Do This, NOT That: AAPI Civil War Service [Response Post on Best History Practices]

I've had this post mostly written for weeks, and debated whether to make it public or not.  On this last day of AAPI month, I figured better now than never, and clicked the bright, orange "publish" button with the paper airplane emoji.  So if this post reached you - welcome, and let's dive into some best history practices around sharing AAPI Civil War history. 

[Disclaimer: this post will be a departure from my historical sewing content, but I felt important to discuss as we continue to honor and celebrate Asian American, Native Hawaiian, & Pacific Islander voices, communities, and history throughout May, and all year round.  The opinions expressed here are solely my own, and do not reflect the views of my employers.] 

Going all the way back to the first weekend of May, I had the chance to return to New-York Historical Society as part of their Asian American & Pacific Islander (AAPI) family day, and present a living history program honoring the lives and legacies of Chinese participants in the American Civil War.  Right as I was posting pictures from the program, I had a friend bring a problematic post on the subject to my attention.  Usually, I would not take the time to respond to a post like this as there is little that would change the minds of those who wrote it.  

That said, what really caught my attention was that it had been liked by over 2.6 thousand Civil War enthusiasts, and shared at least 367 times (publicly) and counting, [note: these numbers may have increased from the initial drafting of this post].  I viewed this as an opportunity to educate - both sharing in the responsibility to stop the spread of misinformation around the topic, and promoting better history practices in any small circles I may have influence.  Again, I do not expect the original poster(s) to take note or notice of my opinions - and invite anyone reading this response post to keep an open mind and please be civil in the comments section - thank you. 

First, a little background - in my living history programs and lectures on the subject, I do discuss Chinese participation on both sides of the Civil War to fully contextual experiences and present accurate, truthful history.  My interpretations are supported by extensive historical research, including both primary sources whenever possible and reputable secondary sources.

History is no dichotomy, which the Civil War is too often boiled down to - blue and grey, Union and Confederate, brother against brother.  There will always be exceptions to our assumptions and norms, and those who seek to cling to and/or glorify these examples to fit specific, biased narratives.  Yes, there were a handful of Chinese and AAPI combatants serving the Confederacy - many were forcibly conscripted or even enslaved servants, and proximate location and language barriers may factor into voluntary enlistment.  There were also staunch Chinese Confederates and enslavers of African Americans themselves, with the Bunker family being that one exception here.  History is complicated - and it would be a great disservice to Chinese and AAPI veterans to strip them of these nuances - much like their citizenship, civil rights, and memory have been in the American past.  Furthermore, to weaponize their stories and struggles to serve a Confederate-sympathizing agenda is in no way honoring Asian American, Native Hawaiian, & Pacific Islander month - and to suggest so, as the original post has done, is equally distasteful and appalling. 

For reference, here is the original post in question - please note, I am purposely not revealing the identities of the original poster(s), as the purpose of my response is to educate.  The post appears in a popular, neo-Confederate nonprofit chapter with a large following (91K+ likes, 99K+ followers), who claims to be the "pre-eminent authority on Southern Heritage."

Original post from a popular, neo-Confederate nonprofit chapter.
Source: Facebook community, posted May 1, 2024

On first glance, you might be wondering:  what makes this post so problematic?  Allow me to share my thoughts here, and offer some suggests for more ethical history practices: 

Problem #1:  Looking at the first line, we see May declared as "Asian Confederate History Month," and this is echoed in the text of the picture: "Happy Asian American History Month."  Neither of these are the correct names for the annual commemorative month, which honors the roles and achievements of generations of Asian Americans, Native Hawaiians, and Pacific Islanders (AANHPIs) who have "enriched America's history and are instrumental in its future success" (Learn more about: Asian & Pacific American Heritage Month). 

Better History Practice:  On the surface, repurposing a title can be overlooked - sure, it's a small thing!  However, this action may unintentionally disregard both the fight for AAPI recognition and the lengthy Congressional battle to declaring a heritage month; as well as ignoring the intentions behind the history and heritages being commemorated.  

To summarize the history of AAPI Heritage Month, the origins date back to the first failed House Joint Resolution 540 in 1977.  President Jimmy Carter signed a later resolution into Public Law 95-419 on October 5, 1978, proclaiming the "7 day period beginning on May 4, 1979 as [the first] 'Asian/Pacific American Heritage Week.'"  This would later be expanded by Congressional Public Law 102-450 in 1992, which designated the entire month of May as Asian American & Pacific Islander Heritage Month.  May was specifically chosen to "commemorate the immigration of the first Japanese to the United States on May 7, 1843, and to mark the anniversary of the completion of the transcontinental railroad on May 10, 1869" - an event the Chinese immigrants and laborers who laid the tracks were excluded from.  In a country that has exploited; excluded; wrongly accused and imprisoned in concentration (internment) camps; disenfranchised; and all but forgotten AAPI contributions and history - declaring May our heritage month is a small, yet significant step to acknowledging historical betrayals, and promoting collective healing and tolerance. 

