Oliver! Children’s Costumes

Amidst the world wide Covid 19 crisis, the shining light in the storm has been a commission from the DET NY TEATER in Copenhagen, Denmark for their upcoming stage production of Oliver!

We have been stitching furiously for the past few weeks creating the first set of costumes: Here are the girl’s garments:

This girl’s dress is a custom design based on the 1820s silhouette found in period illustrations. The sleeve consists of a puffed sleeve that joins with a narrow fitted sleeve. The bodice is pleated at center front and smocked at the neckline. The hem is cut extra long to accommodate fittings that will be completed in Denmark.

Our girl’s 1820s era gown is made from an early Romantic Era reproduction cotton print that reflects the color and style of Copenhagen, Denmark quite well!

City scape of Copenhagen, Denmark. Getty Images.

The gown closes at center back with a hidden zipper. Period closures such as hook and eyes are too laborious for quick costume changes.

This is our girl’s Ellie Dress. It is made up in a replica 1840s era print from our reproduction fabric collection.

This gown is cut extra long to accommodate fittings. This gown also closes in the center back with a hidden zipper to accommodate quick dress changes.

This is our Sarah Dress. It has been recut to reflect the style of 1790s. It is made from a delicate blue and cream berry print from our reproduction fabric collection. I originally made this gown last summer and have tweaked the design for a cleaner silhouette. I also increased the fullness of the skirt. This is perhaps my favorite gown of all the costumes I have made for this production to date!

The hem has been left unfitted to accommodate final fittings in Denmark.

The gown closes at the center back with a hidden zipper to allow for quick dress changes between acts.

This is a custom designed gown based on the silhouettes of the late 1820s. The sleeves are not as full as we see in the 1830s and the waistline sits at its normal position. This gown is made from the most delicate violet dot print from our reproduction fabric collection.

This gown has also been modified with a hidden zipper closure rather than the traditional hook and eyes. The hem will be finished at final fittings in Denmark.

Natural Turquoise bead necklace with miniature

The art and skill of jewelry and millinery making is historically a cottage industry. Prior to the Industrial Revolution, women and their children hand worked from home- hand crafting flowers, laces, and jewelry for market. Here at Maggie May Clothing, we are carrying on the traditional. My mother taught me to sew and now I am teaching my daughter. However, her interest lies in jewelry rather than sewing.

The necklaces found on our accessories page are made by my daughter. Each piece is reviewed for craftsmanship as she has learned that creating quality separates hand made from mass produced. And, she is learning about entrepreneurship as she gets to keep all the funds from her sales!

*All materials used in our reproduction jewelry originate from the United States and are lead and nickel free (unless otherwise noted in the description of the item).  All our jewelry is in compliance with California’s Lead-Containing Jewelry Law.

If you are allergic to metal, this jewelry should not be worn.

The Victorian Era/First Bustle and Natural Form Period 1870-1883

by Susan Jarrett

Queen Victoria ruled England and Ireland until her death in 1901- making the Victorian Era one of the longest in history. For the purpose of these pages, the Victorian Era will be broken into a series of periods- The Crinoline (1850-1869), First and Second Bustle (1870-1890), and Turn of the Century (1890-1900).

In 1861, Prince Albert died of typhoid fever leaving England with a Queen in deep mourning. For the next ten years, Queen Victoria lived in seclusion- leaving the country and her empire to the leadership of her Prime Minister. Her solemn nature coupled with her ideals of marriage, family, and social conformity formed the principles and values we now associate with the Victorian Era.

Queen Victoria in mourning
Queen Victoria c. 1868. Privatbesitz Andermatt.

An example of these societal expectations was exhibited in women’s dress. An 1872 Ladies’ Book of Etiquette describes appropriate dress for the following activities or events: receiving visitors, visiting others, travel, walking, going to market, shopping, visiting new brides, mourning, and going out in stormy weather. Each type of dress was distinguished by type of fabric, presence or absence of trim, and suitability for the named activity. Not comprehending and adhering to these rules was the epitome of “bad taste” (FIDM Museum & Galleries,  Nov. 19, 2010).

Traveling dress c. 1870. Augusta Auctions.
Sporting Dress c. 1880-1890. Powerhouse Museum.
Walking dress c.1870-75. The Metropolitan Museum of Art.

