IDMA
STANDARDS FOR THE REPRODUCTION OF ANTIQUE AND MODERN
DOLLS
1996
by
Katie Redd, Barbara Akridge, Andree’ Hager
(Retyped – typographical errors corrected – Doretta Potts, 7/2012)
The more we learn, the more variations are found in costuming and
painting of reproduction dolls. There are few absolutes and many exceptions in costuming
reproduction dolls. These guidelines are what we have found to be true most of the time.
It is the responsibility of the competitor to submit documentation to the judges when costumes or
painting differ from standards set in these guides.
TABLE OF CONTENTS
I.
II.
Judging Painting of Antique Reproduction Dolls
Judging the Costumes of Antique Reproduction German and French Children Dolls
A.
Doll Stand
B.
Socks and Stockings
1.
Material
2.
Colors
3.
Length
C.
Shoes
1.
Materials, Colors
2.
Boots
3.
Sandals
D.
Construction Techniques for Costumes
1.
Sewing Machine
2.
Seams
a.
Finishing
b.
Selvage
c.
Overcast
d.
French Seams
e.
Zig-zag
f.
Pinking
g.
Linings
3.
Crochet or Knit
E.
Underwear
1.
For Boys
2.
For Girls
a.
Color
b.
Chemise
c.
Drawers
d.
Knickerbockers
e.
Combinations
f.
Petticoats and Slips
g.
Corset
h.
Bustle
3.
Fabrics, Colors, Trim
a.
Cotton
b.
Silk
c.
Wool
F.
Outer Clothing
1.
Types of Clothing
2.
Length of Clothing
3.
Pinafores and Aprons
4.
Fabrics
5.
III.
Trims
a.
Lace
b.
Braids
c.
Ribbons
d.
Buttons
6.
Embroidery
a.
Hand
b.
Machine
7.
Beading
8.
Fastenings
a.
Hooks and Eyes
b.
Buttons
c.
Ties
d.
Snaps
e.
Elastic
G.
Head Coverings
1.
Hats and Bonnets
2.
Hair Ribbons
H.
Accessories
1.
Jewelry (1850-1900’s)
2.
Other Jewelry
3.
Purses (Reticules)
4.
Muffs
5.
Umbrellas and Parasols
6.
Gloves
7.
Other Accessories
Judging the Costuming for French Fashion Dolls (Poupees)
A.
Fashion Dolls
B.
Bodies
C.
Wigs
D.
Doll Stands
E.
Hosiery
F.
Shoes, Boots
G.
Construction Techniques for Costumes
1.
Sewing Machines
2.
Seams and Finishing
a.
Selvage
b.
French Seams (felled)
c.
Zig-zag
d.
Pinking
e.
Linings
f.
Flat Sewn Linings (Inner Linings Sewn in the Seams)
g.
Overcast
h.
Boning
H.
Underwear
1.
Drawers and Knickerbockers
2.
Chemises
3.
Combinations
4.
Corsets
5.
Crinolines
6.
Petticoats
I.
Outer Clothing
1.
How Styles Evolved
2.
Fabrics
3.
Trims
a.
Lace
b.
Braid
c.
Ribbons
d.
Hand Embroidery
VI.
V.
e.
Machine Embroidery
f.
Beading
4.
Fastenings
a.
Hooks and Eyes
b.
Buttons
c.
Ties
d.
Snaps
J.
Head Coverings
1.
Hats and Bonnets
2.
Hair Ribbons, Flowers, Feathers, Beads
K.
Accessories
1.
Jewelry (1850-1900s)
2.
Other Jewelry
3.
Purses (Reticules)
4.
Muffs
5.
Umbrellas and Parasols
6.
Gloves
7.
Other Accessories
Judging Modern Dolls
Bibliography
I.
