The 1890's saw the introduction of the Blousewaist and Shirtwaist, but the Edwardian Era saw them reign supreme. As the new century unfolds, the fitted bodice looses favor. The new style becomes full through the lower ribs and the bust shifts to a lower position, otherwise knows as the Pigeon Breast. Made of light or fine fabric or lace, these waists were either tucked into the dress skirt, or ended at the waist with a band. They could be unlined, or have a fitted lining.
at right - 1903
Below - 1904
In the early years of the decade, the sleeves are slim at the shoulder, and full at the wrist. By 1904, the fullness had moved up to the elbow, with tall fitted cuffs to the wrist. By 1906, the fullness is at the shoulder.
Necklines are typically very high, with decorated, detachable stock collars. But you could also have short sleeves with a conservative open neckline, as well. The Duchess Square, Duchess Round, and Jewel necklines all become popular, with or without a gimp to fill in the neckline.
Below - 1905
As the skirts gain pleats and fullness, so do the blouses. Tucks, and pleats are added to the shoulders and sleeves. Or fullness is gathered onto yokes.
By 1905, a slimmer look through the ribs is desired, and tall, shaped belts are added to emphasize a small waistline. By 1907, the Jumper made it's debut, as a loose overblouse, typically of the same fabric as the skirt, and with an open neckline and sleeves to show a gimp or fitted blouse underneath.
Below left - 1906 Below right - 1907
The Delineator magazine was a monthly periodical sponsored by the Butterick Pattern Company. The main focus was to be a selling tool for the patterns, by providing illustrations and lengthy descriptions of the new patterns as they came out.
The engraving illustrates a costume that is suitable for either house or street wear, and includes two garments and two popular fabrics in its composition. The skirt is of walking length and is four-gored, and, owing to the depth of the trimming, may be made up in "sham" style-that is, the skirt may be of lining material and the trimming only of the camel's-hair of which the polonaise is made. The trimming consists of a deep plaiting, which is a kilt at the back and sides and has wide triple box-plaits across the front. If preferred, the decoration may be narrower or varied in any other style to suit the taste of the wearer. The model is No. 6725, price 1s. 3d. Sterling or 30 cents, and is in nine sizes for ladies from twenty to thirty-six inches, waist measure.
The polonaise is a familiar style with modified drapery, and is also made of camel's-hair. It is fitted by two bust darts at each side of the front, which closes to some distance below the waist-line with button-holes and buttons. Below the closing the hems are overlaid with a broad band of velvet, pointed at its lower termination and having a bow over its upper end. The back adjusted by a seam at the center and by English side-backs.
The center seam terminates in an extra width, which is folded underneath in a large box-plait, and, when the side-drapery is drawn backward, the plait assists in forming a pretty puffed drapery. The bottom of the polonaise is bordered with a broad velvet band like that over the hems, and other bands simulating lapels are about the neck, where they are fastened under buttons and imitation button-holes. A bow conceals the closing of the military collar, and another is tacked over the lapel ends. Demi-cuffs of velvet, ornamented with buttons and simulated button-holes, are over the inside seams of the sleeves, while ruffles of the goods encircle the wrists in addition, thus filling in the spaces back of the cuffs and also extending from underneath their lower edges.
The model to the polonaise is No. 6879, price Is. 3d. Sterling or 30 cents. It is in thirteen sizes for ladies from twenty-eight to forty-six inches, bust measure. For a dressy garment of silk, brocade or cashmere, fringe or lace may be added to the bottom of the polonaise; and the latter may be worn over a longer skirt for the house, if a short skirt be not admired for such a purpose. A vest or plastron facing maybe applied to the front.
It has been a while since I came out with a new pattern, and now I have two! You can find them at the Truly Victorian Shopping Pages.
The first is TV449 - 1861 Revere Bodice. The Illustration for our Revere Bodice is taken from the August 23, 1861 issue of Der Bazar, magazine. It is named for the French term which describes the fold-over lapel at the neckline, the folds at the center back below the waist, and at the outside of the sleeves. It is very much like a jacket and can be worn over a full blouse like TV441 Garibaldi Blouse, or a chemisette and undersleeves.
Made of wool or heavy fabrics, it is a nice winter style, or made of light cottons or silks, it can work for summer styles as well. Our bodice has the wide 2-piece sleeve common to the early 1860's. It is based on the standard 3-piece bodice, with 2 darts at the front and a curved side back seam. The front and side are also fitted with a "fish seam" at the waistline, to help smooth the fit over the hips.
The second is TV242 - 1863 Revere Skirt. Revere styles skirt are shown in fashion plates from 1861 to 1864. The overskirt can be short, as in view A, or reaching to the hem, and any length in between. But in each case, theoverskirt is in panels, with the bottom corners flipped back to reveal a contrasting lining, and the skirt underneith. View A, with the 3 ruffles at the hem, is more suited for evening dresses, while View B with a single flounce is suited for both day and evening styles.
For an evening dress, the top skirt could be made of a sheer fabric or net, showing the
entire underskirt through the fabric. For winter, velvets, silks, or fine wools look nice. Or use silk or cotton prints, with solid-colored reveres and ruffle for a light and airy summer dress.