The 1870s saw a great boom in the textile industry. In Europe, the labor intensive hand looms were replaced by more efficient steam driven power looms. The result was a larger supply of textiles at a greatly reduced price. Other new innovations included a cloth cutting machine which could cut 18-24″ thicknesses of fabric at a time.  New finishing techniques such as mercerizing (a chemical process which increases cotton fiber luster, strength, and ability to accept dye) resulted in longer lasting textiles. The use of synthetic dyes (first introduced in 1856) resulted in bold, vibrant colors (some of the first synthetic colors were mauve, magenta, violet, false indigo, brown, black, and green. The latter of which was highly toxic to wearers.)

Hand looming silk. c. 1885. Tower Hamlets Local History Collection
Power Loom. Engraving c. 1862. Wellcome Collection.

These new innovations, coupled with the introduction of the sewing machine in the 1840s, paved the way for the mass consumption of textiles and the introduction of the mail order industry of the 1880s-90s.

1875 Montgomery Ward mail order catalog
Montgomery Ward Catalogue no. 13- Spring and Summer c. 1875. Winterthur Collection.

During this period, The United States was trying desperately to recover from a bloody four year civil war.  Unsuccessful attempts by the Federal government to reconstruct the American South left a legacy of extreme poverty, political corruption, exploitation, and terrorism.

In the Eastern cities, issues with industrialization and immigration resulted in pollution and unsanitary living conditions. In 1870, the first apartment houses were built in New York City to relieve the overpopulation of tenant housing. By the mid 1870s, the Eastern cities were bursting at the seams with the massive influx of new immigrants.

Irish immigrants awaiting passage to America
Harper’s Weekly depiction of Irish immigration. c. 1874. Library of Congress.

In an effort to rebuild the country and recover both the progress of earlier years and the economic losses of the American Civil War, The United States embarked upon reuniting the nation via the railroad.

Rapid railway expansion westward connected secluded geographical outcroppings to the larger cities back East. Railroad construction also provided work for the masses of new immigrant labor flooding the Eastern cities and carried emigrant families to wild, open terrain of the American West.

Traveling West by rail
Traveling West by Rail c. 1869. Library of Congress.

Women’s Clothing:

1870-1875:

As more and more women began traveling, the oversized hoops of the Crinoline period became impractical. By the 1870s, the elliptical crinoline had all but disappeared- or rather “evolved” into a bustle (or a long narrow cage that rested at the back of the waist). In England, the bustle was referred to as a “dress improver” and in France, a tournure. However, from 1870-1889, the bustle would continue to evolve into a variety of different shapes and forms.

Cage crinoline c. 1870s. The Metropolitan Museum of Art.
Cage crinoline c. 1880s. The Metropolitan Museum of Art.
Bustle c. 1870s. The Metropolitan Museum of Art.

Other undergarments for women during this period included the chemise, drawers, corset and petticoat. In 1875, the corset changed from the earlier Crinoline silhouette to a longer, sleeker hourglass shape. This “new style” corset, also referred to as the cuirass corset, was worn to create a smooth, controlled line from the upper torso to the hip.

Cuirass corset
Corset advertisement. c. 1880s. Public Domain.

Also as the bustled silhouette narrowed, the use of combinations (a garment that combined both the chemise and drawers into one) replaced the separate chemise and drawers. (It is interesting to note that earlier mention of combinations came in Godey’ Ladies Book in 1858. However, they were not widely adopted at that time.)

Illustration of ladies’ combinations. c. 1878. The New York Public Library.

Gowns of this period typically consisted of two pieces- a bodice and matching skirt. From 1870-1875, bodices were fitted at the torso and ended at either the natural waist or had basque waists– or waists that ended below the natural waistline in either the front or back (or both). Gowns that ended at the natural waistline often had a small peplum at the back (see example below). Sleeves were fitted and either ended at the wrist or the elbow. Sleeves were often finished with cuffs, flounces, pleats, or trim. Square, rounded, and V-shaped necklines were popular.

Gown of synthetic green dye.
Silk gown of new synthetic green dye, c. 1870. The Metropolitan Museum of Art.
Elaborate 1870s gown with peplum
Elaborately trimmed silk gown with bodice peplum c. 1873. Wien Museum

Skirts of this period had additional fabric at the back that was draped over the bustle. Some skirts were looped up or gathered over the bustle- known as the polonaise style. Other skirts extended a swag of fabric over the front of the skirt giving the illusion of an apron.

1874 gown with apron
Silk Gauze gown with front apron c. 1874. Fashion Museum Bath.

