Historical Sew Monthly -- Procrastination (how appropriate!): A pre-Gold Rush California day dress

Version 1.0 of the California day dress ca. 1838.

The Challenge: Procrastination (January 2016), Out of Your Comfort Zone (June 2015), and Stashbusting (March 2015).  I didn't realize it until last month, but I neglected to publish the blog post in 2015 for the Out Of My Comfort Zone and Stashbusting Challenges, which were part of the original reason for this dress being made!  7 months is quite a procrastination, although I still don't consider this dress finished ...

California history, especially domestic history, has been a major passion and research topic for me for the past 15 years or so.  Part of my research has involved re-creating typical daily outfits for California women, from the early Spanish settlement period in the late 18^th century, to the early 19^th century Rancho period on the eve of the Gold Rush.  Unfortunately, comparatively little of the European, English, and North American fashion information from that time is widely applicable to California during the same period, due to the distance – both physical and cultural – between the people of California and those in the rest of the Western world before the Gold Rush. 

_Mexicains_ by Emile Louis Vernier, ca. 1850.
 New York Public Library Digital Collection.

Beginning in the 1760s, Spain established frontier settlements in California, but all contact with Spain ceased between 1810 and 1824 during the Mexican War for Independence; when the fighting ended, California's settlers benefited from the free trade that resulted.  Trade with England and the United States enabled the people, now calling themselves Californios, to enjoy many of the products and luxuries that had long been available to more settled parts of the former Spanish empire, with closer ties to Europe.  Even now, however, shipments did not usually include fashion magazines or any ready-made articles of women's attire, unless specifically mail-ordered.  Almost no non-Hispanic women arrived in California to influence the local fashions during this time.

Back to costuming: the mid-Victorian sheer dress.

Original sheer muslin dress, 1840s.
Old Sacramento Living History Museum.

Mid-Victorian daytime fashions were not all about heavy, opaque fabrics; warm weather allowed for light dresses of semi-transparent fabrics like muslin and barege, trimmed with embroidery, ribbons and lace for a cool, floating visual effect.  These gowns, called sheer dresses, or "clear muslin dresses", were especially popular at seaside and tourist resorts, during the 1840s through the 1870s.  They were worn for morning, afternoon and evening, changing the bodice style, and were popular in England and North America, as well as when visiting warmer climates like Italy.  These followed the lines of mainstream fashion, but included characteristic features such as shorter sleeves, lower necklines, partial bodice linings, and depending on the transparency of the fashion fabric, separate colored under-dresses.  This article, first published in the Greater Bay Area Costumer's Guild's newsletter, Finery, will focus on day or afternoon styles for these dresses. 

Finally finishing a project ...

Photo: Elizabeth Urbach

Several months ago I began to make a dress for the museum where I work.  We conduct custom tours for 3rd grade classes in our Victorian house, and the tours include a short dress-up session and photo opportunity.  The girls' costumes that we use are Jessica McClintock and similar Edwardian-inspired dresses from the 1970s through 1990s, that are not only historically inaccurate for the time period of the house (1855 - 1875) but they're getting really ratty, faded, and in need of replacement.  But hey, they were donated 15 years ago (i.e. FREE) ...

Mrs. Burnett's dress, part 2.

Harriet Burnett's dress,
ca. 1849
Photo: Elizabeth Urbach

Wow, I hadn't realized how long it's been since I last posted!  I've been keeping busy, though, with historical things.  Researching Harriet Burnett's governor's ball dress (see photo at left) has been really interesting.  Unfortunately, I couldn't find any period description of the dress at the ball in any of the contemporary newspapers, because San Jose didn't have its own newspaper until 1851 and the ball was in 1849.  The nearest local papers were out of Monterey and San Francisco, and relied on the mail bringing news from San Jose in order to publish the Legislative happenings.  Unfortunately, the winter of 1849 was so rainy and stormy that the roads were unusably muddy and no news could get out of or into San Jose!  It took until the end of January 1850 for the rain to let up and the roads dry out enough that the mail could get through to Monterey and San Francisco, so by that time any excitement about the ball had died down, and the papers recorded the inauguration of Governor Burnett, and mentioned, almost as an aside, "there was a ball in San Jose." 

There was no further description or mention of the event itself, although an interview with someone who was there, done many years later, and published in 1941, has the woman recalling that the ball was "the" event for the Bay Area for years afterwards.  I think the only place where I could find a fuller description of the ball, would be in the letters or journal of someone (a woman) who was there, but I don't know of any journals or letters from 1849 in San Jose that have been published, or are available to the public!  I think I'm at a dead end in verifying the provenance of the dress, so I've just made a record for it in the museum database, saying that the dress "is said to have been worn" at the Inauguration Ball.  I'll have to leave it at that for now.  It's been really fun reading all those old newspapers, though.  I found a website, the California Digital Newspaper Collection, that has scanned the papers into digital form and made them readable (you can enlarge the printing from the teeny-tiny original size!). 

