side gore around the back at the sane time fastening the back pleats in place. c3, 40 V THE EMPIRE SLEEVE _I_a_ Mode d_e_ Paris 1892 Cut the sleeve according to the pattern. This model looks well with a puff of con- trasting fabric. Fbr the lining use the pat- tern on page . Put in the three pleats as indicated, tacking then on the line 2;. Gather puff to lower sleeve from‘g to‘g, along long curveu_ Sean lower sleeve, matching gghand pg. Match point 51 to the top of the sleeve lining front seam; then gather top of sleeve puff, _l_>_a_d_, to top of lining with point _a_ at the top-most point of the lining. Finish in the usual manner. The magazine suggests that the lower sleeve be trimmed with covered buttonss o v: ‘3 wA'r'rEAU SKIRT "’9 \ Q £2 Mode _<_i_e_ Paris ‘3? 1892 \ Cut portions of the skirt ac- cording to the pattern. This skirt should be lined with pellon, not felt, felt is too stiff. Join pieces together on lengthwise seams, and put in darts. Make Watteau pleat at the back following the fold lines on the pattern. Attach a waistband as usual . VII . FERNAND SLEEVE ‘9; Mode 93 Paris 1892 The two portions of this sleeve should, for the full effect of the style, he of contrasting fabrics. The lining is out according to the pattern on page . The puff is out according to the pattern and finished before the lower por- tion is put on the sleeve. The two small pleats are turned up- wards as is the large pleat at the top. The puff portion is then seamed, matching 22:23. The lower portion is interlined and the edges at the wrist, 333, and the three curved lines enclosing the capmion "lower portion" are finished. It is then turned and the edges, 22:23, joined. The three parts of the sleeve are then put together, point g on the lower section and point 9 of the puff section correspond to the lower point of the outside seam of the lining. Point b'of the lower portion and point 9 of the puff cor- respond to the upper point of the inside seam of the lining. The pufi’is then gathered to the lining and set into the garment as usual. A small piece of material is lined and fastened between points _f_ and e on the lower portion to hold them together and maintain the puff. VIII HENRI II CAPE _I_.a;_ Mode 513 Paris 1892 “r Yoke 5mm, 05K, C 3 PE- Cut all parts of this cape ac- cording to the pattern. All portions must be lined and the yoke must be interlined. Construct the yoke. Put in the pleat as marked and gather the rest of the fabric to the yoke on lines 93d. Seam the shoulder cape center-back and gather onto yoke from 51 around the back to g on the other side, with the right sides together so that when the shoulder cape falls down it covers the seam. Tack the edge _d_g inside the pleat at the front of the cape with 3 matching 3. Attach any style of flaring collar such as a Valois, or a choux of fabric like the shoulder cape. 43 .0 ceni‘er one);L seam OVER, Dagm- in IX CONCHITA S IEEVE La Mode gl_e_ Paris 1892 Cut portions of this sleeve according to the pattern and the lining ac- cording to the lining pattern on page . Put the lining together. Seam 23:1! of the cuff. Seam 39-133 of the puff section. Join the puff to the cuff matching points 3 and _a_. S-lip both the cuff and the puff on the lining and pull puff up so that point 3 is at the top of the inside seam of the lining. Gather the top. of the puff to the lining. Attach over-drape to the sleeve with point _a_ corresponding to point 2 of the puff and distribute the fullness of the over- drape on the shoulder. It is obvious that the over-drape must be lined and finished before placing on the sleeve. Set in the sleeve as usual. The mag- azine suggests trimming the over-drape along its edges with velvet bands, ribbon, or passementerie. PU FF 45 a X JACKET WATTEAU Mode 22 Paris 1892 .12. .Eoonjfid& .3180 I ll V~o\. {.2430 I I: I! 20%. comes”. I I / V4 / / Nu“ UVWhaV‘Ol % / / Won‘t Ufiwoql / 46 Cut all parts of this jacket according to the pattern. All parts must be lined and the top-front must be interlined with felt. Take in the dart of the top-front. Pleat the lower-front and attach to the top-front, matching 3:2,and 2:2, Join the short center-back seam at the neck and the long center-back seam in the pleat section of the jacket. Pleat the back as marked, piling the pleats on top of each other on the outside of the jacket. Join the shoulder seams and the side seams £22323. Attach any flaring collar. Cut the sleeve lining according to the pattern on page . Construct the sleeve like the Conchita sleeve., The top of the pleats at the back are concealed by a false yoke. Those in the front are concealed by braid. x WATTEAU JACKET (2) La; Mode _d_e Paris 1892 SLE-F-VE— [to fold fold 15201 out 80' ole folo‘ outside fol inside fold inside under lap outside inei‘e PU FF XI GILBERTE SLEEVE 1:3 Mode is Paris 1892 Cut the portions of the sleeve according to the pattern and the lining according to the lining pattern on page . Seam gig-ab and press. Shirr pg; attaching it to the lining on a line running around the lining through points 4 inches from the wrist on_ the inside seam and 9 inches from the wrist on the outside seam. Gather the top of the puff to the top of the lining. The dec- orative portion of the sleeve must be interlined. Seam 95-3. Attach the decorative portion to the lining with the seam following the inside seam of the lining. Fasten the short tab into the arm-hole when the sleeve is set into the garment and the longer tab to the top of the sleeve and trim with buttons. Both tabs may possibly have to be tacked to the lining in several place places to hold them in place. 48 cenfer liven? N XII EMPIRE GORED SKIRT . _lg Mode 93 Paris 1892 Cut all parts of this skirt according to the pattern. Each gore must be lined separately. Take in the six darts at the waistline and attach a waistband as usual. The four back gores are gathered into about 2 inches. 49 E ‘52 CE I l d 4— ,_ XIII ADRIENNE SLEEVE _I_a_ Mode Q_e_ Paris 1892 The two parts of this sleeve are cut according to the pattern. The edge b_c_ of the puff is made to fit 93 of the lower portion by an inverted pleat where marked on the pattern and the extra fullness taken up by small pleats going the same direction as those in the box pleat on their side of the pleat. Seam the out- side seam of the lining. As the inside seam of the lining is stitched also join ‘93-'93 at the same time. Gather the top of the puff to the top of the lining and set the sleeve into the garment as usual. The portion indicated by the dotted lines between the elbow and the wrist is folded and stayed on the outside of the sleeve much in the manner of a modern dart. The magazine suggests trinming the seam of the puff and the lower portion of the sleeve with ribbon, braid, or passementerie. XIV SEAMIESS SKIRT §§_Mode 53 Paris 1892 This skirt is made all in one piece. It should be lined with a soft fabric of some kind, it should not be stif- fened. Put in the darts. Fasten edges gbggb with some type of fastening, the magazine suggests decorative buttons. The back laps over the front. 50 XV TRAVELING MANTIE 1v: 7:! x09 51 c1: 3" F {Tn act 3 xv TRAVELING MANTLE (2) La. Mode _d_e_ Paris 1892 Cut all parts of the mantis according to the pattern. Inter- line both the front and back yokes. All parts must be lined. Join the shoulders of the front and back yokes, matching‘g and 2, .Adjust the box pleat in the two fronts and join to the front yoke. Seam the center back down to the waist and also the center back of, the skirt. Make an inverted pleat in the back in the usual manner. IFasten the back.to the back yoke gathering it to fit as marked. Match f to I. and _b_ to b on the front and back, the back overlap- _ pingrthe front. Tack the two parts together down to the waistline. If there is too much of a gap in the skirt section at the sides, it may be necessary to fasten the sides all the way down. Gather the backzto the waistline as marked. Attach the sleeves, matching the ‘corresponding numbers. Attach the collar. It will be necessary to interline the collar. can)". back, 53 XVI 1830 SPRING JACKET .LE_§2§$.QE Paris 1893 54 XVI 1830 SPRING JACKET (2) _Lg Mode 51; Paris 1893 .1 5%“ be): P? LEFT LowER. FKO’JT ‘ ‘~ Cut all parts of this jacket according to the pattern. Notice that the two lower fronts are different. Put the little extension on the right figaro front only; this will cross to the left front and cover the space represented by the dotted lines. All parts except the sleeves must be lined and