The semantic field of architecture probably provides better words to describe the structure of specific historical fashion garments. Take a corset, for example: in a "form follows function" process, a corset wet with starch would be placed on a steam-heated copper torso form until it dried to shape (this steam-moulding process was developed by Edwin Izod in 1868). The resulting corset featured fabric and whalebones that would perfectly adapt to every curve of the figure. Other pieces were instead made stitching vertical tapes that formed channels for whalebone strips onto a foundation of horizontal cotton bands. Whalebone bands provided structure and helped creating a curvaceous silhouette especially in "ventilated" corsets ideal for sports and summer wear (the spaces between cotton tapes and whalebones helped the air circulating).
Crinolines and corsets are among the pieces on display at the "Hooped: Dress of the 1860s" at the FIDM Orange County Campus (17590 Gillette, Avenue, Irvine, CA 92614). The event includes 9 historic fashion pieces and looks at the expanded silhouettes constructed on hoopskirts favoured by women in the 1800s.
Manufactured from light graduated sprung-steel rings held together with vertical cotton tapes, hoopskirts and crinolines were at times dubbed "skeleton petticoats" as they resembled the structure of a ribcage.
By the late 1860s, the focus of the skirt had shifted to the back of the body, this meant the crinoline gained a spiral coil of spring steel or a padded element at the waist to form a bustle. This infrastructure allowed the wearer to suspend many yards of fabric around the waist without the need for multiple starched petticoats, which unencumbered the legs and created an elegant sway in motion.
There are quite a few pieces at FIDM that will be of interest to the visitors, among them one gown with an 18-inch waist (45 cm; 24 inches was the average from the era), a French dressing gown with a paisley pattern, and a girl's embroidered dress (c. 1865).
The latter, in a pale blue nuance, features hand-embroidered butterflies and a back-fastening bodice (a key difference that pointed at gender inequality: girls' dresses buttoned up the back, training them to require help dressing; boys' had center front closures, preparing them to be self-sufficient...). The butterfly motif hinted at chasing butterflies, a spring pastime for children, but also symbolised the transience of childhood.
The centre piece of the event remains a particularly beautiful late 1860s curvaceous silk satin corset in an eye-catching blue shade. The corset, with godets at the hip and bust, back lacing and metal slot-and-stud fasteners in the front (the wearer could therefore dress and disrobe without assistance in this case), was build to give a shapely hourglass figure to the wearer (when fully laced and fastened, the waist circumference of this corset was about 22 inches...).
The corset featured in the exhibition is a perfect example of the 19th century trend for brightly coloured and embellished pieces: while the white lace trims are decorative, the embroidered white tear-drops actually had a function as they reinforced the ends of the boning channels.
There are actually two themes that this compact exhibition doesn't directly mention, but that become indirectly clear once you ponder about the garments on display - technology and innovations in fashion. Many experiments were indeed carried out when extremely full skirts became so fashionable that women needed some kind of support underneath: before the light, pliable and durable crinoline cage became the norm, inventors tried to come up with structures made with rubber and inflatable tubes, whalebones and cane.
Some of the pieces included in the exhibition are proposed acquisitions from the Helen Larson Historic Fashion Collection. As stated in a previous post, the FIDM Museum is in the final weeks of a major fundraising campaign to purchase this historical private fashion collection of around 1,200 historic garments and accessories from four centuries.
Helen Larson spent 50 years assembling it and the collection is in danger of being dispersed forever or absorbed into another private collection, becoming in this way inaccessible to students, researchers, and the general public.
The FIDM Museum is currently raising funds to purchase it: people can make a contribution of any amount online or by mail, or join the #4for400 social media campaign to donate $4 (or more) by texting "Museum" to 243725.
"Hooped: Dress of the 1860s", FIDM Orange County Campus, 17590 Gillette, Avenue, Irvine, CA 92614, through February 20, 2016.
Image credits for this post
FIDM, Irvine.
"Hooped: 1860s Fashions", FIDM Irvine.
Reception Gown, United States, c. 1868. Silk iridescent taffeta and silk satin. FIDM Museum Collection.
Hoop, United States, c. 1868. Cotton twill tapes, steel hoops and brass clasp. FIDM Museum Collection.
Day Gown, United States, c. 1865. Silk gingham taffeta, taffeta ribbon, cording and tassels, and an 18-inch waistline. FIDM Museum Collection.
Butterfly Ensemble for a Girl, c. 1865. Silk faille, cotton embroidery floss & mother-of-pearl, and Blue corset, c. 1868-1874. FIDM Museum Collection.
French 'Dressing Gown' c. 1865. FIDM Museum Collection.
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