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I have photos of the dress being worn forth-coming and they are really amazing. Stay posted.

I have worn the ensemble in public twice for durations longer than 4 hours. I find myself explaining to my company that the dress is a dress, and can be worn, moved in, and sat in. I do not need to stand up in it, I can get up by myself, I can walk and even run, and, yes, I can breathe just like everyone else. I just breathe, stand and walk differently.

WEARING THE CORSET

(everyone’s favorite reading material)

I tight-laced the corset on Saturday night and was uncomfortable after about four hours. It was rather pointless, since I fit the bodice without the tight-lacing so any further reduction in the size of my waist would not have shown. The well-deserved deep breath I took when it was taken off felt fantastic. I would imagine that Victorian women would do what we would call ‘tight-lacing’ for short durations only, sticking to a looser lacing for daily social occasions.

Remember, the corset was their version of our bra. It was just as common, and not reserved for special occasions. But just as the modern woman will have underwear for the gym, for school or work, with a formal gown, or on a special date or event, so would a Victorian woman own a number of corsets in differing magnitudes/powers. They manufactured nursing corsets, corsets for young girls with poor posture, and more relaxed versions with limited boning.

The modern concept of the corset being an item for the naughty and deviant is an evolution of its meaning. Since I am taking a class on Beowulf, I will call to mind an example from Old English. The word deor in old English means beast or monster and can be applied to a vigorous fighter. The word evolved to simply mean animal, and finally, came to rest at it’s current translation: deer. So when one translates a sentence describing Beowulf¬† as a ‘deor’ it means he is a fighting man of monstrous powers in melee, not Bambi.

The corset used to be an clothing item that would smooth a woman’s lines, show no unseemly bulges, prevent sweat from coming through the clothes in a time of no deodorant, and keep her posture long to present her as a member of the non-labor class and in good health. It was a functional tool. The corset has evolved with links now to Bettie Page, bondage, subversion and victimization. When I made and wore my corset, it was for the former purpose, not the later.

Today, I wore the corset for about four hours with it not tight-laced, and it was actually comfortable. Unlike popular conceptions of Victorian corsets, it does not hurt your back. In fact, I have read that tight-lacing corsets is easier if you have no stomach muscles, since stomach muscles are less squishy than fat. The back-supporting stays of the corset can hold your back straight on its own, no stomach muscles necessary. Upper class women in the Victorian period, who would be trained with corsets from an early age developed a dependency on the corset since most of them were relatively inactive and had no encouragement – either physical or social – to develop chiseled abs. They had outstanding posture, however, and their years of tight-lacing can’t have been that much worse for them than years chained to a computer desk with no attempts to improve and maintain good posture.

For some unexplained reason, it makes me stiff in my upper back where the corset does not cover. But perhaps that is because I was trying to hold my neck very straight. The Edwardian S-curve corset may be different, but that is the topic for another post and project.

WEARING THE GOWN

It is a dress, and can be worn like any other dress. It is hemmed correctly for me, so I don’t need to hold it up in front when I walk. Due to the cut of the panels and the twill tape piece that holds it in back, the train and skirt stays where it should without any adjustments needed after wearing. The bodice is cut properly, so I can move in it naturally. When I don’t want the train to trail, I bend over (without help) and pick it up without letting the bustle petticoat show. It’s not hard.

Sitting is easy as well. To keep the bustle looking even, one must perch on the edge of the chair. The bustle naturally sticks out a little in the back, showing off the skirt beautifully. I used to wonder why women in fashion plates were shown perching on chairs with their skirts falling into place perfectly. It happens naturally due to the construction of the dress, and explains why so many of the parlor chairs were small, low, and armless. It also explains why in a parlor set the ‘man’s chair has constrictive arms, and the womens’ were smaller scale and armless. If a woman were to sit in a chair with arms, her bustle wires would have no where to go. I have lounged on a sofa in the gown. In the bustle that I made, which is more hoop-like, it sticks out a bit at the hemline. It’s not very graceful, but still doable. I would imagine that a woman would have another bustle for relaxed days, which would be less hoop-like. The bustle I made was rather formal.