The princess gown was also popular. This style of gown was cut from a single piece of fabric (from shoulder to hem without a waist seam) and used a series of darts to shape the fabric to the desired silhouette. (It is interesting to note that the princess gown appeared as early as the 1860s and is credited to the designer Charles Worth.)

Princess line silk & cotton gown c. 1870-1880. Museum of Decorative Arts- Prague.

Other two piece garments consisted of the skirt and blouse combination. Blouses were typically loosely fitted and belted at the waistline. They were worn with a contrasting skirt. This mode of dress was worn for less formal occasions (at home) and by the working class. Blouses and skirts were often available via mail order.

1875-1883:

For a very brief period of time, a slender, fitted silhouette emerged. This period is commonly referred to as Natural Form. However the title “natural form” is a bit misleading. During this period, the circumference of the skirt narrowed and the bustle all but disappeared. Skirt fullness dropped to below the hips and sometimes employed internal ties to hold the drapery close to the legs. Heavily trimmed skirts placed the weight of the gown on the lower half of the body.

Natural form was not a long lasting fashion trend and by the end of 1883, the bustle had again regained its popularity. However, many elements from this trend- including the longer, tightly fitted corset, would remain prominent well into the 20th century.

Natural form gown
Reception gown. c. 1880. Boston Museum of Fine Art.

By the mid 1880s, the cuirass bodice was en vogue. The term cuirass is an ancient word used to describe men’s body armor. Likewise, the cuirass bodice of the first bustle period fit closely against the corseted torso and was reinforced with multiple strips of metal boning.

Cuirass bodice gown
Wedding gown with cuirass bodice c. 1879. The V&A.

Printed cotton gown with cuirass bodice and polonaise skirt. c. 1883. The V&A.

Evening Wear:
Thanks to the home sewing machine and advancements in the textile industry, clothing could now be made quickly and less expensively than in prior periods. Mass produced trims, which had once been too costly for the average lady to afford, were now available en masse. Thus dresses of this period were often lavishly trimmed.

Cuirass bodice evening gown
Cuirass bodice evening gown c.1876-78. The V&A.

Evening gowns from this period were of the same silhouette as gowns worn for daytime. Oftentimes, women had two bodices for the same skirt- one for day wear and one for evening wear. Necklines for evening wear were less conservative, highly trimmed, and had shorter sleeve styles. Sleeveless bodices were popular. Throughout this period, skirts with trains were worn for both day and evening wear.

1870s evening gown
Gown for a ball c. late 1870s. The Metropolitan Museum of Art.

Children’s Clothing:

Boy’s tunic c. 1881. The Philidelphia Museum of Art.

The 1870s saw much travel for children as well as adults. In fact, train travel was considered so safe, children often traveled alone.

Photograph of young boy dressed for traveling. c. 1870s.

Queen Victoria’s love for all things Scottish brought kilts, tartans, and Glengarry caps into mainstream children’s attire.

Boy’s Tartan Tunic. c. 1850-1880. Augusta Auctions.
Boy's kilted suit
Boy’s kilted suit. c. 1870s. Vintage Textile.
Girl's tartan dress
Girl’s tartan jacket and skirt c. 1870s. Wayne State University.

After the age of five, boys no longer wore the genderless dresses, smocks, and skirts of toddler hood. The Eton suit and tunic suits of earlier periods as well as the sailor suits were popular. Short trousers and knickers with shirts and smocks were worn as well.

King George V
King George V of England dressed in sailor shirt and trousers. c. 1870. Library of Congress.

Boys over the age 8 wore sporting suits– a four piece ensemble consisting of a four-button jacket, trousers (full length for adolescents), a shirt, and a contrasting vest.

Boy’s woolen sporting jacket and vest c. 1870-74. FIDM.

Girls’ fashions (after the age of 5) followed the same silhouette as women’s fashions- only they were shorter in length. The Princess gown was very a popular style for girls of this period. The use of combinations and mass produced stockings replaced girl’s pantalettes.

Photograph of girl of about 10 or 11 years. c. 1870s.
Girl's 1870s dress
Girl’s printed cotton dress. c. 1870. Los Angeles County Museum of Art

Blouses were worn under girls’ dresses and a variety of aprons were worn over them. In many cases, aprons served as both a decorative accessory as well as a way to protect the garments underneath. Popular materials for aprons included gingham, muslin, and linen. Popular apron trims included hand- made lace, bands of contrasting fabric or tucking and embroidery.

