FIDM Museum Blog

Refashion

As a concept, fashion is based on the appeal of the new. Every season, silhouettes, colors and shapes are re-combined in an effort to create garments of such great appeal that you will replace (or at least supplement) your existing wardrobe. With the appearance of inexpensive, mass-market retailers that stock their racks with "fast fashions", it has become even easier to fill your closet with garments that resemble the latest runway offerings. Though the savvy shopper is often encouraged to pursue quality over quantity, it is far too easy for many shoppers to believe that new clothes = a new me.

In recent years, consumers and creators of fashion have begun to look at the issue of fashion consumption with a more critical eye. Some creators and producers of fashion struggle with what sustainability and eco-fashion can mean on a practical level through altering production methods or utilizing eco-friendly textiles. Many consumers have taken the issue into their own hands by purchasing only second-hand garments or sewing their own clothes. Others engage in wardrobe refashioning or remixing, a concept which promotes rethinking your closet by recombining or altering those garments you already own.

Refashioning or altering garments to update their style or function is not a new concept. Until the mid-to-late 20th century, most garments were costly enough that they were worn until no longer functional, passed on to someone else or refashioned. In the FIDM Museum collection, we have several examples of garments that have been reimagined to suit the changing needs of the wearer.

Day dress
1853-54
Gift of the Helen Larsen Estate
S2001.31.18A-C

Polonaise bodice

In 1872, fashion periodicals such as Godey's Lady's Book, Peterson's Magazine and Harper's Bazaar were filled with references to various styles of the polonaise dress. Whether a princess, vest, Russian or dolman polonaise, the common characteristic was a gathered and bunched puff of fabric at the back. Created through interior ties that pulled the fabric upwards, the polonaise was essentially a fitted overdress worn over a skirt of matching or contrasting fabric. In April of 1872, Harper's Bazaar suggested that a white polonaise was most useful, "as it may be worn effectively over black or colored silks as well as with the white skirt that complements it."

Polonaise bodice
c. 1869-1874
Gift of Anne Stampfer
94.661.2A-C

Smocked frock

Between the 1750s and the late 19th century, rural Englishmen wore voluminous smocks when working outdoors. Usually made of rough homespun, most smocks had long, full sleeves and ended at mid-calf. Though entirely functional, smocks often featured decorative embroidery around the cuffs, bodice or neckline. Called smocking, it was more than mere decorative embellishment. Because smocking consisted of stitches passed over areas of gathered fabric, it created stretch in an otherwise non-stretch garment, allowing for more freedom of movement. This was important for those living in rural areas, as manual labor was an undeniable fact of life.

In what could be considered an early example of work-wear influencing fashion, both smocks and smocking became an important part of fashionable dress beginning in the 1870s. Smocks were adopted by those artists and bohemians interested in alternative styles of dress. Decorative smocking appeared on garments worn by women and children, such as the young girl's day dress of pink silk seen below. Here, smocking stitches create the bodice, peaked waistline and fitted cuffs.

Day dress
Attributed to Liberty & Company, London
c.1893-97
Museum Purchase
2008.25.3

Kimono dressing gown

Japanese styles are always attractive in negligees.-The Delineator, April 1903

Kimono dressing gown
c. 1885
Gift of Anonymous Donor
80.40.1

Quilted petticoat

Before the introduction of the cage crinoline in 1856, women typically wore multiple layers of petticoats. The petticoat layers (sometimes as many as 6!) not only shaped the skirt into a fashionable bell-shape, but also provided warmth. Between about 1825-1850, petticoats with elaborate quilting were fashionable. Called "quilted coats," "wearing quilts" or "quilts," these petticoats were simply large quilts meant to be worn on the body. They were often created in the same manner as bed quilts, with women working together to complete the patterned stitching. After stitching up the single, vertical back-seam and gathering the drawstring waist, the quilted petticoat was ready to be worn.

