Mid Century Civilian Dress
Guidelines for the Reenactor
As we approach the 150th anniversary of the start of the Civil War, we can expect greater interest both in the history and our hobby, and greater exposure and attendance at Civil War events. As reenactors, we honor the memories of those before us by portraying them while educating the public. Although we all enjoy events: time away with our friends and relaxing and ‘playing’ in a different century, we also have the obligation to provide the best and most accurate portrayal we can of those we represent. All of us start at different places, diving into the history a bit at a time or head first, have different areas of interest and perspectives, as well as the ability to spend time and money.
Taking all this into account, the Civil War civilian reenacting group, What Remains, has published these guidelines to help get you off the ground and move forward with your impression as you are able and interested. We are not the ultimate ‘experts’ in these areas, but have studied them, drawn on information from historians and experts and collected ‘wisdom’ from those more seasoned than we for this document. Likewise, we don’t wish to force rules on anyone, but want to answer typical questions to avoid common pitfalls many of us made starting up. This way you can enter the hobby with a level of authenticity you can be proud of. Above all, we would like this guide to be a resource for reenactors: ask questions, bring up topics of interest, request assistance, and borrow stuff - just like we did - to make your experiences as a reenactor richer!
Introduction
Accurately dressing the part of a civilian during the Civil War enhances the spectator’s experience and our own as we immerse ourselves in the role of an 1860’s civilian. Regardless of the social status you choose to portray, whether you camp in Unity or in the military camp, your family situation, refugees fleeing an oncoming army to a well to do family with servants, an accurate appearance truly enhances the experience.
For those new to the hobby, attaining an accurate appearance may seem daunting, but making good initial selections can help you build a strong basis for a reenacting wardrobe that can last years. Basic information here will assist you in purchasing or making those first few clothing items that should allow you to ‘dress the part’ at your first event and avoid those expensive ‘mistakes’ so many of us start out with only to find that our first purchases of the dreaded neon snood or the poly/cotton ‘80’s flower print gathered waist skirt and white cotton blouse weren’t quite what folks back in the1860’s would have worn.
There is extensive information on clothing of our era to be found on the internet, in current day literature and in primary resources. Several resources are provided at the end of the guide that should help answer questions about civilians in general, as well as questions on style, fabrics, construction, influences of social class, and the consequences of the war on civilian dress (e.g. the homespun movement in the south). The document here will start you out in the right direction and provide a good jumping off point.
Just like today, women’s fashion during the mid-1800’s was dominated by the high style illustrated in period fashion magazines like Godey’s Lady’s Book or Peterson’s Magazine. Women, from the wealthy, with a new wardrobe each season, to the working poor, who would remake old garments many times over to breathe a bit of new life and a fashion update into them season after season, tried to keep up with the current trends. Of course, in war time, this became more difficult, but even accounts from southern women with little means and no access to new textiles showed they made attempts to update their attire after reading well worn, passed around copies of current Godey’s magazines.
During the mid-1800’s, women strove to attain the period silhouette from head to shoes. Width at the face, shoulders, hips and down to the hem of the dress was accentuated in order to make the waist appear smaller. Dress construction emphasized the waist and added fullness in the shoulders, arms and the skirt. Hair was worn parted in the middle, confined to the lower back of the neck with emphasis at the sides to echo the roundness of the shoulders. Other typical features of period day dresses were jewel necklines, front closures using hooks and eyes or buttons, long sleeves, and waist lines at the natural waist or just above. Trims were added to many dresses, even if finances didn’t allow for ribbon or lace, scraps of contrasting fabric could be employed to liven up a simple dress. Like today, there were innumerable ways to express individualism within the norms of dress and etiquette. As reenactors, we too seek to show our individual tastes and preferences through our appearances at events.
A Word about Appropriate Attire
Primary materials provide information on appropriate dress of the time. Advice columns in lady’s magazines, etiquette books, women’s and young lady’s diaries all record what ‘proper’ fashion looked like while counseling against over adornment, dressing too young or wearing make-up. Civilians of the period were not likely to break the rules. Of course, new research and exceptions can be found, but veteran reenactors will tell you that it is best and most frugal to start with what would have been the most common dress for your age and social group.
