There aren’t a lot of really good books on historical children’s clothing. I know I’ve mentioned before my pet-peeve of people making the assumption that “children dressed like adults” which is a huge over simplification of the history of childhood.
For this 1940’s outfit, I used Children’s Fashions 1900-1950 As Pictured in Sears Catalogs. The book is out of print, which I think is a pity, since it is one of the few fashion history books that specifically focuses on children’s dress. There are a few others, but this is one of my favorites.
The original dress was patterned, but I worried if I added a pattern I would lose the heart shaped pocket details and the pleats, so I went patternless. Sometimes I think busy patterns obscure some of the more interesting design details.
I stuck with simple underwear- just a pair of panties- and shoes with socks. Mary-Janes are my favorites in any era. There would probably be a slip worn under this dress, but it didn’t occur to me to draw one until later, so we’re going slipless.
The color scheme I think came from a catalog page, but now I can’t find it. I usually save these things on Pinterest, but alas. So, you’ll just have to trust me on this one. Both these garments are from the early part of the decade before World War Two. Once the war starts, things like pleated skirts are largely out of the picture due to fabric rationing. However, before the war, they are very much in style.
For those of you who might be curious, Petunia is modeling our 1940s outfit.
So, I hope everyone in the US had a fantastic Thanksgiving. I made pie! Everything’s better with pie. After nearly a decade, I think I have finally mastered my mother’s pie crust recipe. I still think she makes better pie than me. There is something about the pie made by family. Nothing is ever as good.
As usual, I always love to hear from readers in the comments. And if you like the paper dolls, please consider supporting PTP through Patreon.
Hope is based on the styles at the end of the 18th century. So, something major happened around the 1789 in France. It was, for those who weren’t asleep in high school history class, the French Revolution. To say that “everthing changed” wouldn’t be an understatement and the ripples of the events in France spread across Europe in dramatic ways. It is tempting when looking at the end of the 18th century to simply assume that after 1789 everyone just jumped into Empire styles and that was the end of it, but the reality is that there was a very slow evolution to the high waisted gowns we think of as “empire” or “Regency” dress.
So, I was less interested in worrying about the Empire look and much more interested in the every transitional styles that are easily forgotten and often ignored.
This all brings us rather neatly to Hope. Hope is our paper doll model for the later part of the 1700s. Her dresses will never get up the high waisted styles that characterized the transition into Empire. Rather, I think of her as being a woman of means right before everything gets radicalized. And, for her sake, let us assume she lives in England which was always behind on the fashions a bit anyway and a much safer place to be than France at the end of the 18th century. They don’t call it the Reign of Terror for nothing, after all.
Hope’s hair is done up in a style known as coiffure à l’enfant. This was a style popularized by Marie-Antoinette in the early 1780s. The style is a frizzy halo of hair with several longer strands curled, braided or left straight. Here is a portrait that shows off the hair style from the Met and here is a fashion plate featuring it from the V&A. I have to confess that I am not totally pleased with her hair. I fear that it looks a little bit too “mad scientist” for my comfort.
Moving away from her hair for a moment, Hope has undergarments, of course, and then a gown known as a Redingote. Redingote’s started their lives as actual riding coats, but eventually transformed into women’s gowns which were coat like and then cut away to reveal the petticoat underneath. The word “redingote” is believed to be a French transliteration of the English term “riding coat”. Hope’s redingote was based on this gown from LACMA circa 1790. The term “redingote” sticks around into the early 20th century as a term of long coats.
I think that’s all the sources I need to list for Hope. I might have forgotten something, but I think that’s everything. Next Friday, there will be the last set of outfits for the 18th Century Pixie Series all from the later part of the 18th century.
Today’s 18th century paper dolls is my second of three. Joy, all of these paper dolls will have virtue names, is from between the 1760s though 1780s. She has underwear and a gown in the polonaise style. Poloniase gowns had a skirt that is raised up and bunched over the petticoat. Usually a gown could be worn either with the skirt looped up in the polonaise or with the skirt down- offering some versatility to the 18th century silhouette. The polonaise gown sticks around into the 19th century and is sometimes mistaken for a bustle.
