Category Archives: Clothing

Fashion Moments – Detachable Collars

Welcome to my weekly fashion blog post. Each week I will discuss a female garment, fashion trend or influencer from the age of photography (1840s through the 20th century). My goal is to educate family researchers and genealogists about the clothing worn by our ancestors. Dating photographs is an issue we all struggle with as family archivists. Additionally, anyone who writes about their family’s history should be aware of the environment in which their ancestors lived. Period clothing is an important part of that environment from how it affects a person’s movement to their overall lifestyle. This week I introduce you to detachable collars.

The Detachable Collar

According to the Arrow shirt website, in the 1820s, Hannah Montague formulated the idea to remove the collars from her husband’s shirts for ease of laundering. Soon after, Ebenezer Brown and Hannah’s husband, Orlando Montague, began manufacturing collars in the back of Rev. Brown’s general store in Troy, New York [1]. There are many conflicting accounts of what happened next from various sources. However, the city of Troy became the leading manufacturer of detachable collars during the nineteenth century. By 1897, twenty-five companies based in Troy were making over eight million dozens of collars and cuffs per year. [2].

Arrow Collar advertisement, 1907, illustrated by Joseph C. Leyendecker (Image from Wikipedia in the public domain).

Detachable collars were typically made of a material different from the shirt, from cotton to linen, and were made in only one color – white. Because they were detachable, the collar could be starched to a cardboard-like rigidity. While most detachable collars were made of starched fabric, some later collars were actually made of stiffened paper and were disposable after a few uses. Collars were attached to the shirt with a set of studs, one in front and another in back. Examples of different collar styles can be found in old catalogs. Though typically marketed to men, detachable collars were also used by women, especially during the era of the Gibson girl. By the 1920s, the use of detachable collars began to decline as more comfortable styles of clothing became popular. However, the fashion can still be seen today in the winged collars of British barristers and on rare occasion on the pupils of Eton College. [3]

Woman worker making Arrow collars, 1906Source

Source

[1] ArrowLife, website (http://www.arrowlife.com/heritage : accessed 28 November 2015), “Heritage” page. Some sources say Hannah had her brilliant idea in 1820, while others state 1827.

[2] SuitYourself.com, website (http://suityourself.com/History_Of_Dress_Shirts.asp : accessed 28 November 2015).

[3] “Some Notes on Dress at Eton College,” Internet Archive Wayback Machine (http://web.archive.org/web/20081011175000/http://www.archivist.f2s.com/bsu/Miscellany/eton/eton-notes.htm : accessed 28 November 2015), anonymous article by an Eton pupil, October 2008.

Images

Art and Picture Collection, The New York Public Library. “Woman Worker Making Arrow Collars, United States, 1906.” New York Public Library Digital Collections. Accessed November 28, 2015.

Fashion Moments – Zipper

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Zipper

Elias Howe (the inventor of the sewing machine) patented a device in 1851 called a “fastening for garments.” It bears a resemblance to a zipper although there are key differences in the design. Howe did not market his patent and it took another forty years for this early seed to grow.

Howe’s 1851 patent

The idea of the modern zipper began in the mind of Whitcomb L. Judson (1846-1909), an inventor from Chicago. The majority of Judson’s work (and fourteen of his patents) were related to street cars. Most of his inventions were impractical. After several unsuccessful attempts to produce and operate his pneumonic street cars, the project was scraped and the cars were converted to electricity. With the failure of his street car venture, Judson turned to “clasp-lockers.” In 1890, Judson invented the device which would eventually evolve into the modern zipper. This early version was used primarily in shoes although it was not wildly successful. It is believed that Judson turned to “clasp-lockers” because he was tired of fastening his high buttoned shoes. Between 1890 and 1893, Judson submitted multiple versions of his “clasp-locker” patent. The final design was approved and it was debuted at the 1893 Chicago’s World’s Fair. Overall, Judson received limited success with his “clasp-locker”. Ultimately, the “clasp-locker” was never used by clothing manufacturers and remained a fixture for boots and shoes. [1]

1893 patent

1896 patent detail

1896 patent

1905 patent

Sundback’s 1917 patent

After the death of Whitcomb L. Judson in 1909, Gideon Sundback continued to improve upon Judson’s 1905 patent. Sundback was the head designer at the Universal Fastener company in Hoboken, New Jersey. After three years of review by the patent board, his design was approved in 1917. This “separable fastener” would later be known as the zipper. The term “zipper” would not be used until eight years later, in 1923, when B. F. Goodrich (the well-known American industrialist) coined the phrase while marketing a new type of rubber galoshes which used Sundback’s “separable fastener.” [2]