Problem #2:  If the goal was truly to "Celebrate those Asians that Fought for the Confederacy" (sentence 2), honor them by saying their names.  If you can name the battle they died at, you most certainly can name person.  When they made the ultimate sacrifice, the least we can do is to make sure their names are not forgotten (again).

Better History Practice:  Instead of this: "One Chinese that died at Chickamauga & one at Franklin" (sentence 3).  Be more specific, like this: "One example from the few, confirmed Chinese Confederate veterans was Christopher Wren Bunker and his cousin, Stephan Decatur Bunker, who both served in the 37th Battalion of the Virginia Calvary."

Even better, give some biographical details about them and their service, like this:  

Christopher Wren Bunker and Stephen Decatur Bunker were sons of the famous conjoined twins, Cheng and Eng Bunker, and well-known examples of Chinese Confederate veterans.  The Bunker families owned 110 acres of land divided between the two households, and enslaved 33 Black men and women.  Cheng and Eng were staunch Confederate sympathizers, supplying money, food, and clothing to the troops; and even housed and nursed wounded Confederate soldiers at their North Carolina plantations.  Of their 22 children, only two sons enlisted at age 18, and were considered excellent marksmen by all accounts.  

Left: Christopher Wren Bunker, 37th Battalion of the Virginia Calvary.
Right: Christopher's letter, dated October 12,1864, from Camp Chase to his family. 
This is one of seven digitized letters, 1863-1864, in the UNC Collections.

Christopher Wren Bunker enlisted in the 37th Battalion of the Virginia Calvary on April 1, 1863.  The first action he saw was the burning of Chambersburg, PA, which was the only town in the North destroyed by Confederate forces in 1864.  He was wounded on August 7th, when the Union caught up with General McCausland's forces; and then imprisoned at Camp Chase, which was near Columbus, OH.  When word of imprisonment reached home, his father, Chang, sent him packages to supplement the meager rations, as well as money to buy comfort items, until he was exchanged for a Union prisoner of war on March 4, 1865.    

Stephan Decatur Bunker, following his cousin's example, enlisted in the same 37th Battalion, Virginia Calvary, on July 2, 1864.  He was wounded on September 3, 1864 near Winchester, VA, recovered, and was sent back into action.  After the Civil War's end, both Christopher and Stephan returned to run the family plantations, which were spared by Union forces; while their fathers, Chang and Eng, returned to touring to raise money.  They lost a majority of their income after the collapse of Confederate currency, and, of course, having to pay formally-enslaved laborers. 

Today, the Bunker legacy lives on, as descendants from both families continue to gather for the annual Bunker Reunion in Mount Airy, North Carolina. 

Equally important and before glorifying, remember that the Bunker cousins were the rare exceptions, and the only (to my knowledge) Chinese Confederates fighting in defense of their plantation and lifestyle, which depended on the continued enslavement and forced labor of African Americans.  There were others, like John Fouenty, who after escaping enslavement himself, was forcibly conscripted in Savannah, GA, while trying to secure his passage back to China.  Thus, responsible history practitioners should always contextualize AAPI Confederate service and experiences, and consider motivations (or traps) behind enlistment (versus forced conscription and/or enslavement).  Major factors included language barriers, geographical proximity (especially in Southern port cities), (false) promises of money and citizenship, call of adventure, and desire to belong and defend an adopted country.

Problem #3A:  As a certified Diversity, Equity, & Inclusion (DEI) professional, I spent a lot of time training historical interpreters and museum staff to use person-first language.  Person-first language humanizes individuals, and puts the person, rather than a descriptor or condition, front and center.  For instance, instead of saying "I saw a white walking down the street" - we would say "I saw a white person walking down the street" or "I saw a white family walking down the street."  This intentional action not only restores their personhood, but is also grammatically correct - bonus points!  

The same should be applied to the usage of "one Chinese" (sentence 2), "another Chinese" (sentence 3), and "one Pilipino [sic]" (sentence 4).  "Chinese" is a nationality, a proud identity, and a descriptor - it does not stand alone as a person.  Instead, make sure you include the person (noun) - like in these examples: a "Chinese person," a "Chinese serviceman," or "Chinese veterans." 

Problem #3B:  On the subject of identities and nationalities, we see "Philipino" (sentence 4) used in reference to the "Filipino" people.  The original poster was corrected multiple times in the comments, and by members from the Filipino community too.  Of course, I don't believe this typo was intentional or malicious, but the refusal to edit or correct the misspelling (after being repeatedly called out), certainly sends a message.  

Better History Practice:  If the intention was truly to celebrate Asian identities, using the correct and preferred spelling would be an easy and great place to start.  Not to mention, as we've already discussed in #2 and #3A, let's say their names. 

Probably the best-known (and photographed) example of a Filipino soldier was Private Felix Cornelius Balderry of the 11th Michigan Volunteers, Company A.  He was working as a farmhand in Michigan prior to his enlistment in the Union Army on December 7, 1863 at Kalamazoo, MI.  He served through the end of the war, and was mustered out in September 1865.

Private Felix Cornelius Balderry of the 11th Michigan Volunteers, Company A

For those looking for more information on Filipino servicemen, the official National Park Service Handbook on Asian and Pacific Islanders and the Civil War provides a comprehensive biography on Balderry, and honor roll of Filipino soldiers and sailors.

