1830s ruffled bustle of white cotton jean

This garment was created as part of my 1830s clothing independent study during the spring semester of 2010, and was documented using Chicago style footnoted citations in my research paper “Reproducing and Documenting 1830s Women’s Clothing.” The relevant section has been copied here, complete with footnotes. It has been formatted for this site and hyperlinks have been added, but otherwise it has been left intact, and is therefore written in a more formal and academic style than much of this site, which is designed to be more readily accessible to the public.

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(Excerpted from pages 14-15 of my research paper, “Reproducing and Documenting 1830s Women’s Clothing.”)

My next reproduction was a simple one, exactly following the directions given in The Workwoman’s Guide for “a simple bustle”¹. According to that book, “Bustles are worn by those whose shape requires something to set off the skirt of the gown. They should not be too large, or they look indelicate, or in bad taste. They are made of jean, strong calico, and sometimes of glazed calico.” It is important to clarify that The Workwoman’s Guide makes it clear, in its earlier discussion of calico, that as in modern Britain, in early 19^th century British terminology, calico signified what is now called muslin in the United States, a soft-finished, plain-woven, and fairly sturdy cloth available in white or unbleached, used for shirts, shifts, baby’s caps, aprons, etc.² Furthermore, Lynne Zacek Bassett describes early nineteenth century jean as twilled, medium weight, and “in the family of drill fabrics.”³ She also states that jean can be linen/cotton, cotton/wool, all wool, or all cotton.⁴ For my reproduction, I used white cotton jean, a sturdy, twilled fabric.

The bustle designs offered in The Workwoman’s Guide are essentially ruffles of fabric intended to be tied at the waist, worn across the back in conjunction with petticoats, to increase the fullness of the skirt at the high hips and decrease the apparent size of the waist. I followed as precisely as possible the directions offered for the first bustle design:

“It is composed of one piece the width of the calico, say a yard [36”], and eight nails [18”] deep. This piece is doubled in two, so as to make two flounces, the one four nails and a half [10-1/8”] long, and the other three and a half [7-7/8”]. At one nail [2-1/4”] from the doubled top make a narrow case to admit of tapes. The bottoms of the flounces are hemmed with a very thick cord in them. When worn, the bustle is turned inside out, by which means the frill falls between the two flounces.”⁵

There are two small illustrations accompanying these directions⁶, which helped me to understand the directions.

However, I still wanted to consult other sources. There are many references to bustles, hip pads, hip improvers, and bum-rolls for this period, but there are few images available, and some of those available are cartoons, which cannot be taken literally. Norah Waugh’s Corsets and Crinolines offers some relevant information relating to early- and mid-nineteenth century bustles⁷, and I was able to find one ruffled bustle, from 1833, in the Manchester Art Gallery collection online⁸. While the online bustle was of a different shape and design from the one that I chose to reproduce, it was an effective corroborating source indicating that ruffled bustles of fairly stiff white cotton or linen/cotton were used during the period. In the end, I followed the directions precisely, except in that my cotton jean was of a much wider width, so I had to cut it to a yard width and narrowly hem the sides of the bustle. I hemmed both ruffles with cord, which stiffened them nicely, and ran a narrow cotton twill tape through the casing, tacking it down at both ends of the casing once adjusted to a rough hip-width. I left long pieces of the tape hanging on each side, to tie around the waist.

It is my surmise that this type of garment would be worn over the petticoats, or at least over most of the petticoats, particularly by women with low or slender hips. If it was to be worn, skirts would have to be made and adjusted to be worn over it, so as to have the correct length all around. Because this was a simple item, with relatively straightforward directions – though I did need to read them through at least six times before I was reasonably certain of what they meant – it was a good choice for my first reproduction garment for this period, whether or not it is ever necessary that I wear it.

