Transitional Fashions, a Survey

In the study of fashion, I have come to realise that I really like the transitional periods best, when shapes and forms were fluid and changing from one long-established mode to a new and different one. This is true from the Jacobean through the modern periods. Here we will examine the the aspects that changed in these periods and see if there are any common features to transitional fashions.

In the period of James VI/I, we begin to see softer silhouettes than the previous Tudor styles, moving towards the loose, billowy styles of the Stuart monarchy in the mid 17th Century.

In the Rubens portrait, we see in his flowing doublet skirts the beginning of a coat, and in the longer breeches, the petticoat breeches of mid-century.  Our lady in the second example still has the form of the Tudor dress style, but gone is the conical bodice shape and farthingale. The prevailing mode is a softening of the more geometric forms of the previous period.

A century later, in the transition from the Stuart to Georgian (Hanoverian) periods, we again find change in dress, this time from a large blowsy silhouette (as it had become) to a slimmer one that was less ornamented (briefly).

Here we do not see the enormous cuffs on the man's coat that we saw earlier, and will again later, nor in the woman's ensemble the beribboned bodice of the late Stuart or the wide hoop to come that would define Court dress for a century. There is a purity of form, the clothing reduced to essentials.

In the 1790s again we see change, not entirely, as has been supposed, due to the influence of the demise of the Ancien Régime, but of the natural flow of fashion trends. From the 1770s, the silhouette had been simplifying and reducing, refining once again to its most essential components, until in the late 1780s, an almost severe form emerged.

 In short order, the breeches  in that severe suit would become pantaloons (trousers), and the modest embroidery would disappear from men's waistcoats virtually forever. in the woman's gown, all the experimental stages of zones, chemises a la reine, and overskirts have disappeared, leaving a simple gown that shows clearly the direction the waist will go and the form that will dominate for the next thirty years.

Our periods of change are now becoming more rapid, and will do so increasingly into our contemporary period, where fashions shift almost with the seasons.

On the late 1820s and early 1830s, the transition went from straight, severe unornamented forms to a descent to the natural waist for women, a widening of the shoulders, for both men and women, a lengthening of the men's frock coats, and a widening of the skirts of women's gowns.

The natural form of the body is celebrated in both cases, giving charm and attractiveness to the costume, but it is significant that with the exception of waistcoats and cravats, men's clothing will remain subdued with a few extraordinary exceptions (the Pre-Raphaelite Brotherhood, the Artistic Dress of Oscar Wilde and company).

The 1880s were the height of Artistic and Reform Dress, co-inciding with each other in form if not in expression.

In the Artistic Dress examples, we see rich fabrics used in loose and comfortable clothing, which does not exaggerate any part of the body; it follows the natural form. This is also true of reform dress, in the second set of examples. Comfort, if not highly artistic expression, is favoured in, for the man, a loose soft collar and cravat and plain sack coat. In the women's coats, there is no exaggeration of bustles, the hemline is off the ground and the ornamentation is minimal.

Our final example, of the very late 1910s and early 1920s, also shows the same loosening of strictures of dress of the previous decades, with more than hints of fashion to come.

In the man's fur coat, there is an almost last-hurrah of personal style before the 1960s loosened men's attire once more. In this period, we see the advent of the ascot, worn for informal dress, the college jacket (typically striped), and innumerable Fair Isle knitted waistcoats, which allowed men some personal style expression. Informality of dress was almost a catchphrase of the 1920s, and here we see its advent at the end of the Great War.

In the women's frocks, we still see the dainty ornament of the 1910s lingerie frocks, but the structure has loosened and overblouses and tunics presaged the dropped or eliminated waist to come. The clothing is still pretty, feminine and comfortable, with the natural as the focus.

In our brief survey, we have found that the commonalities of transitional periods are: a reduction of the style to its essential form, emphasis on the natural form of the body, a reduction of (or increase of) ornamentation in response to the previous period, a loose, soft style, and a (relatively) slow movement from one style to another based on an organic process (not imposed from without by fashion designers). These elements, then, might justifiably be seen as the hallmarks of natural fashions, suitable to all time periods and styles.