JUDGING PAINTING OF ANTIQUE REPRODUCTION DOLLS
Most of the French and German children dolls, which we reproduce today, were made between 1870
and 1920. Fashion dolls originated earlier, about 1850. During these decades, many different painters finished
the heads. Although they may have used the same techniques and paints, there were variations in the same
doll. Even the same painter probably changed his style over a period of time. He may have even painted a little
differently on Friday afternoon than on Monday morning. These variations are easily apparent when
examining pictures of dolls made from the same mold whether by Jumeau, Bru, Gaultier, Kestner, Simon and
Halbig, Heubach or any of the many other doll makers.
There are variations in the number of lashes, the length of the lashes, the shapes and lengths of the
eyebrows, and the depth of color of the mouth. However, certain characteristics still distinguish each doll
maker’s work. A Jumeau would never be mistaken for a Bru just as a Bru would never be mistaken for a
Jumeau. The same is true of all the other French and German dolls.
Because of the differences in style and techniques of the thousands of different painters, it is
unreasonable to judge a reproduction doll by any one particular picture of that doll.
A doll should be judged by how well the painter has reproduced the “look” of the doll and by how well
the painting is executed, not by counting the eyelashes and measuring the length of each eyebrow or upper or
lower lip.
II.
JUDGING THE COSTUMES OF ANTIQUE REPRODUCTION GERMAN AND FRENCH CHILDREN
DOLLS
A.
Doll Stand
A doll should always be securely fastened to a stand that holds it firmly erect.
B.
Socks and Stockings
1.
Material – stockings for children dolls were woven, knitted, crocheted and made of cotton,
rayon or silk
according to examples shown.1
2.
Colors – “Colored stockings, including those with circular stripes, were much more prevalent
than
plain white stockings. When the shoes were low, gaiters sometimes protected the
doll’s legs. (18781880s)”2
“Stockings or socks were generally colored, often black: Circular stripes seem to have gone out
of
fashion (late 1890s, Kate Greenway period). Silk stockings appeared more
frequently.” (1880-1890s)3
The Way They Wore, items 195, 302
The Collector’s Book of Dolls’ Clothes, p 219
3 The Collector’s Book of Dolls’ Clothes, p 298
1
2
3.
Length – Ankle, knee and thigh length stockings are shown.4 The Doll Artisan, Vol. 17, No. 6,
Sept/Oct 1994 page 39, has a well-documented article on stocking and socks.
C.
Shoes - Toes can be rounded or pointed for both German and French dolls.
1.
Materials, Color – Black, brown, ecru, white, bronze, red, or any color to match a costume.
Most were
made of leather or fabric, although some German doll shoes were made of oil cloth and
inexpensive
materials. A few had heels: many did not.
2.
Boots – Boots can be laced or buttoned on the side. Can be any color to harmonize or match
costume.5
Lady boots sometimes had a higher heel.
“French Bebes usually have bronze or colored one strap slippers with a rosette or
buckle and
bow on the toe but seldom any heels.”6 However, Harper’s Bazaar, January
1883 describes costumes
for dolls including “boots with two straps and heels”. Also, described
“shoes were single-strap slippers:
the boots were high and laced. All the shoes had buckles
and bows on the toes.”7
Trims for shoes include buckles, bows and rosettes of many different sizes. Some
shoes in The
Jumeau Book, p 415 and 416, have very large rosettes and rather wide
contrasting bindings.
3.
Sandals – sometimes seen on German character dolls after 1900.
D.
Construction Techniques for Costumes
Although handwork is always valued, sewing machines have been used for making clothes since the
1850s. The
machine zig-zag stitch was used in manufacturing clothes beginning in the late 1870s.
1.
Sewing Machine – “The sewing machine was developed in America from the 1840s”.8
“Machine-sewn
dresses appear in England from 1860…”.9 “Sewing machines became
widespread in the late 1850s.”10
2.
Seams - Finishing
a.
Selvage – Selvage edges were routinely used on garments. Many antique garments
still show
the selvage edges. “In gored skirts, two or more skirt panels
have…one straight side provided
by the selvage, and the other slanted…The angled
side was normally sewn to the selvage of the
adjacent panel.”11
b.