Problem #4:  Turning attention to sentence 3: "There was another Chinese that took Christianity back to China after the war."  While there is truth in this statement (see Dzau Tsz-Zeh's story below), the vagueness (and unspoken implications) are a little troubling due to the lack of contextualizing missionary activities in China.  There is a lot of dark history and trauma around missionaries and imperializing activities, to the tune of "saving heathens" and conversion by the sword.  I am not going to say much more on this subject now, since it is outside the scope of this post - except that #2 and #3a apply to sentence 3 as well. 

Historical Context:  As far as saying their name, I believe this sentence may be referring to Rev. Dzau Tsz-Zeh, renamed Charles Marshall.  "Charlie" was only 14 years old when he accompanied David C. Kelly, an officer in the 3rd Regiment of the Tennessee Calvary, as his personal attendant and servant.  

Rev. Dzau Tsz-Zeh, renamed Charles "Charlie" Marshall. 
Personal attendant to David C. Kelly, 3rd Regiment of the Tennessee Cavalry.

After being orphaned at age 10, Dzau Tsz-Zeh was taken in by Rev. James William Lambuth, a missionary in Shanghai, to be educated in America and then return to continue ministry in China.  This was a relatively common arrangement - and as early as 1818, American missionaries were sponsoring young Chinese boys for study in the Northeast US, and receiving much financial support for "saving heathens."  In fact, there were other Chinese Civil War servicemen who would return to China to continue their ministry, including Hong Neok Woo, of the 50th Regiment Infantry, Pennsylvania Volunteer Emergency Militia.  

Arriving in Mississippi in 1859, Tsz-Zeh was baptized and took the name of his benefactor, Dr. Charles K. Marshall.  He was attending school in Lebanon, TN, under the care of David C. Kelley when the war broke out.  14-year-old Charlie likely had to fight alongside his master, and had one of his hands partially crushed by a cassion wheel during the Battle of Fort Donelson in 1862.  After the Civil War, he fulfilled his commitments to study, and returned to China as a missionary for the Methodist Episcopal Church.  Rev. Dzau Tsz-Zeh was ordained as a minister in 1876, founded both a boys school and the Soochow (Suzhou) Women's Hospital, after pursuing medical training as part of his mission work. 

Problem #5:  Lastly, we must discuss the misidentified photograph, which depicts arguably the most recognizable Chinese Civil War soldier, Corporal Joseph Pierce of the 14th Connecticut Volunteer Infantry, Company F.  While the original post did not acknowledge the soldier's identity, or credit the image source, the author's comments clearly suggested that they (among many others who "liked" the post) believed this to be a photograph of a Confederate soldier.  Despite being repeatedly corrected and presented with more information on Pierce, the author and other "supporters" stuck to their alternate version of history.

Here is one example, of many, where a commenter points out the mistaken identity - to which the author of the original post replied: "what happens when you got your history from pictures."  Perhaps we can appreciate the irony here, as a simple and quick Google search would have provided the original photograph of Corporal Joseph Pierce, which is held in the Liljenquist Family Collection of Civil War Photographs at the Library of Congress (LOT 15158-1, no. 257).

Facebook post comment #1 - including author's response to corrected identity.

Here is another example where a commenter insists that the depicted "Uniform is definitely Confederate" - and is corrected.  I happen to know the second commenter personally, and they are a well-known tintype artist and historian.  In their answer, they provide more information on how the "indigo dye of many federal uniforms turns lighter grey when shot in Wetplate collodion."  Photographs may be "worth a thousand words" as primary sources go - but only as long as we interpret what is seen or physically observable, and avoid inventing our own conclusions without supporting documentation (facts).

Facebook post comment #2 - including information on color perceptions in the Wetplate collodion
(tintype) process from a well-known tintype artist & historian.

Reading through more top comments, the author begins volleying insults about others intelligence, and ultimately, disabled commenting entirely.  (Otherwise I might be tempted to drop a link to my response post haha!)  We all make mistakes - and while it may be temporarily embarrassing to be fact-checked on a public forum, a little grace would go a long way.  The responsible history practice would be to simply edit or update your post, and issue a correction or explanation, in cases where your research proves otherwise. 

This author response was copied and pasted several times throughout the comments, mostly in response to corrections about the photograph - "Do some research before making stupid comments please."  (Not to mention, the Bunkers were cousins, not brothers...)  The lack of self-awareness astounds:

Facebook post comment #3 - advice from the author of the original post.

Maybe next time they might consider their own advice and do some more research before posting...or at least acknowledge Corporal Joseph Pierce and properly credit the source.  Better yet, remove the picture entirely, since Pierce might not be too happy to know his image is being used to glorify Confederate legacy. 

