AN ABSTRACT OF THE THESIS OF
Kelly S. Gallett for the degree of Master of Arts in Apparel, Interiors, Housina, and Merchandising presented on June 6. 1995. Title: Development and Testina of a Data Collection Instrument for Boys' Clothina 1867-1910: An Oregon Photographic Study. Redacted for Privacy Abstract approved: E. Pedersen
The purpose of this study was to develop and test a data collection instrument that would facilitate description of the clothing of Oregon school boys 1867-1910. In addition, the researcher attempted to describe Oregon school-aged boys' clothing and determine if fashion changes occurred in Oregon boys' clothing. The researcher also determined if there were differences in the clothing of boys from rural and urban areas.
The data collection instrument was developed by examining literature on children's clothing, photographs, and magazine and catalogue illustrations. In an attempt to capture dress characteristic of everyday wear, the data source for the study consisted of documented class portrait photographs from the collections of the Oregon and
Benton County Historical Associations. The instrument provided for a systematic method of data collection according to the principles of content analysis. The instrument consisted of garment categories and design detail options. A handbook of illustrations and terms accompanied the instrument to ensure consistency and reliability. A total of 503 records were collected over a period of four months.
After data collection, the original instrument was revised for future use. Some detail options were added and some deleted. A footwear category was incorporated into the revised instrument after it was determined that it would be possible to gather information about footwear from group photographs.
Information gathered on boys' clothing from the school photographs both agreed and deviated from the literature. The basic garments were similar; however, the fancier styles in the literature were not found in the quantities that the researcher anticipated and the literature indicated. Some garments, design details, and silhouettes changed over time. The presence of the actual garments did not vary, but some details such as lapel width, single or double breasted, and jacket style did, as well as how the garments were worn
(i.e., buttoned, unbuttoned).
Rural and urban differences occurred and were most pronounced in the quantity of garments worn (more urban boys wore suit jackets, waistcoats, ties, and hats than did rural boys) and how the garments were worn. The entire neck tie category was very different between rural and urban records. Development and Testing of a Data Collection Instrument for
Boys' Clothing 1867-1910:
An Oregon Photographic Study
by
Kelly S. Gallett
A THESIS
submitted to
Oregon State University
In partial fulfillment of
the requirements for the
degree of
Master of Arts
Completed June 6, 1995
Commencement June, 1996 Master of Arts thesis of Kelly S. Gallett presented on June 6, 1995
APPROVED:
Redacted for Privacy
Major Professor, representing Apparel, Interiors, Housing and Merchandising
Redacted for Privacy
Depar(-24TALK-CA-AJ. ment of Apparel, Interiors, Housing and Merchandising
Redacted for Privacy
D n of Graduate chool
I understand that my thesis will become part of the permanent collection of Oregon State University libraries. My signature below authorizes release of my thesis to any reader upon request.
Redacted for Privacy
Kelly S. Gallett, Author TABLE OF CONTENTS
Page
I. Introduction 1
Purpose of Study 3
Assumptions 4
Limitations 4
Definition of Terms 5
II. Review of Related Literature 8
Content Analysis 8
Photographs and Historic Costume Research 10
Advantages 11
Disadvantages 12
Boys' Clothing 1867-1910 16
Suits and Jackets 18
Waistcoats, Ties, and Shirts 23
Hats 24
Western Settlement: an Overview 24
Pioneer, Western and Regional Dress 25
Clothing in Oregon and the Northwest 28
Summary 30
III. Methods 32
Instrument Development 33
Suit Jacket 37 TABLE OF CONTENTS (Continued)
Page
Knickers/Trousers/Overalls 37
Waistcoat 38
Neck Tie 38
Shirt 38
Hat 39
Overcoat 39
Reliability 39
Validity 39
Preliminary Preparation 40
Sample 40
Pilot Study 43
Data Collection Procedure 43
Data Analysis 44
IV. Results 46
Objective 1 and Objective 2 46
Objective 3 49
Suit Jacket 49
Knickers/Trousers/Overalls 57
Waistcoat 60
Neck Tie 65
Shirt 67
Hats 70
Overcoat 73
Details/Accessories 73 TABLE OF CONTENTS (Continued)
Paae
The "Typical" Boy 74
Objective 4 and Research Question 1 76
Suit Jacket 76
Knickers/Trousers/Overalls 90
Waistcoat 95
Neck Tie 100
Shirt 100
Hat 105
Details/Accessories 107
Discussion: Objective 4 and Research Question 1 107
Research Question 2 109
Suit Jacket 110
Knickers/Trousers/Overalls 120
Stockings 124
Suspenders 124
Waistcoat 125
Neck Tie 127
Shirt 130
Hats 130
Details/Accessories 134
Discussion: Research Question 2 134
Summary 136
Objective 1 and Objective 2 136
Objective 3 137
Objective 4 and Research Question 1 138 TABLE OF CONTENTS (Continued)
Paae
Research Question 2 139
V. Summary and Conclusions 140
Limitations 142
Conclusions and Implications 146
Future Research 152
Bibliography 155
Appendices 160
Appendix A: Data Collection Instrument for Boys' Clothing 161
Appendix B: Handbook of Illustrations and Explanations 164
Appendix C: Photographs Analyzed for this study 183
Appendix C: Revised Data Collection Instrument for Boys' Clothing 184 LIST OF FIGURES
Figure Page
1. Oregon Boys' Frequency of Wearing Suit Jacket, 1867-1910. 51
2. Boys' Jacket with Vertical Tucks and Rounded Front Edges. 56
3. Oregon Boys' Wearing of Knickers, Trousers, and Overalls, 1867-1910. 59
4. Oregon Boys' Frequency of Wearing Waistcoat, 1867-1910. 63
5. Oregon Boys' Frequency of Wearing Neck Ties, 1867-1910. 66
6. Number of Visible and Non-Visible Oregon Boys' Shirts, 1867-1910. 68
7. Oregon Boys' Frequency of Wearing Hats, 1867-1910. 72
8. Seriation of Four Most Popular Suit Jacket Collar and Lapel Styles, 1867-1910. 77
9. Seriation of Suit Jacket Lapel Widths, 1867-1910. 79
10. Seriation of Suit Jacket Silhouette, 1867-1910. 81
11. Seriation of Double and Single Breasted Suit Jackets, 1867-1910. 83
12. Seriation of Suit Jacket Fabric Pattern, 1867-1910. 86
13. Seriation of Suit Jacket Fabric Value, 1867-1910. 87
14. Seriation of Suit Jacket Wearing Position, 1867-1910. 88
15. Seriation of Knickers, Trousers, and Overalls, 1867-1910. 91
16. Seriation of Knickers/Trousers/Overalls Fullness, 1867-1910. 93
17. Seriation of Knickers/Trousers/Overalls Fabric Value, 1867-1910. 94
18. Seriation of Waistcoat Bridle Line Length, 1867-1910. 97
19. Seriation of Matching and Non-Matching Waistcoats, 1867-1910. 98
20. Seriation of Waistcoat Fabric Pattern, 1867-1910. 99
21. Seriation of Three Most Popular Neck Tie Styles, 1867-1910. 101 LIST OF FIGURES (Continued)
Figure Page
22. Seriation of Four Most Common Shirt Collar Styles, 1867-1910. -102
23. Seriation of Shirt Collar Heights, 1867-1910. 104
24. Seriation of Shirt Fabric Values, 1867-1910. 106 LIST OF TABLES
Table Pane
1. Grouping of Photographs by Year and View 42
2. Time Period Categories for Data Analysis 45
3. Total Suit Jacket Collar and Lapel Styles, 1867-1910 50
4. Suit Jacket Pocket Styles, 1867-1910 53
5. Total Suit Jacket Style Types, 1867-1910 55
6. Total Suit Jacket Details and Trim, 1867-1910 58
7. Total Knickers/Trousers/Overalls Features and Trims, 1867-1910 61
8. Total Waistcoat Features and Trims, 1867-1910 65
9. Total Shirt Collar Styles, 1867-1910 69
10. Total Shirt Features and Trims, 1867-1910 71
11. Total Additional Details and Accessories, 1867-1910 73
12. The "Typical" Oregon School Boy's Clothing, 1867-1910 75
13. Rural and Urban Differences in Suit Jacket Collar Styles, 1893 111
14. Rural and Urban Differences in Suit Jacket Bridle Lines, Lapel Widths, and Silhouettes, 1893 112
15. Rural and Urban Differences in the Number of Suit Jacket Buttons, 1893 113
16. Rural and Urban Differences in Single and Double Breasted Suit Jackets and Jacket Length, 1893 115
17. Rural and Urban Differences in Suit Jacket Breast and Side Pockets, 1893 116
18. Rural and Urban Differences in Suit Jacket Fabric Pattern and Value, 1893 117
19. Rural and Urban Differences in Suit Jacket Wearing Position, 1893 118
20. Rural and Urban Differences in Suit Jacket Features and Trims, 1893 119
21. Rural and Urban Differences in Suit Jacket Types, 1893 120 LIST OF TABLES (Continued)
Table Paste
22. Rural and Urban Differences in the Wearing of Knickers, Trousers and Overalls, 1893 121
23. Rural and Urban Differences in Knickers/Trousers/Overalls Length, Fullness, and Matching of Suit Jacket and Waistcoat, 1893 122
24. Rural and Urban Differences in Knickers/Trousers/Overalls Fabric Pattern and Value, 1893 123
25. Rural and Urban Differences in Knickers/Trousers/Overalls Features, and Trims, 1893 125
26. Rural and Urban Differences in Waistcoat Use and Characteristics, 1893 126
27. Rural and Urban Differences in Waistcoat Fabric Pattern, Value and Matching of Suit Jacket, 1893 128
28. Rural and Urban Differences in Neck Tie Wearing, Style, Fabric Pattern and Value, 1893 129
29. Rural and Urban Differences in Shirt Collar Style and Height, 1893 131
30. Rural and Urban Differences in Shirt Fabric Pattern and Value, 1893 132
31. Rural and Urban Differences in Shirt Features and Trim, 1893 133
32. Rural and Urban Differences in Additional Details and Accessories, 1893 134 LIST OF APPENDICES
APPENDIX Page
A. Data Collection Instrument for Boys' Clothing 161
B. Handbook of Illustrations and Explanations 164
C. Photographs Analyzed for this study 183
D. Revised Data Collection Instrument for Boys' Clothing 184 DEVELOPMENT AND TESTING OF A DATA COLLECTION INSTRUMENT FOR BOYS' CLOTHING 1867-1910: AN OREGON PHOTOGRAPHIC STUDY
CHAPTER I
INTRODUCTION
Over the past ten years, historic costume researchers have worked to fill in gaps in the knowledge of American dress. Costume research in this country has traditionally focused on European upper-class fashion and the apparel of wealthy, upper-class Americans. Costume historians are now investigating what was worn by the middle and lower-class members of American society who often lived outside of the major urban areas (Welters, 1991). Studies of this type have focused on the apparel and fashionability of Texas (Mills, 1985) and Kansas (Helvenston, 1990) pioneer women, eighteenth century pioneers (Shine, 1988), and rural New
England women (Helvenston, 1991). Other researchers have investigated the acquisition of clothing by those in isolated Western and Indian territories (Campbell & Brandt, 1994; Richards, 1992) and clothing adaptations of early Arizona settlers (Brandt, 1989). Researchers have also described the clothing of African-American women living in Georgia in the late nineteenth and early twentieth centuries (Hunt & Sibley,
1994) and explored photographic conventions of cowboy dress (Wilson,
1991).
Overwhelmingly, these studies have centered on the clothing of adult females. The scarcity of information on men's (Paoletti, Beeker &
Pelletier, 1987) and children's clothing (Hemken, 1993) has been 2
recognized. Studies of regional differences and characteristics of
American men's and children's clothing are almost nonexistent. When regional men's or children's clothing is mentioned, it is usually in the context of a pioneer woman's responsibility to acquire clothing for her children and husband. One group of researchers stated that regional differences in dress are common (Horridge, Smathers & Vachon, 1977). A thorough study of children's regional dress is essential to complete this picture of American costume and culture.
Information on American children's clothing of the nineteenth century is lacking in breadth and depth. Most children's wear books are
British (Brooke, 1930; Cunnington & Buck, 1965; Ewing, 1977; Laver,
1951; Rose, 1989) and devote the majority of space to the fanciest
children's styles. The only book on American children's wear located by
the author which mentions clothing worn by rural and Western children is unclearly documented (Worrell, 1980).
Children's clothing is acknowledged by researchers to have some unique properties, such as the ability to illuminate contemporary philosophies of education, childcare, and child status (Rose, 1989, p.
11). Children's clothing has served as a testing a ground for new
fashions (Ewing, 1977, p. 14; Rose, 1989, p. 11; Worrell, 1980, p. 4)
and manufacturing methods (Levitt, 1986, p. 101). According to one
source, boys wearing fly-front trousers appeared in paintings before
fly-front trousers were worn by men, and children wore bikini bathing
suits before their parents did (Worrell, 1980, p. 4). 3
Purpose of Study
The purpose of this study was to develop and test a data
collection instrument that would facilitate description of the clothing
of school-age boys in Oregon during the late nineteenth and early
twentieth centuries. Because no existing appropriate instrument for
collecting data on boys' clothing from photographs could be located, the
development of the instrument was included in this project. The
instrument was tested on photographs dated 1867-1910. These dates
coincided with Oregon settlement, the spread of photography in the
United States and the availability of early documented photographic
images. This span also allowed for evidence of fashion change over time.
The earliest date that was studied, 1867, corresponded with the earliest
documented class portrait photographs found at the Benton County
Historical Museum and the Oregon Historical Society. Class portrait
photographs were used as the data source for testing of the instrument
because it was believed that they portrayed clothing more characteristic
of everyday dress than studio photographs of the same time. In a study
of portraits as indicators of family culture and relationships, Brobeck
found that sitters dressed more formally for portraits than they did for
school and play (1977).
Objectives of the study were:
1. to develop a data collection instrument for description of
boys' clothing of the late nineteenth and early twentieth centuries.
2. to test the instrument with documented class portrait
photographs from Oregon dated 1867-1910.
3. to describe Oregon school-aged boys' clothing 1867-1910. 4
4. to determine if there were fashion changes in boys' clothing in Oregon.
In addition to the research objectives, two specific research questions were established:
1. Is there a difference in the garments, silhouettes, and design details of the clothing of Oregon school boys over time?
2. Is there a difference in the clothing of boys from rural areas and boys from urban areas?
Assumptions
1. It was assumed that the majority of boys in the documented
Oregon photographs were representative of school age boys in Oregon.
2. It was assumed that the clothing worn by the boys in the
selected photographs was representative of everyday dress.
3. It was assumed that the photographs used to test the
instrument were accurately dated.
Limitations
1. Back views and some details may not be visible in photographs.
2. It was assumed that boys' clothing came in a variety of
colors; however, due to the nature of black and white photography only
impressions of light, medium, and dark values can be recorded. Color
values in early photography were problematic until the 1880s-1890s
(Ginsburg, 1982, p. 17).
3. It is acknowledged that class portrait photographs were a kind
of special occasion and that these occasions sometimes required special
clothing. However, the occasion of the school portrait photograph 5
probably called for less fancy dress than the studio photograph of the same time.
4. A limited number of photographic examples are available for
the years 1867-1890 as compared to 1891-1910.
5. Some photographs used in the testing of the instrument are
documented as "circa" and are not dated to a specific year. "Circa" as
defined by the Oregon Historical Society, includes five years prior to
and after the given date (M. Tint, personal communication, February,
1995). For example, a photograph dated "circa 1875" may actually have
been taken up to five years earlier (1870) or up five years later
(1880).
6. The photographs that will be examined by the researcher have
been dated by the Oregon and Benton County Historical Societies. The
historical societies have relied upon donor's memories and inscriptions
as well as the skill of staff members and volunteers to date the
photographs (M. Tint, personal communication, January, 1995).
Definition of Terms
class portrait photograph a documentary group photograph of
students belonging to an individual class, grade, or school. It may
incorporate the school building, teachers, and administrators and may be
taken outdoors or inside the classroom.
design details "design details are specific elements of
construction which make up the fashion object. Details include collars,
sleeve treatments, pockets, pleats, belts, buttons, lapels, and
necklines" (Sproles & Burns, 1994, pp. 9-10). 6
elementary school "a school in which elementary subjects such as reading, writing, spelling, and arithmetic are taught to children from about six to twelve years of age which in the United States covers the first six or eight grades" (Gove, 1965, p. 735).
everyday dress "(clothing) suitable or designed to wear on ordinary days as contrasted with those worn on holidays or special occasions" (Gove, 1965, p. 735).
fashion "A clothing fashion is a style of dress that is temporarily adopted by a discernible proportion of members of a social group because that chosen style is perceived to be socially appropriate for the time and situation" (Sproles & Burns, 1994, p. 5).
aarment an individual item of clothing (i.e., jacket, shirt, skirt).
silhouette "the physical shape or lines of the style. Though the number of possible shapes can be limitless, examples of basic identifiable silhouettes include tubular, triangular, circular, bell shape, inverted triangle, back-fullness, and hour glass" (Sproles &
Burns, 1994, p. 7). Due to the nature of this study, silhouette will refer to the general shape and full or fitted nature of the garments.
rural "of, relating to, or characteristic of the country or of people living in the country" (Cayne, 1989, p. 872). In this study, rural will refer to all Oregon communities except for Portland and
Salem.
school aae boys boys old enough to attend school but not high school students. Ages included are approximately five to fourteen, kindergarten through eighth grade. 7
urban "of, relating to, belonging to or characteristic of living in a city or town or of people living in a city or town" (Cayne, 1989, p. 1082). In this study, Portland and Salem were considered urban and all other areas were considered rural.
wearing position how a garment is worn (i.e., all buttoned up, unbuttoned, top button only buttoned). 8
CHAPTER II
REVIEW OF RELATED LITERATURE
The following discussion of the literature serves as a general overview of topics relevant to this study. Areas of discussion include content analysis, photographs utilized in historic costume research, boys' clothing of the late nineteenth and early twentieth centuries, general Northwest and Oregon background, and pioneer, regional, and
Western dress.
Content Analysis
Content analysis is a research method that enables a researcher to systematically convert large amounts of unstructured data into measurable, quantifiable units. Content analysis can be implemented with written and visual materials. Its objectivity, systemization, and quantification distinguishes it from other techniques (Kassarjian,
1977). With careful preplanning, establishment of categories and counting procedures, content analysis provides a rigorous method of data collection that supplements traditional impressionistic research in the field of historic costume (Paoletti, 1982). With content analysis, replicable and valid inferences can be made from data to their context
(Krippendorff, 1980, p. 21).
Content analysis produces quantitative data from verbal or nonverbal, visual, or written communications for the purpose of answering one or more specific questions. It provides a systematic method when working with complex, plentiful (Paoletti, 1982), and unstructured source materials (Krippendorff, 1980, pp. 30, 31) such as 9
photographs or magazine illustrations. Content analysis is especially suited for historic research as well as pictorial communications
(Carney, 1972, p. 26). Documentary photographs such as weddings and graduations would lend themselves to content analysis (Paoletti, 1982) as would class portraits.
Paoletti identified five specific steps involved in using content analysis for historic costume researchers:
1. Creation of concise and precise objectives or hypotheses;
2. Creation of an instrument or questionnaire designed to measure relevant variables or sort them into predetermined categories;
3. Unbiased sampling of sources and communication units;
4. Systematic recording or measuring of variables using the instrument; and
5. Analysis of the data using appropriate statistical procedures
(Paoletti, 1982).
Research questions must be phrased in a way that the answers can be determined by counting predetermined variables in certain categories
(Carney, 1972, p. 23). An essential aspect of content analysis is its replicability (Krippendorff, 1980, p. 21; Paoletti, 1982). Using the
identical instrument and sources, another researcher should be able to duplicate this researcher's findings.
The level of statistics used in the data analysis can range from
contingency analysis to simple descriptive statistics. Descriptive
research in under-investigated areas of costume, such as men's and
children's dress, is necessary because it lays foundation for further
interpretive scholarship (Paoletti, Seeker & Pelletier, 1987). Content 10
analysis can also be combined with seriation, an anthropological technique (Paoletti, Beeker & Pelletier, 1987; Turnbaugh, 1979).
Content analysis has been employed in a number of projects related to the study of costume and dress: applied to a study of dress designs in two different women's magazines (Paoletti, 1980); applied to extant men's garments and magazine and catalogue illustrations to describe men's jacket styles (Paoletti, Beeker & Pelletier, 1987); applied to photographs, extant garments, and store records in an examination of
Montana cowboy dress (Wilson, 1991); applied to extant children's garments and catalogue illustrations (Smith, 1991); and applied to headgear illustrations in Godev's Ladies Book (Turnbaugh, 1979).
Content analysis in historic costume research is not limited to visual source materials. Campbell and Brandt (1994) utilized content analysis with written materials in diaries, letters, and memoirs of army wives to clarify clothing consumption, acquisition, and maintenance on the
American frontier.
Photographs and Historic Costume Research
Photographs are an important source of information for the study
of dress in history. Photographs in museum and family collections are
available as source materials for the costume researcher. Photographic
sources complement other traditional costume resources such as garments,
magazine illustrations, and fashion plates to create a more accurate
description of what has been worn throughout history. Photographs have
some inherent disadvantages which the researcher must take into account,
but that do not outweigh the overall benefits of their use. 11
Advantages
"The validity of the photograph's enormous value as historical evidence, despite its necessary qualifications, remains intact"
(Schlereth, 1980, p. 47). The use of historic photographs in research has important advantages which can overcome the drawbacks of their use.
The most obvious advantage is that photographs are not created from memory. At one point, the camera had to be in front of its subject
(Schlereth, 1980, p. 44), giving it an aspect of reality not found in artworks or illustrations.
This "real" aspect of the historical photograph is unique in
comparison to fashion plates. Fashion promotional illustrations, which have served as the basis for much work on historic costume, may depict proposed styles that were never widely accepted (Tortora, 1993). The majority of the population does not dress in the latest high fashion
garments of the time. A photograph of a clothed person depicts a once-
existing garment on a real human body. Compared to fashion promotional
illustrations, a photograph shows an actual garment that was created and
then worn by at least one person.
Some kinds of garments are rarely, if ever, depicted visually
(Tortora, 1993). This disadvantage can be remedied by combining
different types of visual sources. Photographs may be the only extant
records of some types of garments that may not appear in traditional
costume resources. These garments may not have been featured in fashion
magazines or artworks or deemed special enough to be saved to later
become part of a museum collection (E. Pedersen, personal communication,
September, 1994). No work clothes such as overalls, pants, or shirts 12
that would have been worn by laborers, miners, farmers, or ranchers in the Arizona Sonoran desert have survived (Brandt, 1989). Extant items of dress in museum collections tend to be upper class, special occasion garments (Lansdell, 1985, p. 5) such as christening gowns and wedding dresses. When collections do own items of everyday dress, the items are rarely represented in depth or breadth. In Smith's study of Canadian children's clothing owned by museums, she found a number of garment types (including overalls) that were pictured in retail catalogues but that were not a part of museum collections (Smith, 1991, p. 93).
