Getting dressed for the day in the early 19th century took a bit more time and work than today. There were many more layers, ties, and pins involved. Depending on what type of garment you were putting on, you may even need a helper. A few years back I took a series of photos of my daughter putting on her 1820s garb to show the various steps involved in simply dressing for the day. At the time, she thought getting dressed in period clothes was pretty cool (not so much anymore since she has reached the age of "Someone I know might see me!" Gawd, forbid!)
All of the garments pictured are reproductions based on extant clothing in museums and private collections across the country. The dress is an exact copy of one owned by the Missouri Historical Society (MOHS) in St. Louis, MO.
Note: Before anyone freaks out about me photographing my daughter getting dressed...she was NOT naked under her 1820 garments. She was wearing biker shorts and a camisole. And, she has more 'coverage' in these photos (and 1820s clothes) than modern styles allow.
Layers #1 and #2 - The Shift and Corset
The shift is a very simple undergarment. It is made up of rectangles and squares (usually) with a drawstring at the neck. This garment is closest to the skin; absorbing sweat and providing a protective layer to the outer garments. Unlike outer garments, which were often sewn with the intent of taking them apart at some future point to refashion, the shift was very well made in order for it to hold up to frequent washing.
Her corset (aka stays) is an unboned linen garment that laces up the back. This one is designed for a prepubescent girl. There is no boning to offer support. The only restrictive piece is the wooden busk that runs down the center front. It is very similar to a girls camisole today.
Boned and unboned corsets were worn by children as young as two to offer support for the outer garments. A corset should not be uncomfortable to wear. It's meant to provide a foundation for your outer clothes and support. It should not ride you like a saddle.
Her corset (aka stays) is an unboned linen garment that laces up the back. This one is designed for a prepubescent girl. There is no boning to offer support. The only restrictive piece is the wooden busk that runs down the center front. It is very similar to a girls camisole today.
Boned and unboned corsets were worn by children as young as two to offer support for the outer garments. A corset should not be uncomfortable to wear. It's meant to provide a foundation for your outer clothes and support. It should not ride you like a saddle.
This high waisted garment is worn over the previous layers and fastened closed with hooks and eyes, pins, or ties. Some petticoats do not have a bodice attached but are held-up with simple suspenders sewn to the waistband. Ours has a bodice attached and hooks down the center front. It is similar to a modern-day slip, offering another layer of privacy to sheer garments. In winter the skirt section would typically be made of wool, flannel (different fabric than our modern flannel), or quilted to offer warmth.
Unfortunately, when we took these pictures the bodiced petticoat was not to be found in the wardrobe so I was not able to include a photo of my daughter wearing it.
Layer #4 - The Betsy/Tucker
A Betsy (aka Tucker) fills in the neckline of the dress. It's the 19th-century version of a 'dickie'. The garment usually has a drawstring that ties under the bust then pins, ties, or buttons closed at the neck. The two pictured below pin closed under the neckline ruffle. The fabric for the one my daughter is wearing is a very lightweight, sheer cotton while the other is batiste.
Layer #5 - The Dress
The dress is an apron front style. The bodice pins closed at the center front with an apron-like front skirt panel pinning to the bodice. This style of dress would have allowed the wearer to easily dress. The trickiest part for the wearer is placing the pins properly. Our dress is an exact copy of one in the collection at the Missouri Historical Society in St. Louis, Mo. It is made of printed cotton similar to the original.
The center front of the bodice pins closed. There was no evidence of any other type of closure on the original dress. The wooden busk of the corset (sitting directly below the dresses center front) allows for some support, as well as protection from wayward pins. Honestly, we've had little trouble with pins poking the wearer if care is taken in their placement, with or without a corset busk.
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| Pinning the center front. |
Once the bodice center front is closed, the apron panel is pinned onto the bodice at each side, matching the apron with the gathers of the back skirt panels. There is a small band at the top of the apron panel that gives it a finished appearance.
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| Placing a pin on the apron panel side. |
My daughter's final items are her stockings and shoes. Here she is wearing cotton clocked stockings but they could be made of silk or wool too. "Clocked" refers to the decorative embroidered design at the ankle/side calf. Garters tied below the knee to hold the stockings up.
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| Centering the clocked design on the side of her calf. |
The shoes she is wearing are leather Jazz lace-ups. Reproduction shoes can be very expensive. This modern dance shoe is passable for period footwear when you're on a budget. They are comfortable to wear but will wear very quickly if worn on tough terrain.
All Dressed!
Now she is ready for a day of historical adventure at Stephenson House.
NOTE: These are the basic layers worn by girls and women during the early 19th century. Not discussed here but definitely part of the wardrobe are cloaks, coats, bonnets, hats, and mitts.
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| Picking out her next outfit....just like her father. 😏 |