Overcast – Hand overcast seams are permissible as this finishing technique was used
on many
garments when unlined or when lining was sewn in the dress seams.
c.
French Seams – Used on many garments. French seams are used on fine cotton,
batiste or
lightweight silk garments, especially when no lining is used.
d.
Zig-Zag – Zig-zag is not acceptable for antique reproduction costumes with one
exception. That
exception is referred to as ‘machine French sewing’ and is used to join laces to
laces or laces to
fabric. When done properly with a small close stitch, it is very like
French hand sewing. Zigzag is NOT acceptable for finishing raw edges of
seams.
e.
Pinking – Pinking was used on many garments and is seen as a finishing edge on
many ruffles
or pleats used as trim on doll, children and adult garments and
accessories. However, pinking
is NOT an acceptable finish for seams.
f.
Linings – The finest French and German costumes made of silk or wool were lined
with
lightweight cotton fabric or with lightweight silk. Many cotton dresses were
either completely
lined or had lined bodices.12 A ‘simple’ serge dress must
have its silk linings and silk petticoat
to wear with it, and the latter with its
pinked ruffles on the inside, so there is much truth as
well as humor in the
The Way They Wore, p 90, items 302, 303
The Way They Wore, p 76-81 (examples of shoes and boots)
6 The Collector’s Book of Dolls’ Clothes, p 254
7 The Collector’s Book of Dolls’ Clothes, p 257
8 Costume in Detail, p 228
9 Costume in Detail, p 162
10 Victorian Dress in Photographs, p 52
11 With Grace and Favour, p 41
12 The Way They Wore and In Their Fashion
4
5
assertion that it is only necessary to turn a simple woolen gown wrong
side out
in order to have a pretty silk on.13
The Bru Book, p 169, shows the lining inside a Bru costume. A silk Kimono
worn by
an Oriental Bru on p 176 is described as fully lined in contrasting silk.
The Jumeau Book, p 399, shows the lining on a skirt and basque. On p 400,
illustration 400G, shows the inside construction of a dress.
In describing a dress of the 1860s, “The flounce dress appears much looser,
but in fact,
the lining inside was made to fit tightly around the corseted body.”14
“The looseness of the dress is deceptive, since the dress is made over a
complete fitted
lining…Godey warned readers in 1851 that the lining must not be
omitted in such bodices
otherwise they look untidy.”15
fabrics and
the skirt fabric at
velvet ribbon…”16
Describing a skirt (1892-1896), “Skirts were often made of fully lined, stiff
many had horsehair interfacing at the bottom. The linings were stitched to
the hem and the edge was frequently covered with a thick
“In the eighteenth and nineteenth centuries most (doll) dresses were
lined…”17
3.
Crochet or Knit – Crochet and knit woolen garments were popular as both commercial and
homemade clothes for dolls.18
well as
In Harper’s Bazaar, “Directions were given for crocheting a jacket, bib and boots as
knitting stockings and leggings for the 1883 Christmas dolls.”19
E.
Underwear
1.
For Boys – For competition, boy dolls should usually wear some simple type of underwear
except when
wearing German leather breeches. Conflicting data was discovered about boys’
underwear. Some
authors indicate that there was little underwear used on boy dolls
prior to 1890.
found
1882.21 On p 61 of
sale.
“Underwear was minimal or non-existent (1878-1889)”20, however, our research has
Butterick catalogs contained patterns for little boys’ under drawers in 1873 and
Bloomingdale’s Illustrated Catalog 1886, boys’ drawers are listed for
After 1900, “Underwear was used on homemade or better-grade commercially dressed
boy
dolls, but the inexpensive commercial one still lacked underwear. It usually consisted
of a chemise or
undershirt and drawers.” (1908-1950)22 Boy dolls’ underwear is shown on p
135 in Doll Costuming by
Mildred and Colleen Seeley.
2.
