1865 Dress Research, Part II: Skirts and Skirt Support

More thoughts and sources since the first iteration.

Pictures provided by K. Krewer at the Sewing Academy got me thinking along the lines of layering the skirt (the striped silk in my first research post also had the "en tablier" front, but with a back bow instead of the puffs in Mrs. Krewer's example).  It's a cool effect, and one I'd like to try if I can make the fabric (metaphorically) stretch.

"The petticoat is ornamented with the same lace as the train, sometimes in flounces, sometimes in puffings or bouffons of tulle, sometimes en tablier, that is, down either side."
-Description of Court Dress from The Habits of Good Society, 1865

(In this context, the "petticoat" is meant to be seen... because Court Dress.)

The same term 'en tablier' is used in 1864 (in the February issue of Harper's New Monthly Magazine) to describe a morning costume with a contrasting front panel.

From Frank Leslie's Ladies' Magazine and Gazette of Fashion, August 1865 

"Dress of black silk, trimmed en tablier with a wide band of violet silk."

The French, however, seem to actually mean 'apron-shaped' instead of  'open/contrast panel' when they use it:

La Moniteur de la Mode, December 1864

"La jupe de taffetas blanc forme bien la traîne, elle est ornée d une haute dentelle s'arrondissant derrière en habit-traine et en tablier plus court devant."

For the less high-fashion minded, here's what Peterson's had to say about dresses in February 1865:

Summary: High waists, waistbands, gored skirts, and narrow sleeves.

As for what's going on under those skirts (forgive the expression):

Peterson's, February 1865

Peterson's, May 1865

Der Bazar, March 1865

Footprint of the above hoop (Der Bazar, March 1865)

Gored petticoats to support gored skirts, and the crinoline shape itself is morphing along similar lines (fuller in back than front; less "bell" and more "conical"/"pyramidal" in shape, with an egg-shaped footprint instead of a round one).  As I'm not about to make two new crinolines for one event, I'm working on some gored and/or full-backed petticoats (with a small 'tournure'/'dress improver') for use with with my existing cages, to simulate the full-back look.  My 1865 persona is apparently an economically-minded woman who already has a perfectly serviceable cage, and is being cautious about this new 'fad' in skirt shape, while trying not to look too out-dated.  

Pattern (Kit) Review: Kayfig Cage

Finally finished my new 108" cage crinoline, from the Originals by Kay kit which I received for Christmas.

The cage went together rather easily.  The instruction packet lays out the measurements clearly, and walks you through the appropriate marking and assembly steps.The only sewing that is required is making up the waistband and attaching the tapes to it, but you're on your own for that, so sewing experience is assumed. The buckle caused me a some confusion at first, but that was primarily the result of over-thinking it.  

I much prefer using rivets to attempting to sew through the buckram, as I had previously done; that being said, I didn't like the way these rivets went in.  They had a tendency to deform when hammered; I tried varying my setting method to ameliorate this, but without luck.  I don't have enough experience to say whether these rivets in particular are the problem, whether my technique was incorrect, or whether rivets always bend that way.  They seem secure so far.

What You Get: Instruction packet (3 pages front & back, with placement diagrams)

1.5 rolls of hoop steel (about 45 yds)

16 end caps

c. 10 yards cotton tape

77 2-piece rivets

buckle

Items needed: waistband; pliers (to attach end caps), hammer (to set rivets), bolt cutters (to cut hoop steel), punch and/or awl (to make rivet-holes in the hoop steel and tapes, respectively) 

Pattern Score: 4 stars

Difficulty: Advanced Beginner--little sewing is required, but that is unguided; for the rest, spacial reasoning and ability to follow instructions are more relevant than sewing experience

Accuracy: Citations not included, but the materials are period.  Most of the images* I've seen for uncovered cages used smaller gauge wire in large quantity, like the needle & thread kit, but I'm satisfied with the shape.  