As you read the information below, keep in mind that people of the period achieved a great deal of functionality from a small wardrobe of a few dresses, shoes, bonnet and undergarments. As experienced reenactors, our best advice to those new to the hobby is to obtain the most important pieces first: proper undergarments, a simple day dress, shoes and a bonnet or sunbonnet for those over 20 or so or a hat for children or teenagers. Borrowing items first and adding as you are able with quality, accurate pieces will serve you best over the long run.
For the modern reenactor there are a couple of basic, hard and fast rules for clothing that must be followed for safety as well as health and comfort. First, because open fire pit are common, you should never use synthetics in your garment. Even if you don’t tend a firepit, you will be walking by. For comfort, there is nothing that breaths and will keep you cool like a natural fabric. Sheer cottons or lightweight cottons, silk or tropical weight wool, our modern version of the sheer wool challis, are best for hot summer days. For cooler spring or fall weather, cotton, silk or light weight wool can be used with a shawl or other covering.
Tips on where to find materials to create your own garments, accessories, quality seamstresses and sutlers as well as websites to buy readymade articles are given below. Once you have developed an ‘eye’ for period clothing and accessories, thrift and consignment stores can be a source of jewelry or shoes. Buying a gently worn dress and new undergarments, white collar, cotton knee socks from Walmart for 1.50$, a simple straw bonnet and a pair of ankle boots with ties and a slim sole and heel is a great jumping off point.
The Wardrobe – From the Inside Out
Undergarments
Women’s clothing fit and shape as well as comfort was achieved through the use of proper undergarments. Although the number of undergarments was certainly more than in our own time – we often feel overdressed just when we finish up putting on our undie’s - each piece had a purpose which is just as valid today. Keeping perspiration from ruining our dresses, protecting us from chafing and giving support are all functions of the period undergarments.
White cotton was universally used to make all undergarments. An excellent reproduction of white muslin of the day can be purchased on Joann’s under the name Kona Premium, Bleached. The less expensive muslin won’t feel as nice or stand up to years of wear. Save those 40% off coupons! If you don’t sew, good reproductions are available from the resources given.
Chemise
The first item of clothing you will put on is a chemise, a knee length, cap sleeve, open neck white cotton garment that provides modesty. It also protects dresses from perspiration and body oils.
Some of us have found white,100% cotton nightgowns with the same shape that are stand-ins as long as they follow the basic shape and are not too heavy or bulky.
Drawers and Stockings
Women’s drawers of the period had two wide legs sewn into a waistband, with no closure at the crotch. After the first time you hit the portajohn during a hot summer day in a hoop, you will understand the functionality of the split drawer. Of course, personal preference may take precedence here, but consider taking a walk on the split side! If you are not ready for split drawers, you can either construct a pair with the crotch closed or find a pair of white cotton, loose fitting pajama pants that reach to your upper calf.
Drawers were introduced just prior to the war. Although most women of the period wore them, they were considered rather fashion forward, where older women continued to wear multiple modesty petticoats with nothing else! Just a note, modern panties are not recommended solo since they don’t cover your legs, garters and anything else that might pop out when sitting in a hoop or, god forbid, taking a tumble.
Stockings of the period were either cotton or wool and were finely knitted. Either thigh-high, held up by garters, or knee-high were worn. Solid colors were universal – only small children wore striped stockings (and of course, the Wicked Witch of the West). Embroidery on the ankle dressed up plain stockings according to the wearer’s tastes. You can find modern day thigh high stockings at sutlers or online. Look for cotton knee socks at Target or Walmart too.
The Modesty Petticoat
On top of the chemise and drawers, and under your hoop, you would wear a calf length white petticoat that provides the necessary level of modesty under you hoop. These may be draw string or set in a waist band and should be wide enough to comfortable walk in. Many women decorated their petticoats with white work embroidery or decorative tucks.