For Girls – Research has shown that the majority of the chemises, petticoats, drawers and
combinations were with cotton fabric – nainsook, cambric, batiste or muslin. Drawers
could be either
straight or full and gathered to a band. Trimmings included tucks, insertion,
ribbon insertion,
embroider and lace. Under is closed with ties or buttons.23
However, many examples of colored
underwear were also found, and examples of silk
underwear were found. Sometimes a flannel or
lightweight wool petticoat was included.
a.
Colors – While we found most underwear for dolls were white, exceptions were found.
The
competitor probably would want to document use of colored underwear.
With Grace and Favour, p 69
With Grace and Favour, p 35
15 With Grace and Favour, p 37
16 With Grace and Favour, p 69
17 The Collector’s Book of Dolls’ Clothes, p 7
18 The Collector’s Book of Dolls’ Clothes, p 219
19 The Collector’s Book of Dolls’ Clothes, p 233
20 The Collector’s Book of Dolls’ Clothes, p 271
21 American Dress Pattern Catalogs, p 30, 64
22 The Collector’s Book of Dolls’ Clothes, p 517
23 Doll Costuming, 132, 134, The Way They Wore and In Their Fashion
13
14
Mildred Seeley
drawers and chemise
blue
skirt and
French label.
lace…and a rose
shows rose muslin dress,
matching color.
chemise
Doll
b.
describes a French Schmitt doll in original clothing including split
constructed of peach linen.24
Wardrobe of the twenty-inch Bebe Steiner dressed in the style of the 1880
includes: “Dress of white organdy with a bustle, worn over a blue slip”.25
A slip made from a delineator pattern for a doll in 1882 is described of “pale
nainsook and prettily decorated with braid arranged in three rows about the
sleeves.”26
The Way They Wore, page 5, illustration 1 shows a baby costume with a
The costume is a sheer white cotton gown with multiple inset rows of
chambray dress, chemise, pantaloons. Page 66, illustration 203,
pantaloons, petticoat and socks. All wardrobe pieces are of
Sets of girls’ underwear varied. Sets could consist of:
1)
a chemise, split drawers and a petticoat
2)
a combination drawers/chemise and a separate petticoat
3)
a combination chemise/petticoat and separate drawer
4)
a combination chemise/drawers with a combination chemise/
petticoat over it.27
Some German dolls made after 1900 had a one-piece garment, which included
and drawers with the petticoat sewn on at the waistline.
Typical underwear for French and German children dolls are illustrated in
Costuming, by Mildred and Coleen Seeley, p 132-135.
Chemises – “Chemises, some with front closures, other fastening on the shoulders, and
separate drawers maintained the greatest popularity.28 Patterns are given
for chemises.29
c.
Drawers and Knickerbockers – Patterns are given for drawers and knickerbockers
gathered to
a waistband.30 Drawers have straight legs and the legs of
knickerbockers are gathered to a
band at the knee. Many are completely split, just
two legs of a band. Some dolls’ drawers are
two legs sewn together a few
inches in the front and have a draw string in the top which ties in
the back. They are
trimmed with ruffles, tucks, lace insertion, lace edging, ribbon and
embroidery.
d.
Combinations – “Both combinations (drawers and a bodice combined) and red flannel
petticoats had been used earlier, but they grew in popularity during this
period (1878-1889).31
Butterick patterns for children’s combinations were
available in 1879.32
The Jumeau Book, p 403 illustration 403B, shows combinations made for a
Jumeau
Bebe. Illustration 404A, p 404 shows a chemise, petticoat and
drawers. Illustration 399C
shows back ties on a combination.
The Way They Wore, p 20, pictures a set of white underwear including a
combination,
a corset with front ties and two petticoats for a French Bebe.
e.
Petticoats and Slips – A variety of different style petticoats/slips were worn by little
girl dolls.
Little girl dolls wore petticoats attached to a chemise top: petticoats
gathered to a waistband
with a button, or petticoats with no waistband and a
drawstring in the waist.33 The majority
of the petticoats/slip were made of white
cotton. Some were of lightweight wool or soft flannel.
