Historical Fashion Program: 1830s Get Ready With Me + 4 Antique Pelerines

In today's post, I'll be revisiting a past fashion program that I collaborated on with Brandon Brooks, curator at the John L. Wehle Gallery, as well as sharing pictures of four antique pelerines from the early-mid 19th century.  The first pelerine was featured in the "Get Ready With Me" program and is from the Susan Greene Costume Collection.  The other three are from Point Park University's Costume Collection.  All together, I thought the costume program and extant garments would make for a great pairing and interesting blog post - hope you enjoy! 

It's no secret that I love historical fashion - the researching, recreating, and wearing of past clothing - and I jump at any chance to share this passion with the public.  In the last five years, I've come to develop an array of historical fashion programs for all ages - from a "fashion fun" summer camp, to themed public talks, a walking tour, and even a fashion show.  (If you're interested in reading more about some of those, check out these previous posts: Presenting on Fashion: "The Underwear Under There" and Fashion Show at the Bement-Billings Farmstead Museum).  

I'm building quite the library of notes from these, and I have so many ideas for other presentations!  It's my dream to continue in this style of education and outreach, and expand upon these offerings.  I see historical fashion and similar "dressing a lady" programs appealing to public schools, historic houses and societies, living history museums, libraries, and other community centers looking for an educational, yet entertaining and interactive presentation.  I have the passion, and now the wardrobe, so I just need to find an audience and outlet...(So if you're looking, or know of a group that would be interested, feel free to email me at anneliesemeck@gmail.com ;)  I also plan on getting my professional website up and running soon, so be on the look out for that too.)

Anyways, back to our current presentation topic:

Part I - Historical Fashion Program: Getting Dressed in the 1830s 

The historical "Get Ready With Me" was just a whole lot of fun!  I was invited by Brandon, now curator at the John L. Wehle Gallery, to collaborate again on one of his 2019 Summer Gatherings.  After hearing the idea, it was, of course, an immediate and enthusiastic "yes!" from me.  

Table display for the "Getting Dressed in the 1830s" Program,
featuring extant garments from the Susan Greene Costume Collection.

Since I had some time, I was able to put together a few things, including making a new chemise and set of hair ringlets for the presentation.  Brandon pulled together an amazing display table of extant examples from the Susan Greene Costume Collection (pictured above), including all of the undergarments, dresses, outerwear, and accessories that a fashionable lady of the 1830s would have worn.  These items were presented alongside the "get ready with me," which was literally me getting dressed in my reproduction clothing.  

Detail of some of the items on the display table -
including (left to right) an 1830s sleeve plumper, slippers, reticules, false ringlets and cap.

I thought this was a great format, showing both layer by layer what would have been worn (and is still by the historical interpreters in the village) along with original examples from the period.  Visitors often ask what's under the costumes, or simply see items mounted in display cases - and this provided an opportunity to go beyond the glass barriers, and get up close and personal with fashion history.  And I think both our morning and afternoon audiences appreciated what they saw.  

Making the costume collection more accessible, relatable, and enjoyable for the public are really central to Brandon's programs and vision.  He's an incredibly knowledgeable and passionate curator, and it's always a great privilege and pleasure to get to work with him.  (He also has an Instagram account @l_aspect_ancien, where he posts daily images from the costume collection, as well as exhibit related and other, personal sewing projects - so go follow him there!)

The afternoon session was live streamed on the Genesee Country Village & Museum Facebook Page, and is still accessible there, if you're interested in viewing the presentation.  I'll also embed the video below, so you can also watch it here:

Towards the end of the video, Brandon briefly and very carefully draped a gorgeous, antique pelerine with whitework embroidery over my shoulders.  The result was perfectly period - though the original wearer and I had different measurements, the pelerine visually broadened my shoulders and back, really emphasizing the fashionable silhouette.  (And making me want a pretty pelerine of my own!)

The following pictures were taken by Brandon and shared via Instagram @l_aspect_ancien.  The illusion is most noticeable in the back view:

Part II - Extant Garments: Antique Pelerines

Since I was already going to feature the one pelerine (above), I thought it would appropriate to include a few more, similar accessories.  Note: the following images of extant pelerines may be shared and saved for educational and person reference, only, and must include the appropriate credit to either the "Susan Greene Costume Collection" or the "Point Park University Costume Collection" as noted.  [Click on the images to enlarge]

Pelerine 1:  Fine cotton pelerine with whitework embroidery, c.1820s-30s, from the Susan Greene Costume Collection.

Between the morning and afternoon presentations, I was given permission to the study this pelerine.  While I was photographing, I also took detailed measurements and traced a paper pattern for the upper and lower collars and lappets (which is currently in a different state right now, otherwise I'd include that in this post).  I hope to someday reproduce it, though I'm not sure about all of that hand embroidery! 

