Wedding Dress
Original OwnerOriginally owned by
Emma D. Sharp
Clothing MakerMade by
Emma D. Sharp
Date1884-about 1889
MediumMachine-stitched and hand-stitched silk, cotton, and horsehair/cotton, with ferrous metal buttons, ferrous metal boning, unidentified boning (probably baleen), metal hooks and eyes, and wool hem tape
DimensionsPrimary Dimensions (center back length x width across shoulders): 22 x 13in. (55.9 x 33cm)
Bodice (Center back length of bodice .b): 21in. (53.3cm)
Skirt (Waist circumference of skirt): 26in. (66cm)
Skirt (Hem circumference of skirt): 83in. (210.8cm)
ClassificationsCostume
Credit LineGift of Stella P. Olmsted
Object number1976.58.12a-c
DescriptionWoman's wedding dress with bodice (a), skirt (c), and additional day bodice (b). The earlier bodice was constructed in 1884 of deep blue velvet. The skirt may also have been made at that time, but then was altered late in the decade when the new bodice (b) was constructed. The skirt is made of sapphire blue ribbed silk; there is no velvet on it. It would be inconsistent with fashion at the time to wear a bodice and skirt of two entirely different fabrics, so the skirt probably originally had some velvet drapery, which was removed for the alteration.
The earlier bodice has a high, round neckline with a standing band collar, 1 3/4 inches wide. The center front opening fastens with fifteen blue metal buttons with a central quatrefoil pattern (two buttons are missing). The shoulderline is natural, and the sleeves are tightly fitted. The sleeve seam at the outside of the wrist is open for two inches; this and the wrist opening are edged with fine, white netting. Two ten-inch darts on either side of the front opening and six sections across the back provide a close fit. All seams and darts are boned, and a petersham of brown twill-woven cotton both keeps the bodice in place and relieves tension on seams. The bodice is lined with brown twill-woven cotton. All seams are finished with a whip stitch.
The second bodice, which is made of the blue ribbed silk, is distinguishable from the first bodice by the updated styling of gathered velvet caps at the top of the sleeves, predicting the return of the leg-o'-mutton sleeves of the 1890s. The sleeves are otherwise tight to the wrists, which are edged with separate extensions of velvet simulating an undersleeve. The bodice front is decorated with fashionable faux revers of velvet. The center front opening fastens with eighteen blue metal buttons. The neckline is high and round, finished with an upright collar turned down to reveal a velvet lining. The center front and center back are pointed. Darts provide fit in the front, while the back is cut in four sections for a close fit. All seams and darts are boned. The bodice is lined with brown twill-woven cotton. Separate broad tabs hook together at the waist of the bodice front in the lining to keep the bodice closely fitted to the body.
The skirt is made entirely of the blue ribbed silk. It is smooth across the front (one small pleat was removed to enlarge the waist on the right side; the left pleat remains). The back panel is constructed as a flap that hooks onto the waistband over the gathered skirt lining; this center back panel is box-pleated. The bottom of the skirt is decorated wtih inserted pleated triangles set at intervals, over an edging of box-pleated self-fabric. The bottom of the skirt is lined with horsehair fabric for stiffening, and the bottom edge is bound with blue wool hem tape. The body of the skirt is lined with brown, plain-woven cotton. Old fold lines and piecing along the top of the skirt in the back indicate that it has been altered.
NotesHistorical Notes: According to museum records, Emma D. Sharp made most of this dress herself.The earlier bodice has a high, round neckline with a standing band collar, 1 3/4 inches wide. The center front opening fastens with fifteen blue metal buttons with a central quatrefoil pattern (two buttons are missing). The shoulderline is natural, and the sleeves are tightly fitted. The sleeve seam at the outside of the wrist is open for two inches; this and the wrist opening are edged with fine, white netting. Two ten-inch darts on either side of the front opening and six sections across the back provide a close fit. All seams and darts are boned, and a petersham of brown twill-woven cotton both keeps the bodice in place and relieves tension on seams. The bodice is lined with brown twill-woven cotton. All seams are finished with a whip stitch.
The second bodice, which is made of the blue ribbed silk, is distinguishable from the first bodice by the updated styling of gathered velvet caps at the top of the sleeves, predicting the return of the leg-o'-mutton sleeves of the 1890s. The sleeves are otherwise tight to the wrists, which are edged with separate extensions of velvet simulating an undersleeve. The bodice front is decorated with fashionable faux revers of velvet. The center front opening fastens with eighteen blue metal buttons. The neckline is high and round, finished with an upright collar turned down to reveal a velvet lining. The center front and center back are pointed. Darts provide fit in the front, while the back is cut in four sections for a close fit. All seams and darts are boned. The bodice is lined with brown twill-woven cotton. Separate broad tabs hook together at the waist of the bodice front in the lining to keep the bodice closely fitted to the body.
The skirt is made entirely of the blue ribbed silk. It is smooth across the front (one small pleat was removed to enlarge the waist on the right side; the left pleat remains). The back panel is constructed as a flap that hooks onto the waistband over the gathered skirt lining; this center back panel is box-pleated. The bottom of the skirt is decorated wtih inserted pleated triangles set at intervals, over an edging of box-pleated self-fabric. The bottom of the skirt is lined with horsehair fabric for stiffening, and the bottom edge is bound with blue wool hem tape. The body of the skirt is lined with brown, plain-woven cotton. Old fold lines and piecing along the top of the skirt in the back indicate that it has been altered.
Status
Not on view
Object/Object