In the 1920s, the zipper was used primarily for boots and tobacco pouches, not for clothing. It was not until the 1930s when the zipper made its debut in children’s clothing where it was marketed as a tool for promoting self-reliance thereby allowing children to dress themselves. By the end of the decade, zippers were regularly being used for trouser flies and the plackets of women’s skirts and dresses. [3]

Since the 1930s, zippers have evolved tremendously. They are used everywhere from deep space to undersea exploration and are constructed from various materials including metal and synthetic polymers. They are arguably the most common type of closure in use today.

Sources

[1] Wikipedia (http://www.wikipedia.org), “Whitcomb L. Judson,” rev. 17:55, 10 November 2015.

[2] Wikipedia (http://www.wikipedia.org), “Gideon Sundback,” rev. 17:55, 30 October 2015.

[3] Wikipedia (http://www.wikipedia.org), “Zipper,” rev. 04:48, 15 November 2015.

Images

The patents of Elias Howe, Jr. and Whitcomb L. Judson can be found in Ancestry.com‘s “U.S. Patents and Trademark Office Patents, 1790-1909” database.

Gideon Sundback’s 1917 patent can be found on Wikipedia, and is the public domain.

Zipper photograph by the author Deborah Sweeney

Fashion Moments – Overalls

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Overalls

One of the most ubiquitous articles of clothing may be overalls. It could be argued that this garment is the single most important piece of clothing in the working class wardrobe for the past few centuries. The consensus of research shows that the modern overalls evolved from an earlier garment called “slops.” However, “slops” were more like trousers than actual overalls. During the 1700s, only working class people wore long pants; a gentleman wore breeches. [1]

Carl Morris mural, 1942-1943, Eugene (Oregon) Post Office. Commissioned by the WPA Federal Works Project

By the first part of the 19th century, the garment was beginning its evolution into what we would currently recognize as overalls. Up until the 1850s, overalls were homemade, sewn to fit the individual needs of the worker. Originally, the garment was a coverall, worn over another set of clothing for protection. Eventually, it became the worn-alone, bib fronted garment we identify as overalls today. U.S. patents from the late 19th century show a variety of “overalls” from specific occupations. For example, the illustration below shows a pair of overalls patented by Eli F. Stacy and John H. Stacy from Gloucester, Massachusetts, in 1872. They were developed for fisherman, in an effort to “secure a smooth front, free of buckles, buttons, or straps where the cloth comes in contact with the rail of a vessel.”

Overall patent, 1872, for use by fishermen

Many patents advertised themselves as improvements to the overall. Two years later in 1874, Alfred Rosenburg of Bridgeport, Connecticut, patented a series of hooks and eyelets which made overalls adjustable “to fit persons of varying sizes.”

Rosenburg’s 1874 patent

The exact date of the mass production of overalls is unclear, but many companies, such as Levi, Lee, Carhartt, and Oshkosh, began marketing overalls around 1900, although they may have been manufacturing them for several years or decades previously. [2] Overalls are unique in many ways because they have been marketed to men, women and children. They have been used as a patriotic tool in both world wars, as a symbol of everyone laboring for the common cause.

We like to think of our ancestors as dressing up for those rare photographic moments. For many of our ancestors, overalls were a wardrobe staple, a tool of their trade, their daily uniform. Below are a few examples of my ancestors being photographed around the farm as cameras became more accessible.

John H. Yegerlehner, wearing overalls on his farm, during the 1910s

Ralph and Raymond Yegerlehner on the farm in 1915

McCammon, Lydia & Jesse with Minerva Metcalf

Jesse & Lydia McCammon with Minerva Metcalf, haying in the 1910s

Sources

[1] “The History of Overalls,” Blair Mountain Reenactment Society, 10 May 2011 (https://blairmountainreenactment.wordpress.com/2011/05/10/the-history-of-overalls/).

[2] Ann Revenaugh Hemken, “The Development and Use of Bib Overalls in the United States, 1856-1945,” 42-45.

Images

Carl Morris mural (1942-3) at the Eugene Post Office. WPA Federal Works Project competition winner, posted on the Oregon Secretary of State website.