Girl's bustle apron
Pattern for your girl’s apron. c. 1877. The New York Public Library.
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CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. ©2020 Maggie May Clothing.

The Victorian Era/Crinoline Period 1850-1869

by Susan Jarrett

The Victorian Era began in England in 1837 when William IV died without an heir to the throne- thus leaving his 18-year-old niece, Victoria, to become Queen. However, scholars do not begin to document the marked societal and cultural changes brought about by Queen Victoria’s England until about 1850.

Queen Victoria of England
A young Queen Victoria of England c. 1842 by Franz Xavier Winterhalter

Queen Victoria ruled England and Ireland until her death in 1901- making the Victorian Era one of the longest in history. For the purpose of these pages, the Victorian Era will be broken into a series of periods- The Crinoline (1850-1869), First and Second Bustle (1870-1890), and Turn of the Century (1890-1900).

The Victorian Era itself was a time of great change and progress- with its efforts to reform complex social institutions and its experimentations with mechanical and scientific ingenuities. The Victorian Era was highly moral. Motherhood was cherished and virtue was idolized. There was no greater icon of these ideals than the Queen herself, or the virtuous life of her husband Prince Albert. However, while this strict code of behavior greatly increased the civility and the gentility of life, it also encouraged an austere climate of conformity.

Victoria and Albert
Queen Victoria and Prince Albert. c. 1840s. Royal Collection Trust.

In 1851, Victoria’s husband Prince Albert, organized the first world’s fair. The Great Exhibition as it was called was the first public exhibition to display technological advancements and manufactured goods from around the globe. The Great Exhibition opened the door for an interchange of both cultural and artistic ideas from all over the world. An example of 19th century textile advancements include English chemist William Perkin’s discovery of a way to mass produce color, revolutionizing the fabric dyeing process. In 1858, he invented a new color synthetic known as mauve (a pale purple aniline dye) which the Queen wore to both her daughter’s wedding.

The Great Exhibition of 1851
Detail of The Great Exhibition. c. 1851 by Henry Courtney Selous. Hulton Archive.

Another important innovation to impact this period is that of photography. In 1836, Louis Daguerre introduced a way to capture images by exposing copper and silver to a series of chemicals and salts. The type of photography is referred to as a daguerreotype. By 1850, a variety of photographic methods were available and the average citizen could now carry a true likeness of their loved ones.

1840s portrait of a lady
Portrait of a woman, c. 1846 by Antoine Francois Jean Claudet. The Royal Photographic Society Collection.

The House of Worth and the rise of Couture:

France had not led the fashion world since the Regency period, but a designer by the name Charles Worth would change that. Worth, an Englishman who did not speak a word of French, began his career working in the fabric houses of Paris. Designing couture gowns in his spare time, he soon gained recognition in the fashion industry when he displayed some of his gowns in The Great Exhibition in London in 1851 and the Exposition Universelle in Paris in 1855.  In 1858, Worth opened his own house of fashion in Paris.

A young Charles Frederick Worth. Lithograph. c. 1855.

His gowns gained notice from the very influential fashionistas Empress Eugenie (wife of French Emperor Napoleon III) and Princess Metternich of Austria who became devoted patronesses. With their support, the success of The House of Worth was sealed.

Empress Eugenie and Her ladies in waiting by Winterhalter
Portrait of Empress Eugénie Surrounded by Her Maids of Honor c. 1855. F.X. Winterhalter. Musée national du château de Compičgne.

But perhaps the most unique quality of Worth’s designs was that they were all interchangeable. Bodices, skirts, and sleeves were all drafted to fit any number of his designs and could be mixed and matched to create couture gowns custom to a client’s personal taste.

House of Worth 1862 mauve dress
House of Worth Silk ensemble c. 1862-1865. The Metropolitan Museum of Art.

The Great Conflict:

In 1861, the worst conflict on American soil began as a civil war ripped across the nation. Just four years later, over 620,000 people would have lost their lives. With a nation at war, American industry and technology to support the effort was utmost priority. One of the technologies to revolutionize the war effort was the sewing machine.

Originally imported to America in the 1840s, American inventor Isaac Merritt Singer improved up on the efficiency of the original machine and in 1851 patented the first Singer Sewing Machine Company lock-stitch sewing machine. The Singer would revolutionize the garment making process by increasing the speed and efficiency with which garments could be made. By 1857, his sewing machine was available all over the United States. But it was the onset of the American Civil War that spurred it into regular use.