By the way, here is the original photograph, which I believe was artistically enhanced for the Facebook post:

Corporal Joseph Pierce of Co. F, 14th Connecticut Infantry Regiment by William Hunt, 1862.
Liljenquist Family Collection of Civil War Photographs, Library of Congress (LOT 15158-1, no. 257)

Joseph Pierce was born in Canton, China, and at the age of 10, his father sold him to Captain Amos Peck for $6 to feed the starving family.  Captain Peck brought Joseph to Berlin, Connecticut, and left the young boy in the care of his parents.  Joseph went on to enlist on July 26, 1862, and served in 14th Connecticut Volunteer Infantry, Company F.  He fought in many battles, including: Chancellorsville; Pickett's Charge at Gettysburg; High Bridge and Farmville during the Siege of Petersburg.  For his dedication, he was promoted to corporal on November 1, 1863, making him one of three Chinese soldiers to rise through the ranks in all-white units.  He continued to serve until the end of the war, when his regiment was given the honor of leading the 2nd Corps on the homeward march.  Corporal Joseph Pierce even participated in the Grand Review of the Armies in Washington D.C. on May 23rd, 1865, before returning to Connecticut and becoming a silver engraver. 

While we are all entitled to our own opinions, as Civil War historians and history practitioners, we are responsible for providing accurate and factual information.  It is concerning and problematic for posts like these to be generated and promoted as "inclusive history" (when they are far from it) by popular and trusted sources for Civil War and Confederate history - and then widely circulated through social media algorithms that favor posts with 2.6K+ likes and 367+ shares and counting.  Thus, overshadowing the perhaps less sensational, but well-researched and expert content truly honoring AAPI service and contributions during the American Civil War. 

Concluding Thoughts

I would like to end this post with a call-to-action, if you will - and some suggestions for leveling-up your AAPI Civil War & living history practices: 

Solution #1: Above all, do your research, and be sure to check your sources for accuracy and consider any bias(es)!  A cursory search on Google will return mixed results of both current and outdated (bad) research, so it is always best to consult multiple and primary sources whenever possible. 

Here are some trusted sources on the topic to start: 

• The official National Park Service Handbook on Asian and Pacific Islanders in the Civil War
• The Blue, the Gray and the Chinese by Alex Jay, which is an outstanding compilation of biographies and primary sources 
• For Confederate AAPI history specifically, see this article: "Native and Foreign-born Chinese Confederates In The War Between The States" published on the Southern Fried Common Sense & Stuff blog, which is run by a self-identifying Christian writer & Civil War history buff from South Carolina.  I especially appreciate their opening line and dedication: "The following blog post is dedicated to the memories of those Confederate veterans of Asian descent and their descendants living today -- and to the ongoing campaign to stop anti-Asian hatred in the United States today that this blogger fully supports."

Solution #2:  Attend lectures, listen to podcasts, and read materials written by experts on the topic.  

• Watch a digital recording of AAPI Civil War historian and author, Irving Moy's recent presentation for the Connecticut Museum of Culture & History: "The Forgotten Chinese Generations"  
• Catch Stephan Phan, military history scholar and Chief of Interpretation, Education, and Visitor Services at Camp Nelson National Monument, and his past lecture for the Pasadena Civil War Round Table: "A World Away: Asian and Pacific Islanders and the Civil War"
• I also have an upcoming virtual lecture with LancasterHistory this Fall 2024! 

Solution #3:  Share this history with others.  Within your social circles and on social media, start sharing interesting online articles, books, lectures, events, and even museum exhibits on AAPI history to raise awareness and interest in the subject.  Help circulate and boost examples of "good history" for those algorithms!

Solution #4:  Advocate or be an advocate.  This looks like speaking (or typing) out to correct misinformation, and interrupting when you hear or see cultural ignorance, appropriation, racism, and exclusion happening in your circles.  Always lead with the facts, and if people are receptive, point them to places where they can find more information.

Remember, who you follow, what you "like" on social media, and when you choose to speak up - or to stay silent - matters! 

Solution #5:  Before you publish, consider if your post will truly honor or harm the community.  Unfortunately, intention and impact do not always go hand-in-hand.  Actively listen when members of the impacted community voice concerns, and be willing to take accountability and apologize if something goes wrong.

Solution #6: Support public historians and authors from the AAPI community, and their continued research on AAPI Civil War history and legacy.  Support takes many forms, including interacting with content on social media; attending virtual and in-person programs; inviting to your events; purchasing books or subscriptions to content; or even direct donations, if your means allow. 

Personally, I would love more opportunities to share AAPI Civil War history at historical sites, museums, living history events, and even reenactments - so if you'd like me to come to your Civil War event, feel free to drop me a line! 

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and AAPI history programs?  Consider joining us over on Patreon with pledges starting at $2/month to enjoy bonus content!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

Making an 1860s Wrapper

“MORNING DRESS—The most suitable dress for breakfast, is a wrapper made to fit the figure loosely, and the material, excepting when the winter weather requires woolen goods, should be of chintz, gingham, brilliante, or muslin" - The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860 

When I give a "Getting Dressed" presentation, I like to travel in style, comfort, and modesty, donning a wrapper to drive my horseless carriage to and from the locations.  (Since we are just meeting, showing up in only a chemise and stockings might be quite scandalous!)  I was in desperate need of a new 1860s wrapper, as this is probably my most popular and frequently booked decade, and this blog post will detail the project. 

