clip63a.gif (10539 bytes)

Dressing for the '45: Assembling a Basic 18th Century Woman's Outfit

This list is intended as a guide to assembling a reasonably accurate kit for a Highland woman circa the year 1745. It is not the last word on the subject – there are probably sources for patterns or ready-made items that are not listed.

First Things First:
Your basic items of clothing are: Shift, Petticoats (2), stays, jacket, neckerchief, kertch or cap.  Next, get your shoes, stockings, apron, pockets, and arisaidh.

Hints and Tips:
-- DO wear more than one petticoat of contrasting colors; the top one can be tied up through the side slits to show off the one underneath, or the one underneath can peek out from under the top one by about an inch.  This gives the proper 18th c. silhouette, which makes the waist look narrow by contrasting it with the fullness of the skirts.   (Believe me, it does work!)
-- DO wear stays, unless you're a nursing mother or wetnurse, elderly and poor, an invalid, or a slattern.  Most other women, even working-class women like dairy maids, seem to have worn stays; otherwise they would have given the impression of being "loose" (which is where the term comes from -- there was a strong connection in this period between neat dress and good behavior).
- PLEASE cover your hair, unless you are a single young girl.  There's nothing that ruins a period impression faster than a modern hairdo.  Even if you are tucking all your hair into a cap and putting a straw hat on top, that's much better than ruining your impression with a modern haircut.
-- PLEASE wear period glasses, or contacts.  Yes, I know, glasses are expensive, but that's often another area where reenactors fall short.
-- PLEASE find some kind of period footwear -- hide pampooties are cheap to make, and more accurate than Ren-Faire shoes.
-- Lastly, DO look at pictures that date from Europe in the middle of the 18th century -- look at what women were wearing, and how, to get a feel for what an accurate costume would look like.  Though there are very few such pictures of Scottish women, we do have some of English and French country women, and those can serve as a guide, with a little pinch of salt to account for context and the difference between those countries and Scotland.  Scotland was NOT completely isolated from fashion trends -- they just took a little longer to get there.

To be avoided:
-- "Circle" mob caps (i.e., mob caps made from a gathered circle of fabric with a drawstring) are NOT correct. They are not based on any 18th c. historical object.
-- The "English Bodice" or "French Bodice" as worn by many reenactors are not based on any historical garment.  There was a vest-like jacket that was worn in the bedroom, or around the house by invalids or nursing mothers.  Unless you are in your bedroom, or your house in one of these states, don't wear one.  Also to be avoided: Ren-Faire bodices in tapestry or cut under the breast; they're not accurate either in materials or cut.
-- Stay away from prints unless you are very confident that they're period.  Most of the calico prints available are inaccurate and are more appropriate for Victorian day-dresses than 18th c. clothing.
-- Penannular brooches (my pet peeve) should not be worn; nor should you be wearing the big, silver Victorian brooches with the stones on them.  There are no existing penannular brooches dating from later than about 1100 AD.  Unfortunately, there are few jewelers making any accurate annular brooches for women (a few people making moderately acceptable annular brooches are listed on my 'patterns and resources' page).   If you don't have an annular brooch, a straight iron, wood or bone pin would be a better choice; you use it to pin on your arisaidh like one would use a straight pin.   Just be careful not to stick yourself with the pointy end; if you tuck the sharp end into a fold of cloth after using it to pin the arisaidh, that helps.

Item Most Accurate Good Minimum Acceptable Unacceptable Recommended Patterns
Apron 100% linen, hemp or wool; gathered to self fabric or to cotton or linen tape, with tape ties

Blue aprons were common

Linen/cotton blend White cotton muslin

- Townsend’s apron

Unbleached cotton muslin

Pinner apron (probably worn by French only)

- Janice Ryan’s Basic Six Piece Wardrobe Pattern
Arisaid 4 yards long, 100% wool, made up of 2 widths of 27" wool – see criteria for men’s plaid

Can be plain wool instead of tartan

100% wool tartan—one piece, minimum 50" wide Good wool/poly blend (not obvious synthetic) Cotton flannel; obviously synthetic fabric No pattern necessary
Brooch Annular brooch, reproduction of period brooch or close facsimile; steel, bone, or wood bodkin. Annular brooch, reproduction of period brooch or close facsimile; steel, bone, or wood bodkin. Annular brooch from Raymond's Quiet Press (R-23: 2-1/8" Large Version)

Annular Brooches: a complete circle, not open on one side.