1   A Lady, The Workwoman’s Guide, 83. (Page 83 online)

2   Ibid., 12. (Page 12 online)

3   Lynne Zacek Bassett, Textiles for Regency Clothing 1800-1850, 35.

4   Ibid.

5   A Lady, The Workwoman’s Guide, 83. (Page 83 online)

6   Ibid., plate 11 (following plate 8, following page 54) figs. 30 and 32. (Plate 11 online)

7   Norah Waugh, Corsets and Crinolines (New York: Theatre Arts Books, 1970), 93, 117, and 134.

8   Manchester Art Gallery, “Bustle (Accession Number 1947.1942),” Search the Collection, Manchester Art Gallery, http://www.manchestergalleries.org/the-collections/search-the-collection/display.php?EMUSESSID=4d4ed491b2370dc13880da9da748f57c&irn=13470.

Since officially finishing the independent study (and, of course, the paper), I have found more information relevant to this garment, which I will include here, along with the previously mentioned sources.

Print resources:

• Cunnington, C. Willett and Phillis Cunnington. The History of Underclothes. Mineola, New York: Dover Publications, Inc., 1992.

On page 133, Figure 58 is a photograph of three extant bustles. The top and middle bustles are similar, of the “bum roll” variety, long variants on a crescent shape, stitched together and stuffed. The lowest of the three bustles is listed at dating to 1833 and being in the Gallery of English Costume in Manchester. Therefore it is likely yet another photograph of the same ruffled bustle shown on the Manchester Galleries website and worn by a model in a photograph on page 68 of Fabric of Society. But in this case (for what reason I do not know), the bustle is shown upside down, because while it appears lumpy, only a hint of the frills or ruffles underneath can be seen, at one side. See the entry under Fabric of Society below for more information.

On page 134, Figure 60 is a cartoon, “A Bustling Woman — 1829 — after Cruikshank” of a woman with an extremely puffed out skirt apparently selling a padded bustle to a woman with a far less impressive skirt, with other bustle hanging behind the proprietress.

• Grimble, Frances, Edited, Translated, and with Additional Material by. The Lady’s Stratagem: A Repository of 1820s Directions for the Toilet, Mantua-Making, Stay-Making, Millinery & Etiquette. San Francisco, CA: Lavolta Press, 2009.

Pages 100-101 contain a passing reference to the wearing of some sort of rigged handkerchief to give loft to the back of the skirt, after which there is a disparaging critique of the artificiality of excessive (or, indeed, in any way discernible) tournures. However, there is no useful information about construction or shape.

• Lady, A (Anonymous). The Workwoman’s Guide: A Guide to 19^th Century Decorative Arts, Fashion and Practical Crafts (A Facsimile Reproduction of the Original 1838 Edition). Guilford, Connecticut: Opus Publications with Old Sturbridge Village, 1986.

Text on pages 83-84. Images on plate 11.

• Tozer, Jane, and Sarah Levitt. Fabric of Society: A Century of People and their Clothes 1770-1870: Essays inspired by the collections at Platt Hall, The Gallery of English Costume, Manchester. Carno, Powys, Wales: Laura Ashley Limited, 1983.

There is a photograph on page 68 of a model wearing a full complement of 1825-35 underclothing, including a ruffled bustle which appears to be of a rounded shape. It is mostly hidden from view, and in shadow. However, all of the undergarments pictured are of the “Fanny Jarvis” set, which is in the collection of the Gallery of English Costume in Manchester, and on their website there is a ruffled bustle of a rounded shape, marked “F. J.” for Fanny Jarvis. It seems quite likely that this offers us multiple views of the same bustle. The website describes the bustle thus: “White cotton satin with three frills with rounded ends, the bottom one wider and the top one narrower, gathered to band at top edge, linen tape tie each end. Inscribed ‘F.J. – Senr / 3 / 1833′ (Fanny Jarvis).” Additionally, the lowest of the three bustles shown on page 133 of The History of Underclothes is listed at dating to 1833 and being in the Gallery of English Costume in Manchester. Therefore it is likely yet another photograph of the very same bustle, but in this case seen upside down, because while it appears lumpy, only a hint of the frills or ruffles underneath can be seen, at one side.

