DOCSLIB.ORG

My Grandmother's Dresses and Mine Hazel B

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
My Grandmother's Dresses and Mine Hazel B Volume 8 Article 5 Number 9 The Iowa Homemaker vol.8, no.9 1928 My Grandmother's Dresses and Mine Hazel B. McKibben Iowa State College Follow this and additional works at: http://lib.dr.iastate.edu/homemaker Part of the Home Economics Commons Recommended Citation McKibben, Hazel B. (1928) "My Grandmother's Dresses and Mine," The Iowa Homemaker: Vol. 8 : No. 9 , Article 5. Available at: http://lib.dr.iastate.edu/homemaker/vol8/iss9/5 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in The oI wa Homemaker by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. THE IOWA HOMEMAKER My Grandmother's Dresses and Mine Hazel B. McKibben, Instructor in Education ANY times Home Economics Club Grandmother dressed when she was a I could almost get a skirt out of one of M girls, and their teachers as well, girH (Turning over pages.) I exper.t them. say: ' ' Oh, I wish I had a little she liked pretty clothes just as well as Mary-Yes, they are pretty big, but playlette that I could put on for this or I do. Ho-hum mm, this makes mt' aren't you glad that we don't have to that program.'' Here is one which you sleepy. I guess I'll take a little nap be­ ehoke behind high collars like that~ And may use, if you wish. It is written for fore Mother gets home. that waist line! (Holding her hands up high school girls, but could easily be Curtain to show the size, then getting her own adapted to college usc. Scene II. and showing the relative position of her Stage Setting- 'rhe Ji'rench doors are open and tho hands. ) WhPw! A living room of the present day, with paper frame is up--softer light and a Lois- ·Th()y don't compare, they don't the following arrangement: spot on the door when the girls in old­ compare, Mary. It's all contrast. 1. Sectional book cases with an ap· fashioned dresses appear. Ethel is :Mary (good naturedly trying to push propriate picture above each. asleep on the davenport and the album Lois off her stool)-That 's all right, 2. Davenport with the old family al­ has fallen onto the floor. A knock is young lady; your athletic figure is a bum open on it and an old Paisley shawl heard outside, but Ethel sleeps on. Mary contrast too when you talk about such thrown carelessly over it. and Lois come in. Mary is wearing a waist lines as that. :l. Davenport table. school suit and Lois a tailored dress. 4. Coxwell chair and stool. Lois-Well, no wonder Ethel did not Lois (Jaughing)-Yes, I suppose so. 5. Or.casional table and lamp. come to the door-there she is fast I woncler what else there is in here. 6. Floor lamp. asleep! (A knock is heard at the door. Girls 7. Large ferns on stands. Mary-The nerve of her! Say---;I tell start. Look at each other-hesitate-and There should be a wrapping paper you what let's do. Lois goes to the door-opens it.) Oh, frame of this nature, which will be large Lois- WhaH hello, girls-be quiet so you won't enough to fasten with thumb tacks to the Mary- Let's stay right here until she waken Eth('l. (Jane and Mabel enter frame of the French doors. On this wakes up. We'll teach the young lady to a.ttirecl in school clothes.) paper should he a design similar to those sleep when ~he has callers! Jane-Is she sicH found in old albums. Icois (grinning)-That would be fun. Mary-No, I don't think so. We just Between Scenes I and II the French What shall we do in the meantime ~ stopped in for a minute on the way home doors should be opened clear back and (Both start looking around.) from school and there she was fast asleep. the frame tacked into place. Mary-Here is an old family album Mabel (who .is carrying a box under French doors and window should be like we have in our attic. Let's look at her a.rm)-Oh, dear, a.nd I wanted to curtained according to present day stand­ the funny old pictures in it. show her my new party dress that I got ards. Lois-That's a good suggestion. Come for the Junior-Senior Prom. Characters- on over here where we can look at it to· Lois-Oh, let's see it, Mabel. I don't Ethel-school girl in whose home the gether. have mine yet. sceen is laid. (They sit, Mary