The Forced Form: Women's Dress in a Patriarchal Society

Lucinda Sales

The Forced Form: Women's Dress in a Patriarchal Society

    

 

    This bodice was redesigned around 1840 from a dress originally made in the mid-1700s. Examining the front of the bodice, one can see that there was an attempt at symmetry, which fails not far from the center. Turning to the inside of the bodice, the excess of fabric makes it obvious where new seams were created from old ones. This bodice is most likely of French or English origin; it becomes difficult to distinguish dresses from the two regions because French designs were so often mimicked by other countries. The silk is brocaded, not embroidered, as some may assume. It is mostly an ivory color, with motifs that are mainly red and yellow, with some green, brown, orange, and pink. The floral design also incorporates berries, branches, and leaves. There are many metal hooks that were used to fasten the back of the bodice. The bodice is made of silk, with lace detailing on the sleeves and collar.
    This was most likely worn and constructed by a middle-class woman who did not want to spend money by bringing the fabric to a dress-maker. The boning illustrates the constriction of women through dress that pervaded the 19th century and is indicative of a sexist society that sought to control women by restricting their freedom of movement, amongst other ways. The reuse of fabrics was quite common in this time period, better executed in some instances rather than others. The nature-inspired pattern of the bodice also demonstrates the association of femininity with nature and soft colors.
    This bodice reflects the shift that occurred in the summer of 1836, where “flamboyant romantic fashions” gave way to a “more restrained style of dress.” The desired silhouette became more angular, as inspired by seemingly “Gothic” forms. This early Victorian style emerged at the same time as Queen Victoria’s accession to the throne in 1837. In the late 1830s, the bodice had “downward curving lines at the shoulder, repeated in the lines of the curving, pointed waistline…[In the 1840s, the] tapering bodice-form lengthened, bringing the waist as low as possible.” This drastic change highlighted the shape of women’s bodies and was a direct result of evolving corsetry. In the 19th century, a new type of corset was emerging that differed from the prior whaleboned stays. Instead of emphasizing a rigid, straight body, these new corsets accentuated “curved lines flowing out from a small waist.” Technological advancements added another layer to the complexity of the shifting undergarment trends, as the corset was developed to be even more restricting. In 1828, metal eyelets were created, which allowed the corset to be pulled even tighter.
    This dramatic change established a narrow waist as the prevailing silhouette trend, which was achieved through a variety of techniques. A common method was the use of whaleboning and many darts inserted into seams to mold the female body into its desired shape. In addition to the corset worn underneath, this rigidity held the body in a “stiff unnatural position.” This manipulation of the body was extremely restricting and uncomfortable for women; it placed very physical limitations on their autonomy in an oppressive and patriarchal society. Pleating was also frequently used to create a small waist.  One of the most common examples is “organ pleats,” which were small, tubular pleats that gathered the fabric at the waist. They gave an even fullness to the skirt, but their primary purpose was to emphasize the deep point at the front of the bodice, which was supported by the whaleboning and darts incorporated into the lining in the center front seam. Whaleboning inserts also helped to prevent wrinkling that was deemed “unsightly.” Some bodices were made with a surplus of fabric in the front that was then arranged into converging pleats. “The resulting fan-like folds helped to suggest a rounded bosom above a narrow waist.”
    Besides depicting the popular silhouette at the time, this bodice demonstrates the phenomena of a recycling of fabrics. This reuse of silks and other materials could be frequently observed throughout the 1800s, as some silk patterns were based on those from the previous century. Since the fabric was usually the most expensive part of the dress, many women trying to save money would take apart older dresses that may have belonged to their grandmothers, using the silks to remake dresses in the current styles. Some of these women would further attempt to cut costs by making the dresses themselves instead of taking the fabric to a dressmaker, resulting in imperfections that are apparent on this particular bodice. But these flaws are not unique; Buck explains, “…the making up of dresses in the style of 1835 to 1845 from eighteenth-century silk was not an uncommon practice…Some reveal themselves by not being very successful”
    The varying definition of femininity has manifested itself through fabrics and silhouette trends throughout history, but especially in the 19th century. Floral fabrics inspired by nature were frequently seen in popular women’s dress. Specifically, “Delicate floral sprays and gentle colours” were seen to have feminine appeal, the words “delicate” and “gentle” contributing to a submissive female stereotype. In the 1830s, advancements in printing and dye chemistry allowed floral prints to be mass-produced at a low cost. This resulted in an increased demand for these prints, and women began to want more elaborate floral patterns.. Other than the material of the dresses, their silhouette played a significant role in perpetuating societal constructions of femininity. An exceedingly narrow waist was thought to be indicative of womanhood, so much that dresses were made to physically restrict women. Their dresses were “designed for passive poses, and [they] were constructed to check anything approaching unladylike activity.” In fact, women were unable to dress themselves. It was impossible for them to lace up their corsets by themselves because they were so tight; this dependence was deemed feminine.
    The history of women’s fashion is underpinned by violence that stems from beauty standards propagated by a patriarchal society. The misogynistic views of civilizations that saw women primarily as sexual objects is reflected in their clothing that is tailored to certain ideals. For centuries, women placed their bodies under extreme physical duress to conform to socially constructed definitions of femininity. This examination of a forced self-inflicted violence is why I chose to study this particular bodice. Research showed me how women’s clothes caused them to become a submissive archetype, limiting their physical abilities and depending on others to dress them. Although this bodice is but a part of a whole dress, much insight can be gained into how women had to contort their bodies to fit literally into societal standards of beauty. 

Works Cited

Anne Buck, Victorian Costume and Costume Accessories. London: Herbert Jenkins, 1961.

Cecil Cunnington, English Women’s Clothing in the Nineteenth Century: A Comprehensive Guide with 1,117 Illustrations. New York: Dover Publications, 1990.

Lucy Johnston, Nineteenth-Century Fashion in Detail. London: V&A, 2009.

Norah Waugh, Corsets and Crinolines. New York: Theatre Arts Book, 1954.