Overall patent illustrations are from Ancestry.com‘s database “U.S. Patent and Trademark Office Patents, 1790-1909.”

War Gardens for Victory. 1939-1945. Library of Congress Prints and Photographs Division. Reproduction no: LC-USZC4-4436

The photographs from the Yegerlehner farm courtesy of Karen Kline Brand. The photograph of Jesse and Lydia (Foster) McCammon with Minerva Metcalf courtesy of Geraldine McCarroll.

Fashion Moments – Feed Sack Fabric

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I was inspired to write this week’s post because of a piece which I read last week from the Kindness Blog titled Flower Sack Dresses from the Flour Mills (Historical Kindness). The original article was written in May 2015. The article contains some wonderful information about the history of the feedsack, or flour sack, dress as well as some great historical photographs. (Unfortunately, none of the photographs have source information so it is hard to tell whether they are in the public domain or whether the author has permission to use the images). The article prompted me look again at some of my family photographs from the 1920s, 1930s and 1940s. Without being able to look at a directory of fabric patterns, it is hard to say whether or not a garment was made from a feedsack just by looking at a photograph. I had to put myself in my ancestor’s shoes, looking specifically at my more rural paternal ancestors.

Note: I can hardly imagine my maternal grandmother being in a situation where she would have worn a feedsack dress. She was a pampered only child who lived in suburban San Francisco in her youth and who later moved to New Jersey to attend teaching college. She had little exposure to farm life, despite spending a few years teaching at an Indian Reservation in the southwest in the 1930s before moving to Malaysia as a missionary.

The Yegerlehner family lived in rural Indiana on a fully functioning farm with livestock to feed. My great grandmother Lovina was a hardworking, frugal woman. I can imagine her using feedsack material for clothing or other household items, such as quilts. After my grandparents, Roscoe and Gladys, married in 1929, they lived in Clay County, while Roscoe continued to teach at rural schools. Gladys’ mother, Emma Foster, frequently visited the Yegerlehner farm, so even though she lived in Terre Haute, she had access to feedsack material. She also baked and sold pies, giving her a need for larger bags of flour. Both Lovina and Emma were quilters. I have inherited several quilts which were their handiwork. Below is one of my father’s baby quilts. How many of these scraps originally came from a cotton feed bag?

Quilt - Baby, detail (attributed to Emma Foster) #1

Baby quilt attributed to Emma Foster from the personal collection of the author

Feed Sack Fabric

Before the 1920s, goods like flour and animal feed were sold in cotton bags. Frugal housewives re-purposed the cotton for various household goods, like towels or children’s clothing. The cotton was plain, but could be bleached or dyed to change the color.

In 1924, Asa T. Bales of St. Louis, Missouri, patented his idea for packaging flour in dress quality gingham fabric. The George P. Plant Milling Company of St. Louis was the first company to print the fabric, and soon Gingham Girl Flour was marketing their product in colorful bags. Other flour companies quickly followed the trend.

Drawing for A.T. Bales patterned feed sack fabric

Gingham Girl Flour company ad from the 1930s.

During the depression of the 1930s and the war shortages of the 1940s, reusing the cotton material from these bags became a way of life for many Americans. The photograph below is from Clay City, Indiana, in the mid 1930s. A rural community even today, the majority of these children lived on farms. How many of these children do you suppose are wearing clothing made from a feed sack? [Note: This was my Uncle John’s class picture, the oldest of Roscoe and Gladys’ children. Can you find him?]

Clay City, c1935-1937 (Photograph from the private collection of Deborah Sweeney)

Clay City, c1935-1937 (Photograph from the private collection of the author)

Fashion Moments – Bloomers

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Bloomers

There are two phases of the bloomer style pant adopted by women in the nineteenth century. The first hit the fashion world in 1851, a few years after the women’s rights convention at Seneca Falls. Dress reform, or the rational dress movement, was another objective in the early days of the women’s rights movement. Amelia Bloomer wrote in her publication The Lily:

The costume of women should be suited to her wants and necessities. It should conduce at once to her health, comfort and usefulness; and, while it should not fail also to conduce her personal adornment, it should make that end of secondary importance.

Amelia Bloomer’s friend, Libby Miller, adopted a style of long pants covered with a short skirt in 1851. Because Amelia promoted the pants in her magazine, the style became known as “Bloomers.” And, of course, they were promptly ridiculed by the leading newspapers. This style lasted through the end of the decade, until the rise of the crinoline made it obsolete (at least for Amelia Bloomer). However, it is important to note that during the Civil War, some nurses wore bloomers for their practicality on the battlefields and in field hospitals. The more ardent dress reformers continued to wear the fashion through the 1860s.