I started designing and sewing the wrapper at the end of February, and finished by the beginning of March.  The first occasion I had to wear it was for a more recent "Getting Dressed in the 1860s" presentation in April for the Presbyterian Village at North Church, which is an independent senior living community.  They were a wonderful audience too, asking lots of questions and sharing some of their own fashion memories, especially from the 1950s and '60s.  Special connections like these are why I love doing fashion programs, and historical clothing is such an excellent tool to discuss all kinds of social history - like gender, identity, and self-expression - as well as economic, labor, political, and technological advancements.  I have a couple more 1860s programs lined up this summer, so the wrapper should get some more wear. 

Historical Inspiration

First a definition: what is a wrapper?  A wrapper (also called a morning dress/robe) is a semi-fitted or loose dressing gown that women would wear in the morning or evening, with or without their corset.  Wrappers tended to follow the lines of a fashionable dress, but were considered informal dress - i.e. best worn in the privacy of one's home for breakfast, chores and domestic duties, or lounging around, but not in front of company.  Some wrappers were fastened from the neck to the waist and stitched shut from the waist to the floor, while others were left open through the skirt to reveal a decorative, embroidered petticoat.  Due to their relaxed fit, many had drawstrings at the waist, or could be tied with a belt, making them perfect for maternity wear too. 

Here's another excerpt from The Ladies' Book of Etiquette, and Manual of Politeness by Florence Hartley, 1860, describing the (un)suitability of wrappers for receiving morning calls: 

DRESS FOR MORNING VISITS—A lady should never receive her morning callers in a wrapper, unless they call at an unusually early hour, or some unexpected demand upon her time makes it impossible to change her dress after breakfast…A wrapper made with handsome trimming, open over a pretty white skirt, may be worn with propriety; but the simple dress worn for breakfast, or in the exercise of domestic duties, is not suitable for the parlor when receiving visits of ceremony in the morning. 

The "simple dress" worn "in the exercise of domestic duties" could be made from a more serviceable calico, as opposed to finer wools and silks.  Printed cotton wrappers often featured bolder colors and busy patterns, which made them both easily launderable and helped to hide dirt and stains from household chores.  

When looking at extant examples, I was feeling particularly inspired by those with velvet accents, like collars, cuffs, and patch pockets, and will share a few below.  If you're looking for more examples or other styles, feel free to take a look through my 19th Century Wrappers Pinterest Board. 

This first example comes from a Pinterest upload, and I would love more information on the garment.  The caption provided only that it was displayed at the Antioch Historical Society, and I assume belongs to a private collection.  I just love the bold print, and the red silk collar and patch pockets, which appear to be trimmed with black ribbon (maybe silk or velvet?) and fringe. 

Display at the Antioch Historical Society
Image source: Pinterest, unidentified owner/collection 

The second example was originally an Ebay auction item, which the seller listed as an "1860s Civil War Era Dress," but it is actually an early-1870s wrapper.  Again, I was responding to the large striped print, with velvet accents, including collar, wide cuffs, patch pockets, buttons, and belt (which should be placed higher, in the gap between the buttons...)

Anyways, here's the description form the Ebay seller: "This elegant antique dress is sewn of the most exquisite wool fabric with paisley pattern fabric…Ever so soft deep chocolate brown silk velvet collar, pockets, sleeve cuffs, belt with matching silk velvet over wooden buttons. The lower dress skirt offers the typical fullness needed for hoop skirts and bustle."

Early 1870s Wrapper, originally an Ebay Listing

And finally, a third example from the MET, described as a "quintessential dressing gown of the period with military-style cuffs, cord belt and paisley pattern:"

Dressing Gown, ca.1875, MET Museum (accession number: 2009.300.124) 

For my own design, I wanted to complement the large striped print with equally bold, velvet cuffs and collar, as well as a wide skirt to accommodate a hoop (if desired).  

Construction Details

This was a stash-busting project, meaning that all of the materials came from the stash and that I did not have to buy anything for its making.  For the fashion fabric, I chose the most gorgeous reproduction cotton - called "Red Charlotte Serpentine" by Michelle Yeo (Pattern C8433) from the Penny Rose Designer Fabric Collection (I believe I had ~6 yards) - deep red cotton velvet for accents, and cotton muslin for lining.  I also used vintage gimp trim (passementerie) to mimic the serpentine print. 

For the design, I knew I wanted a fitted back with a full, gauged skirt; and a loosely-fitted, long front with a half lining and two double-pointed ("fisheye") darts on each side to provide gentle shaping.  For the pattern, I used a modified version of my bodice block and coat sleeves, and the front piece references the general shaping in Laughing Moon Pattern #118: Wrapper, Work Dress, or Morning Gown 1840-1860.  The cuffs were drafted off my coat sleeve, and I also patterned a wide collar off the neckline measurements.  I decided I'd leave the wrapper open to hem, in case I made a fancy petticoat; and to close/cinch the waist with a self-fabric belt. 

After patterning and cutting out all of the fashion and lining pieces, as well as the velvet pieces with their facings, I started with assembling the back pieces.  The back was flatlined with cotton muslin, and then I piped the waistline in preparation for the skirt.  The skirt is just two rectangular panels seamed together, gauged, and whipstitched to the back bodice. 

