An 18th Century Embroidered Linen Bodice – Remade, Refashioned

It was the exquisite, delicate silk thread embroidery which first caught my eye. Some of the threads have worn away and the penciled outline drawn to guide the stitching is faintly visible. I know nothing about who embroidered this bodice or even where it was made. It was purchased in America, so perhaps it was made here during those turbulent mid-century decades. And yet the global nature of goods in the 18^th century, does not necessarily support this attribution without a provenance.

 It has been suggested that the bodice is of a hand loomed linen – if true, that is an uncommon find. Given the wispy quality of the embroidery and the type of garment , it probably dates from the mid- to later half of the 18^th century. There is a drawstring at the front and skilled piecing at front and back. The diminutive garment was in the process of being transformed –although into what it is not certain. There may have been sleeves, which have been removed, as the shoulders have been unpicked. The previous owner  notes “I would surmise from the way that the embroidery is cut and folded on the underside of the shoulder straps that originally this piece had sleeves.”

A single stay survives. The hand embroidery features those familiar Jacobean flower and leaf motifs we find through much of the 18^th century.

The height is 13.5 inches, it is 14 inches across, and 20 inches from bodice edge to edge when open. 

While not considered a “museum quality” garment, I nonetheless find it interesting as a study piece, which I share with my museum studies and material culture students. Was it being remade for a younger member of a household? Was it in the process of being completely disassembled for some of its pieces to go into a new garment? While we may never know the answers, it serves as a good example of silk embroidery and a time when even the smallest pieces of textiles were used and reused and remade.

Former collection of www.Trouvias.com

For more on embroidery, see: The Project Gutenberg eBook of Jacobean Embroidery, by Ada Wentworth Fitzwilliam and A. F....

http://www.gutenberg.org/files/18971/18971-h/18971-h.htm

A Silk Damask Sack-Back Dress, c. 1760s: Margaret Hunter Shop Milliners and Mantuamakers

Detail of silk damask

Apprentice Abby measuring 

Journeywoman Sarah taking advantage of daylight for sewing

I was very fortunate to be able to spend time recently at the Margaret Hunter Milliners and Mantuamakers at Colonial Williamsburg, watching the construction of a sack back dress (a robe à la française) of gold silk damask. It is based on an original held in the Charleston Museum collections, dating from the mid to late 1760s.

To watch the skilled work of the apprentices and journeywoman, under the masterful eye of Mistress Janea, was a true education for me, as well as the dozens of onlookers who packed into the shop.  Word had spread quickly that there was a dress being made and visitors were anxious to see the how the “gown in a day” project was proceeding.

Mistress Janea offers instruction 

As the first cut was made into this rich buttery yellow gold silk damask, I actually felt a pang of fear – I could not imagine cutting into the textile with such deft certainty. Over the weekend, I observed the first cutting of the fabric, the creation of the sleeves, the extensive pleating which went into the self fabric robings, the mock up of the stomacher, and the sack back (from which the dress derives its name), falling from the neckline and trailing elegantly behind. As the dress on which it is based, it is unlined.

Sleeves and trim

Self fabric robings with trim applied

On my final day, I was able see the gown fitted for Journeywoman Sarah. Due to the bustling activity in the shop and the level of detail required for the dress, the work was not yet complete when I left Colonial Williamsburg, but I will share finished views when they are available. (For additional in-progress shots, follow the shop on FaceBook, Twitter or Instagram: https://www.facebook.com/TheMargaretHunterShop?fref=ts)

Note the deep pleats for the sack back, the play of light on the silk

Fitting the dress

A few tidbits shared by the mantuamakers: 

The estimated cost of the fabric at the time would have been about 10-12 shillings per yard; approxiamately18 yards were needed for the dress

It would take about 30-40 hours to construct, most time would be devoted to the trim

The estimated cost would have been approximately 10-11 shillings for “making up”

The dress was designed to be worn over small pocket hoops

The extras are known as snips

I spend a good deal of time reading about historic garments, but nothing compares with actually seeing the handwork involved for garnering a deeper understanding.

Many thanks everyone at the shop – Janea, Sarah, Abby and two very talented and poised interns, Fiona and Lily -- and to friend and colleague, Susan Holloway Scott of Two Nerdy History Girls (http://twonerdyhistorygirls.blogspot.com) for introducing me to this creative group. I am already planning my next trip!

For more about the shop and its activities, see

http://whatsnew.history.org/2014/03/margaret-hunter-millinery-shop-celebrates-60th-anniversary-at-conference/

An Autumnal Evening Dress, Worth, c. 1877

The seasonal reflection of autumn captured by Charles Frederick Worth (1825-1895) in this evening dress is inspired, reveling in fall's glories. The coppery bronze silk, with large pattern repeats of oak leaves and acorns, convey autumnal colors and theme. 

Due to the monochrome palette, the leaves appear to be tumbling across the dress, just as windswept leaves danced outside the door of the wearer. The realistic treatment of the leaves brings to mind the strictures of John Ruskin and "truth to nature."

The dress was donated to the Metropolitan Museum of Art via the estate of Mrs. Pierpoint Morgan in 1925, the year that she died. Mrs. Morgan spent long periods of time in France, and although the public record associated with the garment does not mention it, it is highly likely that the dress was created for her for the fall 1877 season. Worth's clientele was the gliterati of the 19th century - by 1860, he was designing for the fashion-forward Empress Eugénie, in 1867, Bostonian Isabella Stewart Gardner became a client, followed by New Yorkers including Mrs. J. Pierpont Morgan, Mrs. William Astor, Jr., and novelist Edith Wharton.

All images courtesy the Metropolitan Museum of Art
For additional information, see:
http://www.metmuseum.org/collection/the-collection-online/search/81619?rpp=20&pg=1&ft=*&who=House%2Bof%2BWorth&img=1&imgno=9&tabname=label

A Charming Pair of Red Victorian Stockings

A short post, a trifle: Wouldn't these be a bright spot in your wardrobe on cool, cloudy days? There is something cozy and charming about these Victorian stockings.  Cherry red cotton knit stockings are embroidered with floral details, c. 1860s+. The cotton is sturdy yet soft. Examination reveals a channel runs across the top of both - most likely to contain garters. A subtle seam runs up the back.

Photo courtesy of www.Trouvais.com

Photo by author

While they may not compete with these delightful French cotton stockings (c. 1870s) and their bounty of cherries, they have just enough embellishment to make them special.

Image, courtesy The Metropolitan Museum of Art, NYC