Doll News Spring 2014 - (Page 142)

Isn't it Romantic? by AnneLise Wilhelmsen T asha Tudor was born with the heart of a poet. Her romantic visions of life in the early 19th century fueled both her creativity and her daily life. Not only did she cherish the old ways of doing things, she loved the very pieces of the past themselves. Over her lifetime she amassed a vast collection of antique clothing, particularly dresses from the 1830's-1850's. And it's here that our inspiration for this issue's costuming project was found. By the 1830's, fashions had taken on a completely new silhouette. Gone were the delicate styles of the Regency period, as Anglomania swept first France and then America. British poets had been, and continued to be, enormously popular. And their writing inspired an ethereal ideal for the female form. Nature was a common topic for the prose of the time, and some historians have gone so far as to suggest that the large upper sleeves were meant to evoke the image of butterfly wings! Regardless of the reason for their existence, sleeves ballooned to almost comical proportions and remained the height of fashion for half a decade. Eventually, practicality won out and by the mid 1830's the fullness had begun to collapse from its own weight. It moved slowly down the arm, from just above the elbow, to the wrist, and finally disappeared altogether in the 1840's. Waist lines had also been dropping steadily since the mid 1820's, so that by 1830 they were sitting just at or above the natural waist (sometimes coming to a point, and sometimes not). Skirts changed as well, becoming fuller, which required a new sort of structured undergarment. Whale bone hoops would not be introduced until 1856. So the skirts of this time were held away from women's legs with corded petticoats, often in cotton but sometimes made from a combination of linen and horse hair. It's from this fabric that we acquired the word "crinoline", which comes from the French crin (horse hair) and lin (linen). In the past, fabrics had been embellished with embroidery or block printed, which was time consuming and too expensive for most seamstresses. But the newly developed process of roller printing, and the reversal of excise taxes on printed fabrics, allowed more women to afford patterned dressmaking goods. Bright floral prints, especially those with dark backgrounds, became all the rage. 142 SPRING 2014

Table of Contents for the Digital Edition of Doll News Spring 2014

From the Editor
UFDC Officers and Regional Directors
President's Message
Conference Calendar
Welcome Newer Members
Fundraising Committee Report
Shared Passions - 2014 UFDC Convention
Tasha Tudor + Dolls = Enchanting Art
Early Juneau Bebe Part II
My Dear Hitty
A Capital Affair 2013 Antique Competitive Exhibit Part II
A Capital Affair 2013 Modern Competitive Exhibit Part II
A is for Annabelle - the story of a doll
Annatasha - A Paper Doll
A Visit to the Coleman Collection
Unending Delight - Tasha's World of Dolls
A Capital Affair 2013 Special Exhibit - The Four Seasons of Sandra Sue
A Capital Affair 2013 - Beautiful Boys, Gorgeous Girls - Asian and American BJDs
All About Lavinia Loring, A French Fashion Doll Reprinted from THE LETTER, Volume 3, Number 1, Summer 1983
Life before TV - UFDC Region 1 Conference
Christine Crocker - The Pastoral Dollmaker
Capturing the Classics - The Classic Plaything Collection of Wendy Lawton
The Story of Marjorie Tudor
Behind the Scenes - Regional Director Training
Isn't It Romantic
In a More Romantic Time - A Paper Doll
I is for Inspiration
Judging Dolls in UFDC Competitions
Club Notes
Reviewing Resources
Region Director Candidates
Donations
In Our Memories
News & Notes

Doll News Spring 2014

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