in the Coxwell chair, Mabel shows it to the girls. Exclama­ Mary, Lois, Jane, Mabel, Doris­ and then Lois pulls the stool up close to tions of "Oh, how sweet! " "Isn't that friends of Ethel. it so they can look on together. Backs adorable! " "J·ust darling! " etc. Three girls with old-fashioned cos­ are to the French doors.) Mary- I tell you what, Lois and I tumes. Mary (laughing)-Well, now, if that have been looking through this old al­ Tim~pring of this year. isn't the funniest thing. What is it, any­ bum thinking that Ethel may waken Scene-Living room of Ethel's home. how (First model appears at door and soon, so you girls stay, too, and then you Scene I. walks slowly out a few steps, poses­ ca.n show her your dress, Mabel. Ethel enters R. (She is just home turns and goes back, slowly. This moclel Mabel- That suits me, all right. from school, carrying her books. Her wears an old-fashioned suit with a bustle (Leaves clr<'SS out over the occasional clothes are attractive, but not elaborate :mel a little olcl hat of the same periocl table.) -coat and hat of sports type, tailored that sets on top of the head. Jane-Oh, that would be fun-! vote dress, school shoes, etc. Throws books Lois-Why, Willy, that's a suit like for the affirmative. (Mabel and Jane down and taking off coat and hat, she our grandmothers wore. sit on the arms of the chair. Lois rc· calls to her mother) : Mary-It cm-tainly is different from sumes her seat on the stool.) Mother! Oh, Mother! (goes to door mine. Really, now, you woulcl almost Mary- Here is the next one. Oh! how I, and looks into other room) Mother! think the poor woman was deformed. perfectly adorable! (Model III enters (earning baek to davenport and throws Lois-And that hat! It is a good wearing a hoop skirt dress, short sleeves, coat and hat on the arm.) Oh, I for­ thing she has that ribbon under her low neck, mitts, poke bonnet, pantalettes got, this is the afternoon the club meets chin or the first breeze would sure take show beneath the skirt-A dainty, color­ and Mother won't be home for an hour it sailing. Anyhow, it's kind of a cute ful costume.) yet. (Noticing the album and shawl.) old thing. Mabel- Isn't she sweet~ Why, that is WPll, look what Patsy dragged down Mary-Let's see what's on the next almost nicer than mine. from the attic! She certainly does 1ind page. Lois-Wouldn't people have been f verything--even my letters! -and reads (Turns page.) shocked· if girls like this one would have them, too! I hope she plays over at (The next model appears in a leg o' worn party dresses like we have now~ H~len 's until Mother comes home, she mutton sleeve dress--high collar, basque Long skirts and pantalettes so the bothers me so! (She drops down on dav­ waist and full skirt. She promenades as ankles don't show, and ours- enport and lvoks at album.) What queer model one.) Jane--How could those girls sit in such dresses! I WO!lder i~ that's the wa-, my J_,ois-Such sleeves! I actually believe ( Continuell on page 15) T H E I O WA HO MEMAKER i5 cept for a gas light here and there. Shut· Lois (jumping up and running to the Scene III. ters were drawn down over all the shop door)-Oh, dear, dear-Ethel will be Ethel is 8till asleep on the davenport. windows and it was so quiet that the sure to waken-(opens door)-Keep still, The frame is gone and the doors are horses' footsteps echoed throughout the Doris, Ethel is asleep. back in their normal positions. Ethel streets. We drove past the old ruins of Doris (rushes in-school girl costume) wakens-sits up, rubs her eyes and 1 he Forum, which are in a valley between -Oh, Gee! I'm glad to find you all speaks)-" Have I been dreaming or was the Palatine and the Quirinal hills. Then here. Come on downtown with me. I'm there someone actually here-people we passed the Colosseum, which almost going to get my new Prom dress tonight. with funny old clothes. (Looks down at frightens one with its grandeur in the l\fary-\Vlll we go~ I'll say so. Come the album and picks it up.) Why, there evening. Next, we passed the Forum of on, girls. is a picture of the girl with the adorable Trojan, which has been excavated, and (Mabel picks up her dress and box old hoop skirt and poke bonnet.