Singer sewing machine, c. 1851. The Smithsonian.
Isaac Merritt Singer

Garment making factories began popping up across the nation. The efficiently of a sewing machine reduced the amount of time it took to make a garment. Northern factories, fully equipped with sewing machines, worked day and night to keep their soldiers dressed. By the end of the war, they had made over 2 million uniforms.

In the American South, blockading and inflation abruptly halted major industrial and technological advancements. Both the shortage of goods coupled with increased pricing effected Southern fashion trends and led to the idea that Southern culture was antiquated and “old fashioned.” Unlike the mass production found in Northern factories, Southern civilians worked by candle light in their homes hand stitching uniforms for soldiers. On the home front, women were left to rely on their own ingenuity to repair, rework, or patch old and outdated garments.

Women’s Clothing:

This period derives its name from the invention of a women’s undergarment called the crinoline (later called the cage crinoline or hooped underskirt). The term crinoline refers to a stiffened skirt- typically some type of petticoat. By the 1850s, increasing skirt widths called for the reintroduction of the whalebone (or metal after 1857) hooped petticoat. (Whalebone hoops were worn during the early 18th century). By wearing the hooped petticoat, the wearer freed herself from the weightiness and cumbersome nature of multiple petticoats. 

In the mid 1850s, the cage crinoline (or a petticoat made by sewing whalebone or steel bands to a series of tapes) allowed for even an even lighter undergarment. A single petticoat was worn over the top of the cage crinoline. Wool or flannel petticoats were worn in the winter for warmth.

Early cage crinoline
Early cage crinoline. c. 1857. The Metropolitan Museum of Art.
Cage Crinoline
Illustration of the “new cage crinoline.” c. 1850s.

During the Crinoline period, the corset (formerly referred to as stays) was a measure of decency. Corsets during this period were not tightly laced and were lightly boned with whalebone reinforcements. With the introduction of the cage crinoline, corsets were shortened and allowed for freedom of movement at the hips.

Whalebone Corset c. 1864
Whalebone corset c. 1864. The V&A.
1860s corset back
Whalebone corset c. 1864. The V&A.

Bodices of this period ended slightly above the natural waistline. In the 1850s, feminine versions of men’s shirts, vests, and waistcoats were common separates. Thanks to the introduction of the sewing machine, time involved in making clothing was now drastically reduced and elaborate self- made trim work became popular. Lavish trimmings such as embroidery, ribbon, braid work, and ruching was used. Sleeves began to widen at the wrist and forearm. Undersleeves remained popular.

Silk day dresses. c. 1850s. The Metropolitan Museum of Art.

Early in the period, to emphasize the voluminous nature of the skirt, multiple outer flounces and overskirts became popular. By 1860, the ever-sought-after bell shaped skirt had disappeared and a preference for an oval shaped skirt became popular. In Europe, as early as 1861, the weight of the skirt had shifted backward and the appearance of a “flat-fronted” skirt emerged. Finer gowns often had an interchangeable day bodice and evening bodice worn with the same skirt.

Mme. Olympe silk gown. c. 1865. The Metropolitan Museum of Art.
Mme. Olympe silk gown. c. 1865. The Metropolitan Museum of Art.
Mme. Olympe silk gown. c. 1865. The Metropolitan Museum of Art.

Queen Victoria’s love for all things Scottish led to a craze for plaids. Plaid skirts, gowns, bows, neckties, and even sashes appeared in fashion all over Europe and The United States.

Queen Victoria in her Scottish sash. Lithograph c. 1850s.
Queen Victoria’s tartan silk velvet gown. c. 1835-37. The Royal Collection Trust.

Throughout the entire Victorian period, the bonnet ruled the day as head wear. In the 1860s, younger ladies and ladies of fashion included a variety of hats into their wardrobe. Other head coverings worn in this period included lace or muslin day caps, ribbons, and jeweled hair ornaments.

Straw bonnet. c. 1860s. Kent State University Museum.

Children’s Clothing:

From toddler hood to the age of four, both girls and boys were dressed in gowns ending just below the knee accompanied by a set of pantalettes. After age four, little girls wore shorter versions of women’s fashions. As girls grew older, the skirt lengthened. By the age of 16, girl’s hemlines were approximately two inches above the ankle.

