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Reading Between the Seams

By Molly Cohen, Fashion Archives Intern 2018

As we continue processing the extensive collection housed inside The Maryland Historical Society, I’m developing a better understanding of what can be revealed from each individual garment through their unique elements. To glean any form of valuable information, we must put ourselves in the shoes, and clothes, of whoever wore the very piece we are investigating and ask, “why this way, for this time, for this specific person?”
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Blue floral brocade dress, 1855-1865, silk, Maryland Historical Society, Gift of Mrs. Thomas Campbell Washington, 1957.41.1.

One garment that surprised me was the mid 19th century gown pictured above; a difficult one to accurately date for many reasons. At first glance I assumed it would have been primarily worn during the end of the 1850s, given its intricate pagoda sleeve, which would have been at the height of its style during that time. Yet, the pagoda sleeve was still popular into the early 1860s, so dating solely on the sleeve posed a problem because of the lasting impact even short-lived trends have on fashion. Upon examining the waistline, it became clear that this piece did not have one sole date, but a re-purposed date at least ten years after its original.  This was not uncommon- the expense of fine silks made dresses quite costly, so often a frugal woman would have a dress altered to fit new fashions, or one dress was worn by several members of the same family.

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Block printed wool day dress, designer unknown, Great Britain, 1850, wool, cotton, and whalebone, Victoria & Albert Museum Fashion Collection, Given by Messrs. Harrods, Museum no. T.797&A-1913.

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Day dress of moiré silk, designer unknown, Great Britain, circa 1858, Victoria & Albert Museum Fashion Collection, Given by Miss Janet Manley, Museum no. T.90&A-1964.

The v-point at the waist line that is classically from the 1850s (see examples above) was removed, the pleats from the skirt taken out and eased throughout the entire waist to allow for a few more inches of room. The waist was then turned into a faux wrap front created by the extra material closing on the left side of the bodice. Each of these alterations served a specific purpose from the first wearer to the second. The waist of the latter was a few inches larger, as the second wearer apparently needed the excess in order for the garment to fit more comfortably. The 1850s v-point was removed in order to correctly re-pleat this skirt to the bodice in a manner that would fit and flatter the new wearer, and the side closures offered a sleeker finish, as opposed to having obvious seams in the center front of the gown.

sleeveBlue floral brocade dress pagoda sleeve, 1855-1865, silk, Maryland Historical Society, Gift of Mrs. Thomas Campbell Washington, 1957.41.1.
waistBlue floral brocade dress altered waist line, 1855-1865, silk, Maryland Historical Society, Gift of Mrs. Thomas Campbell Washington, 1957.41.1.

We are able to date the alterations through clues such as the techniques of stitching, methods of backing, and the sleeves. Not the aforementioned pagoda sleeves, but a detachable set of cap sleeves made from the exact same fabric, trim, detailing, and threading. The original pagoda sleeve is also detachable to allow for the wearer to choose which look they’d prefer. Often the deciding factor would be the time of day. Evening often called for shorter sleeves to allow for longer gloves. This tells us that there was a need for the gown to be reused and versatile in its new life, and that the wearer would have hoped for its longevity of fashion and durability with these changes. 


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