• Waugh, Norah. Corsets and Crinolines. New York: Theatre Arts Books, 1970.

Text on pages 93, 117, and 134.

Intro: 1837-1839 fashion plate ensemble

(Updated May 2, 2011.)

Back during my first semester at Hampshire, in fall 2009, I went on a field trip to Old Sturbridge Village, and while dawdling in the clothing exhibit, I rather fell in love with the late 1830s styles displayed in the fashion plates on the walls. It’s a very interesting transitional style, without the absurdly enormous sleeves of earlier 1830s fashion, or the stiff gothic lines of the 1840s. Waistlines were briefly hovering around the natural waist, and sleeve shapes were neither huge nor tight, with an interesting variety in shapes and details.

I parlayed my fascination with late 1830s fashion into an independent study in spring 2010, and really dove into the period. I had never studied the romantic period in particular, but I had a substantial background in mid-19th century clothing (specifically 1860s), which gave me somewhere to start. There are two interesting technological differences that make studying and reproducing clothing of the 1830s more difficult than clothing of the 1860s: the lack of photography, which leaves a significant gap in the materials to study, and the lack of sewing machines, which renders a great deal of hand-sewing necessary for true authenticity. For the independent study, I hand-stitched all of the pieces I made. For the 1830s pieces that I am making now, in the portion of my Div III that is a continuation of that project, I am fully hand-stitching three pieces–the shift, the stays, and the bonnet–and using a combination of machine-stitching and hand-stitching on the other pieces. On the gown, all visible stitches will be done by hand. But for the sake of time, I’m using the machine for portions of the project.

My big goal with this project is to be able to wear a full ensemble of 1830s clothing to Commencement (otherwise known as graduation) on May 21st. I’ll need a gown and a bonnet, a chemisette to full in the neckline of the gown, a pair of gloves (I have some I can use), some sort of shoes (I plan to buy a simple pair of ballet flats), and stockings (I have some that will work) – and those are just the parts that show! Under all that, I’ll need a shift, probably a pair of drawers, a set of stays, a corded petticoat to create base fluff, another petticoat for additional fluff, a bodiced petticoat to cover all the other layers tidily since my gown fabric is semi-sheer, and probably the ruffled bustle from the independent study, so as to achieve the proper silhouette.  I’ll most likely use the pockets from my independent study as well. I probably won’t worry about making cuffs just yet. All told, there is still much to do, but it’s coming along. The most alarming part is that I have not yet been able to dye the fabric for my gown.

From a February 1838 Fashion Plate in Godey's Lady's Book

The gown at left is the one I originally chose as my inspiration piece, during the independent study. I love the crossover bodice style, especially with the stripes cut on the bias. I also love the bias stripes on the skirt ruffle, set against the vertical stripes of the skirt. However, I’ve never been entirely enamored of the sleeves, I don’t like how the ruffle is set to leave a gap of plain skirt at the hem, and I find myself getting distracted by the astonishingly hideous headdress whenever I look at the picture. So, at this point, I’m not planning to do an exact copy of the fashion plate, but rather to combine elements of several fashion plates, along with details from extant gowns, to create a just-right late 1830s gown style for me.

The bodice for my gown will be cut like the February 1838 fashion plate at left, which seems to have been a popular style. The Workwoman’s Guide even has instructions for the style. I may have to adapt the bodice design slightly, because I think that with my rather well-endowed figure, I’ll probably need darts at the waistline to control the fullness of the fabric needed to go around my bosom, even with the stretch of the bias cut. Fortunately, I’ve seen various examples of just such a bodice style, including the left figure in the following fashion plate at right. I’m also partial to the sleeve shape in the following fashion plate – but not the precise way that the fullness is fixed down at the top. I think I’d rather use little controlled pleats than bands with buttons.

