A Brief Look At Wedding Dresses of the 1880s

We now continue our journey through the world of wedding dresses with a look at the 1880s. By the 1880s, we can see the white wedding dress tend beginning to gain momentum as the epitome of fashion. Style-wide, wedding dresses in the 1880s followed the overall basic style of the 1880s characterized by the sharply-defined “shelf” bustle.

To start, we just can’t seem to get away from the late 1870s/early 1880s…

Revue De La Mode, 1880

Now, we must admit that the dress that the bride’s companion is wearing steals the show with the elaborate embroidered design on the bodice but we digress… 🙂 Both dresses reflect the slender, upright silhouette characteristic of the Mid-Bustle Era.

Moving on into the 1880s, we see the bustle once again develop. Below is a fashion plate from the November 1883 issue of Peterson’s Magazine:

Peterson's Magazine, November 1883

Peterson’s Magazine, November 1883

The above wedding dress (second from the left) is described in Peterson’s as follows:

The wedding dress of white satin and white brocade; the underskirt is of white satin and has a full quilted trimming of the same around the bottom; the front is of brocaded satin and velvet; the train is long, slightly looped at the back under the panniers, and plain. The Princess corsage and panniers are of the satin, the later trimmed with lace and garlands of orange-blossoms, and looped with broad white satin ribbon. The plastron on the front of the orange is of white crepe-lisse edged with lace; orange-blossoms at the throat and on the head; long tulle veil (Peterson’s Magazine, November 1883, p. 440).

Orange blossoms were a common floral element for weddings, popularized by Queen Victoria when she married Prince Albert. In terms of style, the wedding dress draws from the prevailing styles of the early 1880s, in this case a day dress with bodice designed to give the effect of a jacket being worn over shirt or waistcoat.

Here are some more interesting fashion notes in regard to wedding dress styles of the early 1880s from page 2 of the November 11, 1883 edition of Truth, published in New York City:

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From the above article, it’s evident that there were a wide variety of choices for the bride in choosing wedding dresses with white satin, white brocade, and white velvet taking the lead. Lace shawls were often worn and there are the ubiquitous orange blossoms.

Florence Folger 1887

Florence Folger on her wedding day, December 14, 1887; Nantucket Historical Society ( P8740); Florence Folger married William A. Webster at Springfield, Massachusetts.

And at the same time, other colors were used for wedding dresses…

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Wedding portrait, c. late 1880s – early 1890s.

This portrait was taken in Minneapolis sometime either in the late 1880s or early 1890s. The only thing that could be construed as being white is the bride’s long veil. Interestingly enough, the bridesmaid’s dress appears to be more properly “wedding” with the lighter color. But, nevertheless this is a good example of the common day dress being pressed into service.

Wedding dresses could also be recycled…

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Wedding Dress, 1888; Missouri History Museum (1969-044-0000-(a-b)); Dress worn by Emma Johnson on her wedding day, October 17, 1888.

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The above wedding dress belonged to Emma Forbes (nee Johnson) who was married to Alexander Elias Forbes on October 17, 1888 in Des Moines, Iowa. As a side note, Emma Johnson lived from August 8, 1853 and died on December 2, 1905 at the age of 52. She was buried in St. Louis, Missouri and her grave can be found HERE.

Turning to the dress itself, the base fabric is an olive green satin trimmed with a brown/bronze colored silk running down the front of the bodice to create the effect of a robe. Running parallel on each side are strips of a patterned brocade that is also present on the sleeve cuffs. The most interesting thing is that dress was a re-worked dress from the 1850s that had been worn by Emma’s mother on her wedding day 38 years before on the same date. It’s a too bad that there are no better photographs available from the Missouri History Museum. Overall, it’s an amazing effort and definitely the 19th Century version of carrying on a family tradition.

Moving towards the later 1880s, we see the continuation of earlier styles. Here is an interesting example that was worn by Anna L. Stoner (nee McAfee) at her wedding on June 27, 1888:

Wedding Dress, 1888; Ohio State University, The Historic Fabrics and Textiles Collection (HCT.1999.19.1a-d)

Side Profile

Close-Up of painted flower panel.

This dress is constructed from an off-white novelty (a novelty weave is defined as any weave which varies or combines the basic weaves, plain, satin and twill). Running down the sides are silk satin panels with painted flowers. Below is a picture of Anna long with a wedding invitation:

7d2f9d2ec3db152a90b5324196d6b3d4 (1) Invitation

It’s amazing what one turns up when simply looking for dress examples… 🙂 Overall, this dress is interesting both for the use of wool woven in a novelty weave and painted flowers on silk satin panels. This would suggest that this was an economical version of the idealized wedding dress; usually some form of silk was the fabric of choice for the entire dress and the flowers would have either been embroidered as part of the fabric or attached as separate fabric flowers.

The above has been just a brief survey of wedding dresses during the 1880s and as was the case in the 1870s, wedding dresses might have taken many forms but the silhouette essentially followed the main style of the decade.  We hope you have enjoyed this brief overview and stay tuned was we go into the 1890s.



