The History of Underclothes

by C. Willett

  The collar was attached to the back of the neckband by a button, and stood up stiffly above the cravat with a wide gap between the square-cut points. A narrow edge of unstarched cuff was visible, and cuff links appeared after 1840 as a usual fashion.

  A specimen in the City Museum, Hereford, of about 1850, is of fine linen; length 37 in., width 28 in. (figure 62). The neckband, 1 in. deep., is starched and has a pearl button attached at the back. The starched front has two panels of fine tucks running transversely, and three stud holes down the centre. The cuffs, also starched, are turned back, with a button at the base and link holes at the border.4 The garment is hand-sewn throughout.

  FIG. 61. MEN’S COLLARS, CRAVATS, AND SHIRTS: C. 1850 (a) LORD CARLISLE, (b) MR. FRITH, (c) MR. PHELPS, (d) LORD BROUGHAM, (e) MR. SHEE: 1890 (f) MR. GLADSTONE

  The dress shirts of this period might present fine lines of tucks or be enriched with lines of embroidery. Frequently there was no stud or button in the front. With these a white cravat, wound twice round the neck and tied in a large bow, crossed the front of the neck between the collar points. The cravat was deep enough to conceal all but the rim of the collar. When the shirt-front had studs these were usually gold, two or three, connected by chains. Gold cuff links were usual, though they were still generally described as buttons.

  It will be observed, therefore, that the masculine shirt by day was losing its importance. Its former splendour was now being transferred to the neighbouring waistcoat which invariably caught the eye. Only in evening dress did the shirt retain its old class distinction.5

  About 1850 the bottom of the shirt, front and back, which had hitherto been cut square, was beginning to be cut in a deep curve, as illustrated in an advertisement of 1853 (figure 64). This curve persisted well into the twentieth century.

  For evening dress the ‘Patent Elliptic Collar’—cut higher in front than behind—was introduced. ‘How gloriously he is attired. . . . His elliptic collar, how faultlessly it stands; his cravat, how correct; his shirt how wonderfully fine; and oh! how happy he must be with such splendid sparkling diamond studs—such beautiful amethyst buttons at his wrists—and such a love of a chain disporting itself over his richly embroidered bloodstone-buttoned vest. . . . Altogether such a first-class swell is rarely seen. . . .’6 (figure 64).

  The term ‘swell’ had by now lost its earlier significance. At this time the various social grades descended from the gentleman to the gent, and thence by stages to ‘downy ones’ and ‘knowing coves,’ and each were distinguishable by their attire and their taste in shirts.7

  FIG. 62. MAN’S SHIRT, 1850–60

  FIG. 63. MAN’S DRAWERS IN PINK SILK STOCKINETTE, c. 1850

  If some of those picturesque garments were now to come to light museum curators might find them difficult to date, or even mistake them for modern. How baffling, for instance, would be such a one as worn by Mr. Ledbury in his office—with the figure of a famous prima donna forming ‘the pattern of his shirt, on which she was reproduced many times in a chocolate tint.’8

  Equally puzzling would be the sportive attire of the ‘snob’ on shipboard, wearing ‘a shirt embroidered with pink boa-constrictors.’9

  FIG. 64. THE GORGET PATENT ADJUSTING SHIRT, 1853

  That these literary fancies were based on fact is proved by an advertisement of 1855: ‘Rodger’s Improved Shirts for ease, elegance and durability have no rival, 31/6 and 42/– the half doz. Patterns of coloured shirtings, such as horses, dogs and other sporting designs, post free.’

  Unfortunately the spivvy adornments of Victorian downy ones have yet to be discovered.

  2. THE DICKEY

  This had, by now, declined in the social scale.10

  3. DRAWERS

  A pair in the City Museum, Hereford, c. mid-nineteenth century, of pink silk stockinette is ankle length (figure 63). The front opening, 9 in. deep, is closed by an overlap of the 2-in. waistband, fastened by four pearl buttons. A 4-in. opening down the centre of the back is closed by two silk tapes in the waistband. Holes bound with tape, through which the tongues of the braces were passed, are six in number in the waistband, two on each side of the front and one on each side of the centre of the back.