As with the rest of this series, I based her color scheme off my 18th century color pallet which I introduced in the first part of this series. After seeing this gown from MFA in Boston I knew I wanted to do something in a rich red color. Despite myself, I tend to think of the 18th century as being muted in colors, but nothing could be further from the truth.
It has been so much fun to share this paper doll series over the last few weeks. We have four more pages with one more doll and three more sets of gowns. The whole collection, so far, can be seen here.
Since we’re talking the 18th century, I thought I would call attention to a cool project I discovered this week. The University of Michigan has begun to translate and make available online the Encyclopédie edited by Denis Diderot and Jean le Rond d’Alembert in the 18th century. The section of primary interest to those of us obsessed with dress is the plates on the Tailor of Suits and Bodices, but I’ve used the Encyclopédie to show students furniture manufacture and paper making circa 1790. I love this book and can get lost in it for hours.
I love the styles of the early 1930s and I wanted to create a paper doll that showed them off, so here is Lois- a paper doll of the early 1930s. That is to say, everything in it comes from 1930-1932.
It’s common to speak of the last century of fashion as though it happened in neat decade compartments. In reality, fashion doesn’t care what decade it is. It moves based on cultural and social shifts, often subtly, and then you look around and notice that the silhouette has shifted. Rarely, fashion changes dramatically over a short period, but only very rarely.
So, when looking at the early 1930s, as this paper doll does, you might be struck at how close these dresses are to the late 1920s. In truth, they are very similar, because fashion just doesn’t change that quickly. The Great Depression will catch up with the styles of the 1930s, it just hasn’t yet. All of these dresses are drawn from images in the book Everyday Fashions of the Thirties As Pictured in Sears Catalogs published by Dover. The Sears series from Dover is an inexpensive way to gather up books the show what people wore, rather than what fashion magazines thought people should be wearing. I own almost all of them.
I have mixed feelings about my color choices. I knew I wanted to pick a color scheme where I hats could go with either of the dresses, but I don’t know how successful I was. I really do like how the white hat contrasts with her dark skin and I like how rich the red coat looks, but I’m not so sure about the yellow dress. The early 1930s is a very art deco influenced period and that makes me happy. I love the asymmetrical styles and the often surprising details.
Unlike my 1920s Pixie Lynn, I actually gave Lois some undergarments. She has a girdle decorated with flowers to go under her dresses. She should, technically, have a slip to go over that and panties to go under it, but its a start.
I would have to pour through all my posts to be certain, but I think this is my second 1930s paper doll ever. The first was way back in 2010 for my original Curves Series and is just called 1930s. I got totally distracted looking through those old paper dolls trying to find the 1930s set I was pretty sure was there. It’s strange to go back and look at things I drew four or five years ago.
Some of them paper dolls I still really like and others I don’t. It rather makes me want to take on a project like Julie’s toddlers where she goes back to older color schemes. I’ll have to think on it. I don’t want to “redraw” old things, but there are some ideas there that I think could be reexamined fruitfully.
I confess the colors here were heavily influenced by the colors in the portraits that I used as inspiration. (Full list of those can be found in last week’s post.) That meant there was a lot of black. I confess that somehow Tudor clothing looks best to me in rich, vivid shades of red, gold and black, so I settled on that color scheme.
Most of the ways we think of history are influenced by our perceptions of the past, rather than the reality of the past. It’s easy to imagine the Victorian era entirely in sepia, because that is what we have available. I have been watching an excellent documentary by the BCC entitled Monarchy on Nexflix over the lat few days. It’s been fascinating, if at times a little confusing when I lose track of which Edward is which. Never the less, we’ve just gotten to Henry the 8th and I smiled when I saw the gowns of this era.
