DRESS DESIGN

AN ACCOUNT OF COSTUME FOR ARTISTS & DRESSMAKERS BY TALBOT HUGHES · ILLUSTRATED BY THE AUTHOR FROM OLD EXAMPLES · TOGETHER WITH 35 PAGES OF HALF-TONE ILLUSTRATIONS

 

LONDON
SIR ISAAC PITMAN & SONS, LTD.
Bath, Melbourne, Toronto, and New York

Reprinted 1920

GENERAL PREFACE TO THE SERIES

In issuing this volume of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.

In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside vain survivals, are prepared to say what is good workmanship, and to set up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of appearance. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.

In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.

In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour, as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.

PREFACE

The designing and making of Costume is a craft—sometimes artistic—with which we are all more or less concerned. It is also, in its own way, one of the living arts, that is, it is still carried forward experimentally by experts directly attached to the "business." It has not yet been subjected to rules of good taste formulated by Academies and Universities; but when Inigo Jones, the great architect, was asked to make some designs for fancy dress, he based them on the Five Orders of Architecture, and ponderous fancies they were.

If we look for the main stem of principle on which modern Costume develops, we seem to find it in the desire for freshness, for the clean, the uncrushed, and the perfectly fitted and draped. Probably a modern lady's ideal would be to wear a dress once, and then burn it.

A correlative of the ideal of freshness is the delight in perfect "cut," and the rapidly changing fashions are doubtless conditioned in part by the desire for the new and unsullied. "Novelty" is a guarantee of newness.

In such ephemeral productions it would be vain to seek for certain fine types of excellence which were once common when dresses were not so lightly cast aside. So it is necessary that we should understand what the ruling principle is, for it is one which will not be set aside at the bidding of well-meaning reformers. I will only venture to say that it would be desirable to make the attempt to separate in some degree the more constant elements of dress from those which are more variable. It will seem a pity to more than outsiders that a "well-dressed" person need wear so little which deserves to have been made by human hands, and nothing which deserves to be preserved. Fine laces and jewels are allowed to be antique—could not the circle of such things be a little broadened? A properly groomed man carries about on him literally nothing worth looking at. We might surely look for a watch-chain with some delicacy of handiwork—something beyond mechanical reductions of iron cables. Fine buttons might conceivably be made to go with the studs, or be made of crystal, amethyst, and silver or gold. Women might allow of the transfer of fine embroidered applications from one dress to another, or make more use of clasps and the like. I am confident that when it is pointed out, it will be felt as a shortcoming that no part of a fine lady's dress need now be too good to throw away. Although the present volume is cast into the form of a history, it is also intended to be a book of suggestions; and the hope is held that modern dressmakers may refer to it as much as, or more than, those who are interested in dress from the historical point of view.

In any case the author's accurate knowledge of the facts, and his many bright sketches—which are often drawn from examples in his own remarkable collection—make the present volume an admirable handbook of English Costume. The more technical "patterns" which are included amongst the illustrations will be found most valuable to all who wish to go deeper than the first glance reveals.

W. R. LETHABY.

1913.

CONTENTS

  PAGE General Preface to the Series xi Preface xiv List of Plates xxiii

href="@public@vhost@g@gutenberg@html@files@34903@[email protected]#INTRODUCTION" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">Introduction 33 CHAPTER I Prehistoric Dress—Female 40 Prehistoric Dress—Male 41 CHAPTER II The Development of Costume to the Tenth Century—Female 45 The Development of Costume to the Tenth Century—Male 49 CHAPTER III Tenth to the Fifteenth Century—Female 57 Tenth to the Fifteenth Century—Male 71 CHAPTER IV Fifteenth Century—Female 84 Fifteenth Century—Male 92 CHAPTER V Sixteenth Century. Character of Trimmings 109 Sixteenth Century. Henry VIII—Female 113 Sixteenth Century. Henry VIII—Male 118 Sixteenth Century. The Reigns of Edward VI and Mary—Female 124 Sixteenth Century. The Reigns of Edward VI and Mary—Male 129 Sixteenth Century. Elizabeth—Female 133 Sixteenth Century. Elizabeth—Male 139 CHAPTER VI The Character of Trimmings through the Seventeenth Century 142 James I 142 Charles I 143 The Commonwealth 145 Charles II 145 James II and William and Mary 146 Seventeenth Century. James I—Female 147 Seventeenth Century. James I—Male 150 Seventeenth Century. Charles I—Female 154 Seventeenth Century. Charles I—Male 160 Seventeenth Century. The Commonwealth—Male and Female 168