A few were made of ‘washing silk’.
There were a few in colors. See “Color” above. Some were
simple, others quite
elaborate with lace, lace insertion, ribbon, multiple tucks, ruffles and
embroidery. Some petticoats for French Bebe have three rows of ruffles on the back for a
bustle effect.
Dolls, The Collector’s Magazine, Aug/Sept 1991, p 85
The Collector’s Book of Dolls’ Clothes, p 254
26 The Collector’s Book of Dolls’ Clothes, p 255
27 The Jumeau Book, p 403
28 The Collector’s Book of Dolls’ Clothes, p 219
29 American Dress Pattern Catalogs, p 17, 20, 28
30 American Dress Pattern Catalogs, p 20-28, 51
31 The Collector’s Book of Dolls’ Clothes, p 219
32 American Dress Pattern Catalogs, 1879-1909, p 60
33 American Dress Pattern Catalogs, p 26, 28 (1873), p 60, 66 (1882), p 147 (1909)
24
25
f.
fabrics. Some
front.35
3.
These
pastel
dress.
g.
Bustle – Little girl dolls sometimes had a small bustle tied at the back of the waist.36
Fabric, Color, Trim
a.
Cotton – Cottons used for underwear were dimity, batiste, lawn, muslin and nainsook.
are all lightweight fabrics.
b.
Silk – For girl dolls, a few petticoats were made of ‘washing silk’ sometimes in a pale
color, such as rose or aqua, especially when worn with a lace or organdy
c.
with a
Corset – Girl dolls many times wore corsets of many different colors, prints and
had straps and some did not.34 They could open in the back or the
Wool – A doll sometimes had a second petticoat of lightweight wool challis to wear
winter outfit.
F.
Outer Clothing
“Remember that most popular types of dolls were made over a period of many decades, and so they
(collectors)
can expect to find variation in styles of garments found on dolls of the same type. For nearly
every type of doll,
innumerable variations of original clothes are possible.”37
Although French children dolls were usually more elaborately dressed, many German dolls were made
for the French market and imitated the fancy French styles. However, many French children dolls wore
simple silk or
wool dresses (i.e., sailor dresses, school dresses). Also, many dolls were sold undressed and
were dressed at home. German and French character children made after 1920 were generally dressed just
like real children in
every day school or play clothes, or a Sunday best dress.
1.
Types of Clothing – Types of outer clothing for the period 1878-1900 included:
“Frocks with low waistlines and short pleated skirts, suits with jackets and skirts,
polonaises,
panniers and tunics or overskirts; pointed bodices; princess-style dresses;
yokes; bloused waists;
guimpes worn under low- necked sleeveless dresses; separate bodices
and skirts; long one –piece
sleeves with fullness, especially on top of shoulder; long full
sleeves, especially leg-of-mutton and
bishop”.38
2.
Length of Clothing –The length of the dresses varied from the knee to below the knee. Some
dresses
fell to mid-calf or even shoe top. Two small Bru dolls are pictured on p 165 of The Bru
Book. They
wear similar costumes, except 1880 when they were knee length for a very
short period of time.
“For many decades child dolls’ clothes had been growing shorter and shorter until, in
the late
1880s the French Bebe wore dresses above the knees. Then around 1890 many of the
child dolls began
to wear floor or ankle-length dresses”.39
3.
Pinafores and Aprons – Some dresses had an overdress or overskirt of lace, which could be
the same
length as the underskirt, shorter than the underskirt or even a tad longer
than the underskirt.
“Garments called ‘aprons’ or ‘pinafores’ are found frequently on dolls from this period,
but
these names referred to a variety of garment types. Some had long sleeves,
some no sleeves at all or
even any top part. Some were only waistline length; others covered
the skirt in front. Some had high
necklines and others only straps or bretelles. Apparently,
an apron was almost any type of garment
worn over a dress…”40
4.
Fabrics – Cotton, silk, velvet, lace and wood were fabrics of choice for all doll clothes.
