Rebecca Shedd – Author

The Writer’s Guide to Victorian Clothing Myths

Posted on October 15, 2021     96 Comments

The corset tends to take the spotlight when it comes to misinformation about Victorian dress. But there are myths surrounding other articles of clothing that have been repeated in books, TV shows, and movies.

If you are interested in corset myths, I suggest reading my two articles here and here.

Hoop Skirts Were Solid

Hoop skirts, also known as crinolines or cage crinolines, were developed to replace the multiple layers of petticoats that were being used to achieve the fashionable wide skirt of the 1850s and 60s. They were made of a widening series of flexible wire hoops connected by vertical tapes suspended from the waistband. The hoops could be left bare or covered with fabric. This arrangement meant that hoops skirts could be squished into different shapes for passing through narrow spaces or sitting. When removed, they collapsed flat.

Unfortunately, several movies and TV shows depict them as been solid rigid structures with no give. For an idea of how flexible hoop skirts are I suggest watching this video by Prior Attire.

Clothing was Hot and Uncomfortable

One of the questions I get as a historical reenactor all the time is: Aren’t you hot? Of course, if the outside temperature is in the 90s or 100s °F (32-37° C) everyone is hot no matter what they are wearing. However, most of the time I’m comfortable because my entire outfit is made of natural breathable fabrics. Even if I’m wearing a corset, because it’s made of natural fibers, it’s usually not too bad. If I’m wearing a hoop skirt, I’m even more comfortable because I get the air flow under the skirt. Honestly, I’m probably cooler than the people wearing skin-hugging polyester.

It Took a Long Time to Get Dressed

There is a belief that historical clothing, especially that from the Victorian era, took a long time to get into. This is probably due to how complicated it looks. However, I can say from personal experience that getting dressed in full Victorian attire usually takes about 15-20 minutes. Honestly, it sometimes takes me longer to do my hair than it does to get dressed.

Also, contrary to popular belief, I can completely dress myself. It helps to have another person lace the corset, but I can do it on my own, if needed.

I recommend this video to see how long it takes to get into various women’s styles from the Victorian era.

Going to the Bathroom

Another question I get is: How do you go to the bathroom in that? I do it the way they did back then. I wear split bloomers, which are open at the crotch. Then I lift the skirt in the front and straddle. That way I don’t have to mess with lifting everything in the back, which would be especially difficult with the bustle styles. If a woman was using a chamber pot, she would just lift her skirt in the front and place it between her legs

People Were Much Smaller Back Then

People were slightly smaller during the Victorian era. However, they were not the midgets that people think of. The main reason we picture Victorians as tiny is because most of the clothing from the period that survives was worn by teenagers and women in their early 20s. This clothing made it for a couple of reasons. One, since only small young women could fit into it, it wasn’t worn until it fell apart. Two, many of these dresses were sentimental and expensive, such as wedding and court presentation gowns. Think about how many women today save their wedding dresses even though they can’t fit into them years later.

Most of the larger clothing was worn until it disintegrated, leaving us with mostly smaller examples.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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The Writer’s Guide to Corset Myths

Posted on October 8, 2021     19 Comments

Part 2

Today we are busting more corset myths.

If you want to read Part 1, please go here.

Passing Out

The image of the swooning lady is one of the most lasting of the Victorian era. Were some women passing out because they had laced down too severely? I’m sure there were. I personally have seen a woman pass out from being too tightly laced. However, there were a lot of other things going on to lead to swooning.

Gaslighting (using a gas flame as lighting, not the method of psychological manipulation) was first developed in the 1790s. [1] It became widespread in cities by the 1820s. Victorian homes often had small rooms and they rarely opened their windows. Being in a closed room with open gas flames would understandably lead to a shortness of breath.

Arsenic was commonly used during the 19^th century to produce a popular green color for wallpaper and clothing. White arsenic was also used in makeup and skin whitening treatments. [2] One of the symptoms of arsenic poisoning is an abnormal heart rhythm and lung cancer can occur with long term exposure. [3]

Lastly, swooning was a common device used in literature of the period. Real life women began copying their literary counterparts and swooning to get attention or escape a distressing situation.

Moving Internal Organs

A corset can cause some shifting of internal organs and fat. However, when it is removed, the organs just go back to their normal positions, sort of like squishing a water balloon. Mainly, corsets lift the bust and squish the fat either down or up. It should also be kept in mind that internal organs are displaced during pregnancy, only to return to their original positions after birth.