Load more

Recommended publications
  • Clothing of Kansas Women, 1854-1870
    CLOTHING OF KANSAS WOMEN 1854 - 1870 by BARBARA M. FARGO B. A., Washburn University, 1956 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF SCIENCE Department of Clothing, Textiles and Interior Design KANSAS STATE UNIVERSITY Manhattan, Kansas 1969 )ved by Major Professor ACKNOWLEDGMENTS The author wishes to express sincere appreciation to her adviser, Dr. Jessie A. Warden, for her assistance and guidance during the writing of this thesis. Grateful acknowledgment also is expressed to Dr. Dorothy Harrison and Mrs. Helen Brockman, members of the thesis committee. The author is indebted to the staff of the Kansas State Historical Society for their assistance. TABLE OP CONTENTS PAGE ACKNOWLEDGMENT ii INTRODUCTION AND PROCEDURE 1 REVIEW OF LITERATURE 3 CLOTHING OF KANSAS WOMEN 1854 - 1870 12 Wardrobe planning 17 Fabric used and produced in the pioneer homes 18 Style and fashion 21 Full petticoats 22 Bonnets 25 Innovations in acquisition of clothing 31 Laundry procedures 35 Overcoming obstacles to fashion 40 Fashions from 1856 44 Clothing for special occasions 59 Bridal clothes 66 SUMMARY AND CONCLUSIONS 72 REFERENCES 74 LIST OF PLATES PLATE PAGE 1. Bloomer dress 15 2. Pioneer woman and child's dress 24 3. Slat bonnet 30 4. Interior of a sod house 33 5. Children's clothing 37 6. A fashionable dress of 1858 42 7. Typical dress of the 1860's 47 8. Black silk dress 50 9. Cape and bonnet worn during the 1860's 53 10. Shawls 55 11. Interior of a home of the late 1860's 58 12.
    [Show full text]
  • 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]
  • Dress Code Is a Presentation of Who We Are.” 1997-98 Grand Officers
    CLOTHING GUIDELINES: MEMBERS AND ADULTS (Reviewed annually during Grand Officer Leadership; changes made as needed) Changes made by Jr. Grand Executive Committee (November 2016) “A dress code is a presentation of who we are.” 1997-98 Grand Officers One of the benefits of Rainbow is helping our members mature into beautiful, responsible young women - prepared to meet challenges with dignity, grace and poise. The following guidelines are intended to help our members make appropriate clothing choices, based on the activities they will participate in as Rainbow girls. The Clothing Guidelines will be reviewed annually by the Jr. Members of the Grand Executive Committee. Recommendations for revisions should be forwarded to the Supreme Officer prior to July 15th of each year. REGULAR MEETINGS Appropriate: Short dress, including tea-length and high-low length, or skirt and blouse or sweater or Nevada Rainbow polo shirt (tucked in) with khaki skirt or denim skirt. Vests are acceptable. Skirt length: Ideally, HEMS should not be more than three inches above the knee. Skirts, like pencil skirts that hug the body and require “adjustment” after bowing or sitting, are unacceptable. How to tell if a skirt has a Rainbow appropriate length? Try the “Length Test”, which includes: When bowing from the waist, are your undergarments visible, or do you need to hold your skirt - or shirt - down in the back? If so, it's too short for a Rainbow meeting. Ask your mother or father to stand behind you and in front of you while you bow from the waist. If she/he gasps, the outfit is not appropriate for a Rainbow meeting.
