Until the Early 19Th Century, a Corset and Linen Chemise Was All The

Total Page:16

File Type:pdf, Size:1020Kb

Until the Early 19Th Century, a Corset and Linen Chemise Was All The th th Until the early 19 century, a corset Queen Victoria's standards of propriety Until the early 19 century, a corset Queen Victoria's standards of propriety and linen chemise was all the underwear a were so stringent that she soon ensured and linen chemise was all the underwear a were so stringent that she soon ensured woman thought necessary or even that the fashion for underpants would woman thought necessary or even that the fashion for underpants would desirable. It wasn't until the turn of the become a staple article of clothing in every desirable. It wasn't until the turn of the become a staple article of clothing in every the turn of the century, when the use of woman's wardrobe. the turn of the century, when the use of woman's wardrobe. very light fabrics became popular, that Pantalettes, an adaptation of men's very light fabrics became popular, that Pantalettes, an adaptation of men's women even considered wearing pantaloons, were the earliest style of women even considered wearing pantaloons, were the earliest style of underpants as a necessity for added underpants used by women. They were underpants as a necessity for added underpants used by women. They were warmth. When the crinoline was also called drawers because they were warmth. When the crinoline was also called drawers because they were introduced toward the middle of the composed of two separate leg sections introduced toward the middle of the composed of two separate leg sections century, its tendency to fly up at that were tied on at the waist with century, its tendency to fly up at that were tied on at the waist with inopportune moments created yet another drawstrings. Early on, these were inopportune moments created yet another drawstrings. Early on, these were need for underpants. considered a fashion accessory and were need for underpants. considered a fashion accessory and were decorated with frills and lace and allowed decorated with frills and lace and allowed to hang several inches below the hemline. to hang several inches below the hemline. By the middle of the century, drawers were By the middle of the century, drawers were connected at the waist, though the crotch connected at the waist, though the crotch was still left open. The loose style of the was still left open. The loose style of the garment, however, accommodated the garment, however, accommodated the opening and afforded a degree of modesty. opening and afforded a degree of modesty. Until the early 19th century, a corset Queen Victoria's standards of propriety Until the early 19th century, a corset Queen Victoria's standards of propriety and linen chemise was all the underwear a were so stringent that she soon ensured and linen chemise was all the underwear a were so stringent that she soon ensured woman thought necessary or even that the fashion for underpants would woman thought necessary or even that the fashion for underpants would desirable. It wasn't until the turn of the become a staple article of clothing in every desirable. It wasn't until the turn of the become a staple article of clothing in every the turn of the century, when the use of woman's wardrobe. the turn of the century, when the use of woman's wardrobe. very light fabrics became popular, that Pantalettes, an adaptation of men's very light fabrics became popular, that Pantalettes, an adaptation of men's women even considered wearing pantaloons, were the earliest style of women even considered wearing pantaloons, were the earliest style of underpants as a necessity for added underpants used by women. They were underpants as a necessity for added underpants used by women. They were warmth. When the crinoline was also called drawers because they were warmth. When the crinoline was also called drawers because they were introduced toward the middle of the composed of two separate leg sections introduced toward the middle of the composed of two separate leg sections century, its tendency to fly up at that were tied on at the waist with century, its tendency to fly up at that were tied on at the waist with inopportune moments created yet another drawstrings. Early on, these were inopportune moments created yet another drawstrings. Early on, these were need for underpants. considered a fashion accessory and were need for underpants. considered a fashion accessory and were decorated with frills and lace and allowed decorated with frills and lace and allowed to hang several inches below the hemline. to hang several inches below the hemline. By the middle of the century, drawers were By the middle of the century, drawers were connected at the waist, though the crotch connected at the waist, though the crotch was still left open. The loose style of the was still left open. The loose style of the garment, however, accommodated the