The skirt is made from two panels of fabric, seamed and gauged (cartridge pleated).
The fullness will accommodate a hoop, if desired. 

I also added a 1" twill tape casing for a drawstring, following extant examples I have seen, which will come in handy for keeping the wrapper sitting at the waist when worn over a hoop. 

The finished back, flatlined with muslin - notice the 1" twill tape casing for a drawstring.

Finished back from the outside - notice the piping at the waist.
I also squared the side seams so everything would be on the straight of grain.

With the back finished, I turned my attention to assembling the fronts.  Since my fabric was not wide enough to cut the full front pieces, I pieced two triangular gussets at the sides.  I serged the raw edges for a neat finish, seamed, and pressed them open to combine the two pieces into one.  I also hemmed the half-lining, and then flatlined it with the bodice:

Detail showing both the side piecing and the bottom edge of half-lining.

For some gentle shaping, I marked two double-pointed darts (also called "fisheye" darts) to help contour the fronts.  Double-pointed darts are often used on dresses and jackets that are nipped-in and fitted at the waist, while providing shaping for the bust and hips. 

View of the half-lining and marking the double-pointed or "fisheye" darts.

To ensure smoothly-stitched (no puckers) darts, these must be stitched from the middle to the top point; then, returning to the middle and overlapping the stitching, and sewing to the bottom point.  Avoid backstitching at the points, and instead, much like a standard or single dart, decrease the stitch-length about an inch from the top, and tie off the thread tails.  (Here's an simple, illustrated tutorial on Sewing Darts.)  I also smoothed the curve of my darts and clipped to the centers, so they would lay nicely when pressed over a tailor's ham to the side seams. 

I curved my double-darts to avoid a harsh line; and stitched them from the middle to each point.
Instead of backstitching, I decreased the stitch length at the tops and tied the thread tails.

Here are the double-darts clipped and pressed -
always press darts over a tailor's ham to support the curves and avoid puckers.

View of the darts from the outside - notice contouring for the bust and hips.

Next, I joined the sides, stitching the fronts to the back, and pressing the long seams open: 

Attaching the fronts to the back at the side seams.

Unfortunately, I seemed to stop taking in-progress pictures at this point - so I will just describe the next steps.  To finish the fronts, I folded under the facings and whipstitched them in place, since I intended to leave the front open (in case I want to display a petticoat).  I also tried the wrapper on, measuring and pinning up the hem, which was also finished by hand. 

For the coat sleeves, I lined them with muslin, and piped the armscyes of the bodice.  I added deep velvet cuffs, which were lined with the fashion fabric, and then trimmed with the gimp braid.  I made sure to edgestitch everything to keep the linings from rolling outwards.  Here are the finished coat sleeves, right before setting them into the wrapper: 

Coat sleeves with deep velvet cuffs, trimmed with vintage gimp braid.

To finish the neckline, I made a matching velvet collar, also lined with the fashion fabric, and trimmed with the vintage gimp braid.  I used self-fabric bias tape to enclose the seam and raw edges, and act as a narrow neckline facing.  Two metal hooks and thread eyes were added to fasten the wrapper at the collar, and a self-fabric belt was made to accent (and close) the waist.  The belt closes with two metal hooks and thread eyes as well. 

After adding a matching velvet collar and self-fabric belt, the wrapper was done!

Completed Project Pictures

I am still waiting for an occasion to take some nicer pictures in a historical location...but for now, pictures on a dressform will have to do.  I promise the wrapper fits better on me, and was worn over a chemise, drawers, and petticoat for my presentation.  It also fits over a hoop, if desired. 

Finished 1860s wrapper, front detail. 
There are two metal hooks and thread eyes to close at the collar, and a self-fabric belt to cinch the waist. 

1860s wrapper, full-length front views.

1860s wrapper, side views - notice the gores and piecing of the skirt.

1860s wrapper, back views - the skirt is very full at the back to accommodate a hoop.

1860s wrapper, back detail shot.

And that's a wrap to this wrapper post!  Our next sewing project will probably be an 1830s wrapper for another "Getting Dressed" presentation. 

As for the next blogging content, I'll be switching over to Patreon (many thanks to our loyal, patient patrons) to create a two-part series on the making on an 1860s "Bloomer Costume" or reform dress.  I recently completed and sported the look for a living history presentation on the Chinese participants in the American Civil War at the New-York Historical Society - which was the perfect kick-off to Asian American, Native Hawaiian, & Pacific Islander Heritage Month! 

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.

Making a Set of Tucked Petticoats

"SKIRTS.  Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin." - The Workwoman's Guide, 1838 (page 104) 

Back to blogging after an unintended 7-month hiatus!  In this second post for today, I will be documenting how I made a new set of tucked petticoats, and providing a step-by-step tutorial for making your own plain or tucked petticoats, appropriate for 1830s-50s impressions.  

