Dress
Original OwnerOriginally owned by
Charlotte Perkins
(American, 1790 - 1873)
DressmakerMade by
Unknown
Date1805-1810
MediumHand-stitched cotton muslin
DimensionsPrimary Dimensions (width at waist x length): 16 1/2 x 52in. (41.9 x 132.1cm)
Hem (circumference): 67in. (170.2cm)
ClassificationsCostume
Credit LineGift of Mr. and Mrs. Alfred H. Terry
Object number1959.11.2
DescriptionWoman's dress of sheer, white muslin embroidered with white cotton dots throughout and stylized floral garlands and sprays around the hem. The dress is styled with a very high waistline (1 3/8 inches below the armhole), a wide square neckline, and short, slightly puffed sleeves. The dress is entirely unlined. (A separate, reproduction pink underdress currently lines the dress). The closure is at center back, with a drawstring at the neckline and waistline. The skirt is flat in front and gathered in back. The sleeves are set into the armhole smoothly in front and slightly gathered in the back. The back dress bodice is narrow--about 6 1/2 inches from armscye seam to armscye seam. The fit of the top edge of the bodice front is controlled by a drawstring.
Label TextWhite-on-white embroidery was admired as a particularly intricate and
elite form of decorative needlework. It required not only expensive,
bleached materials and fine stitching, but also keen eyesight, strong light,
and clean hands. At the beginning of the nineteenth century, whitework
became the favored embellishment for fashionable Grecian-style gowns, the
latest fashion, with low necks and high waists. The neo-classical design at
the skirt’s center front echoes the delicate swags on embroidered pictures,
while the sheer gauze fabric (which required a solid color underdress
to avoid indecent exposure) recalls the floating train on the Egyptian
princess’s dress in Ruth Green Barber’s Moses picture.
NotesHistorical Note: Miss Charlotte Perkins (1790-1873), daughter of Enoch and Anna Pitkin Perkins, may have worn this dress to the Hartford Dancing Assemblies in 1805.elite form of decorative needlework. It required not only expensive,
bleached materials and fine stitching, but also keen eyesight, strong light,
and clean hands. At the beginning of the nineteenth century, whitework
became the favored embellishment for fashionable Grecian-style gowns, the
latest fashion, with low necks and high waists. The neo-classical design at
the skirt’s center front echoes the delicate swags on embroidered pictures,
while the sheer gauze fabric (which required a solid color underdress
to avoid indecent exposure) recalls the floating train on the Egyptian
princess’s dress in Ruth Green Barber’s Moses picture.
Status
Not on view
Object/Object