garment, however, accommodated the opening and afforded a degree of modesty. opening and afforded a degree of modesty. By the 1870's, drawers became and By the 1870's, drawers became and “unmentionable” part of a woman's “unmentionable”In 18th century part ofAmerica a woman's hard wardrobe. It was no longer appropriate th wardrobe.work and It was industry no longer were appropriate the th to show off ones undergarments so they 19 Century to showorder off of ones the undergarments day and a girlsso they 19 Century were shortened to just below the knee. Underwear were petticoatsshortened to justreflected below the this knee. Underwear Despite this, many women still took pains Despitelifestyle. this, many To be women able still to tookcarry pains a to embellish their drawers with frills and to embellish their drawers with frills and lace much to the chagrin of those whe lacechild much or toan the arm chagrin load of ofthose laundry whe thought it a waste of materials. thoughtand step it a waste up into of materials. the house or to walk up a hill without Remarkable Women to Learn About: Remarkableneeding Womento pick to up Learn ones About: skirt, Dolly Madison, Queen Victoria, Jane Dollythe lengthMadison, of Queen the Victoria,petticoat Jane was Austen, Susan B. Anthony, Elizabeth Austen,generally Susan cut B. Anthony, just a fewElizabeth inches Blackwell, Laura Ingalls Wilder, Louisa Blackwell, Laura Ingalls Wilder, Louisa May Alcott Mayabove Alcott the ankle. On the flip side, this dress length was also well suited for showing off ones “clocked” stockings and pretty metal shoe buckles ©2011 Shari Fuller, All Rights Reserved ©2011 Shari Fuller, All Rights Reserved By the 1870's, drawers became and By the 1870's, drawers became and th “unmentionable” part of a woman's “unmentionable”InIn 18 18th century century part ofAmerica America a woman's hard hard wardrobe. It was no longer appropriate 19th Century wardrobe.workwork and andIt was industry industry no longer were wereappropriate the the 19th Century to show off ones undergarments so they to showorderorder off of onesof the the undergarments day day and and a a girlsso girls they were shortened to just below the knee. were shortened to just below the knee. Underwear petticoatspetticoats reflected reflected this this Underwear Despite this, many women still took pains Despitelifestyle. this, many To be women able still to tookcarry pains a to embellish their drawers with frills and tolifestyle. embellish their To drawers be able with to frills carry and a lace much to the chagrin of those whe lacechildchild much or or toan an the arm arm chagrin load load of of thoseof laundry laundry whe thought it a waste of materials. thoughtandand step stepit a waste up up into ofinto materials. the the house house or or toto walk walk up up a a hill hill without without Remarkable Women to Learn About: Remarkableneedingneeding Womento to pick pick to up upLearn ones ones About: skirt, skirt, Dolly Madison, Queen Victoria, Jane Dolly Madison, Queen Victoria, Jane thethe length length of of the the petticoat petticoat was was Austen, Susan B. Anthony, Elizabeth Austen,generally Susan cut B. Anthony, just a fewElizabeth inches Blackwell, Laura Ingalls Wilder, Louisa Blackwell,generally Laura cut Ingalls just Wilder, a few Louisa inches May Alcott Mayaboveabove Alcott the the ankle. ankle. On On the the flip flip side,side, this this dress dress length length was was also also wellwell suited suited for for showing showing off off onesones “clocked” “clocked” stockings stockings and and prettypretty metal metal shoe shoe buckles buckles ©2011 Shari Fuller, All Rights Reserved ©2011 Shari Fuller, All Rights Reserved.
Recommended publications
  • Femininity and Dress in fic- Tion by German Women Writers, 1840-1910
    ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Scripts, skirts, and stays: femininity and dress in fic- tion by German women writers, 1840-1910 https://eprints.bbk.ac.uk/id/eprint/40147/ Version: Full Version Citation: Nevin, Elodie (2015) Scripts, skirts, and stays: femininity and dress in fiction by German women writers, 1840-1910. [Thesis] (Unpub- lished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Scripts, Skirts, and Stays: Femininity and Dress in Fiction by German Women Writers, 1840-1910 Elodie Nevin Thesis submitted for the degree of PhD in German 2015 Department of European Cultures and Languages Birkbeck, University of London Declaration for PhD thesis I have read and understood the regulations for students of Birkbeck, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Signed: Date: 12/08/2015 2 Abstract This thesis examines the importance of sartorial detail in fiction by German women writers of the nineteenth century. Using a methodology based on Judith Butler’s gender theory, it examines how femininity is perceived and presented and argues that clothes are essential to female characterisation and both the perpetuation and breakdown of gender stereotypes.