Bringing A Nation Together – Fashion And The American West

…Tombstone becomes queen of the boom towns where the latest Paris fashions are sold from the backs of wagons…

The above quote is from the opening narration to the movie Tombstone and while it might have been an exaggeration, it raises an interesting question in regard to how current fashion was in the American West.

Fashion, loosely defined, is a style that is accepted and used by the majority of a group at any one time, no matter how small that group. As applied to women’s fashions of the 1870s and 1880s, one could easily argue that the bustled dress was a major fashion that underwent a series of evolutions during this period. For men, the same thing could be said about the sack suit and there is a  large body of documentation to support this ranging from photographs, magazines, illustrations, and, most significantly, paper sewing patterns.

As it relates to the American West, the short answer is that by the 1870s, people in the West were pretty well informed about events in the rest of the nation (and the world) this also to fashion. The longer answer is that the dissemination of information was dependent on the speed of communications. People living closer to railroads were more well informed than those farther away and a lot depended on where the railroad was located. With the railroad came a more certain delivery of mail and that meant the shipment of books, magazines, catalogs, and ultimately merchandise.

People are often under the impression, no doubt spurred along by film and television, that it took months, if not years, for mail to reach people and that fashion styles ran at least five to ten years behind those in the East (sometimes referred to as “The States”). This might have been the case before the American Civil War but with the end of the war, railroad construction rapidly expanded from 1865 through 1873. With the completion of the first transcontinental railroad in 1869, the United States was brought closer together and along with it an increase in freight and passenger volume.

In terms of fashion, the 19th Century saw the growth of various mass-market publications such as with Godey’s Lady’s Book (1830 – 1878), Demorest’s (which published under a variety of names from 1860 through 1899), Peterson’s Magazine (1842 – 1898), and The Delineator (1869 – 1937). Fashion news, along with fashion plates, advice columns, and patterns, made up a good part of each of these publications and often reflected the latest styles from Paris. While it could be argued that much of the information may have been of limited utility to those out in the west, especially in more isolated areas, the fact that such information was published signify that there was interest. Moreover, all of these publications contained practical information deliberately aimed at the home sewer.

Closely related to the publications was the development of printed paper sewing patterns. In fact, Demorest’s Magazine originally started in 1860 as a catalog for marketing a line of printed paper sewing patterns developed from the 1850s on by Ellen Louise Demorest.  One of her accomplishments was devising a mathematical system for sizing patterns up or down. Another major innovator was Ebenezer Butterick who in 1863 started selling tissue paper sewing patterns that were graded in multiple sizes. As in the case of Demorest’s, Butterick started publishing The Delineator as a vehicle for promoting his patterns.

 

By the late 1890s, the ready-made pattern industry was a thriving multi-million dollar industry in the United States and patterns were available in retail locations as well as by mail order.

From The National Garment Cutter Book Of Diagrams

With the growing availability of fashion information throughout the nation, people were able to stay abreast of fashion in a timely manner (often just a matter of weeks). Combined with the mass production of sewing machines, the home sewer was well positioned to take advantage of this proliferation of fashion information. If people were not able to precisely imitate the latest Paris fashions, they at least were aware of them and often imitated them to the best of their abilities and resources.

One small demonstration of this spread of fashion information can be seen in this picture taken in the town of Kingston, New Mexico in the late 1880s:

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Here we see women dressed consistent to the 1880s. The dresses are fairly plain except for the woman seated in front of the dress making shop- it’s presumed that she is the proprietress. Interestingly enough, Kingston was founded in August 1882 when silver was discovered in the area. Soon there were a number of mines in operation and Kingston thrived as a boom town. In many respects, Kingston was similar to Tombstone in that both were boom towns at roughly the same time (Tombstone started a few years before) and here we see that while fashion may have been a bit more subdued than back east, it was still fairly up to date.

While admittedly this is only a small sample, it still demonstrates that contrary to popular belief, the American West was not “years” behind the rest of the nation nor the world in terms of fashions, or at least fashion information. Combined with the growth of mass market publications and printed sewing patterns, now any home sewer could participate in fashion.

Magnificent Seven Convention Highlights

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Outside the meeting room at the LA Convention Center.

It was a good day for us at the Magnificent Seven Convention– our presentation “The Victorian West: How the West Was Worn” appeared to have been well received and we feel good. The audience was amazing and had many good questions- it was a real back and forth discussion. We even had people who had traveled all the way from Indonesia- amazing! 🙂 We have been flogging this event for the past month in our blog in anticipation but we always get excited before giving a presentation. Giving public presentations always excites us because it gives us an opportunity to physically interact with our public, talk about the historical basis for our creations, and gather new ideas for future designs.

So, why are we doing this? Well, first and foremost, it’s about the history- history is the basis for what we do and it has always been a passion for us. It was a deep interest in history that initially got us into this business, and it informs everything we do. It’s proven to be a continual learning process; one is always learning new things and anyone who says that they “know it all” is either lying or simply ignorant. New facts are constantly emerging that challenge our ideals and perceptions and we have changed along with it.

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At the convention hall.