Readying for Winter

At this time of year in the Northern Hemisphere, the weather can be changeable, with 'Indian Summer' - warm days and cold nights, hot one day and cold the next, snow, rain, or humidity all in one week in some areas. However, this is a perfect time to get one's house and wardrobe - and that of the family - ready for winter.

Mrs. Beeton, in her Book of Household Management says, 'In September and October it will be necessary to prepare for the cold weather, and get ready the winter clothing for the various members of the family. The white summer curtains will now be carefully put away, the fire-places, grates, and chimneys looked to, and the house put in a thorough state of repair.'

For our purposes, this is the time to rotate the linens, from summer cottons and coverlets to winter flannels and quilts. The former will want a wash, and the latter an airing, before being laid away in herbs to protect the beautiful starching from vermin, or to be laid upon the beds. Carefully examine the household linen, with a view to its being repaired, if necessary, before cleaning or airing.

Woolens likewise can be freshened, being well shaken and brushed, after being taken out of their pinning upon paper or linen, and camphor (to keep them from moths.) This is true for knitwear as well as cloth.

If your find that you are in need of knitwear or fashionable winter Artistic dress  now is the time to make them, or seeing to having items made, so to be ready for the first really cold days.

Sprucing up a pair of boots:

A lovely quilted winter bonnet:

Stylish Knitwear:

Patterns and Pattern-Making

We have spent the day here at the exciting task of downloading a design programme, which allows us to share our new designs with you, showing various fabrics available, as well as making patterns for various sizes, cutting down on pattern drafting.

This is a very new thing for us, being used to the old method of sizing up patterns by the pivot and slide method, which is used in the pattern industry, and in which we were trained.

It may seem odd to be embracing new technology for such work, but even our dear Topsy had a jaquard loom for his designs, which enabled one man to do work which would have taken weeks in days; the loom was manually operated, thus did not violate the ethic of individual work.

Aside from enabling us to get to the fun work of making garments sooner, it also means that we can offer our lovely items as a line of sewing patterns for those interested in creating their own versions, with their own handmade embellishments.

Look in future for our patterns here and on Etsy!

No Idle Hands - A Beginning

I begin this new blog from my Franciscan site, Fioretta to spcifically discuss needlework projects of every kind, as well as modest dress.

This is from Fioretta:
My daughter St. Brigid's prom dress is finished (a lovely 1950s cocktail dress of black chantilly lace over sapphire blue dupioni silk), likewise the theatre project, so what did I do with my first day off in weeks? Went fabric shopping! JoAnn's was having a sale on calico, so I got enough stuff for some work skirts, a blouse, and a day dress. This was needful for several reasons: my one good black skirt has become too ratty to wear to work; I need a day dress in something besides wool; I have one longsleeved blouse. Also, I am at the stage in life where age is beginning to catch up with me, in terms of a changing figure. Nothing in the shops fits all my requirements for modesty, fabric, and price. Nothing fits at all - it's either all size 2 or 22, made for stick figures or the, er, Zaftig. I fall somewhere in the middle, with a British figure that American clothes have never fit (greater hip to waist ratio.) Because of this, I have always made my own clothes, or worn vintage things, but I have had nothing new in a long while.

A couple of years ago, I was dismayed in looking at present sizes in shops. HOW did I become a size 4? I haven't been a size 4 since I was 14 years old. Now, according to the standard sizing, I am a 12, but in the shops it's an 8 or 10. I'm confused! I notice, in looking at vintage dressingmaking site (see title links) that the sizes were much more reasonable, and not everybody was a size 0. The smalled waist was a (corsetted) 22 in 1917, the largest a (corsetted) 40, with the hip measures being 36 and 58 respectively. Real people! As one sees in all those vintage photographs.

In the event, I have made up one of my favourite Edwardian skirts in a nice charcoal grey, in what might be described as 'low calf length'. I'm looking forward to the rest, all in acceptably earthy colours.