The Corset – Another Controversy in the Community
A properly fitting corset or work stays is probably the most important clothing item a new reenactor should consider purchasing. Although a corset is relatively expensive, ranging in cost from ~ 70$ or 80$ to 150$ or more, it is essential to achieving the look of the period, forms the basis for fitting all of your dresses and other garments, and most importantly, provides back and bosom support. Aside from these reasons, women of the period had few dresses and did not replace them when they gained a couple of pounds. A corset helped to maintain proper fit. Note that tight lacing was NOT done in our period – no Scarlet O’Hara 18 inch waists!
In deciding whether or not to purchase a corset, you might also consider the modern day equivalent of going braless in public (and all that implies) vs. wearing a well fitted bra. Women of the period would not be seen without a corset or work stays and only the most destitute would not have one. If your impression is that of a poor or working class woman, ‘stays’ or corded corset provides support, comfort and keeps things in place. Before purchasing a corset, new reenactors can use a good long line bra that lifts but doesn’t separate. A sports bra which keeps things up high and pushed together works too.
Custom or premade corsets can be purchased. Make sure if you find a ready-made corset that you ask for assistance in fitting and lacing before buying.
The Hoop
Cages, Cage Crinolines, or hoops were universally used by the mid-1850s. The hoop replaced multiple layers of heavily starched petticoats worn to give the shape of the skirt. Cages progressed from wide bell shape in the mid-1850’s to a more narrow bell, a pagoda shape or with a slight thrust to the back. Typically, hoops had from 7 bones or hoops to 12 or 14 and were approximately 120 inches for the bottom bone for a taller woman to 90 inches for a petite woman. Cages were constructed using metal bones in gradually increasing widths held together using vertical strips of twill tape all attached at the top with a waistband. Others were constructed by running the bones through channels of a white petticoat-like skirt.
Inexpensive bridal hoops may stand in nicely for a hoop until you are ready to spring for a reproduction. Just reduce the width to accommodate your height. Patterns for covered hoops and caged crinolines are available too. Any hoop, especially bridal hoops, should include minimally 5 bones to achieve the proper shape.
Dresses
With very few exceptions, women during the 1860’s wore dresses of a bodice and an attached skirt of the same fabric. There were made as two pieces and basted together at the waist. Dresses we wear today at events range from simple ‘work’ dresses, which during the mid-1800s were typically worn out dresses. Beware the blousy, loose shirt/gathered skirt combo sold to unsuspecting reenactors as well as the dreaded ‘Triangle Thingy (you’ll know it when you see it) or the elastic waist skirt and white blouse ‘combo’s’. These are modernisms that bear no basis in history and, thankfully, are seen less frequently. Likewise, ‘Camp’ dresses are modern loose ‘interpretations’ of work dresses and are not as economical as a simple day dress or used day dress you may feel comfortable working in.
Young (really young) ladies look lovely in fancy blouses with bolero shaped jackets or loose fitting jackets with a straw hat, but those of us a bit older would look ‘off’ (rather like a ‘mature’ woman wearing a mini skirt with a crop tee these days).
Dresses accentuated the waist to make it appear smaller by adding width at the shoulders and hips. Darted bodices fit ‘like a glove’ with no looseness. Gathered bodices followed the same form, with a small amount of excess fabric gathered on a fitted lining in the waist. From these basic bodice styles, women added fashion details such as single or double points at the waist, peplums (short skirts added to the waist), gathered shoulders, pleats, yokes and a multitude of sleeve styles to individualize their attire and follow the latest fashion.
Skirts were constructed of panels cut from a length of fabric and sewn together in a large cylinder. One edge would be hemmed and the other folded over at the proper length and attached to a waistband. Skirt lengths were typically 3 - 5 inches above the ground – just at or above the ankle. Period skirts might have been gauged or cartridge pleated (tiny ¼ inch pleats), knife or directional pleated, or box pleated to collect the approximately 140 to 160 inches of fabric into a woman’s waist size, and then sewn onto a waistband. Gathering, elastic or drawstring waist treatments are modern and never seen in our period. Finally, skirts were basted to the waist of the bodice.