  4. UNDER-VEST

  ‘Merino vests for ladies and gentlemen’ were advertised in the 1840’s but we have no description of them. We have seen how, previously, men used flannel under-waistcoats for extra warmth; now the additional garment began to be worn under the shirt next the skin, while preserving the name originally applied, and still applied by tailors to the waistcoat.

  5. BRACES

  An advertisement of this accessory (1846) explains its necessity in a polite piece of period copy-writing : ‘Henry Powell respectfully invites inspection of his little invention of a Brace to sustain Drawers and Trousers, at the same time. Knowing, from his own trade, the variety of plans tried by Gentlemen to keep their drawers in the right place, such as loops placed horizontally or perpendicularly on the bands, button holes made, or cut in the bands, tapes, strings, pins, etc. etc., all of which answer but very imperfectly (often breaking or tearing out, turning over the tops of the trousers, or producing an unequal draught, besides taking extra time and trouble) H. P. was induced to turn his attention to the subject, and has succeeded by a very simple contrivance in finding a remedy for these defects in the Comprino Brace. . . . 2/ to 6/6 for useful, and 6/6 to 10/6 for more ornamental ones. . . .’

  Superior articles were often embroidered—‘The Marquis throwing back his pea-green cashmere coat lined with silk, and displaying his embroidered braces, pink rowing shirt11 and amber-coloured waistcoat.’12 Mr. Pacey, a ‘country swell,’ favoured ‘white satin forget-me-not embroidered braces’ ;13 but Mr. Verdant Green went up to Oxford ‘with a pair of braces from Mary worked in an ecclesiastical pattern of a severe character,’ as befitted a student.14 The labouring class retained the ancient name of ‘gallows’ for this kind of appliance—‘Galusses—things to had your breeks up by,’ as James Pigg explains.

  6. NIGHTCLOTHES

  Contemporary illustrations indicate that sometimes a nightshirt with a small turned-down collar was worn, and sometimes a nightgown reaching to the ankle. The night-cap was usual, of the jellybag shape, often coloured and generally tasselled. White cotton nightcaps, knitted or crocheted, were the less fashionable mode.15

  WOMEN

  I. THE CHEMISE

  Usually of longcloth, advertised at 16/6 a dozen in 1849.

  A specimen, for day-wear, dated 1849 (Platt Hall, Cunnington collection) has the front square with a falling flap (figure 65), and the sleeves short and full and gathered into a band; there is a gusset in the armpit. A few had long sleeves with worked wristbands with an edging of net or lace. The garment reached the knee and was about four feet round the hem.

  An evening chemise, dated 1847, in the same collection is of cambric, the front square with a narrow frill of lace, and a drawstring round the neck; short full sleeves gathered into a band edged with lace. The front has small gussets for the figure, and the skirt is slightly shaped.

  The severe plainness of the day garment is characteristic of an article entirely concealed from view.

  2. THE PETTICOAT

  A number, ranging from four to six, were worn according to the season. Only the outermost, of which glimpses might be displayed with discretion, was in any sense decorative. It was generally of cambric, elaborately embroidered or trimmed with embroidery, crochet or lace to a depth of six or eight inches above the hem. Some were flounced. Beneath this was worn a plain white longcloth petticoat, both being gathered on to waistbands fastened by strings. A variation of the latter was the petticoat with attached bodice which was then called a ‘slip’ but later became known as a ‘Princess petticoat.’ A specimen (Cunnington collection) of longcloth, has the bodice buttoning down the front into a point, the skirt close-gathered and attached to the bodice with a line of piping. Beneath these were worn one or more flannel petticoats, cream-coloured, and plain
or scalloped round the hem.

  The width of all these petticoats steadily expanded during the period, corresponding to the growing dimensions of the skirt, to some six or eight feet or more round the hem.

  Beneath these was worn a knee-length petticoat of some stiff material, of which the most notable was ‘crinoline,’ composed of horsehair warp and wool weft. The name is derived from the Greek word for hair, and this garment is to be distinguished from the ‘artificial crinoline’ or ‘cage’ which later displaced it. ‘Horsehair petticoats’ are frequently mentioned in Hillingdon Hall, together with ‘large bustles.’ A petticoat (in the Cunnington collection) made of this material pleated on to a waistband, has a hem six feet in diameter. Extra stiffening round the lower half is obtained by five lines of piping. Another specimen is of stiffened wool, heavily pleated at the back, and open down the front, with tapes for tying round the waist (figure 65).