Dress commission, part 2

Well, my friend picked up her dress a few weeks ago, and while it's still not as fully trimmed as she (and I) would like, it looked great on her for her event.  To the left is a photo of the finished dress.  It's so dark that it's hard to see the trim details!  The main body of the dress is navy blue, and it's trimmed in black, with a rhinestone and black beaded clasp at the waist.  Pleated black satin ribbon topped with narrow black velvet ribbon trims the edge of the collar, sheer black flowers are placed in a line down the pleated and pointed satin panel on the front, which is also tipped with a black tassel, and 6 black braid-covered shank buttons follow the line of the skirt overlap, which is actually sewn closed underneath.  My friend also had some plain black velvet ribbon that will probably be used to edge the satin waistband and cuffs, but I really think that the dress needs more silver/rhinestone/bead accents to make it a little less dark!

The pattern also called for a neckline insert, but my friend forgot to bring the fabric for me to make it, so she ended up wearing the dress without the insert and it looked fine.  She was worried that the V-neckline would be too low without it but it wasn't, so that was a relief!

A dress commission!

Hint of History's #101 pattern
with trim options

Occasionally, I make period costumes for people, and I'm working on a dress for a friend this week.  It's #101 Shawl Collar Dress from the 1910s Collection by Hint of History.  To the left is a picture of the pattern, with some trim options drawn in by a friend of mine.

photo: Elizabeth Urbach

I'm making the version in the bottom of the illustration; the original pattern is a one-piece wrap dress with shawl collar and modesty insert (not in the photo!), but I've added extra panels to the bottom of the bodice to make a shorter over-skirt and give the effect of a separate coat and skirt.  I've also added the long sash panel to the front, which will have a tassel at the end.  I'm just tweaking the fit of the sleeves and shoulders (so hard to fit!) and then I'll add the trim.  There's some  plain gray velvet ribbon, plain black velvet ribbon, black velvet ribbon edged with pleated black satin, and some 3-dimensional black tulle roses.  There is also a great black and silver rhinestone and bead clasp to close the jacket at the waist.  I think I'll put the black velvet with pleated trim around the collar, and a tulle rose on either side near the face.  The clasp will go at the high waist, and the hem of the coat will get the plain black velvet ribbon.  The hanging "sash" will have the tassel at the end point, as well as some of the tulle roses on it.  A photo of the almost-completed dress is on the right. It's a lot of navy blue!  It will be very dark, trimmed entirely in black, with only the white insert at the neckline to draw the attention to my friend's face.  But she picked the fabric and trim, and she likes dark colors, so I hope she'll like it! 

More summer fashion hints from Godey's of 1855

ca. 1860 sheer dress from St. Albans Museums.

CHITCHAT UPON NEW YORK AND PHILADELPHIA FASHIONS FOR AUGUST.
Among the coolest-looking dresses for this hottest month of the year, we notice the so-called “pine-apple” tissues, that are more particularly imported by the India stores of Boston and New York.

One of these establishments is well worth a visit.  Crapes of every description in dress goods, shawls, and scarfs, cashmere shawls, pine-apple handkerchiefs of almost inconcievable fineness and delicacy, gorgeously embroidered taffetas, everything for which the India trade is celebrated, which sea captains bring, and ship owners import for their wives after a successful voyage, are here gathered together.
The pine-apple tissues of which we speak come in patterns, from ten to fourteen yards each, and are less expensive than ever before, ranging from $4 to $8.  They are in stripes, plaids, and checks, on a white ground, and almost transparent, or “see-through muslin,” as some gentleman happily characterized the present style of gossamer summer fabrics on their first introduction.  As they do not rumple or crush, they are especially suitable for flouncing.  The shade of blue, purple, green, etc., in which they come, being rather dull, a bright gauze ribbon trimming adds much to their effect, running around the edge of the flounces, and disposed on the waist and sleeves in bretelles, bows, etc., with flowing ends.

New costume plan: a sheer dress from the 1840s!

Image from Wikipedia.

Well, I've settled on the 1840s as one of my favorite fashion eras, and now that I've made a nice wool gown from 1848-ish, I need a sheer gown for summer, right?  Of course.  My costume guild's upcoming Victorian Picnic in the garden of the Fallon House in San Jose gives me the perfect excuse reason to make what the Victorians called a "clear muslin gown".