Dress fabric of the period included plain, shot, plaid or figured silk taffeta (dupioni was not used!), tropical weight wool, cotton calicos (look for long staple fiber content), cotton homespun, and sheer cotton (called voile or lawn). Cotton calicos were used in simple dresses, sheers for more fancy summer dresses, and silks and wools for more elaborate day dresses and specialty wear such as ball gowns or dinner dresses. Understanding what prints and plaids were used in our time is a lifelong research project. In general, prints tended to be small neatly laid out motifs: florals in little bouquets, floral stripes, small geometric shapes, stripes and woven plaids. Avoid large random prints, stylized florals (no 1960’s mod), and anything with nubs or slubs.
Women, for the most part, sewed their own clothing using a bodice pattern they fitted to mold to their corseted shape. From this basic, fitted bodice pattern, they could reliably create the styles mentioned above. Examining CDVs and original garments of the period help us to see styles and fit of the time.
Buying a well fitted dress ‘off the rack’, a consignment dress or making your own all can result in just the right appearance. As you go further, you or a seamstress can construct a custom fitted mock-up bodice (a ‘muslin’ or fitting shell) and paper pattern from this mock-up. This allows you or a seamstress to quickly sew great looking and fitting bodices in many styles.
Collars and Cuffs
White collars and cuffs were worn by nearly all women of all social classes. They served an important purpose in keeping the dress from being soiled by body oils and dirt, prevented wear from frequent laundering. The collar and cuffs were generally made of white cotton fabric and were basted in and easily removed to be washed. While collars and cuffs served a utilitarian purpose, they were also decorative, “ornamenting ” nearly every dress seen in original photographs. White work (similar to eyelet, but more delicate and without polyester thread), pique, or dotted swiss (watch out for those plastic dots, though) and lawn or voile can be used, along with delicate lace or ribbon trim.
Bow Ties
Women often wore bow ties at the neckline of the dress. Bow ties could be made of a variety of fabrics or ribbons and could be quite large and colorful or small and somber. Many bow ties had a hook and eye in the back to close them, avoiding the necessity to tie the bow each time.
Belts
Many women wore belts to enhance their dresses. Belts may have been fastened by a tie in the back, by hook and eye closures, or with an ornate metal buckle. Cockades or rosette closures were popular. Many belts matched the fabric to the dress or were made of wide grosgrain or velvet ribbon. A chatelaine, pocket watch, or reticule (small ‘pocketbook’) could be hung from a belt.
Aprons
Aprons are widely worn in the mid-19th century for practical purposes or for ornamentation. Practical aprons were constructed on cotton or light wool (fire resistant). Please note that women did not typically white aprons.
Even though we see many reenactors wearing bibbed, ‘pinner’ aprons, most aprons were came to the waist. Consider wearing a half apron unless you plan on doing heavier cooking or laundering at events.
Specialty aprons such as a knitting apron, a sewing apron, tea apron, or patriotic apron (displaying your political sentiments) were half aprons with pockets and were constructed of silk or fine material, trimmed with lace or embroidery and had pockets to hold needed items. These aprons are lovely and are not seen nearly enough in the hobby.
Shawls and Sontags
Shawls were a common accessory and can be made of either a printed fabric, a length of plaid wool, or knitted or crocheted in wool, or a woven paisley pattern. Paisley shawls are reproduced today with varying quality and styles that came after our period (don’t invest in one without research). Knitted shawls can be quite long and may be either plain or with lavish crocheted edges. There are patterns and appropriate weight wools to make your own shawl from. Light to medium weight plaid wool can be easily made into a shawl by cutting a square from fabric that is 50 – 60 inches wide and hemming or fringing the edges.
A sontag is practical for cooler weather and is much like a sweater today. These are knitted or crocheted from reproduction patterns. The sontag resembles a shawl with ends that wraps around your waist to tie button in the back, leaving your hands are free.
Gloves
Gloves were an essential items when ladies left the house. If you are portraying a country or labor class woman, you might only need a pair of gloves for special occasions such as church. If you are portraying a middle or well-to-do member of society, you would need gloves for many occasions such as visiting, promenading, going to town or to church.
Fingerless mitts were a fashionable accessory earlier in the midcentury, in the 1840s and into early 1850’s. Unless you are portraying a woman of advanced years, mitts should not be an item in your wardrobe.