A_poser_for_a_bloomer_John_Johnson_political_&_satirical

A politial cartoon mocking the bloomers, 1852

by Joseph B. Forster, albumen carte-de-visite, 1860s-1870s

Mary Edwards Walker, c1866

Bloomers and Bicycles

The second phase, or rebirth of the bloomers, developed with the invention of the bicycle. Cycling became increasingly popular for both sexes, reaching its peak in the 1890s. However, women’s long skirts were too dangerous to wear while riding. The dress reformers won a huge victory in their quest for rational clothing (although they still received a lot of grumbling from the press). Bloomers became the practical mode of dress for women cyclists, and they were later adapted for other athletic activities.

Gallery

Images

“The Bloomer Costume.” Currier & Ives print, 1851. Library of Congress Prints and Photographs Collection. Reproduction no.: LC-USZC2-1978

“A Poser for a Bloomer,” Political cartoon circa 1852. John Johnson Collection of Printed Ephemera. Bodleian Libraries, University of Oxford. Image from Wikipedia under a Creative Commons License.

Mary Edwards Walker, 1866. Photograph by Joseph B. Forster. National Portrait Gallery, London.

“The Bicycle – the great dress reformer of the nineteenth century.” Samuel D. Ehrhart. Library of Congress Prints and Photographs Collection. Reproduction no.: LC-DIG-ppmsca-29031

“The Start,” 1897. Library of Congress Prints and Photographs Collection. Reproduction no.: LC-USZ62-93792

Gym Suit, 1893-1898. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art. Accession no.: 2009.300.884a–f

Fashion Moments – Paul Poiret

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Paul Poiret

Even though the name Paul Poiret may be unfamiliar to most, modern women have much to be thankful for because of this man. His clothing was fantastical and theatrical; fashion was elevated to a new level through his designs and creations. History credits him with various styles, including the hobble skirt, harem-style pantaloons, and lampshade shaped tunics. However, he is one of a handful of designers who helped to move women’s fashion away from heavily corseted clothing. He represented the new modern movement in fashion during the 1910s. In contrast to his contemporary Madeleine Vionnet (who cut her clothing on the bias), Paul Poiret loved straight lines and used rectangles throughout his designs. In the United States, Poiret became known as the “King of Fashion.”

He began his career by working briefly for both the House of Doucet and the House of Worth, the leading French fashion houses. He opened his own fashion house in 1904. He was a huge supporter of the Art Deco movement. Around 1910, he was influenced by the costumes of the Ballet Russe which were based upon Russian and Asian styles. This inspiration can be seen throughout his designs in the years to follow.

Gallery

A sample of Poiret’s fashions from 1910 through 1925. Many more examples of Poiret’s clothing can be found on the Metropolitan Museum of Art’s website.

Models wearing some of Poiret’s clothing, c1911-1914. These prints are from the Library of Congress.

Images

Advertisement for a Paul Poiret fashion show, Waco Morning News (18 March 1917), clipping via Newspapers.com

Photographs of book Poiret by Harold Koda and Andrew Bolton taken by the author Deborah Sweeney from her personal copy of the book.

Photograph of Paul Poiret, c1913. Library of Congress Prints & Photographs Online Catalog. Reproduction no.: LC-USZ62-100840

Checked suit photograph, 1914. Library of Congress Prints & Photographs Online Catalog. Reproduction no.: LC-USZ62-56759

Grey suit photograph, 1911. Library of Congress Prints & Photographs Online Catalog. Reproduction no.: LC-USZ62-56679

Poiret Model – Gimbels, 1914. Library of Congress Prints & Photographs Online Catalog. Reproduction no.: LC-USZ62-85524

“Paris” robe, 1919. Metropolitan Museum of Art. Accession no. 2005.207

Butard, 1912. Metropolitan Museum of Art. Accession no. 2005.190a, b

Evening dress, 1910. Metropolitan Museum of Art. Accession no. 2009.300.1289

Dress, 1925. Metropolitan Museum of Art. Accession no. C.I.50.117

Fashion Moments – Garibaldi Shirt

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Garibaldi Shirt

I have previously written about the shirtwaist. The ancestor of the versatile shirtwaist was the Garibaldi shirt which first appeared in women’s fashion around 1860 and was popular during the Civil War. The shirt takes it name from the Italian folk hero Giuseppe Garibaldi (1807-1882). He fought for Italian independence from the Austrian Empire. His followers were known as “Redshirts” for the colorful red shirts which they wore as their uniform.