    [Show full text]
  • The Shape of Women: Corsets, Crinolines & Bustles
    The Shape of Women: Corsets, Crinolines & Bustles – c. 1790-1900 1790-1809 – Neoclassicism In the late 18th century, the latest fashions were influenced by the Rococo and Neo-classical tastes of the French royal courts. Elaborate striped silk gowns gave way to plain white ones made from printed cotton, calico or muslin. The dresses were typically high-waisted (empire line) narrow tubular shifts, unboned and unfitted, but their minimalist style and tight silhouette would have made them extremely unforgiving! Underneath these dresses, the wearer would have worn a cotton shift, under-slip and half-stays (similar to a corset) stiffened with strips of whalebone to support the bust, but it would have been impossible for them to have worn the multiple layers of foundation garments that they had done previously. (Left) Fashion plate showing the neoclassical style of dresses popular in the late 18th century (Right) a similar style ball- gown in the museum’s collections, reputedly worn at the Duchess of Richmond’s ball (1815) There was public outcry about these “naked fashions,” but by modern standards, the quantity of underclothes worn was far from alarming. What was so shocking to the Regency sense of prudery was the novelty of a dress made of such transparent material as to allow a “liberal revelation of the human shape” compared to what had gone before, when the aim had been to conceal the figure. Women adopted split-leg drawers, which had previously been the preserve of men, and subsequently pantalettes (pantaloons), where the lower section of the leg was intended to be seen, which was deemed even more shocking! On a practical note, wearing a short sleeved thin muslin shift dress in the cold British climate would have been far from ideal, which gave way to a growing trend for wearing stoles, capes and pelisses to provide additional warmth.
    [Show full text]
  • The Nineteenth Century (History of Costume and Fashion Volume 7)
    A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45.
    [Show full text]
  • Women in Pants: a Study of Female College Students Adoption Of
    WOMEN IN PANTS: A STUDY OF FEMALE COLLEGE STUDENTS ADOPTION OF BIFURCATED GARMENTS AT THE UNIVERSITY OF GEORGIA FROM 1960 TO 1974 by CANDICE NICHOLE LURKER SAULS Under the direction of Patricia Hunt-Hurst ABSTRACT This research presented new information regarding the adoption of bifurcated garments by female students at the University of Georgia from1960 to 1974. The primary objectives were to examine photographs of female students at the University of Georgia in The Pandora yearbooks as well as to review written references alluding to university female dress codes as well as regulations and guidelines. The photographs revealed that prior to 1968 women at UGA wore bifurcated garments for private activities taking place in dorms or at sorority houses away from UGA property. The study also showed an increase in frequency from 1968 to 1974 due to the abolishment of the dress code regulations. In reference to the specific bifurcated garments worn by female students, the findings indicated the dominance of long pants. This study offers a sample of the changes in women’s dress during the tumultuous 1960s and 1970s, which then showed more specifically how college women dressed in their daily lives across America. INDEX WORDS: Dress Codes, Mid Twentieth Century, University of Georgia, Women’s Dress WOMEN IN PANTS: A STUDY OF FEMALE COLLEGE STUDENTS ADOPTION OF BIFURCATED GARMENTS AT THE UNIVERSITY OF GEORGIA FROM 1960 TO 1974 by CANDICE NICHOLE LURKER SAULS B.S.F.C.S., The University of Georgia, 2005 B.S.F.C.S., The University of Georgia, 2007
    [Show full text]
  • Formal Architecture in the Novels of Edith Wharton
    ‘A Construction in the Void’ Formal Architecture in the Novels of Edith Wharton By Isabel Parker A thesis submitted to Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English Literature Victoria University of Wellington 2020 i Contents Acknowledgements…………………………………………………………………..ii Abstract……………………………………………………………………………..iv-v Introduction: An Old-Fashioned Aesthetic……………………………………….1-17 1. Bridging the Abyss Between Realism and Modernism…………………………………………....18-48 2. The Gap Within Wharton’s The House of Mirth……………………………………………….49-86 3. Housing ‘The Flower of Life’ Wharton’s The Age of Innocence……………………………………………87-119 Conclusion……………………………………………………………………. 120-125 Works Cited……………………………………………………………………126-135 Figure List……………………………………………………………………...136-137 ii Acknowledgements First and foremost, I wish to express my sincere appreciation to my supervisor Dr. Adam Grener for his patience, encouragement and invaluable intellectual insight into this project. I could not have created such an ‘aesthetic container’ without your excellent guidance—especially amidst the outbreak of a global pandemic! I am immensely grateful to Victoria University for the financial support in the form of a Master’s by Thesis Scholarship, and am very thankful for the generous assistance I received in the Elaine Geering Scholarship. A never-ending thank you to my parents, for your constancy and unfailing encouragement, my siblings and cousin for keeping me level-headed, and my friends for the welcome distractions from the lonely eighth floor. Lastly, thank you to Tim, for reminding me that “the last shadow of reality” resides in the world outside Von Zedlitz. iii iv Abstract Edith Wharton has been persistently framed as an author detached from the ‘modern’ twentieth century literary world she inhabited.