  Occasionally a longcloth petticoat, heavily trimmed with cording up to the knees, was worn in place of the crinoline one, to sustain the dome-shaped skirt. Towards the end of this period ‘the stiff jupon is still worn but very much diminished in all its dimensions’ (1852). The burden of underclothing was becoming insupportable, and the shape of the skirt was often maintained by lining the lower part of the dress skirt itself with crinoline, or by having a few rolls of it along the border. For the evening the under-petticoats could be reduced in number if they were heavily starched, and a stiff petticoat of book-muslin might suffice with a single cambric one over it.

  FIG. 65. (left to right) CRINOLINE PETTICOAT, c. 1840–50: CHEMISE, DATED 1849; WOMAN’S CAMISOLE WITH BACK-FASTENING

  Early in the 1850’s the quilted petticoat,16 for cold weather, came into use, and about the same time the novelty of petticoats in brilliant colours, especially scarlet.

  That the lady of fashion was not infrequently even ahead of the current mode is suggested by the comment, April 1842:—‘Lady Aylesbury wears forty-eight yards of material in each of her gowns, and instead of a crinoline (or horsehair petticoat) she wears a petticoat made of down or feathers, which swells out this enormous expanse and floats like a vast cloud when she sits down or rises up.’17

  3. THE CAMISOLE

  This new garment appeared early in the 1840’s, and was frequently spoken of as a ‘waistcoat.’ Made of white longcloth and shaped to the waist by goring, it covered the corset, and thus took the place of the flap front of the old type of chemise, which used to hang down over the top of the corset to conceal it from accidental view (figure 65). Double-breasted ‘Angola waistcoats’ might be worn, instead, in cold weather.

  4. THE VEST

  ‘Ladies merino vests, 3/6 and 4/6’ were advertised in 1847; but it seems that young ladies were reluctant to wear them as they would increase the waist measurement.

  5. BUST IMPROVERS

  Advertisements of the 1840’s give information about this device: ‘The registered bust improver, of an air-proof material; an improvement on the pads of wool and cotton hitherto used’; ‘To ladies: The zone of beauty for 18/6, that much improved article of ladies’ toilet which imparts a sylph-like roundness to the waist without restraint or pressure.’ On the other hand The Handbook of the Toilet laments the use of ‘lemon bosoms and many other means of creating fictitious charms and improving the work of Nature.’

  6. DRAWERS

  The purpose of wearing drawers is described in The Handbook of the Toilet: ‘Drawers are of incalculable advantage to women who expose themselves to a variety of diseases from the usual form of their garments. In France, drawers form a necessary part of female attire, and many indispositions, to which British females are continually subject, are prevented by their use. According to our fastidious notions of propriety it is considered indelicate to allude in any way to the limbs of ladies yet I am obliged to break the ice of this foolish etiquette which is more revolting to modesty than favourable to it, by associating indelicate notions with what is in itself as pure and delicate as the lovely countenance of Eve before her fall. The drawers of ladies may be made of flannel, angola, calico, or even cotton stocking-web; they should reach down the leg as far as it is possible to make them without their being seen.’

  ‘Longcloth drawers, 1/3; drawers, full maids’, 8/5 doz’ (Lady’s Newspaper, 1847). ‘Ladies’ riding trousers, of chamois leather and black feet’ (1854).

  Although in the 1840’s the garment was extremely and severely plain, reaching some way below the knees, in the next decade it was becoming more ornamental. Thus in 1851, ‘Longcloth drawers, plain, 2/–; richly trimmed, 3/6.’

  Merino and lamb’s wool vests and drawers, for winter, were worn during the latter part of the period.

  7. CORSETS

  ‘The modern stay extends not only over the bosom but also all over the abdomen and back down to the hips; besides being garnished with whalebone to say nothing of an immense wooden, metal, or whalebone busk passing in front from the top of the stays to the bottom; they have been growing in length by degrees; the gait of an Englishwoman is generally stiff and awkward there being no bend or elasticity of the body on account of the form of her stays.’18 Such stays were laced up at the back (figure 66).

