A History of Blouses - Part 1 (1890s)

In the late 1880s a new garment was introduced into feminine wardrobes: the blouse.  It has waxed and waned in popularity, but has been a staple ingredient in women's dress ever since.  Through the years it has ranged from being as plain as a man's work shirt to being an elaborate confection of ribbons, lace insertions and embroidery.  

In the 1890s the blouse and skirt combination almost became a uniform for the 'New Woman' of the era.  It was worn by women for playing sports, for undertaking further education and for working in the new white-collar jobs that were opening up to women.  

Koch & Co. catalog, 1892

The earliest versions of the blouse were tunic-like garments, usually descending below the waistline over the skirt and belted in.  A popular type of blouse was the "Russian" blouse, fastening on one side  at the shoulder like a Russian peasant's tunic—but not noticeably Russian otherwise.

"Blouses are quite as much worn as ever, and now seem to be made of everything, the most recent fancy being velveteen. The other day I saw a maroon-coloured one which looked very warm and comfortable, and was becoming as well. In fact, it seems difficult to distinguish between a bodice and a blouse, except that the latter differs from its accompanying skirt, and is rather more decorative than a bodice would be."

"Girls' Attire : The Newest and Best", by The Lady Dressmaker in The Girl's Own Paper, 24th of November 1894 

"There is no doubt about the popularity of the blouse. From the highest to the lowest everyone seems to wear it, and it is wonderful what numerous forms it can take... I have before spoken of the wonderfully beautiful colours in which it is now produced, and the pale hues for evening wear being very remarkable in tone and texture."

"Girls' Attire : The Newest and Best", by The Lady Dressmaker, in the Girl's Own Paper, 29th of June, 1895

By the middle of the decade the blouse was being styled in imitation of men's shirts (and called the shirt-waist in America).  Any resemblance was mostly superficial however.  Women may have adopted collars and cuffs—and even ties!—with their blouses, but the sleeves were always fashionably cut, and the bodices always lined and often boned.

Photo by A. Poulson, Goulburn N.S.W. between 1893-1895

A glance at those almanacs of trade, the shop windows, tells us that the shirt waist, the summer girl's first favorite, has come again to charm all beholders with its freshness. It has profited by its last summer's association with the most fascinating of her sex, and presents itself to an expectant throng in all the beauty and attractiveness that it learned from the girl of the seashore and mountains.

Quite as coquettish as its wearer, and knowing full well the value of all its pretty conceit, it easily holds first place in woman's wear for the summer season of '96. It no longer relies upon its simplicity for its charm, and most elaborate are some of the newer styles shown in the smart shops. Two notable changes from last season's designs are in evidence - the very decided Bishop sleeve and the detachable collar and cuffs of spotless white. 

Carson-Pirie Monthly, Mid-March 1896

Delineator, November 1890

"No. 3551—The blouse is here represented made of light dress goods and dark velvet... the girdle is deeply pointed at the top and bottom of the front and back... the closing being made at the left side with hooks and eyes.  The girdle is lined with silk and interlined with canvas, and all its seams and closing edges are boned.  The blouse may be worn beneath or outside the skirt, as preferred.  The blouse is appropriate for wear with any of the fashionable walking-skirts..."

"No. 3549—The blouse, which may be worn beneath or outside the skirt, as shown in the engravings, is in this instance pictured made of a pretty variety of dress goods and velvet to match. It is made over a smooth-fitting lining, which is slightly shorter than the outside... The upper part of the blouse consists of a deep yoke... The lower portions are joined by side seams which are made separately from those of the lining... The outside is closed with hooks and loops... and at the neck is a deep rolling collar that flares at the throat..."

Delineator, May 1896

"No. 8354—The basque-waist is here illustrated in a combination of light brown crépon and green velvet.  Made with a low, square neck and elbow sleeves it is a charming evening waist, while with a high neck and long sleeves it is handsome for any occasion not calling for full dress..."

"No. 8347—The shirt-waist is here pictured developed in white lawn and trimmed with embroidered edging.  The fronts have becoming fulness collected in gathers at the neck, and the closing is made with studs through a box-plait formed at the front edge of the right front... Around the waist is a belt that has pointed ends and is close in front.  The bishop shirt sleeves... are made... in shirt-sleeve style and are closed with link buttons.  At the neck is a large sailor-collar..."

Weldon's Ladies' Journal, June 1897

"No. 13592—A Morning Blouse.  This pattern is suited to serge,flannel, cambric, linen, holland &c. all edges being machine-stitched.  The fitted lining is covered in the upper part with a pointed yoke, under which the material front and back are arranged in box pleats... The basque is worn inside skirt, and waist finished with a sequin, petersham or leather belt finished with a pearl clasp...."

Weldon's Ladies' Journal, June 1897

"No. 13698—A Dressy Blouse.  This design is suited to fancy or plain silk or satin, trimmed passementerie or insertion, or lace, spotted net, canvas, grass lawn &c., over a silk foundation...."