    [Show full text]
  • Civil War Period Fashions 3'
    21 Civil War Period fashions 3' MariZynn Cashin 2253 West 8th Streef South Plainjieid, N.J. 07080 (202 ) 755-90 27 This catalog represents a few of the styles available to the well-dressed lady. Although the garments shown are somewhat plain, you may choose from a wide assortment of trims to create an elaborately decorated gown. Some of the trims used were: piping, various sizes of lace, ribbons, braid, rick-rack, bias tape and applique'. 1 try to keep a wide assortment of'trims on hand. Because tastes differ, the choice of COLOR, SIZE, STYLE and PLACEMENT of the trim is left up to you. Please indicate your choice when placing your order, or you may leave the choice up to my judgement. you will be notified of the cost of the trim and labor involved before the garment is started. SEAM All inside seams are finished by overlocking zigzag or J=ZNISHZM~ pinking. Gowns used in certain competitions should have hand finished seams. Please indicate this when placing your order, and add 20% to the total price of the gown. CUSTOM If you have not found the style dtess you would like in TAILORING/ this catalog, and you have a detailed picture or drawing, SPECZAL I will custom make the style desired if possible,. Price REQUESTS will be determined at the time of order. you supply all fabric and trim on ;.terns marked LABOR ONLY. Or you may send a color sample or fabric swatch and Z will try to match it as closely as possible, you may also choose from the trims Z have on hand.
    [Show full text]
  • APPENDIX D 10 June 2020 Board Minutes - Appendices
    APPENDIX D 10 June 2020 Board Minutes - Appendices APPENDIX D OF RESOLUTION 6-6-20 THE UNIVERSITY OF AKRON FY2020/21 RATE CHANGES – Course Fees Buchtel College of Arts & Sciences • Establish course fee: o Course 018274:3100:401 (Human Anatomy for Biology Majors) $140 College of Applied Science and Technology • Establish course fee: o Course 002850:121 (Corrosion Testing Lab) $75 o Course 002850:220 (Corrosion Control Lab) $75 o Course 002850:221 (Individual Projects Lab) $100 The LeBron James Family Foundation College of Education • Eliminate course fee: o Course 013021:5200:425 (Adv Integrated Primary Curriculum) $20 College of Polymer Science and Polymer Engineering • Eliminate course fee: o Course 006920:9871:401 (Introduction to Elastomers) $50 o Course 006921:9871:402 (Introduction to Plastics) $50 o Course 006922:9871:407 (Polymer Science) $50 • Establish course fees: o Course 018397:9871:405 (Polymer Science Laboratory) $60 o Course 006875:9841:451 (Polymer Engineering Laboratory) $75 College of Health Professions • Increase Masters/Doctoral course fee: o Course 004645:5600:647 (Career Dev&Coun Acrs Life-Span) from $35 to $45 o Course 004648:5600:651 (Techniques of Counseling) from $25 to $35 o Course 004683:5600:656 (Asmt Mth&Tr Iss:Marriage &Family Therapy) from $25 to $35 o Course 004660:5600:675 (Pract: Counseling) from $25 to $60 o Course 004667:5600:702 (Advanced Counseling Practicum) from $25 to $60 o Course 004674:5600:714 (Evaluation of Mental Status) from $25 to $40 • Establish Masters and/or Doctoral course fee: o Course
    [Show full text]
  • Here/There, Now/Then, Both/And Regionalism and Cosmopolitanism in Edith Wharton’S Old New York
    7 Here/There, Now/Then, Both/And Regionalism and Cosmopolitanism in Edith Wharton’s Old New York June Howard It may seem strange to turn to Edith Wharton’s Old New York for insight into the international and cosmopolitan dimensions of her work. Indeed, this relatively little read volume sits slightlyCOPY askew in any easily available cat- egory. It is not a novel but a complexly connected group of four “novellas.” It could be called local color because, as the title proclaims, it portrays a very particular place. But it hasn’t been, as it is located in the metropolis, and that term is usually reserved for tales set in rural New England landscapes like Ethan Frome and Summer. It is focused on the nineteenth century, with the subtitle of each tale specifying a decade in sequence from the 1840s to the 1870s; yet its publication in 1924 makes it a relatively late work, and its per- spective is clearly modern. This essay argues for unsettling literary-historical categories, reading through the lens of regionalism to help us to recognize the volume as a sophisticated rendering of the paradoxical place of cosmo- UPFpolitanism in American cultural history and the recursive relation of those fundamental categories: time and place. Each of these four stories can stand alone, and they have an interesting history of separate publication. They are also linked by common themes and techniques and are far more resonant Regionalism and Cosmopolitanism in Wharton’s Old New York · 167 when read—as Wharton intended them to be—together.1 Each is firmly set in New York City and frequently invokes European, usually Italian, as- sociations and travel.