The Garibaldi shirt was often worn with the Zouave jacket but there are many examples of the shirt being worn alone. While the original Garibaldi shirts were red, they eventually were made in other colors, from light white and beige to solid blue and patterned calicoes. One of the advantages of the shirt was its simplicity and the ease of movement that it afforded. The shirts were made from a variety of fabrics from cotton muslin to merino wool. They could be very plain or decorated with pin tucks, ruffles and lace collars.

Godey’s Lady’s Magazine offered a selection of variations of the Garibaldi shirt, including one with a Zouave jacket for a young girl, in 1864.

Garibaldi Shirt, Godey's Lady's Magazine, 1864

While the Garibaldi shirt was fashionable, it was also practical. Sleeves could easily be rolled up when work needed to be done. When the work was done, the shirts were easier to launder and clean. The two girls in the photograph below (sisters Lucretia and Louisa Crossett) were texile workers. While their shirts are very plain, if you click to enlarge the photograph, you can see their delicate lace collars at their necklines.

Images

I strive to use only photographs and images on my website that are copyright free (public domain), and to provide the proper attrition to the original source. I often find great examples of fashion items but can not post them here. The most common reason (I don’t post a picture) is that I can not find the original source of an item that has already been posted on the web to sites like Pinterest.

Thomas J. Watson Library, Metropolitan Museum of Art, Costume Institute Fashion Plates, Women 1862, Plate 117.

Thomas J. Watson Library, Metropolitan Museum of Art, Costume Institute Fashion Plates, Women 1863, Plate 48.

Library of Congress Prints & Photographs Collection. Sisters Lucretia Electa and Louisa Ellen Crossett in identical skirts… Call no.: AMB/TIN no. 2112

Sources

Godey’s Lady’s Book and Magazine 68 (January 1864) : 81; and, Godey’s Lady’s Book and Magazine 68 (June 1864) : 565; Internet Archive (http://www.archive.org).

Fashion Moments – Hobble Skirt

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Hobble Skirt (1910s)

Between 1910 and the commencement of World War I, women’s skirts were decidedly narrow. Skirts of the previous decade had been full, utilizing generous amounts of fabric. A fitted waist and hip which flared dramatically at the hem marked the first decade of the 20th century. While the silhouette of a 1900 skirt was spectacularly triangular, ten years later, they were positively rectangular. Neoclassicism, romanticism and the mystique of the Orient were some of the artistic aesthetics at play in the fashion world of 1910. In many ways, skirts of the early 1910s resembled Greek or Roman columns.

During this time, the increasingly active lifestyle of women influenced fashion. Skirt hems inched slightly upward. Corsets became less structured. Suffragettes were waging war in London and the United States. Women wanted freedom of movement (as well as the freedom to vote), so why would they confine themselves in a Hobble skirt?

Admittedly, the Hobble skirt was a very short lived trend, and not everyone partook in such foolishness. In essence, the wearer wore a skirt which was so narrow at the hem that the ability to walk was impeded, forcing the wearer to “hobble.” Various methods were employed to prevent the wearer from tearing their skirt (should they take too long of a stride). During the early teens, corsets covered and extended below the hips. Specially corsets which extended to the knees encouraged “hobbling.” [The catalog page below shows typical corsets from 1913, not the specialty ones.]

1913 Sears Catalog corsets (Image courtesy of Ancestry.com)

However, the most fascinating device (which was made specifically for Hobble skirts) was the Hobble Garter. Worn below the knees, the garter regulated the walker’s stride to ensure a hobble.

Los Angeles Herald 1910-11-24 Hobble Skirt

Los Angeles Herald, 24 November 1910, p. 12, col. 5-6

Images

The three fashion plates are from the Costume Institute Fashion Plates digital collection from the Thomas J. Watson Library, Metropolitan Museum of Art. They are in the public domain.

The catalog page comes from the 1913 Spring Sears catalog, available from Ancestry.com.

The newspaper article is one of many which can be found about the Hobble Garter in 1910. The Library of Congress’ Chronicling America database contains this issue of the Los Angeles Herald.

