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Fashioning Quaker Id NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FASHIONING QUAKER IDENTITY: NINETEENTH-CENTURY WOMEN’S CLOTHING IN THE FRIENDS’ HISTORICAL ASSOCIATION COLLECTION by Emily Constance Cline A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture. Spring 2005 Copyright 2005 Emily Constance Cline All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1426013 Copyright 2005 by Cline, Emily Constance All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 1426013 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. FASHIONING QUAKER IDENTITY: NINETEENTH-CENTURY WOMEN’S CLOTHING IN THE FRIENDS’ HISTORICAL ASSOCIATION COLLECTION by Emily Constance Cline Approved: Linda Eaton, B.A. Hon., D.T.C. Professor in charge of thesis on behalf of the Advisory Committee Approved: 'I • A jvzJiXu.— J. Ritchie Garrison, Ph.D. Director of the Winterthur Program in American Culture Approved: Conrado M. Gempesaw II, Ph.D. Interim Dean of the College of Arts and Sciences Approved: Conrado M. Gempesa^JI, Ph.D. Vice-Provost for Academic and International Programs Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS Any significant undertaking requires the contributions and encouragement of numerous individuals: the very character of this thesis is indebted to all of the individuals and families associated with the Friends’ Historical Association who found their ancestors’ clothing to be of value. My advisor, Linda Eaton, offered exceptional guidance throughout this endeavor from suggesting the FHA collection and pointing me towards resources, to helping me brainstorm and reminding me to keep it all in perspective. Her counseling and encouragement has meant a great deal to me in Winterthur Program. I would also like to thank all of my Catawba College mentors, Charlie and Jane McAllister, Gary Freeze, Jan Evans, and James Parker, who have always supported the blending of my textillian and historical inklings. I am indebted to Susan Drinan and Jeffrey Ray at the Atwater Kent Museum of Philadelphia, both of whom assisted greatly in allowing me access to the FHA collection and the related documents. Pat O’ Donnell, Diana Franzusoff Peterson, and Kristina Haugland offered wonderful insight into the nature of this project and into the resources of their respective institutions. Great thanks are due to Holly Winchell (ever willing to discuss the merits of a seam or a particular sleeve) for her conversation, friendship, and fabric filled care packages. I also want to thank my WPEAC classmates who have taught me so much iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. during the past two years. Special thanks go to Megan Giordano and her parents for their indefatigable kindness in helping me adjust to life in the Delaware Valley: “It’s not history that concerns me. It’s the future. It’s far more uncertain.” I want to thank my family and dogs (especially Rosie) for their endless support and confidence in me. The countless phone calls, letters, walks in the wood, and wags of the tails keep me smiling and grateful. Finally, I want to thank my parents, George and Beverly Cline, for their enthusiasm, wisdom, creativity, and love. This work is dedicated to them. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS List of Figures.........................................................................................................................viii A bstract .....................................................................................................................................x Chapter 1 INTRODUCTION..........................................................................................................1 2 HISTORIOGRAPHY AND PUBLISHED SOURCES........................................... 6 Amelia Mott Gummere: the Advent of Quaker Clothing Scholarship .. 8 Subsequent Quaker Clothing Scholarship.................................................. 13 Costume H istory............................................................................................18 3 THE FRIENDS’ HISTORICAL ASSOCIATION..................................................24 The Friends’ Historical Association (FHA)...............................................26 The Friends’ Historical Society (FHS)...................................................... 28 Alphabet Soup: The 1923 FHS/FHA M erge............................................32 Advocating Collections: Amelia and Lydia Gummere ........................... 34 The Craze for Collecting and Pageantry: The 1920s and 1930s.............41 A Safe and Permanent Home: The 1940s.................................................52 Professional Museum Standards: The 1980s .............................................. 54 4 THE FRIENDS’ HISTORICAL ASSOCIATION COLLECTION..................... 59 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The “Stuff’ a Collection is Made From..................................................... 60 Clothing as Evidence....................................................................................61 5 QUAKER MEETING DRESSES...............................................................................66 Classic Simplicity: 1800-1820.....................................................................68 Romantic Sensibility: 1825-1840.............................................................. 72 Gothic Restraint: 1840-1860...................................................................... 82 Victorian Modesty: 1865-1900.................................................................. 87 Reminiscent Response: A Collection with Purpose.................................90 6 QUAKER WEDDING DRESSES ..............................................................................94 Going to the Meetinghouse: Tacy Towsend Walmsley, 1835............. 95 My, What Big Sleeves You Have: Elizabeth Spencer Dutton, 1840 . 97 Crinoline Glory: Margaret Ely Rhoads and Martha Cemby Morris, 1860 & 1861 ................................................................................... 103 A Shot-Silk Wedding: Rachel Love Evans, 1867 ...................................I l l Wedded Bliss: Quaker Brides and Mainstream Fashion .......................114 7 QUAKER DAY DRESSES .......................................................................................117 A Neat and Tidy Appearance: Work Dresses ..........................................117 A Plain, Public Persona: Social Dresses.................................................. 121 The Texture of Fashion: Formal Dresses................................................. 125 The Virtues of Plainness..............................................................................129 8 QUAKER BONNETS............................................................................................... 135 Meeting Bonnets...........................................................................................137 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Non-Meeting and Wedding Bonnets .........................................................147 That’s All In A Hat...................................................................................... 152 9 CONCLUSION: FASHIONING QUAKER IDENTITY..................................154 FIGURES................................................................................................................................160 APPENDIX A: THE QUAKER: A STUDY IN COSTUME EARLY PUBLISHING INFORMATION........................................................................................................194 APPENDIX B: TRANSCRIPT OF AMELIA MOTT GUMMERE’S “COOPERATION IN COLLECTING HISTORICAL MATERIAL”.............. 197 APPENDIX C: PARTIAL CATALOG OF FHA COLLECTION DRESSES............200 BIBLIOGRAPHY.................................................................................................................. 205 vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 1: FHA Exhibition label on Quilted Petticoat...........................................................159
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