In summation, the hardest thing about moving in the gown was actually walking my tall boots, which were modern, and I’m not saying this for effect.

DRIVING IN THE GOWN

Not so easy, but doable once the fear subsides. This was the most interesting part of my experiment, since I often suspected that many of the fashion changes in the twentieth century developed after the shift from carriage to automobile.

The hardest aspect of the bustle-automobile relationship is getting in it. It would have been easier had I not had a hairstyle where my hair was combed over rolls and a hat. The rolls in my hair and the hat would hit the top of the door opening. Correspondingly, my mind would be hit with a rush of fear: did my hat fall off and take my combed and padded hair with it? Did I break any feathers or lose a silk flower? But there was no damage. Acctually, the hat/hair matrix were the greatest inhibitors of mobility: turning your head to look at traffic while being afraid you would break a feather. But as soon as I realized I wouldn’t break a feather it was easy.

It is hard to sit in a car in a bustle in a demure fashion. The skirt and hoop need to be pulled past the knees with the bottom bone floating above your lap. But even with that, I was covered up more than most women in my age bracket.

IN SUMMATION

If I wanted to be very scientific and empirical, I could set up situations in which some data could be gained. Since we have no data regarding dressing and undressing and locomotion of women in 1875, we are unable to compare and contrast. But I could while wearing the dress time how long it took me to pick of the skirt, what percentage of my bottom sat on a chair, my lung capacity while wearing the corset, or how long it took me to drive from point A to point B and compare and contrast with, say, 21st Century expectations taken from a sample of thirty or more. But since that’s a lot of work and so on and so forth, I will not be specific about my own observations.

I am pleased that the ensemble I created is wearable. The originals must have been wearable since they were worn by women in circumstances just as physically trying if not more so than ours today, so I am satisfied that the gown was authentic in that respect. Appearance wise, it looks very authentic (pictures coming soon). So it passes the look and feel test in flying colors. As to the construction, I know that I used, where ever possible period materials: silk, cotton, steel bones instead of plastic, no polyester, etc.

Since the whole look must be period, I looked at old fashion hairstyle plates for the period. I combed the back of my hair over two rolls to get a nice ‘bustled,’ shelf-like hairstyle, atop which I perched a shrunken, tiny hat which I made myself out of the gown fabric. From the rolls, I had cascades of ringlets, both my own and fake, which I pinned in place. The effect was really good, and isn’t as hard as it sounds. I did my hair with a corset on if that says anything.

As I previously mentioned, there are some breath-taking photos forthcoming taken in Mount Hope Cemetary.

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“Fashion is born by small facts, trends, or even politics, never by trying to make pleats and furbelows, by trinkets, by clothes easy to copy, or by the shortening or lengthening of the skirt,” – Elsa Schiaparelli

“Fashion is architecture: it is a matter of proportions” – Coco Chanel

When I mention the bustle (or the corset) to friends and colleagues, I can not help but notice how the Twentieth Century cultural associations will immediately be applied in their responses. Bustles and corsets have after all been vilified in the previous century, seen as the root of all evil from which twentieth century dwellers were rapidly running away. But as Thoreau reminds us, “every generation laughs at the old fashions, but follows religiously the new.”

With an innate tendency to defend the underdog, I decided a month or so ago to play devil’s advocate and became the champion of the bustle for this Halloween, to demonstrate to all slanderers that this poor article of underclothing does not deserve all of the derision it has received. To do this effectively, I will need to place our poor defenseless bustle in context. Perhaps it is not the tyrant we have imagined it to be, but merely, a simple unknowing foot-soldier in a war waged between some distant and unseen forces.

Let me start with it’s ancestry and birth. About 1840 was the start of the crinoline period. The ideal shape for this period was an hour glass torso covered in a close-fitting bodice with a natural waist-line, and a very full, bell-shaped skirt.

Belles of the Hoop Period

Belles of the Hoop Period

At first, the look was achieved with layers and layers of petticoat. Eventually, to the relief of women everywhere, the layers of petticoat were replaced with hoops, lessening the weight of the skirts and making their wearers less prone to drowning and combustion. The hoop provided fashion houses the opportunity to amplify the the size of the bell-shaped skirt. And amplify they did.