Over the years that I have been drawing paper dolls, few eras have seen has intimidating as Tudor. I’m very pleased that I was able to tackle this period. My next major research project will be preparing for my Viking paper doll set for B&B. I just received from Interlibrary Loan on Friday the book Woven Into the Earth about textiles from Norse Greenland. So, I’ll be curling on this week with that on my couch trying to make sense of Viking attire.
Once I’m done with Vikings (which will be a few weeks, I am waiting a on a few more books), I’ll need a new period to research. For this purpose, I have put together a poll. These are all eras that I have either never really studied or generally think I don’t like. I want to force myself to do things which I wouldn’t normally be drawn too.
Let me be clear here… this is not just a paper doll of the 1500s. Rather, my Margot paper doll is is showing off English Tudor dress from the mid-1500s, specifically Henrician gowns. This is an important distinction, because by the 1500s dress was highly regionalized, especially for people of wealth and status. My paper dolls nearly always have both wealth and status. (Mostly, because rich important people tend to get way cooler looking clothes.)
Both of Margot’s gowns are Henrician gowns, which are specifically gowns worn during the reign of Henry the 8th. She’s also got two french hoods (headdress A & C), one gable (or English) hood (headdress B), one pair of shoes and one set of underwear.
Please note that the underwear may not fit underneath the two gowns. I didn’t want to omit the smock from the underwear and smocks had really full sleeves that got crushed under the gowns and then were displayed through slits in the false sleeves and well… I didn’t want to deal with all that layering.
Moral of the story: She has under things. The underthings might not actually fit under things.
I should add that I knew very little about Tudor dress when I started researching this paper doll set and I am not about to claim that I have magically become an expert. I did my best to create an fairly accurate rendition of a noble woman’s garments of the 1540s through 1550s considering the restrictions of Margot’s pose.
As always, it is very important to me to be clear about what I studied at prior to drawing this paper doll set. Tudor clothing has always been very intimidating to me, but I wanted to challenge myself. A big part of my historical paper doll set goal is drawing things which “scare me”. Tudor dresses were one of those things.
Selected Sources:
Books:
Arnold, Janet. Patterns of Fashion: Englishwomen’s Dresses & Their Construction. London: Macmillan, 1983. Ashelford, Jane, and Andreas Einsiedel. The Art of Dress: Clothes through History, 1500-1914. London: National Trust, 1996. Mikhaila, Ninya, and Jane Malcolm-Davies. The Tudor Tailor: Reconstructing 16th-century Dress. Hollywood, CA: Costume and Fashion, 2006. Norris, Herbert. Tudor Costume and Fashion. Mineola, NY: Dover Publications, 1997. (Note: Norris’ book has some problems, since it was wirrten in 1927, but it’s useful as an accompaniment for other things.) Reynolds, Anna. In Fine Style: The Art of Tudor and Stuart Fashion. London: Royal Collection Trust, 2013.
Websites:
There is a fairly large community of people who reconstruct Tudor clothing. I am always dubious of such sites, as they often lack citation (and y’all know that drives me nuts), but they can be excellent sources to corroborate primary and academic secondary documentation. As always with internet research, Caveat emptor.
Tudor Tailor is the website of the people who wrote the excellent book “Tudor Tailor.” Though I think the book is more useful than the website, it would be remiss of me not to mention that it does exist. (Accessed: March 2015)
There are, of course, other sources of Tudor clothing and I am sure I missed some. I don’t think this will be my last trip to the 1500s. I really want to do a more “merchant class” tudor paper doll as well.
I love fairy tales. I have always loved fairy tales. I have fond memories of, far past the point of being able to read complicated books, sitting in the library reading picture books of fairy tales. I love the lavish illustrations, but I also like reading many different versions of the same story. These days I still like doing that, but now I like learning why and where the different varients of Cinderella or the Twelve Dancing Princesses come from.
