A bed jacket is a short, below bust or waist length jacket specifically intended be worn in bed while sitting up. Worn over the nightgown, the bed jacket can be found in a wide variety of fabrics and treatments. It is most likely derived from 19th combing jackets, and was popular into the early 1960s.
Written by Hollis Jenkins-Evans/pastperfect2
Boudoir caps were worn in the 19th and early 20th Centuries to protect the coiffure while undergoing the arduous process of dressing or to cover undressed hair. As long hair was bobbed short in the late Teens and 1920s, this was unnecessary due to the shorter hair lengths.
Boudoir caps were flattering caps in light colors usually made in a lightweight, slick silk that would not catch on the hair, and were often threaded with ribbon to snug to the head to keep in place. In recent years, their descendant is the functional curler cap, worn to hide hair curlers.
Written by Hollis Jenkins-Evans/pastperfect2
Bra Sizing
The cup size is determined by this formula: Measure the the chest just below the breasts. Add the measurement of the breast at it’s fullest point. For instance, if a lady measured 38” below the breasts and 42” at the fullest point, she would be a 38 D.
Cup Sizes:
Up to 1” larger – A cup
Up to 2” larger – B cup
Up to 3” larger – C cup
Up to 4” larger – D cup
Up to 5” larger – DD cup
Up to 6” larger – F cup
Up to 7” larger – G cup
Up to 8” larger – H cup
Written by alonesolo/fashiontales
History of the Bra
In 2500 BC, Greek woman on the isle of Crete started wearing a garment resembling a bra pushing their bare breasts up and out of their clothing. Then Roman woman squeezed their breasts into a breast band to minimize their busts and Egyptian women painted their breasts.
In 1913 Mary Phelps Jacob came up with the idea of a bra-like garment to wear under a gown that was sheer. Taking two hankies, ribbon, and cord she devised a bra. And women started ordering these from her. In 1914 she patented her idea and it was titled “‘Backless Brassiere’. Jacob later sold her company to Warners Brothers Corset Company for $1,500.
Before Jacob had her brilliant idea women had been wearing binding corsets or the union suit which was woolen and warm but not supporting or flattering.
In 1893 Marie Tucek patented the “Breast Supporter”. It had separate pockets for each breast, shoulder straps, and hooks and eyes.
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During the end of the 1860’s when cage crinolines fell out of favor, half crinolines or “Crinolettes” began to appear. This would start the fashion for the large bustle during the 1870’s. It must be noted however, that most women did not want to give up the airy freedom of having unencumbered legs and were reluctant to give up the full cage crinoline in return for a bustle. It is because of this fact, that early 1870’s bustles often incorporate a narrow cage crinoline into the structure to free the legs and to hold out the hem of the skirt without the needs for layers of petticoats once again.
Bustles were also made out of a variety of materials as well such as tampico, horsehair, heavily starched or corded cotton or linen and even out of wire or cane.
By 1875, the bustle was at it’s largest and skirts over had over skirts, puffs, ribbons and drapery. Worn over a large bustle, created a cascading waterfall of fabric.
As the 1870’s drew to a close, the bustle diminished as narrow, slim fitting skirts became popular. A petticoat with stiffened flounces sewn at the back was sufficient and a vestige of the bustle is seen on late 1870’s and very early 1880’s dresses by a gathering of fabric at the back of the knees.
By 1881, there were rumors that the bustle (Tournure or “dress improver as genteel ladies called them) would return and by 1883 bustles were being worn again although they would be slightly more severe in styling the second time around.
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The camisole is a waist length undergarment worn from the early 20th C to present, first under the corset, then later over the bra. Camisoles never buttoned as they would have been worn under the corset. In the later 1910’s and 1920’s, chemises started to be known as camisoles, chemise was considered a bit of an old fashioned word. Occasionally worn today as the only upper body undergarment.
Written by Leila Hidic /crinolinegirl & Hollis Jenkins-Evans/pastperfect2
The teddy, formerly known as the “Envelope Chemise”, began around 1911 and was worn next to the skin, replacing the bra and panties, or over the bra like a slip. It was often referred to as “teddy bear,” or “teddy bear suits”. These terms have been shortened over the years and now just commonly called “teddy”.
In its early form it had a very straight cut with a simple button closures at the crotch to define the legs. It developed into a more fitted step-in garment with short legs and a fitted bust line in the 1930s and 1940s.
The chemise is an undergarment dating to the Middle Ages. By 19th C, it is a cotton , linen or silk undergarment, knee length and worn next to the skin under the corset with or without drawers. In the later 1910’s and 1920’s, when chemises shortened , they came to be known as camisoles, and chemise was considered an old fashioned term. Chemise Dress – the term ( with shift) for a fashionable dress that hangs straight from the shoulder with no waistline, which may have a loose sash at the waist, hips or even bust.
Written by Hollis Jenkins-Evans/pastperfect2 and The Vintage Fashion Guild.
The corset cover is a 19th Century washable undergarment that is worn over the corset to protect it from spills and rubbing from the bones of the bodice. The corset cover buttoned center front which distinguishes it from the camisole, which didn’t button as the corset would have pushed the buttons into the skin.