Scour your local Goodwill, Salvation Army, flea markets or tag sales for gloves of any color in cotton fabric (not knit) or leather – they usually appear for 2$ or 3$. Almost any style except long evening gloves, bejeweled, or with modern looking details can be used.
Jewelry
In general, period jewelry was made from gold (solid or filled), gilt washed brass or a base metal. Silver was infrequently seen except for chatelaines or Scottish specialty jewelry (Queen Victoria’s ‘Scottish’ influence). The most typically worn jewelry was earrings and brooches. Earrings were pierced with a ‘fishhook’ or ‘sheppard’s hook’. Post or stud earrings were invented much later. Drop earrings with beads or gold filigree were worn. Look for ornate and BIG! In our period, jewelry was a good size rather than the small dainty ‘Victorian’ pieces that came later. Broaches, worn at the neckline, were of innumerable shapes and designs. Cameos (watch out for ones with ponytails and upturned noses), large stones and intricate details abounded.
Chatelaines, worn at the waist of the dress, hold small sewing implements such as scissors, needles, and wax. The chatelaines of our time period were not of silver- the type that is quite common at Sutler Row- but were commonly made of silk ribbon. This is not an item that should be worn with your working dress but rather with a better dress while spending time with the ladies sewing.
Necklaces and Watches
We often see necklaces in period images. They are long and hang below the brooch at the neckline and typically held a cross. They can be made of coral, gold, pearls or stones, or jet (fossilized coal).
Pocket watches were held on long necklaces with a slide or with watch chains that passed through a button hole or between the hooks and eyes of a bodice and tucked into the belt or a pocket sewn into the bodice at the waist. Watches pinned to the bodice or at the neckline came into style during the later part of the 1800’s, long after us.
Headwear – The Bonnet vs. The Hat
You may notice a variety of head coverings at reenactments and had questions about who wore what and at what age. Victorians had varied forms of headwear for different occasions, indoors, outdoors, in the home or visiting. There are, however, general rules that the vast majority of women followed.
Hats (straw hats, Glengarry hats, felt hats) of any kind were worn only by children and young ladies. Documented exceptions to this rule were wide brimmed gardening hats (genteel gardening, not digging and planting), or sea-side and bathing costume hats.
Sun or slat bonnets (not ‘prairie’ bonnets) were used from infancy to old age to protect faces and necks. These have cardboard slats inserted into channels running front to back on the bonnet brim with a slightly gathered back. Slat bonnets are an economical and accurate way to cover your head if you want to portray a rural or lower class woman.
Bonnets were universally worn by all females, from small children to the elderly. For summer, straw bonnets were worn. Silk covered bonnets could be worn year round with velvet for colder weather. Bonnet shapes varied significantly through the years. Take a look at the following website for accurate reproductions of bonnets of our period (www.victorianbonnets.com).
Now for the Hair and Makeup
In the 21st century, we tend to have varying length and styled hair and use varying amounts of makeup. During the civil war period, hair styles were as individual as the lady and makeup, if worn at all, was limited to rouge and lightly colored lip balms. Period fashion and etiquette guides warned against overindulgence in makeup lest husbands feel cheated when they got a look at the unadorned face. Modern reenactors should not have nail polish, eye makeup, dark lipstick or observable foundation. We know, we know, some of us had to get over this too, but a heavily made up woman at the time was making a statement none of us want to make at a reenactment (unless of course, you meant to do this). Absolutely use sunscreen or tinted moisturizer with sun screen and a very light touch if you must.
Hair was worn in low buns at the back of the neck. Bangs were not seen until the late 1800’s. Women used invisible hair nets or fine crocheted nets of cotton to hold things in place. Please stay far away from the polyester ‘snood’in bright colors sold to unsuspecting reenactors. These were a 1930’s invention.
Modern short hair or bangs can be accommodated with inexpensive hair gel and a false hair bun pinned in the back. A hair net holds all in place and a headpiece or bonnet covers things nicely. Sally Beauty Supply sells Wave –o-net and Jac-o-net hair nets that work well and ‘Good Hair Days Magic Grip Hair Pins’ in tortoise shell – an excellent approximation of the key-hole shaped hair pins of the period.