Fashion Moments – The Bustle

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Welcome to my weekly fashion blog post. Each week I will discuss a piece of female clothing or fashion trend from the age of photography (1840s through the the 20th century). My goal is to educate family researchers and genealogists about the clothing worn by our ancestors. Dating photographs is an issue we all struggle with as family archivists. Additionally, anyone who writes about their family history should be aware of the environment in which their ancestors lived, and that includes the clothing they wore.

The Bustle

During the 1870s and 1880s (and even into the 1890s), women continued to wear long skirts which typically included a bustle. There are three distinct phases in appearance and style of the nineteenth century bustle. Being able to identify the bustle phase of a woman’s skirt is a plus for dating photographs.

Phase One (1867-1872)

The 1850s and 1860s were known as the era of hoop skirts. As the Civil War ended, fashion transitioned away from this style of skirt. The steel cages which had previously supported the various layers of petticoats and skirts were phased out. By the end of the 1860s, instead of wearing a structure that encircled the body (diagram on left), the crinoline or bustle evolved into an rear only structure (diagram on right).

: Cutaway view of a crinoline, Punch magazine, August 1856

: 1867 U.S. patent illustration for a crinoline/bustle

This beautiful silk gown from the collection of the Los Angeles County Museum of Art is a typical example of the transition style. (Link to the circa 1870 dress in LACMA’s collection). The decoration of the skirt is linear around the bottom half of the hem and the skirt’s volume is full and rounded.

Woman's_Promenade_Dress_LACMA_M.2007.211.773a-d_(5_of_5)

Woman’s Promenade Dress, c. 1870 (LACMA collection)

Phase Two (1869-1876)

The second phase of the bustle overlapped with the transitional phase for a few years. This phase of the bustle was characterized by a draped over skirt which gathered to the back. The overall fullness of the skirt began to diminish. The skirt were generally flatter in front with emphasis shifting to the back bustle. As sewing machines in the home began to be more common, decoration and flounces became increasingly excessive.

: Dress 1870-1875 from the collection at the Metropolitan Museum of Art, New York.

: Dress 1870-1875 from the collection at the Metropolitan Museum of Art, New York.

Interlude (1876-1881)

By the middle of the 1870s, the bustle dropped out of fashion. Bodices became long and narrow, extending over the hips; they were seamed in the princess style and were also known as the cuirasse bodice. Like their namesake the cuirass (a piece of close-fitting defensive armour), these bodices were made to fit as closely as possible. All over decoration and flounces on the back of the skirt were typical during these years.

: Dress 1878-1882 from the collection of the Metropolitan Museum of Art

: Dress 1878-1882 from the collection of the Metropolitan Museum of Art

Phase Three (1881-1889)

The bustle of the 1880s became the fashion nightmare of its day. During the eighties, fashion swung between a desire for simplicity and a tendency towards excess. The bustle of this era looked like a shelf (according to fashion illustrations) built upon the female posterior.

Dress, c.1885, from the collection of the Metropolitan Museum of Art, New York

By the 1890s, the bustle was on its way out. Some posterior padding continued until 1905, but in general, the bustle was finished. The average female did not engage in excessive bustling. However, the bustle was common enough to be ridiculed and satirized in the newspapers of the day. Most women did have access to fashion magazines such as The Ladies Standard Magazine and a growing number of households acquired sewing machines in the late nineteenth century. Women re-created what they saw in the magazines according to their abilities (and their wallets). Mail order catalogs like Bloomindales sold ready-made clothing. Butterick and McCall sold paper patterns. It would be foolish to assume that our ancestors were out-of-touch with the latest fashions. Whether or not they could afford to replicate them was a different matter entirely.

Some Additional Resources:

English Women’s Clothing in the Nineteenth Century by C. Willett Cunnington is a great comprehensive guide of the evolution of fashion during the nineteenth century.

Victorian Fashions & Costumes from Harper’s Bazaar, 1867-1898 edited by Stella Blum

American Victorian Costume in Early Photographs by Priscilla Harris Dalrymple

The Detachable Collar

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Zipper

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Overalls

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Feed Sack Fabric

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Bloomers

Bloomers and Bicycles

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Paul Poiret

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Garibaldi Shirt

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Hobble Skirt (1910s)

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The Bustle

Phase One (1867-1872)

Phase Two (1869-1876)

Interlude (1876-1881)

Phase Three (1881-1889)

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