Photographs can show an actual fashion object in use. Extant garments in museum collections exist out of their original physical and social contexts. Subjects and artifacts in a painted or photographed portrait can serve as a basis for interpretation of relationships between humans and material objects such as dress (Brobeck, 1977, p.
82). Photographs can provide clues as to how garments were worn, how
they were draped, hung, and fit on the body. The pattern, texture, and drape of a textile may be more accurately portrayed in a photograph than
in an illustration. Photographs may provide evidence of what kind of dress was thought appropriate for certain occasions. In large enough
samples, photographs can provide some evidence for the variation of
styles created, manufactured, and worn.
Disadvantages
The use of photographs in historical research should be approached
with caution. 13
Historians using photographs as evidence must ever remember a simple, obvious, commonplace (yet often forgotten) truth: a photograph is not a facsimile of a total past reality, it is only a partial reflection of that past reality. The photographer exerts enormous control over that reflection and the information and insight it conveys. (Schlereth, 1980, p. 44).
The use of photographs in historic research must be accompanied by
careful consideration of their inherent limitations. Twentieth century
eyes are conditioned to accept the photograph as absolute truth, with
little regard as to how much influence the photographer has over what
the viewer sees. Potential problems such as incomplete and inaccurate
documentation, instability, limited scope of visual information, and
conventions of representation should be taken into account and corrected
for (if possible) in the use of photographs as source material.
Incomplete and inaccurate documentation. Many photographs in
museum collections, antique shops, and personal family collections have
no documentation and can be used only after a thorough study of costume
of the period has been completed. This study entails gathering
information about introduction dates of features, styles, and
technological innovations. This enables the researcher to apply a not
before" date to images using established knowledge of fashion elements
and approximate dates of their popularity (Severa & Horswill, 1989;
Severa, 1994). This technique, however, still leaves open the question
of how long after the date of induction a garment might have been worn
(Severa & Horswill, 1989).
A photograph that includes a date does not ensure accuracy and can
present its own problems. In a study of collegiate sports uniforms at
Wellesley, a researcher found that photographs made their way into 14
archives many years after the photographed event occurred. These photographs were documented with the dates that the photographs became part of the archives, not when they were taken (Warner, 1992, p. 71).
Personal inscriptions can be intentionally or accidentally misleading
(Ginsburg, 1982, p. 10). Often early portrait photographs were given away years after the initial taking of the photograph and the date of the gift exchange might be inscribed on the back rather than the actual date of exposure. In the past, photograph publishers routinely released
images of celebrities taken years earlier (Gernsheim, 1981, p. 21).
The date of the creation of the visual image may not be concurrent with the clothing style depicted (Tortora, 1993). Today, the photo booth
at the county fair supplied with wild west cowboy gear and saloon girl
costume and contemporary images of people in historic costume are
examples of this discrepancy.
Instability. Like other kinds of artworks used as primary sources,
photographs are subject to the ravages of time which may limit or
distort the visual information available (Tortora, 1993). Photographs
fade, peel, crack, and are damaged by sunlight and moisture.
Limited scone of visual information. An artist's choice of media
often limits the information available from a visual image (Tortora,
1993). The two-dimensionality of the historic photograph permits only
one view, usually the front (Tortora, 1993). A photograph yields limited
information about textile color and texture. Color value problems that
occurred with black and white photography were not corrected until the
1880s and 1890s. Early films were very sensitive to red and yellow and 15
insensitive to blue (Holm, 1985, p. 44). Green, yellow, orange and red
appeared dark, and pale blue appeared white (Ginsburg, 1982, p. 17).
Conventions of representation. Historic photographers would
correct for what they perceived to be deficiencies in the photographic medium. Researchers have found that early photographers supplied
clothing and props for portrait photographs (Ginsburg, 1982, p. 17).
Clothing in a portrait may have been chosen for its appropriateness in
the photograph (Ginsburg, 1982, p. 17) of which the taking itself may
have been an event. In a study of women's fashions of the 1870s and
1880s, MacDonald concluded that because most nineteenth century photos
were professionally done, subjects wore their "good" clothing, and not
everyday dress (MacDonald, 1989).
The clothing or image itself may have been manipulated. Skirts
were pinned back and creases in clothing were brushed out by retouchers
(Arnold, 1973, p. 81).
The purpose of a visual image must be clearly understood if an
interpretation is to be drawn from it (Tortora, 1993). The posed studio
photograph of a young boy dressed in his fanciest clothing has a
different purpose than the class portrait which often incorporated the
school building, the students, teachers, and sometimes school
administrators. The photo-taking event may have influenced the subject's
clothing choice. More appearances of stereotypical cowboy gear (i.e.,
chaps, guns) appeared in posed studio photographs in comparison to
photographs taken on the open range (Wilson, 1991). 16
Boys' Clothing 1867-1910
The study of clothing encompasses more than a list or record of garments worn through time. Clothing is a direct physical link into the past and people's lives and can reveal insights into the culture, ideas, history, and economy of a time. It is "the most personal of artifacts, man's closest environment, an extension of the body" (Severa & Horswill,
1989, p. 51).
Children's clothing can shed light on contemporary philosophies of education, childcare, and the role of children (Rose, 1989, pp. 11, 13).
For example, a study of children's clothing revealed insights into attitudes toward and the practice of gender differentiation between male and female children around the turn of the century (Paoletti, 1983,
1987). Children's clothing has also been noted as serving as a testing ground where new fashion ideas might be introduced before reaching adult clothing (Ewing, 1977, p. 14; Rose, 1989, p. 11). The new fashion ideas were not limited to individual garments or design details (Worrell,
1980, p. 4), but might include manufacturing techniques. Children's clothing was an early, successful part of the ready-to-wear clothing business (Levitt, 1986, p. 100).
Little research has concentrated on the study of what American
children wore. History of costume books usually devote only a few pages
if any to children's clothing and most detailed children's costume books
are British (Brooke, 1930; Ewing, 1977; Laver, 1951; Rose, 1989). These
books primarily deal with children's clothing of Great Britain but may
be useful as a reference point for American researchers because it is
believed that American children's clothing influenced that of the 17
British (Ewing, 1977, p. 89) and vice versa (Worrell, 1980, p. 127).
Discussion of American children's clothing is included in most of the
British books for comparison and contrast and serves as a basis for understanding the general nature and evolution of children's styles.
Even less information exists on what children in the Western part of the United States were wearing in the nineteenth century. Few descriptive statements about children's Western, rural, or pioneer wear are available in scholarly sources. Mills' study of the clothing of
Texas pioneer women included some research on the clothing of girls but little information on the clothing of boys (1985).
Children's clothing of the past was very different from what today is thought of as appropriate dress for children. Throughout most of history, children wore miniature versions of adult outfits. Not until the eighteenth and nineteenth centuries were the special needs of children given consideration. Even when children's clothing did vary from adult clothing, it was always a part of fashion in its time (Buck,
1959, p. 5). In the eighteenth century, special attention to the needs of the young resulted for the first time in more appropriate children's clothing (Laver, 1951, p. 2). In the nineteenth century, attention to children focused on the education of school children and their unique requirements: their own equipment, literature, activities, and clothes
(Bates, 1985).
In 1860, boys' clothing resembled that of adult women which was elaborately trimmed. By 1910, boys' clothing was more like that of the adult male. During this transition, boys' clothing lost some of its 18
variety of color and trim, echoing the changes occurring in menswear at the turn of the century (Paoletti, 1983).
Boys' garments of 1867-1910 have been divided into several major categories: suits and jackets, knickers/trousers/overalls, waistcoat, tie, shirt, and hat. The following descriptions are based on several sources (Cunnington & Buck, 1965; Ewing, 1977; Laver, 1951; Rose, 1989;
Tortora & Eubank, 1994; Worrell, 1980).
Suits and Jackets
The last part of the nineteenth century saw the proliferation of dressy, "costumey" suits and outfits such as the Little Lord Fauntleroy suit, the sailor suit, and the kilt suit. The popularity of these outfits has been attributed to a middle class interest in all things
"military, folksy, and exotic" (Bates, 1985, p. 29).
The Little Lord Fauntleroy suit consisted of a velvet tunic or jacket worn on the upper half of the body, accompanied by knickers. This was usually worn with a shirt with a large, square, white lace collar which fell over the shoulders, a wide bowed sash tied on one hip, and a plumed hat (Nunn, 1984, p. 164; Wilcox, 1963, p. 189). This popular outfit with its cavalier-type styling has been traced to American author
Frances Hodges Burnett's book Little Lord Fauntlerov published in 1855
56 (Ewing, 1977, p. 90; Rose, 1989, p. 101). However, one researcher alleges that the outfit was worn by British boys prior to the publishing of Burnett's book (Ewing, 1977, p. 90).
According to children's costume authorities, the sailor suit was very common. It overrode class distinctions, perhaps aided by the proliferation of sewing machines and the ease of the outfit's 19
construction (Ewing, 1977, pp. 87, 89). The sailor suit is acknowledged
to have its origin in a portrait of the Prince of Wales (the future
Edward VII) painted by Winterhalter in 1846 (Boucher, 1967, p. 404;
Cunnington & Buck, 1965, p. 182; Ewing, 1977, p. 89; Nunn, 1984, p. 163;
Rose, 1989, p. 100). American mothers dressed their children in sailor
suits modeled after United States naval uniforms (Ewing, 1977, p. 89).
Sailor suits might be worn with pleated skirts (Boucher, 1967, p. 404;
Worrell, 1980, p. 167), semi-fitted knickers buttoned at the knee
(Boucher, 1967, p. 404), open-ended knickers (Ewing, 1977, p. 87; Rose,
1989, p. 100), and long trousers (Wilcox, 1963, p. 189). By 1910 the sailor suit's popularity faded (Rose, 1989, p. 140).
Kilt suits were popular for young boys in this time period
(Boucher, 1967, p. 404; Wilcox, 1963, p. 164), inspired by Queen
Victoria's dressing of her sons in tartan (Ewing, 1977, p. 83;
Helvenston, 1981). Plaid was common for boys in the nineteenth century
(Ewing, 1977, pp. 86, 87). Kilt suits consisted of a plaid jacket or tunic and a pleated kilt-like skirt. Sears and Roebuck advertised the kilt suit in its 1896 Spring and Summer catalogue (Israel, 1976, p.
179).
Several distinct jacket and suit styles were available for boys.
Common variations include the Eton, reefer, blazer, and Norfolk jackets
(Tortora & Eubank, 1994, p. 340). The Eton jacket was a short, single breasted waist-length jacket. It had wide lapels, a turndown collar, squared front edges, and was worn with a necktie (Tortora & Eubank,
1994, p. 291). It originated in Great Britain but was also popular in 20
the United States (Ewing, 1977, p. 113). A loose fitting blazer style
jacket was worn for sports (Tortora & Eubank, 1994, p. 340).
The reefer jacket, like the sailor suit, was influenced by naval uniforms (Worrell, 1980, p. 126-127) and appeared approximately 1880
(Ewing, 1977, p. 87). Reefer jackets were loose fitting and fancy versions might be made of velvet (Worrell, 1980, p. 153).
The Norfolk jacket was copied from adult men's wear (Tortora &
Eubank, 1994, p. 340), but was more widely worn by children (Ewing,
1977, p. 90). The Norfolk jacket had vertical pleats, topstitching, a
slotted belt, and was made of thick dark wool. The belt was located
slightly below the anatomical waistline (Worrell, 1980, p. 156). The
Norfolk suit might be made of flannel in winter and linen in summer
(Worrell, 1980, p. 156).
A short collarless jacket which was fastened at the neck only
comprised the upper half of an outfit known as the knickerbocker or
Zouave suit, worn by older boys (Bates, 1985; Nunn, 1977, p. 163; Rose,
1989, p. 99). It was most often worn with full knickers gathered into a
band underneath the knee (Bates, 1985). The Zouave suit was sometimes
referred to as the "brownie suit" in Canada (Bates, 1985). The term
"brownie suit" is more closely associated in the United States with the
earliest children's overalls. This is just one example of the confusion
of terms in children's costume and historic costume literature in
general.
Plain, tailored suits for older boys with single breasted jackets
and waistcoats began to be seen in magazines and catalogs after 1890
(Worrell, 1980, p. 180). The 1895 Montgomery Wards catalog features 21
three versions of "sack-style suits" for boys aged four to fourteen years (Montgomery Wards & Co., 1895, p. 271).
Knickers/Trousers/Overalls
School-aged boys had three options with which to cover their legs from 1867 to 1910: knickers, trousers, and overalls. Knickers varied in
fit and might be full or slim, gathered below the knee or straight (like modern-day shorts). Again, term usage varies. Knickers are often referred to as knickerbockers (the longer, original form of the word), shorts, or short trousers. America has been credited with the invention of knickers, or knickerbockers, originating in an illustration from a
Washington Irving book (Ewing, 1977, p. 90). In this paper all knee-
length boys' garments which are not full length trousers will be referred to as knickers.
In the nineteenth century, younger boys were put in skirts before receiving their first pair of short pants. The age of breeching, the
time at which a boy would be placed in his first pair of knickers after wearing skirts, dropped considerably as the century neared its end
(Helvenston, 1981). The average breeching age was five years old in 1860
and three years old in the 1890s. However, the age at which a boy would
receive his first pair of long trousers remained constant, at about
twelve years (Paoletti, 1983).
Costume researchers agree that knickers became more straight and
fitted as the twentieth century approached. According to some, in the
1870s boys' knickers were semi-fitted, and in the 1880s they were more
like straight trousers ending at the knee (Tortora & Eubank, 1994, p.
340). The full style almost completely disappeared during this time 22
(Cunnington & Buck, 1965, p. 181). Other researchers state that the straight, open-ended version of knickers appeared as early as 1870 and recognize it as a precursor of modern-day shorts (Ewing, 1977, p. 90;
Rose, 1989, p. 100). A British researcher stated that the two knicker styles (open-ended and gathered below the knee into a band) were worn until the end of the century (Cunnington & Buck, 1965, p. 182).
According to the literature, knicker styles and silhouettes were associated with particular outfits. When worn with the knickerbocker suit, knickers were full and closed below the knee (Nunn, 1977, p. 163;
Rose, 1989, p. 99). Knickers accompanied all jacket styles for young boys including the Eton, reefer, blazer, and Norfolk (Tortora & Eubank,
1994, p. 340). A variety of knicker and trouser styles were worn with sailor outfits including semi-fitted knickers buttoned at the knee
(Boucher, 1967, p. 404), open-ended knickers (Rose, 1989, p. 100), and long trousers (Wilcox, 1963, p. 189). Between 1870 and 1880 boys' trousers were pleated at the waist, full at the hips, and tapered towards a cuffed ankle (Worrell, 1980, p. 127).
A new garment, overalls, appeared in the last half of the nineteenth century. Men began wearing overalls in 1856 and they were later adopted for boys (Hemken, 1993, p. 67). Worrell dates the initial popularity of boys' overalls to the 1890s and states that the garment was worn in small towns and rural areas in the south and west. Overalls might be purchased from mercantile stores and through mail-order sources
(Worrell, 1980, pp. 170, 174). Three kinds of overalls for boys and men made by Levi Strauss were listed for sale in an 1891 Weinstock catalogue. The overalls had copper rivets and were available in "best 23
nine ounce blue denim," "brown duck," and "second quality blue denim"
(Weinstock Lubin & Co., 1975, p. 63). Weinstock was an early California
retail establishment. The children's "Brownie suit" emerged in the
1890s. Brownie suits were simple in construction like the earliest men's overalls (Hemken, 1993, p. 74). The term "Brownie suit" has also been used to designate the knickerbocker, or Zouave suit by a Canadian
researcher (Bates, 1985) (see page 20). The 1896 Sears catalogue
featured "Brownie suits" (overalls) for boys aged four to fourteen in blue, gray, and gray striped denim (Israel, 1976, p. 181).
Waistcoats. Ties, and Shirts
Information on boys' waistcoats, ties, and shirts is limited. In
the literature, shirts are often referred to as waists. Cotton and linen
shirts were worn underneath jackets (Worrell, 1980, p. 130) and
sometimes with waistcoats (Nunn, p. 163, 1984; Worrell, p. 133). A white
frilled shirt might be worn underneath the knickerbocker suit (Nunn,
1977, p. 163; Rose, 1989, p. 99). The 1891 Spring and Summer Weinstock's
catalogue has calico and percale boys' shirts in light and dark colors,
solids and patterns, with pleats in the front and back (Weinstock Lubin
& Co., 1975, p. 63), as well as cotton flannel striped overshirts
suitable for outdoor wear, "with or without a vest" (Weinstock Lubin &
1975, p. 54).
The Eton suit was worn with a necktie (Tortora & Eubank, p. 291).
Sailor suits illustrate some scarves tied underneath squared off sailor
collars. Boys' waistcoats often did not match jackets or trousers
(Worrell, 1980, p. 127). 24
Hats
A top hat was a popular accessory with the Eton jacket (Ewing,
1977, p. 116). Boys also might wear a round cloth sailor cap, tam o'shanter, straw sailor hat, or a peaked cap (Buck, 1984, p. 212; Ewing,
1977, p. 87; Worrell, 1980, p. 132). The peaked cap constructed in sections was a typical part of British school boy wear in the 1890s
(Buck, 1984, p. 212). Boys also might wear small versions of adult boaters and bowlers (Buck, 1984, p. 212).
Western Settlement: an Overview
Missionaries first came to the Pacific Northwest in 1834, leading
the way for further settlement (Dodds, 1986, p. 70) by those arriving in wagon trains in 1843 (Carey, 1922, p. 802). Settlement increased annually from the 1840s (Paul, 1988, p. 17). Prior to 1859, the year of
Oregon statehood, most Oregon residents were Native Americans (Paul,
1988, p. 17, 19).
Most of those who came were from the rural Middle West (Dodds,
1986, p. 70), but settlers also included people from the East, German
Jews, Chinese, and Hawaiians (Dodds, 1986, p. 98). Those attracted to
the frontier were described as "adventuresome and ambitious, driven by
impulses that failed to move those who stayed behind" (Billington, 1974, p. 28). In 1859, most of Oregon was remote and isolated. Portland,
Oregon's largest city, was dependent on San Francisco for communications
and supplies from the outer world (Paul, 1988, p. 17).
The pioneers adapted their former way of life to their new
locations and tried to replicate their cultural patterns (Dodds, 1986,
p. 107). They could not reproduce perfect copies of their Eastern homes 25
but were not without culture and civilization (Billington, 1974, p. 94).
According to Billington, newspapers and magazines were important to the pioneers. Some states and towns had surprisingly large numbers of newspapers; however, those newspaper-rich areas were offset by communities that had few or none (Billington, 1974, p. 80-81).
The frontier was seen as a place for the potential upgrading of one's social stature, and class distinctions did occur. Social boundaries were perceived as fluid, not fixed (Billington, 1974, chap.
5). Frontier children grew up quickly. At a young age, boys would help their fathers with the farm and girls would help their mothers with housework (Bartlett, 197 4, p. 362).
Pioneer, Western and Regional Dress
Published studies of frontier dress have centered on women and include only occasional mention of the clothing worn by children
(Helvenston, 1990; Mills, 1985; Shine, 1988). Though these works do not yield much specific information about children's clothing, they give insight into general functions, forms, and variations of western and frontier dress. Mills mentioned that her study, although centered on
Texas, describes a way of life that was not much different from the rest of the Western regions (1985, p. 7).
Women would establish wardrobes for themselves and their families before moving West, to tide them over while homesteading their new land.
Those who traveled West sometimes wore one or two outfits for the entire journey, relishing the opportunities to stop and wash their garments
(Mills, 1985, p. 17). An important task of a frontier wife was to properly and decently clothe her family (Mills, 1985, p. 115). After an 26
initial period of settling in (approximately two years) pioneers might be able to afford more than just the absolute necessities and follow fashion (Helvenston, 1990).
Newspapers and magazines were an important source of fashion information for the nation during the last half of the nineteenth century. Newspapers carried fashion news and editorial mentions of fashion (Helvenston, 1990). Women's publications began carrying prescriptive advice to mothers regarding children's apparel by mid- century (Worrell, 1980, p. 84). Magazines like Godev's Ladies Book and
Peterson's Maaazine were delivered via subscription and circulated throughout the neighborhood women (Mills, 1985, p. 86). Magazines were also available from retail establishments ("Eastern Papers," 1865;
"Mirror of Fashion," 1863). Most boys' clothing during this time period was purchased by women and many illustrations of children's clothing styles were published in women's magazines such as Godev's Ladies Book and Voaue (Paoletti, 1983).
Mail order became an important clothing source during this time period. Children's clothing became available through mail order from
Godev's Ladies Book in approximately 1865, Montgomery Wards began offering clothing through mail order in 1872, and Sears was in the mail- order clothing business by 1895. These catalogues aimed at the general public did not offer the most extreme or latest fashions found in urban areas (Mills, 1985, p. 108).
Frontier women relied on dressmakers or their own skills to produce clothing (Campbell & Brandt, 1994; Helvenston, 1990; Mills,
1985, pp. 105-7). Helvenston suggested that states that were largely 27
settled later in the nineteenth century than Kansas probably had greater access to ready-to-wear clothing as a result of better transportation routes, mail-order, the sewing machine, and paper patterns (Helvenston,
1990). In Texas, those who lived in very remote areas often had to rely on "drummers" or traveling salesmen whose wares included fabric, leather, ribbons, and sewing notions (Mills, 1985, p. 101).
Frontier fashion had special functions and might be more relaxed or more confining than that found back East. Each small city might have a particular characteristic fashion which it considered to be the most updated, which was copied by the town women (Helvenston, 1990). Eastern visitors were eagerly awaited because they carried with them information about the latest fashions (Mills, 1985, p. 85). Fashion might function as a deliberate display of a community's culture and civility, intended to attract new settlers to the area (Helvenston, 1990). The isolation experienced by some frontier women freed them from the fashion process, allowing them to wear unfashionable garments without ridicule. However, this freedom might be offset by pressure to conform and forge a sense of community (Helvenston, 1990).
Frontier dress was affected by lifestyle changes such as the
increase in women's physical labor (Helvenston, 1990) and demands of an unfamiliar climate (Brandt, 1989). Farm wives in rural New England
shortened their dresses out of practicality and found that physical
aspects of farm work were the major obstacles to achieving the fashion
ideal of the time (Helvenston, 1991). From her Texas research, Mills
concluded that most pioneers were not fashion leaders but would try to
"make a decent appearance under trying circumstances" (Mills, 1985, p. 28
173). The wealthy and those struggling to survive co-existed side by side and would keep up with fashion if they could (Mills, 1985, p. 173).