Empress Carlotta of Mexico, height of the hoop size

The hoop increased in size and ornamentation, until it reached its peak in the early 1860s.

Fashion has this marvelous capability to survive, to find solutions for the problems it creates. The fashionable ladies of the Western World needed somewhere to move, a new space in which to expand. Instead of making the hoop larger, fashion made it go to the back. With the weight of the skirt concentrated in the back, the fashionable woman could keep her full-skirts but be far more aerodynamic and graceful. It was modern and sexy compared to the bell-shaped contraptions that always had a risk of ringing as they moved.

Wealth was moving from the countryside and into the city. Land-based wealth could no longer compare with that of the industrialists, and investors. New wealth with money to burn on clothes lived and socialized in the city not in country courts and palaces. The modern city was a bustling (no pun intended) place. A woman in a full-scale hoop skirt could not get very far. Thus was born the graceful, aerodynamic elliptical hoop.

Elliptical Hoop

At first, the circumference remained the same, with just the weight shifting to the back. No surface area was lost for ornamentation, and the shift in fashion was not so great to be unpalatable or too extreme. But the shift in weight was a huge idea. Not since the previous century had skirts had contraptions that unevenly distributed the weight. Disregarding the train – which is something else – the shape of the fashionable skirt was symmetrical and the weight was even in the nineteenth century until the arrival of the elliptical hoop. It had not been since the later 18th century with its huge panniers or significant padded bustles that there had been a contraption for an uneven skirt. The stripped-down Empire style arrived, replacing elaborate contraptions with dresses that could be compared to see-through undershirts.

But the shift from oppressive bell-skirts to something – dare I say it – a bit more sexy must have been very welcome, and designers ran with it. Fashion is always fetishistic, and where the emphasis during the hoop period had been the small waist and expansive size of the skirt, it now moved to the waist and back, or the woman’s behind.

Industrialization and the rise of the sewing machine reduced the cost of labor. Decoration of the gown, not it’s circumfrance became the order of the day, and the female derriere was to receive the bulk of the frills in the late 1860s. Fashion had found a new extreme or fetish.

The skirts of the early 1870s had a hoop-like appearance with a higher waist

Waistlines became higher as well to show off the new skirts. Notice the gowns in the pictures to the right and left, and how the waist is an inch or two above natural. They lowered again in the mid 80s.

1868 Fashion Plate. Transitional from Elliptical Hoop to Bustle

Although the shift to the full-fledged bustle can be seen as a natural progression, I like to think it was hurried along by the fall of the Second Empire. There was yet another coup in France, then the center of fashion. The republican party was organizing to overthrow Napolean III. Empress Eugenie remarked “If there is no war, my son will never be Emperor,” so war on Prussia was declared. It was a catastrophe. Napolean III surrendered to the Prussians, and his Empress, then the leader of fashion in Europe and therefore all the west, fled to England in exile, to live an artistically memorialized tragic existence in England after the death of her husband and eventually her son.

Whether it was that the world was ripe for change and therefore embraced the bustle and the overthrow of the Second Empire, or if the overthrow of the Second Empire made the world ripe for change and therefore embrace the bustle we will never know. But the bustle was as huge a shift in fashion as say that which occurred in the 1960s, though the particulars are, of course, different.

Young Lady of Fashion vs. Working Class Older Woman – 1871. The Young Lady’s skirt and waist are exaggerated for effect.

The bustle has a bad rep amongst women in 2008. It’s associated with Victorian male patriarchy, sexual repression, and uptight, suffocating morality. Actually, it was an innovation. If one has worn the fashion of the 1850s or 1860s, and then worn a bustle from 1870s or 1880s, one would appreciate the difference. Yes, there are constraints, but as in any period of fashion, it is the choice of the woman that determines to what extent they are imposed. A woman may chose to tight lace her corset. Also, she may chose how large she would like her hoop. Photos of different women from the same year will demonstrate that women could differ dramatically in their adherence to the “fashionable.” But one undeniable aspect of the bustle is that it is far more aerodynamic than any hoop, more comfortable, and easier to move in without the fear of looking like a bell or a toilet plunger.