href="@public@vhost@g@gutenberg@html@files@34903@[email protected]#VI_SEVENTEENTH_CHARLES_II_FEMALE" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">Seventeenth Century. Charles II—Female 169 Seventeenth Century. Charles II—Male 174 Seventeenth Century. James II—Female 178 Seventeenth Century. James II—Male 180 Seventeenth Century. William and Mary—Female 184 Seventeenth Century. William and Mary—Male 186 CHAPTER VII The Character of Decoration and Trimmings of the Eighteenth Century 190 Eighteenth Century. Anne—Female 193 Eighteenth Century. Anne—Male 198 Eighteenth Century. George I—Female 201 Eighteenth Century. George I—Male 207 Eighteenth Century. George II—Female 211 Eighteenth Century. George II—Male 214 Eighteenth Century. George III to 1800—Female 217 Eighteenth Century. George III to 1800—Male 231 CHAPTER VIII Character of Trimmings of the Nineteenth Century 237 Nineteenth Century. George III—Female 241 Nineteenth Century. George III—Male 246 Nineteenth Century. George IV—Female 248 Nineteenth Century. George IV, 1820-30—Male 254 Nineteenth Century. William IV—Female 258 Nineteenth Century. William IV—Male 263 Nineteenth Century. Victoria—Female 264 Nineteenth Century. Victoria—Male 273 Patterns of Various Reigns from Antique Costume 276 Patterns to Scale 283 Patterns to Scale, Detailed List 353 Index 359

LIST OF DESCRIPTIVE LINES TO THE PLATES

Title

• A Long-trained Muslin Dress, about 1800.

PLATE IFacing p. 39

• Boots and Shoes from the Fourteenth to Nineteenth Century.

PLATE IIFacing p. 42

• A. Elizabethan Robe in Plush, 1585-1605.
• B. Elizabethan Robe in Silk Brocade, 1565-85.
• C. Elizabethan Male Robe in Velvet Brocade, 1580-1615.
• D. Back-piece of Elizabethan Doublet in Embroidered Linen, 1580-1605.

PLATE IIIFacing p. 55

• A. Elizabethan Jump (or Jacket), about 1600.
• B. Portrait of Lady in Embroidered Costume, between 1620 and 1640.

PLATE IVFacing p. 58

• C. Youth's Jacket of Linen embroidered in Worsted, 1635-65.
• D. Linen Male Jacket embroidered with Gold and Silk, 1600-40.

PLATE VFacing p. 71

• A. Jerkin—Period James I.
• B. Lady's Bodice of Slashed and Vandyked Satin, 1635-50.
• C. Jerkin of Embroidered Linen, 1630-60.
• D. Jerkin of Embroidered Linen, 1580-1635.

PLATE VIFacing p. 74

• A. Collar and Cuffs set with Lace, 1600-30.
• B. Embroidered Leather Jerkin, 1620-1640.
• C. Top of Stocking, Embroidered Linen, 1625-50.

PLATE VIIFacing p. 87

• A. Herald's Coat, Embroidered Velvet and Silk, First Half Seventeenth Century.
• B. Lady's Bodice of Black Velvet, 1630-60.
• C. Black Silk Jerkin, 1640-50.

PLATE VIIIFacing p. 90

• A., B., C. Three Suits—Period Charles II.

PLATE VIIIAFacing p. 103

• A. Suit of Embroidered Silk, 1610-30.
• B. Three Sword-hangers Embroidered in Gold, Charles II.
• C. Braided Suit, 1670-90.

PLATE IXFacing p. 106

• A. Lady's Embroidered Silk Jacket, 1605-20.
• B. Lady's Bodice of Silk Brocade, 1680-1700.

PLATE XFacing p. 119

• A. Black Velvet Bodice, 1600-25.
• B. Five Embroidered Waistcoats, between 1690 and 1800.

PLATE XIFacing p. 122

• Sixteen Leather Boots and Shoes, between 1535 and 1850.

PLATE XIIFacing p. 135

• A. Lady's Outdoor Costume, 1785-95.
• B. Costume, Early Eighteenth Century.
• C. Silk Brocade Dress, 1760-80.

PLATE XIIIFacing p. 138

• A. Silk Coat, 1735-55.
• B. Brocade Silk Coat, 1745-60.
• C. Embroidered Cloth Coat, 1770-90.

PLATE XIVFacing p. 151

• A. Embroidered Silk Dress with Pannier, 1765-80.
• B. Brocade Dress and Quilted Petticoat, 1750-65.

PLATE XVFacing p. 154

• A. White Cloth Coat, 1775-90.
• B. Silk Dress, 1740-60.
• C. Embroidered Velvet Coat, 1753-75.