Written by Hollis Jenkins-Evans
1920s Corsets
Perhaps as a reaction to the sobering effects of the austerity measures and casualties of the Great War, women’s fashion began to evolve into simpler lines.
Looser shapes, with a straight though silhouette from shoulder to hem became the norm. Whilst the new fashion allowed more freedom of movement, it would also require a new style of corsetry.
The beauty ideal was to have slim hips and thighs and a healthy boyish figure. For many women this new silhouette was difficult to emulate and corsetry was vital to keep up with the current fashions.
Corsets became very long, and were designed to slim the hips and thighs as much as possible. Worn under the bust through the mid-thigh, they had multiple garters for connecting to stockings. The garters served to tension everything together into a perfect smooth straight through line.
Fabrics used include Coutil, Silk Brocade, and Batiste for summer Corsets, Woven Elastics and Cotton Sateen often used in conjunction with insets and/or panels of elastic for movement. Fastenings were commonly a straight front busk with back lacing. Front laced corsets usually had a smooth back with either an elastic panel at centre back, or elastic insets at top and hem. Corsets of the period were often still heavily boned, with stays at front side and back.
Also available in the 1920s were ‘Sports’ Corsets and Hip Confiners. These simpler styles of corsets were designed for more youthful, slimmer figures. These were designed for a lower bust line, with lighter boning often at just front and back, and incorporating more elastic panels for freedom of movement. These were commonly worn with Bust Confiners and Camisole style Brassieres.
By the late 1920’s the Berlei Company, founded in Australia, launched their Figure Type Indicator System, making it easier for every woman to purchase the correct type of corsetry for her particular figure.
Early 19th century corsetry, 1800 – 1840
Early 19th century corsets (or stays as they were known as during this period) were long, soft and had a more natural shape. These long soft corsets reflected the fashion of the era for long flowing, very high waisted dresses made out of diaphanous materials such as fine muslins and silks.
Stays were made of sateen, cotton, silk or linen and contained minimal boning. The support was achieved by quilting and/or cording (although some stays were made plain) and by a long, stiff busk which was inserted into the front slot of the stays. Busks could be made out of ivory, whalebone, kid covered steel or wood and were often given as gifts from lovers or husbands who carved love poems and pictures on them.
Most stays laced up the back and the lacing holes were either hand finished or reinforced with ivory grommets (known as French holes). Metal grommets were invented around 1828.
1800 – 1820 stays tend to have waistlines placed very high, most of the time just under the bust line. The main action of stays from this period was to support and push up the bust (stays always had shoulder straps) while at the same time flattening the stomach and minimizing the hips. This would allow the high waisted dresses of the era to fall straight down from the high empire waist without encountering any lumps and bumps!
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As a reaction against the slim, high waisted styles of the early Regency era, 1830’s waistlines began to drop to a more natural level and skirts began to grow wider. A horsehair crinoline or corded linen petticoat was needed to achieve this full skirt look and by the 1840’s, multiple layers of corded linen or horsehair petticoats called crinolines were worn. About 4-6 depending on the fullness required and the weather, were required to acquire a full bell shaped skirt. Small crescent shaped padded bustles were also employed to add fullness to the skirt.
Wearing many layers of petticoats was cumbersome (they wrapped around the wearers legs when walking) and were hot. As the fashion for very large bell shaped skirts continued to grow, the horsehair and corded linen petticoat could not achieve the very large size desired and so by 1855- 1856, the new invention called the Cage Crinolines appeared.
Women hailed the cage crinoline as it was airy and light, thereby freeing the legs. Skirt could grow to enormous widths without the need for hot and cumbersome petticoats. The cage crinoline were worn all the way through to the end of the 1860’s only changing shape to suit the changing fashions.
Most day-wear crinolines were approx. 90”- 120” in circumference, larger sizes were reserved for evening wear or for the very rich who had the space to move around in them.
By the end of the 1860’s, the cage crinoline started to flatten at the front with the emphasize was placed more on the back of the skirt.
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Dressing Gown: A robe worn in the bedroom or dressing room literally before or while dressing. Always a long sleeved and ankle garment, often in the wrap style with sash, although it has been seen with a button front. The style often is derived from the men’s robe style, with shawl collar, cuffs and tie belt. Over time, they were made in heavier fabrics suitable for general at home wear. The lines tend to follow current fashion.
Negligee: From the 19th C, a loose fitting , attractive robe worn informally at home. Usually trimmed with lace or ribbon, this was worn for rest with out a corset, or over a loosened corset. Supplanted by the tea gown in the early 1900s, it is now a feminine dressing gown in sheer fabrics.
Peignoir: From the French ‘peign’ to comb. Originally a combing jacket worn over undergarments while dressing the hair. By the late 19th and 20th C, became a lightweight, often sheer robe worn over nightwear or undergarments in the bedroom. Always a loose garment with a tie at the neck and an open front. Worn in various fabrics from as early as the 16th C.
Written by Hollis Jenkins-Evans/pastperfectvintage.com
Working on the same principle as corset suspenders, the garter belt, ( also known as a suspender belt) is worn instead of the girdle for those who do not wish support, and replaced the roll garter. Worn from the 1880s to the present.