When wearing a corset (or stays) there is some compression of the bottom of the ribs, making it harder to take a deep breath. However, you simply learn to breath more shallowly and in the top of your lungs. Honestly, after a few minutes of wearing a corset, I hardly notice I’m breathing differently.

Removing Ribs

There is no documented case that I know of a woman having ribs removed during the Victorian era. Considering the primitive state of medicine and anesthesia at the time it is unlikely a woman would voluntarily go under the knife to remove ribs.

Inability to Move

I can confirm from practical experience, that a corset (or any other boned garment) doesn’t drastically affect movement. I have shot archery, ridden a horse, and fenced in a corset. There are many examples of women being active while wearing corsets, including this article of female mountain climbers.

Yes, there is some limiting of movement but not enough to prevent most activities. The biggest limitation is being unable to bend at the waist. But it’s easy enough just to bend at the hips instead.

Male Corsetry

Men were not excluded from corsetry. Military officers during the Napoleonic War began discretely wearing boned waistcoats or other garments to achieve the flat-bellied look. During the 1820s and 1830s, the silhouette for men had a severely nipped in waist that pretty much demanded a corset to achieve.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] Janet Thomson; The Scot Who Lit The World, The Story Of William Murdoch Inventor Of Gas Lighting; 2003; ISBN 0-9530013-2-6
[2] "Display Ad 48 – no Title". The Washington Post (1877–1922). 13 February 1898.
[3] https://www.healthline.com/health/arsenic-poisoning#complications

The Writer’s Guide to Corset Myths

Posted on October 1, 2021     147 Comments

Part 1

When people find out I’m a historical reenactor and routinely wear a corset, I am asked several outlandish questions. Have I ever passed out? Have my organs moved? Isn’t that thing incredibly uncomfortable? I was told by a former coworker once that if anyone wears a corset, they will die.

Obviously, there are a lot of myths perpetuated about corsets and other boned garments like 18^th century stays and 16^th pairs of bodies. In this two-part article, we will be jumping into the most common myths.

If you want a brief history of boned garments, I recommend you read my Writer’s Guide to the History of Corsets.

I also recommend this video about corset myths.

The Purpose of Corsetry

There is this narrative out there that women were forced into a device of torture that was cranked down to achieve a twelve-inch waist (30.48 cms). First, many women throughout history voluntarily choose to wear a corset just as many women today freely chose to wear a bra. And let’s not forget the modern waist trainer that is basically a corset.

Second, the purpose of corsetry throughout most of its history was to smooth the figure and lift the bust. They also acted as a back brace for working women. During the 18^th century, stays were used as a base to pin clothing to, such as stomachers.

Third, there is a big difference between tight lacing and wearing a corset as part of everyday clothing. I have put tight lacing into its own section, so more on that later.

Impossibly Tiny Waists

We might as well address the elephant in the room. Did all women from the 16^th to the early 20^th century lace down to extremely tiny waists? The short answer is no. I’m sure there were some women who went to extremes. In our modern world, there are people who are starving themselves or getting extensive plastic surgery. Is this minority indicative of what the rest of us are doing? Of course not! Yet these people tend to get outsized attention because their behavior and appearance is outrageous. The same was true of women who tight laced to extremes.

In fact, during the period there were concerns about lacing down too far and recommendations of sensible waist measurements. One example is this 1883 article from the Toronto Daily Mail that states that 25-27 inches (63.5-68.58 cms) not too large. In fact, the columnist says anyone that laces an unfortunate girl day and night down to 18 inches (45.72 cms) should be put in a straight waistcoat (i.e., a straitjacket). [1] For comparison, below is the size guide for Forever 21, an American brand marketed to younger women. As you can see, their XS and S sizes have a waist measurement range from 24-27 inches (60.96-68.58 cms).

Another reason we know not all women had tiny waists is because we have surviving garments with large waist measurements. [2] Yes, there are blouses from the 19^th century in museums with small waists but most of them were made for teenagers or women in their early twenties.

Optical Illusion

The appearance of a tiny waist through much of history was achieved partially by optical illusion. If a woman is wearing a large puffy skirt, especially one supported by multiple petticoats or a cage crinoline (and multiple petticoats) with a bodice with a large fluffy bertha or wide sleeves then her waist will look small by comparison. Another thing to keep in mind is that padding was common. Women (and men) padded out their hips, butt, bust, and shoulders. The amount and location of padding depended on the time period and fashionable silhouette. A great modern example of this optical illusion is Lily James in Disney’s Cinderella.