PLATE XVIFacing p. 167

• A. Silk Brocade Dress, 1740-60.
• B. Silk Brocade Sack-back Dress, 1755-1775.
• C. Dress of Striped Material, 1755-85.

PLATE XVIIFacing p. 170

• A. Silk Suit, 1765-80.
• B. Quilted Dress, 1700-25.
• C. Silk Embroidered Suit, 1765-80.

PLATE XVIIIFacing p. 183

• A. Brocade Bodice, 1770-85.
• B. Flowered Silk Dress, 1750-70.
• C. Silk Brocade Bodice, 1780-95.

PLATE XIXFacing p. 186

• A. Silk Brocade Dress, 1775-85.
• B. Embroidered Silk Jacket, 1775-90.
• C. Brocade Jacket, 1780-95.

href="@public@vhost@g@gutenberg@html@files@34903@[email protected]#plate20" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">PLATE XXFacing p. 199

• A. Gold-embroidered Muslin Dress, 1795-1805.
• B. Nine Aprons, between 1690 and 1750.
• C. Dress of Spotted Stockinette, 1795-1808.

PLATE XXIFacing p. 202

• Twenty-three Boots and Shoes, from 1800 to 1875.

PLATE XXIIFacing p. 215

• A. Linen Dress, 1795-1808.
• B. Silk Bodice, 1825-30.
• C. Silk Bodice, 1818-25.

PLATE XXIIIFacing p. 218

• A. Muslin Dress with Tinsel Design, 1798-1810.
• B. Silk Dress, Period George IV.
• C. Satin and Gauze Dress, 1820-30.

PLATE XXIVFacing p. 231

• A. Outdoor Silk Jacket, 1798-1808.
• B. Embroidered Muslin Bodice, 1816-1830.
• C. Embroidered Muslin Bodice, 1824-1825.
• D. Satin and Gauze Bodice, 1820-30.

PLATE XXVFacing p. 234

• A. Silk Dress, 1800-10.
• B. Cotton Dress, 1800-10.
• C. Embroidered Muslin Dress, 1820-30.
• D. Silk Gauze Dress, 1824-30.

PLATE XXVIFacing p. 247

• A. Morning Coat of Chintz, 1825-45.
• B. Cloth Coat, 1808-20.
• C. Cloth Overcoat, 1820-35.

PLATE XXVIIFacing p. 250

• Outdoor Silk Dress, 1825-35.

PLATE XXVIIIFacing p. 259

• A. Silk Pelisse, 1820-30.
• B. Cotton Dress, 1830-40.
• C. Silk Spencer and Cape, 1818-27.

PLATE XXIXFacing p. 263

• A. Embroidered Silk Gauze Dress, 1820-30.
• B. Gauze Dress with Appliqued Design, 1825-35.
• C. Printed Linen Outdoor Dress, 1827-1847.

PLATE XXXFacing p. 266

• A. Printed Silk Bodice, 1840-50.
• B. Gathered Linen Bodice, 1837-47.
• C. Silk Bodice and Bertha, 1845-55.

PLATE XXXIFacing p. 270

• A. Embroidered Muslin Outdoor Dress, 1855-65.
• B. Riding Habit, 1845-75.
• C. Gauze Ball Dress, 1840-55.

PLATE XXXIIFacing p. 279

• A. Silk Dress, 1860-70.
• B. Gauze Walking Dress, 1850-60.
• C. Silk Dress, 1848-58.

PLATE XXXIIIFacing p. 282

• A. Silk Dress with Court Train, 1828-1838.
• B. Silk Afternoon Dress, 1872-78.
• C. Silk Coat and Skirt, 1855-56.

DRESS DESIGN

Plates originally printed in collotype are now produced in half-tone

INTRODUCTION

The subject of Historical Costume covers such a multitude of detail that a volume on each century could be written, with hundreds of illustrations. Thus it is, most works on costume are expensive and bewildering; but I hope this small practical handbook will be a useful addition to the many beautifully illustrated works which already exist.

I have divided the matter into centuries and reigns, as far as possible, in this small work, besides separating male and female attire, thus simplifying reference. A special feature has also been made, of supplying the maker or designer of dress with actual proportions and patterns, gleaned from antique dresses, as far back as they could be obtained; and I am much indebted to the authorities at the Victoria and Albert Museum for the permission given me to examine and measure their unique specimens; also to Mr. Wade, Mr. G. G. Kilburne, Mr. Duffield, Mr. Box Kingham, Mr. Hill, Mr. Breakespeare, and others, for their valuable assistance with interesting specimens. I have used outline drawings in the text, as being more clear for purposes of explanation. The dates given to the illustrations are to be taken as approximate to the time in which the style was worn. Many of the photographs have been arranged from my own costume collection, which has made so much of my research simple, reliable, and pleasant. I am also happy to state that before the final revision of this book I have heard that my collection of historical costumes and accessories will, after a preliminary exhibition at Messrs. Harrod's, be presented to the Victoria and Albert Museum as a gift to the nation by the Directors of that firm. Thus the actual dresses shown in these plates will find a permanent home in London, and become valuable examples to students of costume. The coiffures in the collotype plates are not to be judged as examples, for it would have consumed far too much time to set up these figures more perfectly, but all the bonnets, caps, and accessories given are genuine examples.

