Victorian dress reform

Fashion in the 1850s through the 1880s accented large crinolines, cumbersome bustles and padded busts with tiny waists laced into 'steam-moulded corsetry'.[4] 'Tight-lacing' became part of the corset controversy: dress reformists claimed that the corset was prompted by vanity and foolishness, and harmful to health. The reported health risks included damaged and rearranged internal organs, compromised fertility; weakness and general depletion of health. Those who were pro-corset argued that it was required for stylish dress and had its own unique pleasures. Eventually, the reformers' critique of the corset joined a throng of voices clamoring against tightlacing, which became gradually more common and extreme as the 19th century progressed. Preachers inveighed against tightlacing, doctors counseled patients against it and journalists wrote articles condemning the vanity and frivolity of women who would sacrifice their health for the sake of fashion. Whereas for many corseting was accepted as necessary for beauty, health, and an upright military-style posture, dress reformists viewed tightlacing as vain and, especially at the height of the era of Victorian morality, a sign of moral indecency.

American women active in the anti-slavery and temperance movements, having experience in public speaking and political agitation, demanded sensible clothing that would not restrict their movement.[5] While supporters of fashionable dress contended that corsets maintained an upright, 'good figure', as a necessary physical structure for moral and well-ordered society, these dress reformists contested that women's fashions were not only physically detrimental, but "the results of male conspiracy to make women subservient by cultivating them in slave psychology."[4][6] They believed a change in fashions could change the whole position of women, allowing for greater social mobility, independence from men and marriage, the ability to work for wages, as well as physical movement and comfort.[7]

Dress forms being constructed in idealized feminine form, Kalamazoo Corset Company (1912)

Despite these protests, little changed in restrictive fashion and undergarments by 1900. The Edwardian Era featured a decadence of fashion following the ideal shape of the Gibson Girl, a corseted, big-bosomed ideal of femininity and sophistication.[8] Corset styles had altered slightly from the shorter-waisted, bustled 1880s vogue, but they still constricted the waist, forced the hips back with a pointed front waistline, thrust the bosom forward and curved the back into an exaggerated 'S' shape. Skirts weighed from the hips, high collars chafed the neck, and the whole costume prevented natural movement, harmed internal organs and threatened childbearing potential.[4] Invariably, the ideal image of feminine attractiveness that a Victorian woman saw around her (in fashion plates, advertisements, etc.) was of a wasp-waisted, firmly-corseted lady.

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.

An attempt at dress reform in 1891, but keeping a fashionable silhouette.

Inès Gaches-Sarraute in her (non-fashionable) reform corset from about 1892. It was in fashion from 1900 to 1913, but only after many years of hard work.

'The Emancipation Waist.' Excerpt from 'Catalog of Dress Reform and Other Sanitary Under-Garments For Ladies and Children' George Frost and Co., Boston Mass June 1, 1876.

Dress reformers promoted the emancipation waist, or liberty 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 a skirt. The entire torso would support the weight of the petticoats and skirt, not just the waist (since the undesirability of hanging the entire weight of full skirts and petticoats from a constricted waist—rather than hanging the garments from the shoulders—was another point often discussed by dress reformers).[9] The bodices had to be fitted by a dressmaker; patterns could be ordered through the mail. Physician Alice Bunker Stockham railed against the corset and said of the pregnancy corset, "The Best pregnancy corset is no corset at all."[10] The "emancipation union under flannel" was first sold in America in 1868. It combined a waist (shirt) and drawers (leggings) 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.

It is not clear how many women, in either the Americas or on the Continent, wore these so-called "reform" bodices. However, contemporary portrait photography, fashion literature, and surviving examples of the undergarments themselves, all suggest that the corset was almost universal as daily wear by women and young ladies (and numerous fashionable men) throughout much of the 19th and early 20th centuries.

Bloomer Suit

The most famous product of the dress reform era is the bloomer suit. In 1851, a New England temperance activist named Elizabeth Smith Miller (Libby 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 (waistcoat). She displayed her new clothing to temperance activist and suffragist 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". A dress reform was supported by a campaign of the National Dress Reform Association, which was founded in 1856.[11]

They put up a fight for a few years, but were subjected to ridicule in the press[12][13] and harassment on the street.[14] The more conservative of society protested that women had 'lost the mystery and attractiveness as they discarded their flowing robes."[15]

Amelia Bloomer herself dropped the fashion in 1859, saying that a new invention, the crinoline, was a sufficient reform and that she could return to conventional dress. The bloomer costume died—temporarily. It was to return much later (in a different form), as a women's athletic costume in the 1890s and early 1900s.

