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How to Dress for Colonial Events

Imagine as first step a lady that wears nothing but over-knee-length stocking held up with tapes bound in bowties or closed with buckles. She may already have her shoes on since later on it will be more difficult to bend over to close the buckles.

In the second step, she pulls the chemise over her head so that her body is covered to mid-calf. She may put a so-called modesty skirt over it which will cover her privates in case sa strong wind lifts skirt and panier.

Over this, she puts on the stays, smoothing the chemise out underneath. Then she ties the pockets around her waist, next the panier and a petticoat which will prevent the hoops from showing through.

Next is the upper, visible petticoat AKA jupe.

Onto the front of the stays she pins the stomacher, sticking the pins through the tabs at the sides of the stomacher.

Now the robe is pulled on like a coat. The front edges are pinned to the stomacher with the pins hidden under the pleats down the front (the robings).

Depending on taste and occasion (outdoors) she puts on a cap of fine white linen and/or lace and covers the neckline with a fichu (neckerchief). In cool weather, she may put on a mantelet of black taffeta and a headscarf slung loosely around the head and neck.

A Colonial Lady's Clothing: A Glossary of Terms

Brunswick
A three-quarter length jacket worn with a petticoat, the Brunswick was an informal gown or a traveling gown. It had a high neck, unstiffened bodice that buttoned, long sleeves, and frequently had a sack back (loose pleats) and a hood. (See also Jesuit)

Cap
The cap was worn by women and girls to dress their heads. It was a practical piece that allowed the head to be dressed without styling the hair. At the same time it protected the hair from everyday dust and dirt so that the hair need not be washed as frequently. A hat was tied on top of the cap when going out. The cap could be made of linen, cotton, or even all lace. Lace and ruffles could be added to the cap. The style of fashionable cap changed frequently.

Cape
A protective outer garment that was shaped to the neck, covered the shoulders, fastened at the center front and was usually shorter than a cloak. Made of either heavy or light fabrics of wool, cotton, or silk.

Caraco
A jacket of many different styles worn in the second half of the 18th century. It was worn with a petticoat and was considered day wear at home or for informal activities. It was always considered "undress."

Cloak
A long, loose, unfitted, protective outer garment that fell from the neck and the shoulders and was usually secured at the center front neck. Sometimes hooded, and usually made of a heavy woolen fabric.

Dress
Dress in the 18th century referred to the overall fashion for everyone and not a single garment. It was the total look from head to toe. Full dress would refer to the most formal, fashionable look. Today the military's most formal uniform is referred to as the full-dress uniform. (See also Fashionable Undress and Undress)

Fashionable Undress
In the 18th century this referred to the less formal clothing for everyone, but still in the best of fashion. Usually worn during the day. (See also Dress and Undress)

Gown
Throughout the 18th century a woman's dress usually consisted of a gown and petticoat. The gown consisted of the bodice and skirt joined together, with the skirt open in the front to reveal the separate petticoat, which was an essential part of the dress and not an undergarment. (See also Petticoat and Stomacher)

Hat
Worn for fashion and for protection against the sun, a lady out of doors almost always wore a hat. A fashionable hat usually had a very shallow, flat crown and a wide brim. Hats of chips or straw were the most popular from the 1730s to the 1770s. There were many ways for them to be trimmed and trims would change with the fashions. A straw hat might even be entirely covered with fabric. Ladies' riding hats were often of felt and might be cocked like a gentleman's.

Jesuit
Similar to the Brunswick, but the skirt of the gown was full length. (See also Brunswick)

Mitts or Mittens
In the 18th century mitts were elbow-length, fingerless gloves. Although there was a thumb, it was open and the fingers were left free. They were usually cut with peaked flaps over the knuckles. Embroidered floral motifs and fancy arm openings were popular adornments. Heavy mitts gave warmth in winter and light weight ones protected the arms from the sun in summer. In the winter the hands could be kept warm with a muff.

Mob Cap
A mob was undress headwear; becoming popular in the 1730s and worn in some form into the next century. It had a puffed crown placed high on the back of the head, a deep flat border surrounding the face, and side pieces carried down like short lappets, which could be left loose, pinned, or tied under the chin. The flat border usually was frilled or had lace.

Muffs
Tube-like accessories used for keeping the hands warm, muffs were of various sizes as dictated by fashion. They could be covered with fur, cloth, or feathers, and were usually padded.

Pattens
Pattens were overshoes consisting of a raised sole standing on an iron ring, with an adjustable strap used to secure them. Designed to lift the wearer's shoes off the ground so as to protect them from soiling or damage when there was wetness, mud, or muck. Pattens were worn by both men and women into the early 20th century.