the figaro must be interlined with felt. Put the darts in the figaroand construct as usual. Seam the lower fronts to the lower back. Put in the box pleat on. the right side and attach extending portion up onto the figaro, covering the extension of the right figaro front and the space represented by the dotted lines by a lapped seam. Pleat the re- maining material of the edge jg to the lower edge of the right front up onto the space represented by the dotted lines on the left figaro front. Pleat the remaining material from h - lto the lower edge of the left figaro front by a lapped seam. Put in the box pleat in the back and the extension of the pleat up into the space represented by the dotted lines on the figaro back. Pleat the rest of the material onto the lower back edges of the figaro 55 xv: 1830 SPRING JACKET (3) _Ig Mode _d_e_ Paris 1893 with a lapped seam. Seam $93.11! of the sleeve. Shirr along the line _lgk_ gathering it in and fastening it to a tape to hold it into the arm. Put the three pleats into the shoulder, turning them as marked and set into the figaro, gathering the excess into the arm- hole. Fasten a 16 inch tape at the top of the arm-hole and the other end on line g to keep the puff. The neck is finished with a Valois collar. Conceal the tops of the pleats on the figaro with braid, ribbon, or passementerie. 56 XVII TZAR INA SLEEVE _L_a_ Mode _a_; Paris 1893 Cut this sleeve according to the pattern. Cut a cuff and the lining according to the lining pattern on page . Put in the pleats at the front of the sleeve turning them in the direction indicated on the pattern. Make a box pleat at the top of the sleeve and distribute the fullness over the rest of the top of the lining. Gather the long curve b}; to the cuff and slip on the sleeve lining. Finish the sleeve with a large bow at the front as illustrated. Set into the garment in the usual manner. 57 Cut all the parts of this cape ac- cording to the pat- tern noting that as drafted, each of the little capes is placed on top of each other that when cutting is completed there will be 16 pieces including u“ the yoke. All pieces of .b ‘ this cape must be lined and the yoke must be interlined with felt. Seam the shoulder seam of the undermost cape age-3. This is the only complete cape; all the rest of the upper capes are split at the shoulder line having a front piece and a back piece. Line up the capes as they are shown on the pattern, the center- front of each cape matching the center-front of the one just below it. Join the capes to the yoke, matching the center-fronts and the back fold of both pieces. Trim the seam.with ribbon puffs and a: large bow on each shoulder. Finish the neck with choux. XVIII THEATRE CAPE Lg'Mode 93 Paris 1893 58 A P‘snr fa fl} LININ€—_’ J X IX DUCHESS OF YORK SIEEVE La Mode d_e_ Paris 1893 Cut this sleeve according to the pattern. Cut the lining according Run a gathering thread along line _a_g. to the pattern on page . Join 113-g. Fit the top of the sleeve to the lining and pleat the lower edge to fit the lining with knife pleats turned to the back and fastened at the top and bottom. Gather line _a_g to a line running from the top of the front seam of the lining to a point two inches below the top of the back seam of the lining. Fasten _a_c_ to this line. Set into the garment in the usual manner. 59 cem‘er fro»? 225a: Jeam H XX WORTH mDET SKIRT _l_a_ Mode 93 Paris 1894 Cut this skirt according to the pattern. Note: when the cutting is complete there will be 13 pieces not counting the waistband. Note also that the straight of the fabric runs down the center of each panel with the exception of he front which has a bias seam. Construct this skirt as usual. Stay the godets numbered II,III,IV. V,and V1 with tapes 18 inches from the bottom and five inches from the top. Attach the waistband as usual. The entire skirt must be 1.de With felt. 60 Cut this cape according to the pattern. The front and back yokes and the collar should be lined with felt. Construct the yoke and attach the collar. Attach the cape to the yoke, matching the letters and adjusting the cape to fit the curve of the yoke. Trim the seam of the cape with braid. 61 Cut this blouse-bodice according to the pattern. Construct the lining in the usual manner with the opening in the back. Shirr the front and back and attach to the lining. Put on the collar and the belt. Gather the sides ihfih.1nt° about 8 inches and attach to the sleeve-sleeve lining combination which has been constructed in the usual manner. Set into the garment in the usual manner. XXII BIDUSE-BODICE LIA/Ml q Paris Album 9; Fashion 1895 XXII amass-Homes (2) \ 75;: PUP F Paris Album 2; Fashion . I C c3 Lx .51. E-E—VF- J 51. 5‘54? LIA/Mfr, 62 63 XXIII BODICE Paris Album g_f_ Fashion 1895 Cut the portions of the bodice according to the pattern. Use the dotted line for a square neckline. The construction of this bodice is fairly obvious. The entire pattern must be lined and the seams boned. This pattern is basic for the entire era. Any variations were made on the outside material with the draping. 64 ? Q n \ l 5 R 9‘\ / c, fl \ Q? .— b; PUFF— - , a. . XXIV REJANE SLEEVE The French Dressmaker 1895 Cut the puff according to this pattern and the lining and fitted. portion of. Seamtghygge put in the at the tap the sleeve the sleeve the sleeve according to the lining pattern on page . . of the puff, shirring one side to make it fit the other. pleats at the top of the sleeve as marked, noting that of the sleeve they overlap each other. Adjust to fit cap of the lining. Place the tab 353 on the outside of with g; approximately in line with the elbow. Gather the rest of the material acd and efa to fit the sleeve around the elbow. Set into the garment in the usual manner. XXV BODICE-JACKET Paris Album of Fashion 66 f SLEEVE— xxv J7 BODICE-JACKET (2) 9 Paris Album 9_f_ Fashion 1895 9 9 3 5 L 55 v5 Decca no I Cut this bodice-Jacket according to the pattern. The entire pattern must be lined with felt. Construct in the usual manner after finishing the front edges. Fold the rever back in the direction indicated so that it will fall in a cascade as in the picture. Shirr the vest front to the lining and fasten into the jacket by the under-arm and shoulder seams. The entire vest- jacket combination Opens down the center-front of the vest. The waist band should fasten across the front in one piece; it is not part of the vest. Fasten points 5 of the sleeve decoration to- gether and attach to the cuff, matching the letters. Attach the sleeve to the cuff and set in the sleeve as usual. Tack the lapel decoration under the rever cascade. The jacket will have to be tacked to the vest in several places to hold it into the body. XXVI PAQUIN TRAIN SKIRT - .112 Mode d_e_ Paris 9 1895 racy xv 67 Cut this skirt according to the pattern noting that when cutting is completed there will be 16 pieces, not counting the waistband. All edges are bias except the center front and the center back which are laid on folds on the straight 01' the fabric. The entire skirt must be lined with felt. Seam 53-93, gag-bx, 93-32, 21'910 and 31-31. Put on a waistband as usual. Stay the back fullness with tapes 10, 20, and 30 inches from the top of the skirt. If desired, featherboning may be put in the bottom. Note: in drafting the pattern, the train has been folded back on itself. 68 XXVI PAQUIN TRAIN SK ‘1‘ 2 69 O p? Q .2 '3 C) ca ‘3 U. D. t \2 JOCV II IDOSE JACKET Paris Album 9; Fashion 1895 Cut this jacket according to the pattern. Line the entire jacket with felt. Construct in the usual manner, rolling back the collar and fastening it with a few stitches if necessary. Set in the sleeves. This jacket would be .worn over a bodice and the sleeves Of the bodice would hold out the sleeves 01’ the jacket. 7O / / /}’:)w‘9 R a XXVIII ELBOW PUFF SLEEVE FOR SUMRER FABRICS _I._a_ Mode £13 Paris 1895 Cut the puff according to the pattern and the lining at the three- quarter length from the lining pattern on page . Shirr §_'_b_'to be seamed with .32. Take in the pleats at the top of the sleeve adjusting to fit the lining where necessary, noting that the pleats meet where marked. Gather 92.01! a line approximately 2 inches above the bottom of the lining. Tack point _c_ to the lining at a point 4 inches below the highest part of the lining on the outside of the sleeve. Trim the 2 inch cuff; the mag- azine suggests a large bow. HIP IENGTH WRAP 71 °~a COLLAR“ Back XXIX Paris Album of Fashion 18 UI 72 31. EE VE- XXIX c c HIP lENGTH WRAP (2) C UF'F e v—i Paris Album _c_; Fashion 1895 Cut this wrap according to the pattern. Line the collar and the cuffs with felt. This wrap will be worn over a bodice and the sleeves of the bodice will hold out the sleeves of the wrap. Turn the pleats at the front toward the arm-hole and gather the excess material into about three inches. Pleat the back shoulder seam to fit the front shoulder seam and join the front and the back. Attach the collar in the usual manner and set in the Sleeves. 