Tight Lacing

Throughout much of history, eyelets for lacing were just holes bored through the fabric with an awl and reinforced with stitching. As a result, there was a limit on how tightly they could be laced. Cranking the lacing on thread eyelets will cause them to tear out. It wasn’t until the metal eyelet became widespread in the 1850s that tight lacing was even achievable. Even then, tight lacing was only practiced by a small minority of high fashion women.

Many of the photographs of Victorian women with impossibly tiny waists were altered. Photo shops routinely touched up photographs to not only make waists smaller but remove freckles, wrinkles, cleavage lines, and other imperfections. If you’re interested in a deeper dive into Victorian photoshop, I recommend this video by Bernadette Banner.

Worn Against the Skin

One of the biggest mistakes I see regarding boned garments in movies and TV is that they were worn directly on the skin. This is not true. Pairs of bodies, stays, and corsets were always worn over a chemise or shift. This prevented the body’s oils and sweat from damaging the corset and protected the wearer’s body from chafing. Also, the chemise could be laundered frequently while the corset could not.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] https://news.google.com/newspapers?id=UP1MAAAAIBAJ&sjid=9jQDAAAAIBAJ&pg=4608%2C2577118
[2] Arnold, Janet. “Patterns of Fashion 2: Englishwomen’s Dresses & Their Construction C. 1860 - 1940”, 1982.

The Writer’s Guide to the History of Corsets & Other Boned Garments

Posted on September 24, 2021     20 Comments

There are few garments in human history that are surrounded by more myths and misinformation than corsets. Some wild claims have been made about the effects of corsetry and the reasons why women and men wore corsets. Today we will be diving into the history of boned and laced garments and over the next two weeks we will be busting myths.

I recommend this video from Abby Cox about the difference between pair of bodies, stays, and corsets.

As always, magic is the exception to the rules. Because magic.

A Brief History

Women have been lacing themselves into various garments for roughly 500 years. There is even some evidence that Minoan women of early Crete were using a version of the corset. [1]

16^th Century Pair of Bodies

The first boned and laced garment was the 16^th century pair of bodies (also spelled bodys). [2] It spiral laced in the front or back through thread-enforced eyelets and had shoulder straps. The pair of bodies also had tabs at the bottom that fanned out over the hips and helped support the weight of the skirts and petticoats and prevented them from cutting into the flesh of the waist.It was used to create the conical torso that was fashionable at the time as well as to lift the breasts.

However, the idea of a woman lacing herself into a garment wasn’t new. The kirtles of the 15^th century usually laced snugly and provided support for the bust. But the pair of bodies were the first to use boning. During this same period, lower class women began boning their bodices to provide lift to the bust and maintain a straight line. They also acted as a back brace for hard work. Reed and whalebone were used to provide structure. Neither of these materials is very stiff and over time they mold to the wearer’s body. [3] Some pairs of bodies had a pocket in the front for a busk, a piece of wood, horn, ivory, metal, or whalebone that insured the front remained straight.

18^th Century Stays

During the 18^th century, the pair of bodies transitioned into stays. [4] The shape changed but the basic function did not. Stomachers and other clothing were commonly pinned to them. Just as with the pair of bodies, the point was to create the fashionable conical silhouette. Plus, the shoulder straps pulled the shoulders back into the proper posture and the tabs supported the weight of the skirts and protected the waist. Unlike the pairs of bodies that were only worn by the upper class, stays were worn by all classes of women. It was considered improper to go without, sort of like going without a bra today.

The term “corset” was used during this period to describe an unboned support garment. Obviously, a lot of changes were made to get to what most modern people would recognize as a corset.

19^th Century Corsets

Stays shortened to just below the bust during the beginning of the 19^th with the high-waisted Empire styles. When the waistline began to drop again during the 1820’s, several changes were made, and this garment began to be referred to as a corset. Gussets for the bust and hips were added, and the shoulder straps became less common, disappearing by the 1840s. [5] Ironically, the corset was originally designed for men and favored by the dandy, but male corsetry is a topic for another post. [6]

The metal eyelet was first developed in 1828 although it wasn’t until Henry Bessemer developed a faster method in 1856 that they become more widely used. [7] It allowed corsets to really be cranked tight for the first time, a practice known as tight lacing. However, tight lacing was only practiced by a minority of high fashion ladies and was also an erotic fetish.