Cotton pelerine with whitework embroidery, c.1820s-30s.
Susan Greene Costume Collection.

Detail of the embroidery on the upper collar.

Detail of the embroidery on the lower cape.
(Image by Brandon, via Instagram @l_aspect_ancien)

The next three extant examples are from the Point Park University Collection.  When I was a student there, I was given permission to study and photograph pieces from the university's collection, (more details here: project background). 

Pelerine 2:  Square collar of cotton with whitework embroidery, c.1820s-30s.  Like the first example, this features wide upper and lower collars with a small, floral motif and scalloped edges. 

Cotton collar with whitework embroidery, c.1820s-30s.
Point Park University Costume Collection.

Detail of the whitework embroidery.

Pelerine 3:  Embroidered net pelerine, c.1820s-40s.  Notice again the double collars and lappets, leaf-shaped motifs around the boarders, and scalloped edges.  

Embroidered net pelerine, c.1820s-40s.
Point Park University Costume Collection.

Detail of the embroidery.

Pelerine 4:  Pelerine or fichu, dotted swiss cotton with lace frill, early-mid 19th century.  

This accessory would have served a similar, decorative and functional purpose, though it is cut in a slightly later style than those above.  The center front and back both measure 21.5" from the neck to end point, and the edges are finished with a 1" hem.  There is quite a bit of piecing of the dotted swiss cotton, and the lace measures 2" wide.  

Pelerine or fichu of dotted swiss cotton with lace trim, early-mid 19th century.
Point Park University Costume Collection.

Detail of the piecing at the shoulder.

Detail of the lace trim.

And that's it for today's post!  I also have a page for Extant Garments if you're interested in more posts featuring items from the Point Park University Costume Collection.  

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The Citizen's Forum: 2019 Conference

I am writing this blog post from the comforts of my apartment, rather than from the hotel room I booked over a month ago.  This weekend was supposed to be one of my favorite events - the 2020 Citizens Forum of the 1860s, which is a weekend of educational lectures, workshops, vendors of period reproductions, and opportunities to study originals - however, like with most everything else in these strange and difficult times, the conference was postponed with a new date still TBD.

The Citizen's Forum is a wonderful event, organized by some of the hardest working, most dedicated reenactors and influencers within the living history community, and attended by so many I've come to call friends.  While there is disappointment, of course, for canceled plans, efforts seemingly in vain, and missing the chance to see those whom I may only cross paths with at this event, there is still hope that this year's conference will be rescheduled.  (And if not, there is always the next - health and safety above all!)  So while we wait for a new date, let me tempt you with the highlights of last year's conference, and hopefully, you'll consider adding this event to your calendar in the future:

For more information and updates, please visit the official website:
The Citizen's Forum of the 1860s & Facebook page, here.

The 2019 Citizen's Forum was held on March 22nd through the 24th at a new location: the Wolcott Heritage Center in Maumee, Ohio!  This was my second time attending the conference, (see the previous recap, here: 2018 Conference), and I loved the added historic ambiance of the chosen site, which included six historic buildings dating from 1840-1902. 

Every participant receives a welcome packet and folder,
complete with schedules, directions, speaker notes and worksheets.

Friday, March 22nd

For me, the festivities began shortly after check-in at the hotel...after throwing on my coral dress and, at the time, brand new bonnet from Timely Tresses (which I refused to take off because I was and still am obsessed), I ran into not one, but all three of the featured speakers - Cheyney McKnight, Elizabeth Stewart Clark, and Betsy Connolly Watkins, who I was finally meeting in person for the first time.  We ended up piling into my Honda Civic, and you bet I was absolutely starstruck, white-knuckle driving the whole time while internally chanting don't get lost, don't get lost...it was kind of a once-in-a-lifetime, dream experience.

Anyways, we made it to the evening soiree!  This time, it was held at the historic Wolcott House:

So many friends to catch up with:

Elegant company at the evening soiree!

Sara of Ensembles of the Past

Angie and Brian

Betsy and Liz
This picture makes me so happy haha!

There was a delicious spread, per usual, with the most amazing cookies...I mean these were art, I almost felt bad about eating them:

Desserts, glorious desserts!

Is this not the prettiest cookie you've ever seen?!
I seriously felt bad about eating it...LOL

While I spent most of the time chatting and snapping pictures, I did jump into at least two: 

Amanda & me 

Cheyney & me

I couldn't have asked for a better evening!

Saturday, March 23rd

A very busy day - three speakers, two workshops, shopping, and the greatest privilege of having dinner with Cheyney!  