73 cem’er fro»? Govt-'7' XXX SPRING CAPE A GODETS Paris Album 2; Fashion 1895 Cut this cape according to the pattern. Cut 11 godets. Both the cape and the godets should be lined with felt. Either cut the cape where marked and insert the godets and stay them for the organ pipe effect; or leave the cape uncut and whip the godet on to the cape and cover the seam with braid, the cape itself staying the godets. Finish the neck with choux and a lace bertha. XXXI BODICE WITH CAPE COLLAR Paris Album 9.1. Fashion 1895 SHIKRED FKOJT C VEST) 75 SLEEVE- LIA/Mfg a) 5/. FF—VE— BODICE WITH CAPE COLLAR (2) Paris Album 9_f. Fashion 1895 Cut this bodice according to the pattern. The entirejacket should be lined with felt and the sleeves with pellon. Construct the jacket in the usual manner. Attach the cape matching the , letters and fastening the open edge down the front of the jacket. Shirr the front portion of the vest to the vest lining, matching the letters and attach the vest to the jacket by the under-arm seam and the shoulder seam. Join the collar to the jacket in the back and to the vest in the front. Set in the sleeves as usual. Cehfer front- FRQIJT 76 XXX I I PIEATED COAT Paris Album of Fashion /\ 77 i Cb \ HOOD ) 3L E—E—VE— fi/ c (CUFF c xxxn PLEATED COAT (2') Paris Album 2; Fashion 1895 Cut this coat according to the pattern. This coat should be inter- lined with muslin and the collar and cuffs interlined with felt. It would be worn over a bodice so there is no need for a heavy interlining in the sleeves as the sleeves of the bodice will hold out those of the coat. Turn the pleats on the front toward the arm-hole and make a box pleat at the back on the lines indicated on the pattern. Construct the hood by seaming the long curve and 'pleating in a little of the fullness. Attach 23 to the neckline ‘pleating where necessary to get rid of the excess fabric. Attach 'the collar. Set in the sleeves in the usual manner and attach ‘the cuffs. 78 b anff 8 i. ‘3 5“ 5L XXXIII SIX GODET PAQUIN SKIRT Eg’Mode d3 Paris 1895 Cut this skirt according to the pattern. The front is placed on a fold as is the center front of the yoke. Six godets must be cut for this pattern. Take in the darts in the yoke. Attach the front to the yoke beginning pinning at‘b, any ex- cess material is cut off grading to the bottom. Put all six godets together and attach to the rest of the skirt. These six godets must be pleated into 6 inches at the back so that they fall in organ-pipe pleats. A waistband is then at- 'tached. Trim the seam of the youe and the front of the skirt. XXXIV CAPE Paris Album _o_f_ Fashion 1895 Cut this cape according to the pattern. Interline with muslin and a decorative lining. Join the back to the cape then the front to the cape. Join the shoulder seams 93-92. Pleat in the extra material at the point of the shoulder. Decorate the long tail at the front with lace cascades. 80 XXXV (3 BOX JACKET 01¢an Paris Album of Fashion 1895 Beck Fagnfi “” Keys R. SIDE- Cut this jacket ac- cording to the pattern. The entire jacket with the ex- ception of the sleeves must be lined with felt. This jacket would be worn over a bodice and the sleeves of the bodice would make those of the jacket stand out. Con- struct the jacket in the usual manner. XXXVI DOUBIEBREASTED JACKET L£.Costume Royal 1896 Conn a, “” REVEFL Cut this jacket according to the pattern. The en- tire jacket should be lined with felt. The magazine suggests that the high waist effect he achieved by two dif- ferent materials being used in the jacket with the outer or upper fabric only coming down to the dotted line on the pattern. Construct the jacket in the usual manner, attaching the collar and folding back the revers. A high collar piece should be worn with this jacket. line the sleeves with felt and set into the garment in the usual manner. XXXVII BICYCLE COSTUME [£3 Costume Royal c..£ Cut this bodice and the skirt-trouser combination according to the pattern. The entire bodice should be lined with felt as should the skirt. Construct the bodice in the usual manner. This bodice should be finished with a plain collar and should open down one of th down one of the front- side front seams. To construct the skirt, seam the center front. Join the front and the side portions with the placket extension of the front over- lapping that of the back. ‘Both.sides should be Open and trimmed with buttons. “Pleat excess at the back and join the two sides by seaming Lug-fl. Join is; to is; at the front. Note: the skirt is split at the back but not at the front. SLEEVE C2) to SLEEVE- (1) 83 XXXVII BICYCLE COSTUME (2) _L_e. Costume Royal 1896 "fistula .. \\ \ T \\\5lwq .. 370E, Back, K.”DIVIDER: 85 FRgAfT Cut the cloak according to the pattern. The entire cape must be lined and the collar must be heavily interlined. Seam the center back and the two side seams of the cape. Put the two box pleats into the back of the cape and gather the rest of the fullness to the neck measurement. Seam the center back of the hood gg-gg. Gather the long curve of the hood, egg to the neck measurement. Attach the collar and roll back in Valois style. If desired, the two box pleats could be tacked at the waistline and a tape tied around the waist to hold the pleats in at the back. Chiffon and lace cascades should be placed in- side the front edges and around the bottom in the manner of a dust ruffle. XXXVIII PAYSANNE OPERA CLOAK (2) £3 Mode 23 Paris 1896 86 —J XXXIX FRENCH GORED SLEEVE _I: Mode 9.9. Paris 1896 Cut this sleeve according to the pattern. This sleeve needs no lining but it must be interlined with felt. The particular style is most effective whe when form II is of a contrasting fabric. Construct by the usual methods beginning matching at the top of the sleeve and cutting any excess at the wrist. Accent the seams with braid. REVER, g] Enfrfigr‘ Dogx XL 10W CUT BODICE Paris Album of Fashion 1896 Cut the bodice according to the pattern. Construct the lining in the usual manner matching the letters. Shirr the outer material to fit the lining and attach. Line the rever and the entre doux \vith felt and join at the shoulder seam, f, and attach to the bodice. .Finish with a large rose or other ornament at the front. 87 AF \ 4e , 'f 57‘ - l , Cr ‘\ 1 0,‘ 4 -9 .4 ' W e ‘t \ i "4 . . . Q; a I ' . O . V n‘ “ ’ s \‘c \§_‘.’0 88 XLJ JACKET Paris Album 23 Fashion 1896 3 pattern. Construct in the usual manner. The entire jacket should be lined with felt to make the tails stand out properly. Note: the form for the sleeve has been folded back on itself. Cut this jacket according to the \ 89 # — — XLII THREE-QUARTER LENGTH WRAP Paris Album 2; Fashion 1896 Cut the wrap according to the pattern. Put in the pleats on the front, turning them in the direction indicated. Pleat the hack to about 3 inches and join the front and the back. Put on the little cape, matching the letters and join the open edge of the cape to the front edge of the wrap. Attach the collar and set in the sleeves. The collar should be interlined with felt and possibly wired to make it stand up. The sleeve need not be lined as this wrap would be worn over a bodice with sleeves which would hold up the sleeves of the wrap. 90 p Zea? Back) XLII THREE QUARTER IENGTH WRAP (2) Paris Album 91 Fashion 1896 '93: C 51. EE- VE- 91 XLIII NEW TIGHT FITTING SKIRT Elite Styles 1897 FKOJ‘fT SIDE FRO/{T Cut this skirt according to the pattern. A muslin lining is sufficient for the correct drape. Construct in the usual manner, pleating in the excess material at the back. This pattern may ‘be altered to give more of a flare by curving the seam line out there at the lower edge. 31 DE BACK, XLIII an TIGHT FITTING SKIRT (2) Elite Styles 1897 92 93 XLIV JACKET AND VEST WITH VAIDIS COLLAR oyal 1897 Le Costume R 94 < r“ (o ‘4 A 51.54?