Guest Author - Teresa Greene

The first order of business at the start of the Edwardian lady’s day is to properly attire herself for the activities of the morning. The maid has laid out a lovely morning dress, otherwise known as a “day dress,” and is waiting to assist her mistress in the rigors of fitting and lacing the requisite corset.

Early in the era, the day dress most often consisted of three pieces: the skirt, a separate lined bodice, and a wide, tight belt. The separation of bodice and skirt was necessitated by the excessive weight of the skirt, created by the substantial cotton lining, the volume of frills, lace, and embellishments used, and the long sweeping train. A system of hook closures was used to attach the skirt to the bodice, which was boned to provide additional stability and strength to support the skirt’s weight. The belt was fastened tightly over the join between the skirt and bodice to accentuate the tiny waistline characteristic of the Edwardian silhouette.

Bodices were comprised of an under-bodice that was boned and molded so as to conform tightly to the woman’s corseted figure. The under-bodice served as a lining for the looser outer bodice, which pouched fashionably with gathers concentrated primarily across the front, accentuating the wide mono-bosom created by the underlying corset. This was considered very attractive, and the gathers were loose enough so the bodice could drape gracefully over the belt that cinched the waistline. After the peak in popularity of the S-curve figure (1905-1907), the pouched gathers that clustered in the front of the bodice began to migrate towards the sides, and eventually disappeared altogether in favor of the sleeker look of the Empire bodice.

Necklines on the day dress were usually high, with collars extending on the sides all the way up to just below the ear, dipping in the front and back to accommodate the jaw and nape of the neck. Whale boning, wire, or other stiff material was used to provide support and form for the collar, giving the appearance of an even longer, more slender neck than could be achieved without it. Ribbons, bows, and jewelry often adorned the high neck.

Sleeves for day dresses began in the early years as tightly fitted from the shoulder down to the elbow, where they were gathered into a tight cuff, and then flared out again from the cuff to fall in soft folds around a woman’s lower arm. Alternatively, the tight-fitting sleeve was not gathered into a cuff at the elbow, but instead only narrowed, then slightly flared, continuing on to become a bit fuller before being gathered into a tight cuff at the wrist. Gradually the fullness around the lower arm for these sleeves increased, with the extra fabric draping loosely over the wrist cuff. In later years, gathers at the shoulder were introduced, easing some of the tightness in the upper arm, but the narrowing at the elbow with the wide flaring before the wrist cuff continued to be popular. From the beginning of the era to the middle years, the Victorian-style leg-o’-mutton sleeves could occasionally be noted, with full puffed and double puffed sleeves; however, after mid-era, these were rarely seen.

The S-curve shape of a woman’s posture was also reflected in the contours of the skirt. Early in the era, skirts were fitted and smooth over the hips, and accentuated the curve of the posterior. As the flowing fabric descended, it flared out slightly, cut back in at the knees, and then flared out again into a bell shape that encompassed the space from the knees to the hemline. Gored skirts were particularly popular, as the gores allowed for billowy fullness that was feminine and seductive. Many day skirts also had trains that were liberally decorated with ruffles and edgings. Several voluminous petticoats with all manner of lace and taffeta ruffles were worn underneath. The loud “swish-swish” of the taffeta ruffles was an audible indication of a woman’s wealth and status.

Towards the middle of the era, skirts began to be fuller at the top and less conforming to a woman’s figure. As waistlines began to rise, skirts became narrower. Some were so narrow, slits at the sides were necessary to facilitate movement. These skirts were known as hobble skirts. This restrictive style did not persist in popularity for long, and by the end of the era, skirts had once again increased in fullness, but not to the extent or in the shape that had begun the era.

The fashionable Edwardian woman who is dressing for her morning’s activities first has her corset tightly laced, attaches her stockings to their garters, and then puts on her bodice, waiting patiently while her maid closes its many fasteners. Next, she puts on her shoes (boots most likely), steps into several layers of petticoats, which are pulled up and tied around her waist, and then carefully steps into the middle of the day skirt that has been laid out in a circle on the floor for her. Her maid carefully pulls the skirt up over the volume of petticoats and begins attaching the hooks to the bodice. After all openings in the bodice and skirt have been fastened shut, a wide and decorated belt is placed across the front of her now too-small-to-be-believed waist and fastened and attached in the back. Our Edwardian lady is now ready to greet the world. In only a few hours she will return to her dressing chamber where her maid will help her change her costume to something more suitable for her next round of activities, most likely a durable walking suit, in which she will accompany her friends on a stylish stroll about town. Such is the life of our Edwardian lady.