The other big change was the invention of the metal busk also known as front claps. The loop and post closure allow the corset to be opened and closed from the front with the lacing still in the back. This made it much easier to put on and take off.

The corset changed shape and length throughout the 19^th century. Curved panels created a dramatic hourglass shape, even when the garment wasn’t being worn. With the introduction of metal boning and the invention of the steam heated torso at the end of the 1860s to shape the boning, even more drastic curves were achieved. [8] The hourglass shape was replaced in 1897 by the straight front or S bend corset, which pushed the bust forward and the hips back. [9]

Into the 20^th Century

The corset continued into the beginning of the 19^th century but by the 1920s it was being rapidly replaced by the girdle and the brassiere. Since then, corsets have seen brief periods of revival such as the waist cincher of the late 1940s and early 1950s and the corset fashions of the 1980s. It survives in a modified version today in the modern waist cinchers and shapewear as well as fetish wear and cosplay such as steampunk.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] Steele, Valerie (2001). The Corset: A Cultural History. Yale University Press. ISBN 0-300-09953-3.
[2] Waugh, Norah (December 1, 1990). Corsets and Crinolines. Routledge. ISBN 0-87830-526-2.
[3] Bendall, Sarah (2019-01-01). "Bodies or Stays? Underwear or Outerwear? Seventeenth-century Foundation Garments explained". Sarah A Bendall. Retrieved 2020-07-18.
[4] Bendall, Sarah (2019-01-01). "Bodies or Stays? Underwear or Outerwear? Seventeenth-century Foundation Garments explained". Sarah A Bendall. Retrieved 2020-07-18.
[5] Waugh, Norah (December 1, 1990). Corsets and Crinolines. Routledge. ISBN 0-87830-526-2.
[6] Steele, Valerie (2001). The Corset: A Cultural History. Yale University Press. ISBN 0-300-09953-3.
[7] https://www.pinterest.com/pin/337277459563854497/
[8] "1860s corsets". vam.ac.uk. Archived from the original on 2011-01-08. Retrieved 2010-06-20.
[9] https://genealogylady.net/2015/08/16/fashion-moments-pigeon-breast/

The Writer’s Guide to 1890s Men’s Fashion

Posted on September 17, 2021     108 Comments

Many of the trends from the 1880s continued into the 1890s. The trendy silhouette was slim. Fashions were becoming more informal and styles that were considered informal just a few decades prior were now appropriate for formal evening occasions or the professional office. Sportswear became important with the popularity of pastimes such as tennis, rowing, and especially bicycling.

For an overview of fashion for the entire 19^th century, please read my Writer’s Guide to 19^th Century Fashion. Another example of the clothing from this period is HBO’s “The Nevers.” Although it’s a fantasy show, the costuming is quite accurate.

Silhouette & Trends

A long lean silhouette was the fashion. Standing collars and tall crowned hats were seen in this decade in keeping with the slender look. However, the cut of trousers became more relaxed. [1]

Underwear

Shirts were commonly cotton and were heavily starched during this period. Collars were as high as three inches (7.62 cms) although they usually still featured turned down wingtips. [2] Shirt studs were a popular decoration. For informal events, striped or colorful shirts became popular. [3]

Readymade underwear was now available in department stores.

Daywear

The frock coat was still the most formal daytime option. However, the less formal morning coat was gradually replacing it. [4] The level of formality was determined mainly by the fabric used, ranging from formal dark colors to casual tweed. The morning coat suit was becoming the standard wear of businessmen. The lounge or sack coat was the most casual daytime option. It was a favorite of the working class although it was also gaining popularity with the upper class as a casual daytime alternative. [5] Three-piece or ditto suits made of the same fabric were common.

Waistcoats or vests, as the Americans called them, began to be made in colorful fabrics again. They were generally single breasted and could come with or without lapels.

Sportswear

Just like the ladies, sports were popular with men, and they had wardrobes to accommodate them. [6]

The reefer jacket without a waistcoat was worn at the seaside or for sporting. [7]

The Norfolk jacket was popular for shooting since its vertical pleats provided range of motion. It was commonly paired with breeches, called knickerbockers by the Americans, and boots or shoes with gaiters.