One of the many brilliant parts of the conference planning was making use of the spaces available.  While the featured presentations took place in the main gathering space of the church upstairs, the downstairs work room and Wolcott House held concurrent workshops.  They also provided food all weekend in the kitchen, access to the vendors in the school house, and an incredible "museum" display in the farm house.  It was a really impressive, well-organized set up!  

Outside the historic church

Inside the church: the upstairs served as the main lecture hall and gathering space.

The theme for the featured seminars was Reduce, Reuse, Make Do: Practical Frugality in the Mid-19th Century.  There were three fantastic speakers:

• Betsy Connolly Watkins, presenting What You Have, Where You Are: Planning Civilian Events 

• Cheyney McKnight, presenting A Story in the Thread: The Clothing of Enslaved Women in the Antebellum South

Cheyney McKnight of Not Your Momma's History

• Elizabeth Stewart Clark (from the Sewing Academy), presenting Second-Hand Plumage: Used Clothing Trades in Mid-Century America

I also really enjoyed the two workshops that I attended:

• Cheyney's informative talk on Interpreting and Reenacting Slavery 
• As well as the Youth Discussion, hosted by Kristen Mrozek, conference director and proprietor at the Victorian Needle

In between sessions, I made sure to visit the vendors: 

A candid shot of the two masterminds behind the entire event:
Kristen and Glenna Jo

The Dressmaker Shop, my favorite!

I did my very best to buy ALL the ribbons from them!
I also splurged on a veil kit (that a whole year later I still have yet to finish...)

Sunday, March 24th

Saturday was so jam-packed that I made sure to leave Sunday morning free to spend at the farm house, which Kristen and Glenna Jo converted into a museum of original, extant garments and accessories from their own, personal collections!

Of all the conference offerings, this is one of the most spectacular, and I cannot imagine the planning and preparation that must go into arranging this...the entire first floor was set up with men's, women's and children's clothing for all occasions, inside and out, complete with informational cards, period photographs and documentation.  It was, in short, incredible (and really deserves its own blog post, but for now, I'm just sharing some of my favorite pieces).

The farm house, which became the "museum" of original garments,
selected and curated from the personal collections of Glenna Jo and Kristen.

"Work" clothing and men's wear in the common room and kitchen (not pictured):

There were tables in just about every room lined with various accessories, jewelry, sewing ornaments, and children's clothing:

A "party" dress for a child, c.1860,
apparently made from the skirt of an adult dress!

The parlor had some pretty, pretty dresses!  That silk apron is to die for...😍 

Front and back view of a sheer silk ball gown, c.1858 and remade in 1876.
The images do not do the fabric or brilliant magenta color justice,
this was one of the most fascinating pieces there!

Pocket detail...someone please reproduce this apron!

The back bedroom: undergarments, nightgowns, and wrappers, oh my! 

Lots of pretty white work and a coverlet too!

Last but not least, the final surprise of the conference was viewing Kristen's entire, 19th century perforated paper collection...it wouldn't surprise me if she had the largest in the country!  I fell in love with a few pieces, including this collar band box:

A snap shot of only a small portion of Kristen's perforated paper collection

Thank you so much to everyone involved with making the conference such a memorable experience - Kristen, Glenna Jo, Amanda, the speakers, vendors, and all behind-the-scenes!  

Looking forward to the next Citizen's Forum be it in 2020 or 2021! 

Extant Garment: An Embroidered Petticoat

Having recently made another over-the-hoop petticoat for my mid-19th century wardrobe, I thought this exquisitely embroidered extant example from the Point Park University Collection would make for a wonderful 200th blog post - enjoy!

A mid-19th century embroidered petticoat with scalloped hem detail.
Point Park University Collection

Before diving into a brief background on mid-19th century petticoats, specifically those meant to be seen under a morning dress or wrapper, I'd like to share a little story of happy coincidences.  When I began this blog, one of the main goals was to document the experiences of my costume internship where I deconstructed and reproduced an original 1870s wrapper.  Two years later, I published my 100th post which celebrated the completed project; and now, as the 200th post, we're full circle once again with an extant garment intended for wear under a wrapper.  Some posts are just meant to be! 

Historical Context

The term wrapper refers to a semi-fitted or loose dressing gown that women would often wear in the morning or evening over undergarments.  While often following the details of fashionable dress, these garments were considered informal, best worn in the privacy of ones home "for breakfast, or in the exercise of domestic duties," as explained by Florence Hartley in her Ladies' Book of Etiquette and Manual of Politeness, first published in 1860.  In fact, Hartley continues, stating that wrappers are "not suitable for the parlor when receiving visits of ceremony in the morning," unless an acquaintance "call[s] at an unusually early hour, or some unexpected demand upon [the lady's] time makes it impossible to changer her dress after breakfast" (27-28). 