Written by Hollis Jenkins-Evans/pastperfectvintage.com
Girdles: the 20th century descendant of the corset, beginning in the 1920s.
Girdles have progressed from boned, open-end, control garments of coutil, to lightweight elastic roll-ons, with or without legs.
One distinguishing feature is that the girdle confines the body below the waist. Their function was to both smooth and control the body and hold up stockings through attached garters/suspenders.
Their heyday was the 1930s – 1950s. As the looser, freer fashions of the 1960s took hold and as both pants and pantyhose made great gains with the public, girdles faded in popularity.
The girdle’s practical successors seem to be the decorative garter belt for those who prefer stockings, and the all-unboned Lycra smoother/shaper undergarments, often without garters.
Styles include the long or short open elastic roll on girdle, panty girdles in satin or elastic stretch, and long line girdles that come down on the thigh. “ Foundation garment” usually refers to an all-in-one that combines the bra and the girdle, either open bottom or panty style.
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Hostess Gown: From the 1930s – 1970s, a dressy full length garment for entertaining, but not as formal as evening wear. Other than the full length, the lines followed current fashion.
Housecoat: Covers a variety of garments. Originally a dressy, yet comfortable coat worn around the house. Often buttoning or zipping at the front. Later in the 20th C, a more utilitarian front closing shift with pockets and either long or short sleeve worn at home for comfort.
Bathrobe/Robe: A utilitarian garment able to handle becoming damp. Worn either immediately after the bath or over a nightgown. Usually in washable, sturdy fabrics such as terry cloth, quilted cottons and man-made fibers.
Written by Hollis Jenkins-Evans/pastperfectvintage.com
Fabric and Lace Treatments
Lingerie sets have been popular since the 19th Century, first in the form of matching trousseau sets. The trousseau sets were usually a camisole or chemise with drawers and petticoat.
The sets went on to be in the form of combination bra, slip and panties sets.
Written by The Vintage Fashion Guild
The evolution of men’s pajamas has been influenced by world events, science and popular trends.
It was in the late 19th century while Britain was building its Empire that British Colonist discovered the light weight, loose fitting traditional Eastern garment to be perfect for sleeping. But movement of this trend to the United States was slow. The early 20th Century found the nightshirt still standard sleepwear for men with the pajama being seen as a option for young men who favored exotic Asian and military inspired styles.
The opulent 1920s brought with its many changes, a change in attitude toward the pajama. On March 3, 1923 “The Literary Digest” proclaimed;
“The pajama is ascending to glorified heights. Long the black sheep of polite private life, this garment has been elevated… What the well-dressed man will wear when going to bed is one of the burning topics of the immediate future…”
The 1920s saw a thirst for more luxurious fabrics in lively stripes and prints, including art deco designs and jacquard-textured graphics. Braid trim, contrasting piping and frog closure were popular accents. Shirt construction was collar or collarless, and varied from simple front button, to asymmetrical button closure and kimono style. Pants were drawstring or button up with elastic waistbands being introduced at this time. Gentlemen could select cotton, silk or rayon fabrics for summer and heavy weight cotton flannel for winter.
The 1930s and 1940s were a time of world unrest. Pajamas continued to look to Asia and the military for inspiration. News of the Stalin regime were in the headlines and embroidered Romanov escutcheons were making their way into the bedroom. However, the less fashion conscious still had the standard stripe available. Pajama improvements included more durable, lustrous rayon fabrics, improved elastic for waistbands, and inset “balloon seat” panels for sleeping comfort.
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Men were wearing manufactured “under drawers” made of flannel by the
1830’s. Union Suits were first patented in 1868 for women as an
alternative to constricting garments. This was part of the 19th century
US clothing reform efforts and was billed as “emancipation union under
flannel.” Union suits then became popular among men as well.
C. F. Bennett of the Chicago sporting goods company, Sharp & Smith,
invented the jockstrap in 1874. It was originally designed to support
and protect the bicycle jockeys who rode the cobbled streets of Boston.
Twenty-three years later, Bennett’s Bike Web Company began
mass-producing the Bike Jockey Strap.
John L. Sullivan, boxing’s first modern world heavyweight champion (1882
-1892), wore long wool drawers in boxing competitions. Because of his
popularity in the US these became known as “long johns.”
In 1910 the Saturday Evening Post ran the first full color ad for
underwear, a painting, not a photograph.
A nightgown is worn for sleeping, varying in length from a baby doll with matching panties to a full length gown.
Over their history, nightgowns have been made in almost any fabric, including cotton, silk, linen, rayon , wool and nylon.
Styles vary from the figure encompassing high collared, long sleeved and ankle length cotton and linen nightgowns of the 19th Century, to sleeveless batiste and silk shifts of the Teens and 1920s. Up to the rayon glamour gowns of the 1930s – 1950s. Nylon has been extremely popular in more recent years in both sheer and tricot as a hard-wearing, wrinkle free and easy to launder fabric. Cotton knits have had their day, too.
Nightgowns have traveled by many names: nightdress, nightshift, night smock, and nightie among them.
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