Brandt found that Arizona clothing dated from 1880-1910 was similar in fabrics, design features, and colors to clothing worn east of the
Mississippi. Arizona settlers followed fashion, but made adjustments to the manner of wearing garments. Women made fewer of these adjustments than men (Brandt, 1989).
The fashion system was merely interrupted, not halted, by the westward immigration. Reinstatement of fashionable clothing in newly settled areas was aided by improved transportation and communication
(Helvenston, 1980).
Clothing in Oregon and the Northwest
Limited information about clothing in Oregon and the Northwest has been located in non-costume literature. Sources surveyed here included books on Oregon history as well as articles in the Oreaon Historical
Ouarterlv.
Early Oregon settlement was marked by clothing shortages. Clothing worn on the journey across the Oregon Trail was worn out by the time pioneers settled down (Carey, 1922, p. 723). Little could be purchased from shops, but some supplies were carried by Hudson's Bay Company stores. An account of Northwestern pioneer life mentions the importance of the Hudson's Bay Company stores for purchasing children's clothing
(McArthur, 1929). In one instance, purchasing sewing supplies and shoelaces in the Portland area in the 1870s involved hitching a ride across the river on the ferry, an all day trip (McDonald, 1963). The method and manner of traveling to the West might have affected the 29
clothing worn and the care given to garments as transportation and technology improved.
Limited resources led to innovations in clothing. Shoes might be replaced by moccasins and cloth garments replaced by deer skin garments
(Carey, 1922, p. 723). Some Oregon pioneer women spun, wove, and dyed
their own cloth (Carey, 1922, p. 723; Himes, quoted in Richard, 1989).
And, according to Himes, others had seamstresses weave cloth for them
(Himes, quoted in Richard, 1989). (The term "seamstress" is not usually
applied to a weaver.) The recollections of a woman who was born in
Portland in 1863, the year after her family journeyed from Kansas,
mentioned that underwear cut from unbleached muslin or flour sacks was
common for her family and friends (McDonald, 1963). An Oregon pioneer
woman wore dresses made from sacks, dyed with alder bark (Gedney, 1942).
Aprons were made out of gunny bags (Gedney, 1942). Fabric was precious
and woolen clothing no longer fit to wear might be made into quilts
(McDonald, 1963). A recollection of pioneer frontier life in Oregon said
that women followed fashion, but modified it to suit their active lives
(Gedney, 1942).
Children's dress of the West would have varied like adult clothing
did, influenced by factors such as clothing supply and finances.
Information regarding general appearances of Northwest pioneers is
somewhat contradictory. One account mentioned that clothing of the
pioneers was not uniform in style (Himes, quoted in Richard, 1989).
However, another early Northwest resident mentioned that appearances
were much the same at Fourth Plain, a town located seven miles northeast 30
of Vancouver (now part of Washington), as in any Oregon settlement in the late nineteenth century (Gedney, 1942).
According to Himes, boys' garments were homemade out of blue or yellow denim. Young boys on the Oregon Trail wore trousers made out of a coarse twilled cotton cloth, colored with butternut bark. Knickers
(called "breeches" in this account) were baggy. Corduroy and cassimere
(a woolen fabric) garments were worn on Sundays, and most boys had a coat for use in the case of an emergency. Children of immigrants were
seen wearing something like an ordinary nightgown with a belt around the waist (Himes, quoted in Richard, 1989).
Summary
Content analysis is a quantitative data collection technique which
has been demonstrated to be successful with historic costume research.
Its orderly, systemized method of data collection can be applied to both
visual and written material. Careful creation of research questions
prior to the collection phase can yield data from which reliable and
valid conclusions may be drawn.
Photographs are one of the visual sources that can be used with
content analysis. Use of photographs in historic costume research
requires consideration of their advantages and disadvantages.
Photographs may be the only means to study certain kinds of garments and
their original context.
Boys' clothing of the last half of the nineteenth century and
first decade of the twentieth century is characterized by certain looks
such as the Little Lord Fauntleroy suit, the Norfolk suit, the Zouave
suit, and the sailor suit. Towards the turn of the century, boys' 31
clothing became less colorful and elaborately detailed much like what occurred in contemporary men's clothing. Very young boys wore skirted suits and dresses, elementary school aged boys typically wore knickers, and boys aged twelve and older generally wore long trousers. In this time period a new boys' garment, overalls, appeared. Overalls were reported to have been worn by boys in rural and Western areas.
Widespread settlement of the Northwest began after 1843, and
Oregon achieved statehood in 1859. Those who ventured West brought with them elements of their prior lives. Most research into pioneer, western, and regional costume (which has focused on women) concludes that the
life changes by the pioneers were accompanied by some changes in dress.
These changes might be catalyzed by an increase in physical labor, change of climate, as well as a more liberating or restrictive fashion
system. Nineteenth century homesteading might interrupt the process of
fashion, but fashion was followed again after economic and clothing resources, transportation, and communication improved. Published recollections of nineteenth century Oregon pioneers reflect these research conclusions. Early clothing supply was limited and women made
innovative use of resources in clothing themselves and their families. 32
CHAPTER III
METHODS
The purpose of this study was to develop and test a data colleotion instrument that would facilitate description of the clothing of elementary school-age boys in Oregon during the late nineteenth and early twentieth centuries. Since no appropriate existing instrument for collecting data on boys' clothing from photographs could be located, it was necessary to develop the data collection instrument. The development of the instrument was incorporated into the project.
The instrument was tested on documented class portrait photographs dated 1867-1910. This time span coincided with far Western settlement, the spread of photography in the United States, and the availability of early documented photographic images. The time span may have also allowed for evidence of fashion change over time. Class portrait photographs were chosen to test the instrument because it was thought that they might show dress indicative of everyday wear. Bates noted in her study of studio photographs of children that studio portraits revealed the best, special occasion clothing and not everyday dress
(1985).
Objectives of the study were:
1. to develop a data collection instrument for description of boys' clothing of the late nineteenth and early twentieth centuries.
2. to test the instrument with documented class portrait photographs from Oregon dated 1867-1910.
3. to describe Oregon school-aged boys' clothing 1867-1910. 33
4. to determine if there were fashion changes in boys' clothing in Oregon.
In addition to the four research objectives, two research questions were established:
1. Is there a difference in the garments, silhouettes, and design details of the clothing of Oregon school boys over time?
2. Is there a difference in the clothing of boys from rural areas and boys from urban areas?
Instrument Development
The data collection instrument was developed by looking at costume and children's costume books (Cunnington & Buck, 1965; Ewing, 1977,
Laver, 1951; Rose, 1989; Worrell, 1980), photographs, and magazine and catalogue illustrations dated to the time period under investigation.
Garment categories were created. Development of precise, objective categories reflective of the study purpose is essential (Kassarjian,
1977); however, it is important that the collection sheet not be too detailed, or in-depth analysis will not be facilitated (J. Paoletti, personal communication, March, 1994).
Garments, garment silhouettes, and design details most likely to be encountered were noted and recorded. The researcher examined several data collection sheets used with men's (Pedersen, 1993) and women's clothing (Pedersen, 1991) for formatting assistance. Two data collection sheets used with previous studies of children's clothing were also consulted (Helvenston, 1976; Smith, 1991). It was concluded that the two instruments used for children's clothing research were inadequate for the purpose of this study because the instruments were developed to be 34
used with specific kinds of non-photographic resources (i.e., extant garments, magazine and catalogue illustrations). Both instruments recorded children's clothing data from the perspective of prescribed or available styles. Helvenston's instrument was used with children's clothing illustrations gathered from ladies' magazines dated 1841-1885
(1976). Helvenston's instrument included categories for hair arrangement, legwear, footwear, and underwear; elements of dress that the researcher determined would be difficult to analyze in non-studio, group photographs of children. Smith's instrument, designed to record data on available children's clothing styles from museum collections and a Canadian mail-order source, was similar in this respect (Smith, 1991).
It included categories for the intended age and gender of the wearer, as well as fabric type, fabric pattern and color choice (Smith, 1991, pp.
141-144). These two instruments also depended on the accompanying written descriptions (in the case of illustrations) and documentation
(in the case of extant garments) for identification of garments and features.
Space to record administrative details was created to facilitate organization of the data collection, as well as track information that might be useful at a later date. Information that the researcher anticipated needing was: museum, photo access number (the museum's cataloging or access number), school name, boy's name (if known), and photo date. A place to record the type of view (full length, upper, or seated) was created, as well as a place for description of the boy's position in the group (i.e., row #, from left to right). The data 35
collection sheet developed and tested in this study is located in
Appendix A.
A space was created to determine if a school was located in a rural or urban area. U.S. Census Reports for 1870, 1880, 1890, 1900, and
1910 were consulted for information on rural and urban classifications
(United States Department of the Interior, 1872; 1883; 1892; United
States Department of Commerce and Labor, 1901; United States Department of Commerce, 1913).
Between 1870 and 1910, rural and urban areas were classified three different ways. The census of 1870 did not separate rural and urban communities. In 1880, places with over 4,000 inhabitants were classified as urban (U.S. Department of the Interior, 1883, p. 461). In 1890 and
1900, places with over 8,000 inhabitants were classified as urban. In
the 1910 Census, the minimum population for urban designation was
lowered to 2,500 (U.S. Department of Commerce, 1913, p. 501).
In 1870 and 1880, only Portland had over 4,000 residents and could be classified as urban (U.S. Department of the Interior, 1872, pp. 305
308; U.S. Department of the Interior, 1883, p. 461). In 1890 and 1900, only Portland had over 8,000 residents and could be classified as urban by those census standards (U.S. Department of the Interior, 1892, pp.
284-288; U.S. Department of Commerce and Labor, 1901, pp. 470-471). In
1910, under the new 2,500 urban minimum number, several Oregon
communities qualified for urban designation: Albany, Ashland, Astoria,
Baker City, Corvallis, Eugene, Marshfield, Medford, Oregon City,
Pendleton, Portland, Roseburg, St. Johns, Salem, and The Dalles (U.S.
Department of Commerce, 1913, p. 501). 36
Though not classified as urban in the 1890 census (but would have been in the 1880 census), several communities had 4,000 or more residents in 1890: Astoria, Salem, and Albina (U.S. Department of the
Interior, 1892, pp. 284-288). In 1900, Oregon communities with 4,000 or more residents (qualifying as urban in 1880 but not in 1900) included
Astoria, Baker City, Pendleton, and Salem (U.S. Department of Commerce and Labor, 1901). A far greater number of communities qualified for urban classification in 1910 than in the previous decades.
Due to the conflicting nature of the U.S. Census rural and urban designations, it was decided that for the scope of this study, schools that were identified as having been located in Portland and Salem only would be designated urban. Schools from all other Oregon areas
(excluding Portland and Salem) would be designated rural. These categories were created for this study only, and are not applicable to any other studies.
Shoe and hair styles were not included in this study. Prior to data collection, the researcher perceived that information on footwear from group photographs of children would be too difficult to discern.
The same reasoning was applied to hairstyles.
Seven major garment categories were established: suit jacket, knickers/trousers/overalls, waistcoat, neck tie, shirt, hat, and overcoat. A final category was created to allow for the inclusion of notable details and accessories that could not be classified in the major garment categories but that would be of interest in the current study or to aid future research (i.e., the presence of gloves or scarves). If relevant, each garment category and its detail categories 37
included a "not visible" option to be checked when no information could be discerned from the photograph as a result of a blurry or blocked view, incomplete image or damaged photograph. A "not applicable" option was added for certain detail categories, to be checked when none of the choices applied to that particular record.
Suit Jacket
Design detail categories for the suit jacket included collar and lapel style, bridle line length (the highest level at which the jacket can be buttoned; Paoletti, Beeker & Pelletier, 1987, p. 48), lapel width, silhouette, number of buttons, single/double breasted, breast and side pocket styles, length, waistline placement, belted/unbelted, fabric pattern and value, jacket position, trim, and jacket or suit type. An option for no jacket was included.
Knickers/Trousers/Overalls
It was not necessary to include a space for recording the absence of these garments, because all of the school boys had something covering the lower half of their body. Since the literature indicated that school-age boys would not be wearing skirts at this point in time, a skirt option was not included.
The researcher had the choice between determining if this garment was a pair of knickers, trousers, or overalls. A "not overalls" category was included for instances when it could be determined that the garment
on the lower half of the boy's body was either knickers or trousers, but definitely not overalls. Design detail categories included leg length,
leg shape, leg fullness, fabric pattern, fabric value and trim, or 38
features such as a fly front, front pockets, waistband buttons, or braid
trim. A space for determining if the trousers or knickers matched the
suit jacket and waistcoat (if worn) was included. When visible, the
value and pattern of stockings would be recorded. If a boy was wearing
suspenders, the suspenders' fabric value and pattern were determined.
Waistcoat
A place for recording the presence or absence of a waistcoat was
established. Waistcoat category garment design details included: bridle
line length, lapel style and width, single/double breasted, number of
buttons, breast and side pocket style, and fabric pattern and value.
Opportunities for recording the visibility of the waistcoat at the
jacket neck and waist, the matching of the trouser/knickers/overalls and
suit jacket fabric, and trim and features such as binding/cording and
lapel buttonholes were established.
Neck tie
Space to record the presence or absence of a neck tie was created.
If discernible, the neck tie style, fabric pattern and value would also
be recorded.
Shirt
A place for recording the shirt collar type and height, fabric pattern and value was established. Design details such as vertical
tucks, placket, lace, shirt layering, and the wearing of the shirt
collar over the jacket collar were recorded when visible. 39
Hat
A place to record the presence of a hat was established. The hat style, fabric value, and hat band value would be noted if visible.
Overcoat
An overcoat category was created. Open space for description was left because no information pertaining to boys' overcoats could be gathered from the literature.
Reliability
To ensure instrument reliability, explanations and illustrations of garment terms used in the study accompanied the instrument. This handbook of terms and illustrations is reproduced in Appendix B. When a data collection sheet was filled out, the researcher referred to these illustrations and explanations. This ensured that all of the data were collected in the same manner and measured against the same standards.
Using the illustrations and explanations, the identical data collection form and identical sample, another researcher should be able to duplicate the author's findings. The instrument was also tested for reliability via a pilot study (see p. 43).
Validity
The validity of this study was verified by using well-established and frequently used costume terms gathered from existing scholarly sources on children's clothing and costume history. Because it was developed by looking at this information in depth, the instrument should accurately measure boys' clothing of the period. 40
Preliminary Preparation
During the summer of 1994, the researcher visited the Oregon
Historical Society and the Benton County Historical Museum to determine what kinds of photographs meeting the criteria for the study might be available. Archival information, the number of photographs and kinds of views each photograph yielded was recorded. Access numbers were written down and filed so that the author could retrieve the photographs at data collection time. After completion of the preliminary survey, it was estimated that over 600 records could be collected.
Sample
The sample for the case study was a purposive sample from archival photographs in the collections of the Benton County Historical Museum and the Oregon Historical Society. The sample consisted of class portrait photographs, taken both outside and inside the school building.
Class portrait photographs were used for the sample because it was thought that they might illustrate garments and details characteristic of everyday dress as opposed to posed professional studio portraits. A list of all of the photographs used in this study can be found in
Appendix C.
Only those photographs dated between 1867 and 1910 were used, including some photographs dated "circa". The Benton County Historical
Museum had a few documented class portrait photographs which were dated for use in a book on early Benton County schools (McDonald, 1983). A total of two photographs from the Benton County Historical Museum were analyzed. The researcher was going to analyze three photographs from the
Benton County Historical Museum, but one photograph was eliminated from 41
the study. After careful examination, it was determined that the dating of that photograph was unreliable. Thirty-four photographs from the
Oregon Historical Society were analyzed. Photographs from the Oregon
Historical Society that were used to test the instrument were documented and filed in their card catalogue under the classification "services educationalschoolsclass portraits".
To ensure that the clothing of just school-age boys and not that of toddlers, infants, or young adult men was recorded, only elementary and grammar school photographs were examined. Any photographs identified as representing high schools or high school aged students were not used.
When a photograph contained a wide range of apparent student ages, the researcher selected only those boys who were shorter than the pictured teacher or administrator. If no teacher or administrator existed to serve as a height indicator, the photograph was not used.
For the purpose of this study, a "record" refers to a single boy pictured in a photograph. Therefore, because group photographs were examined, a single photograph yielded several records. To maximize the number of obtainable records with useful data, partial (upper torso must be visible), seated, and full views were collected. The data were collected between December, 1994 and March, 1995. A total of 503 records
from 36 photographs was collected. This data collection yielded 247 partial views, 104 seated views, and 152 full-length views. The grouping of photographs and numbers of individual records is displayed in Table
1. For all tables, a dash, -, signals a missing value. 42
Table 1
Groupina of Photographs by Year and View
Year # of records yielded (boys)
of photograph seated partial full total
1867 8 3 11
c1875 13 13
c1880 18 18
1882 4 12 16
1884 15 15
1887 - 2 5 7
1893 3 36 21 60
c1893 6 10 16
1894 30 4 34
1895 23 23
c1895 - 11 5 16
1896 15 4 19
1898 10 6 16
1899 3 9 12
1902 11 11
1903 27 27
1904 11 3 14 c1905 14 5 19
1906 12 2 8 22
1907 3 10 1 14
1908 18 33 7 58
1909 20 11 1 32
1910 2 11 5 18
TOTALS 104 247 147 503 43
Pilot Study
A pilot study was conducted by the author and two researchers using three documented Nevada school photographs from the same time period. The pilot study researchers were one expert in clothing and dress, a doctoral student in the Housing area, and the researcher. The pilot study established interrater reliability and aided in the refining of the instrument. Categories and terms were adjusted for clarity.
In December of 1994, each pilot study participant collected ten records from the three photographs. Each person in the pilot study used identical data collection forms and the handbook of illustrations and explanations developed by the author (Appendix B). The thirty data collection forms were then compared to each other. The number of total instances of agreement was divided by the number of agreements possible to yield a percentage. An interjudge agreement of 85% was reached, which fell at the lower end of Kassarjian's (1977) acceptable range.
Data Collection Procedure
For each record (a boy in seated, partial or full view), a data sheet was filled out in entirety (see Appendix A). The researcher continued this procedure until 503 records were collected. The data from
Oregon Historical Society photographs were collected on-site, at the
Oregon Historical Society photographic archives in Portland. Because the
Benton County Historical Museum had only the negatives and contact sheets of the preliminarily surveyed school photographs, prints were made and examined off-site. The estimated data collection time, 25 hours, was underestimated. The researcher spent approximately 50 hours total time collecting data. 44
Data Analysis
After examining and correcting the data for errors or missing
values, data analysis was performed. To simplify analysis, dates were
grouped into 15 categories. Dates were put together into two-year time
periods, except for those photographs with isolated dates which came
from the earlier years of the study. Those photographs were placed into
their own categories. The grouping of categories is outlined in Table 2.
Overall frequencies for garments and garment details were
calculated to satisfy Objective Three. Categorical frequencies by time
period were calculated to answer Objective Four and Research Question
One. Each record was coded as urban or rural, and frequencies for a
subsample from one time period were compared to answer Research Question
Two.
In addition to calculating frequencies, some data were summarized
and presented in graphic form using seriation, a method of measuring
stylistic change. With seriation, the researcher chronologically orders
the frequency and life span of a characteristic of an object with the assumption that the popularity of an object or trait is transient and can be measured (Turnbaugh, 1979). Seriation has been used to present women's bonnet styles (Turnbaugh, 1979) and men's jacket styles
(Paoletti, Beeker & Pelletier, 1987). The frequency of garment styles,
features, or design details were plotted against a time line derived
from the predetermined time periods. 45
Table 2
Time Period Categories for Data Analysis
Time period # of nhotoaraphs # of records
1867 1 11
c1875 1 13
c1880 1 18
1882 1 18
1884 1 15
1887 1 7
1893-c1893 6 80
1894-1895-c1895 3 73
1896 1 19
1898-1899 3 28
1902 1 11
1903-1904 2 41 c1905-1906 4 49
1907-1908 6 72
1909-1910 4 50
TOTALS 36 503 46
Chapter IV
RESULTS
The purpose of this study was to develop and test a data collection instrument that would facilitate description of the clothing of school-age boys in Oregon during the late nineteenth and early
twentieth centuries. Objectives of the study were:
1. to develop a data collection instrument for description of boys' clothing of the late nineteenth and early twentieth centuries.
2. to test the instrument with documented class portrait photographs from Oregon dated 1867-1910.
3. to describe Oregon school-aged boys' clothing 1867-1910.
4. to determine if there were fashion changes in boys' clothing in Oregon.
In addition to the objectives, the following research questions were established:
1. Is there a difference in the garments, silhouettes and design details of the clothing of Oregon school boys over time?
2. Is there a difference in the clothing of boys from rural areas and boys from urban areas?
Objective 1 and Objective 2
Results of Objective One and Two are combined. An initial data collection instrument was developed by the researcher by looking at a number of different sources on children's dress. These sources included historic costume books, and contemporary catalogues and magazines. After a pilot study, a few changes were made to the instrument to increase 47
clarity and effectiveness. The instrument which was used to collect data for this study utilizing Oregon school photographs is reproduced in
Appendix A. The revised instrument in Appendix D includes changes that were incorporated after the data collection procedure was completed. It is suggested that any future researchers who want to use the instrument use the revised instrument.
The instrument was created to be used with photographs; instruments already exist that can be used with extant garments and magazine and catalogue illustrations. The data collection instrument
(especially the initial administrative information) can be tailored to fit a researcher's special needs. It specifically attempts to capture garments as they appeared and how they were worn at the time of photographing. When working with photographs that are located in another city or difficult to access, making sketches as a visual reminder may be appropriate, especially when a researcher encounters garments or garment features that do not match the garment detail category options.
The following changes were made in an attempt to make the data collection form useful in other studies. Some of the garment detail options were eliminated because they did not appear in the photographs used in this study. However, the "fancy styles" frequently mentioned in the literature that appeared rarely in this study were kept, in hopes that a future researcher might apply this instrument to studio photographs. Because the rephotographing of historic and archival materials is generally not allowed, photograph exposure number was deleted. The rural, urban, and school name categories were eliminated, 48
because they were created to answer specific research questions which might not pertain to future studies.
Under "I. Suit Jacket", a category to record collar width was added. The researcher observed that collar width was separate from lapel width and might serve as an indicator for fashion change. Because collar width did not appear in the original instrument, no criteria for measuring the collar width exists in Appendix B. A future researcher would have to determine what those criteria might be. Space for description of garment details or trims not specified in the
"trim/details" category was increased. The higher than natural waistline option was eliminated because it did not occur in this study. A place to record the presence of a decorative pin on the suit jacket lapel was added. Because the researcher had a difficult time defining jacket styles and because there was a general lack of such "styles" in the photographs, the specific names were eliminated. The names were replaced by extra space to sketch and describe the jacket style.