    [Show full text]
  • SWART, RENSKA L." 12/06/2016 Matches 149
    Collection Contains text "SWART, RENSKA L." 12/06/2016 Matches 149 Catalog / Objectid / Objname Title/Description Date Status Home Location O 0063.001.0001.008 PLAIN TALK TICKET 1892 OK MCHS Building Ticket Ticket to a Y.M.C.A. program entitled "Plain Talk, No. 5" with Dr. William M. Welch on the subject of "The Prevention of Contagion." The program was held Thursday, October 27, 1892 at the Central Branch of the YMCA at 15th and Chestnut Street in what appears to be Philadelphia O 0063.001.0002.012 1931 OK MCHS Building Guard, Lingerie Safety pin with chain and snap. On Original marketing card with printed description and instructions. Used to hold up lingerie shoulder straps. Maker: Kantslip Manufacturing Co., Pittsburgh, PA copyright date 1931 O 0063.001.0002.013 OK MCHS Building Case, Eyeglass Brown leather case for eyeglasses. Stamped or pressed trim design. Material has imitation "cracked-leather" pattern. Snap closure, sewn construction. Name inside flap: L. F. Cronmiller 1760 S. Winter St. Salem, OR O 0063.001.0002.018 OK MCHS Building Massager, Scalp Red Rubber disc with knob-shaped handle in center of one side and numerous "teeth" on other side. Label molded into knob side. "Fitch shampoo dissolves dandruff, Fitch brush stimulates circulation 50 cents Massage Brush." 2 1/8" H x 3 1/2" dia. Maker Fitch's. place and date unmarked Page 1 Catalog / Objectid / Objname Title/Description Date Status Home Location O 0063.001.0002.034 OK MCHS Building Purse, Change Folding leather coin purse with push-tab latch. Brown leather with raised pattern.
    [Show full text]
  • 1 Clothing Guidelines: Members And
    CLOTHING GUIDELINES: MEMBERS AND ADULTS (Reviewed annually during Grand Officer Leadership; changes made as needed) “A dress code is a presentation of who we are.” 1997-98 Grand Officers One of the benefits of Rainbow is helping our members mature into beautiful, responsible young women - prepared to meet challenges with dignity, grace and poise. The following guidelines are intended to help our members make appropriate clothing choices, based on the activities they will participate in as Rainbow girls. REGULAR MEETINGS Appropriate: Short dress, including tea-length and high-lows length, or skirt and blouse or sweater or Nevada Rainbow polo shirt (tucked in) with khaki skirt or denim skirt. Vests are acceptable. Grandie shifts that resemble a short dress are acceptable; Grandie shifts that are more costume than short dress are not acceptable (except during practice). Skirt length: HEMS cannot be shorter than three inches above the knee. Skirts, like pencil skirts that hug the body and require “adjustment” after bowing or sitting, are unacceptable. How to tell if a skirt has a Rainbow appropriate length? Try the “Length Test”, which includes: When bowing from the waist, are your undergarments visible, or do you need to hold your skirt - or shirt - down in the back? If so, it's too short for a Rainbow meeting. Ask your mother or father to stand behind you and in front of you while you bow from the waist. If she/he gasps, the outfit is not appropriate for a Rainbow meeting. Please select something a little longer and/or shows less chest. Ask your mom or dad to use a tape measure to measure from the top of your knee to the bottom of your hem.
    [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]
  • Broadway Costumes 2012 Rental List
    Broadway Costumes Costume Rentals How-To’s, Contract Terms & Conditions Rental Rates & Deposits: The basic rental period is 2 nights. We do not charge for any days that Broadway Costumes is closed. Additional days rent at the rate of 20% per day plus tax. Special weekly rates and “play” rates may apply. Just inquire as to your special needs. Deposits are required and are usually twice the amount required as the stated rental rate up to and including the current retail value. Minimum deposit is $20. Deposits are not refundable for any cancellations unless 1 (one) week or more in advance, then 50% refunded. The deposit is NOT part of the rental balance. The entire rental balance is due when the costume is picked up. Deposits may be made by credit card (Visa, MasterCard, American Express) or by cash. Deposits are refunded after costume return and any applicable fees are paid. Rental Return: You must return all rented items by the date stated on the contract. Items not returned on the specified date are subject to a late fee of 20% of the basic rental rate per day late plus tax. Alterations by Broadway Costumes: Alterations and cleaning are normally included in the rental price. However, alterations may take up to two weeks at peak seasons; faster service may require an additional service charge. Alterations by Customer: NO ALTERATIONS are allowed by the customer. Any alterations done outside of Broadway Costumes will be considered as damage and will result in assessed fees. Smoking and Eating While in Costume: Be very cautious.