    [Show full text]
  • THE FRENCH REVOLUTION to the VIETNAM WAR Lecture Outlines & Course Materials
    THE 334: Costume History II THE FRENCH REVOLUTION TO THE VIETNAM WAR Lecture Outlines & Course Materials Instructor: Lauren M. Lowell Costume History II Breeches THE 334 Trousers Outline 1 Pantaloons Empire/Regency Braces Caped Collar Top Hats I. 19th Century Overview Bicornes A. France Caps B. Great Britain IV. Fashion Rebels C. United States A. Merveilluese D. Industrial Revolution B. Incroyables 1. Mechanization V. Symbols of the French Revolution 2. Mass Migration Cockade E. 19th Century Morality Bonnet Rouge F. Dress Reform Sans Culottes 1. Suffragists Carmagnole 2. Bloomer Costume G. Greek Revival H. French Revolution I. Production and Acquisition of Textiles J. Hygiene II. Women A. 1789‐1799‐French Revolution B. 1800‐1815‐ French Empire/Neo‐ Classical C. 1815‐1825‐ Late Neo‐Classical D. Garments Chemise Drawers Corsets/Stays Long Corsets Petticoat Pantalettes Padded Rolls Grecian Bend Fichu Surplice Neckline Court Mantle Spencer Shawls Reticules/Indispensibles III. Men A. “Beau” Brummel B. Garments Shirt Ears Cravat Coat Waistcoat Costume History II THE 334 Outline 2 Romantic The Romantic Period: 1820‐1850 I. Romantic Ideas A. Middle Ages II. Women’s Social Roles vs. Clothing Styles III. Prudery IV. Textile Advances V. Sources A. Godey’s Lady’s Book B. Peterson’s Magazine C. Daguerreotypes VI. Women Morning Dresses Day Dresses Promenade/Walking Dresses Sleeve Pillows Marie Sleeve Gigot/Leg‐o‐mutton Sleeve Demi‐Gigot Imbecile/Idiot Sleeve Bishop Sleeve Undersleeves Moire En Coeur Tuckers/Chemisettes Pelerines A la Chinoise Bavolet Gaiters Galoshes Mitts Chatelaines VII. Men Frock Coat Greatcoat Garrick Paletot Mackintosh Top Hat Gibus Derby/Bowler Spatterdashers/Spats Costume History II THE 334 Outline 3 Crinoline I.