Because there was no variation in the trouser leg shape (just variation in degrees of fullness) that category was eliminated. For both the waistcoat and the suit jacket, the specific number of buttons was replaced with a fill-in line and options for not visible and missing buttons. The visibility of the waistcoat at the jacket waist when the
jacket was fully buttoned was eliminated because it was irrelevant in all records collected. When all of the suit jacket buttons were
fastened, the waistcoat was never visible at the jacket waist.
In the shirt category (V.), the standing ruffled and square ruffled collar was combined into a single "ruffled" collar because those 49
styles appeared so rarely. Space was added to describe and sketch visible hat styles. Hat styles are very difficult to discern and rarely follow the scholarly literature or contemporary illustrations and descriptions. Even though no useful information on boys' overcoats from this time period was located and no overcoats were observed in the study, the overcoat option (VII.) was retained. It is hoped that a future researcher would record this information if it were obtainable.
In addition, a footwear category (IX) was created. Even though the researcher anticipated shoe styles being too difficult to collect from group photographs, shoes were easily observed. Noting basic footwear styles (i.e., boot, shoe, button, buckle, or lace-up) should be possible and might serve as a good "not before" date indicator for those who wish to date photographs from clothing styles. In addition, this would expand our knowledge of historic footwear and children's wear.
Objective 3
Objective Three was to describe Oregon school-aged boys' clothing for the time period 1867-1910. In this chapter, date and time period categories will be referred to by number only, and not by "circa" for reading clarity. In addition, when a time period contains two years
(i.e., 1898-99), it will generally be referred to by the first date only.
Suit Jacket
Eighty-two percent (N=410) of the 503 subjects were wearing some kind of jacket. Eighteen percent of the boys examined (N=92) were not wearing a jacket. Only in one record was the presence of a jacket not 50
discernible (N=1, <1%) (See Figure 1). Two-hundred ninety-six records could be evaluated for collar and lapel styles. Thirteen different collar and lapel styles were observed. The four most popular collar and lapel styles in descending order, were notched (N=170, 58%); peaked
(N=41, 14%); combination (N=27, 9%); and flat rounded (N=20, 7%). All collar styles are reported in Table 3.
Table 3 Total Suit Jacket Collar and Lapel Styles. 1867-1910
Style name # of observations Percentaae
Notched 170 57%
Peaked 41 14%
Combination 27 9%
Flat rounded 20 7%
Turndown 8 3%
None 7 2%
Round collar, 6 2% pointed lapels
Flat pointed 5 1%
Shawl 3 1%
Cloverleaf 3 1%
Sailor 3 1%
Sailor collar with 2 <1% peaked lapels
Standina band 1 <1%
Note. N=296. 114 suit jacket collar and lapel styles not visible. Yes
82% N=70
No
18% N=92
Figure 1. Oregon Boys' Frequency of Wearing Suit Jacket, 1867-1910.
N=502, 1 record not visible. 52
Bridle line lengths could be determined for 47% (N=192) of the jackets.
Seventy-nine percent (N=151) of the jackets had short bridle line lengths and 21% (N=41) had medium length bridle lines. No jackets meeting the criteria for a long bridle line length were observed. Sixty- five percent (N=268) of the total number of suit jackets (N=410) had observable lapel widths. Of those, the majority of the lapel widths were medium (56%, N=150), followed by wide (25%, N=66), and narrow (19%,
N=52).
Data on jacket silhouettes were collected from 89 records (22% of all suit jackets in this study). Forty-eight percent of the jackets in which the silhouette could be observed were semi-fitted (N=43), 45% were straight (N=40), 4% were full (N=4), and 2% were fitted (N=2). The number of buttons could be determined for 64 of the suit jackets (16% of
N=410). Twenty-seven percent (N=17) had three buttons, 23% (N=15) had six buttons, 19% (N=12) had four buttons, 9% (N=6) had two buttons, 5%
(N=4) had one button, and three (5%) had more than six buttons. Twenty- three boys were identified as having missing buttons on their suit jackets. The majority of jackets (64%, N=160) were single breasted. The remaining visible jackets (36%, N=160) were double breasted.
The presence or absence of a breast pocket was detected in 103 records. This number included 22 jackets (21%) with no breast pockets.
Side jacket pockets were visible in 86 records. Breast and side pocket
styles and frequencies of occurrence are outlined in Table 4. 53
Table 4
Suit Jacket Pocket Styles, 1867-1910
Style name # of observations Percentaae
Breast Pocket'
Flap 35 34%
Welt 25 24%
None 22 21%
Buttonhole 15 15%
Patch 5 5%
Patch with flap 1 1%
Side Pocket2
Flap 60 70%
Patch 10 12%
Buttonhole 9 11%
Welt 3 3%
Patch with flap 1 1%
Buttonhole and 1 1% flap3
Flap and welt3
None
1Note. N=103, 307 records not visible.
2Note. N=86, 324 records not visible.
3 Note. Two side pockets (one above another) occurred on two suit jackets. 54
Eighty-nine percent (N=140) of the jackets were medium length in those records in which jacket length could be observed. Ten percent
(N=16) of the jackets were short and 1% (N=2) were long. Almost all of the jackets had no obvious waistline seam or definition (95%, N=115).
Only four jackets had a lower than natural waistline seam or definition
(4%), and one jacket (1%) had a naturally placed waistline seam or definition. In 290 of the total 410 jackets, the presence or absence of a waistline was not discernible. For the total number of jackets in which the presence or absence of a belt could be determined (N=191), the majority (97%, N=185) were unbelted. Only six (3%) belted jackets were observed in this study.
The jacket fabric pattern could be determined in 378 of the total
410 jackets recorded. Nearly four-fifths of the jackets were plain fabric (79%, N=297). Striped jackets accounted for 11% (N=41), and ten percent (N=37) were determined to be made of plaid or checked fabric.
Less than 1% (N=3) were tweed. Two-thirds (N=271, 66%) of the jackets were dark in value, nearly one-third (31%, N=129) were medium in value, and 3% of the jackets (N=10) were light in value. Data on fabric value were collected from all of the jackets in this study (N=410). Two- hundred and twenty-seven of the jackets were observed in enough detail to determine the wearing position of the jacket. Forty-one percent
(N=93) were unbuttoned, 27% (N=60) were completely fastened, 17% (N=39) were buttoned at the top button only, and 15% (N=35) were buttoned in other ways.
The majority of jacket styles could not be easily categorized.
Many of them had occasional features of certain styles popular at the 55
time according to the published literature, but not enough to classify them into a category according to the criteria that the researcher established (see Appendix B). Jacket types were determined for 80 of the
410 jackets. These nine different types and frequencies of occurrence are given in Table 5. A jacket type observed by the researcher (but not incorporated into the suit jacket styles) was what looked like a Norfolk jacket without a belt (Figure 2). The jacket had vertical tucks and rounded front edges. The tucks often stopped at the top edge of the suit jacket side pockets. A similar jacket style was found in the Montgomery
Ward & Co.'s catalogue of 1895 (1969, p. 271).
Table 5
Total Suit Jacket Style Types. 1867-1910
Name # of observations Percentaae
Sack 44 55.00%
Reefer 17 21.25%
Norfolk 5 6.25%
Sailor 4 5.00%
Zouave 4 5.00%
Cardigan 3 3.75%
Little Lord Fauntleroy 1 1.25%
Short boxy 1 1.25%
Collared sweater 1 1.25%
Note. N=80. 330 records did not meet established
criteria or were not visible. 56
Figure 2. Boys' Jacket with Vertical Tucks and Rounded Front Edges. 57
A variety of details and trim was observed in the jackets. The kinds and frequencies of their appearance are outlined in Table 6.
Knickers/Trousers/Overalls
Garments on the lower half of the body were originally classified as knickers, trousers, or overalls (or not visible). Another category was added, "not overalls", when the researcher determined that in some cases boys were obviously not wearing overalls, but were certainly wearing either knickers or trousers, and it was not possible to discern which style was being worn. This category was an attempt to glean as much information as possible from the photographs. Of the total 503 records, 47% (N=233) of the lower body garments were not visible. Of the
total visible (N=270), 46% (N=124) of the boys were wearing knickers,
27% (N=72) were wearing trousers, 12% (N=33) were wearing overalls, and
15% (N=40) were definitely not wearing overalls (see Figure 3). Ninety-
five of the trousers or overalls (90%) were full length. The only
trouser or overall leg shape that appeared in the photographs was
straight, recorded 82 times.
Length could be observed for 102 of the 124 knickers. Of those
102, 86% (N=88) were knee length, 12% (N=12) were below knee length, and
2% (N=2) were above knee length. Shape was discernible in 90 of the
knickers. Of those 90, 92% (N=83) were straight and 8% (N=7) were
gathered. Observations on fullness of trousers, knickers, or overalls
was recorded 175 times. Of those visible, 80% (N=140) were medium, 15%
(N=26) were full, and 5% (N=9) were slim-fitting. Information on whether
the knickers, trousers, or overalls matched the suit jacket was
collected from 156 records. Of those records, 74% (N=116) of the 58
Table 6
Total Suit Jacket Details and Trim, 1867-1910
Description # of observations Percentaae
Topstitching 143 52% Lapel buttonholes 81 30% Round front edges 58 21% Binding/cording 29 11% Vertical tucks 27 10% Garment too small 17 6% Pin on lapel 14 5% Three side pockets 9 3% Sleeve buttons 8 3% Worn or dirty 8 3% Braid 7 3% Asymmetrical closure 6 2% Handkerchief 5 2% Side vent 5 2% Flower 5 2% Covered buttons 5 2% Contrasting light buttons 5 2% Collar/lapel contrast 4 1% Shirt-sleeve style cuffs 4 1% Velvet fabric 2 <1% Pocket detail 2 <1% Center stripe 2 <1% Two or more pins on lapel 2 <1% Vertical breast pocket 2 <1% Yoked 1 <1% Ribbon trim 1 <1% Dropped shoulders 1 <1% Garment too big 1 <1% Embroidery 1 <1% Cutaway front edges 1 <1% Metal buttons 1 <1% Mismatched buttons 1 <1% Note. N=273. Percentages do not total 100 because they were calculated from those records in which at least one suit jacket feature or trim was observed, and not the total number of visible suit jackets. Knickers
.46% N=124
Not overalls* Trousers 15% N=40 27% N=72
Overalls
12% N=33 Figure 3. Oregon Boys' Wearing of Knickers, Trousers, and Overalls, 1867-1910.
*Could be either knickers or trousers, but definitely not overalls. 60
knickers/trousers/overalls did not match the suit jacket, and 26% (N=40) did match the suit jacket. Fabric pattern was observed in 241 records.
Ninety percent (N=217) of the knickers/trousers/overalls were plain, and
5% each were plaid/check (N=12) and stripe (N=11). One tweed pattern was recorded (<1%). Fabric values on four knickers/trousers/overalls were not discernible. Of the remainder (N=266), 62% (N=165) were dark, 36%
(N=97) were medium, and 2% (N=4) were light.
A variety of different features and trims was observed in the knicker/trouser/overalls. The types and frequencies of appearance are outlined in Table 7.
Stocking information was gathered from 120 records. Of those records, 75% (N=90) were wearing dark value stockings, 6% (N=7) were wearing medium value stockings, and 4% (N=5) were wearing light value stockings. Fifteen percent (N=18) were not wearing stockings at all.
Stocking pattern was discernible in 102 of the records. Nearly all
(N=101) were plain. Only one boy was observed wearing striped stockings.
Two boys were noted as having exceptionally baggy, ill-fitting stockings. One pair of socks was observed. Socks cover only the ankle, and stockings cover the shin and calf. Twenty-three of the subjects wore suspenders. Eight (42%) of the suspenders were light value, ten (53%) were medium value, and one (5%) was dark value. In the case of suspenders where pattern was discernible, plain and striped suspenders occurred 6 times each (46% each) and figured suspenders, once (8%).
Waistcoat
From the total 503 records, it was not possible to determine if a boy was or was not wearing a waistcoat in 272 (54% of the total) 61
Table 7
Total Knickers/Trousers/Overalls Features and Trims, 1867-1910
Description # of observations Percentage
Fly front 43 48%
Worn/dirty 24 27%
Waistband buttons 14 16%
Front pockets 13 14%
Overall bib buckles 13 14%
Cuffed 6 7%
Topstitching 5 6%
Trouser/overall legs tucked 5 6% in boots
Overalls bib buttons 4 4%
Overalls bib pocket 3 3%
Side seam buttons (knickers) 2 2%
Garment too big 2 2%
Patched 2 2%
Center front crease 1 1%
Band trim at lower edge of 1 1% knickers
Let-out hem 1 1%
Torn 1 1%
Garment too small 1 1%
Contrasting stitching 1 1% Note. N=90. Percentages do not total 100 because they were calculated from those records in which at least one knickers/trousers/overalls feature or trim was observed, and not the total number of visible knickers/trousers/ overalls. 62
records. Of the remaining records (N=231), 38% of the boys (N=87) were wearing waistcoats, and 62% (N=144) were not (see Figure 4). Bridle line length could not be discerned in sixteen (18% of the total observed) of the waistcoats. For those waistcoats with the bridle line visible, the majority (93%, N=66) had short bridle line lengths, and five (7%) had medium bridle line lengths. Three lapel variations were seen in the waistcoats of the Oregon school boys. Seventy-one percent (N=27) had no lapel or collar, 24% (N=9) had notched lapels and a pointed collar, and
5% (N=2) had shawl-style collars and lapels. The lapel style was not discernible in 49 (56%) of the total waistcoats observed. Lapel width was observed in 38 records (twenty-seven waistcoats had no lapels). For the eleven waistcoats with lapels, 91% of the lapel widths were narrow
(N=10), and one (9%) was medium width. Forty-nine records (56% of all waistcoats observed) had indistinguishable lapel widths.
Determination as to whether the waistcoat was single or double breasted could not be made in 33 records, 38% of all waistcoats recorded. The remainder, N=54 (100%), were all single breasted. No double-breasted waistcoats were seen. The number of buttons could be observed in only 15 records, 17% of the total waistcoats. The number of buttons was indistinguishable in 72 records. Of those that could be discerned, 73% (N=11) had five buttons, 13% (N=2) had six buttons, and a four-button waistcoat and a one-button waistcoat were each observed once
(7% each). One breast pocket type, welt, was discernible in six records
(100%). The breast pocket could not be determined in the remainder
(N=81) of the waistcoats. Waistcoat worn
Waistcoat not worn
62% N=144
Figure Q. Oregon Boys' Frequency of Wearing Waistcoat, 1867-1910.
N=231, 272 records not visible. 64
Whether the waistcoat was visible or not at the suit jacket neck when the top button of the suit jacket was buttoned could not be determined in 55 records (63%), and in eight records (9%) the waistcoat was worn without a jacket. Of those waistcoats that were worn with a suit jacket, 79% (N=19) were visible at the suit jacket neck, and 21%
(N=5) were not. Whether the waistcoat was visible or not at the suit jacket waistline could not be determined in 77 (86%) records. Of those waistcoats that were worn with a suit jacket, two waistcoats could definitely not be seen at the jacket waist.
In 22 records (25% of total waistcoats), it could not be determined if the waistcoat matched the suit jacket, and in eight records (approximately 9% of total waistcoats) no suit jacket was worn with the waistcoat. Of the remaining waistcoats (N=56), 71% (N=40) matched the suit jacket, and 29% (N=21) did not. In 62 records (71% of
total waistcoats) it could not be determined if the waistcoat matched
the knickers/trousers/overalls. Of the remaining records (N=25), 84%
(N=21) did not match the knickers/trousers/overalls, and 16% (N=4) of
the waistcoats did match the knickers/trousers/overalls.
Twelve waistcoats had indistinguishable fabric patterns. The
remaining observed waistcoat fabric patterns (N=75) came in four variations: plain (N=62, 83%), plaid/check (N=7, 9%), stripe (N=7, 7%),
and tweed (N=1, 1%). Two waistcoats had indistinguishable fabric values.
Of the remaining waistcoats (N=85), 67% (N=57) were dark value, 28%
(N=24) were medium value, and 5% (N=4) were light value. Waistcoat
features and trims are listed in Table 8. 65
Waistcoat wearing position was observed in thirty records. Seventy percent (N=21) of the waistcoats were worn with all of the buttons fastened. Waistcoats were worn unbuttoned (N=2, 7%) and buttoned at the top button only (N=2, 7%) equally. Five waistcoats (16%) were worn in other positions, such as second button only fastened, lower three buttons fastened, and so forth.
Neck Tie
Of those records in which the presence of a neck tie could be detected (N=383), those boys wearing neckties (49%, N=189) were almost equal to those boys not wearing neckties (51%, N=194) (see Figure 5).
Table 8
Total Waistcoat Features and Trims, 1867-1910
Description # of observations Percentaae
Topstitching 27 75%
Light colored buttons 4 11%
Binding/cording 4 11%
Pin in lapel 1 3%
Handkerchief 1 3%
Too small 1 3%
Pointed front edges 1 3%
Note. N=36. Percentages do not total 100 because they were calculated from those records in which at least one waistcoat feature or trim was observed and not the total number of visible waistcoats. Yes
38% N=189
No
39% N=194 Not visible
24% N=120
Figure 5. Oregon Boys' Frequency of Wearing Neck Ties, 1867-1910.
N=503. 67
Whether a neck tie was worn could not be determined in 120 records, 24%
of the total records collected. Neck tie style could not be determined
in 37 records (20% of total neckties observed). In that remaining
number, N=152, seven different styles were recorded. Fortyseven percent
(N=72) of the boys wore a hanging cravat with knot, 19% (N=29) wore a
loose floppy bow, 17% (N=25) wore a cravat with bow, seven percent
(N=11) wore an ascot, 6% (N=9) wore a cravat with knot, 3% (N=5) wore a
string tie, and less than 1% (N=1) wore a stock.
Neck tie fabric pattern could not be determined in 31 records (16%
of total neck ties). Of the remaining neckties, N=158, 66% (N=105) were
plain, 23% (N=36) were figured, 7% (N=11) were striped, and 4% (N=6)
were plaid/check. In only two cases (1% of total neck ties) could the
neck tie fabric value not be determined. Of those remaining (N=185), 45%
(N=85) were dark value, 35% (N=65) were medium value, and 20% (N=37)
were light value.
Shirt
Information on shirts was gathered from 437 records (87% of the
total 503 records collected) (see Figure 6). Of those 437, 144 had
undetermined collar types, and 293 did have discernible collar types.
The majority of shirt collar types was turndown (58% of 293, N=171). A
turndown collar had an obvious roll to the collar. The second most
common style was the flat pointed collar which appeared 36 times (12%).
The flat pointed collar did not have a roll to the collar. For
illustrations of collar styles, see Appendix B. All collar styles
observed in the Oregon photographs are reported in Table 9. Visible
87% N=437
Not visible
13% N=66
Figure 6. Number of Visible and Non-Visible Oregon Boys' Shirts, 1867-1910.
N=503 69
Collar heights for the majority of the collars in records with visible collar heights, were low (N=191, 54%). Thirty-six percent (N=131) of the collars were medium height, and ten percent (N=35) of the collars were high.
Table 9
Total Shirt Collar Styles. 1867-1910
Name # of observations Percentaae
Turndown 171 58%
Flat pointed 36 12%
Flat rounded 18 6%
Standing band 16 6%
Turtleneck 15 5%
Wing 12 4%
Sailor 11 4%
Square ruffled 7 2%
None 6 2%
Standina ruffled 1 <1%
Note. N=293. 144 records not visible. 70
In records where the shirt fabric pattern was discernible,
(N=403), plain fabric shirts were the most common (76%, N=306). These were followed by striped fabric shirts (14%, N=55), plaid/checked fabric shirts (6%, N=24), and figured fabric shirts (4%, N=18). The majority of shirt fabric values were light (65%, N=283), followed by medium value shirt fabrics (20%, N=86) and dark value shirt fabrics (15%, N=68). A variety of features and trims was observed in shirts of the Oregon school boys. Table 10 contains the types and frequencies of their appearance.
Ha s
Of the 503 records analyzed, 8% of the boys were wearing hats
(N=38), 92% of them were not (N=461) and less than 1% were not visible
(N=4) (see Figure 7). Hat styles could not be determined for 16 (42%) of these observations. Of those records in which a hat style could be determined, 32% (N=7) were brimmed caps. Bowlers (14%), boater or sailor styles (14%), and loose, unshaped hats (14%) were visible three times each. Remaining styles that were observed no more than two times each were the flat brim (9%), homburg (9%), high derby (4%) and cone top
(4%). Most of the hats were dark value (58%, N=22). Thirty-four percent were medium (N=13) and 8% (N=3) were light. The presence or absence of a hat band could be detected in only 17 records. Of those, 15 of the hats
(88%) were banded and two (12%) were not. Most of the hat bands were of a dark value material (53%, N=8). Medium value hat bands were observed six times (40%), and one light value hat band was observed (7%). One hat was obviously made of straw, and one was obviously made of a plaid/check material. 71
Table 10
Total Shirt Features and Trims, 1867-1910
Name # of observations Percentage Shirt collar worn outside of 41 38% jacket collar Contrasting value buttons 35 33% Placket 14 13%
Vertical tucks 6 6%
Worn/dirty 6 6% Contrasting collar 4 4% Striped collar (turtlenecks) 4 4%
Cuff ruffles 3 3%
Ruffles (other than on collar 3 3% or cuffs)
Two shirts worn layered 3 3%
Braid 2 2% Rounded collar edges 2 2% Asymmetrical closure 1 <1% Belted 1 <1% Gathered wrists 1 <1%
Cuffed sleeves 1 <1%
Gaping at buttonholes 1 <1%
Handkerchief 1 <1%
Lace 1 <1%
Missing buttons 1 <1%
Sweater instead of shirt 1 <1%
Three-quarter length sleeves 1 <1%
Too big 1 <1%
Torn 1 <1% Two breast Dockets 1 <1%
Note. N=107. Percentages do not total 100 because they were calculated only from records in which at least one shirt feature or trim was observed. Yes
8% N=38
Not visible
1% N=4 No
92% N=461
Figure 7. Oregon Boys' Frequency of Wearing Hats, 1867-1910.
N=503. 73
Overcoat
No overcoats appeared in the photographs analyzed.
Details/Accessories
Various details and accessories were observed and noted in the photographs of the Oregon school boys. The kinds of details and their
frequencies of appearance are listed in Table 11.