“ (a) XLIV JACKET AND VEST WITH VALOIS COLLAR (2) Le Costume Royal 1897 (hut this jacket according to the pattern. Construct the jacket in the usual manner. A muslin interlining is sufficient for the ‘correct drape for most of the coat except the front which should 'be*interlined with felt, as should the collar, Valois, and vest. Fasten the vest into the jacket matching points _c_. The entire ‘jacket-vest combination fastens down the center front of the vest. (Zonstruct the valois and collar as a single unit and attach to the *vest in the front and to the jacket in the back. The revers of 'the vest meet in the center front and must be fastened together. ffhe sleeve should be lined with pellon and the two parts of the galeeve joined by pleating the excess material in the outside of the sleeve to fit the inner portion. Set into the garment as usual. 95 XEV NEW FRENCH SKIRT Elite Styles 1896 SIDE Flay/(CE (2) 96 XLV NEW FRENCH SKIRT Elite Styles 1896 Flat/Arcs (3) FL OUArCE Cut this skirt according to the pattern. The front and side panels must be lined with felt. The sections of the flounce should be lined with muslin. Construct the skirt by joining the front and side panels and then join all sections of the flounce together. Join the flounce to the front-side unit. Pleat in any fullness I at the back. Note: the fourth section of the flounce has been folded back on itself. Conceal the seam of the flounce and the rest of the skirt by a decorative braid. CHAPTER IV CONCLUSION In conclusion, a few reconstruction principles for costumes to be used on the stage for plays which are set in the period 1890 to 1900 should be set forth. It must be emphasized that the construc- tion techniques advocated are for stage use and not for street wear. This is most important, as techniques used on the stage differ greatly in many respects from construction techniques used for street wear. Costumes constructed on fitted linings were the rule in the period of the Gibson Girl. The middle portion of the figure tightly encased and skirt heavily interlined resulted in a regal carriage that must be the goal of the costume technician working with the period. The basic form determining the silhouette of the period is provided by the undergarments; namely, the corset. The costume technician must make the figure of the modern actress resemble that of the woman of the 1890’s. It is unlikely that he can lace her waist to eighteen or even twenty inches, but the impression can be achieved by padding across the bust and hips, thereby accentuating the small waist. Two or three inches Of lacing is the limit to which most 97 98 modern actresses can be subjected. Further foundation of one or two gored petticoats with ruffles around the bottom will aid in creat- ing the desired silhouette. Colored petticoats were permissible dur- ing this era and would be most interesting for use in a production. A flash of color under a ball gown in Lady Windermere’s drawing room, for example, would be delightful. Bodices, to achieve their subtle line, must fit snugly. It is suggested that they be lined with the heaviest-weight pellon available. This pellon will act as both lining and interlining. It must be re- membered that all bodices are tightly fitted and any looseness of drape is achieved through skillful work with the outer material. Us- ing the tight-fitting bodice is another way of forcing the actress to move in a manner characteristic of the period. For the most part, the notes found in Appendix c will be very helpful—keeping in mind, however, that one is constructing for the stage and not for street wear; in other words, seam-finishing details can be ignored for stage construction. The bodice must be boned. This is one instance when the modern technician must rely on the methods of the earlier dress- maker and use the boning technique. Only by boning can one be as- sured of having a perfectly fitting bodice with no wrinkling. With the silhouette requiring the boned bodice and eighteen-inch waist, it 99 becomes apparent why the majority of the gowns of this period have to be made in two pieces. In order for the sleeves to retain their crispness and stand out as originally created, they should be lined with pellon. Ward- robe personnel usually do not have the time to fluff out the sleeves when preparing costumes for a performance; thus their job is made much easier with the addition of the pellon. It is well to note also that the sleeves were made in much the same manner as the bodice, with a semifitted lining and the puff silhouette achieved with the shaping of the outer fabric. Skirts, with the exception of the very end of the period, should be lined with felt. This is the only way the richness and heaviness of the period can be achieved. The dressmaker of the nineties lined and interlined her skirts with haircloth. The contem- porary costume technician, with felt at his disposal, can best achieve the effect produced by the haircloth with much less work and a great saving of that all-important factor—time. The large organ-pipe pleats at the back of the skirts of the middle nineties must be fastened with stay tapes. This is the only way they will stay in position. Because of the manner of finishing the hem, which should be by a facing tech- nique rather than a conventional hem, the skirts of this period are 100 almost unalterable. If the skirt were hemmed in a conventional man- ner, the bottom edge would be much too thick. There are endless possibilities with the millinery of the pe- riod, the only limiting factor being the ingenuity of the designer. There is no set formula for the construction of hats of any period. Each hat must be made in its own individual way, an art which can only be mastered through continual construction and analysis of con- struction problems of various kinds of hats. The pointed shoes of the period should be obtained if pos- sible. Finding the shoes is not difficult, but finding the sizes to fit the modern actress is another problem. The pointed modern shoe can be used if worn with dark hose. For evening wear, a light slipper is apprOpriate and should be worn with white or cream-colored hose. Add a decoration of some sort at the toe. This period was an era of gilded elegance, the age of the Vanderbilts, the Astors, and the Rockefellers——the era of regal dig- nity. Exquisite workmanship and perfect fit delineated the style, and all the clothes had a heavy richness which characterized the dignity of the period. This elegant dignity can best be caught by studying thoroughly the construction details of the patterns used for the origi- nal garments and by adapting these details to modern costume con- struction procedures. In fact, it is only in this maJmer that the 101 contemporary costume designer can capture the glamour, the elegance, and the theatricality of the period—~fin de siecle. APPENDDCE S 102 103 APPENDIX A FASHION PLATES OF THE PERIOD 1890—1900 The following pages are made up of double sheets containing photographs of fashion plates of the period and the sources of the plates. They are intended to be folded out to be used as a refer- ence for Chapter II. “—4- I I ¥ -.- .p- -N _.. _ - ......_. . . . ‘ - .~. '~-~.4- .- « ... .....,.-._ ~ .. -....--. V......... .. . . .. . - - - .Y 8" ”EFEW” . .. ‘39 ; ' ‘53:: i ' . r f PLATE I i ' ' i 3 ’1! F1 8 o 1 o I L; I Gown with Greek Style Drape May, 1890 e La Revue g3 la Mode and la France Elegant United w. J. Morse, publisher, 3 East 19th St. New York . Fi g . 2 . Afternoon Gown November lst, 1891 i E Myra's Journal 21 Dress, Fashion, and Needlework ' E Beeton & Company., Ltd. London i - _ I} r e I_ ' mnln‘k‘ Art" L :-. “who: We; l ~+-r*~ w» ~ » ~vmo-..-.. h-ii_m.-ui.--i. “nrnlfiths-ea .“_'”"":::h;Jl F1 0 3. . 8 pig. 1. May, 1890 Fig. 2. November, 1391 Reception Cown with demi-train (left) 1892 Afternoon Gown (right) PLATE I Societe General des Journaux Professionals des . Couturiers Fig. 3. 1892 Fig. 4. 1892 L. Michau, editor Paris ~~»«~-w«-*-~m-wwm-wu.~hrmli,n. -.Mn.ii .-Mi rennin” F1 8 e 4 o 5 Visiting Costumes 1892 ; Societe General des Journaux Professionals des ; Couturiers I L. Michau, editor Paris ; . ' l... s , ‘,.c."'°':_::"'-n,u '7 /. //uvl“fln i . 4-7M}, 104 PLATE II Fig. l. 2 Calling Costume February, 1893 j Le“ Bon Ton et le Moniteur de la Mode United ; S. T. Taylor, publisher New York 5 Fig. 2. j Calling Costume February, 1893 ; Le Bon Ton et le Moniteur de la Mode United E S. T. Taylor, publisher New York i i i Fig. 3 . M M' ‘ Fig. 1. February, 1893 Fig. 2. February, 1893 Walking Dress February, 1894 Le Bon Ton et le Moniteur de la Mode United PLATE II S. 