    [Show full text]
  • Exhibition Catalog
    The Missouri Historic Costume and Textile Collection presents FASHIONING A COLLECTION: 50 Years 50 Objects March 7 – May 20, 2017 State Historical Society of Missouri Gallery FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Missouri Historic Costume and Textile Collection Department of Textile and Apparel Management College of Human Environmental Sciences University of Missouri State Historical Society of Missouri FASHIONING A COLLECTION: 50 YEARS, 50 OBJECTS Curated by Nicole Johnston and Jean Parsons The Missouri Historic Costume and Textile Collection was established in 1967 by Carolyn Wingo to support the teaching mission of the Department of Textile and Apparel Management within the College of Human Environmental Sciences at the University of Missouri. MHCTC received its first donation of artifacts from the Kansas City Museum in Kansas City, Missouri and has grown to include over 6,000 items of apparel, accessories and household textiles donated by alumni, faculty and friends. Curator Laurel Wilson guided and nurtured the collection for over half of the Collection’s fifty years, and today, the MHCTC collects and preserves clothing and textiles of historic and artistic value for purposes of teaching, research, exhibition and outreach. This exhibit celebrates the variety and mission of the collection, and is thus organized by the three branches of that mission: education, research and exhibition. It was a challenge to choose only 50 objects as representative. We have chosen those objects most frequently used in teaching and are student favorites, as well as objects used in research by undergraduate and graduate students, faculty, and visiting scholars. Finally, favorites from past exhibits are also included, as well as objects and new acquisitions that have never been previously exhibited.
    [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]
  • Sugar Coated Alex Champagne Cornell University, [email protected]
    International Textile and Apparel Association 2018: Re-Imagine the Re-Newable (ITAA) Annual Conference Proceedings Jan 1st, 12:00 AM Sugar Coated Alex Champagne Cornell University, [email protected] Susan P. Ashdown Cornell University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons, and the Social Influence and Political Communication Commons Champagne, Alex and Ashdown, Susan P., "Sugar Coated" (2018). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 24. https://lib.dr.iastate.edu/itaa_proceedings/2018/design/24 This Design is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Cleveland, Ohio 201 8 Proceedings Sugar Coated Alex Champagne Fashion Design Major, College of Human Ecology, Cornell University Susan P. Ashdown Department of Fiber Science & Apparel Design Keywords: Truth, Corset, Hoop, Transparent Mentor Statement: This student is a second semester freshman, and created this outfit in response to a thought- provoking but difficult conceptual challenge that I proposed to my draping class. In this class I teach patternmaking and construction skills, but I have found that challenging students to think conceptually about their designs helps them to focus their work. They tend to rise to the challenge, and the best students then make design decisions guided by the need to communicate their understanding of the concept.
    [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]
  • Accompanying Label Information for Respect the Dress Exhibit
    Accompanying Label Content for Virtual Tour of Respect the Dress: Clothing and Activism In U.S. Women’s History Section I: Introduction R.E.S.P.E.C.T. the Dress: Clothing and Activism in U.S. Women’s History The year 2020 marks the 100th anniversary of the ratification of the 19th Amendment. It took many decades for advocates to reach the successful passage of federal-level suffrage for women in the United States. In the century that followed, challenges toward women’s right to vote, to hold office, and to participate fully and completely in American society remain. Advocates for and against women’s expanded rights have used clothing to define or support their mission. From bloomer costumes to bra burning, the story of women’s rights activism in the United States is filled with references to how women dress. Radical fashion choices are often given as examples revealing the equally radical behaviors of activists. Yet few women adopted the dress reform style known as bloomers in the 1850s or burned their bras during the women’s liberation movement protests in the 1970s. The 19th Amendment legally prohibited voter discrimination based on sex. Suffragists, the name U.S. activists advocating for women’s voting rights called themselves, played on and influenced the 1910s fashion for white lacy dresses, allowing them to express affiliation with women’s rights advocacy while also maintaining a less radical choice in dress. Suffragists used the three colors of white, purple, and yellow for sashes, buttons, and flags. Feminists in the 1970s and in the new millennium continue to wear these colors as a signal of support to earlier activists.
    [Show full text]