Unfortunately, over the years we have also witnessed a lot of misinformation and mythology that has been stated as historical fact. We have witnessed some pretty incredible claims that are truly cringeworthy (or simply amusing after a few drinks). While we may wish to clear up the misinformation out there, we are also realize that it’s a near-impossible task so what we attempt to do is to encourage people to question and gather information on their own from reliable sources; it’s often easier than one would think and with the development of the internet over the past 30 years, it’s never been easier.

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And just because…at home after the convention.

At the same time, we are also motivated by our experiences creating costumes for the entertainment industry. Often we are asked: “Why are those costumes not historically accurate in the movie XYZ?” In response, we usually say that costumes are intended to help advance the story and enhance the characters. While this may seem to be a cop-out, it really isn’t. Often, what looks good to the naked eye looks absolutely horrible on film; lenses and film react to colors differently under different types of light and adjustments may need to be made so that a costume looks better on film. Also, historical accuracy may be sacrificed, or at least reduced, due to budgetary and time constraints, changes in scripts and actors, or simply because the director thinks that something that’s not historically accurate looks better.

While one could easily spend their time criticizing the costumes in various films on the basis that they lack historical accuracy, in the end this is self-defeating and accomplishes nothing. In the end, film and television productions are about making money and doing whatever it takes to achieve that end. To put it more bluntly, we’re being paid to do a job and the director is the boss so we ultimately have to follow their wishes. In the end, if you want historical accuracy, read a book or watch a documentary (although that’s often no guarantee of historical accuracy).

But don’t get us wrong, we have a deep love for historical accuracy and it does gall us to no end when some things are done wrong but ultimately, all we can do is hold our noses and move on. However, if you ask us what we think, we will not lie either.

So, in our presentation, we present an historical overview of the history of costume in the West during the late 19th Century and combine it with comparing and contrasting costume as seen in film and television versus what actually existed, using our private museum collection of clothing, both original antiques and B-Western. In assembling the presentation, we systematically examined a lot of original photographs and illustrations and consulted a number of primary and secondary sources and we have to admit that the process was very instructive. We believe that we achieved our goal but we now want to expand upon it so we will be doing further research and incorporating it into future presentations.

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Modeling the vest and trousers from my new suit.

It’s our sincerest hope that we have provided some good information for people to take away with them and serve as a springboard for expanding their own knowledge.

In closing, we would like to thank the Magnificent Seven Convention and it’s entire staff for inviting us to come and speak and providing a wonderful experience. The facilities were top-notch and our requirements were provided for in a timely manner. We look forward to returning in the future.

M7 (Magnificent Seven) Convention

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Just in case you missed it the first time, here is the link to the M7 Convention website which will be held on the weekend of October 24-25 at the Los Angeles Convention Center:

http://www.m7con.org/

And here we are on the schedule for 3:00 PM on Saturday, October 24, 2015:

http://www.m7con.org/#!schedule/c16eb

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Please note that even though this convention is billed as a Magnificent Seven Convention, it’s been broadened out to now cover the Old West in general. 🙂

Twice-Turned Dresses…

First day in Tombstone, only day as a tourist, the gown's first version. We bought the house the next time we came to town!

First day in Tombstone, only day as a tourist, the gown’s first version. We bought the house the next time we came to town!

“Twice turned” silk 1879 era gown with original figured lace, all from Paris that I made for the one (and only) day I was a tourist in Tombstone fourteen years ago. The silk was completely stained with mine tailings from the street, so it had to be taken apart and turned, then I remade it in the latest style.

Here are a couple of pictures of the process:

Deconstruction

Above is a deconstruction shot showing all the fading and dirt that I couldn’t get out. And now:

Reconstruction

Above is a reconstruction shot showing WHY I put dirt-colored silk pleats on the hem. Those are removable, by the way. 🙂

“Twice turned dresses” were a common practice in the 19th century, in a time where quality labor was cheap and textiles were expensive…the opposite of today! (One can easily find phrases in diaries like: “They were so poor they wore twice turned dresses”, etc.) Women (or their dressmakers) would pick apart their gowns, clean and press the pieces as best they could, then literally turn them over to expose the other side, flatline them to their foundation layers, and re-construct the gown, either in the same style, or to update their look.

The Dressmaker at Tombstone's #11. Check out the

The Dressmaker at Tombstone’s #11. Check out the “dirt” colored silk at the hem, this was intentional to mask the dirt and rocks that will inevitably trash the hem. Those are removable for cleaning.

My poor skirt had two generations of red silty mine tailings (sticky dust) that simply couldn’t be cleaned…so I did what all of the original ladies in Tombstone did…and turned the silk, et voila…New/Old gown, for 1879! Of course, we use original machines, and since our home in town was actually where one of the town’s original dressmaker/tailors lived and worked…it was a special experience. We like to think she’s still sewing there with me because one is never alone when you’re working at No. 11!

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This is the front parlor at #11. I rolled the treadle machine in front of the window, I had a “moment”…it specifically “fell” into place. There were ruts in the original wood floors that EXACTLY matched my treadle irons!! That tells me that the lady who was the town’s dressmaker had her treadle here. I cried. I would love to think she smiles and sews with me.