Lounge or sack suits made of light or striped fabric were popular choices for yachting, tennis, and the seaside. They were often paired with a straw boater hat. [8] A variation of the lounge jacket was the blazer, which was commonly made in navy blue, bold stripes, or bright colors, and was popular for sailing and the seaside.

The cycling craze was also enjoyed by men and any of the above options were acceptable. [9] If a Norfolk jacket and breeches were worn, it was usually with stockings and low shoes.

Eveningwear

A dark tailcoat paired with a white tie was still the standard for evening. The dinner jacket, known as the tuxedo by the Americans, was becoming an acceptable option for more informal evening affairs such as a dinner at home or an outing to the gentleman’s club. [10] It was a gussied-up version of the sack or lounge coat that had been introduced in the previous decade. [11}

Outerwear

Knee-length topcoats and calf-length overcoats were still common. They often had collars of fur or velvet.

Hairstyles & Headwear

Hair was short and usually parted to the side. Pointed beards and full moustaches were also popular.

The top hat was still necessary for formal affairs. The bowler was a popular informal option. The crown become rather tall. [12] The fedora was introduced during this decade. [13] It had a soft structure and a low creased crown. The prince of Wales, Edward VII, popularized a variation of the fedora known as a homburg. [14]

Footwear

Short ankle boots were the common shoe. The lower portion was usually leather with a contrasting cloth upper. They could be laced, buttoned, or secured by an elastic section on the side. A pointed toe became the fashion during this decade. Shoes normally came in brown or black although white was introduced in the 1890s for summer. Socks were black, even with white shoes. Sock suspenders, also known as shirt stays, were introduced during this decade and were elastic bands that clipped to the top of the sock and the bottom of the shirt.

Rubber and canvas shoes were worn for sports and were the ancestor of the modern sneaker.

Low laced pumps were the standard for evening. [15]

Accessories

Ascots or neckties done in a four-in-hand knot were the standard neckwear. They were usually secured with a stick pin. The bowtie returned to popularity during this decade.

Other popular accessories included the pocket watch, the cane, and cufflinks. Gloves were worn for daytime and evening although it was increasingly becoming acceptable to forego them.

Spats became a popular accessory during this decade.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 38-40.
[2] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
[3] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 206.
[4] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
[5] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p 39.
[6] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 202.
[7] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 202.
Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p 40.
[8] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p 40.
[9] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 202-204.
Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
[10] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 205.
[11] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401-402.
[12] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p 38-41.
[13] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 403.
[14] Hughes, Clair. Hats. London: Bloomsbury, 2017 p.44.
[15] https://victorianweb.org/art/costume/nunn23.html

The Writer’s Guide to 1890s Women’s Fashion

Posted on September 10, 2021     114 Comments

The 1890s was a transitory period between the stuffy Victorians and the modern Edwardians. The world was changing quickly. Technology such as trains, telephones, and electricity were leading to a forward-thinking world connected like never before. Woman had more opportunities to work and socialize outside the home and the suffragette movement was gaining steam.

For an overview of fashion for the entire 19^th century, please read my Writer’s Guide to 19^th Century Fashion. Another example of the clothing from this period is HBO’s “The Nevers.” Although it’s a fantasy show, the costuming is quite accurate.

Silhouette

The dramatic bustled silhouette of the 1880s died out by 1892. Sleeves widened, first with a small puff at the shoulder. [1] Then the gigot or leg-of-mutton sleeves of the 1830s returned with a vengeance. After 1895, the width shrank again, returning to the narrow fit and small shoulder puff at the beginning of the decade.

The sharp angular bustle disappeared, replaced with first a bell-shaped skirt, then ones with more of a trumpet shape. Both styles were gored to lay smoothly over the hips.

The waist was nipped in to balance out the wide sleeves and skirts. [2]

About 1897, the “pigeon-breasted” silhouette came into style and carried into the next decade. As the name implies, a large, thrust forward bosom was the style with a nipped-in waist and the hips tilted toward the back. [3]

The “New Woman” & the Gibson Girl

The “New Woman” was one that enjoyed greater freedoms than ever before. She was usually young, intellectual, and financially independent, with a love of sports. Thanks to the Industrial Revolution, the growth of cities, and the widening implementation of electricity, women had many more opportunities to work outside the home. During this decade, the number of women employed outside the home almost doubled. [4] In fact, a woman could make enough money as a secretary, librarian, or shop assistant to support herself without relying on her family or a husband. Work hours were shortening with mechanization and the passage of labor laws. This gave women more leisure time. Women’s participation in sports such as tennis, golf, and especially bicycling, exploded. The bicycle was also an independent and practical way for women to get to work. [5]

The spirit of the “New Woman” was idealized through the illustrations of Charles Dana Gibson, which became known as the “Gibson Girl.” Gibson’s girls were confident, self-assured, independent, and always dressed in the latest styles. They soon became the feminine ideal [6] In fact, the curly, swept-up hairstyle seen in many of Gibson’s illustrations is still called the “Gibson Girl” hairstyle today.