'P. Taylor, publisher New York Fig. 3. February, 1894 Fig. 4. February, 1894 Fig. 4. Dinner Dress February, 1894 Le Bon Ton et le Moniteur de la Mode United 5. T. Baylor, publisher New York \ . v"§',u’~'~ ~.. -. . -. a; . . . . ’-'»" 'MMWtw‘u't- .. r .7 - -. _.. 105 Fig. 1. Visiting Costume February, 1894 ES Hon Ton gt lg Moniteur £3 la Mode United 5. T. Taylor, publisher New York Fig. 2. Dinner Jress February, 1894 22 Bon Ton £2 £3 Moniteur $3 la Mode United 5. T. Taylor, publisher New York Fig. so Afternoon Costume 1896 Source unknown L. Michau, editor Boris Fig. 40 Mourning C stume 1896 Source unknown L. Michau, editor Paris pa-gJ‘“ -. February, 1894 Fig. 2. February, 1894 PLATE III Figs 4c 1896 106 Him 5‘ L. U.“ “Eb-{O 1" ; Evening Cape ‘ This cape comes from the berry Collection in the college of Home Economics flichignn state University «— BER 13:3 - ‘ Figo 3. l Goingwaway Suit ‘ This suit comes from the Blodgett Collection in the College of Home Leonomics Michigan dtate University — CwlSSG Bl - ‘ L, Vfif—r ‘J an, The Blodgett Collection was given to the College of Home Economics of Michigan State University by Mrs. Catherine Blodgett Hadley. The collection consists of selected gowns and accessories from the per— sonal wardrobe of the late Mrs. John flood Blodgett of Grand eapids and dates from 1895 to 1933. The Berry Collection was donated to the historic costume collectionv of the College of Home Economics of Michigan State University in August, 1956 by Mrs. Roberta Berry Knight and her daughter, Catherine Knight Lujack. The costumes belonged to Mrs. Knight's mother, Mrs; Catherine Whenton Berry of Grand Rapids. F180 20 107 The four illustrations on this page are examples of the child's paper dolls of the era. Fig. lo Tennis or Golf Costume (Ladies' Outing Suit) 5"! Wu! hum. (No l I." IWIIN rm: pump "4 um... ow... ' ‘W’U‘M 'M‘ cmuln h "Mano-N Iom‘ovn‘ Anew-"JON. (our-o plow .m to undo! vo numb-n .l m. an...” Damn.“ .. u - . . kWh-Wu. “and hr “now." and onuuhry mm In vb..- you.» The Chicago Record May, 1895 N x ‘d ”""“'<":} 3 M ":7. 1'j-go 20 E 7"“,- ; 1 i ’3 “If“! ‘ ”MT"? . . _ l I ‘ - V1 1,. Fashion Figures if . ,Q"*~w~fiflw.w¢v The Chicago Record 1895 an, jr-f-L', 3H5..3 'J.‘ ,‘ I . -_ . 2- ii - 1 ”1%.. Fig. 1. May, 1895 Fig. 2. Fashion Figures Fig. 30 PLATE V Ladies' Street Toilette with Marie Antoinette Fur Set The Chicago Record October, 1895 Fig 3. October, 1895 Fig. 4. March, 1895 g- _ a Fig. 4. Ladies0 Spring Afternoon Dress The Chicago Record March, 1895 I. In In“ In..." ulvllflld LIM 108' Fig. Fig. Blii?3; VI 1. Evening Dress This dress comes from the Berry Collection in the College of Home Economics Michigan State University - BER 3 '- O 5-1. Evening Blouse This blouse comes from the Sender Collection in the College of Home EconOmics Michigan State University - C-1625 Be w ‘ PLATE VI 109 VLAFE VII >' Attflfidwffi‘ .ie. 1. W§@:Wwafla ) 5'95:qu 'I;1’?*‘Jii“' ‘ ’2‘:§.’ ‘1‘? Ir‘,"‘ ' J Visiting Costume 1890 V Source unknown L. I‘iichau , ed i tor Paris 1‘ 4- s 13 . Calling Costume 1896 source unknown L. Hichnu, editor Paris a a if}. e; o :5 0 Fig. 1. 1896 Fig. 2. 2; go bl JtrCC‘t pklottlfillfi‘ and, luncy ‘A‘Jllbtb PLATE VII Source unknown i). IiitfliaLx, ChiliAlr‘ l’axfiis i‘wigo 30 1896 ‘?igo 4o :01 ,f' o “i o Afternoon Costume and fancy WnlStS 1890 Source unknowz L. Michau, editor Paris ‘ 110 ’/ i ‘I \ k\/ PLATE VIII Fig. 1. Carriage Toilette -- by Felix The.cover of Toilettes June, 1895 Toilettes Publishing Company Fig. 2. Calling Costume Fall, 1399 The cover of 23 Bon Ton and £2 Moniteur gs la Mode United 8. T. Taylor New York Fig. 3. Street Costume September, 1899 £5 Bon Ton et £3 Moniteur Q: Li Mode United S. T. Taylor New York Fig.0 ’1. Street Costume September, 1899 £3 Don Ton g£_£g Moniteur £3 la Mode United S. T. Taylor New York \RMO’l’ffl/r. . ¢ § "414 .4"? (. I/‘ X ()ctolen '.qyl g . on. om 1 so: I! “9 RfildC" p (MRSSW mums 2”}? .w , .v‘m‘ . ~ ~.._¢... ~...—._ .7...“ n..- .. .. Fig. 2. Fall, 1899 PLATE VIII Fig. 3. September, 1899 Fig. 4. September, 1899 .-.'4“ ~ ——— . —-—- v-—.—- 1.-» -9 -”§_~. r‘">"\ —,‘ w- Miahga-u.’ v- M- ‘ a" r , O .. 'C I. ._ ’D .. - as. '..‘3 \ . -- «n—qwfl Q .0” ‘o— rue-:fl o . - I - F‘lofl‘ a ' '. . . .o’“ ;- .-’.""::‘.".":‘:SLS3:;:°‘9"°‘ ‘ c l I‘.’ ....... o ' _'.;.:;“J:. .- 1 ' ‘ \. '1 o . - -oo ----- - \ __ '.-.. .:. coco o. loo 0 0’ ‘ . ,fia.“>~‘* ~~MOI . 0:; l 4;” o... a“ ............. ,., ,,,,, . .. A ‘0'...'” ' ""‘° W h ‘ 1...? '..'.'.'.'.'.‘..'.'.'.'JW . 3 o " | o . “ff ' '40:?" g... ; $932 w... .r' . : l. x. . . .. 9 I . '._ l ;.v. . ‘ o ' O - 3:2. f. . ' . 1 . i .I ) .0 l , , If 0 I I 114 APPENDDC B PLAYS TO BE COSTUMED IN THE Sir James M. Barrie Eugene Brieux Anton Chec khof Clyde Fitch James A. Herne Charles Hale Hoyt Henrik Ibsen Henry Arthur Jones Arthur Wing Pinero PERIOD 1890—1900 Walker, London (1892) The Professor’s Love Story (1894) The Little Minister (1897) The Three Daughters of M. Dupont (1898) The Cherry Orchard (1893) The Sea Gull (1896) Uncle Vanya (1899) The Heart of Maryland (1895) The Moth and the Flame (1896) The Cowboy and the Lady (1899) Zaza (1899) Margaret Fleming (1890) Shore Aores (1892) y Sag Harbour (1899) A Trip to Chinatown (1891) A Day and a Night in New York (1898) Hedda Gabbler (1890) The Master Builder (1892) Eittle Eyoff (1894) John Gabriel Borkman (1896) The Dancing Girl (1896) The Case of the Rebellious Susan (1894) The .Mflleraders 7189i) The Liars (1897Y Mrs. Dane’s Defense (1900) The Second Mrs. Tanqueray (1893) The Amazons (1893) The Notorious Mrs. Ebbsmith (1895) Arthur Wing Pinero Arthur Schnitzler George Bernard Shaw August Strindberg Hermann Sudermann Augustus Thomas Oscar Wilde 115 Trelawny of the Wells (1898) The Gay Lord Quex (1899) The Affairs of Anatol (1893) Widower’s Houses (1892) The Philanderers (1893) Mrs. Warren’s Profession (1893) Arms and the Man (1894) Candida (1894) The Link (1893) There Are Crimes and Crimes (1898) Magda (1892) Alabama (1891) In Mizzoura (1893) Arizona (1899) Lady Windermere’s Fan (1892) Woman of No Importance (1893) An Ideal Husband (18953 The Importance of Being Earnest (1895) 116 APPENDIX C CONTEMPORARY NOTES ON DRESSMAKING FROM FASHION JOURNALS, 1890 TO 1900 Practical Lessons in Dressmaking1 Mary Katherine Howard The cutting of a bodice is in reality a very minor part of making a good fitting waist, the only important point being that the patterns must be laid upon the lining so that the waistline of each form or position of the pattern, to be right, is on a perfectly straight line with the goods. If you cannot be sure which is a straight thread whereon to lay the waistlines, draw a thread, as it _m_us_t in order not to twist around, be true to a thread. All bodice linings that are not silk are cut by the best dress- makers on the cross of the lining, instead of up and down. That is to say, instead of laying the waistlining of each form of the pattern upon a straight thread running parallel to the selvage. The reason for this is that there is less stretch to the lining cut crosswise than when out the old way, in consequence of which the bodice holds its shape and does not become loose and unshapely from frequent or con- stant wearings. Every seam in the lining must be carefully traced with the tracing wheel, in order that in fitting one has a guide for taking in or letting out corresponding seams exactly alike. Now you are ready for the outside material, which should never be out until the lining has been correctly basted upon it. Af- ter the lining has been cut, stretch the outside material, right side down, upon the table, and fasten firmly by sticking in thumbtacks. Linings must be “easy” everywhere and the outside always taut, for a smooth, perfect fit and one that wears well. The greatest strain upon a snugly fitting waist is at the waistline, and in all waists the strain must be on the lining rather than on the outside. When a waist is inclined to twist and look crooked, the fault is almost with- out exception due to the fact that the line representing the waistline 1The Woman’s Home Companion, XXIV (February, 1897), 11. 