How to dress a doll in an appropriate 19th-century wardrobe.

By Ann G. Hays

Fantastic is the doll that comes complete with her own original wardrobe. Most of us just dream of owning such a treasure. Dolls with trousseaus are hard to find, and when you do find them, the price tag often makes them unaffordable. They are rare because in their own day, they were quite expensive, and surviving intact through time can prove difficult. In some cases, parts of original wardrobes were shared with other dolls, lost, or dispersed in the sale of the doll.

My solution for this problem was to buy a fashion lady doll and create a wardrobe for her. For this purpose, I purchased a beautiful unmarked 27-1/2-inch German doll thought to be made by Simon & Halbig. At the time of purchase, she was wearing only a pair of pantaloons, a chemise, and silk stockings with holes in them. Her beautiful turned bisque shoulder-head was attached to a shapely kid lady’s body with bisque lower arms. She retained her original brunette human-hair wig, and her blue morning-glory paperweight eyes were one of her prominent features.

In order to re-create a wardrobe for her, I researched the types of clothing that dolls were wearing at the time she was manufactured. I also investigated adult fashion magazines and publications for the 1870s period, including “The Queen,” “Harper’s Bazaar Supplement,” “Godey’s Lady’s Book,” and others. The search was narrowed down to patterns and costumes that appeared in “Harper’s Bazaar” from 1872 to 1875.

In selecting the specific costumes for this Simon & Halbig lady doll, I further researched the life of the Victorian middle- and upper-class woman of the time. How did she spend her day? What were the societal restrictions in the dress code? What type of wardrobe would she need to be a fashionable lady of the time?

I decided that the doll would be an exact replica of a Victorian upper-class lady from the early 1870s. Her fashionable repertoire would consist of nine outfits that would reflect some of the social history of her class. I collaborated with Carol Thompson, a superb doll couturier, to use the original construction techniques to recreate a gallery of clothing and accessories, intending that the doll serve as a historical three-dimensional fashion plate of her period. The task was challenging and fun, and the end result was very rewarding.

The upper-class Victorian lady had numerous servants to assist her in all matters dealing with the home and the rearing of her children. The day might begin with the staff rising early to light the fires in the fireplaces so the home would be warm when the mistress of the house arose. Her washbowl would be ready and her clothes laid out. Her personal maid assisted in dressing her in a white cotton muslin morning gown (photo 1). This loose-fitting gown was designed for breakfast and other morning activities. The long polonaise-style jacket was made by sewing strips of muslin and lace insertion in rows to form a piece of fabric. The skirt is shaped at the top and is supported by a petticoat. This two-piece ensemble gives the doll the appearance of a beautiful floating cloud.

Later in the morning, she needed to change clothes in the event callers might present themselves – the first of multiple changes of costume she made during a typical day. This particular costume pictured in photo 2 is antique and thought to be a dressmaker’s sample. The skirt and jacket are constructed from mocha-colored wool fabric. It is rather plain, but the jacket has been enhanced with leg of mutton sleeves, a high neck, and brass enameled buttons.

When the weather was pleasant, the mistress of the house might decide to venture out of doors for a carriage ride or perhaps to make calls on others of equal status. For this occasion, she wore a walking dress. The example in photo 3 is made of dark brown silk taffeta with lighter brown brocaded ruffles trimmed with black passementerie braid, which has been dipped in tea to give it an aged look. The buttons are black jet.

As the afternoon progresses, the mistress would attire herself in an evening dress (photo 4). The skirt is made of taffeta, alternately striped with broad panels of cartouches containing pink roses with green foliage and narrow panels of geometric shapes brocaded in black satin. The overdress is made of black silk velvet trimmed with pleated ruffles of black satin and a black velvet ribbon. It is finished with black satin bows descending the front. White pleated muslin is inserted to finish the neck and as a second color at the sleeves. A small matching hat complements the costume.

Upper-class Victorians traveled to exotic places and events. For such occasions, a traveling suit was required (photo 5). The suit was made for the winter season in pale turquoise blue wool trimmed with black velvet and silk fringe added in a slightly darker shade of turquoise.

Elegant evening events were also a part of her life; she attended dinner parties, concerts, theatrical plays, the opera, and balls. For the more formal occasions, she needed a summer ball gown like the costume found in the “Harper’s Bazaar” August 1872 issue, which was adapted for this doll (photo 6). The skirt is salmon-pink satin trimmed with self-ruffle and pleated silk net ruffle showing beneath. The overskirt is heirloom lace with a long back and puffed tablier trimmed with silk net ruches. The satin bodice has a pointed waistline, producing a slimming effect. The bodice has short sleeves of satin covered with lace and a bertha (collar) of puffed lace trimmed with pleated silk net. Bouquets of rose blooms, buds, and foliage are set on shoulder bows and along the bottom of the tablier, and a cordon of flowers adorns the overskirt. To complete the presentation, the doll wears a narrow matching satin headband, decorated with flowers.

As part of her wardrobe she has a cream-colored crepe de chine opera cape with cream silk fringe and tassels in photo 7. There is lovely silk embroidery on the back of the cape. I have six capes; one is shown in photo 8. To complete the wardrobe, I have added hats (photo 9), undergarments, parasols, and an antique trunk (photo 10) full of necessaries. Many of her accessories are authentic antique pieces, including fans, opera glasses, binoculars, sewing implements, jewelry, and dresser items (photo 11). Finding something new to add to her trunk is always a delight.

A French armoire with double doors (photo 12) holds the doll and her large wardrobe. The wooden panels in the doors were easily removed so that glass panels could be inserted. Brocade fabric and lace dresser scarves line the shelves and the back of the cabinet to act as a barrier between the wood and the garments and to lighten the interior. Additional French fashion dolls were added to create a beautiful vignette.

I continue to add to her wardrobe in the hope that she can be preserved for future generations to appreciate as a documentary of the Victorian era. Perhaps you can do a similar project with one of your dolls.

Special thanks to Carol Thompson for creating the gorgeous costumes for my doll and to Mary Jones, antique doll dealer, for assisting in locating the wonderful antique accessories.

Ann G. Hayes is Vice President of Hays & Associates auctioneers and appraisers. Photographs courtesy Hays & Associates, Inc., Louisville, Kentucky.