Pretty Gowns from an April 1840 Fashion Plate in Godey's Lady's Book

I’m also rather partial to the plethora of ruffles at the hem. I might do that, but I think more likely I’ll just do one ruffle, only set so that it goes all the way to the hem, or possibly two ruffles, the lower one deeper than the upper, as in the pink dress in the fashion plate below center.  The fabric I’m using for the gown would most likely be termed a muslin in 19th century terminology. It’s a smooth, long-staple cotton fabric that is semi-sheer, but with opaque stripes of satin-weave, which have a bit of openwork stitching along either side of each stripe. It’s absolutely beautiful, and perfect for the period. I bought it at Delectable Mountain Cloth in Brattleboro, Vermont – a wonderful little shop that’s well worth an excursion. I believe that the owner said that my fabric was of Italisn manufacture. The only difficulty is that solid white dresses, especially in cotton, do not seem to have been very common by the late 1830s. I am solving this problem with a few bottles of cerulean blue dye, and the help of a friend who has a lot of experience dyeing cotton.

I think that my bonnet will probably give a similar impression to those in the plate above at right – large but not too terribly ridiculous, and really rather pretty, in that slightly silly way. A chemisette will definitely be needed in order to keep things suitably modest, and by the same token, I’ll also need a bodiced petticoat like this extant one to provide a tidy, opaque underlay for the somewhat see-through dress. I just hope I can find the time and the patience to sew enough cords into my corded petticoat, and then track down down enough starch, in order to achieve satisfactory fluffiness. I’m also concerned that a mere three petticoats (over a long chemise, with a ruffled bustle) might not really be enough fluff, but for the time being, I’ll just have to live with whatever level of fluff those combined garments can achieve.

A figure from a November 1838 Godey's Lady's Book Fashion Plate

Here is the full list of garments involved in this ensemble:

• 1830s rectangle-cut shift of white cotton – done!
• 1830s white cotton drawers with wide tucks – patterned and cut out, legs constructed with tucks stitched, still need waistband
• 1830s stays of white cotton sateen with white embroidery – have been mocked up twice, need to have front pieces re-cut for final mock-up, which will then become lining pieces for the final stays
• 1830s corded petticoat of white Kona cotton – in progress
• 1830s tucked petticoat of white cotton – done!
• 1830s pair of pockets in calico with piecing – done, from independent study
• 1830s bodiced petticoat of white cotton – panels seamed
• 1830s ruffled bustle of white cotton jean – done, from independent study
• 1830s gown of semi-sheer cerulean cotton with satin stripes
• 1830s chemisette of white cotton voile
• 1830s cuffs of white cotton voile – which will be put off
• 1830s straw bonnet with plaid silk ties and white trimmings – waiting for form and supplies to arrive in the mail

For details and resources, click on individual garment links to go to the introductory base posts for those garments.

Intro: 1830s Independent Study Spring 2010

In the spring of 2010, during my second of four semesters at Hampshire, I did an independent study for credit, essentially a pilot study for the research and work I wanted to do for my thesis project. I focused on clothing of a very specific time period, the late 1830s, which had a very distinct aesthetic, transitioning between the Romantic Era 1820s-30s, and the Crinoline Era 1840s-1860s. This is the very beginning of the era of photography, on the cusp of it, really, so the difference in evidence between researching this period and researching even a decade or two later is incredible – more guesswork and extrapolation is required.

But, as I found during my independent study, there is a great deal of information available about the period, it just requires sifting and evaluation and analysis to use. During the independent study, I created the annotated bibliography which grew into the many-tentacled beast currently residing on this site, and I spent a lot of time looking at the strengths, weaknesses, and biases of various kinds of primary and secondary sources, discussing how to use those various sources together to create a full and nuanced picture of a particular period of clothing.

In addition to writing a paper for that independent study, I also sewed several garments and sewing kit tools, constructing everything by hand and as accurately as possible, using natural fibers and primary source instructions. I made a quilted petticoat, a ruffled bustle, a pair of pockets, and for my work box, a velvet pincushion and needle book.