Believe it or not, I have been making do and mending the same set of mid-19th century petticoats since 2015 (see this throw-back post from the blog archive: 1850s Undergarments).  While corsets have come and gone, and my Civil War Era petticoats have already been replaced once, it is past time to refresh the pre-hoop undergarments.  With an upcoming "Getting Dressed in the 1830s" later in May, (and an 1840s version already scheduled for 2025), I definitely needed a new, crisp, and presentable set of tucked petticoats, made from my favorite pimatex cotton (which may last another decade!)

Historical Inspiration

Petticoats (also called "underskirts" or simply "skirts") are often constructed in a similar manner as the outermost or dress' skirt.  Layering multiple petticoats adds fullness and body, supporting the dress and creating a soft bell or dome shape, as was fashionable in the Romantic and Crinoline Eras.  

According to The Workwoman's Guide, published in 1838, petticoats are "made in various ways" and the text continues to offer the following paragraph description on page 104: 

SKIRTS. Skirts have generally from two, to two and a half breadths in them, according to the width of the material of which they are made : they are sometimes finished at the bottom with a deep hem, three nails broad, tucks, or worked muslin. Sometimes they are bought with cotton runners, woven in them at the bottom, six or eight nails deep, which make the dress stand out, and if the gown is of a clinging material, causes it to hang better. Skirts are generally made with the opening behind, but for elderly persons or servants, it is at the sides, the seams being left unsewed for about four nails from the top ; sometimes they are furnished with pockets on one or both sides ; for a description of which, see Pockets. Skirts may be set on to the body, either equally full all round, plain under the arms, and full at the front and back, or with all the fulness behind. Servants frequently wear their petticoats merely set into a tape round the waist, without any body, and with or without tape shoulder-straps, to keep them up. Under or middle petticoats are also made in this manner.

(Aside:  I also found the descriptions of nursing petticoats interesting, on page 105, which is somewhat reminiscent of 18th century petticoat construction.)

This style of petticoat - with a full skirt cut from rectangular panels, set onto a waistband, closing at the center back, and finished at the bottom with a deep hem and/or tucks - continues to be worn throughout the mid-19th century until gored skirts return (~1864).  I rarely see tapes or shoulder-straps by the late 1840s, which could have to do with the return of the natural waist.  Here are two extant examples, one plain and one with tucks, from the Costume Institute's collections at the Metropolitan Museum of Art: 

Left: Petticoat, 1850s. MET Museum, accession number: C.I.60.11.2
Right: Petticoat, ca.1860. MET Museum, accession number: C.I.37.46.103

Construction Details

Now for a tutorial and step-by-step instructions on making your own plain or tucked petticoats for 1830s-1850s impressions, using my own as the examples (see italics): 

Step One: Measurements & Materials 

When it comes to choosing materials, I like to use a tightly woven cotton like pimatex because it's crisp, smooth, and durable for many years of wear.  Otherwise, look for a quality bleached cotton or linen, while others recommend stiffer materials like cotton organdy.  For this project, I ordered 10 yards of 45" wide cotton pimatex from Dharma Trading Co, and then machine washed (to shrink and remove factory sizing), dried on high heat, and pressed the fabric. 

For measurements, there are several considerations:  first, determine the finished length.  Ideally, you'll want your petticoat to fall between lower calf-length to above the ankle, and should be 1"-2" shorter than your dress.  Measure from waist to hem at your center front, sides, and center back over any addition supports/padding that you plan to wear with your petticoats.  You may find that the back length is several inches longer than the front.  Use the longest measurement for the next step 

To your longest length, add the following allowances: 

• Hem allowance: 1/2" turn under + 1"-5" for a deep hem
• Decorative tucks (optional): each tuck will take up twice as much length; for instance, a 1/2" tuck will take 1" of fabric.  So, calculate your number of tucks, and multiply times two. 
• Waistline allowance: if you are enclosing the top of the petticoat, add 1/2" seam allowance.  If you are planning to fold over the edge to gauge (cartridge pleat), add 1"-2" allowance. 

Together, these will be the cut length.  For my 5-tuck petticoat, I wanted the finished lengths to be 35" at the center front, and 36" at the center back.  Subtracting 1.5" for the waistband from 36", my skirt length would be 34.5".  To that, I added 1" for the top, 3.5" for the hem, and 5" (for 5 tucks @ 1/2"deep), making my cut length 44" total. 

Next, you'll want to calculate the width of your petticoat.  For the 1830s-50s, the fullness should be between 120"-140".  (Check out Kenna's fabulous hem study here: Hem Circumference Resource).  I like to work selvedge to selvedge whenever possible, so I used 3 lengths of the 45" pimatex cotton, for a total ~135" hem. 

Step Two: Cut & Seam Panels

I chose to seam my panels by machine for speed, though straight seams are great for practicing hand-stitching.  Finish the seams as you please, which could include flat-felling, overcasting by hand, or serging to prevent raveling.  Since I am using the selvages, I just pressed my seams open. 

Leave at least 12"-15" free at the center back seam for an opening (to help get the petticoat on).  If your center back is on a seam, finish the sides with a 1/4" double-folded hem, and reinforce the end of the stitching with a bar tack. 