117 of each form was not parallel with the straight thread of the goods from selvage to selvage. Now you are ready to put the bodice together. In basting the forms together, always begin at the waistline, and first pin them to- gether their entire length, placing the pins about one and one half inches apart at right angles with the line of tracing, being sure that the basting on the tracing of one seam hits the basting on the other, to which it is sewed. In joining the side-back form to the back, hold the side-back uppermost, both in basting and stitching, being careful not to stretch the curve, which would make an ill fitting back. Cut the darts Open through the center, and haste together upon the trac- ings indicated for stitching paying no attention to the fact that the marks of the waistline do not come quite together. The prOper shoulder seam is a straight slant, with the front a little shorter than the back. Stretch the front to fit the back, and haste in the tracings. The stretching will curve the front a lit- tle, and make it fit the hollows just below the shoulder. Where the outside material is used on the bias, it will never sit well unless it is cut on a perfect bias, and must be handled care- fully so as not to stretch. Always use a straight lining where the outside is made bias or straight. Practical Lessons in Dressmaking2 II Fitting Mary Katherine Howard Always fit from the waist up, and never from the shoulders down. Never cut away at the neck, or armholes until the entire bodice has been fitted, as you will have a waist too low at the neck and too narrow across the front or at the back. A great point in fitting the shoulders is never to take more off the back than off the front when the shoulder seams have been 2The Woman’s Home Companion, XXIV (March, 1897), 10. 118 taken in, unless the woman who is being fitted is hollow about the neck in front and the back of her neck between the shoulders is overly plump. Always allow plenty of room across the bust, being equally careful not to give a vestige too much room across the back. . . . Never alter the back-seam to press out extra fullness, unless it be too wide at the waistline or directly between the shoulders, and never alter the curved back-seams. Have the bodice smooth all over, but not oversnug. When the darts are once placed they should never be altered, except to stitch them higher or lower, as the position of the bust may demand. Never alter the curve, but allow the fit of the curve on the edges of the front to draw them forward where they belong. At the waistline the distance from the front dart to the edge of the front should be once and a quarter the distance, measuring between the darts at the same point. Practical Lessons in Dressmaking3 IH Stitching Binding and Pressing Mary Katherine Howard Stitch all seams of the bodice except the shoulders and the under-arm seams, which must always be left until all the other seams are pressed and boned, and the fronts are supplied with fastenings, before they are stitched, as your bodice is now pr0perly shaped to the figure, and alterations that have to be made can be done more easily and in the pnly correct way in these two seams. The Woman’s Home Companion, XXIV (April, 1897), 13. 119 Practical Lessons in Dressmaking4 IV Finishing and Sleeve Fitting Mary Katherine Howard A belt of non-elastic webbing is a necessity to the inside of a bodice to keep it from riding up. The belt which should fit tight, is sewed on the back three seams so that the lower edge is a half inch above the waistline of the bodice. In lengthening or shortening sleeves to suit the arm of the wearer, never displace the elbow curve, but keep it where it belongs, directly over the elbow when the thumb is held against the breast. Fit from the elbow to the shoulder and from the elbow to the wrist, always keeping the contour of the arm in plain view of the inside seam. If the seam twists it means either bad cutting, basting or fitting. If the first two mentioned have been correctly done, the twist can all be taken out in the fitting. A close-fitting sleeve must always hug the arm closely but never allow it uncomfortable tight at any one point. If you cannot adjust your hat or fasten your collar in the back with your waist fastened then the sleeve is improperly fitted and must be looser just where it binds but without losing the curve that must follow the arm. Practical Lessons in Dressmaking5 V Boning and Finishing Mary Katherine Howard Bones are not intended to fit the seams to the wearer, though this erroneous idea seems to have made wonderful headway with many peOple whose common sense and practical experience should 4The Woman’s Home Companion, XXIV (May, 1897), 12. 5The Woman’s Home Companion, XXIV (June, 1897), 10. 120 long ago have taught them better. No amount of boning will make the waist fit prOperly if the seams have not been correctly fitted to the figure and stitched with the same precision. Bones are used merely to keep the fitted seams on the stretch and hold the bodice in shape and it is experience too dearly taught to try to correct an ill-fitting waist by boning the seams and between the seams. Every seam in a waist must be boned except the shoulders; and if between the seams there appears to be a lack of smoothness, a bone properly adjusted will correct this defect. The length of the bones must be gauged by the figure, allow- ing the long waisted woman a greater length than the short dumpy woman requires. One of the safest and best rules to follow is to have the bones run to a height just below the top of the corset, pro- viding the corset is of the right length for the figure wearing it. In holding the arm close to the body, the underarm whalebone should not be felt, else it is placed too high. Those in the back seams should st0p just below the shoulder-blades. All bones should be just a trifle longer than the space they are to fill, so that they will bow in a trifle toward the figure when fastened in place, enough to keep the outside material on the stretch. All bones must be free from their seams for half an inch at the top. If sewed to the dress at the very tOp, they soon wear the dress in holes. OOOOOOOOOO fl 0 O O O O O O O C O O O O O I I C O O O O O O O O O O O 0 Making a Dress Skirt Emma M. H00per Every one acknowledges that the making of a skirt is easier than the fitting and finishing of the waist, but at the same time to get just the right “hang” to a skirt requires art and practice. This probably accounts for the undisputed fact that about one slurt in fifty hangs evenly, though it may be cut by a high-priced modiste, who, like her humbler sisters rushes through with this part of the making of a gown. At present we have the genuine and modified bell skirts, 6The Ladies’ Home Journal, XI (February, 1893), 20. 121 the gored back design, one seam shape, Empire skirt, demi and long trains and the sensible short walking skirt which clears the floor, back and front. Walking and traveling dresses are made to clear the floor, while the visiting, church and matinee costumes have a tiny demi-train of four inches. Full reception and dinner toilettes admit of a train fully two yards long, while theatre, home, evening and semi-dress occasions require a demi-train only or the short clip of four or five inches. The immense three-yard trains are now obso- lete except for Court presentation dresses and English wedding- gowns, for brides of Merrie England dearly love a long train, while the French brides are more moderate in their inclinations. Cutting the sun A walking skirt should hang perfectly even all around, so, in order to secure this much to be desired appearance have some one take your measures from the waist line to the floor at the front, center back and at the middle of each hip. This will give an extra inch length for turning up at the bottom and taking in at the belt. If you wish more between the bottom of the skirt and the floor, shorten each measure just that much. If the abdomen is remarkably promi- nent secure the extra length by rounding the center front upward at the waistline, which will prevent the drawn-up or, as some women generally put it “hiked” appearance of the skirt front, which spoils any dress. Sometimes one hip is larger or lower than the other, and thus the sides cannot be cut alike. Or why not make the hips even by using a small pad of sheet wadding laid between two layers of Silesia and basted inside of the corsets? If totally devoid of hips this harmless addition will improve the figure and fit of the dress as well, but like all improvements it may be carried to excess if the pads are made too large and thick, thus overheating that portion of the body. When you set out to improve nature avoid all extremes and move slowly. If a tiny bustle is worn just sufficient to round out the figure where it invariably sinks in allow half an inch extra length at the center back for this, slightly, rounding