As shown by one of this year’s Explore Your Archive themes #Archivecatwalk ‘the history of fashion is the history of people’. Archives can provide a unique insight into the fashion of the past from sources such as inventories, wills, household accounts, bills, photographs, drawings, magazines and periodicals, diaries and more. Sometimes they can provide evidence where little else has survived. I’ve picked a few examples from our collections for this blog, but there are many more out there!
Inventories, wills and bills
Inventories can provide evidence for the garments and quantities of clothing in households of varied status. Textiles and clothing are not only revealed through bequests in wills but in the given occupations of testators including clothiers, cloth-workers, glovers, haberdashers, hat makers, draper, cordwainers, weavers etc.
Bills and accounts give us dated evidence of prices paid for all sorts of clothing and textiles, such as this example in the papers of sisters Miss Mary Codrington of Walcot in Bath (died 9 March 1754) and Miss Dorothy Codrington (died at Bath in 1768).
We also hold a detailed bill for Lady Elizabeth Seymour dating to 1669 which is mostly for clothing. It includes white and coloured worsted stockings; fabrics including tabby, lutestring, satin, sarsnett, venetian, cambric, farindin, avignion, parrigone, tifiney; laced shoes, and a “pare of golosus”; damask and jessemy powder. Rather pleasingly it also includes an entry for 8 pounds of that most essential of items ‘iockaletta’ (no prizes for guessing!).
Women in the mid-17th century often wore low cut bodices laced down the front with ribbons and coming to a deep point, a linen collar (which was sometimes transparent) ¾ length sleeve with turn ups of lace. They would have worn gowns and petticoats (which are also listed in Lady Seymour’s bill). There was also a fashion for adding ‘patches’ to the face which satirist John Bulwer described as the ‘vain custom of spotting their faces out of affectation of a mole, to set off their beauty’. The shapes could vary from spots, to stars, crescents, or even ‘a coach and horses cut out of black ‘court plaster’. Amazingly this was a fashion which lasted for more than 50 years.
For men the custom of wearing a periwig was adopted following the King appearing in one in 1663. Samuel Pepys recorded his wearing of a periwig in his diary, and is seemingly a little disappointed not to have provoked more interest: “I found that my coming in a periwig did not prove so strange as I was afraid it would for I thought that all the church would presently have set their eyes upon me” The fashion lasted for nearly 100 years, although the use of powder did not begin until the latter part of the 17th century.
Nearly 100 years later, a 1741 inventory of the Earl of Ailesbury’s clothes in London and at Tottenham includes suits of cloth in various colours, flowered crimson velvet, bargen, camelet, flowered silk, 4 tied wigs and 3 bobs, silk and thread stockings, 4 swords, buttons, shoe and knee buckles in gold, silver, pinchbeck and enamel.
Magazines and periodicals:
In a collection of family papers we have 11 copies of ‘The Ladies Cabinet’ magazine covering fashion, music and romance. This 1835 edition includes an advert for ‘French and English Corsets’ with the Patent Black which is ‘instantly unlaced in cases of sudden indisposition’. There is also the Elastic Stay which prevents pressure on the chest in the case of pulmonary complaints and the Gestation Stay, which gives necessary comfort and support to ladies during pregnancy. The corset had come back into fashion after the earlier ‘Empire’ gown of the end of the 18th century. The pursuit of this style led to some extraordinary effort; Laver notes in ‘A Concise History of Costume’ (p162) that in one corset advert a mother is advised to make her daughter lie face down on the floor so she might place a foot in the small of her back to obtain the necessary purchase on the laces.
In slightly less restricted attire, a 1928 magazine snippet shows the remarkable speed record-holder Mrs Bruce (see our Principal Archivist’s blog on some of her favourite archives to learn more about Mary Bruce’s extraordinary story). Post war, fashion began to pick up again, and the flared skirt which had lasted throughout the war was replaced by a more cylindrical ‘barrel’ line with shorter skirts (knee length). This can be seen in this sketch where she is described as ‘a picture of practical smartness in her redingote of beige and grey tweed. With it she wears tan gloves and a felt hat to match’.
Did you watch this year’s series of the Great British Sewing Bee? Sewing has become a popular hobby again, thanks to a renaissance in crafts and resurgence in interest in the handmade.
The famous proverb ‘a stitch in time...’ was first recorded in Thomas Fuller's Gnomologia, Adagies and Proverbs, Wise Sentences and Witty Sayings, Ancient and Modern, Foreign and British, 1732 but is likely to be much older. The virtues of hard work, prudence and associated with this adage have long been affiliated with sewing and been seen as desirable attributes, particularly for women.
A traditionally female pursuit, sewing has been a source of enjoyment, income and protest for women over the centuries. As one of the few respectable trades women, particularly poor women, could engage in, it could provide an albeit low level of income. Most of this work was piece work completed at home by women and children. The below show receipted bills for sewing services:
The pay was not only low, but a deposit had to the paid to the overseer for the materials, which was repayable on completion of the work. The ‘Song of the Shirt’, published in Punch in 1843, took this as its subject and helped draw attention to the working conditions of the poor.
'Stitch! Stitch! Stitch! In poverty, hunger, and dirt, And still with a voice of dolorous pitch She sang ‘The Song of the Shirt!’
Aside from the principal cloth and woollen industries, both gloving and lace making have been important industries for Wiltshire. A prohibition on imported lace created a strong lace industry in Salisbury in the 18th century which continued after the prohibition was withdrawn. Nearby Downton was a lace-making centre with many of its cottagers engaged in it with some manufacturing continuing into the early 20th century. It also established in Malmesbury and was one of the principal occupations there in the late 18th century.
Inevitably the industry was by the competition of machine-made lace and the census records show the decline in lace-making occupations with 391 in 1850, 35 in 1871 and only 6 in 1900.
Gloving employed a large proportion of female outworkers and based on the number of references to it, it seemingly expanded in the 16th and 17th centuries. It has continued into the 20th century with both continuing and new firms. The oldest firm with surviving records is J. & T. Beavan Ltd. at Holt. Many of the cutters worked in the Great House (formerly the Spa Hotel) but outworkers living at Holt, Atworth, Melksham, Somerset and the Cotswolds completed the sewing work.