Delineator, September 1898

"1920—Very much in accord with the times is the natty military shirt-waist so appropriately shown made of white piqué with the box-plait, shoulder straps, cuffs, belt and collar of bright military-blue piqué… The closing is made at the center of the front with buttons and button-holes through a box-plait of blue piqué joined to the right front… The neck may be finished with a narrow neck-band for wear with a removable collar, or a standing collar of strictly military cut may give the completion, as illustrated… All cotton shirt-waist materials may be used for this waist, though silk or wool is always attractive."

"1840—Green taffeta silk was here selected for this becoming shirt-waist… Percale, Madras, zephyr gingham, chambray, lawn, dimity and plain dotted Swiss are also suitable for this shirt-waist."

Photo by E. Squire, Hawera N.Z. circa 1898

Every season we are regularly told that the blouse and the shirt are going out of fashion, and every year they seem to become more popular.

Hearth and Home, March 24 1898

"A Summer Coat for only £1:00" (Woman & Beauty, July 1956)

Do any of my readers enjoy vintage sewing?  Then perhaps you'd like to try your hand at this pattern for a light summer coat.  It was originally published in Woman & Beauty in 1956.

... to make from our diagram

 MATTRESS TICKING and the easiest diagram in the world to copy combine to help you give yourself  the luxury of a purely summer coat which is wonderfully smart and costs practically nothing.  It's straight, neat, crisp and slimming.  All the material needed is two yards of 56-inch-wide striped mattress ticking which is obtainable from the Household Fabrics department of almost any large store, price 9s 11d a yard.

Cut the ticking according to the diagram which allows a ¹/₂-inch on all seams.  Make a dart at each front shoulder and then mark the positions of the three buttonholes 1 inch from the edge of the coat, the centre button being on the waistline, and make bound buttonholes.  To make the mock pockets fold each strap in half, sew the ends and turn before attaching to the coat.  Join the shoulder seams.  To make the collar, fold the piece in half, stitch the two ends and turn, then tack it firmly to the right side of the coat, working from the centre back to the fronts.  Join the shoulder seams of the facing and put the right side of the facing carefully around the neck.  Stitch and trim the edges, clipping around the neck edge.  Turn the facing to the wrong side of the coat and press well.  Finish off the buttonholes.  Then stitch the side seams from the sleeves to the top of the vent; turn in each vent edge level with the seam and sew in its place.  Stitch the bands to the sleeve edge, hem to the required length, sew on the buttons and your coat is complete.

Miroir des Modes (August 1925)

This was a French magazine promoting Butterick patterns.  I have a suspicion that the illustrations and the descriptions (translated into French) were lifted from Butterick's English language publications.

Here we see the mode still evolving towards what we typically thing of as 1920s fashion.  The line is straight, with bust and and hips flattened and minimised, but skirts  still descend well below the knee.  The models all wear cloche hats and have bobbed hair, which makes them thoroughly modern misses in 1925! 

Golden Hands Monthly (September 1974)

Golden Hands Monthly was another Marshall Cavendish publication, specialising in patterns for clothing that could be knit, crocheted or sewn at home.  Each issue contained one multi-sized sewing pattern for a woman's garment.  This dress looks as if it was intended for special occasion wear.

 

"In response to requests for a dress that is demure yet flattering, feminine without being over fussy, and fashionable yet dateless, here is one with all these features and more besides.

The bodice is high necked and skims the body with clever seaming and unusual buttoning; the sleeves are tight, but with pleated fullness at the shoulder for easy movement and a cuff that flares into a full circle; the skirt sways and swirls with each movement, being circular also, flattering to even the larger hipped person.  So if you are tired of separates, trousers and jeans, this is the dress to remind you that you are a woman, and we guarantee you will look a very pretty one too."

Fabric suggestions for this dress were wool or synthetic crepes, lightweight wools and closely woven tweeds, rather than the ubiquitous 1970s polyester double-knit.

"Planning Parachute Parts!" in Easy Dressmaking (1947)

In 1947, "Frances K." wrote to the "Ask Anita Best!" column in Easy Dressmaking.  She wanted information on something that must have puzzled many women at the time: how could she best use the war-surplus parachute silk on sale in many of the shops?

"Francis K., intrigued by the parachute sections she sees on sale in so many shops, is wonder whether she would really be able to make herself some pretty undies from them.  What worries her most is that the material seems to be cut on the bias and she can't quite see how to plan the pattern shapes on the sections."

"For Frances and many more of my readers who will be buying these fascinating silk sections I have pictured on this page an alluring set of lingerie and an excellent brassiere and shown how the patterns for all these garments should be laid on four parachute sections for cutting out.  Each pattern section has been numbered and named so that all you need to do is send for the patterns and lay the sections on your silk just as the diagrams show.  From two parachute sections you could cut the nightdress and the knickers, or you could cut the petticoat, the cami-knickers and the brassiere.  The patterns are arranged in position so the main part of each garment is cut on the bias except the knickers and these and the remaining parts of the other garments are on the straight of the fabric.  Allow plenty of space for laying your parachute sections out flat and pin your pattern pieces carefully in position with plenty of pins so that they cannot slip when you start to cut.  All turnings are allowed for on the pattern so you can cut exactly to shape.  The making up is, of course, as usual."