Polyester and
nylon fabrics should never be used for antique reproduction dolls.
5.
Trims
a.
Lace – Laces should be made of natural fabrics such as cotton, silk or wool. Laces can
be either
handmade or machine made. “The lace craft traditionally guarded jealously
by lace makers,
was gradually developing into an industry whose machine-made
product, by the 1880s, could
deceive even the best trained eye.”41
In Their Fashion, p 82-84, 93
The Way They Wore, p 18-19, 20-21
36 The Jumeau Book, illustration 399C, 403C
37 The Collector’s Book of Dolls’ Clothes, p 7
38 The Collector’s Book of Dolls’ Clothes, p 215-217, p 229
39 The Collector’s Book of Dolls’ Clothes, p 294
40 The Collector’s Book of Dolls’ Clothes, p 219
41 Children’s Fashions, iv
34
35
b.
c.
d.
Brads – Color and metallic braids were used.42 43
Ribbon – Ribbon should be of silk or rayon.
Buttons – Buttons were made of almost any material except plastic. Buttons of pearl,
glass,
metal, bone, wood, paperweight and cloth can be found. Many buttons were
used as decoration
instead of to close garments. Buttons were various sizes on original
costumes and sometimes
tended to be a little large.44 45 46
6.
Embroidery
a.
Hand – Beautiful hand embroidery is always appropriate and highly valued.
b.
Machine – Several references to machine embroidery have been found. In Their
Fashion, Doll
Costumes and Accessories, 1850-1925, p 108, shows a white wool
dress with dark blue machine
embroidery and p 85 shows red dresses with white machine
embroidery.
“Swiss manufactured eyelets first began coming out of Switzerland about
1850
…machine sewing of tucks began to appear around 1870”.47
The English Woman’s Domestic Magazine dated 1875 says “Embroidery and
beadwork were also executed by machine from the mid 1870s and this
became a popular readymade trimming, usually in a color which matched or
harmonized with the dress. Patterns are
in raised silk work and have quite the
appearance of being done by hand though this of
course is not the case”.48
“Apparently, a Dusuzeau lingerie of hand and machine embroidery caught
the eye of
judges at the Exposition Universelle of 1878 and was awarded a
silver medal. The confluence
of paper pattern production, the perfected and
widely distributed sewing machine (enhanced
by textiles and trims in the 19th
49
Century…)”
Exquisite machine embroidery was worked on treadle machines in the late
1800s.
The hoop was pulled from side to side to make precise zig-zag or satin
stitches.”50
7.
Beading – Beading is appropriate for many early dolls, especially the French Bebes.
8.
Fastenings
a.
Hooks and Eyes – Generally used to close dresses and jackets. Looped thread eyes
usually look
nicer than metal eyes.
b.
Buttons – Buttons should be pearl, glass, wood, bone, fabric or metal – any natural
material,
but never plastic. Buttons may be used to close petticoats, drawers,
dresses and jackets.
c.
Ties – Fabric ties were many times used to close petticoats, drawers, and dresses.
d.
Snaps – Snaps were invented in the late 1890s and were commonly used after 1900.
e.
Elastic – The use of elastic is thought not to be used very much. However, a reference
from
The American Girl’s Home Book of Work and Plan (1883) describes
construction of a big boy
doll “each leg must be run up and then joined together at
the top, making a hem round the
bottom, in which run some elastic. It is a very good
way to sew them on to a board elastic
band…”51
G.
Head Covering
Most costumes for dolls were completed with some kind of hat, bonnet or hair trim.
1.
Hat and Bonnets – Hats and bonnets were made of straw or fabric and many were
elaborately
trimmed. Trim included flowers, leaves, ribbon, lace, embroidery, feathers,
and beads.52 53
Automata, p 41, 55, 69, 72, 109
In Their Fashion, p 22, 126, 129, 130
44 The Jumeau Book, p 410
45 The Way They Wore, p 50,53
46 Puppenstars, p 74, 86, 92
47 Antique Clothing: French Sewing by Machine, p 15
48 Victorian Dress in Photographs, p 173
49 With Grace and Favor, p 3
50 Singer Instructions for Art Embroidery and Lace Work, Foreword
51 The Collector’s Book of Dolls’ Clothes, p 232
52 In Their Fashion, p 12-13, 39, 48, 62-65, 97, 104-105
42
43
2.