Again, please ask questions regarding hair styles and all the tricks.
Pulling it all together!
Younger and older women are pictured here. Notice the different styles of dress for each age, the head coverings and white blouse on the young lady in the bottom middle CDV. The bodice and sleeve styles of the top 3 photos were typical for all ages as were the white collars and undersleeves. Note the fit of the bodices – nice and trim. The two young ladies working in the kitchen still are dressed properly with collar, perfectly fitting bodices and a hoop. Each wears a pinner apron for her chores.
Below are a group of day dresses. The top row is of silk with darted bodices and open sleeves. The top right green silk dress is typical of the mid to late 1850’s, with its flounced skirt and peplum style bodice. Notice the three views of the brown sheer dress in the middle as well as the brown gingham. The bottom row of day dresses is made of calico prints.
Resources for Research and for Purchasing Reproduction Items
The following resources are provided to assist you in learning more about period clothing, accessories and appearance in general.
Print Resources
The best ever general resource to help you get off the ground and the woman’s bible for apparel!
An Introduction to Civil War Civilians, by Juanita Leisch
Who Wore What?: Women's Wear 1861-1865, by Juanita Leisch
The following book has pages taken from Peterson’s Magazine, a popular woman’s magazine during the 1800’s. Both Peterson’s and Godey’s Lady’s Magazines contained fashions, patterns and projects for clothing, housekeeping and etiquette advice as well serialized stories.
Civil War Ladies: Fashions and Needle-Arts of the Early 1860's
Online Resources
These are comprehensive on-line resources and a great jumping off point. The Sewing Academy (Elizabeth Stuart Clark) is an online forum where members, from newbies with basic questions to historians and curators, exchange information, give advice and provide vetted resources. Lots of help is available on any civilian topic and you can do searches on the conversations to find what you need!
Anna Worden’s site has great beginner info as well as her research on millinery and other topics. The Ragged Soldier (Michael and Virginia Mescher) has very accurate reproductions and Virginia’s Veranda, well researched information on a variety of topics.
www.thesewingacademy.org
http://annaworden.wordpress.com/
http://www.raggedsoldier.com/articles.html
These searchable archives can be used to view and research original objects. These will help you build an ‘eye’.
Also search eBay, but take care with the descriptions of some objects as they may be inaccurate. Search for Godey’s and Peterson’s magazines to take a look at the color prints included with each month’s fashions.
http://www.mfa.org
http://www.mccord-museum.qc.ca/en/ (go to collections)
http://dlxs.lib.wayne.edu/cgi/i/image/image-idx?page=index;c=hfhcc
http://www.metmuseum.org/Works_of_Art/collection_database/
http://www.vam.ac.uk/collections/paintings/galleries/display/sheepshanks/index.html
http://www.vam.ac.uk/
http://www.ohiohistory.org/occ/menu.htm
http://www.osv.org/collections/index.html
http://www.historicnewengland.org/JewelryHistory/checklist.htm
http://philamuseum.org/collections/museum/
Resources for Purchasing Reproduction Items
Although there are many online sutlers you can purchase merchandise from, many offer poor quality and significantly inaccurate pieces for top dollar.
Dresses, undergarments, accessories and fabric:
Robinson’s Mercantile – Judy Robinson has military and civilian men’s, women’s and children’s clothing as well as corsets and accessories. Judy attends most events in our area and is available online and for custom clothing.
Les Touche’s Finalle – Heather and Dave Lieber have some great fabrics in dress lengths (7 – 8 yards) and attend events in our area.
http://www.victorianbonnets.com/
The best way to select fabric is to ask the Sewing Academy experts first or one of us (we can direct you to an expert if it’s not clear).
http://www.fashionfabricsclub.com/
http://www.reproductionfabrics.com/
For patterns, Past patterns are the most accurate, well made patterns with the best instructions. The mainstream pattern makers (Simplicity, McCalls, etc.) are not accurate at best and are very ‘costumy’.
http://www.pastpatterns.com/
Just remember to ask! There’s plenty of hard won advice for reenactors of all experience levels and plenty of fellowship in sharing with each other!