This pattern fits over both TV142 - 1856 Walking Cage Crinoline, and TV141- 1858
Round Cage Crinoline. The closure is in the center back, and the skirts are pleated to the
waistband. The flounces are gathered over a cord and sewn to the base skirt.
Hello, I’m Sandra Maxwell, and I will be contributing to Heather’s blog on a regular basis. As the title implies, I will be sharing “this and that” on sewing, history, helpful insights and whatever may seem relevant at the time. I have been an historic re-enactor nearly 40 years in several time periods, so I have much to share whether you are a beginner or a veteran. I hope you will find it helpful as well as entertaining.
July, 2014 marks the 100th anniversary of the War to End all Wars. Most Americans don’t know much about World War One. We were only there for a short time at the end. But this war was the beginning and the cause of all the wars after it. World War I officially ended the way wars had been fought for centuries. It’s called the first ‘modern’ war. It saw the end of most of the European monarchies. It changed the known world forever.
Walt Disney drove ambulances, poet Joyce Kilmer was killed, JRR Tolkien suffered in the English trenches and Adolf Hitler began to nurture his hatred in the German trenches.
My WWI impression is a Doughnut Dolly. The Salvation Army joined many other services bringing some comfort to the boys at the front. I choose the Salvation Army because it was the only service allowed near the frontlines. The Salvation Army Dollies or Lassies made pies and coffee in the beginning, but when supplies ran low and with little hope of getting more, decided they had enough to make doughnuts (in a crueler style). When a soldier asked if they could make them more convenient to carry, the doughnut with a hole was born. Soldiers wrote home about this wonderful treat and they became popular in America. You can go to the Salvation Army website and download the original recipe, http://salvationarmynorth.org/about-us/history/original-salvation-army-donut-recipe-video/
That’s me and our famous doughnuts. The helmet is antique, so are our gas masks. Even the doughnut cutter on the table is antique. To make holes in the doughnuts, they fashioned these cutters from tin cans.
There are three of us. We wear the typical smock worn by many ladies of the time who found themselves working instead of staying home.
Doughnut Dollies were issued helmets and gas masks by the unit assigned to protect them. They were shelled, shot at and bugged out, often suffering as much as the men, but through thick and thin, they made sure a doughnut, a cup of coffee, and some comfort were there for the soldiers. They helped so many endure the horrors of some of the most inhumane conditions soldiers have ever had to suffer.
Typical day wear of 1915. The blouse is vintage but the skirt was made by this lovely lady.
My greatest delight is seeing the face of a war veteran as he enters our WWI display area. They nod at the various soldiers and their displays and ask about the weapons, but when they see The Salvation Army Doughnut Dollies, their faces light up. They hurry over and suddenly we become the ‘real deal’ to them. They treat us as though we are actually part of the Salvation Army. We have been told some of the most heart-warming/rending stories of how the Salvation Army changed their lives. Sometimes there are tears in their eyes. They thank us for being there and we thank them for their service. It’s why I remain an historic re-enactor.
Doing my job, feeding doughboys their doughnuts
Until next time…
Truy Victorian has just released a new Edwardian skirt pattern, the 1906 Ten Gore Princess Skirt - TVE23. With a raised waistline, our skirt fits smooth through the hips and hangs in a graceful flare to the hem. The top has a raised point in the center back, and tapers lower to the center front. It has the smooth fitted back closed with hooks and eyes, known as the "habit" back. The hem line is round at floor length. This skirt is perfectly suited to dresses of 1906 -1908, with it's wide hemline. Pair it with a blouse, and perhaps a long jacket or a copped Eton jacket.
And here is a little back ground on the Empire skirts of the Edwardian Era:
Skirt shapes of the Edwardian era change quite rapidly, with almost every year seeing something new. 1901 starts out the era with the Trumpet Skirt; a shaped skirt that is fitting over the hips and thighs, then flares out below the knee for a wide hem. Very quickly, the slim skirts begin to get fuller at the hem, with the addition of vertical pleats and tucks around the skirt, though the skirt remains lean and controlled through the thigh. By 1904, the skirts are getting wider though the knees and thighs as well.
1906 brings an innovation to the skirts by raising the skirt above the waistline in a style known as the Princess or Corsage. The addition of multiple gores to the skirt (9, 11, 15, and even 24 gore skirts) allows the top of the skirt to fit closely to the body like a corselet. Tall belts achieve the same accentuation of a slim waist with a full hip and bust.
At right - 1908
1907 sees the skirts getting fuller over the hip, and often gathers are added at the waistline. The waist front "dip" becomes raised up also, so that the dip is now at the natural waistline, and the back is raised above the natural waist in the Empire Corsage style. To structurally support this new waistline, the lining of the skirt becomes detatched as a corselet, independent of the skirt. The outer skirt attaches near the top of the hidden corselet, and fabric "belt" is sewn over the top of the skirt attachement. The skirt is then allowed to hang with ease over the waist and hips, obscuring the natural waistline.
Below - 1909
By 1909, the slim waist and hip return, with ever slimmer skirts in general. The hidden corselet becomes taller and the skirts less fitted to the natural waistline. The desired effect is to create a higher-than-natural waistline, with a long smooth hip line, a trend that continues into the next decade.