Table 11
Total Additional Details and Accessories. 1867-1910
Description # of observations Percentage
Holding hat in hand 14 34%
Barefoot 13 32%
Watch 13 32%
Pin in cravat 1 2%
Visible underclothes 1 2%
Dirty hands 1 2% Note. N=41. Percentages do not total 100 because they were calculated only from records in which at least one additional detail and/or accessory was observed. 74
The "Typical" Bov
The majorities in all garment detail categories were compiled to
summarize and create a profile of the "typical" Oregon school boy's
clothing for years 1867-1910 (see Table 12). The most common
characteristics are included for each garment. Waistcoats, neck ties and/or hats were more often not worn, than worn (see Figures 4, 5 and
7); however, the predominate characteristics for these garments are
included in Table 12. 75
Table 12
The "Typical" Oreaon School Boy's Clothing, 1867-1910
Garment Garment
Characteristics Characteristics
Suit Jacket Knickers/trousers/overalls Notched collar and lapels Knickers Short bridle line Knee-length Medium width lapels Straight shape Semi-fitted silhouette Medium fullness 3 buttons Does not match suit jacket Single breasted Does not match waistcoat Flap type breast & side pockets Plain, dark fabric Medium length Plain, dark stockings No waistline Unbelted Plain, dark fabric Suspenders' Worn unbuttoned Medium value Plain or striped
Waistcoat' Neck tie' Short bridle line Hanging cravat w/knot No collar Plain, dark fabric Single breasted 5 buttons Welt breast & side pocket Visible at suit jacket neck Plain, dark fabric Matches suit jacket Does not match knickers/trousers/overalls Worn all buttoned
Shirt Hat' Low, turndown collar Brimmed cap Plain, light fabric Dark fabric Dark hat band
'Note. Characteristics are given for this garment even though it
was generally not worn more often than it was worn. 76
Objective 4 and Research Question 1
Objective Four was to determine if there were fashion changes in boys' clothing in Oregon. Research Question One was: Is there a difference in the garments, silhouettes and design details of the clothing of Oregon school boys over time?
To fulfill this objective and answer this question, each garment category and garment detail category was arranged by time periods. The researcher determined the popularity or lack thereof of garments, silhouettes, and design details by calculating frequencies for each time period (see Table 2, page 45). There were fifteen time periods, and each garment, silhouette, and detail did not necessarily appear in each time period. The results pertaining to Objective Four and Research Question
One are presented in written and figure form.
Suit Jacket
The presence of the jacket itself did not greatly change over the time period of the study. It was consistently worn more often than not, and only in the initial year of the study (1867) did the absence of a jacket (54%, N=6) outweigh the presence of a jacket (46%, N=5). The time periods 1887, 1893, 1894, 1896, 1898, and 1902 contained the highest consecutive percentages of jackets worn. In these years, the percentage of jackets worn did not drop below 82%. The jacket was worn less frequently from 1903-1905, but still more often than not.
The notched collar and lapel was the most frequently observed suit jacket collar style (see Figure 8). It appeared in every time period analyzed except for 1884. The popularity of the notched collar increased 100 P e r c e 80 n t a g e 60
0 f o 40 C C u 20 r e n c e 1909 1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 Time periods
MI Notched -0 Peaked Combination . Flat rounded
Figure 8. Seriation of Four Most Popular Suit Jacket Collar and Lapel Styles, 1867-1910. 78
in the first few time periods, from 1867 to 1882. After 1887 its frequency of appearance decreased, falling below 50% between 1894 and
1896. From 1898 to 1909, the notched collar consistently accounted for between 56% and 77% of collar styles. The peaked collar style was seen twice before 1893, then was present in every time period afterwards. Its highest frequencies were in 1896 and in 1902 and 1903. After 1904, the popularity of the peaked style collar declined. The flat rounded collar first appeared in 1880, then was observed in the years 1884, 1887, 1893, and 1894. It did not appear after 1894. The flat rounded collar's most frequent appearance was in 1884. The combination style collar had two periods of popularity, in 1893, 1894, and 1896; and in 1903, 1907, and
1908.
Suit jacket bridle lines were consistently short in length throughout the study. The medium length bridle line occurred in 1875, in
1896 and 1898, and then in more frequency in 1905-1909, averaging 40%.
In 1884, no bridle line lengths could be measured.
All of the suit jacket lapel widths varied in their frequency during 1867-1910 (see Figure 9). Medium width lapels were the most common and accounted for more than 40% of the total lapel widths in all time periods. All visible lapel widths for 1875 and 1884 were medium, and in 1894, 74% of lapel widths were medium. In 1903, though still in the majority, medium lapel widths began a gradual decline. Wide lapels occurred less than 15% in 1882, 1893, and 1894. The appearance of wide lapels increased to almost 50% in 1896 and 1898, decreased in 1903, then steadily increased through the end period of the study. The narrow lapel width represented 100% of those records analyzed from the year 1867, 100 100 100 e r C e 80 n 74 67 a g 61 e 60 55 50 50 O 47 I 47 f 43.5
40 C C
20 r e n C e 1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
NM Wide M Medium ..1 Narrow
Figure 9. Seriation of Suit Jacket Lapel Widths, 1867-1910. 80
dropped to less than 40% in 1880, and was the majority (60%) in 1887.
Narrow lapels were not represented in 1875 and 1884. The appearance of narrow lapels declined after 1887, briefly rose again in 1902-03 (25%,
28%) then leveled off at about 5% for the last five years. In contrast, wide lapels were first seen in 1882, again in 1893, were most frequent
(and tied with medium) in 1896 and 1898, and continued, with some wide lapels appearing throughout the remainder of the periods studied.
Suit jacket silhouettes are marked by changes in the frequencies in fitted, semi-fitted, straight, and full-cut silhouettes (see Figure
10). Full-cut jacket silhouettes occurred twice and accounted for the majority in 1867 (75%) and 12.5% in 1898. The straight silhouette appeared frequently and was the most common silhouette in 1875 (60%) and one of two common silhouettes in 1884 (50%). In 1887, the appearance of the straight silhouette increased to 75%, decreased to 25% in 1893, and then rose to represent 75% of jacket silhouettes in 1896. The straight silhouette decreased in 1898 (62.5%) and again in 1905 (50%). The straight silhouette then increased in 1907 to 80% and declined to 75% in
1909. Semi-fitted jackets first appeared in 1875 (20%) and increased to
80% in 1880. The semi-fitted silhouette declined to 50% in 1884 and 25% in 1887. The semi-fitted silhouette then increased to 70% in 1893, fell to 65% in 1894, and fell again in 1896 to 25% where it held through
1898. In 1903, all visible suit jacket silhouettes were semi-fitted, and in 1905, the percentage of semi-fitted silhouettes fell to 50% and fell again in 1907 to 20% of those observed. At the end of the study the semi-fitted silhouette increased slightly to 25%. The full silhouette appeared 20% of the time in 1875 and 1893 only. No silhouettes were 100 100 e r
C 80 BO e BO n 75 75 75 70 a 85 82.5 60 e 60
0 5050 5060 f
0 40 C C U 25 25 25 r 20 20 F r 20 e n C e 0 1867 1875 1880 1884 1887 1893 1894 1898 1898 1903 1905 1907 1909 Time periods
11111 Fitted EM Semifitted [=.3 Straight \ Full
Figure 10. Seriation of Suit Jacket Silhouette, 1867-1910. 82
observed for 1882 and 1902. Twice in the study (1884 and 1905) semi- fitted and straight silhouettes both accounted for 50% of all silhouettes observed.
The total number of buttons were counted in both single and double breasted jackets. Suit jackets with more than six buttons were observed only in 1893 and 1894. Jackets with six buttons first appeared in 1893, then were visible at least once in every time period thereafter except for 1903 and 1905. Five button jackets were recorded in 1884, 1893, and
1894. Four button jackets appeared in 1875,.1884, 1893, 1894, 1903, and
1907. Three button jackets occurred in every time period from 1884 through 1910, except for 1902. Two button jackets appeared in 1875,
1893, 1894, and 1905. Suit jackets with one button were observed in 1893 and 1909. When a jacket had obvious missing buttons, the number of buttons was not recorded; however, the appearance of missing buttons was recorded.
Single breasted suit jackets were observed more frequently than double breasted jackets in general (see Figure 11). The appearance of double breasted jackets gradually increased until 1896, when the number of double breasted jackets surpassed single breasted jackets. This continued into 1898, after which double breasted jackets steadily decreased in number through 1905. In 1907 double breasted jackets again surpassed single breasted jackets, and the number of double breasted jackets declined in 1909 as the number of single breasted jackets rose.
Flap-style breast pockets were first observed in 1893, and their occurrence increased steadily in the next three time periods (23% in
1893, 39% in 1894, 46% in 1896 and 60% in 1898). Flap breast pockets 100 100 100 e 90 90 r 86 83 83 80 80 78. 7 a 67 62 60 -56 53 53 7 4
40 O 0 ll 20 0 14 1
0 1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
Double M Single
Figure 11. Seriation of Double and Single Breasted Suit Jackets, 1867-1910. 84
were not observed in 1902, fell to 25% in 1903, were not observed in
1905, rose to 50% in 1907 and fell to 37.5% in 1909. Welt style breast pockets were first observed in 1887 (100%), fell in 1893 (38%), fell again in 1894 (17%), rose in 1896 (23%) and fell in 1898 (10%). No welt breast pockets were visible in 1902 and 1905. In 1903, welt breast pockets accounted for 50% of all breast pockets. Welt breast pockets declined to 25% in 1907 and 12.5% in 1909. Buttonhole style breast pockets accounted for 50% of all breast pockets in 1884 and 15% of all breast pockets in 1893. In 1894, this number rose slightly to 22% and to
23% in 1896. Buttonhole breast pocket styles fell to ten percent in 1898 and were not observed again until 1909 (12.5%). Patch style breast pockets occurred in 1875 (100%), in 1887 (50%), in 1893 (4%), and in
1907 and 1909 (12.5%). Some suit jackets had no breast pockets at all.
Two jackets from photographs dated 1867 had no breast pockets (100% of all those observed in 1867) and then from 1893 on, jackets with no breast pockets occurred in every time period, at about 20% average.
When the suit jacket length was visible, most jackets were of medium length (89% overall). No short length jackets were recorded after
1898. Prior to 1898, short jackets accounted for as much as 100% of jackets observed (N=3, 1867) and as little as 5% (N=1, 1894). Long jackets accounted for 11% of all jacket lengths in 1875 and 1887. After
1900, there was no variation in jacket length, and all were medium length.
Most suit jacket waistlines were not visible or without a waistline (96% of total jackets observed). A suit jacket waistline was either a waistline seam or a defined waistline. A lower than natural 85
waistline seam or definition was observed once in 1894, once in 1903,
and twice in 1909. One jacket with a naturally placed waistline was
recorded in 1905. No higher than natural waistlines were observed.
Belted jackets were not visible until 1894 (4%), and five belted jackets
occurred in the last decade of this study (33% in 1902, 20% in 1903, 8%
in 1905, and 9% in 1902).
Overwhelmingly, most suit jacket fabrics were plain (see Figure
12). Plain fabrics were the only kind observed in photographs from the
1880s. Although never accounting for more than 25% of all fabrics observed, striped fabrics appeared in their greatest frequency near the beginning and end of the study. In 1905 striped fabrics accounted for ten percent of jacket patterns and then increased to 21% in 1909.
Plaid/check fabric jackets were observed in 1867 (20%), 1893 (10%), 1894
(7%), 1896 (16%), 1898 (10%), 1902 (9%), 1905 (3.5%), 1907 (11%), and
1909 (8%). One tweed jacket appeared in each of the following time periods: 1893, 1894, and 1905. Most suit jacket fabric values were dark
(see Figure 13). Dark fabrics accounted for the minority of suit jacket fabric values only twice, in 1880 and in 1896. Generally, as dark value fabrics decreased in popularity, medium value jacket fabrics increased and vice versa. The use of medium value fabrics for the suit jacket steadily increased from 1887 (14%) and reached its maximum percentage in
1896 (63%). The popularity of light value fabrics for the suit jacket reached its highest point in 1887 (14%) then declined, never accounting for more than 5% when it did appear after 1887.
Except for 1867, there were always some suit jackets which were worn unbuttoned (see Figure 14). Jackets worn with only the top button 100 100 100 100 P 100 e r c e n 80 t a g e 60 S
o f 40 0 C C
1.1 20 r e n c e 0 1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
MI Plain M Stripe Plaid/check Tweed
Figure 12. Seriation of Suit Jacket Fabric Pattern, 1867-1910. 100 100 P e r c e 80 n t a g e 60
0 f
O 40 c c u r r 20 e n c e 1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
MI Dark ..,... Medium Light
Figure 13. Seriation of Suit Jacket Fabric Value, 1867-1910. 100 P e r c e 80 n t a g e 80
0 f
O 40 C C u r r 20 e n c e 0 1887 1875 1880 1882 1884 1887 1893 1804 1898 1898 1902 1903 1905 1907 1909 Time periods
Unbuttoned IMI Top only All buttoned Other
Figure 14. Seriation of Suit Jacket Wearing Position, 1867-1910. 89
buttoned were represented in all periods except for 1902 through 1905, when the majority of jackets were unbuttoned (67-95%). Unbuttoned suit
jackets were very popular in 1882 (67%), gradually declined to 1896
(18%), increased through 1905 (95%), and decreased through the end of
the study. Jackets worn with all buttons fastened had three apparent periods of popularity: 1875 (57%) and 1880 (50%); 1894 (47%) and 1896
(45%); and 1909 (50%). Other jacket wearing positions included any other
combination of button fastenings (i.e., top button unbuttoned with the
rest unbuttoned).
Topstitching on the suit jacket appeared once in 1875 and also in
all time periods after 1884. In 1884, 1893, and 1905 topstitching was visible in at least 50-54% of those suit jackets in which at least one
trim or feature was visible. Rounded center front edges appeared
throughout the study, although their occurrence was more frequent before
1894 and then declined. Prior to 1894, all time periods except for 1882
included at least two suit jackets with rounded center front edges.
After 1894, rounded center front edges appeared in 1898 (N=3), 1905
(N=2), and 1909 (N=1). Asymmetrical front closures were not observed
prior to 1894 (N=2). Thereafter, asymmetrical front closures then
appeared in 1898 (N=1), 1903 (N=2), and 1909 (N=1). Binding trim (N=2)
and lapel buttonholes (N=12) did not appear until 1893. Binding trim
appeared in every time period thereafter except for 1896 and 1898. Lapel
buttonholes were visible in every time period after 1893. Jackets with
vertical tucks appeared in 1875, 1880, 1884, 1893, 1894, and 1898 and in
every time period after 1903. Handkerchiefs and covered buttons appeared
only in 1887, 1893, and 1894. Side vents did not appear in the 90
photographs until 1907. Torn suit jackets appeared in 1907 and in 1909.
No contrasting collars or lapels were observed until 1894. Contrasting
collars and lapels were then visible in photographs from 1898, 1905, and
1909.
It was difficult for the author to discern suit jacket styles.
When compared to the entire number of jackets in this study (N=410),
suit jacket styles were assigned to only 20% of all jackets (N=80). The
sailor suit was observed in two time periods approximately ten years
apart, in 1898 (N=3) and in 1907 (N=1). The Norfolk jacket appeared once
in 1894, 1902, and 1903; and twice in 1909. The reefer jacket was
observed in 1893 (N=4), 1894 (N=4), 1896 (N=5), and 1898 (N=4). The sack
jacket, modeled on the men's sack suit jacket, was the predominate
jacket style. It appeared in every time period except for 1875, 1880, and 1902. The cardigan sweater worn as an outer suit jacket appeared
first in 1907 (N=1) and then in 1909 (N=2). The Zouave jacket appeared
three times in 1867, once in 1884, and disappeared thereafter.
Knickers/Trousers/Overalls
Overalls appeared in the initial year of the study (1867), then again in 1893, 1894, 1898, and in every time period after 1903 (see
Figure 15). In 1905, overalls accounted for almost 50% of lower body garments recorded. Trousers were the majority of the lower body garments
in 1867 (67%), 1875 (62%), 1882 (75%), and 1887 (83%). After 1887, the proportion of trousers to knickers declined except for 1903 and 1905.
Altogether, knickers were predominant in half of the 15 time periods.
Knickers were mostly knee length, but variations did occur.
Knickers that were gathered below the knee into a band appeared in both 100 100 100 P e r C e 80 n t a g e 60
0 f
0 40 C C r r 20 e n C e
1867 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
Knickers M Trousers Not overalls Overalls
Figure 15. Seriation of Knickers, Trousers, and Overalls, 1867-1910. 92
the earliest and latest time periods. All trouser and overall leg shapes were straight (as compared to tapered or flared leg shapes). The majority of lower body garments were full-cut in 1867 (see Figure 16).
Afterwards, most lower body garments were of medium fullness. However, full knickers/trousers/overalls were the majority in 1909. Slim knickers/trousers/overalls appeared in small numbers in one-third of the time periods. The maximum popularity for the slim knickers/trousers/ overalls occurred in 1902 (33%).
When a suit jacket was worn, it usually did not match the knickers/trousers/overalls. An exception to this occurred in 1882 and
1902 when all of the lower body garments visible appeared to match the suit jacket (N=3; N=4). In the last two time periods, the occurrence of jackets that matched the knicker/trousers/overalls increased to 53% and
43%. When a waistcoat was visible, it matched the knickers/trousers/ overalls only four times altogether, once in 1875, 1893, 1905, and 1907.
Most of the knickers/trousers/overalls fabric patterns were plain.
The majority of knickers/trousers/overalls fabric values was dark between 1880 and 1903 (see Figure 17). Before 1880, the majority of knickers/trousers/overalls fabric was medium value, and after 1905, the majority of fabric values alternated between medium and dark. Light value fabrics were observed for less than 20% of the totals in 1887 and
1893, then 5% or less in 1898 and 1907.
Fly fronts first appeared in 1880, then were visible from 1884 thereafter, except for 1896 and 1902. The practice of tucking the trouser or overall legs into boot tops did not appear until 1907. 100 100 100 100 100
92 93 92 e BB r
C BO 80 e 78 76 n
87 67 a 8 60 e 80
0 f
0 40 C 3 3 C r 4 r 20 e 12 n 8 C e
1887 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
Full Medium L 1 Slim
Figure 16. Seriation of Knickers/Trousers/Overalls Fullness, 1867-1910. 100 100 100 p 93 e r C 80 e BO 74 n 72 73 87 88 a 82 80 e 58
0 50 f 4
O 40 8 C 3 9 9 C 7 8 2 r 20 r 20 0 e 0 0 n 7 0 C 4 3 e 2 all 0 a 1887 1875 1880 1882 1884 1887 1893 1894 1896 1898 1902 1903 1905 1907 1909 Time periods
MI Dark U3 Medium [2:: Light
Figure 17. Seriation of Knickers/Trousers/Overalls Fabric Value, 1867-1910. 95
Waistband buttons (for attaching suspenders) were observed between 1875 and 1908.
Light value stockings appeared in 1867 and 1882 and then disappeared. Medium value stockings appeared in 1880, 1884, 1893, 1896, and 1903. In 1884 medium value stockings represented 60% of all visible stockings, and in 1903 medium value stockings represented 50% of all visible stockings. However, dark stockings predominated in general.
After 1905, only dark stockings occurred. One pair of striped stockings was observed in 1884 (all others were plain).
One pair of suspenders was observed in 1880, 1893, and 1894.
Suspenders occurred with more frequency after 1903. Six pairs of
suspenders were visible in 1903, four pairs in 1905, eight pairs in
1907, and two pairs in 1909. In 1903 and 1907, the boys with suspenders
outnumbered those without (for records in which the presence or absence
of suspenders could be detected). Most suspenders were of medium value,
but light value suspenders were visible in the latter periods of the
study (N=3 in 1903 and N=5 in 1907). One pair of dark value suspenders
occurred in 1905. Suspenders' fabric pattern was divided between striped
and plain. Plain suspenders appeared in 1903, 1905, and 1907 (N=3; N=2;
N=1). Striped suspenders occurred in 1893 (N=1), in 1903 (N=2), and 1907
(N=3). Plain suspenders decreased while striped suspenders increased as
the time periods advanced.
Waistcoat
No discernible trend over time could be detected in the wearing of
the waistcoat itself. No waistcoats appeared in 1867, 1884, and 1902. In
1882, 1887, and 1896, all boys wore waistcoats (100%) in those records 96
where the presence or absence of a waistcoat could be detected. Most waistcoat bridle line lengths were short. The medium length bridle line did not appear until 1905, then its appearance steadily increased as short bridle lines decreased (see Figure 18). Most waistcoats did not have collars or lapels. When a waistcoat did have a lapel, it was usually narrow. Medium width lapels were observed once in 1898. When it was discernible, it was more common for the waistcoat to be visible at the suit jacket neck after 1893 and less common before 1893. Waistcoats that matched suit jackets accounted for 100% of those visible in 1875 and then fell to 50% in 1887 (see Figure 19). Waistcoats matching suit jackets increased to 89% in 1893 and decreased to less than 50% (40%) for the first time in 1894. Waistcoats matching jackets again reached
100% in 1896, fell to 25% in 1905, and increased to 78% in 1907. With the exception of 1893, non-matching waistcoats steadily increased between 1882 and 1903. In the last time period, 1909, waistcoats that did not match the suit jacket accounted for 100% of those waistcoats for which that determination could be made. When visible, the waistcoats that did not match the knickers/trousers/overalls always outnumbered those that did match.
Waistcoat fabric patterns other than plain appeared in 1893, 1896,
1905, and 1907; however, plain fabrics clearly predominated (see Figure
20). Light value waistcoats were recorded in 1893 (N=2), 1907 (N=1), and
1909 (N=1). Dark value waistcoats appeared in every time period in which the fabric value was visible and was always the majority. Medium value waistcoats had three periods of popularity: first in 1875 and 1880 (50%,
N=1 each); second in 1893, 1894 and 1896 (N=9, 31%; N=1, 14%; N=5, 100 100 100 100 100 100 100 100 100 P e r c e 80 n t a g e 80
0 f
0 40 C C u r r 20 e n c e 0 1875 1880 1882 1893 1894 1896 1898 1903 1905 1907 1909 Time periods
IIII Short EM Medium
Figure 18. Seriation of Waistcoat Bridle Line Length, 1867-1910.
No data for 1867, 1884, 1887, and 1902. 100 100 100 100 100 P e r c e 80 n t a g e BO
0 f
40 O C C u r r 20 e n c e 0 1875 1882 1887 1893 1894 1898 1903 1905 1907 1909 Time periods
IIII Matching Eg3 Nonmatching
Figure 19. Seriation of Matching and Non-Matching Waistcoats, 1867-1910.
No data for 1867, 1882, 1884, 1898, and 1902. kID co 100 100 100 100 100 100 100 e r e n t a g e
0 f
0
r r e n
e
1875 1882 1887 1893 1894 1898 1898 Time periods
MI Plain EM Stripe El Plaid /check Tweed
Figure 20. Seriation of Waistcoat Fabric Pattern, 1867-1910.
No data for 1867, 1880, 1884, and 1902. 100
62.5%); and third in 1905 and 1907 (N=2, 25%; N=5, 38%). Topstitching, first visible in 1882, was the most common trim. Topstitching occurred again in 1887, 1893, 1894, and again in 1905 and 1907. When the waistcoat wearing position was visible, it was usually all buttoned. Two waistcoats were worn buttoned at the top button only in 1893 and two waistcoats were worn unbuttoned in 1905. Alternate styles of buttoning
(i.e., top button unfastened, all others buttoned) were first visible in
1893 (N=2) and then in 1905 (N=1) and 1907 (N=2).