    [Show full text]
  • FM-ALOF 2005 Catalog 1/21/05 9:38 AM Page 2
    FM-ALOF 2005 Catalog 1/21/05 9:38 AM Page 2 Enjoy this lovely heroine and her deluxe collection of books, wardrobe, and accessories. Violet’s collection includes the presentation doll and accessory set, five complete costumes, five accessory sets, books 1–4 in a boxed set, “Jam” the kitten, and the exclusive A Life of Faith trunk. 77000: Violet Deluxe Collection, 15 pieces: $499.99 Direct Mail Only Also available The Elsie Dinsmore and Millie Keith Deluxe Collections 44000: Elsie Deluxe Collection, 13 pieces: $499.99 Direct Mail Only 55000: Millie Deluxe Collection, 12 pieces: $499.99 Direct Mail Only Each deluxe collection includes the presentation doll and accessory set, plus a variety of each doll’s fabulous costumes, unique accessories, books 1–4 in a boxed set, and the A Life of Faith trunk. Violet’s Deluxe Collection includes: Elsie’s Deluxe Collection includes: Millie’s Deluxe Collection includes: 77999 The Violet Travilla Doll 44999 The Elsie Dinsmore Doll 55999 The Millie Keith Doll 77101 Violet’s Presentation Accessory Set 44101 Elsie’s Presentation Accessory Set 55101 Millie’s Presentation Accessory Set 77113 Violet’s School Apron 44113 Elsie’s School Pinafore and Hat 55112 Millie’s Afternoon Visiting Ensemble 2005 77114 Violet’s Morning Dress Ensemble 44112 Elsie’s Eyelet Recital Dress 55115 Millie’s Split Skirt Riding Habit 77115 Violet’s Elegant Walking Suit 44115 Elsie’s Blue Merino Coat Ensemble 55120 Millie’s Calico Undergarments 77117 Violet’s Batiste Nightdress 44125 Elsie’s Blue Undergarments 55117 Millie’s Nightdress
    [Show full text]
  • FULL SKIRTS, ALSO SHORT SKIRTS, SCANTY SKIRTS and PANTALETTES Mr Ki.Cwor Iiuvr Iiihim Mi
    6 THE SUN, SUNDAY, OCTOBER 31, 1915. FULL SKIRTS, ALSO SHORT SKIRTS, SCANTY SKIRTS AND PANTALETTES Mr ki.cwor iiuvr iiihim mi. fur often saves it from being fright- rvr :i tight skirl worn'' Yes, Pantalettes, All Sorts of Fluffy Ones of Net and Lace fully unbecoming, and so the designers WAS so the woman who WON are making great use of this narrow It does not remember It. Silk, Some fur band about the collar top and on There Ik something amazing and and of Them are Fur Trimmed, the sleeves, the sleeve bund being nhout fern. nine adaptability ao fnr as either at the wrist or, as Is often the fsshlnn Is concerned In ull other mat-ter- n While Some Show Gleams of Silver and Gold. case, where a long, close cuff of the she may be headstrong, opinion-- a skirt material goes with the full upper ted, frankly stubborn: but when being drawn In, and a casual fiance velvet and chiffon or velvet and silk copied by the ready to wear nianu-o- r sleeve of aheer atuff at the top of thla Fashion nays "Thumbs up" her would hardly distinguish between the velvet and tulle would be rlilc and facturers to be exclusive or desirable, cuff. thiimlw turn upward of their own voli- hlfu mued garment and a narrow un- less impracticable. but he white Is but the Idea In It la capable of In- A good adjustment of the bretellea tion, and when Fashion says "Thumbs derskirt. lovely. finite modification! and variations, that refuse to be discarded Is shown down" down they (to.
    [Show full text]
  • The Birth of American Sportswear Atricia Campbell Warner
    University of Massachusetts Amherst ScholarWorks@UMass Amherst University of Massachusetts rP ess Books University of Massachusetts rP ess 2006 When the Girls Came Out to Play: The irB th of American Sportswear Patricia Campbell Warner Follow this and additional works at: https://scholarworks.umass.edu/umpress_books Part of the History Commons, and the Women's Studies Commons Recommended Citation Warner, Patricia Campbell, "When the Girls Came Out to Play: The irB th of American Sportswear" (2006). University of Massachusetts Press Books. 5. https://scholarworks.umass.edu/umpress_books/5 This Book is brought to you for free and open access by the University of Massachusetts rP ess at ScholarWorks@UMass Amherst. It has been accepted for inclusion in University of Massachusetts rP ess Books by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. WHEN THE GIRLS CAME OUT TO PLAY WHEN THE GIRLS CAME OUT TO PLAY The Birth of American Sportswear atricia Campbell Warner UNIVERSITY OF MASSACHUSETTS PRESS Amherst and Boston Copyright © 2006 by Patricia Campbell Warner All rights reserved Printed in the United States of America LC 2006003037 ISBN 1-55849-548-7 (library cloth ed.); 549-5 (paper) Designed by Sally Nichols Set in Monotype Walbaum Printed and bound by The Maple-Vail Manufacturing Group Library of Congress Cataloging-in-Publication Data Warner, Patricia Campbell, 1936– When the girls came out to play : the birth of American sportswear / Patricia Campbell Warner. p. cm. Includes bibliographical references and index. ISBN 1-55849-549-5 (pbk. : alk. paper)—ISBN 1-55849-548-7 (library cloth : alk.
    [Show full text]