Getting Dressed in 1820

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.

Layer #3 - Under Petticoat

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.

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.

Placing a pin on the apron panel side.

Layer #6 - Stockings & Shoes

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.

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.

Picking out her next outfit....just like her father. 😏

Wallpaper Boxes

Wallpaper boxes would have made excellent, as well as decorative storage containers in the early 19th century. Over the years, I have taught this project many times to children attending summer camps at the 1820 Col. Benjamin Stephenson House. It's an easy project to make on a small or large scale. You're only limited by the size of your wallpaper pieces. The photo above shows two small boxes made during Mrs. Lucy's Academy for Young Ladies in 2018. The larger box below was constructed several years ago for display in the master bedroom at the historic home.

Made from reproduction early 19th-century wallpaper and lined in photocopies of an 1819 Edwardsville newspaper. It's large enough to store a man's top hat inside.

Supplies:

·         Wallpaper sample books

·         Small cardboard boxes (available at Michaels, JoAnn Fabrics, Hobby Lobby)

·         Pencil

·         Ruler

·         Flour Paste (recipe at end of the post)

·         Small paint brushes

·         Scissors

·         Paper towels

A simple cardboard box and wallpaper samples.

Step 1. Choose the sheet of wallpaper you will be using. Pick a pattern that works well with the shape of your box. Think about how the wallpaper design can be used to highlight the box shape (e.g. trim around lid, center design on the lid, the body of the box). Be sure that there is enough of the sheet to completely cover your box. If necessary, pick another sheet to compliment the first one.

Step 2. On the wrong side of your wallpaper lay the box on its side with the bottom edge lined up with the straight edge of the paper. Take a pencil and mark the top edge of the box on the paper. It's hard to see in the photo below but there is a pencil line directly below the right edge of the box. 

You will also want to get an idea of how long of a strip you will need for the body. An easy way to do this is while your box is still in this position, mark the side edge of the paper on the box then roll the box until the mark comes back in contact with the paper. You’ll want to have at least ¼” overlap of paper for the side seam.

The pencil mark on the paper shows the top edge of the box.

Step 3.  Take your ruler and measure the distance from the bottom edge of the wallpaper to the pencil mark indicating the top edge of your box. Use this measurement to mark the width of your box the entire length of your wallpaper sheet then draw a straight line connecting your marks on the top edge.

Now measure ½” from your top edge (straight line) to create the cutline.

This image shows the width from the bottom edge to the top edge with 1/2" overlap at the top. The 1/2" overlap will be cut and folded in Step 4-6.

Box body wallpaper piece cut out.

Step 4.  On the top edge make cuts into the ½” allowance stopping about 2/16” from the top edge pencil line. Try not to cut all the way to the pencil line. This edge will roll over the top of your box edge to the inside. By leaving 2/16” uncut, you’ll have a nice smooth edge on the top of your box body.

Step 5. Coat your box body piece evenly with flour paste. Be sure to cover the entire piece.

Step 6. Lining up the bottom edges of the box and paper, slowly work the paper around the body of the box. There should be at least a ¼” seam overlap on the side of the box. Once the body is on, start folding over the top edges ½” allowance. If your glue has started to dry out just add a little more. To ensure the paper adheres to the box, gently work it with your fingers. If edges are not adhering, add a little more glue. Set the body aside to dry.

Here you can see the overlap of wallpaper along the side seam.

The top edge is coated with paste and being smoothed over to the inside of the box.

The top edge is now completely adhered to the inside of the box.

Step 7. Place your lid, on the wrong side of the wallpaper piece, on its side. Match the bottom or top edge of the lid to the straight edge of the wallpaper. Mark the side width of the lid on the wallpaper with a pencil. You will also want to get an idea of how long of a strip you will need for the side of the lid. An easy way to do this is while your lid is still in this position, mark the side edge of the paper on the box then roll the box until the mark comes back in contact with the paper. You’ll want to have at least ¼” overlap for the side seam.

Pencil mark indicating the top of the lid is rather hard to see in this photo.

Step 8. Take your ruler and measure the distance from the straight edge of the wallpaper to the pencil mark indicating the width of your lid. Use this measurement to mark the width of the lid the entire length of your wallpaper sheet.  Draw a straight line connecting your marks.