Often fastened from the top at the neckline to the waist only, the skirts of the wrapper could be worn open to reveal a decorative underskirt.  As Hartley suggests, wrappers made with "handsome trimming, open over a pretty white skirt, may be worn with propriety" (28).  Extant examples of this fashion from my pinterest board: 19th Century Wrappers, as well as the following period plates and manuals clearly illustrate the popular pairing:

Blue wrapper trimmed in brown silk
The Graceful Lady: Underpinnings - Including Wrappers

Interestingly, this next piece was advertised as an original, "wearable," "maternity wrapper," with an interior drawstring to fit the skirts at the back, while allowing for adjustments in the front to accommodate the figure.  It does have "tiny pearl buttons all the way to the hem," but is shown open from the waist down over a beautifully embroidered petticoat from the same period:

Civil War Era Wrapper
(Image via: Ebay)

As described in Godey's, 1859: "The [wrapper] material is of plaid cashmere, silk, or poplin, the upper part fitting closely to the figure, though the trimming is continued from the open front breadths over the shoulder.  It is of a broad embossed black velvet ribbon; and the same surrounds the loose wide sleeves; plaited frill of cambric about the throat; wide cambric undersleeves gathered into a band at the wrist, from which a plaiting turns back...cap of muslin and Valenciennes, with a torsade of ribbon; under-skirt of alternate tucks and embroidery."

Morning Wrapper from Godey's Ladies' Book, 1859
Google Books: Godey's Magazine, Volumes 58-59

As described in Peterson's, 1863: "Breakfast dress of lilac cashmere, trimmed with quillings of ribbon and large mould buttons covered with lilac silk. The skirt is open in front, and shows a handsomely embroidered and ruffled skirt. Cap of white lace, trimmed with lace and roses."

Fashion Plate from Peterson's Magazine, 1863
Los Angeles Public Library 

Here are a few more extant examples of the embroidered petticoats suitable for wear under morning wrappers:  All of them feature the elaborate eyelet or whitework embroidery commonly referred to as "Broderie Anglaise" during the period, which creates patterns through cut holes or "eyelets" that are overcast (or buttonhole stitched), as well as areas of satin stitched designs.

Embroidered Petticoat, 1860s
Notice the center front panel & scalloped hem -
decorated with "leaves, berry clusters, blossoms & 3 large birds"
Augusta Auctions, Lot 463 

White Cotton Hand Embroidered Petticoat, c.1863
Antique Dress, #7027

Petticoat, 1860-1865
Featuring "whimsical eyelet embroidery with birds, the form of which
is inspired by folk embroidery, and fruit on the vine"
Metropolitan Museum of Art
(Accession Number: 2009.300.3177)

Point Park Collection: Embroidered Petticoat 

And now to share the mid-19th century embroidered petticoat that I came across when I was given permission to study and photograph pieces from the university's collection!  (More details here: project background)  The following images may be shared and saved for educational and personal reference, only, and must credit the "Point Park University Collection" - thank you!

A Mid-19th Century Petticoat with Broderie Anglaise
Point Park University Collection 

At the height of fashion, luxury, and artistry, this hand-embroidered, cotton petticoat from the mid-19th century would have looked stunning when revealed by the open skirts of a morning wrapper worn by a lady of propriety.  Measuring 38" at the center front, the fullness of the underskirt is controlled with stroked gathers and attached to a 2" deep by 23.5" wide waistband:

Detail of the waistband with stroked gathers, front.
The waistband measures 2" wide by 23.5" long.

Five-petal flowers and climbing vines form the large, central motif and centers of each scallop along the hem:

Front panel embroidery.

Detail of a large flower motif and vines.

The petticoat measures 38" at the center front, and 39.75" at the center back.  The total circumference at the hem is 155": 

Full front view, measuring 38" at CF.

Full back view, measuring 39.75" at CB.

There is no evidence of closures (buttons or hooks and eyes), aside from ties that were cut off.  Also, the petticoat may have been deaccessioned from a museum as the numbers "20089/64" are written on the inside of the waistband:

Interior view from the back.
Possibly a deaccessioned museum piece with the
previous accession number at CF reading: "20089/64"

Around the hem, the embroidery measures approximately 7" from the topmost eyelet to the bottom edge of each scallop:  

Detail of the scalloped edge and embroidery at the hem.
The total petticoat circumference measures 155". 

Please visit the Extant Garments page if you're interested in more collection items, and feel free to leave a comment if you'd like to see more posts like this in the future - thanks for reading!