Peck Tie
The hanging cravat with knot was recorded in 1887 and in every period thereafter (see Figure 21). It accounted for not less than 46%
and up to 84% of neck tie styles between 1902 and 1910. The loose floppy
bow was first worn in 1884 (33%) and was the most popular style in 1894
(50%) and 1898 (92%). The cravat with bow was the most common style in
1867 (100%) and 1884 (67%). Fabric patterns other than plain were not
observed until 1893. Afterwards, striped, plaid/check, and figured ties
appeared in almost every time period. The majority of fabrics in all
periods was plain, with figured ties occurring an average between 17 and
32% of the time, dropping down to ten percent in 1896 and then rising to
36% in 1893.
Shirt
The turndown style collar occurred in every time period (see
Figure 22) and except for 1898, its appearance dominated after 1887. It
accounted for 100% of all collar styles in 1902 and more than 58% of all
observed collar styles thereafter. Only in 1867, 1880, and 1898 was the 100 100 100 e r C e 80 n t a g e B0
0 f
0 40 C C r r 20 e n C e 0 1909 1887 1882 1884 1887 1893 1894 1898 1898 1902 1903 1905 1907 Time periods
ME Hang. cravat w/knot EM Loose floppy bow I I Cravat with bow
Figure 21. Seriation of Three Most Popular Neck Tie Styles, 1867-1910.
No data for 1875 and 1880. 100 100 94I e r C 80 e 74 n 731 t a 82 g 80 58+ 1. e
O 50 47 f 44.d o 40 C 0 C
r
r 20 e 4 n 12.5 10 C e I I 0 1887 1875 1880 1882 1884 1887 1893 1894 1898 1898 1902 1903 1905 1907 1909 Time periods
Standing band A Flat pointed Flat rounded s \ Turndown
Figure 22. Seriation of Four Most Common Shirt Collar Styles, 1867-1910. 103
most popular style not the turndown collar. The standing band collar represented 50% of collar styles in 1867 and then never represented more than 12% of all collars. The flat pointed collar did not appear until
1880, when it was the predominant style. The flat pointed collar fell from nearly 60% in 1880 to 16% in 1893. It rose in 1894 to 20% of all collar styles and to 40% in 1898. In 1905 the flat pointed collar fell again and then rose in 1909 to 15%. The flat rounded collar had two apparent periods of increasing popularity. It was initially observed in
1867 (12.5%) and then in 1880 (14%) and in 1884 (33%). It appeared again
in 1893, representing seven percent of collar styles and 20% in 1894.
This collar style appeared again in small percentages in 1903, 1905, and
1909. One standing ruffled collar was recorded in 1867, and the
turtleneck was first observed in 1894. The sailor collar was observed
only in 1894 (7%), 1898 (10%), and 1903 (23%). One shirt without a
collar appeared in each of the following time periods: 1867, 1880, 1884,
1887, 1893, and 1896.
Low collars were the most popular collar height across the scope
of the study and were especially common between 1884 and 1894 (see
Figure 23). Low shirt collars declined from their maximum appearance in
1887 through the early 1890s and increased again in the first decade of
the twentieth century. High collars were first observed in 1882 and
again in 1893. They dropped to 2% in 1893 and rose to 22% in 1896. High
shirt collars dropped to 4% in 1898 and disappeared in 1902. High shirt
collars increased again in 1905 from 13% to 22% in 1907. Medium collar
heights accounted for 100% of collar heights observed in 1875 and then
decreased. Medium shirt collars were at their lowest point (16%) 100 100 100 p e r C e 80 n t a g e 80
0 f
0 40 C C r r 20 e n C e 0 1887 1875 1880 1882 1884 1887 1893 1894 1898 1898 1902 1903 1905 1907 1909 Time periods
MI Low CM Medium I High
Fioure 23. Seriation of Shirt Collar Heights, 1867-1910. 105
in 1893. Collar height was measured for all visible collars, not just rolled collars with collar stands.
Plain fabric shirts were the most popular and were recorded in every time period. Plain fabric shirts dropped to the lowest relative frequency (50%) in 1903. Light colored shirt fabrics were the most common fabric value and appeared in every time period (see Figure 24).
Light value fabrics consistently accounted for more than 55% of all fabric values until 1905 when the relative frequency dropped to 47%.
Medium value shirt fabrics did not appear in 1882, 1887, 1896, and 1902.
Medium fabric values accounted for between 13% and 36% of all shirt fabric values whenever they appeared. Dark value shirts did not show up in 1880, 1882, and 1887. When present, dark shirt fabric values accounted for between seven percent and 25% of all fabric values.
The wearing of the shirt collar outside of the jacket collar was the most frequently-observed detail. It occurred in most time periods and in the highest numbers in 1893 (N=8), 1894 (N=10), and 1898 (N=11).
Braid trim was recorded twice, in 1867 and in 1898. Vertical tucks appeared once each on shirts in 1867, 1893, 1894, 1898, 1903, and 1905.
A center front placket was observed as a shirt detail from photographs dated 1893, 1894, 1898, and 1903 (N=1 each) through to 1910 (between 3 and 5=N).
Hat
Boys wearing or holding hats were recorded in photographs dated
1875 (N=13), 1880 (N=13), 1884 (N=1), 1887 (N=2), 1898 (N=1), 1905
(N=4), and 1909 (N=4). Brimmed caps, the most common hat style, appeared
twice each in 1875 and 1880, once in 1905, and twice in 1909. Bowler 100 100 100 P e r C e 80 n t a g e 80
0 f
0 40 C C r r 20 e n C e 0 1887 1875 1880 1884 1887 1893 1894 1898 1898 1902 1903 1905 1907 1909 Time periods
In Dark EM Medium Light
Figure 24. Seriation of Shirt Fabric Values, 1867-1910. 107
hats appeared only in 1875 (N=2) and 1880 (N=1). Boater/sailor styles were recorded once in 1884, 1887, and 1905. A flat-brim style was observed once in 1880 and 1909. The homburg appeared in once in 1875 and
1909. Loose, unshaped hats were observed twice in 1875 and once in 1880; and an unusual, cone-top shaped hat appeared in a photograph from 1875.
Dark value hats accounted for the majority in 1875, 1880, 1898, and
1909. Medium value hats accounted for 100% of hat values in 1884, 50% in
1905, and less than 38% in 1875, 1880, and 1909. Light value hats accounted for 100% of hat values in 1887 and 25% of hat values in 1905.
Twenty-four boys were wearing hats and 14 boys were holding hats in their hands.
Details/Accessories
A total of 13 barefoot boys were recorded from photographs dated
1867 (N=2), 1887 (N=1), 1893 (N=3), 1898 (N=3), and 1907 (N=4). Watches were first observed in 1882 (N=2), then again in 1893 (N=4), 1896 (N=4),
1898, 1903, and 1907 (all N=1). A pin fastened on to the cravat and visible underclothes were both recorded in 1893.
Discussion: Objective 4 and Research Question 1
Objective Four was to determine if there were fashion changes in boys' clothing in Oregon, and Research Question One was is there a difference in the clothing of boys from rural areas and boys from urban areas? Because there were some differences in the garments, silhouettes and design details of the clothing of Oregon school boys over time, the researcher concluded that fashion changes did occur. A suit jacket of some sort was nearly always worn. The suit jacket style, when it could 108
be identified, did seem to change over time. Some jacket styles were observed in only a few consecutive or near-consecutive time periods
(i.e., the reefer jacket, the Norfolk jacket). The cardigan sweater was introduced in 1907. Some change was observed in the silhouette of the suit jacket, particularly in the last decade of the study as the appearance of the semi-fitted silhouette declined and the straight silhouette increased. The suit jacket collar, bridle line length, and fabric pattern did not appear to change a great deal over time. Other details display a trend of gradual introduction, increase, decline, and/or disappearance. There was a definite trend in the kind of jacket
(single breasted or double breasted) worn over time. In the late 1890s, the proportion of double breasted jackets grew to outnumber the single breasted jackets. The wide lapel increased (especially in the last ten years) as medium and narrow lapels decreased. Dark fabric values decreased around 1882 and 1896 as medium fabric values increased.
Quantity and variety of trim and features increased after 1893.
There seems to be no relationship between the wearing of trousers or knickers. This may be a result of the wearing of either knickers or trousers being more connected to age of the boy than to fashionability.
The ages or grade levels of those boys in the Oregon group school portraits was not incorporated into this study. A new garment, overalls, was first observed in this study in 1867, reappeared in 1893, and then increased through 1905. The shape and fullness of the knickers/trousers/ overalls did not show dramatic change. The knickers/trousers/overalls fabric value was mostly dark; however, as medium values rose, dark values declined. Stocking pattern and value did not change much. 109
There did not seem to be any trend in the wearing of the waistcoat itself. There was a change in the waistcoat bridle line length after
1905. Waistcoat lapel width, fabric pattern and value did not appear to change. Neck tie style changed after 1905, as the hanging cravat with knot style dominated and all other variations of the neck tie style dwindled. However, variation in neck tie pattern and fabric value was still present through the 1890s and 1900s. There was more variation in shirt collar types earlier in the study. After the 1890s variation decreased and almost all shirt collars were turndown. Fashion change was apparent in shirt collar heights. In the early 1880s, the number of medium height shirt collars nearly equaled that of low shirt collars.
After 1887, low collars declined and more variation in shirt collar height occurred. Shirt fabric value and pattern remained, for the most part, unchanged from 1867 through 1910. The frequency of the wearing of the hat did not change, nor did the practice of holding it in the hand.
The bowler hat disappeared from this study after 1880. Watches did not appear until 1882.
Research Question 2
Research Question Two was is there a difference in the clothing of boys from rural areas and boys from urban areas? To collect data to answer this question, a category for classifying the record as rural or urban was included on the data collection form. Salem and Portland were designated urban, and all other areas were designated rural. To see how this classification system was created, see pages 35-6. For data analysis, a subsample was drawn. There were only six total time periods
(1893, 1898, 1902, 1905, 1907, and 1909) which included both rural and 110
urban photographs. The time period 1893 (which included a photograph dated "circa 1893") was utilized because it had the largest number of records of any time period, N=80. In that time period (1893), there were
29 rural records and 51 urban records. Each garment category and garment detail category was separated into rural and urban segments. Frequencies and percentages were calculated to facilitate the comparison of rural and urban boys' clothing.
Suit Jacket
Twenty-four of 29 (83%) rural boys wore suit jackets and 48 of 51
(94%) urban boys wore suit jackets. There were some differences in the rural and urban subsample for the collar style, silhouette, number of buttons, pocket styles, fabric values, features/trims, and wearing position. Small differences in degrees were found in the bridle line length, lapel width, single or double breasted type, and length. In general, the urban records had greater variation than did the rural records.
In the collar style garment detail category, some collar and lapel types were found only in urban records or rural records (see Table 13).
Five collar styles (peaked, turndown, round collar with pointed lapel, flat pointed, and no collar) which represented more than 20% of the urban records, were not found in the rural records from 1893. In addition, two collar styles (cloverleaf and band) occurred in the rural group that did not occur in the urban group. Out of ten different collar types found in 1893, rural and urban boys shared three.
Only differences in degrees were found in the suit jacket bridle
line lengths and lapel widths (see Table 14). The urban group had a 111
Table 13
Rural and Urban Differences in Suit Jacket Collar Styles, 1893
Rural Urban
Name # % # %
Notched 14 74.0% 25 63.0%
Peaked 3 7.0%
Turndown 2 5.0%
Flat rounded 2 11.0% 4 10.0%
Round collar with 2 5.0% pointed lapel
Cloverleaf 1 5.0%
Flat pointed 1 2.5%
Combination 1 5.0% 2 5.0%
Band 1 5.0%
None 1 1 2.5%
Note. Rural N=19 with 5 records not visible, and urban N=40 with 8 records not visible. 112
Table 14
Rural and Urban Differences in Suit Jacket Bridle Lines, Lapel Widths. and Silhouettes. 1893
Rural Urban Characteristic
Bridle Line Length'
Short 5 56% 19 83%
Medium 3 34% 4 17%
Lapel Width2
Narrow 5 36% 15 47%
Medium 6 43% 14 44%
Wide 3 21% 3 9
Silhouette3
Fitted 1 17%
Semi-fitted 4 64% 10 71%
Straiaht 1 17% 4 29%
'Note. Rural N=8 with 16 records not visible and/or applicable and urban N=23 with 24 records not visible and/or applicable.
2Note. Rural N=14 with 10 records not visible or applicable and urban N=32 with 16 records not visible or applicable.
3 Note. Rural N=6 with 18 records not visible and urban N=14 with 34 records not visible. 113
higher proportion of short length bridle lines than did the rural group.
The rural group had a higher proportion of wide lapel widths than did the urban group. Additionally, the urban group had a higher proportion of narrow lapels than did the rural group.
The rural group had one fitted silhouette which the urban group did not (see Table 14). The proportion of semi-fitted silhouettes was similar, but the proportion of straight silhouettes varied. The urban group included more straight silhouettes than did the rural group. The urban group had a wider variety of number of suit jacket buttons, ranging from one to more than six (see Table 15). The most common urban
Table 15
Rural and Urban Differences in the Number of Suit Jacket Buttons, 1893
Rural Urban
Number # % # %
6+ 1 6.25%
6 1 17.00% 1 6.25%
5 1 17.00% 1 6.25%
4 2 33.00% 4 25.00%
3 5 31.00%
2 2 33.00% 1 6.25%
1 3 19.00%
Note. Rural N=6 with 18 records not visible and urban N=16 with 32 records not visible. 114
suit jacket had three buttons and was not represented in the rural group at all. There were also three urban suit jackets with one button, and no rural suit jackets with only one button. Missing suit jacket buttons appeared in nine urban records and did not appear in rural records from
1893.
There was a higher proportion of single breasted jackets in the rural records than in the urban records, and a lower proportion of double breasted jackets in the rural records than in the urban records
(see Table 16). There was a greater proportion of short jackets in the urban group than in the rural group (see Table 16).
The rural and urban breast and side pocket styles varied (see
Table 17). Three pocket styles occurred in the urban group that did not appear in the rural group, and two pocket styles occurred in the rural
group that did not appear in the urban group. All rural suit jackets visible (N=10) and all urban suit jackets visible (N=26) had no
observable waistline seam or definition. All rural suit jackets visible
(N=16) and all urban suit jackets visible (N=28) were not belted.
Seventy-five percent of the urban fabric patterns were plain, while
83% of the rural fabrics were plain (see Table 18). Tweed occurred only
in the urban group. Light value fabrics occurred in the urban group and
did not appear in the rural group. However, for the medium and dark suit
jacket fabric values, percentages were very similar. A significant
difference between the rural and urban groups was found in the suit
jacket position (see Table 19). Sixty-five percent of rural jackets were
worn unbuttoned while only 9% of the urban jackets were worn unbuttoned.
Fifty-six percent of the urban suit jackets were worn buttoned at the 115
Table 16
Rural and Urban Differences in Single and Double Breasted Suit Jackets and Jacket Length, 1893
Rural Urban
Characteristic
Single or Double Breasted'
Single 16 89% 24 73%
Double 2 11% 9 27%
Length2
Short 1 8% 4 15%
Medium 12 92% 22 85%
'Note. Rural N=18 with 6 records not visible and urban N=33
with 15 records not visible.
2Note. Rural N=13 with 11 records not visible and urban N=26 with
22 records not visible. 116
Table 17
Rural and Urban Differences in Suit Jacket Breast and Side Pockets, 1893
Rural Urban
Style
Breast Pocketl
Patch 1 10%
Flap 2 20% 4 25%
Welt 5 50% 5 31%
Buttonhole 4 25%
None 2 20% 3 19%
Side Pocket2
Patch 1 14% 1 7%
Flap 4 58% 10 72%
Welt 1 14% 1 7%
Buttonhole 1 7%
None 1 14%
Buttonhole + 1 7% flap
'Note. Rural N=10 with 14 records not visible and urban N=16 with 32 not visible.
2Note. Rural N=7 with 17 records not visible and urban N=14 with 34 records not visible. 117
Table 18
Rural and Urban Differences in Suit Jacket Fabric Pattern and Value.
1893
Rural Urban
Characteristic
Fabric Pattern'
Plain 20 83.0% 36 75.0%
Stripe 2 8.5% 6 13.0%
Plaid/check 2 8.5% 5 10.0%
Tweed 1 2.0%
Fabric Value2
Light 2 4.0%
Medium 9 37.5% 17 35.0%
Dark 15 62.5% 29 61.0%
'Note. Rural N=24 and urban N=48.
2Note. Rural N=24 and urban N=48. 118
Table 19
Rural and Urban Differences in Suit Jacket Wearing Position, 1893
Rural Urban
Position
Unbuttoned 13 65% 3 9%
Top button only 2 10% 16 56%
All buttoned 2 10% 8 24%
Other 3 15% 7 21%
Note. Rural N=20 with 4 records not visible and urban N=34 with
14 records not visible.
top button only, and ten percent of the rural suit jackets were worn buttoned at the top button only. More than twice as many urban suit jackets than rural suit jackets were worn with all of the buttons fastened.
Some of the frequencies of features and trims were alike (see
Table 20). Proportions between the rural and urban suit jacket features and trims were quite similar for topstitching, rounded front edges, and lapel buttonholes. Almost twice as many rural suit jackets were too small for the wearer's size compared to urban suit jackets. In addition, there was more variation in the urban group than the rural group. Seven details were observed in the urban group that did not appear in the rural group. Two features appeared in the rural group that did not appear in the urban group. 119
Table 20
Rural and Urban Differences in Suit Jacket Features and Trims, 1893
Rural Urban
Description % # # %
Topstitching 14 70% 25 64%
Rounded front 8 40% 16 41% edges
Lapel buttonholes 4 20% 8 21%
Too small 3 15% 3 8%
Vertical tucks 2 10% 4 10%
Cuffed sleeves 1 5% 1 3%
Covered buttons 3 8%
Pin on lapel 2 5%
Binding - 2 5%
Flower 2 5%
Three side pockets 2 5%
Binding or cording 1 3%
Handkerchief 1 3%
Worn/dirty 1 5%
Cording 1 5% - -
Note. Rural N=20 and urban N=39 for those records in which at
least one detail was observed. 120
A larger percentage of sack style suit jackets was found in the rural subsample than in the urban subsample (see Table 21). The reefer and
Little Lord Fauntleroy style jackets were found only in the urban group.
Table 21
Rural and Urban Differences in Suit Jacket Tvpes. 1893
Rural Urban
Jacket type
Sack 7 87.5% 12 70.0%
Reefer 4 24.0%
Little Lord Fauntleroy 1 6.0%
Short boxy 1 12.5%
Note. Rural N=8 with 16 records in which no style was determined
and urban N=17 with 31 records in which no style was
determined.
Knickers/Trousers/Overalls
Rural and urban comparisons of knickers/trousers/overalls and garment details are contained in Tables 22-25. As in the suit jacket category, most urban records had more variation than did the rural records. The proportions of knickers, trousers, and overalls were distributed differently between the rural and urban groups (see Table
22). 121
Table 22 Rural and Urban Differences in the Wearing of Knickers, Trousers, and Overalls, 1893
Rural Urban
Tvoe # % # %
Knickers 6 30% 14 50%
Trousers 9 45% 10 36%
Overalls 1 5%
Not overalls 4 20% 4 14%
Note. Rural N=20 with 4 not visible & urban N=28 with 23 not visible.
The only pair of overalls in 1893 was found in the rural records.
More knickers were worn in urban areas than in rural areas and more trousers were worn in rural areas than in urban areas. This may be attributable to age or grade levels in the schools which were not incorporated into this study. There was little difference in the fullness of the knickers/trousers/overalls and the matching of the knickers/trousers/overalls to the suit jacket (see Table 23).
None of the urban waistcoats in the subsample matched the knickers/trousers/overalls, while one rural waistcoat did match the fabric of the knickers/trousers/overalls (see Table 23). Some difference appeared in the fabric pattern and value between the rural and urban groups (see Table 24). The majority of both rural and urban knickers/ 122
Table 23 Rural and Urban Differences in Knickers/Trousers/Overalls Length, Fullness, and Matching of Suit Jacket and Waistcoat, 1893
Rural Urban
Characteristic
Lengthl
Full length 10 67% 10 43%
Knee length 5 33% 12 53%
Above knee 1 4%
Fullness2
Full 2 14% 3 13%
Medium 11 79% 17 74%
Slim 1 7% 3 13%
Matches Suit Jacket3
Yes 1 7% 3 17%
No 13 93% 15 83%
Matches Waistcoat4
Yes 1 14%
No 6 86% 6 100%
1Note. Rural N=15 and urban N=23 with 5 records not visible.
2Note. Rural N=14 with 6 records not visible and urban N=23 with 5 records not visible.
3Note. Rural N=14 with 6 records not visible and/or applicable and N=18 with 10 records not visible and/or applicable.
4Note. Rural N=7 with 13 records not visible and urban N=6 with 22 records not visible. 123
Table 24
Rural and Urban Differences in Knickers/Trousers/Overalls Fabric Pattern and Value, 1893
Rural Urban
Characteristic
Fabric pattern1
Plain 16 89.0% 23 88.0%
Plaid/check 1 5.5%
Stripe 1 5.5% 3 12.0%
Fabric value2_
Light 1 4.0%
Medium 8 42.0%. 4 14.0%
Dark 11 58.0% 23 82.0%
1Note. Rural N=18 with 2 records not visible and urban N=26 with 2
records not visible.
2Note. Rural N=19 with 1 record not visible and urban N=28.
trousers/overalls was plain. The remaining urban fabric patterns were all striped, while the remaining rural fabric patterns were divided between plaid/check and striped. Larger differences occurred in the fabric values. Most of the urban fabric values were dark and included one light value fabric. The rural fabric values were much more evenly divided between medium and dark value fabrics. 124
Little difference occurred between the features and trims of rural and urban knickers/trousers/overalls (see Table 25). Only rural records had waistband buttons. The proportions of fly fronts and front pockets were similar. A larger proportion of worn and dirty garments was found in the urban category than in the rural category. The appearance of overall bib buckles in the rural category is logical given the absence of urban overalls.
Stockinas
All of the visible urban stockings were dark value. One pair of rural stockings was medium value (17%) and the remaining visible rural stockings (N=5, 83%) were dark value. All of the visible rural and urban stockings were plain rather than patterned.
Suspenders
One pair of suspenders was observed on a boy from a designated rural area (N=1, 20% of all those visible). The suspenders were striped and medium fabric value. No urban boys wore suspenders in 1893. 125
Table 25
Rural and Urban Differences in Knickers/Trousers/Overalls Features, and
Trims, 1893
Rural Urban
Descriotion # % # %
Fly front 7 70% 7 78%
Waistband buttons 2 20%
Worn/dirty 2 20% 3 33%
Front pockets 1 10% 1 11%
Overall bib 1 10% buckles
Note. Rural N=10 and urban N--.9 for those records in which at least 1 detail was observed.