Otherwise, you will need to cut the 12"-15" slit, and finish the raw edges with binding, placket, or turning a double-folded hem and reinforcing the end.  I used the later method, and finished the bottom with a button hole stitch and thread bar, so the slit would not continue to rip.  The Lady's Guide to Plain Sewing (page 27) has excellent directions for this "binding slits" technique: 

The Lady's Guide to Plain Sewing (page 27)
[Click on image to enlarge]

Step Three: Hemming 

Fold-over and press 1/2", then measure, pin, and stitch your hem.  My hem was 3" deep, and stitched by machine.  I save the hand-hemming for skirt hems, or anything that would show from the outside.  

Step Four: Stitch Tucks 

Tucks are essentially just folds stitched in fabric, which can be as tiny or deep, and spaced as close or far apart as you please.  When added to the hem of a petticoat, they serve both a decorative and functional purpose - adding visual interest and helping hold skirts out (so they don’t tangle around the wearer’s legs). 

Measuring from the hem, I pinned and pressed a fold for the first tuck.  I was using 1/2” tucks, placed 4” above the hem - which means measuring 5” up from the hem. 

Measuring the first tuck.

Next, stitch a 1/2” away from the folded edge for a 1/2” tuck.  Once stitched, press the fold down towards the hem, completing the first tuck.

For second tuck, I used the stitch line from the first tuck as my guide (rather than measuring from the hem again).  I wanted a second 1/2" tuck spaced 1" from the first, so, my next fold line was 2” above the stitch line.  Using a ruler, press and pin the next tuck; then stitch another 1/2” from the folded edge.

Adding a second tuck.

Repeat the process until all of your tucks are stitched.  I put three, 1/2" tucks on one petticoat, and five, 1/2" tucks on the other. 

Adding more tucks.

Finished 3" hem with five (1/2") tucks.

Step Five: Balance the Waistline 

To balance the top edge of the skirt, measure from the hem to waistline, and mark your center front length, sides, and back lengths.  For me, this was 35" at the center front, 35.5" at the sides, and 36" at the center back for the longer, 5-tuck petticoat; and 34" CF, 34.5" SS, and 35" CB for the 3-tuck petticoat.  Using a fabric marking tool, connect these measurements with a smooth line, and either cut (if you are planning to enclose the raw edges), or fold along this line (if you are gauging/cartridge pleating). 

While the skirt is still flat, I like to finish the top edges with either hand overcasting or serging to prevent raveling.  It can also be helpful to divide and mark the skirt into quarters or eights. 

Step Six: Gather or Gauge (Cartridge Pleat)

To gauge (cartridge pleat), use a strong thread like button twist (I use 6-strand embroidery floss), and stitch two, parallel lines of gathers.  You will be sewing through two layers of fabric, and want to start the first row of gathers about 1/4" from the folded, top edge.  The second line of gathers should be 1/4" - 3/8" below the first line of stitches. 

Gauging (cartridge pleating) requires two lines of parallel gathering stiches.

Step Seven: Prepare Waistband

To make the waistband, you will want to measure your waist over your stays or corset, and then add 1" for overlapping closures, and 1" for seam allowances - this is the total length.  For a 1" wide band, cut 3" (including 1/2" seam allowance; for a 1.5" wide band, cut 4" (including 1/2" SA).  Fold the waistband in half, right sides together, and stitch around the edges.  Turn right sides out, press flat, and stitch the waistband closed. 

Step Eight: Attach the Skirt

Begin by pinning your skirt to the waistband.  I like to mark quarters (and eights) on the waistband to line up with the skirt markings.  Evenly distribute the gathers across the waistband. 

Gathers evenly distributed and pinned to the waistband.

Pinning gathers, detail.

Stitch through each pleat's fold, securing the skirt to the waistband.  Every inch or so, I like to do a double stitch through a pleat for extra security.  Tie off the gathering threads when finished. 

To attach the skirt, stitch through the fold of each pleat, whipping it to the waistband.

Helpful illustration from The Lady's Guide to Plain Sewing Book II (page 22)

Gauged skirt, outside.

Gauged skirt, inside.  

Finished petticoat!

Step Nine: Button & Button Hole Closure 

Add a button and button hole closure (or ties) to finish your petticoat. 

Pro tip: if you machine stitch your button holes, I like to apply a little fray check around the button hole to prevent fraying, in case I cut threads!  I also find this binds the stitching (like glue), and is less prone to stretching over time. 

Button & button hole closures

Enjoy your new tucked petticoat - or in my case, set of tucked petticoats! 

Completed Project Pictures

Here's the 3-tuck petticoat: 

Here's the 5-tuck petticoat overtop:

Tucks at the hem, detail.

Have you ever made a tucked petticoat?  Share your petticoat project, or if you have any questions on the process, in the comments below!

Button closure, detail.

Thank you for reading & special thanks to our generous patrons!

Like what you see here and want to support the creation of future content, historical costumes, and fashion history programming?  Consider joining us over on Patreon with pledges starting at $2/month, and you'll also unlock exclusive content like bonus blog posts and more!  Follow @youngsewphisticate on Facebook & Instagram for regular project updates.