And for those who are particularly interested in the details, I give you Anita Best’s original diagram with its key:

No. 1—Nightdress front.  No. 2—Nightdress back.  No. 3—Bodice front.  No. 4—Shoulder strap.  No. 5—Knickers back.  No. 6—Knickers front.  No. 7—Knickers yoke.  No. 8—Petticoat front.  No. 9.—Petticoat back.  No. 10—Bodice front.  No. 11—Cami-knickers front.  No. 12—Cami-knickers back.  No. 13—Bodice front.  No. 14—Cami-knickers strap.  No. 15—Brassiere back.  No. 16—Brassiere front.  No. 17-18—Brassiere centre section.  No. 19—Brassiere front section.

Roma's Pictorial Fashions (April 1934)

A Free Pattern With Ideas!

"There are so many delightful possibilities with this free pattern.  In flecked woollen or tweed it makes either a trim runabout frock with long tight sleeves and an inset vest showing the new high neck-line and scarf-collar; or else one of the new fashionable pinafore frocks to wear with your new blouses or knitted jumpers.  And in either case, put with our coupon coat it forms a delightful ensemble.  

Other good points are that it only takes such a mere scrap of material and is the very simplest style to copy.  The main part is cut all down in one, and is so slick and tailorish with its centre seam outlined with stitching.  The long-sleeved frock has this tailored note emphasised by the way the ends of the silk scarf-collar are trimly buttoned down, and by the little silk cuffs to match that peep out below the sleeves, like a man's shirt cuffs, with linked buttons to catch the sleeve edges together up the back of the wrist.

For the pinafore dress you just omit the vest and long sleeves and add the epaulettes."

Roma's free pattern for April 1934 pretty well encapsulates 1930s fashion: sober but elegant, with plenty of opportunities to ring the changes on your costume and stretch your wardrobe (and your budget!)  The long slender lines of this dress are typical of the middle of the decade, with shoulders only just beginning to broaden and skirts at about calf-length.

"The New Monthly Belle Assemblee" (September 1843)

These were advertised on eBay as "French fashion plates", but were in fact from an English magazine.

Though fashions changed slowly in the 1840s and the modern fashion industry barely existed, Paris was already established as the fashion capital of the western world.    English fashion magazines would often try to appropriate the cachet of French fashion by larding their reportage with French phrases and technical terms.   The descriptions accompanying the plates below are fairly good examples of this kind of writing:

PUBLIC PROMENADE DRESS—Robe of soie cameleon, the corsage made quite high, and tight to the shape; is trimmed around the top with lace standing up, and decorated in the heart style, with a pelerine, trimmed with ribbon plaited à la vielle.   Long tight sleeves, finished with a lace ruffle, and a plaiting of ribbon at the top.  The skirt is decorated with a biais which reaches nearly to the knee, and is headed by a plaiting of ribbon.  Pink crape bonnet, a small round open brim, the interior trimmed with roses; the exterior with a torsade and coques of ribbon, and a bouquet of white plumes aerienne.

*Corsage—bodice.

*Pelerine—a women’s cloak with a short back and long ends at the front.  For the rest, this description boils down to a silk dress with high neck and long sleeves, decorated with lace and ribbons.

OPEN CARRIAGE DRESS—Changeable silk robe, the corsage is high at the back, but descending en V at the bosom; it is trimmed with lace.  Tight sleeves, with lace ruffles falling over the hand.  Straw-coloured poult de soie chapeau, an oval brim, the edge trimmed with ribbon à la Vielle, and the interior with coques of ribbon, and brides tied in full bows and ends; the exterior is decorated with a white willow plume, a torsade of ribbon and a knot behind.  Mantelet-écharpe of India muslin, trimmed with point d’Angleterre.

CARRIAGE DRESS—Pekin robe, shaded in pink and blue, with satin spots thrown up; the corsage high at the back, and tight to the shape, opens in richly embroidered habit-shirt, with a rounded collar of two falls.  Long, tight sleeve, trimmed with a half Venetian sleeve, put very low down, and descending over the elbow.

*Pekin--a silk fabric in which broad stripes of equal width and in various colors or weaves are alternated.

PUBLIC PROMENADE DRESS—Blue barege robe; the corsage tight to the shape, high behind, but forming a little the V on the bosom, and trimmed with an embroidered muslin berthe. Sleeve a three-quarter length, easy but not wide; with muslin puffs let in at the elbow; under-sleeve of muslin bouillonnée. The skirt is decorated with three rows of fancy trimming; of a novel kind and a deeper shade.

*Barege—also barège. A sheer fabric of wool combined with silk, cotton, etc.
*Berthe—in English, Bertha.  A collar or covering worn over a low-necked dress.

Modern readers who want to learn more about the clothes depicted in these plates will find themselves having to read these descriptions with a fashion dictionary or two open beside them!  (The two main ones I consulted were The Fashion Dictionary: fabric, sewing and apparel as expressed in the language of fashion by Mary Brooks Picken, and The Thames and Hudson dictionary of fashion and fashion designers by Georgina O’Hara Callan.)