Waistcoat
Rural and urban comparisons of the waistcoat category did reveal
some differences (see Table 26). Slightly more waistcoats were found in
the urban subsample than in the rural subsample. The most noticeable difference occurred in the waistcoat wearing position. All of the urban waistcoats were worn totally buttoned, and only slightly more than half
of the rural waistcoats were worn completely buttoned. Differences also
occurred in the details of the waistcoat. Three collar and lapel styles
(including no lapels) were found in the urban waistcoats, and one collar 126
Table 26 Rural and Urban Differences in Waistcoat Use and Characteristics, 1893
Use or Rural Urban
Characteristic # % # % Waistcoat worn' Yes 13 62% 16 70% No 8 38% 7 30%
Visible at suit jacket neck2 Yes 2 100% 4 57% No 3 43%
Wearing position3 Top button 2 22% All buttoned 5 56% 5 100% Other 2 22%
Collar and lapel style4 Notched 2 29% Shawl 1 14% None 11 100% 4 57%
Number of buttons5 Six 1 14% Five 5 72% 1 100% One 1 14%
Features and trim6 Topstitching 10 91% 10 100% Binding/cording 1 10% Handkerchief 1 9% Cording 1 9%
'Note. Rural N=21 with 8 records not visible and urban N=23 with 28 records not visible. 2Note. Rural N=2 with 11 records not visible and/or applicable and urban N=7 with 9 records not visible and/or applicable. 3Note. Rural N=9 with 4 records not visible and urban N=5 with 11 records not visible. 4Note. Rural N=11 with 2 records not visible and urban N=7 with 9 records not visible. 5Note. Rural N=7 with 6 records not visible and urban N=1 with 15 records not visible. 6Note. Rural N=11 and urban N=10 for records in which at least one detail was observed. 127
and lapel style was found in the rural waistcoats. More variety in the number of buttons appeared in the rural waistcoats than in the urban waistcoats; however, the number of visible urban waistcoat buttons (N=1) was very low. The waistcoat was visible at the neck of the suit jacket in greater proportion in the rural records than in the urban records. A slightly greater variety of details was found on the rural waistcoats.
Topstitching occurred very frequently in both groups.
For some waistcoat details, there was no rural or urban difference or little basis for comparison. All waistcoat bridle lines observed of both rural (N=13) and urban (N=16) records were short. All visible breast pockets (N=3) and side pockets (N=2) were from the rural group only and all of those breast and side pockets were welt. Only three urban records had lapels (see Table 26). All of those lapels (N=3) were narrow in width.
All visible waistcoats, both rural and urban, were single breasted. There was more variation present in the urban waistcoat fabric pattern and value than in the rural waistcoat fabric pattern and value
(see Table 27). Plain, dark fabrics were most common for both rural and urban waistcoats. However, tweed pattern and light value fabrics occurred in the urban group only. A higher proportion of rural waistcoats matched the suit jacket than urban waistcoats.
Neck Tie
Differences occurred throughout the necktie category (see Table
28). A higher proportion of neck ties were worn in the urban subsample than in the rural subsample. Differences were found in the neck tie 128
Table 27
Rural and Urban Differences in Waistcoat Fabric Pattern, Value, and
Matchina of Suit Jacket, 1893
Rural Urban
Characteristic
Fabric pattern'
Plain 11 85.00% 10 62.50%
Stripe 1 7.50% 3 18.75%
Plaid/check 1 7.50% 2 12.50%
Tweed 1 6.25%
Fabric value2
Light 2 12.50%
Medium 4 31.00% 5 31.25%
Dark 9 69.00% 9 56.25%
Matches Suit Jacket3
Yes 6 100.00% 10 83.00%
No 2 17.00%
'Note. Rural N=13 and urban N=16.
2Note. Rural N=13 and urban N=16.
3Note. Rural N=6 with 7 records not visible and/or applicable and
urban N=12 with 4 records not visible and/or applicable. 129
Table 28
Rural and Urban Differences in Neck Tie Wearing, Style, Fabric Pattern and Value, 1893
Rural Urban
Characteristic Neck tie wornl Yes 10 40% 27 71%
No 15 60% 11 29%
Style2
Cravat with bow 3 33.0% 2 12.5%
Cravat with knot 4 45.0%
Hanging cravat 2 22.0% 7 44.0%. with knot
Loose floppy bow 5 32.0%
Ascot 2 12.5%
Fabric pattern3
Plain 6 60.0% 10 38.0%
Stripe 1 10.0% 3 12.0%
Plaid/check 2 20.0% 1 4.0%
Figured 1 10.0% 12 46.0%
Fabric value4
Light 5 50.0% 3 11.0%
Medium 4 40.0% 15 56.0%
Dark 1 10.0% 9 33.0% 'Note. Rural N=25 with 4 records not visible and urban N=38 with 13 records not visible.
2Note. Rural N=9 with 1 record not visible and urban N=16 with 11 records not visible.
3Note. Rural N=10 and urban N=26 with 1 record not visible.
4 Note. Rural N=10 and urban N=27. 130
style. The most common rural neck tie style, cravat with knot (45%) was absent from the urban records. Loose floppy bows accounted for 32% of urban records and did not occur in the rural records. The distribution of the neck tie fabric pattern and value was very different between the urban and rural records. The most popular rural neck tie fabric pattern was plain, while the most popular urban neck tie fabric pattern was figured. More light fabric values occurred in the rural records than in the urban records.
hirt
Twenty-seven shirts were visible in rural records and 47 shirts were visible in urban records. In two rural records and in four urban records, shirt information was unavailable. The majority of rural and urban shirt collars were turndown (see Table 29). Some shirt collar styles were present in rural or urban records only. One more collar style appeared in the urban group than in the rural group.
A plaid/check shirt fabric was found in the urban subsample and not in the rural subsample (see Table 30). More medium value shirt fabrics occurred in the urban records. Like the knickers/trousers/ overalls and waistcoat categories, more variation occurred within the rural shirt features and trims (see Table 31).
Hats
No hats were worn in the subsample time period (1893) used for the rural and urban comparisons. A total of thirty-eight hats were observed in the entire study. Of those, thirteen were from an unspecified Oregon location not classified as urban or rural. Eighteen hats in urban 131
Table 29 Rural and Urban Differences in Shirt Collar Style and Height, 1893
Rural Urban
Style Collar style'
Turndown 8 57% 20 65%
Flat rounded 1 7% 2 6%
Wing 3 22%
Band 2 14% Flat pointed 7 23% Square ruffled 1 3% None 1 3%
Collar height2 Low 15 75% 35 85%
Medium 5 25% 5 12% High 1 3%
'Note. Rural N=14 with 13 records not visible and urban N=31 with 16 records not visible.
2liote. Rural N=20 with 7 records not visible and urban N=41 with 6 records not visible. 132
Table 30
Rural and Urban Differences in Shirt Fabric Pattern and Value. 1893
Rural Urban
Characteristic
Fabric pattern'
Plain 20 77.0% 34 83.0%
Stripe 3 11.5% 3 7.0%
Plaid/check 1 2.0%
Figured 3 11.5% 3 7.0%
Fabric value2
Light 20 74.0% 28 60.0%
Medium 3 11.0% 13 28.0%
Dark 4 15.0% 6 12.0%
'Note. Rural N=26 with 1 record not visible and urban N=41 with 6
records not visible.
2Note. Rural N=27 and urban N=47. 133
Table 31
Rural and Urban Differences in Shirt Features and Trim, 1893
Rural Urban
Description # % # %
Light buttons 2 33% 2 20%
Shirt collar 1 17% 7 70% worn outside of jacket collar
Vertical tucks 1 17%
Two shirts 1 17% layered
Gathered wrists 1 17%
Placket 1 17%
Asymmetrical 1 17% closure
Sleeve cuffs 1 10%
Ruffles 1 10%
Missing buttons 1 10%
Note. Rural N=6 and urban N=10 for records in which at least one
detail was observed.
classified photographs accounted for 72% of all hats observed. Seven hats in rural-classified photographs accounted for 28% of all hats observed. 134
Details/Accessories
Four kinds of details and accessories appeared in records from
1893 (see Table 32). Barefoot boys occurred in the rural group and not in the urban group. A higher proportion of those urban records visible included a watch.
Table 32
Rural and Urban Differences in Additional Details and Accessories. 1893
Rural Urban
Type
Barefoot 3 50%
Watch 2 33% 2 67%
Pin in cravat 1 17%
Visible 1 33% underclothes
Note. Rural N=6 and urban N=3 for records in which at least one detail/accessory was observed.
Discussion: Research Question 2
There were some urban and rural differences revealed by this small subsample. In general, the most noticeable differences between urban and rural records of 1893 occurred in how the garments were worn. The urban suit jackets and waistcoats were much more likely to be worn with all of the buttons fastened than were their rural counterparts, and the shirt 135
collar was worn on the outside of the suit jacket collar more frequently in urban records than in rural records. Where a garment might be optional, as in the case of suit jackets, waistcoats and neck ties, a higher proportion of urban boys wore these garments than did rural boys.
Although not included in the 1893 subsample, more urban boys wore hats throughout the study than did rural boys. All of the neck tie garment detail categories (style, fabric pattern, and value) were very different between the rural and urban records. The fancier suit jacket styles, though very few in number, appeared in urban records only.
Some rural options did not appear in urban records and vice versa.
More variation occurred in the urban suit jacket (collar and lapel styles, number of suit jacket buttons, suit jacket length, fabric pattern and value) and shirt (collar styles, collar height, and fabric pattern). Slightly more variation occurred in the rural group in the knickers/trousers/overalls fabric pattern and some garment features and trim (knickers/trousers/overalls, waistcoat, and shirt). Overalls appeared in a rural record only and knickers appeared in slightly fewer numbers in rural records than in urban records. More urban knickers/trousers/overalls matched the suit jacket than did rural; however, the one matching waistcoat and knickers/trousers/overalls occurred in a rural record.
In the fabric pattern and value options, more variation occurred within the urban suit jackets and waistcoats and in the urban knickers/trousers/overalls fabric value and the shirt fabric pattern.
More rural variation occurred in the knickers/trousers/overalls fabric 136
pattern. A range of fabric patterns and values (though in different proportions) was found in both the rural and urban records.
Summary
Objective 1 and Objective 2
Objective One was to develop a data collection instrument for description of boys' clothing of the late nineteenth and early twentieth centuries. Objective Two was to test the instrument with documented class portrait photographs from Oregon dated 1867-1910
For this study, the author developed an instrument designed to gather data pertaining to boys' clothing of the last half of the nineteenth century and the first decade of the twentieth century. The instrument was applied to archival photographs in the Oregon Historical
Society and Benton County Historical Museum collections. The instrument was developed with the explicit idea of using it with photographs and was tested on dated, documented school class portraits.
The original data collection form used for the study is located in
Appendix A. A version of the handbook of illustrations and terms used with the first study is located in Appendix B. A revised data collection form has been developed for future use (Appendix D). A researcher using the revised instrument would not necessarily have to use the illustrations and explanations in Appendix B, but would need to establish some kind of consistent guidelines. These guidelines which help to ensure reliability are critical to a content analysis study.
It was thought that school class portraits might show clothing more indicative of everyday wear than either contemporary posed studio photographs or extant garments might indicate. Thirty-six photographs, 137
which yielded 503 records, were examined. A record was one boy and
corresponded to one completed data form (not one photograph). Records were classified as rural and urban.
The modification and improvement of the instrument for future researchers was approached in two different ways. Much of the administrative information was deleted from the original form because it was specific only to the goals of this particular study. Such
information as school name, location, and rural and urban classification might not be needed by future researchers. A future researcher would need to tailor the administrative information to the individual needs of
the study.
The author deleted and added options to the data collection
instrument in accordance with findings of this study. The suit jacket and hat style names were deleted in favor of space for sketching and description. Approaching suit jacket and hat styles in this manner might allow for more flexibility in identifying styles mentioned in the
literature. Space for recording footwear information was added.
Objective 3
Objective Three was to describe Oregon school-aged boys' clothing
for the years 1867-1910. Majorities in all garment categories and garment design detail categories were compiled to produce a profile
(Table 12) of the "typical boy" of the time period studied. In general,
the suit jackets that the Oregon school boys wore in the group photographs were less fancy and less stylized than those depicted in the
literature. From a total of 410 suit jackets visible, only 80 suit 138
jackets could be assigned a particular style. Unexpected suit jacket styles that were observed included cardigan sweaters, a collared sweater and a short boxy military style. Optional garments such as the waistcoat and hat were worn by a minority of the boys studied; however, the neck tie was worn by almost half of the boys. Most boys wore a suit jacket, knickers, and a collared shirt.
Objective 4 and Research Question 1
Objective Four was to determine if there were fashion changes in boys' clothing in Oregon. Research Question One was is there a difference in the garments, silhouettes, and design details of the clothing of Oregon school boys over time? Because there were some differences in the garments, silhouettes, and design details of the clothing of Oregon school boys over time, the researcher concluded that fashion changes did occur. The suit jacket style (when a style could be identified) appeared to change over time. The silhouette, the appearance of double and single breasted jackets, the width of lapels, and quantity and variety of features and trims of the suit jacket appeared to change.
The suit jacket collar, bridle line, and fabric pattern did not appear to change.
There seemed to be no trend to the wearing of trousers versus knickers over time, except for the introduction and later popularity of overalls. Shape and fullness did not appear to change. Some change was evident in knickers/trousers/overalls fabric value.
The wearing of the waistcoat did not appear to change, and little in the waistcoat detail categories appeared to change. Failure to pick up any differences in the waistcoat may be a result of the 139
disproportionately smaller numbers in all of the waistcoat categories.
Variation in neck tie style and shirt collar style declined in the last time periods of the study. The frequency of the wearing of a hat did not seem to change. Change in hats was difficult to determine because of the small number of hats in the study.
Research Question 2
Research Question Two was is there a difference in the clothing of boys from rural areas and boys from urban areas? Some rural and urban differences were found. Suit jackets, waistcoats, and neck ties were more consistently worn by urban boys than rural boys. Although not included in the 1893 subsample, hats were more often worn in urban areas than in rural areas. Some differences appeared in the wearing position of suit jackets, waistcoats, and shirt collars. Differences occurred in the amount of variation. More variation appeared depending on the garment category within either the rural or the urban groups. The entire necktie category had the most variation between the rural and urban records. It was worn more often by urban boys, and differences occurred in every necktie detail category. The more distinct suit jacket styles
(sailor and reefer) were found in urban records only, and bare feet and overalls were found in rural records only. 140
CHAPTER V
SUMMARY AND CONCLUSIONS
The purpose of this study was to develop and test a data collection instrument that would facilitate description of the clothing of school-age boys in Oregon during the late nineteenth and early twentieth centuries. Class portrait photographs dated 1867-1910 were used as the data source because it was thought that they might show clothing more typical of everyday dress than what might be found in posed studio photographic portraits of the same time. No existing
instrument for collecting data on boys' clothing from photographs could be located. The development of the instrument was incorporated into the study. The data collection instrument was developed through careful examination of scholarly literature on children's costume, contemporary magazines and catalogues, photographs, and existing instruments. The rigorous research method of content analysis was used to systematically and objectively collect data from the photographs. A handbook of
illustrations and explanations accompanied the instrument to ensure that all of the data was being measured against identical standards, thus
assuring reliability. After a pilot study, the instrument was adjusted
for clarity and ease of use.
The data collection instrument was applied to documented historic
photographs in the collections of the Oregon Historical Society and
Benton County Historical Museum. A total of 503 records from 36
photographs were collected. Data were entered into a database program
and frequencies were calculated. A subsample was used to determine rural
and urban differences. 141
At the conclusion of the study, the data collection instrument was revised for future use. Some garment detail categories were deleted and some were added. Some detail options were eliminated because they were encountered only a few times or not at all. Space to sketch and describe suit jacket styles and hat styles replaced the optional style names.
Footwear was added to the revised data collection instrument after it was determined that footwear information could be easily gathered from non-studio group photographs. It is hoped that future researchers will find this instrument reliable and flexible for their needs.
The instrument was determined to be effective in collecting data on boys' clothing. It enabled the researcher to capture major and minor changes in garments and the boys' appearance. Overall frequencies were calculated to describe Oregon boys' clothing of 1867-1910. These frequencies captured the most popular characteristics as well as all variations that occurred. A profile of the "typical" Oregon boy of the time was created by compiling the majorities in each category (Table
12). To determine if there were fashion changes and changes in the garments, silhouettes, and design details over time, frequencies were calculated for 15 time periods for 1867-1910. When changes seemed apparent, histograms were created and then visually analyzed. The actual wearing of most garments did not seem to change across time. The suit jacket, knickers/trousers, waistcoat, tie, and hat were worn throughout the study. Some suit jacket styles appeared in limited time periods in this study. Overalls were worn in the initial time period and then not again until 1893 and after. Some details in all garments changed. Neck 142
tie and shirt collar styles became more limited and some details and features became more varied and numerous.
A small subsample was analyzed to discern rural and urban differences. The researcher determined that some rural and urban differences did exist. The most notable differences occurred in the more frequent appearance of certain garments such as the suit jacket, waistcoat, neck tie, and hat in urban records than in rural records. The other most important rural and urban difference occurred in the wearing position of the suit jacket, waistcoat, and shirt collar. In general, urban suit jackets were worn with only the top button fastened, urban waistcoats were worn all buttoned up, and the urban shirt collar was worn outside the suit jacket collar. In rural records, the suit jacket and waistcoat were more likely to be unbuttoned, and the shirt collar was less commonly worn outside the suit jacket collar. This variation in how the garments were worn could be visually captured only through photographs, and not from extant garments or prescriptive fashion
illustrations.
Limitations
The data collected for this study might have yielded different
results concerning Oregon boys' clothing of 1867-1910 had it not been
for some limitations. These limitations concerned back views, visibility
of details and fabric value in photographs, the occasion of the school
portrait photograph, the number of available photographs from 1867-1890
as compared to 1893-1910, the dating of the photographs analyzed, the
urban and rural definitions, and the number of photographs in each time
period. 143
This study sought to capture Oregon boys' everyday clothing for the period 1867-1910 through a content analysis of documented class portrait photographs. Front and some side views were the only perspectives available to the researcher. Since back views could not be seen, it was possible that the backs of some garments were different
(i.e., torn, ripped, patched, dirty, etc.) from the front and that those differences were not captured in this study. Also, because of the wide range of kind and quality of photographs, it was not possible to observe all details, trims, and features that might have been present in the garments. Therefore, some details might have not been captured, even though the photographs were carefully examined through a magnifying glass. To compensate for this limitation, when percentages were calculated for the trim/features categories, they were based upon the total number of records in which at least one feature or trim was observed, not all visible records in that category.
According to research on historic photography and photographic processes, color values cannot be determined for nineteenth century photographs. Early films were very sensitive to red and yellow and
insensitive to blue (Holm, 1985, p.44). This resulted in green, yellow, orange and red registering as dark, and blue registering as light in photographic prints (Ginsburg, 1982, p. 17). Color value problems were not corrected until the 1880s and 1890s (Holm, 1985, p. 44). Some colors
such as red show up as a dark value in black and white, but may be perceived as a medium value when observed in color. No generalizations
as to possible garment colors can be made for this study, although a 144
list of probable colors and fabric types could be gathered from contemporary magazine and catalogue descriptions.
In addition, fabric values were relative to each photograph examined. Because the range of light and darks varied between each photograph, fabric values were determined by finding the lightest and darkest values within a photograph, and then judging the garment against those values. The researcher's interpretation of a fabric value may have varied from the actual physical appearance of the garment. Because of these limitations on early black and white photographs, fabric value may not be a meaningful category.
The importance of a nineteenth or early twentieth century class portrait photograph may have affected the clothing worn for the
occasion. The class portrait photograph may have been considered an
important occasion because of the relative newness of the medium and the
relative isolation of some early residents of the Northwest. The
researcher surmised that the class portrait photograph was probably a
less formal photographic occasion than that of the posed studio
portrait. However, it is possible that the clothing worn by the boys in
the photographs used to test this instrument was fancier or dressier
than their true "everyday" dress. This limitation is interesting when
compared with the number of boys with ill-fitting, worn, dirty, and torn
garments with missing buttons, and those wearing no stockings and/or
shoes in both rural and urban records.
As expected, a limited number of photographic examples were
available for 1867-1890 as compared to 1891-1910. Even though this
discrepancy existed, the researcher wanted to gather information on 145
boys' clothing reflective of a large time span, so the earlier years were included. The greater amount of garment category variety in the latter group of photographs may be attributable to the unequal number of records per time period. This limitation could be overcome by a future researcher by carefully locating enough documented photographs until the earlier years of a time period were represented as equally as the later, more abundant years.
Eighty-two records were derived from five photographs dated
"circa". "Circa" as defined by the Oregon Historical Society, includes
five years prior to and after the given date (M. Tint, personal
communication, February, 1995). For example, a photograph dated "circa
1875" may actually have been taken up to five years earlier (1870) or up
five years later (1880). The circa dated photographs may not reflect the
actual date of the taking of the photograph. This limitation could be
avoided by using only those photographs determined to be accurately and
firmly dated. Because of the researcher's time and travel constraints,
five circa dated photographs were used to guarantee at least 503
collected records.
Dates present their own limitations. The photographs used to test
the instrument from the Oregon Historical Society were dated using
donor's memories and inscriptions as well as the skill of staff members
and volunteers to date the photographs (M. Tint, personal communication,
January, 1995). The photographs from the Benton County Museum were dated
in conjunction with the publishing of a book on early Benton County
Schools. One photograph from the Benton County Historical Museum was not
used after several elements in the photograph led the researcher to 146
determine that the photograph was not accurately dated. Dating of the photographs by the researcher or trying to validate given dates was beyond the scope of this study.
A limitation may exist on how rural and urban communities were defined in this study. The author designated all photographs from
Portland and Salem as urban, and all other photographs as rural. This classification system was created by reviewing Oregon census reports for the years under investigation. Future researchers may wish to define these terms differently and explore how that affects findings.
A limitation may also exist because the number of records varied over time. The largest number of records were found for 1893 (N=60),
1908 (N=58), 1894 (N=34), and 1909 (N=32). The smallest number of records were found for 1887 (N=7), 1902 (N=11), 1867 (N=11), and 1899
(N=12). In analyzing the results of this study, this limitation should be considered. More extensive preliminary preparation could ensure more equal numbers of records over time.
Conclusions and Implications
As recommended by Paoletti, content analysis seems to be an adequate research method for use with historic costume subjects. A
tremendous amount of data on clothing exists in archival photographs.
Content analysis provides an objective system of data collection that, with careful preparation, translates unstructured visual (and written)
information like that found in photographs into quantifiable entities.