it up at the back edge. The Bell Skirts The genuine bell has the front and sides fitted by eight darts at the belt, which must be pinned upon the wearer of the skirt making 122 this part of it set closely, but not sufficiently tight to draw or show the shape of the leg when walking. There is a wide line between stylish and immodest dressing even in bell skirts. The plaits at the back are thickly overlapped into the space of an inch at the top, spreading out toward the bottom, with the opening on the right side finished with a safety hook half way down to keep it from showing the lining. The side and front seams are sharply gored. The modi- fied bell skirt is especially adapted to wear with long waists or for short stout figures. The seams are gored as in the other bell, but in place of darts there are also gathers fitting the front and sides to the figure, while the back width is plaited as usual or gathered into a space of three inches, using French gathers in two rows an inch apart, with one long and one short stitch alternately. The third bell has but one seam and is fashioned of goods at the left side near the back, and is usually trimmed with a band of velvet, passementerie, fur or folds that form the finish to the bottom of the skirt, turning it at the seam and continuing it to the belt. This shape has the plaited or gathered back and the eight darts in front fitting it to the form. The lining in all cases is out exactly like the outside. The Empire Skirt This pattern has become a favorite in Paris and has much of the bell effect, though looser to wear. It requires three lengths of material fromforty-two to forty-six inches in width, making the bot- tom of the skirt from 3-1/2 to 3-3/4 yards wide. The front, as well as the back width is perfectly straight, while each side is just half a width at the bottom and gored up each seam to a width of only three inches at the top. The front and sides are fitted with scanty gores, and the back has the French gathers described for the bell skirts. This skirt looks especially well in light and medium weight materials, and when worn with a round or Empire waist it should escape the floor. The so-called Watteau skirt is a bell fitted with darts or gathers in front and having the centre back on a bias seam, which is laid in a graduated box plait three inches wide at the t0p and eight inches wide at the bottom; it is pressed but not caught into shape, and forms a slight, flaring dip suitable for a tiny demi-train. A new 1830 bell skirt of English origin, measures five yards around the bottom and has a bias seam in the back, being made up crosswise of the goods, fitted with darts in front and plaits in the back, and faced up nearly half way with light-weight canvas to make it round 123 like a bell, as were the full skirts of the 1830 period. The cornet skirt is of the bell order, with darts or gathers in front, having the back laid in three round, not pressed down, box plaits that are not over an inch and a half wide at the t0p and tapering to twice that width at the bottom. Trained Skirts A long or demi-trained skirt is lined and finished in the man- ner described before this. Long trains must have a silk balayeuse and a deep interlining half way up of canvas, or better still of cross-barred crinoline, which gives the stiffness without the weight of canvas. The full trains for very ceremonious occasions, are trimmed independently of the front of the skirt, or to correspond with it. Full trains require four widths of silk, which are gathered to the belt, or nowadays the two centre ones are often extended to the top of the low neck, whence they fall in Watteau plaits or gath- ers. Demi-trains, like the longer ones are cut rounding on the lower edge. The trains of white satin wedding dresses, if the silk is of an inferior quality, are lined with a slight weight of Canton flannel between the silk and cotton lining to give them a rich appearance. The stylish demi-train lies on the floor from twelve to eighteen inches. 124 APPENDIX D CONTEMPORARY FASHION NOTES FROM FASHION JOURNALS, 1890 TO 1900 Mourning and Its Usages1 Isabel A. Mallon As far back as the history of gowns goes, each nation has had its own expression of grief in color. The civilized world as- sumed black, and feels when gowned in the deep, dark gloomy shade that sadness will gain from the happier world its right—respect. Among the Eastern people, where a dark complexion is the rule, white is mourning, while among other nations toilettes of vivid scar- let, pale yellow and imperial purple are selected by those who mourn. It is undoubtedly true that with a great sorrow comes a distaste for a brighter color, just as there is for gay music, and every human being has a right to express grief as he may desire. With the English, mourning is shown by a great quantity of crape [SE] and other dead black materials, made with the greatest simplicity. The French woman considers that all black is correct, but she allows it to appear in frivolous feathers, in dangling jets, and never, except for the first month, does she cover her face with the heavy crape veil that does not permit a ray of sunshine to come through it. Of late years English mourning, which is by the best dress- makers conceded to be the best taste, is heavier than before, but it is worn a shorter time. A widow will wear her crape, henrietta cloth, bombazine and widow’s cap for a year. After that time she will assume all black without crape, and discard even this at the end of another year, putting on whatever colors she may fancy. A daughter wears what is known as “crape mourning” for six months, all black for six more, and then if she wishes, puts on colors. The same rule applies to a sister, while “complimentary mourning” which is simply all black is assumed for a distant relative or a dear friend is in order for three months. “ 1The Ladies’ Home Journal, XII (June, 1895), 19. 125 Some of the Usages The friends and acquaintances of those who have suffered a bereavement should, of course, leave cards at the door with their condolence written upon them, but only those who are related by ties of blood or who are very close friends ever ask to see those who are in grief. All cards of inquiry are recognized by a return card, black-bordered, which should be sent within ten days after the re- ception of the card of inquiry. Letters of condolence, those most difficult epistles to write, have almost entirely given way to the per- sonal card, and those who are afflicted are not expected to answer any such letters when they are received, except by the return paste- board. Our English cousins have a special black-bordered card for this purpose, on which is engraved “Mrs. Blank begs to thank you for your kindness in making inquiries for her.” Sometimes this formula is changed; the simpler it is however, the better. One that has lately come to hand has upon it, “With grateful appreciation of Mrs. Blank’s kindness.” The name may be filled in by any member of the family, and the envelope holding this card should be black- bordered and fit the card. While crape is worn, formal visits are not paid, invitations are not accepted, and there is nothing in worse taste than to see a woman wearing a long crape veil at a public place of amusement. When crape is laid aside, black-bordered paper goes with it. . . . Stiffly crimped net, which at one time was worn at the neck and wrists is no longer in vogue. A widow wears fine lawn cuffs that are quite deep and have a hem measuring half an inch; these are basted on the sleeves after the usual fashion of “turned over” cuffs, and a rolling collar to match is worn. This neck dressing is, how- ever, only for widows and the three-cornered cap is usually made to match. A Widow’s Mourning A widow who wishes to be prOperly gowned, chooses material known as Eudora cloth, which is really the finest brand of Henrietta and as it can be gotten in different weights, is well adapted to all seasons. Of course jet black is chosen, for what is known as blue black when trimmed with crape looks almost like navy blue. A suit— able toilette to be worn during the summer shows a skirt of Eudora cloth made after the required flaring style, and having set in at each 126 side of the front width two side plaits of crape that extend from the waist to the edge of the skirt. The bodice is a round draped one with a high collar of crape and a plait of crape coming just down the center of the front in loop fashion, its