Also avoid annular brooches that are obviously early medieval. A more nondescript brooch will 'pass' better for 18th c.

Penannular brooch: open on one side -- these were not worn later than about the 10th or 11th century AD, so they're very out of date by the 18th century.

Victorian or modern 'Celtic' pins; obviously medieval or Iron Age Celtic pins.

See Essay on Highland Brooches
Cap (Lowlanders or wealthy Highlanders; may have been worn under Kertch) Mid-18th c. lappet-eared pattern; linen, hand-sewn, silk ribbons   White cotton muslin, machine-sewn; head-cloth worn turban-style

Godwin’s plain cap might be ok – haven’t seen

Circle "Mob Cap", synthetic materials

Any of Townsend’s caps (don’t look right)

- Syke’s Plain Ladies Cap (CAP1753L)
-
Janice Ryan’s Cap Pattern
-
Kannik’s Korner Women’s Lappet Cap (not the bonnet)
Online directions:
BR Clothing & Accoutrements: How to Make a Cap
Kertch Linen, hand-hemmed; 30-45" square(?), pinned or tied under chin or at back of neck
Some kind of cap or coif underneath – see paintings
  Cotton or cotton-linen blend, machine-sewn Cotton square too small, with ragged edges  
Pampooties Rawhide, cowhide shoes from authentic pattern (see pattern recommendations at left)
Deerskin or brown cow hide shoes – see patterns
    Chrome-dyed leather; "Ren-Fest" cut-leather shoes with crepe soles - Lucas, Type 4
-
Irish (Aran) Pampootie
-
Lucas, Type 3
Petticoat 100% wool, linen, or linsey-woolsey, hand-sewn; stripes (if any) woven into material

Red wool petticoats (possibly with green or other color wool tape band above hem as trim) were common

Linen, hemp, wool, linsey-woolsey, machine-sewn except for visible stitching Cotton-linen blend; Good wool-poly blend (not obviously synthetic), machine sewn Obvious synthetic fabrics; stripes printed onto fabric Janice Ryan’s Basic Six Piece Wardrobe Pattern
Pockets Linen or fustian; hand-sewn and embroidered; tape or cording drawstring Cotton duck or cotton-linen blend Man’s sporran – not documentable, but possibly worn. See standards for men’s sporrans

Townsend’s pockets

Fur pouches; leather over-the-shoulder purses - Janice Ryan’s Basic Six Piece Wardrobe Pattern
-
Kannik;s Korner Accessories Pattern
Shift (aka Sark) 100% linen, hand-stitched, period pattern

Commoners less likely to have ruffles on shift sleeves and neckline

Lucet cording, or cotton, linen, or silk ribbon drawstring

Thread buttons (if any) on sleeve cuffs

100% linen, machine-sewn White cotton muslin or cotton-linen blend

Townsend’s Chemise w/out ruffle (probably – haven’t seen)

Unbleached muslin; polyester or poly/cotton blend; 3"+ ruffle; polyester lace; ‘Victoria’s Secret’ nightgown; prints; drawstring- gathered "bag sleeve"

18th c. shifts were worn with a very low neckline; wear it correctly, then cover your cleaveage with a neckerchief.

- Janice Ryan’s Basic Six Piece Wardrobe Pattern

- Kannik’s Corner Women’s Shift pattern

Shoes (‘in town’) Hand-made – see men’s shoes criteria Machine-made, such as Fugawees (see men’s shoes criteria) Wooden-sole, leather-upper clogs; leather mules Modern shoes; ‘Mary Janes’ Fugawee’s Ladies Shoes – can be purchased from Godwin, Townsend, or Smoke n’ Fire
Gowns

Gowns are definitely under- represented in the reenactment community at present.  They were worn by women from the top to the bottom of the social ladder -- in cheaper fabrics, or bought used, toward the  bottom.

Hand-made linen or wool English-style gown (with stitched pleats in back), with mid-century style robings, cuffs, and stomacher.

Avoid tapestry, lace, brocades, prints, and fancy fabrics; unless your character is of the upper classes, you couldn't have afforded these fabrics, so they aren't appropriate for the average Highland woman.  