Petticoat
A woman's skirt-like garment worn with a gown or jacket. Most gowns were open-fronted robes needing the addition of the petticoat to fill the gap. Quilted ones could be worn for both warmth and fashion. Underpetticoats of linen, wool, or cotton were added for warmth.

Riding Habit
A riding habit consisted of a petticoat, jacket, and waistcoat, or waistcoat fronts attached to the jacket. The jacket followed the lines of men's coats until the 1780s, except that it had a waist seam and bust darts. Habits were suitable for traveling and fashionable undress.

Shift
The shift was the undermost garment worn by children and women. It served the same purpose as the man's shirt. Made from various qualities of white linen, it had either a drawstring or plain neck, as well as drawstrings or cuffs at the elbows. It could be plain or lace trimmed.

Shoes
Shoes were made of silk fabrics, worsteds, or leathers. Depending on current fashions, they may or may not have had elevated heels. They would fasten by buckles, clasps or, if very utilitarian they might have ties.

Short Gown
Loose T-shaped garments cut to the length of the hip or thigh. Made to wrap or Bed Gown over in front and held together by pinning or held closed with the apron. Made of utilitarian fabrics to be worn by the laboring sort and made of better fabric for the middling sort and worn as undress.

A Colonial Lady's Hairstyles
The hairstyle information is from the website:La Couturiere Parisienne

In contrast to the distorted picture painted by many secondary sources, women's hairdos were relatively harmelss for most of the century. At the very beginning, until c. 1710, Fontanges were worn with the front hair piled up high, but the height gradually declined until low, simple hairdos took their place around 1720. Even short curls (à la mouton, i.e. sheep-style) were worn. Most pictures of Madame Pompadour (including the famous Green Portrait) show her with a simple braid originating at the neck and going up the back of the head and locks around the forehead, similar to the picture below. So, none of the high hairdos generally attributed to the rococo there.

Only after 1770 (Mme Pompadour had died in 1764), hairdos started to rise higher and higher, necessitating the use of wire constructions and hair-pieces. Up until then, women did not have to wear wigs because social convention demanded long hair in women anyway, so pre-1770s hairdos could be realised with the natural hair. I guess that whoever could afford it had a coiffeur do their hair on a weekly or even daily basis, while others had their wig done once a month and wore it maybe once a week.

The ship under sails that we often encounter in books did really exist, apparently: Even contemporary sources support the story, e.g. the copperplate to the left*. The hairdo was created to celebrate the victory of the ship "La belle poule" in some battle. One could imagine that the hairdo was fashionable for a few weeks or - far from the court, to where letters travelled a few weeks - months until it had lost the appeal of novelty. The same would have happened to all the other extravagant hairdos of the pre-revolutionary decade that were recorded for posterity: Much noted at first, imitated by some courtiers, soon dropped out of sight.

Powder appears to have been used sparingly by ladies at first, but with increasing frequency after 1750. No suprise if you consider that hairdos mostly consisted of natural hair, the length, fineness and shininess f which they wanted to show off. When hair-pieces entered the picture, powder was a good way of covering up the differences in colour. Those that preserved a hairdo for some time (there may have been people who did) would have profited from the oil-absorbing qualities of powder.

Hair Powder

Contrary to the common cliché, neither natural hair nor wigs were necessarily powdered. Mos importantly, wigs were not made of white hair as it is often seen nowadays: A good wig was made of real, human hair, but how many white-haired (not yellowish or grey) grannies with long hair were prepared to sell theirs? It was more probable that youngish women had to sell their long hair for financial reasons, i.e. it came in all colours, so the good wigs must have been made of natural-coloured hair. Only low-quality wigs were made of animal hair (buffalo or horse) which would have been available in white, but who would have it obvious that they couldn't afford human-hair wigs? Even though white, grey and blond were the fashionable colours, an unpodwered wig in a natural hair colour stands out from the usual white buffalo or nylon crowd in a positive way, so I would recommend renouncing powder altogether if it hadn't been so popular.

REFERENCES:
The History of Underclothes by C. Willett Cunnington, Phillis Cunnington; Dover Publications; Reprint edition (June 1, 1992)

Colonial Williamsburg

Eighteenth-Century Clothing at Williamsburg by Linda Baumgaren.
Williamsburg, VA
The Colonial Williamsburg Foundation, 1999.

Costume Close-Up: Clothing Construction and Pattern, 1750-1790 by Linda Baumgarten & John Watson with Florine Carr.
Williamsburg, VA
The Colonial Williamsburg Foundation, 2002. Sixth edition.



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Updated: March 24, 2007
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