FIDM Museum Blog

Undergarment ensemble, circa 1900

For much of the past 500 years, women have used underpinnings to mold their bodies into the dominant fashionable silhouette. The basic underpinnings usually consisted of a chemise, corset and petticoat(s). Other items, including sleeve plumpers, crinolines and bustles, came and went as fashion dictated. In the late 19th century, the fashionable figure was womanly and voluptuous, with full curves and a defined waist. This undergarment ensemble features some of the underpinnings a woman might have used to create this silhouette.

Undergarment ensemble
c.1900

Pelerine

Pelerine
1855-60
Gift of Steven Porterfield
2007.897.1

Wheat motif

Widespread cultural preoccupations or anxieties are often expressed through dress. This can be extremely overt, as in the case of a T-shirt slogan, or much more discreet, as in a frequently recurring decorative motif. In the 19th century, anxiety relating to the Industrial Revolution and the move from an agrarian to urban/industrial society resulted in the frequent appearance of ripe wheat stalks on dress and accessories.

Shawl
1875-1885
Gift of E. Heise
97.347.1

Military influence

Military inspired fashion has been getting a lot of attention lately. March 2010 issues of Harper's Bazaar and Vogue (both American and British) feature fashion editorials focusing on garments in khaki and shades of olive, while a recent New York Times article also describes the trend. When examining the accompanying images, its clear that designers are primarily referencing 20th century military uniforms, which were designed in a variety of drab colors to make pinpointing a particular soldier difficult. Though solid color uniforms have been largely replaced by sophisticated camouflage patterns, the iconic military uniform is still a solid khaki or green.

Military uniforms haven't always been so sedate. Prior to about 1850, military uniforms were often elaborate affairs, featuring extensive embellishments and accessories. Ironically, the most elaborate uniforms were typically seen in times of peace, as functionality was less of a concern. Some of the more visually distinct elements found their way into feminine fashions. The FIDM Museum wool jacket below features gold braid and a high collar, elements commonly seen in these more fantastic uniforms.

Wool jacket
1891-92
Gift of Steven Porterfield
S2008.897.2

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.