In a book of this size, one cannot go into the designs of materials, &c., which is a study any earnest student would not

title="[35]"/> neglect, but in this connection I would draw attention to the comparative colour density and proportion of designs chosen for various effects.

It has been my endeavour to arrange a greater variety of the forms which make up the characters of each period, and also to give a wider knowledge into the footwear, or details of the footwear, than is usual in most costume books.

In a review of the styles I would not press any choice for building new designs, as I believe in close individual research and selection, which may utilise many interesting features from costume settings even in periods which are almost scorned. I believe the purest beauty is found in the simple forms of dress and decoration settings from the 12th to the 15th centuries, schemed to the natural proportions of the figure. The grace of line and movement is often aided by the short train, which can be so happily caught up in many ways; the slight drag of the train always keeps the front clear in outline, besides showing the movement of the limbs. Length of fall in the material was desired, the figure creating its own folds with every turn, but a belt was often placed rather high under the breast. There is little reason with nature of fine form to make dress into sections by a corset waist. A long, lithe, complete curve in outline—much happier unbroken, except by the girdle—is certainly the most artistically useful conception, not breaking the rhythm (as does the harder belt), while it also induces much beauty in lifting and arranging the drapery. The long falling sleeve also has the same qualities, giving a greater fullness of shape, a variety of colour (by a difference of lining), with a winglike motion, besides softening the angle of the elbow.

I think the next garment for high esteem is the chasuble-shaped tunic (with or without sleeves). Falling cleanly from the shoulders, it stops at a charming length for the skirt to take up the flow of line. The delightful effect of partly-laced or clasped sides was not missed by the ablest designers. How refined, too, was the character of decoration of the old period! The art of concentrating effects is seen to perfection, retaining the breadth of shape and length unbroken. Jewelled embroidery of fine enrichment was wrought on the borders, neck settings, square corners, the girdle, and the clasps. The preciousness of effect was truly appreciated by the enclosing of the face in the purity of white lawn and zephyr-like veilings; the circlet and the long interlaced plaits and charming nettings were all tastefully schemed. Has woman ever looked more supreme through all the centuries of extravagant styles and distortions? I believe not: but I have come to the conclusion that, at whatever period of seeming insanity of style, the woman of fine taste can overcome all obstacles by her individual choice and "set up," and has really always looked fascinating.

There was another form of decoration at this period—the cutting of the edges into a variety of simple or foliated shapes, giving a flutter and enrichment to forms in a simple manner, and this, in conjunction with the increasing richness of materials, was a valuable aid to lighten the effects. It was probably initiated by the heraldic characteristics in vogue.

The pricked and slashed details had much the same result in enriching surfaces.

Later the fan sleeves of the 18th century were enhanced in a similar way by the curved and scalloped shaping, which was used as late as the Victorian sixties with happy effect on the polonaises.

Now, as regards the finest corset dress, the palm must be given to the sack-back dress of the eighteenth century (not in the period of its distortion with hoops), and a full setting showed it to greatest advantage.

This type of design lent itself to more variety in beauty of arrangement than any other; the looping, reefing, and tying always set gracefully in accord with the back fall. The easy exchange of the stomacher also gave additional chance of effect, and the beauty of the fan-shaped sleeve, with its lace falls at the elbow, was a delightful creation. How rich and refined this character could be, without the monstrous forms and head-dresses which later invaded it and turned it into ornate absurdity!

When we examine the period of Charles I, we find much charming dignity in the adaptations of earlier inventions; the collar settings were noble, indeed perfect, in arrangement, and the bodice decoration and proportions most interesting.

For the grace of girlhood no dresses are happier than those of the early 19th century to 1830, and the inventions in trimmings through this period were prolific in beauty and lightness of style.

Analysis of the many fashion-plates and original dresses of this period will well repay all interested in beautiful needlecraft and dress design. The arrangement of frills, insertions, gathered effects, applied forms, and tasselled or buttoned additions, will be found full of beauty and novelty, especially in the dresses of white embroidery. Plates XXIII and XXIV (see pp. 218-231) give some happy examples of this time.