Now measure ½” from your straight line to create the cut line. This is the same as you did when measuring the body piece.

Add 1/2" to the width of the lid.

Step 9. In the ½” allowance, make cuts in the wallpaper stopping about 2/16” from the pencil line. Try not to cut all the way to the pencil line. This edge will roll over the bottom of the lid to the inside. By leaving 2/16” uncut, you’ll have a nice smooth edge on the bottom of your lid.

Set this piece aside for now. It will be added last.

Step 10.  Place the lid topside down on to the wrong side of the wallpaper. Draw a circle around the lid. Add ¼” -½” to this line all the way around. I would recommend the ½” since it will give you a little more to work with but if you don’t have enough wallpaper (as seen here) then a ¼” will do if you’re careful.

Step 11. As with the box body, make small cuts all the way around the pieces ½” allowance. Be sure not to cut all the way to the line. Leave 2/16” uncut for a smooth finished edge. Once you’ve created all the cuts then brush on the flour paste.

   

  

Step 12.  Place the lid onto the pattern piece being sure to keep the lid within the penciled circle. Start folding over the cut edge and smoothing it down. Again, work the surface with your fingers, smoothing and rubbing so the paper adheres to the cardboard. If necessary, add more paste.

Step 13. Coat your lid side piece evenly with flour paste. Be sure to cover the entire piece. Lining up the bottom edges of the lid and paper, slowly work the paper around the side of the lib. There should be at least a ¼” seam overlap on the side of the box. Once the side piece is on, start folding over the bottom edge’s ½” allowance. If your glue has started to dry out just add a little more. To ensure the paper adheres to the box, gently work it with your hands. If edges are not adhering, add a little more glue.

Side Note: In the event, you measured the length of the lid side wrong (like I did), you can easily add a piece to fill it in. Just cut it the same width as the lid side piece and 1/2” longer so you have a small overlap on each side.

I didn't measure correctly so the edge piece was too small.

The problem solved by adding a patch. The pattern of the wallpaper is busy enough to be unnoticeable.

Bookbinding Paste (historical recipe)

Use 1 part four (not self-rising) to 5 parts water. Heat just to simmer, stirring constantly (use a whisk like you're making a cream sauce). Add more water if necessary to get a thick cream/thin pudding consistency. DO NOT BOIL!! Cook until transparent. This paste will have a very strong bond.

A Period Patch

Mending clothes in the early 19th century would have been a regular occurrence. Just because you had a hole or a tear didn't mean you went out and bought something new or had a new one made up.  Hand sewing a garment took time. Shirts were typically well made since they were considered an undergarment and needed to hold up to washing.

Recently my husband asked me to repair one of his linen reenacting shirts. The poor old thing (the shirt not my husband) had developed a hole in the back shoulder area. It's a high-stress point for him since he removes his shirt by reaching over his shoulder then pulling forward. Apparently, I'd patched his shirt before since the evidence was staring me in the face (see next photo).

If you study original garments in museum collections then chances are you've come across some patchwork. The patch may or may not match the original fabric. About twenty-five years ago I learned how to patch garments in a period-appropriate fashion. In truth, I enjoy mending our historical (reenactment) clothes. Patches give the garment patina, make it looked lived in, and provides a more realistic interpretation of the past. As a docent at a historic site or weekend reenactor, clothing should look the part to be believable. If you're portraying a working-class person then your clothes would have wear and tear. Don't misunderstand, not everyone was running around in worn-out clothes but they wouldn't have all look like they'd just finished a new outfit either.

In the event, your garb requires a repair, here is a historical way to mend it.

In this photo, you see the first repair I made to the shirt a few years back. It held up very well but the area around it did not. I gave some serious thought to just adding another patch to this area; essentially creating a patch on patch look which is very common on original clothing.  But, I decided to go ahead and cut out the worn area along with the old patch.

In my stash of remnants, I had the perfect piece of linen to match the shirt. I literally have three drawers full of scraps leftover from previous sewing projects.  The linen on my hand is the scrap piece to be used as the patch and the shirt to be repaired is underneath.