Today’s paper doll set is an ode to one of my favorite fairy tales. The Frog Prince or The Princess and the Frog, depending on which version you read. A princess loses her beautiful golden ball down a well and a frog retrieves it for her only if she will marry him. She agrees and then backs out of her promise. The story goes from there.
In the end, I think the moral is supposed to be “keep your promises” or “don’t judge on appearances”, but it could also be, “don’t drop your precious golden ball down a well.”
Disney did an interesting adaption of the tale recently, but I will always picture the Princess how she was drawn by Walter Crane in the Frog Prince. Walter Crane is one of my favorite children’s illustrators. I was inspired by the pseudo-renaissance look for my own paper doll’s costume.
So, there is a frog, a golden ball, and a beautiful gown for the Princess. I am not much an animal artist, but I did my best to make my frog cute and palm sized. I always thought the Princess in the Frog Prince was a little spoiled, but then I suppose that’s just how fairy tales go sometimes.
So, today the Poppets paper doll series is traveling to the 18th century and rocking some beautiful clothes. One of the great myths of historical costume is that children in the 18th century were dressed “just like adults” and while there is some truth to the fact that children wore very similar clothing to adults, it was rarely identical. Skirt length is a common way to tell that a dress was intended for a child, rather than an adult, along with simpler lines and decorations.
I have actually been having more fun with my Poppets paper doll series than I ever thought I would. I am not terribly keen on paper dolls of children, but I do love paper dolls of dolls, so I have been enjoying the Poppets. Something I want to do in the future is create some historical costumes for them. I really love antique dolls with their trousseau of clothing and trunks. When I was a kid, I remember reading A Little Princess over and over again. In the book, the main character, Sarah has a doll name Emily. The part I read over and over again as a child was about Emily and her extensive wardrobe.
So perhaps when Greta’s Trousseau is finished (if it is ever finished), I will work on a similar project for the Poppets. There could be a trunk and a bunch of little dresses and then toys and… Maybe I should worry about that after I have a bit of a backlog rebuilt.
Meanwhile, today we have a historical inspired country feeling jumper and vintage inspired blouse with boots.
The outfit was partly inspired by Irma’s wonderful paper doll Madaleena. If you haven’t read it yet, Irma is my featured artist right now, so go check out her interview and her blog when you have a chance. She does beautiful work.
One of the big myths of costume history is that children were dressed like adults, but in miniature. While this is sort of true, I have yet to see a decade where there is not some, however slight, difference between children’s and adults clothing. The differences are often subtle and children were considered adults at a much younger age than we consider children adults today.
This is all by way of saying that I really wanted to make sure this fluffy dress (which has NO historical accuracy about it at all) felt like a child’s dress and not an adult’s dress. I think of the Poppets as between 8 and 10 years of age and I really hate it when I see child dolls dressed like adults, especially in historical outfits or psuedo-historical outfits.
So, to maintain the principle, I’ve shortened the skirts of her fluffy dress. See.. I have some principles (not a lot of them… but I digress.)
Actually, I’ve been thinking about principle’s lately. If you read Liana’s interview from Friday (and if you haven’t than you really should), she talks a lot about the problems of paper doll poses and the complications of paper doll design. I think about these things when I design a paper doll as well, but I also find I think a lot about the principle of correctness. I made this principle up by the way, but for me I think it’s about the correct outfit for the correct paper doll at the correct time.
By my nature, I am scattershot personality. I tend to work on something in the grip of interest, give it up when I get bored, and then move onto something else. Paper doll designs, projects, work endevaors, whatever, all become mixed about in the messy world I exist in. If I’m reading up on women’s publishing, than somehow this filters into everything else I do. I am very envious of people who can have firm divisions in their heads between project A and project B, but I’ve never been wired that way. This means my paper dolls tend to be schizophrenic. Astronauts to mermaids all have happened over the years. I think this is sometimes the charm of PTP, but I also fear it’s a bad thing. I find I envy people like Boots who commit to a theme and then stick to it.
I can not imagine trying to limit myself like that.