1860s girls dress
Fascinating young girl’s dress cut in the traditional mid 19th century style. Made from contrasting printed cottons. c. 1850. The Metropolitan Museum of Art.

Hoops were worn by girls past the age four or five and pantalettes continued to be worn by all ages. Pantalette length ended anywhere from mid-calf to the ankle and it was not considered indecent for little girls and young ladies to allow the hems to peak out beneath their skirts.

1860s girls
Carte d’visite. c. 1860s. Source Pinterest.

Pinafores were worn over dresses during the day to keep children’s clothing clean.

1860s pinafore
Pinafore pattern c. 1860s. Source Pinterest.

Little boys past the age four wore trousers and coats similar to that of their adult counterparts. The Eton suits and tunic suits of earlier decade were still in fashion. Knickerbockers and the Knickerbockers suit became popular attire for young boys during this period.

Two boys in knickerbocker suits. c. 1850s-60s. The National Gallery of Victoria.
Boy in tunic
Young boy in tunic with trousers. c. 1850s. Source Pinterest.

Overalls and smocks had been in use in rural areas since the 1830s and were worn as outer clothing during heavy labor. Young boys who helped their family work in the fields quite often had a one of these two garments to wear over their trousers and shirts.

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CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. ©2020 Maggie May Clothing

The Romantic Era 1820-1850

by Susan Jarrett

The Romantic period derives its name from Romanticism– a term used to describe a movement in art, literature, and music that valued freedom of expression. Romanticism began in England and spread throughout Europe and the United States. Romanticism was a rebellion against the current classical rules governing creative work. Followers of the Romantic ideal believed that the innermost emotions should be expressed, art should please the senses, and imagination was more important than reason. Romantics also had a deep connection with the past and often revisited historical tales in their art, writing, and music.

Byron
Lord Byron c. 1813. Newstead Abbey/The Public Catalogue Foundation.

The Romantic ideology espoused by writers such as Lord George Gordon Byron connected with the American people and had a significant influence on popular culture. American romantics had an innate love for goodness, truth, and beauty and believed these were qualities all individuals were capable of possessing. The revolution in printing technology along with increased literacy amongst the American population gave rise to the widespread popularity of other Romantic writers such as Keats, Emerson, and Thoreau.

The Romantic heroine was innocent and virtuous. She was known to faint easily as a result of inner spiritual turmoil. In England, followers of Romanticism rejected social conventions like marriage. Prior to this period, marriages were arranged social contracts drawn to protect property and maintain social status. But thanks to the influence of Romantic ideology, love now became a mandatory requirement for marriages.

“Swedish Nightingale” Jenny Lind embodied the role of the Romantic heroine. Lithograph c. 1848. Public domain.

Marriages became more egalitarian. In America, Romanticism sustained the idea that a woman’s place was in the home. Prior to this period, women were treated more like subordinates than wives. Women now had the opportunity to engage in leisure activities and form friendships with other women. Child rearing became an important part of a woman’s life. Emphasis on the “child- centered family” emerged. The education of children became a priority. The ideal wife and mother was an “angel of the household.” She was virtuous, wholesome, and genteel. She loved her husband and her children and cared about everyone she came in contact with.

Domestic Happiness by  Lilly Martin Spencer. c. 1849. The Detroit Institute of Arts

Women’s Fashion 1820-1825

The years 1820-1825 served as a transition period between the former Empire style and the new Romantic style. During this period, the waistline slowly descended back to it normal position as skirts gradually increased in fullness. Skirts of the 1820s were typically gored– or cut in an A-shape with the narrowest part of the skirt near the waist slowly increasing in width as the skirt progressed to the hem. Bodices were typically attached directly to the skirts via a waistband. Wide matching belts with decorative buckles were common accessories.

American Silk Ball Gown, circa 1820. The Metropolitan Museum of Art.

During this period, cotton was still the preferential dress fabric. By 1825, border printed cotton was available and advancements in textile coloration made available in the United States colors such as yellow, orange, brown, and variety of blues.

Cotton Dress, c. 1826–27. Metropolitan Museum of Art.

Dresses with ornamentation were a hallmark of the 1820s- especially at the hemlines and sleeves. Ornamentation consisted of embroidery, cut-work, matching ruffles and ruching, and puffs (or matching appliquéd fabric filled with small bits of batting.) The influences of Romanticism brought forth fashion trends from the past- such as neck ruffs, slashing (the process of cutting away fabric to reveal what is beneath), and a variety of medieval sleeve styles. Sleeve style were both long and short. Romantic era dresses typically were not trained and ended just at the ankles.

