ON DRESSING THE PART
The Ubiquitous Riding Habit
" Some Women (Oh the shame!)
like ramping Rigs,
Ride flaunting in their powder'd Perriwigs;
Astride they sit (and not ashamed neither),
Dress up like men in Jacket, Cap, and Feather! "
A Looking Glass for the Times Thomas Ellwod, c1670
It is interesting to note here that reference is made to riding astride as well as to the masculine attributes of the riding habit. Pepys was equally aghast at the wearing of coats and doublets and referred to the wearing of long petticoats as the only distinguishing feature of gender "an odd sight that did not please me."
In this period in the colonies and on the continent, it was a practice for women to ride astride. We see a possibility again of riding astride in the Venetian riding habits of 1780. One familiar to many of us is in the Los Angeles County Museum of Art. It is of chartreuse and cerise silk, and is pictured in An Elegant Art. The petticoat is fully buttoned down center front and center back. It is shown with an underpetticoat, in this case not original. However a similar habit was recently mentioned as having it's own petticoat under the buttoned one. The outer one with the buttons in all cases has a series of rings on the inside, and the ability to raise (drape) the petticoat from the outside with two hanging ribbons. I would not be in the least surprised to find that the outer petticoat might have been worn over breeches, for the ease of riding astride. This habit has a design point that you might want to replicate. The waistcoat is sewn into the jacket at both sides. But we are getting ahead of ourselves.
I have frequently referred to "The Sharp Family's Musical Party on the Thames" to illustrate the variety of dress that might be worn on the same occasion within one family among both the men and the women. The year is 1779 and among the women is seen a quilted petticoat, a young girl's dress of white sashed in pink, day dresses, a bodice worn over a zone and two riding habits. And the ubiquitous riding habit can be worn for many occasions other than riding. The point raised here is that there is no logic in dressing everyone in a group in identical fashion. And that the riding habit is not worn just for riding. It is practical as a walking or traveling dress as well. So if your comment is,"but I don't ride a horse". So? Do you walk about? Travel? Have need of garments that might provide warmth?
The riding habit appears in many different forms but is of a basic design. Not just for ladies of quality, but practical garb for all. So, let's talk first about the various parts of the habit, and then how they might be put together to reflect not only status, but also practicality.
Reflecting it's masculine counterparts a man's shirt may be simply made in linen, cotton or fustian - the quality of the fabric reflects the status of the individual. It may be embellished with ruffles, and dressed with lace trim at the cuff. But avoid the lace for the most part if you are not of the gentry.
Petticoats follow traditional style and workmanship. A lady of quality might have a slight train to her petticoat, while the middling sort would probably not bother with the additional fabric. Fabric here might vary from linen, to wool, to brocaded silks, taffetas and moires. Again quality of fabrics a delineating factor in status.
Jackets have for the most part been pretty standardized. You may adopt the styling of a man's frock coat for use.More often seen however is that of the diagram shown in Janet Arnold's Patterns of Fashion. It differs from that of Nora Waugh's in Cut of Women's Clothes, by the shaped waistline seam in the back. The Waugh diagram has two back pieces without that seam (it's in the front only) and less pleating. And about the pleating -- if you are following a diagram such as Arnold's, the weight of your fabric may make it advisable to settle for less pleating. And because this is a fitted garment, please remember that the diagrams of original garments are drawn exactly as the original. In other words, they were made to fit one individual, not a generic size for the trade. You must be very sure to adjust the diagram to your own form. It is best to make a muslin (pinned or basted up garment of ordinary fabric), when you have that properly fitted to you, then use the muslin as a guide to cut your "good" fabric. And that fabric might match that of your petticoat, contrast in color, whatever is most appropriate.
The waistcoat is cut similar to a man's, or might be varied as in the Venetian riding habit with front panels sewn into the sides of the jacket. You might also choose to make it as a buttoned bodice, without pocket flaps and with a back of the same fabric. Your waistcoat might be of the same fabric as your habit, of contrast in color or of a completely different fabric entirely. A brocade, or moire, of satin or linen or whatever, might be embellished in many ways -- i.e., with embroidery, lace (braid) bound and extended buttonholes and the types of buttons themselves.
The poorer sort might well wear only the jacket, made perhaps with a coarser wool for warmth. And while it may be interpreted as elegant attire, the choices made can produce practical warm and comfortable attire.
On top of it all, you might choose a cocked hat (triple or single), a jockey cap or a plain round hat over a traditional linen cap. Decorate or not, feathers, ribbons, lace, etc.
There is so much more that could be told, decade by decade fashion changes, foreign influences on fashion, descriptions of actual extant garments. We learn constantly as we find more documentation and see more but this is just a beginning to add scope to your eighteenth century wardrobe.
Now, would you like to see the status difference of the same pattern interpreted two different ways? Those of you who enjoy the repartee and research of the rev list, will know Kate (a.k.a. Cathy Johnson), who prides herself on her slattern interpretation. If you are not a list follower, please know that the 18c interpretation of slattern is that of one of the poorer sort who worries not about her appearance. We used Janet Arnold's diagrams, referred to the riding habit illustrated in Four Hundred Years of Fashion and here you have the slattern and the lady of quality.
Kates habit is a linen jacket worn with common garments. Mine is of wool with a crewel embroidered waistcoat. Fabric, trims and general construction and detail vary. She has "distressed" her fabric in various ways, mine is pristine. Her cocked hat is secured with a kerchief, mine has a military cock.
Enjoy the contrasts, and if you have questions, comments or problems, you can reach me at barbmvd@aol.com.
With warm regard
I remain Your most humble and faithful Servant
Barbara Delorey
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