Hair Ribbon – Some dolls need only a hair ribbon to complete this costume.
H.
Accessories
1.
Jewelry (1850-1900s) – Most French Bebes and many German dolls wore earring and some
wore
bracelets and necklaces to match. They were made of pearls, crystals, gold, turquoise,
topaz, coral,
jade, amber and colored glass beads. Cameos were popular. From 1850 and
onward, machines allowed
for mass produced jewelry – brooches, bracelets and
earrings. Earrings were long and dangling in 1870
and by 1890 became smaller (one or two beads). By
1900 some were on wire posts.54
2.
Other Jewelry – Other jewelry included watches, sometimes with a chain to be worn as
pocket watch,
sometimes with a pin for a dress. Also, beaded rosaries were popular.55 56
3.
Purses (Reticules) – Many purses were made a specifically for dolls.57 These include purses
made of
leather, silver, chain links, woven with beads, silk, tapestry, reed-straw, crocheted
and beaded.
“As early as the middle ages, purses were carried by men and well as women. In the
1830s,
Josephine was said to carry a reticule at all times. By 1850 velvet reticules were
enriched with hand
painting or embroidered with metallic threads, gilt or steel beads. In
addition to reticules made in the
drawstring style, framed ones also became popular. After
1850 many commercially-made reticules
were available. In Germany, beautiful beaded
reticules were made of Bohemian glass while the Italian
prided themselves with their fine
examples of Venetian glass. They can be made of fabric, leath, metal,
metal mesh, or beads.
They have many different shapes (round, square, or long), and they can close in
many
different ways (metal frames, draw strings).”58
A fully dressed doll from 1840-50 is shown with three bags (1) round black velvet
drawstring
bag trimmed with gold beads and beaded tassel, (2) a black draw string
velvet bag trimmed with steel
beads and beaded loops and (3) black satin draw string bag
with steel and jet beads.59
4.
Muffs – Many dolls carried muffs made of fur or fabric. Many were decorated (i.e.,
embroidery, braid,
beading).60 61
5.
Umbrellas and Parasols – Umbrellas were made of silks, laces and materials to match or
coordinate
with costumes. From 1850-1870 the umbrellas were small with very long
handles. As the century
advanced, umbrellas became larger and more like today’s size and
shape. Generally the handle should
fit under the doll’s hand when her arms are
outstretched.62 63 64
6.
Gloves – Gloves were knitted, crocheted, or sewn of fabric or fine leather, sometimes in color
to match
a costume. Some were embroidered or beaded and some were fingerless
mitts.65 66
7.
Other Accessories – Dolls carried as accessories almost anything in miniature that adults
used.
Some other accessories included chatelaines, fans, opera glasses, sewing cases, travel
bags and hair
combs.67 68
III.
JUDGING THE COSTUMES OF FRENCH FASHION DOLLS (POUPEES)
A.
Fashion Dolls
The Way They Wore, p 101-102
The Collector’s Book of Dolls’ Clothes, p 142-186, 215-280
55 The Way They Wore, p 38, 83, 87, 89
56 In Their Fashion, p 93, 133
57 In Their Fashion, p 37-38, 57, 70, 89, 131
58 Handbags
59 Costume in Detail, p 183, 186
60 The Way They Wore, p 37, 85
61 In Their Fashion, p 32, 34, 116-117
62 Peterson Magazine - 1889
63 In Their Fashion, p 22, 31, 33, 35, 37-38, 69, 89, 144
64 The Way They Wore, p 60-63
65 In Their Fashion, p 57, 60, 134
66 The Way They Wore, p 38, 40
67 In Their Fashion, p 21, 22, 24-26, 38, 98, 101, 133
68 The Way They Wore, p 38-41, 82-89, 120
53
54
“The term “Fashion Doll” is used by many doll collectors to designate a particular type of doll – that
originally enjoyed its greatest popularity in the years between 1860 and 1890… When new, these dolls
sometimes came fully dressed, occasionally with a trunk full of clothes and accessories, but it was
possible also
to buy unclothed dolls that did, however, have dressed hair and jewelry, including earrings in
their pierced ears.