1873 Bustle

The elliptical hoop evolved into the first bustle period bustle, which was a very narrow hoop skirt with a concentration of hoops in the back and, in most cases, a rigid support arched bone to make the back extend outward from the wearer. The structure was stabilized by a supporting peice of fabric that rested flat falling from the waistband until the knees. They came in many designs, but were hoop-like for the entire first-bustle or “soft” period.

First Bustle Period

The new shape had an asymmetrical profile, and the gowns that went on top of the bustles embraced this new found release from cross-sectional symmetry. Skirt designs became elaborate to accentuate the form. Decoration became complex and compartmentalized.

Perils of the Natural Form from Punch

All good things however must come to an end, and so did the first bustle period after a good eight year reign. What followed is called the “Natural Form,” where women retained the same bodices complex skirts and the same philosophy behind the decoration, but removed the bustle. Small pads were worn on the bum instead, and skirts were sewn tightly to the females’ legs in a “fishtail” style, that highly fashionable women were recommended to remain standing.

The “soft” bustle gives way to the “shelf” bustle of the Second Bustle Period, 1887

Even during the Natural Form period, the bustle remained the silhouette of choice for formal events, such as weddings or court. The fashion of regular daytime wear and of evening social events though was the highly constrictive “fishtail.”

The bustle wouldn’t stay away long. By 1883 it was back in full-force, though changed. Whereas the First Bustle Period is the “soft” bustle, the Second is the “hard.” The bottoms of fashionable ladies were no longer swathed in frothy poufs, but instead became shelf-like. The designs on the skirts became asymmetrical, and the waistlines and lines of the torso fell to accentuate the length of the torso, and the width of the shoulders. By the 1880s, the bustle form had become and institution, and no longer needed to dress itself up to justify its existence.

1892 Ballgowns. The torso is long, the shoulders wide, and the waist tiny

Parody of Sleeve styles from Punch, 1890s

The bustle’s lifetime was about twenty years. By the start of the Gay Nineties, it was nowhere in sight. The bustle era had died without resurrection. Women did wear bum pads in the nineties, until eventually even that disappeared.

Emphasis had switched to the sleeves, which reached dramatically large sizes. The shoulders and sleeves were made to appear larger to emphasize a tiny waist. Though the restriction from the skirts had diminished and taken a more graceful, un-boned structure, corsets were ‘innovated’ to allowed for tighter lacing and smaller waists. Bodices became blouse-like and billowy to emphasize the bosom in contrast to the waist, a departure from the close-fitting bodices of the bustle period.

The bustle did not have a Third Period. With the political instability and economic revolution of the twentieth century, it became a symbol of a contemptuous past, of all that was cast off culturally by our social revolutionaries. It is associated with romantic tragedies, gothic terror, female neurosies, social injustice, and malevolent ghosts, though at the time of its inception it was a breath of fresh air, a welcome change, and an expression of feminine sexuality. There are lessons to be learned from the fate of the bustle, the type that are replete in history. Time will eventually judge our current fashions, too, and likely unfavorably.

The project that I will document here will be an ode to the bustle, and attempt to prove, at least to my immediate company that the bustle deserves respect and admiration. Ritual is ritual. It’s only the props that change, but the basic end result is the same. Though we may all praise the freedom that comes with lycra (a scientific advancement, not a social one), our functional classless jeans (are they genuinely classless?), and the easy cut of a T-shirt (Byronic blouses are much more comfortable, though harder to maintain if they are made of old linen) they will become outmoded and disliked. I imagine that though the specific complaints may use a different vocabularly, these styles will be regarded by posterity as being worthy of as much derision as the bustle, when we continue to confuse advances in human thought and science with improved intentions. Most of history is, after all, not just steps forward.

I entreat all of my readers to pause, take a deep breath, and give a moment of silence to the lost bustle, who died in unjust derision and slander.

*To my knowledge, the copyright on all used images has expired. Please inform me if the case be otherwise.

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