In the 1870s, a largely English movement led by Mary Eliza Haweis sought dress reform to enhance and celebrate the natural shape of the body, preferring the looser lines of the medieval and renaissance eras. A historic nostalgia for more forgiving fashions, the aesthetic dress movement critiqued fashionable dress for its immovable shapes, and sought the 'fashioning and adorning of a robe' as tastefully complementary to the natural body.[16]

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. Some women associated with the movement adopted a revival style based on romanticised medieval influences such as puffed juliette sleeves and trailing skirts. These styles were made in the soft colors of vegetable dyes, ornamented with hand embroidery in the art needlework style, featured silks, oriental designs, muted colors, natural and frizzed hair and lacked definitive waist emphasis.[17]

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 two of the main proponents were the writer Oscar Wilde and his wife Constance, both of whom gave lectures on the subject. In 1881 The Rational Dress Society was founded in London. The Society advocated divided skirts as a more practical form of clothing, but its president and co-founder, Lady Florence Harberton, went further - when cycling, she wore full 'Rational' dress, which was a shorter skirt worn over voluminous trousers.

The dress reform movement spread from the United States and Great Britain to the Nordic countries in the 1880s and from Germany to Austria and the Netherlands. The issue was internationally addressed at the International Congress for Women's Work and Women's Endeavors in Berlin 1896, in which Germany, America, Belgium, Denmark, England, Finland, Russia, Sweden, Switzerland and Hungary participated.[18]

Japan

See also: Meiji-period clothing

Shimoda Utako in hifu and hakama

Utako Shimoda (1854-1936), a women's activist, educator and dress reformer, found traditional kimono to be too restrictive, preventing women and girls from moving and taking part in physical activities, harming their health. While Western dress was being adopted at the time, she also believed corsets to be restrictive and harmful to women's health.[20] Utako Shimoda had worked as lady-in-waiting to Empress Shōken from 1871 to 1879.[21] She adapted the clothing worn by ladies-in-waiting at the Japanese imperial court to make a uniform for her Jissen Women's School. During the Meiji period (1868–-1912) and Taishō period (1912–-1926), other women's schools also adopted the hakama.[20] It became standard wear for high schools in Japan,[22] though it was later mostly replaced with Western sailor-style uniforms.

Inokuchi Akuri also designed sports clothes for children.

At the imperial court, simplified keiko replaced more cumbersome garments.

Although the Victorian dress reform movement itself failed to enact widespread change in women's fashion, social, political and cultural shifts into the 1920s brought forth an organic relaxation of dress standards.[24]

With new opportunities for women's college, the national suffrage amendment of 1920 and women's increased public career options during and after World War I, fashion and undergarment structures relaxed, along with the improved social standing of women.[25] Embodying the New Woman idea, women donned masculine-inspired fashions including simple tailored skirt suits, ties and starched blouses.[26] By the 1920s, male-style garments for casual and sporting activities were less socially condemned. New fashions required lighter undergarments, shorter skirts, looser bodices, trousers, and praised slender 'boyish' figures.[27] As Lady Duff Gordon remarked, in the 1920s "women took off their corsets, reduced their clothing to the minimum tolerated by conventions and wore clothes which wrapped round them rather than fitted."[28]

Although forms of corsets, girdles and bras were worn well into the 1960s, as Riegel states, "Feminine emancipation had brought greater dress reform than the most visionary of the early feminists had advocated."[24]

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  Approx. second half of 1880s poster showing Annie Oakley wearing short-skirted attire
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  1896 ad showing a modified girdle, allowing women freedom of the lower extremities, making it easier to ride a bicycle, then in vogue
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  An 1897 ad, showing a relatively early example of an ordinary non-sea-bathing woman in public view in unskirted garments (to ride a bicycle)
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  Wigan "pit brow lasses" scandalized by wearing trousers for dangerous work in coal mines. They wore skirts over their trousers, rolled up to the waist to keep them out of the way.

• Bicycle
• Corset controversy
• History of the bicycle
• Lebensreform
• Liberty bodice
• Svenska drägtreformföreningen
• Trousers as women's clothing
• Victorian fashion
• Women's suffrage and Western women's fashion through the early 20th century