Machine-sewn ditto Cotton-linen blends, wool-poly blends late 18th century (Rev. War) period gowns; brocades, tapestry, most prints, fancy fabrics; I have yet to see a good period reproduction fabric from the middle of the 18th century, though there are a few for the very late 1800s.  It's much safer to use plain fabric. Mill Farms gown pattern -- currently out of print; or, one draped from Patterns of Fashion by Janet Arnold and/or Norah Waugh's Cut of Women's Clothes

Not a beginning seamstress's project!

Shortgown/ Jacket

There's some debate as to whether shortgowns were worn in Europe; Jackets are better, but I think shortgowns are acceptable.

100% wool, linen, or linsey-woolsey, hand-sewn; stripes (if any) woven into material; period-documentable prints (see below on prints) Linen, hemp, wool, linsey-woolsey, machine-sewn except for visible stitching; prints in keeping with period patterns Cotton-linen blend; Good wool-poly blend (not obviously synthetic), machine sewn

Townsend’s Shortgown or Bed Jacket

Obvious synthetic fabrics; stripes printed onto fabric; non-period prints - Janice Ryan’s Basic Six Piece Wardrobe or Manteau de Lit Pattern

Kannik’s Korner Manteau de Lit Pattern

Stays Linen with metal, cane or broom boning; lucet cord or tape lacing; leather or tape binding; hand-sewn. May be wool-covered. Linen, cotton drill, or fustian with ‘German whalebone’ boning; machine-sewn. ‘Jumps’ – lightly boned stays usually worn for ‘undress’ only, i.e., if you were nursing or ill, or in your bedroom. ‘Ren-Fest’ bodices (tapestry or brocade fabrics; metal grommets; cut under the breast); synthetic ribbons; synthetic fabrics

"English Bodice"

"French Bodice"

- Janice Ryan’s Stays Pattern

- Web Instructions: How to make 18th c. Stays

Stockings 100% wool, hand-knit to period pattern, or cut hose   Wool-poly blend or cotton, over-the-knee

Can be purchased from Godwin, Townsend, other sites

Modern socks (below the knee) - Kannik;s Korner Accessories Pattern

Other Recommended sources:
Mill Farm Patterns:
http://www.costumegallery.com/rizzos/millfarm.htm
MILL FARM PERIOD PATTERNS, Sharon Burnston (patterns)
R. R. 1, Box 166, Epson, NY 03234

List of sources at http://www.ziplink.net/~mrkmcc/Merchants.htm#Angela Trowbridge
18th C. Women's Clothing Guidelines for American Revolutionary War reenactors -- a bit later than 1745, but mostly applicable

Then there's my page of Patterns & Resources, of course!

A Mid-18th Century Picture Gallery of Women's Clothing
(Caveat: Please be aware of the moral messages the painter is trying to convey in these pictures.  Often, painters would show someone wearing items a certain way -- for instance, stays unlaced or no stays to indicate a 'loose' woman -- to make a point.)
Paris Street Cries by Bouchardon; 1737-1742 (Figs 178-221).
"Broken Eggs" by Jean Baptiste Greuze (1756)-- look at the kertch-like item worn by the old woman; interesting parallel to the Scottish kertch.
Le Geste Napolitain by Jean Baptiste Greuze (1757)
Greuze: The Spoiled Child (1765)
Chardin: Grace before the meal (1761)
Chardin: Girl Peeling Vegetables
Chardin: The Attentive Nurse (1738)
Chardin: The Laundress (1730s)
Chardin: The Return from Market (1739)
Greuze: The Laundress
Fragonard: The Stolen Kiss
Liotard: The Chocolate-Girl (1743-1745) -- Swiss

Later time period, but informative:
Plucking the Turkey by Henry Walton (1776) -- wearing bedgown, checked apron
A Woman doing Laundry by Henry Robert Morland

clip13a.gif (6030 bytes)clip13a.gif (6030 bytes)clip13a.gif (6030 bytes)

Copyright Notice:

The Author of this work retains full copyright for this material. Permission is granted to make and distribute verbatim copies of this document for non-commercial private research or educational purposes provided the copyright notice and this permission notice are preserved on all copies.

Clothing of the Ancient Celts - Copyright 1997, M. E. Riley