The original data collection sheet functioned as anticipated. The
most difficulty encountered by the researcher was in trying to assign
style names to suit jackets and hats. In many cases, the researcher 147
resorted to sketching and lengthy written description. Space for written and drawn description has been included in the revised instrument
(Appendix D). Some garment detail options that were included in the original instrument were eliminated because they were encountered few
times or not at all.
A large sample size is necessary with a study like this, especially if the kind of view is not controlled. The researcher had
originally anticipated having over 600 photographs available for
analysis. It was decided that as many full view records would be
collected as possible, as many seated view records would be collected as possible, and then as many partial views collected needed to equal at
least 500 records. However, once data collection was underway, a number
of photographs were unavailable in a larger print format for one or more
reasons. Some of the very small photographs attached to the cards in the
card catalogue at the Oregon Historical Society (used in the preliminary
study) were the only copies available and were not large enough to
analyze. Therefore, almost half of the records in this study were
partial views. Because not all garments and details were visible on all
photographs, some categories, such as the waistcoat, had relatively
small numbers in comparison with the rest.
This study has expanded our knowledge in the area of children's
clothing and regional American dress. This study also contributes by
using a large number of photographs of real individuals as a data
source, as opposed to illustrations of suggested styles. The findings of
the study agree with the literature in a few cases; however, there were
a number of differences. The researcher expected to encounter the 148
fancier suit jacket and suit styles such as the sailor and Little Lord
Fauntleroy suits and the Norfolk jacket as indicated by the literature
(Bates, 1985; Ewing, 1977; Nunn, 1984; Rose, 1989; Tortora & Eubank,
1994; Wilcox, 1963; Worrell, 1980). Few of the fancier styles were observed, and most of the jackets did not fall into the predetermined style categories created by the researcher from a review of the literature and catalogue and magazine illustrations. The number of
"styles" captured might be increased by a future researcher by implementing different criteria for the suit jacket category. The findings in this category did agree somewhat with Worrell's assertion that plain, tailored suits with single breasted jackets and waistcoats began to be available for older boys in 1890 (Worrell, 1980, p. 180), as well as the appearance of "sack-style" suits for boys aged four to fourteen in an 1895 Montgomery Wards catalogue (Montgomery Wards & Co.,
1895, p. 271).
The time period of the suit jacket styles generally agreed with the research. The sailor style was observed in this study initially in
1898 and then again in 1907. According to costume sources, the sailor suit first became popular after it in appeared in a portrait of the
Prince of Wales in 1846 (Boucher, 1967, p. 404; Cunnington & Buck, 1965, p. 182; Ewing, 1977, p. 89; Nunn, 1984, p. 163; Rose, 1989, p. 100) and then died out by 1910 (Rose, 1989, p. 140). This would place the appearance of the sailor suits found in this study relatively late in the period of the sailor suit's popularity. The reefer jacket appeared first in an Oregon photograph from 1893, well after its alleged approximate introduction date of 1880; however, 1893 includes a "circa 149
1893" photograph, which, by the Oregon Historical Society's definition, might actually range from 1888 to 1898.
The lack of the fancy styles in this study may be attributed to
previous research having concentrated on boys' clothing found in studio
photographs, extant garments, and magazine and catalogue illustrations.
If this has been the case, further examination of "everyday" photographs
such as school portraits may greatly expand our knowledge of children's
dress of the past from that of the most special to the more ordinary.
As expected, no boys in skirts or kilt suits were found in the
study. Although skirts for young boys were popular in this time period,
the literature indicated that school-aged boys would not be wearing
skirts. The shape of the knickers disagreed somewhat with the
literature. Although one pair of knickers gathered below the knee into a
band was found in 1867, three instances of this style each were found in
1907 and 1909, some years after the gathered style died out according to
some British researchers (Cunnington & Buck, 1965, p. 182). Overalls
were observed in 1867 and in the 1890s and 1900s. Overalls were
introduced for men in 1856 (Hemken, 1993, p. 67), and according to one
researcher, became common for boys in the 1890s (Worrell, p. 170, 1980).
The overalls may have appeared early in Oregon from a recent immigrant
to the area or an early merchant or mail-order source. The possibility
also exists that the 1867 photograph may have been misdated.
This study particularly contributed to knowledge in the area of
boys' waistcoats, ties, and shirts. Little information on these garments
exists in the literature. Catalogue sources with illustrations and 150
descriptions like that found in the Weinstock Lubin & Co. catalogue
(1975) may be valuable for future researchers looking at these garments.
A few different hat styles were found in the study and there was some disagreement with the literature. No peaked caps and/or tam-o shanters were observed. Smaller versions of adult styles such as the bowler, boater, flat brim, high derby, and homburg were recorded. Hat styles in general can be very difficult to discern from photographs. The scholarly research on the subject often does not agree with descriptions contained in contemporary catalogues and magazines. Hat styles that occurred that were not covered in the literature included the simple brimmed cap which was the most popular boys' style in this study. A hat with a pointed, cone-shaped crown was observed, as well as three loose, unshaped hats.
When looking at the garments and details over time, the years 1893 and 1894 stand out. The number of details and variety seemed to greatly increase during these years. This might have been caused by changes in clothing supply and availability as Oregon settlement increased.
However, the apparent increase might also have been the result of the large number of records in these periods. These time periods contained the largest numbers of records of all time periods in the study (N=80,
N=73). In addition, some standardization of dress does seem to have happened in the last decade of the study, as variation decreased and some styles converged. No ruffles appeared after 1898. Altogether, this may support Paoletti's statement that by 1910, boys' clothing was more like that of the adult male (in contrast to its earlier similarity with the clothing of the adult female) (Paoletti, 1983). 151
The behavior of the boys wearing the clothing might have also influenced what was observed in the photographs. The more frequent wearing out of waistcoats, suit jackets, and trousers or knickers might account for the lack of matching fabrics. Suits or outfits may have been mixed because a garment became too small, or unwearable for some other reason. Dark value fabrics may have been more common because they showed soil the least. Also, plain waistcoat fabrics may have been more practical because they could be worn with a greater variety of suit jackets and trousers or knickers.
The differences found between the rural and urban records may have had a number of causes. Because of the degrees of isolation some rural communities may have experienced, garments and/or sewing supplies may have been difficult to procure, leading to the smaller proportions of certain garments such as the suit jacket, waistcoat, neck tie, and hat in the rural records. Greater variation in some of the rural categories might be explained by families holding onto older fashion styles. The apparent difference in the wearing position of the waistcoat, suit jacket, and shirt collar may indicate different social standards for children and children's appearance in rural and urban areas. Further analysis of the rural and urban categories may provide further articulation of these differences. As indicated by Worrell (1980, pp.
170, 174), overalls may have been more common for boys in rural and
Western areas. Although almost twice as many urban records than rural records occurred in the 1893 rural/urban subsample, the only pair of overalls appeared in the rural group. The rural/urban classification 152
system used by the author may not reflect the real nature of all of the communities included in this study.
Future Research
The data collected for this study would lend itself to further study and analysis. Because the greatest number of records in consecutive time periods occurred in the 1900s, further analysis could be performed with those records dated 1900-1910. For example, some histograms could De re-drawn to investigate fashion diffusion curves of certain garments or garment features. Several histograms compiled for this study look similar to the theoretical diffusion curve of a fashionable style as illustrated in Sproles and Burns (1994, p. 95).
Also, further comparisons could be made with the remaining time periods which contain both urban and rural records. These records could be examined for similarities, differences, and changes over time. During data collection, it appeared that there was a great deal of conformity within a photograph (which might have contained a grade, a class, or the entire school). This might be investigated by statistically testing similarities within photographs and differences between photographs for a single time period.
There is still much research to be accomplished in the area of children's clothing and regional dress. This instrument could be used with studio photographs from Oregon to determine the degree of difference between posed studio photographs and class portrait photographs to add to the base of knowledge on children's dress, as well as on nineteenth century photographic conventions. If this was accompanied by an investigation into studio photography practices, it 153
might reveal the differences in dress required by a studio photograph and the accompanying social attitudes that called for this distinction.
A similar study could be executed with class portrait photographs
from various areas of the United States. Examining photographs from nearby areas such as Washington, Idaho, or California might establish
the strength or lack of regional dress. In comparison, a similar study could be conducted with class portrait photographs from various other regional areas such as the southwest, southeast, east, northeast, and the midwest to investigate regional differences in children's dress.
Comparing these data to data on men's and women's clothing of the same time might clarify and delineate the evolution that occurred in boys' clothing as it became less like women's and more like men's.
Comparisons between boys' clothing and men's clothing could be made for garment details (especially those on the suit jacket) and garment wearing positions to determine the extent that men's and boys' clothing influenced each other.
Another idea for future research would be to create a data collection instrument for girls' clothing to be used with class portrait photographs of the nineteenth century. Those results could then be compared to girls' dress in a nearby specific region as well as across the United States. Girls' dress could then be compared to women's dress of the same time to investigate similarities and differences. Rural and urban comparisons could be made. If a photographic archive included a number of photographs of family members over time, a kind of longitudinal study could be undertaken which might display an accurate 154
record of an early Northwest family's or individual resident's clothing supply and consumption over time.
Investigation into early clothing supply of the Northwest could be expanded to include early merchants, small stores, and department stores as well as mail-order companies who serviced the Northwest at this time.
A content analysis of articles from nineteenth century Oregon newspapers could describe the extent to which fashionable clothing was available and desired. Additional clarification of historic costume terms is needed, especially in suit jacket styles and hat styles.
The rural/urban differences that were found in the 1893 subsample raise more questions relating to these kind of differences. A researcher might further investigate the changes in these findings if the definitions of rural and urban areas were altered. Retail establishments available to the nineteenth century rural Oregon resident could be investigated, especially with regard to the availability of knickers, trousers, and overalls. Accounts of nineteenth century Oregon urban and rural life that contain information about children's clothing related to this study, such as the appearance of bare feet and worn and dirty clothing, could be studied to reveal how common or uncommon these observations might have been. 155
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APPENDICES 161
Appendix A Data Collection Instrument for Boys' Clothing
Museum Exposure no. Photo access no. Boy's name School name Photo date School location
View: full length seated partial rural urban
Describe position of boy (row #, left to right)
For each category circle all applicable characteristics
I. JACKET yes no n/v
A. Collar style: notched lapel peaked lapel turndown flat rounded shawl
flat pointed sailor combination band none n/a n/v
B. Bridle line: short medium long n/a n/v
C. Lapel width: wide medium narrow n/a n/v
D. Silhouette: fitted semi-fitted straight full n/v
E. Buttons: 6+ 6 5 4 3 2 1 0 n/v missing
F. Breasted: double single n/v
G. Breast pocket: patch flap patch w/flap welt buttonhole none n/v
H. Side pocket: patch flap patch w/flap welt buttonhole none n/v
I. Length: short medium long n/v
J. Waistline: high natural low none n/v
K. Belted: yes no n/v
L. Fabric pattern: plain stripe plaid/check figured n/v
M. Fabric value: light medium dark n/v
N. Jacket position: unbuttoned top button only all fastened other n/v 0. Trim/details: binding/cording asymmetrical round edges braid collar/lapel contrast lapel buttonholes handkerchief covered buttons top stitching contrast cuffs vertical tucks bow(s) worn/dirty too small/large other (describe):
P. Jacket or suit type: sailor suit Little Lord Fauntleroy Norfolk
reefer Zouave sack suit n/a n/v other (describe): 162
II. KNICKERS/TROUSERS /OVERALLS
knickers trousers overalls notoveralls n/v
A. Length: full-length above knee knee-length below knee n/v B. Shape: (knickers) gathered straight n/v
(trousers/overalls) peg top straight flared n/v
C. Fullness: full medium slim n/v
D. Matches coat: yes no n/a n/v
E. Matches waistcoat: yes no n/a n/v
F. Fabric pattern: figured plaid/check stripe plain n/v G. Fabric value: light medium dark n/v H. Trim/Details: fly front front pockets waistband buttons braid side stripe too small/big buckles buttons bows worn/dirty
I. Stockings: Stockings fabric value: light medium dark n/v
Stockings fabric pattern: plain stripe plaid/check n/v
J. Suspenders: yes no n/v
Suspenders fabric value: light medium dark n/v
Suspenders fabric pattern: plain stripe plaid/check n/v
HI. WAISTCOAT yes no n/v
A. Bridle line: short medium long n/v
B. Lapel style: notched peaked shawl none n/v
C. Lapel width: narrow medium wide n/a n/v
D. Breasted: single double n/v
E. Buttons: 6+ 6 5 4 3 2 1 0 missing n/v F. Breast pocket: patch flap flap w/patch buttonhole welt none n/v
G. Side pocket: patch flap flap w/patch buttonhole welt none n/v
H. Vis. at coat neck: yes no n/a n/v
I. Vis. at coat waist: yes no n/a n/v
J. Matches coat: yes no n/a n/v
K. Matches trousers /knickers: yes no n/v
L. Fabric pattern: plain figured plaid/check stripe n/v
M. Fabric value: light medium dark n/v
N. Details/trim: binding/cording lapel buttonholes worn/dirty other:
0. Waistcoat pos.: unbuttoned top button all buttoned other: n/v 163
IV NECK TIE: yes no n/v
A. Style: cravat w/bow cravat w/knot hanging cravat w/knot
loose floppy bow ascot string tie n/v
B. Fabric pattern: plain stripe plaid/check figured n/v
C. Fabric value: light medium dark n/v (worn/dirty)
V. SHIRT: visible n/v
A. Collar type: standing band flat pointed flat rounded turndown wing standing
ruffled square ruffled/lace sailor turtleneck none n/v
B. Collar height: low medium high n/v
C. Fabric pattern: plain stripe plaid/check figured n/v
D. Fabric value: light medium dark n/v E. Details/trim: vertical tucks placket lace 2 shirts layered worn/dirty
collar on outside of jacket collar ruffles braid other (describe):
VI. HAT: yes no n/v
A. Type: bowler tam o'shanter boater/sailor brimless cap fedora homburg
brimmed cap derby other (describe): n/v
B. Fabric value: light medium dark n/v
C. Hat band: yes no n/v
D. Hat band value: light medium dark n/a n/v
VII. OVERCOAT: yes no n/v describe:
8. DETAILS/ ACCESSORIES:
*n/v - not visible *n/a - not applicable 164
Appendix B Handbook of Illustrations and Explanations
Bridle line length
SHORT-closer to the base of MEDIUM-near the the neck than the lower edge lower edge of the of the armscye seam armscye
LONG-near the waistline
Lapel Width
narrow-closer to medium-halfway wide-nearer the neckline between the than to the the neckline armscye armscye & armscye than neckline 165
Suit Jacket Collar and lapel style
Notched Peaked
Turndown Combination Flat pointed
Flat rounded Sailor Band 166
Silhouette
Fitted-very close to Semi-fitted-somewhat close the body to the body, maybe some waistline def.
Straight Full-an obvious excess of style ease 167
Length
Short-shorter than fingertip Medium-fingertip
long-much longer than fingertip length 168
Double-breasted Single-breasted
Breast & Side Pocket Styles LJ Patch & Patch Flap Welt flap
112:1 t:5:34
Patch Flap Patch & Welt flap
v I Buttonhole
Buttonhole 169
Waistline
High Natural
Low None 170
Fabric pattern
III 1121111 1111111' III ommi11311111111 111111111 AMI 11111111111111111111111111111waull III 111/1011111111111111 11,1111111111 III 111111101111111111111111 III 11111E1ln 1111111111111 in minimum wilicsi 111...111.11,111WIIMI 1=1111.=
Solid Plaid/check Stripe Figured
Fabric value is judged individually within each photograph according to the lightest and darkest values within the photograph 171
Jacket Position
Unbuttoned Top button only
All buttoned 172
Waistcoat visible at Waistcoat not suit jacket neck visible at suit jacket neck
*Judge only if top button buttoned at least)
Waistcoat visible at suit jacket neck and waist 173
Trim/features
Binding/cording Asymmetrical Top stitching
.0 0
Contrast collar Lapel buttonholes Covered Contrast cuffs Handkerchief buttons
Vertical tucks 174
SAILOR
-square sailor collar usually parallel rows of braid trim sometimes decorated with anchor or nautical motif
LITTLE LORD FAUNTLEROY
-sometimes worn with large floppy bow - lace and/or ruffled cuffs and shirt collar worn outside of jacket collar worn with knickers - sometimes worn with sash or belt and long, curled hair 175
NORFOLK vertical tucks -belted, usually slightly lower than the natural waistline usually worn with knickers
ZOUAVE -collarless jacket - trimmed with braid - usually worn fastened at the neck only - worn with knickers 176
REEFER
- double breasted boxy shape
SACK
-looks like men's suit jacket 177
0 Q
Knickers LI Trousers, straight Overalls shape
Peg top trousers Flared trousers 178
Medium fullness Slim Gathered knickers Straight knickers
Full-an obvious excess of style ease
Fly front Front pockets Side stripe Waistband buttons cuffs buckles Buttons at knee 179
cravat with bow cravat with knot
hanging cravat loose floppy string tie with knot bow
low collar medium collar high collar 180
Shirt Collar Types
standing band flat pointed flat rounded turndown
standing ruffled flat ruffled sailor wing
turtleneck 181
vertical tucks lace placket shirt collar worn outside jacket collar
ruffles 182
newsboy/brimmed cap brimless cap scotch cap
cr3 tam-o-shanter homburg bowlers
tam-o-shanter
sailor/boater brimmed cap
straw sailor/boater 183
Appendix C Photographs Analyzed for this Study
Location Archive or Catalogue Number Date Community OHS 0097P279 1896 Portland OHS 0336P115 1910 Broadacres OHS 0306P100 1898 Portland OHS 02325022 1867 Cascades OHS 0301P094 c1893 Portland OHS 0303P088 1882 Portland OHS 003638 c1905 Ontario OHS 971D001 1908 Hamlet OHS 984D099 1893 Fulton OHS 989D125 1893 Portland OHS 0026P233 1904 Newberg OHS 0029P499 1909 Portland OHS 0317P049 1895 Portland OHS 0336P002 1894 Portland OHS 0351P140 1884 Portland OHS 0306P102 c1895 Portland OHS 04802011 1902 Salem OHS 0306P017 1893 Salem OHS 988D101 1906 Portland OHS 984D121 c1880 unknown OHS 0226S030 c1875 Portland OHS 9999Y809 1893 Ophir OHS 9999Y950 1908 Portland OHS 9999Y034 1907 Eugene OHS 9999Y800 1887 Port Orford OHS 9998Y236 1908 Portland OHS 90984 1893 Creswell OHS 53802 1899 Meadowbrook OHS 984D027 1909 Jackson Cty. OHS 53775 1910 Cornelius OHS 47259 1906 Laidlaw OHS 47260 1905 Laidlaw OHS 53773 1907 Cornelius OHS 9998Y703 1903 Portland BCHM 99306710 1908 Alsea BCHM 99306753 1899 Froghollow 184
Appendix D Revised Data Collection Instrument for Boys' Clothing
Museum Photo access no.
View: full length seated partial Describe position of boy (i.e. row #, left to right):
For each category circle all applicable characteristics I. SUIT JACKET yes no n/v A. Collar and lapel style: notched peaked turndown flat rounded shawl round collar w/pointed lapels flat pointed sailor combination
none other: n/v B. Collar width: wide medium narrow n/v n/a C. Lapel width: wide medium narrow n/v n/a D. Bridle line: short medium long n/v n/a E. Silhouette: fitted semi-fitted straight full n/v F. Buttons: # missing n/v G. Breasted: double single n/v H. Breast pocket: patch flap patch w/flap welt buttonhole none n/v I. Side pocket: patch flap patch w/flap welt buttonhole none n/v J. Length: short medium long n/v K. Waistline: low natural none n/v L. Belted: yes no n/v M. Fabric pattern: plain stripe plaid/check n/v N. Fabric value: light medium dark n/v 0. Jacket position: unbuttoned top button all fastened other: n/v P. Trim/details: binding/cording asymmetrical round edges braid collar/lapel contrast lapel buttonholes handkerchief covered buttons
top stitching cuffs vertical tucks pin on lapel worn/dirty too small/large other (describe):
Q. Jacket or suit type: (describe and sketch-- use back if necessary) 185
II. KNICKERS/TROUSERS/OVERALLS knickers trousers overalls notoveralls n/v A. Length: full-length above knee knee-length below knee n/v B. Shape: (trousers) flared straight tapered n/v (knickers) gathered straight n/v C. Fullness: full medium slim n/v D. Matches jacket: yes no n/a n/v E. Matches waistcoat: yes no n/a n/v F. Fabric pattern: plain plaid/check stripe n/v G. Fabric value: light medium dark n/v H. Trim/Details: fly front front pockets waistband buttons buckles too small/big buttons worn/dirty topstitching other:
I. Stockings: visible n/v fabric value: light medium dark n/v fabric pattern: plain stripe n/v
J. Suspenders: yes no n/v fabric value: light medium dark n/v fabric pattern: plain stripe figured n/v
HI. WAISTCOAT yes no n/v A. Bridle line: short medium long n/v B. Collar & lapel style: notched peaked shawl none n/v C. Lapel width: narrow medium wide n/a n/v D. Breasted: single double n/v E. Buttons: # missing n/v F. Breast pocket: patch flap flap w/patch buttonhole welt none n/v G. Side pocket: patch flap flap w/patch buttonhole welt none n/v H. Vis. at jacket neck: yes no n/a n/v I. Matches jacket: yes no n/a n/v J. Matches trousers/knickers/overalls: yes no n/v K. Fabric pattern: plain figured plaid/check stripe n/v L. Fabric value: light medium dark n/v M. Details/trim: binding/cording lapel buttonholes wom/dirty topstitching other: N. Waistcoat pos.: unbuttoned top button all buttoned other: n/v 186
IV NECK TIE: yes no n/v
A. Style: cravat w/bow cravat w/knot hanging cravat w/knot loose floppy bow ascot string tie n/v B. Fabric pattern: plain stripe plaid/check figured n/v C. Fabric value: light medium dark n/v (worn/dirty)
V. SHIRT: visible n/v A. Collar type: band flat pointed flat rounded turndown wing ruffled sailor turtleneck none n/v
B. Collar height: low medium high n/a n/v C. Fabric pattern: plain stripe plaid/check figured n/v D. Fabric value: light medium dark n/v E. Details/trim: vertical tucks placket lace 2 shirts layered worn/dirty collar on outside of jacket collar ruffles braid other (describe):
VI. HAT: yes no n/v A. Type: bowler boater/sailor brimless cap flat brim homburg brimmed cap n/v other (describe & sketch):
B. Fabric value: light medium dark n/v C. Hat band: yes no n/v D. Hat band value: light medium dark n/a n/v
VII. OVERCOAT: yes no n/v describe:
VIII. DETAILS/ ACCESSORIES:
XI. FOOTWEAR: boot/shoe laced buckled elastic sided buttoned