Silk day dress with examples of slashing and ruffles. c. 1820. The Kyoto Costume Institute.
Romantic Era sleeves
Cotton gown the medieval inspired Marie sleeves. c. 1818. The V&A.

By the end of the 1820s, the gored skirt was quickly being replaced by a full paneled skirt and small pleats or gathers were used to draw in the fullness at the waistband. Hems gradually began to widen but would not reach their apex for two more decades.

Printed cotton dress. c. late 1820s. The Metropolitan Museum of Art.

1830s

The 1830s saw the height of the Romantic Era. It was the period in which the silhouette reached its extreme. Like two inverted triangles, the 1830s silhouette sought to add as much width at the shoulder line as it did at the hem line.

romantic era
Cotton dress with demi-gigot sleeves. c. 1828. The V&A.

Sleeve styles in the 1830s were diverse but typically very full. The gigot sleeve and the demi-gigot sleeve (later referred to as the leg-o-mutton sleeve in the 1890s) consisted of a large puffed sleeve at the armscye that tapered down to a narrow, close fitting cuff at the wrist. Both were quite popular.

Fashionable 1830s dresses and suit. The Metropolitan Museum of Art.

Many bodices had wide round or V-shaped necklines and were worn with variety of chemisettes (or tuckers). Large white collars that had lapels extending down the front called pelerines became a popular 1830s accessory.

Cotton pelerine with delicate white work embroidery. c. 1835. The Metropolitan Museum of Art.

With the silhouette resembling two inverted triangles, emphasis on a narrow waistline made stays and petticoats a necessity. Romantic era stays were typically very lightly boned or corded. They laced up the back and had a solid wooden (or sometimes ivory) busk down the center front.  By the late 1830s, multiple layers of petticoats were worn to support the fullness of the skirt panels and a small bustle pad (also known as a skirt improver) was worn at the back of the waist.

1830s undergarments
Stays, petticoat, and sleeve supporters. c. 1830s. The Metropolitan Museum of Art

When venturing out of doors, the mantleor mantelet, was a most fashionable article of outerwear as were wide-brimmed bonnets with high crowns.

French Mantle. c. 1830. The Metropolitan Museum of Art.

Dresses for evening wear were of the same silhouette as the day dress, but necklines were lowered and off-the-shoulder. The chemisette was abandoned and sleeves and skirts shortened (but stayed just as full!). Finer fabrics such as silk satin and gauze were used for evening gowns. More luxurious mantles or mantelets were worn as evening outer wear. Hair ornaments and ribbons adorned elaborate evening hairstyles.

By 1837, the Romantic silhouette began to deflate. The fullness of the 1830s sleeve moved further down the arm. Hemlines lengthened and sleeves became narrower. The waistline returned to it natural position as the waistband disappeared and a rounded or pointed front waistline became prominent. This silhouette is known as a transitional style because it bridges the flamboyant silhouette of the 1830s to the final and more subdued silhouette of the Romantic Era.

Transitional style gown. c. 1838. Philadelphia Museum of Art

1840s

By 1841, the whalebone corset was a necessity-  serving as both a foundation to support the outer layers as a measure of internal female decency. Clothing of late Romantic period called for a narrower sleeve that fit low on the shoulder. These close fitting sleeves coupled with the low shoulder seam kept women from lifting their arms much above their heads. Detachable undersleeves– or rectangular pieces of cloth with a cuffed end- were sewn into the sleeve and could be removed for regular laundering. 

April La Mode. c. 1848. Metropolitan Museum of Art.

Gowns of the late Romantic period were often made in one piece (the bodice attached to the skirt) but jacket and skirt combinations were also popular. The Gilet corsage was a French term for a woman’s jacket made in the style of a man’s waistcoat.

By the mid 1840s, the shape of the skirt took on a bell shape and stiff crinolines along with multiple layers of petticoats became necessary to aid in lifting out the circumference of the hem. Double flounced skirts became quite popular.

Silk gown. c. 1845-48. Galleria del Costume di Palazzo Pitti
Silk gown. c. 1845-48. Galleria del Costume di Palazzo Pitti

Bodices of the late Romantic period typically had basque waists (or elongated waistlines which ended in a rounded point at the front) and were very tightly fitted. Necklines were round, V-shaped, or wide for both day and evening wear.  Often interchangeable chemisettes and collars were worn during the day. The pelerine remained a popular accessory.