Here the worn section (and some extra) has been completely removed. I ended up making the hole much larger than the actual tears. Upon closer examination of the fabric surrounding the torn area, I found it was very thin. My husband wears this shirt a lot throughout the year. Constant sweat and stress to the area caused the fabric to 'thin' so I went ahead and cut out the weak areas in hopes that the mend would last longer.

NOTE: This view is of the outside of the shirt.

Lay the scrap piece on top of the cut hole. In this case, the hole is visible through the scrap linen.  If your fabric is not sheer enough then you'll need to measure the hole and patch more precisely...I prefer the highly technical "eyeball" method, as seen here. This hole is rather large so the patch needs to be larger than the hole by roughly 1/2"-5/8" all the way around. It can be smaller but you need enough fabric to fold over the patches cut edges about 1/4", as well as, fold over the cut edges of the hole 1/8"-1/4".

NOTE: This view is of the outside of the shirt.

My patch is cut out.

NOTE: This view is still the outside of the shirt.

Press all four sides of the patch piece over about 1/4". 
If this was a printed fabric, this would be the side to show through the hole (so the right side of the fabric)

Turn the shirt inside out and place the patch over the hole being sure it is centered over the hole. It is important the patch is centered!! Double-check that there is at least 1/2" distance from the cut edge of the hole to the folded edge of the patch. The pressed edge of the patch (previous step)  is now against the shirt.  Be sure that the shirt fabric (beneath the patch) and the patch are pressed flat. You don't want either to be bunched or wrinkled.

NOTE: The shirt is now inside out.  

Pin the patch in place from this side.

NOTE: Shirt should still be inside out.

Sew a small whip-stitch all the way around the patch. 
Catch the folded edge of the patch and a few threads of the shirt for each stitch. Only a small stitch will show on the outside of the shirt. It's hard to see the stitching in this photo so refer to example 1 (EX1) & example 2 (EX2) below.

Note: This is still the inside of the shirt

EX1. Detail of whip-stitch with green thread on a scrap of white fabric. Catch the folded edge of the patch and a few threads of the shirt for each stitch. Only a small stitch will show on the outside of the shirt. 

EX2. Detail of whip-stitch with green thread from the outside. Only a small inconspicuous stitch will be visible on the outside.

The whip-stitch around the patch is complete. Keep your stitches small for stability. Give it a good press then turn the shirt right-side out.

The shirt has been turned right-side out. You can see the cut edge of the hole with the patch fabric in the middle. Give the area another pressing with the iron.

Fold under the cut edge of the hole and press. Try to fold the edge under at least a 1/8"-1/4"....this may be difficult in some spots but do your best. I find using a large pin or tip of my scissors to fold the edge under helps. See the next image.

Using the tip of my scissors to fold under the edge. I'm not cutting anything, just using the tip to push the edge under.

Once the edge is folded and pressed,  pin it in place and press again. Below is a video of the stitch I used next.

NOTE: I'm big on pressing if you hadn't noticed....😀

The video above shows how I stitch the folded edge of the hole to the patch underneath. I call it a 'reversed whip-stitch' (there's probably an official term but I don't know it).  Basically, I'm doing the whip-stitch, as before, but I don't want the slanted stitches to show on the outside of the shirt, just the small inconspicuous ones...so I reverse it. It's hard for me to explain. I hope the video helps to make it clear. Try to keep your stitching small. The smaller the stitch, the tighter the seam.

The tiny reverse whipstitch is complete around the hole edge. Press again.

NOTE: This is the outside of the shirt.

Sew a small running stitch around the outer edges of the patch. It should be about 1/8" in from the outside folded edge of the patch. You can do this from inside or outside the garment. In other words, either turn the shirt inside out to sew along the patch edge or from outside of the garment if the patch edge is discernible. Since I could see my patch edge from the outside of the shirt, I chose to sew from the right side.

Once the running stitch on the outside edge is complete, do the same thing on the hole edge. Keep the stitches about 1/8" from the folded edge of the hole. Sew with the garment right-side out.

The period patch is complete. It will probably last longer than the fabric around it.

Here you see how much bigger I cut the hole due to the thinning fabric around the tear. Ultimately, the mend will be stronger.

It's not as pretty as 'new' but my husband will get a few more years out of it...hopefully.