end being concealed under a crape belt. The sleeves are of the cloth and shape into the arms, and have for a finish three narrow folds of crape, while on the outer edge of each are set small crape buttons. The Bonnet is a modified Marie Stuart made of crape, with dull black strings rather broad and a white widow’s cap showing from under the edge. The veil is of the best English crape, which is really the only kind worth buying, and for the first three months it is worn over the face and reaches almost to the edge of the skirt in front and within two inches of it at the back. At the end of three months the front por- tion is thrown back and carefully draped so that the two portions fall over in the back in a very artistic manner. Over the face there is then worn a round net veil bordered with crape, and this round veil with the crape thrown back are proper for the next nine months. When traveling one is permitted to lay aside one’s veil and simply wear the ordinary black silk one, such as is liked by all women. Perfectly plain crepon is chosen for indoor wear and makes very beautiful house gowns, as it falls gracefully and is particularly oblig- ing in lending itself to most artistic curves. . A Daughter’s Mourning The mourning assumed by a daughter for a parent is much lighter than that worn by a widow, but for the first six months, and if it is wished for a year, crape forms part of the costume. The veil, which should be of the heaviest crape, is worn over the face only once, and after that it is quite prOper to throw it back. It is unlike the widow’s veil, inasmuch as it does not extend over the front and back of the gown, but it should be at least two yards and a half long, as a hem of not less than a quarter of a yard deep is required on the lower edge. 127 French Terms Used in Dress2 Ombré—Applied to textiles, means a shaded effect. Chi—IK—Mixed color effects, as if run together by dampness, the fig- ures having no defined outline. Pompadour—used to designate the flowered silks in light colors in vogue during the reign of Louis XV. Broche/—Brocaded Matelassé—Raised figures, as if quilted. Passementerie—Fancy dress trimmings of silk, or silk combined with beads or embroidered in metal. Panache-An upright ornament of plumes. Parure—Used to designate a set of jewelry. Gilet—-Waistcoat. Revers—Lapels like those on a man’s coat. Plastron—That portion of a waist that laps over and conceals the fastening. Ruche——-A full pleating of any material. Plissé—Side Pleating. Jupe—Skirt. mean—piping of silk or velvet. Damasse—Damasked or figured material. Dentille—Lace Coquille—shell ruching Choux—Large Rosettes. Ondule—Fluted or wave effects. Berthe—A fall of lace; silk, or any material which is frilled about the shoulders. Fischu—cape. OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO Figaro—a short fancy jacket. Coll—Collar. * 2Godey’s Magazine, CXXXII (January, 1896), 109. 128 Balayeuse—lit. Sweeper; the silk or lace ruffle placed on the inside of a skirt. Doublure—Lining. Ceinture—belt. Frou-frou—The rustling noise made by silk. BIBLIOGRAPHY Books Adams, James Truslow, and Charles Garret VanNest. The Record of America. New York: Charles Scribner’s Sons, 1946. Barton, Lucy. Historic Costume for the Stage. Boston: Walter H. Baker, 1935. Barton, Lucy, and Doris Edson. Period Patterns. Boston: Walter H. Baker, 1942. Butterfield, Roger. The American Past. New York: Simon and Schuster, 1947. Churchill, Sir Winston S. A History of the English Speaking Peo- ples: The Great Democracies. New York: Dodd, Mead and Company, 1958. Cunnington, C. Willett. Feminine Attitudes in the Nineteenth Century. New York: Macmillen, 1936. Enlglish Women’s Clothing in the Nineteenth Century. Lon- don: Faber and Faber, Ltd., 1937, 1948. Emerson, Edwin J. A History of the Nineteenth CentTury—Year by Year. New York: P. F. Collier and Son, 1902. Hartnol, Phyllis. Oxford Companion to the Theatre. 2d ed. Rev. London: Oxford University Press, 1957. Kouwenhoven, John A. Adventures of America 1857—1900. New York: Harper and Brothers, 1938. Laver, James. Costume of the Western World (Fashions of the Ren- aissance). New York: Harper’s, 1951. 129 130 Laver, James. Clothes. London: Burke, 1952. Lavine, Sigmund A. Wandering Minstrels We. New York: Dodd, Mead and Company, 1954. Nicoll, Allardyce. The Development of the Theatre. New York: Harcourt, Brace, 1927. Oved, Sah. The Book of Necklaces. London: Arthur Barker, 1953. Rogers, Agnes. Women Are Here to Stay. New York: Harper’s, 1949. Truman, Nevil. Historic Costuming. London: Pitman, 1936. Wilcox, R. Turner. The Mode in Furs. New York: Scribner’s, 1951. Year. Pictorial History of America. Los Angeles, Calif.: Year, 1954, 1955. Periodicals1 Album Reve (Paris and New York). American Heritage. American Magazine (New York, 1876—1956). American Tailor and Cutter (New York, 1880—1916). American Tailor-made Costumes (New York: McDowell). Art et la Mode; Revue de l’Egance (Paris, 1880- ). 1Not all of the periodicals listed herein were used for this study, but those designing shows in this period will find all of them useful. This list is included primarily as a list of source materials for a further study in the period. 131 Le Bon Ton and Le Moniteur de la Mode United (Paris and New Ciba Review. Coming Styles Designed by the Great Costumers of Europe (Published by Rand McNally for Marshall Field, 1896?— ). La Confection (New York: McDowell). Le Costume Parisiene (New York: McDowell). Le Costume Royal (New York, 1896— ). Court Magazine and Monthly Critic (London, 1832— ). Criterion of Fashion (New York, 1881-1913). The Delineator (New York, 1873— ). Elite sgles (New York, 1897— ). The French Dressmaker (New York, 1885— ). Gazette des Beaux Artes (Paris, 1859—— ). The Gentlemen’s Magazine (London, 1828—1894). Godey’s Ladies’ Book (or Magazine) (Philadelphia, 1830—1898). Good Housekeeping (Holyoke, Mass., 1885— ). Harper’s Bazar (New York, 1867— ). Harper’s New Monthly Magazine (New York, 1850— ). Harper’s Weekly (New York, 1857—1916). Illustrated London News (Lond, 1842— ). L’Illustration (Paris, 1843— ). International Studio (New York, 1897— ). 132 Journal des Dames et Demoiselles (Brussels and Paris, 1833—1891). Judge (New York, 1881— ). The Ladies’ Home Journal (Philadelphia, 1883— ). The Ladies’ Tailor (London, 1884—1936). The Lady’s Pocket Magazine (London, 1824—1940). Leslie’s Illustrated Weekly Newspaper (New York, 1855—1923). Life (London, 1883— ). London Society (London, 1862—1898). London Tailor and Record of Fashion (Lond, 1876—1914). Le Lux (New York: McDowell). Ball Album (Supplement to Le Lux). Season Album (Supplement to Le Lux). McCall’s (Queen of Fashion) (New York, 1870— ). La Mode de Paris (New York, 1890—1909). La Mode Elegant of the World of Fashion (London, 1824—1891). La Mode Illustre’e (Paris, 1860— ). La Modiste Francaise (New York: McDowell). Le Moniteur de la Mode (Paris, 1843—1903?). Muncey’s (New York, 1889— ). Paris Album of Fashion (New York: McDowell). Paris Elegant (New York: McDowell). Peterson’s Magazine (Philadelphia, 1840—1898). Puck (New York, 1877—1918). 133 Review de L’Art (Paris, 1897— ). The Studio (London, 1893). Sartorial Art Journal and the American Tailor and Cutter (New York, 1874— 5. Scribner’s (Century until 1877) (New York, 1870— ). 1 Les Toilettes Modeles (New York: McDowell). Vogue (New York, 1892— ). The Voice of Fashion (Chicago: Goldsberry, Doran and Nelson, pub- fi lished quarterly, 1890— ). The Woman’s Home Companion (Springfield, Ohio, 1873-1956). VITA Albert W. Senter, Jr. The author was born March 22, 1935, in Minneapolis, Minne- sota. He attended Sault Ste. Marie High School and was graduated in 1953. He attended the University of Michigan at Ann Arbor in the fall of that year and was graduated with the degree of Bachelor of Arts and a commission in the United States Army Reserve as a Second Lieutenant in June, 1957. From September, 1955, to June, 1956, and from September, 1956, to August, 1957, he served a costume assistant in the Theatre Area of the Department of Speech at the University of Michigan. While in attendance at Michigan State University he served as costume assistant from October, 1957, to June, 1958. In November, 1958, he was discharged from the United States Army Reserve, and in the fall of 1959 he joined the faculty of Sac- ramento State College, at Sacramento, California. 134 R .5.‘ Y 1h :1 90‘ .§ HICHIGRN STQTE UNIV. LIBRQRIES 1| III III! 9 HI Illi II! III)! llllllllll HI 312 3102 31590