1840s dress
Printed Dress. c. 1840. National Gallery of Victoria.

Children’s Fashion

Thanks to continued emphasis placed on the freedoms associated with childhood, like the prior Empire/Regency Era, both young boys and girls up to the ages of four or five were dressed in loose fitting muslin gowns with pantalets. The only differentiation in gender was the lack of lace and ornamentation on boy’s gowns. After the age of five or six, young boys wore loose shirts buttoned to high-waisted, ankle length trousers- commonly referred to as the skeleton suit. After age 12, boys were dressed much the same as their fathers- in shirts, trousers, waist length jackets, and vests. This style is referred to as the Eton suit.

Boy’s skeleton suit. c. 1833–35. The Metropolitan Museum of Art.

By 1830, girls’ dresses after the age of six were composed of full skirts and fitted bodices with large gigot sleeves. Girls’ attire mimicked that of their mothers’ with the exception of addition of pantalets. These were still visible just below the hemlines of their skirts.

Girl’s cotton dress and pantalets. c. 1820-28. The Metropolitan Museum of Art.

Boys between the ages four and ten wore tunics– or long shirts belted at the waist. Underneath their tunics, Ankle-length trousers allowed for freedom of motion and comfort.

Boy’s tunic suit. c. 1835. The V&A.
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CalicoBall is a grassroots effort to document, preserve, and present rural America’s diverse historical traditions. CalicoBall is an educational extension of Maggie May Clothing. ©2020 Maggie May Clothing

Boy’s Tunic Suit

Details: 100% cotton; partially lined; fully machine sewn with some hand stitched details; hemmed to mid calf.

This suit can be ordered in standard sizing only.

Pricing DOES NOT INCLUDE fabric. You need to purchase 3 YARDS of our reproduction cotton fabric to complete your order.

This is a CUSTOM ORDER garment. Please allow 3-4 weeks for completion. Custom Order items are filled on first come first serve basis. To avoid delays, please contact us to enquire about our current custom order turn around times.

Workwoman’s Guide Dress

I recently put together this 1840s era work dress based on drawings from the Workwoman’s Guide by a Lady. I used pattern #017 by Saundra Ros Altman of Past Patterns. The Workwoman’s Guide refers to the cut of this dress as the Full French High Body.

My rendering of Past Patterns #017 in reproduction cotton print
Pleated bodice detail with hand painted china buttons.
I opted for a plain bodice back to keep the silhouette sleek- retaining most of the fullness in the front.
A signature of a Maggie May dress is our contrasting hem protector. It adds just a splash of color to your skirts as you walk!

The Workwoman’s Guide Dress is shown over our extra full petticoats, chemise, corded petticoat, and over bust corset.

According to the The Workwoman’s Guide (c.1838), “It is very bad economy to purchase, for articles of clothing, cheap bargains. They generally consist of damaged goods or are otherwise inferior in their quality as it stands to reason that no mercer would feel inclined to sell his stock at a lower rate than what its worth.” (Chapter 2, pg 11).

This makes me laugh as it is SO RELEVANT today. Who would have thought?

Love this gown? Make one for yourself. You can get your very own pattern over at PastPatterns.com!

This gown is headed to Barrington Living History Farm (now Barrington Plantation) in Washington, Texas. View more of our custom made historical garments in our catalog! Or contact us at info@maggiemayfashions.com!

Girl’s mid century try- on clothing

These two mid 19th century yoked front dresses were made for a museum in Arkansas for their children’s hands on exhibit. This style of dress was popular from about 1840 through the 1860s and was prominent in the American South. These two dresses are made from period reproduction cotton prints and are suitable for girls ages 4-13. They open all the way down the back to accommodate ease of trying on and close with buttons.

Girl’s mid century yoked dress sized for girls ages 10-13.
The pinner aprons is removable and is attached to the dress with snaps to make on and off as easy as possible.
Sweet summer dress of floral calico sized for girls ages 10-13.

We also made this close fitting straw bonnet to accompany this collection. This style bonnet was worn by girls from the 1840s through the 1860s. We constructed it in an easy to clean, durable way (without ties) to allow multiple young visitors to try on this darling little bonnet while at the museum.

Mid century straw bonnet without ties to keep little heads clean and tidy!

For more information about these custom designed historical children’s clothing or any of our historical fashions, please visit our website at www.maggiemayfashions.com