Victorian dress reform
During the middle and late Victorian period, various reformers proposed, designed, and wore clothing supposedly more rational and comfortable than the fashions of the time. This was known as the dress reform or
rational dress movement. The movement had its greatest success in the reform of women's
undergarments, which could be modified without exposing the wearer to social ridicule. Dress reformers were also influential in persuading women to adopt simplified garments for athletic activities such as bicycling or swimming. The dress reform movement was much less concerned with men's clothing.
Encyclopedia
During the middle and late
Victorian period, various reformers proposed, designed, and wore clothing supposedly more rational and comfortable than the fashions of the time. This was known as the
dress reform or
rational dress movement. The movement had its greatest success in the reform of women's
undergarments, which could be modified without exposing the wearer to social ridicule. Dress reformers were also influential in persuading women to adopt simplified garments for athletic activities such as bicycling or swimming. The dress reform movement was much less concerned with men's clothing. It did have some effects on men's undergarments, such as the widespread adoption of knitted wool
union suits or
long johns.
The bloomer suit
The new United States of America was home to a number of high-minded, evangelical women active in the
anti-slavery and
temperance movements. Experience in public speaking and political agitation led some of these women to demand emancipation for themselves. They wanted the vote and some of them wanted sensible clothing as well.
In 1851, a New England temperance activist named Elizabeth Smith Miller adopted what she considered a more rational costume: loose trousers gathered at the ankles, like the trousers worn by Middle Eastern and Central Asian women, topped by a short dress or skirt and vest. She displayed her new clothing to temperance activist and
suffragette Elizabeth Cady Stanton, who found it sensible and becoming, and adopted it immediately. In this garb she visited yet another activist,
Amelia Bloomer, the editor of the temperance magazine The Lily. Bloomer not only wore the costume, she promoted it enthusiastically in her magazine. More women wore the fashion and were promptly dubbed "Bloomers". The Bloomers put up a valiant fight for a few years, but were subjected to ceaseless ridicule in the press and harassment on the street.
Amelia Bloomer herself dropped the fashion in 1859, saying that a new invention, the
crinoline, was a sufficient reform that she could return to conventional dress. The bloomer costume died — temporarily. It was to return much later , as a women's athletic costume in the 1890s and early 1900s.
Undergarment reform
Reformers turned their attention to undergarments, which could be modified without attracting ridicule. The "emancipation union under flannel" was first sold in America in 1868. It combined a waist and drawers in the form we now know as the
union suit. While first designed for women, the union suit was also adopted by men. Indeed, it is still sold and worn today, by both men and women, as winter underclothing.
In 1878, a German professor named Gustav Jaeger published a book claiming that only clothing made of animal hair, such as wool, promoted health. A British accountant named Lewis Tomalin translated the book, then opened a shop selling Dr Jaeger’s Sanitary Woollen System, including knitted wool union suits. These were soon called "Jaegers"; they were widely popular.
Dress reformers also promoted the emancipation waist, or emancipation bodice, as a replacement for the
corset. The emancipation bodice was a tight sleeveless vest, buttoning up the front, with rows of buttons along the bottom to which could be attached
petticoats and skirt. The entire torso would support the weight of the petticoats and skirt, not just the waist . The bodices had to be fitted by a dressmaker; patterns could be ordered through the mail.
Criticisms of tightlacing
It is not clear how many women wore such bodices; however, the reformers' critique of the corset joined a throng of voices clamoring against
tightlacing, the pursuit of the tiniest waist in the ballroom. Preachers enveighed against tightlacing; doctors counseled patients against it; journalists wrote articles condemning the vanity and frivolity of women who would sacrifice their health for the sake of fashion. Whereas corsetting was accepted as necessary for both beauty and health, tightlacing was viewed as vain and unhealthy. However, it was in many respects simply an intensification of ordinary Victorian fashions, and many of the images of feminine attractiveness that a Victorian woman saw around her were depictions of highly-corseted women.
Rational Dress Society
The Rational Dress Society was an organisation founded in 1881 at London. It described its purpose thus:
- The Rational Dress Society protests against the introduction of any fashion in dress that either deforms the figure, impedes the movements of the body, or in any way tends to injure the health. It protests against the wearing of tightly-fitting corsets; of high-heeled shoes; of heavily-weighted skirts, as rendering healthy exercise almost impossible; and of all tie down cloaks or other garments impeding on the movements of the arms. It protests against crinolines or crinolettes of any kind as ugly and deforming….[It] requires all to be dressed healthily, comfortably, and beautifully, to seek what conduces to health, comfort and beauty in our dress as a duty to ourselves and each other.
Artistic dress movement
- See main article Artistic Dress movement
The
Pre-Raphaelite Brotherhood and other artistic reformers objected to the elaborately trimmed confections of Victorian fashion with their unnatural silhouette based on a rigid
corset and hoops as both ugly and dishonest. Their wives and models adopted a revival style based on romanticised
medieval influences such as puffed
juliette sleeves and trailing skirts. These were made in the soft colors of vegetable
dyes, and were ornamented with hand
embroidery in the art needlework style.
The style spread as an "anti-fashion" called
Artistic dress in the 1860s in literary and artistic circles, died back in the
1870s, and reemerged as
Aesthetic dress in the
1880s, where the emphasis was not so much on honesty and purity as sensuality and langour.
Girl athletes and working women
In the 19th century, poor women were known to wear corsets "boned" with rope, rather than steel or bone, to facilitate work in the field.
Triumph of the natural silhouette
to be writtenReferences
- Reforming Women's Fashion, 1850-1920: Politics, Health and Art, Patricia A. Cunningham, Kent State University Press, 2003
- Die frauenkleidug von Dr. C H. Stratz 1902
- Die Kultur des weiblichen Korpers als grundlage der Frauenkleidung Paul Schultze-Naumburg 1901
http://haabet.dk/patent/Die_kultur_des_weiblichen_korpers_als_grundlage_der_frauenkleidung/index.html
See also
External links