Pre-Raphaelite dress as pseudo-historic costume

"Gather Ye Rosebuds While Ye May"
by Waterhouse.  Wikiped

If the Pre-Raphaelite woman chose a historically-inspired style, there were two main time periods and cultures that were popular choices: classical Greece/Rome, and 15th century Medieval Europe.  The Pre-Raphaelite "standard" of female beauty was an amalgamation of the various Classical Greek and Roman goddesses and nymphs, especially the Venus de Milo.  Since their ideal of beauty wore draperies without corset, hoop, bustle or petticoats underneath, the Pre-Raphaelites reasoned, so should the modern woman!

"Sapphires" by Art Moore.
www.ArtMagick.com

Pre-Raphaelite dress as modified Reform Dress.

Morris and Burne-Jones families. ca. 1874.

Pre-Raphaelite dress generally took two forms: modified contemporary fashion, or historically-inspired styles.  If choosing modified contemporary fashion, gowns would be styled according to the dictates of Reform Dress or "Rational Costume," which advocated comfort and freedom of movement, fabric breathability, and natural fibers and colors in an effort to promote greater health. 

Pre-Raphaelite and Aesthetic Dress: the background

Amelia Bloomer ca. 1850s.  Wikipedia.

During the 19th century there were many and varied reform movements that involved women.  Women supported and led those movements that dealt with things that were important to their everyday lives, like food, clothing, and education, which connected them to the larger Woman’s Suffrage reform movement, as well as the trend towards national and international religious, political and economic reform.  There was also a growing sense of distaste with the quality and style of things produced by the Industrial Revolution factory system, and the un-healthy living conditions it created. 

When the Pre-Raphaelite Brotherhood was founded in 1848, the dress reform movement was just beginning, with Amelia Bloomer and other women daringly adopting Turkish trousers and shorter (ankle- to calf-length) skirts.  Many of their innovative designs and ideas were lost on the public who, with the help of the media, spent more time staring at and lampooning them than listening to them.  Early designs were almost all condemned as being not only ugly, but indecent because they involved masculine trousers.  The Pre-Raphaelite Brotherhood secured a nominally higher level of respect from the public for their designs, because they first appeared in romantic and dramatic pieces of art.  When the women who were part of the movement began to wear similar styles at home and in public, they attracted stares and comments, but escaped the kind of insults that earlier dress reformers received, because of their status as “eccentric artists” and their prominence in the art circles.  The famous artist William Morris said, “no dress can be beautiful that is stiff; drapery is essential,” and the Pre-Raphaelites took that statement to heart. 

To be continued ...

Join the South Bay Ladies' Tea Guild for the Pre-Raphaelite Picnic!

"Bower Meadow" by Dante Gabriel Rossetti.

Pre-Raphaelite Tea Picnic: join us at the Japanese Friendship Garden in San Jose for an Artistic Salon, Victorian style!  Please come prepared to participate by reading a favorite Victorian poem or an excerpt from a period novel, showing a piece of Victorian artwork, singing or playing a Victorian song, or some other historical entertainment (family-friendly, please!).  Gentlemen and older children welcome!  Bring your camera so you can take atmospheric and artistic photos in the garden.

    Date: Saturday, August 20, 2011. Time TBA.
    Location: Japanese Friendship Garden picnic area, Kelley Park, Senter Rd. and Alma St., San Jose.
    Cost: $20 (Tea Guild members) /$25 (non-members)
    Suggested costume: Victorian or Edwardian day dress, Artistic, Reform or Aesthetic costume.

Please R.S.V.P and send payment by Thursday, August 18!  E-mail the Guild at southbayladiesteaguild (at) yahoo (dot) com for more information and to R.S.V.P.  Payment can be made by PayPal, or you can send a check (e-mail for the address).  To qualify for the Member price you must be a paid member of the South Bay Ladies' Tea Guild; membership information is available in the links at the top left of this page.  We look forward to seeing you!

1830s costume stuff!

image at left: Gentlemen of the 1830s.
In anticipation of my attending the Greater Bay Area Costumers' Guild Open House and annual meeting tomorrow (well, actually today, since it's midnight now!), here are some photos taken with my new nifty neato camera (with a real, honest-to-goodness ZOOM and adjustable FOCUS!), of some of my antique and vintage fashion print collection. Nothing like costume goodies for not much money! Although I think fashion plates might be more expensive these days (I bought mine over 10 years ago).

This image is of a collection of 1830s figures that were purchased by a friend of mine -- having been cut out of their original fashion magazine by a previous owner -- and she assembled them into a frame for me.