  In 1847 we advertised ‘Front fastening stays with patent clips,’ and ‘Paris woven corsets, 18 to 19 in., 17/6.’ And the next year stays were made with elastic thread woven into the material. But with the expanding skirt the compressed waist was no longer admirable, and we read that ‘the age of stiff stays has departed, and the modern elegante wears stays with very little whalebone in them, if they wear any at all’ (1850). Instead there was ‘the Corset Amazone which by the aid of elastic lacings yields to every respiration, and by pulling a concealed cord can be shortened three inches.’ ‘The elastic bodice with front fastening, 10/6’ (1854) was a substitute. Nevertheless there were being advertised ‘100 patterns of stays for Ladies and 50 for children, 7/– for 18 in., waist rising 6d. an inch.’

  Stays with front fastenings were displayed at the Great Exhibition of 1851, and gradually became the accepted model.

  Day-corsets of the 1840’s had shoulder straps and were shaped to the breasts; in the next decade the shaping diminished and straps were dispensed with.

  FIG. 66. CORSETS, 1844–66

  8. THE BUSTLE

  This was no longer confined to the back, but spread round to the sides to help in throwing out the skirt into a domed shape (figure 67).

  ‘An immense assortment of dress-improvers’ (1849) was the more elegant name for the bustle,19 which was still being advertised in 1854, being only displaced when the ‘cage crinoline’ arrived. Thus, in that year, we read: ‘Not satisfied with the Bustle some ladies of the present day have revived the practice of wearing hoops.’

  FIG. 67. THE BUSTLE, 1844. AFTER DAUMIER

  9. NIGHTCLOTHES

  The nightdress, usually of longcloth—costing 29/6 a dozen in 1849—was frilled round the neck and down the front opening, and also at the cuffs. A night cap was worn. This fitted the head like a baby’s bonnet and was tied under the chin. The crown was sometimes trimmed with insertion and the front edge frilled to frame the face. ‘In lieu of the common drawn and frilled nightcap she appeared in a fine embroidered muslin one, trimmed with Valenciennes lace and tied with a blue ribbon.’20

  Hitherto all these undergarments had usually been home-made, but in 1851 we find ready-made garments much more advertised. ‘Longcloth nightdress, 2/6; nightcaps, 6/– to 10/– a doz.; longcloth frilled nightdresses, plain, 3/6; richly trimmed, 7/6.’

  The notion that a nightdress should be made ‘attractive’ by trimmings of lace seemed, at least to the elders, a sign of depravity, and opposed to the highest principles of the English lady.

  It will be seen that the underclothing of this period was essentially inspired by the developing force of prudery which arrived at its height by the closing years. The shape of the human body, so successfully obliterated by the costume, was not merely out of sight but even
out of mind. Those layers of wrappings protected the thoughts of the nicely brought up young lady from dwelling upon ‘physical facts,’ which her training taught her to shun scarcely less than she shunned all knowledge of her internal organs.

  In fact, the psychological purpose of all these undergarments was not so much to protect the body as to protect the mind from dwelling upon it. Yet the instincts were not frustrated thereby; masculine imagination must have been tantalized by the contrast of the delicate charm of the dress with the virginal primness of what lay beneath; the connoisseur discovered in prudery itself a subtle erotic appeal. That was the secret of the 1840’s—the art of making prudery ‘attractive.’

  * * *

  1 ‘Saxony flannel shirts, suitable for gentlemen travelling, 9/6 each.’—Advertisement of 1855.

  2 E.g. The Lady’s Newspaper, 1847.

  3 R. T. Surtees, 1844.

  4 The device of a button at the base and links at the border was known as the ‘French cuff’.

  5 Advertisement: ‘Shirts of longcloth with linen fronts, collars and wrists at 6/6; all linen 10/6. Stocks, fine everlasting cloth, with bows, 3/6; long ends, 4/6; of satin, 4/6— long ends 6/6’ (1844).

  6 R. T. Surtees: Ask Mamma, 1858.

  7 See Albert Smith : The Natural History of the Gent, 1847.