Undergarments

Combinations in cotton were the base layer.

Over this was worn the corset. At the beginning of the decade, it had an hourglass shape. However, in 1897, the straight front corset was introduced. This style forced the hips back, creating a straight line from the bosom down the front. [7] It was supposed to be a healthier alternative to the previous corset styles.

Corset covers had been worn to soften the harsh line of the corset from showing through the outer layers. With the rise of the “pigeon-breasted” silhouette, a series of ruffles was added to pad out the chest.

The bustle died out by 1892 and was replaced with a small bum pad that was tied around the waist. This provided a bit of fullness through the rear.

Day Dress

Women’s styles were increasingly influenced by men’s fashions during this decade. [8] This was especially apparent in women’s work and sporting attire.

Daytime styles were commonly high necked and long-sleeved. A shirtwaist, a type of blouse styled after men’s shirts, became popular. It was paired with an ankle-length skirt, a belt, a jacket, and a hat. Shirtwaists could be simple white buttoned-up shirts or feature trim, tucks, frills, or patterned fabric. [9] Neckties and bow ties were often worn with shirtwaists. They were commonly paired with a suit called a tailor-made. [10] Bodices like those from the previous decade were also worn.

For playing sports, skirts were given a deep pleat in the back or shortened for freedom of movement. The most daring women wore the “bicycle suit” which was developed to make cycling easier. It consisted of a jacket and bloomers or voluminous breeches. Bathing outfits also featured bloomers worn with a sleeved top.

Eveningwear

The same silhouettes that reigned during the day were also seen at night. The only difference was the neckline, which became low and open. Also, the sleeves were short, although they were still fashionably puffy.

Outer Garments

With the reintroduction of the gigot sleeve, capes became popular since they spread gracefully over the top. They commonly had high collars and were elaborately trimmed. Jackets and coats were commonly worn over shirtwaists and featured gigot sleeves. The prized cashmere shawls of the previous decades were removed completely from women’s’ wardrobes and were now seen draped over pianos and furniture. [11] The dolman also disappeared.

Hairstyles & Headwear

The “Gibson Girl” hairstyle was all the rage, featuring a high bun and curls around the face.

Hats had become shorter and wider than those from the previous decade. However, there was still a propensity toward lots of decoration, including whole stuffed birds. While the hats were low, the trim often stuck straight up and included flowers, ribbons, and feathers. [12] Straw boaters were also a popular style, especially for the seaside or sporting.

Accessories

Most of the accessories from the previous decade were still popular. They included the pocket watch, reticule, fan, muff, and parasol. Gloves were becoming less common.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

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Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] Severa, Joan L. Dressed for the Photographer: Ordinary Americans and Fashion 1840-1900. Kent, OH: Kent State UP, 1995 p. 458; 476-481.
[1] Severa, Joan L. Dressed for the Photographer: Ordinary Americans and Fashion 1840-1900. Kent, OH: Kent State UP, 1995 p. 458; 476-481.
[2] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 397.
Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 26-27.
[3] https://genealogylady.net/2015/08/16/fashion-moments-pigeon-breast/
[4] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 380-382.
[5] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 27.
Warner, Patricia Campbell. When the Girls Came Out to Play: The Birth of American Sportswear. Boston: University of Massachusetts Press, 2006 p. 117.
[6] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 399.
[7] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 213.
[8] Fukai, Akiko, ed. The Collection of the Kyoto Costume Institute: Fashion, A History from the 18th Century to the 20th Century. Kyoto: Taschen, 2013 p. 127.
[9] Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 208.
[10] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 399.
Fukai, Akiko, ed. The Collection of the Kyoto Costume Institute: Fashion, A History from the 18th Century to the 20th Century. Kyoto: Taschen, 2013 p. 127.
[11] Severa, Joan L. Dressed for the Photographer: Ordinary Americans and Fashion 1840-1900. Kent, OH: Kent State UP, 1995 p. 464-466.
Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 400.
[12] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 28.