General Impression: The main things I like about this kit is that the math and proportions are all pre-done, and the hoop steel and tapes are of good quality.  I didn't like the grommets, personally. Still, it went together fairly easily, and makes a nice shape.  The instructions were very compact, and could use a little more detail at times.  This kit is the cheapest option I've found for making a good quality '60's cage, and my only lingering concern is those annoying rivets.

*Edited to add: three of the period illustrations in Nora Wraugh's Corsets and Crinolines show cages c. 1856-58 with the wider steels like this.

Experiential History: Moving in Long Skirts and Dropped-Shoulder Dresses

Crinolines (1863) by Eugene-Louis Boudin

This is branch off of my corset musings; typing up the list, I realized that most of my reduced/changed movements involved not my corset, but rather limited limb mobility.

Long skirts are the big thing.  Except for one formal outfit, I don't think I've ever worn an ankle- or floor-length gown for modern attire.  In my living history wardrobe, the shortest work dress is barely above the ankle (the dress reform outfit is still in the planning stage).  Take a long step and you wind up standing on your hem. Climb the stairs too quickly--same thing.  Haven't had the chance to climb a ladder yet, but...  

What to do?  Use one hand to slightly raise the front of your skirt when ascending steps (lift 'up', don't push the fabric towards you); take small steps; 'kick' the hem past your foot as you walk; slow down so you have time to notice if you tread on your hem; look up as you go (bending forward lowers the front of your skirt). Walking around puddles or into the chicken coop, I find that gathering my skirt fabric to the sides with my hands (and raising the excess above the ankle) keeps it from sweeping into the muck.  Haven't tried a skirt lifter, but that might be a good project for the winter.  Raising your dress skirt and letting the petticoats take the damage is an acceptable and document-able period option.

One thing about bouncing between 1855 and 1861-5 is the difference between billowing skirts supported by hoop-steel, and billowing skirts supported by other skirts.  With hoops, you need to allow them to collapse and compress when sitting down or moving through a narrow space--and take into account that displacement.  You can sit gracefully on a bench, stool, side chair, or sofa in hoops provided you take enough time to left your skirts settle.  Sitting in an armchair doesn't work so well--those hoops need to spread out and for want of space will stick up awkwardly.  Similarly, you can just walk through the narrow doorway or between the row of dancers--provided there's space before and behind for your hoops.

Sans hoop, petticoats can collapse inward--allowing you to sit in the armchair.  They don't stand out quite as far as a hoop (at least not with the number I'm using--having tried no more than 4 at a time), so your area of effect can be much tighter.  I've still managed to knock over chairs by turning too quickly, but I have to be closer to them for that to happen.

In either case, long skirts get much more manageable with practice.  At this point, I'm so used to the petticoats that I only really think about them when dealing with novel situations--walking is second nature, climbing stairs nearly so.  I haven't done as much dancing, though, so there's some care necessary to avoid tripping myself.  Switch back to the hoop, and suddenly I'm re-learning otherwise intuitive movement, like gauging space around strangers, or remembering not bend over to pick up an object when standing at the top of a staircase.

The dropped shoulder seams of mid-century clothing also poses some challenges, but these I find don't become easier with practice.  The seams lay below the shoulder, sometimes as far as the upper bicep, and are fit fairly snug.  On my ballgown bodice, this prevents me from raising my arms past shoulder height (tricky when dancing with tall gents).  My work dresses have slightly higher/looser armscythes, but still don't allow the full range of movement that loose modern clothing does.  Opening the windows in Ft. Nisqually's period kitchen is almost impossible for me--I'm short, and the hooks are at my maximum modern reach.  So, what to do?

In matters of reaching, I can find something to stand on, or ask a taller person to assist.  In dancing, I can adjust my frame and trust my partner to compensate.  I can style my hair before putting on my dress (it's possible to do so later, though not always so easy).  Very little is actually impossible, though I've come to appreciate that servants may be a necessary convenience--other people can do the reaching for you.