A Victorian Lady's Underwear. A monologue.

Petersons - July 1867

The following is an excerpt from SILHOUETTE, my current project.

MRS. KECKLEY

(In the following monologue, MRS. KECKLEY explains how a woman of her time dressed for the day.  It can be slightly comical but should try to realistically represent the stages and not fall into farce.)

Let us pause here for moment to consider the complexities of dressing a modern Victorian lady.  In 1861, most clothing was still hand-made, though things were changing.  A lady would custom order a dress from a seamstress that was specifically fit for her body and all the layers she wore underneath. 

(The CS lights up on the frozen silhouette of a MODEL lady.  She is wearing stockings, shoes, drawers, and hard her arms crosses over her chest where she has bundled her chemise so the silhouette starts as almost bare.)

A genteel lady did not simply throw a gown on over her crinoline; she had quite a few steps to go through first, beginning with her stockings.  These stretched up to just above the knee and were black during the day and white in the evening.  Drawers were made of two overlapping flaps, one for each leg, and seamless in the middle for a lady's toilette.  Over this, a sleeveless, knee-length chemise was worn.

(The MODEL releases her chemise and smooths it down. Two LADIES enter to help with the dressing, showing each step as it is described.  A simplified version of the complex dress routine can be created to simplify and quicken the pace since it is performed completely in silhouette.)

Next was the corset, strengthened by whalebone.  It fastened in the front and laced up the back before being pulled as tight as possible to create a tiny waist and offering a figure several inches smaller.  It was by this size I would measure a lady for a dress.  The crinoline was perfected just years earlier, and offered the ladies a lighter ensemble.

                                    (The LADIES put the crinoline on the MODEL.)

 Before this, women would wear five or six petticoats layered for volume - now they had a flexible cage of steel to support their bell shaped skirts.  It was even easy to sit in, collapsing under a lady as she sat on the very edge of a chair. 

                                    (The LADIES add a camisole then a petticoat to the MODEL.)

A camisole was added next, as layer to shield the dress from the woman's skin so that oils and perspiration did not transfer to the expensive outer layers. A petticoat, simple in design, covered the crinoline to protect the skirt from the steel of the structure and a fancier petticoat, one that could potentially be seen, was added next.  It would have frills or embroidery to compliment the dress to be worn.  

Finally we come to the gown itself.  In the evening a lady would bare her arms, and wear dresses that revealed their neckline.  Always with gloves, of course.  During the day, however, the skin was to be protected by long sleeves and a high neck line, with a parasol for shade.  Many gowns would have one skirt and two bodices, one for night and one for day, to be more economical.  I would also add a ruff along the bottom of the skirt to protect the expensive material and it could be replaced later when it became soiled by the ground.  Each dress was custom designed to a lady's measurements, and my particular specialty was a perfect fit for every customer. 

(The LADIES complete the dressing and hand the MODEL all of the items MRS. KECKLEY mentions.)

Ready to venture out to call on friends, a lady would add a bonnet to protect their hair, gloves to protect the skin of her hands, a parasol for shading the face, and a small handbag with perfume, a handkerchief, a fan, and her calling card tucked neatly away.  

WHAT DO YOU THINK?  Pretty Close?  Did I forget the torture device? :)