The Writer’s Guide to 1880s Men’s Fashion

Posted on September 3, 2021     21 Comments

Many of the trends for men’s fashions from the 1870s continued into the 1880s. The overall silhouette continued to slim and there was an emphasis on reserved styles. This decade also saw the introduction of several new articles of clothing.

For an overview of fashion for the entire century, please read my Writer’s Guide to 19^th Century Fashion.

Silhouette

The fashionable silhouette of the decade was long and lean. [1] Coats were tailored close to the body, sleeves were narrow, and trousers were straight and slim.

Underwear

A cotton shirt was the standard first layer. Usually, the points of the collar were pressed down into wings although tall, stiffened collars came into fashion. Collars and cuffs were commonly removeable.

Cotton or linen drawers were worn under trousers and the “union suit,” also known as “long johns” were popular.

Daywear

The frock coat remained the most formal choice for daytime and featured a waist seam and full skirts. [2] The morning or cutaway coat was a step down in formality. It had a waist seam and the front gently sloped towards the back. Depending on the fabric used and the trousers it was paired with, the morning coat could range from formal in black to informal in tweed. [3] The most casual daytime option was the sack or lounge coat. It had a relaxed fit with no waist seam and could be single or double breasted. [4] All three styles buttoned quite high, usually hiding the waistcoat, if one was worn at all.

If a waistcoat was worn, it was commonly made of matching fabric to the coat.

Trousers were straight and lean. They could be made of the same fabric as the coat and waistcoat or a different complimenting color. Subtle patterns, such pinstripes, were worn.

Sportswear

Sports such as hunting, rowing, and tennis were widespread and a popular outfit for these activities was a blazer and light flannel trousers. [5] Bright colors and bold stripes on the blazer was fashionable.

Reefer jackets from the previous decade were still trendy for summer sports and picnics. The Norfolk jacket, with a pleated back and cloth belt, became popular for country pursuits such as hunting and shooting. It was frequently paired with knee-breeches and gaiters. [6]

Eveningwear

The uniform for evening was still the tailcoat, a double-breasted waistcoat, dark trousers, and a white tie. The notched collar was replaced by a rolled satin collar.

The tuxedo or dinner jacket was introduced during this decade as a less formal evening option. [7] It was a dressier version of the lounge jacket.

Outer Garments

Knee-length topcoats and calf-length overcoats were the most common options for outerwear. They often had contrasting collars of velvet or fur.

By this decade, the working class had largely adopted corduroy jackets and trousers and had given up their smock frocks.

Hairstyles & Headwear

Hairstyles barely changed from the 1870s with a short side-part and manicured facial hair being the norm.

The silk top hat was the standard for evening although it is seen during the day. The bowler was worn exclusively during the day. The crowns of bowlers became quite high during this period. [8]

Footwear

Low laced shoes in black and brown were common.

Accessories

The necktie and bow tie were one of the few spots of color remaining in men’s fashions. They were usually secured with a tie or stick pin. [9] Other accessories such as pocket watches and canes were still practical and popular. Gloves were worn but it was becoming more acceptable to go without them, especially for day.

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I hope this was helpful. Let me know if you have any questions or suggestions by using the Contact Me form on my website or writing a comment. I post every Friday and would be grateful if you would share my content.

If you want my blog delivered straight to your inbox every month along with exclusive content and giveaways please sign up for my email list here.

Let’s get writing!

Copyright © 2021 Rebecca Shedd. All rights reserved.

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[1] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 38.
[2] Cumming, Valerie ed., The Dictionary of Fashion History. New York: Berg, 2010 p. 87.
Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 202.
[3] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 39.
[4] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
[5] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 40.
[6] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
Laver, James. Costume and Fashion: A Concise History, 5th ed. London: Thames & Hudson, Ltd, 2012 p. 202, 204.
[7] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401-402.
Waugh, Norah. The Cut of Men’s Clothes: 1600-1900. New York and London: Routledge, Taylor and Francis Group, 2015 p. 115.
[8] Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 38.
[9] Tortora, Phyllis G. and Keith Eubank. Survey of Historic Costume, 5th ed. New York: Fairchild Books, 2010 p. 401.
Shrimpton, Jayne. Victorian Fashion. Oxford: Shire Publications, 2016 p. 37-38.