Quilted petticoat
c. 1840-45
Gift of Anna Bing Arnold
2003.795.12

Fashion history through photographs, part II

Part two of FIDM Museum Collections Manager Christina Johnson's examination of how photographs can be used to study fashion history.

Carte de visite
c. 1875-77
Gift of Steven Porterfield
2009.897.103

Carte de visites were produced from 1854 through the 1880s. They are small paper photographs mounted on cardstock, about the size of a Victorian calling card -- 4” by 2 ½”. They utilize a process that creates a glass negative which could produce multiple paper prints. This carte dates to 1875-77. Very little of the sitter’s gown shows, therefore, the portrait has been dated through the woman’s hairstyle and jewelry. Her hair is oiled, parted at the center, and arranged in a wide braid--possibly a separate hairpiece. A small whitework collar, silk fringed bow, and necklace of black thermoplastic links ornament her dress, the bodice of which has been imperfectly fitted and pulls tightly across her bust.

Fashion history through photographs, part I

Today's post was written by Christina Johnson, FIDM Museum Collections Manager. Part II will be posted on Wednesday, December 9. Enjoy!

Tintype
c.1895-1897
Gift of Stephen Porterfield
2009.897.74

Photographic portraits are valuable resources for understanding fashion history. Knowing the dates certain photo techniques were used can help date extant objects. These images also reveal a great deal about how clothing was accessorized and styled. They present a less-idealized version of dress than fashion plates or painted portraits. The FIDM Museum actively collects historic photographs for these reasons.

Bohemian dress for children

Bohemians were figures of both fascination and fun in the late 19th and early 20th centuries. A typical Bohemian was often artistically or politically inclined and was willing to step outside the bounds of conventional society. The highest Bohemian ideal was to be true to one's own inner passions, regardless of societal or economic pressures. This interest in nonconformity led Bohemian dressers to a variety of innovative dress styles: non-Western garments, comfortable work or sport clothes, and costumes born of their own imaginations.

Long associated with working artists, the "art smock" attained special prominence in notoriously Bohemian Greenwich Village during the late teens. The loose, unstructured fit marked its wearer as a woman willing to reject the boundaries of fashion and propriety in the pursuit of an "artistic" life. A woman who was willing to wear such a free and easy garment was assumed to adhere to ideals of personal, social and sexual liberation. Smocks could be purchased in several Greenwich Village boutiques, including the Village Store and from the studio of batik artist Alice Muth. The 1922 Greenwich Village guidebook by Anna Alice Chapin noted that it was common to see "girls in smocks of 'artistic' shades-bilious yellow-green, or magenta-tending violet" when visiting the area.

Shopping

Did you brave the crowds to do a bit of Black Friday shopping? If so, you probably visited a department store, boutique or perhaps a local craft fair. Or maybe you waited until today, Cyber Monday, to do your shopping online. Did any of the retail outlets you visited resemble the late 1920s dry goods store pictured below?

Though it might be a bit difficult to see, note the many bolts of fabric, one of which is being examined by the woman in the center of the image. Notice also the ready-made garments, hanging on the rack in front of the window.

Interior of a dry goods store
Late 1920s
Gift of Steven Porterfield
2009.897.135

Crinoline silhouette

In the mid-nineteenth century, the fashionable female silhouette included voluminous, full skirts. To achieve the desired bell-like skirt shape, women relied on multiple layers of petticoats. These petticoats were usually made of linen, cotton or flannel, though some were made of a stiff, woven, horsehair fabric called crinoline. No matter what they were made of, multiple layers of petticoats were cumbersome and heavy. In 1856, the lightweight "cage crinoline" was introduced. Consisting of a series of graduated steel rings or hoops, strung together with thin strips of fabric tape, the cage crinoline provided the same skirt shape with a much reduced weight. Despite its ominous name, it was actually considered a positive innovation because it was lightweight and relatively inexpensive. A cage crinoline would have been worn underneath the striped wool/cotton/silk gauze two-piece dress in the image below.

Two-piece dress
1858-63
Gift of Vicki Nelson
83.530.1AB