If the doll had a swivel neck, it would also wear a bead choker to hide the neck
joint.”69
which
Fashion dolls are called “Poupees” as distinquished from the little French girl dolls called “Bebes”.
Since poupees were dressed in replicas of contemporary clothes, reference sources for adult clothes as well as
sources pertaining to dolls are used in this guideline. The styles changed drastically several times from the
period 1860
to 1890 resulting in a completely different silhouette. This included changes in the sizes of
crinolines to no crinolines at all. The size of the bustles and the placement of the bustles and the length of the
waistlines also make a complete difference in the silhouette. In costuming French Fashion dolls, nothing will
substitute for
detailed research. A multitude of fashion catalogs, pattern catalogs, books and excellent
patterns are available
for the costumer. In using patterns, it is the costumer’s responsibility to be sure they
are authentic.
B.
some
Bodies
Photos of fifty undressed fashion dolls include bodies made of cloth, all leather (some with gussets,
without), twill over wood, twill over carton (cardboard), all wood, leather over wood, and gutta-percha.
There are also dolls with bodies that are a combination of materials: leather bodies with wooden arms
and
hands or porcelain lower arms, and even an all-metal body. Wooden body dolls had carved wooden
hands or
porcelain lower arms; most had porcelain shoulder plates.70 Bodies of fashion dolls are
carefully described in
“How to Collect French Fashion Dolls” by Mildred Seeley.
C.
Wigs
Fashion dolls have mohair, human hair or fur wig except for a few with molded hairdos.
D.
Doll Stands
A fashion doll should always be securely fastened to a stand that holds it firmly. Saddle stands allow
excellent
fitting of costumes provided the doll is firmly attached.
E.
Hosiery
Material – stockings for fashion dolls were woven, knitted, or crocheted and were made of lace, cotton,
rayon, or
silk according to examples shown.71 Ladies stocking, in many colors, are shown worn above
the knee. Many have patterns or either vertical or horizontal stripes.72 Black lace knit hose were also worn.73
Ladies stockings could be highly decorated with embroidery or patterns.74
plaid, or
they were
“Stockings at this time (1865-1878) were no longer always plain white, but sometimes colored,
striped with vertical or the popular circular stripes. Some were of a lacy weave: occasionally
embroidered or hand painted decoration”.75
article on
The Doll Artisan Vol. 17, No. 6, September/October 1994, page 39 has a well-documented
stocking and socks.
F.
Shoes and Boots
“Boots were for outdoor wear, and most dolls wore them. They were trimmed with such things as
tassels, fur, or rosettes, and could be made of two combined materials rather than of a single one. The top
edges could be plain, pointed or scalloped. Heels were generally fairly high for ladies…toes were sometimes
Fashion Dolls, p 6
Fashion Dolls, p 1224-132
71 The Way They Wore, p 90-91
72 Bloomingdale’s Illustrated 1886 Catalog, p 58-59
73 The Paris Collection, p 26
74 Victorian Fashions & Costumes from Harper’s Bazar, p 109, 146, 257
75 The Collector’s Book of Dolls’ Clothes, p 145-146
69
70
square. Boots
colors.”76
fastened with either lace or buttons or had elastic sides. Slippers, for indoor wear, came in all
“Shoes, boots and slippers were worn by French Fashion Dolls. They were made with or without heels
and were
usually leather (photo of shoes).”77
Ladies boots could be trimmed with contrasting leather, fabric, fur, tassels or ribbons. Slippers were
ornately
embellished with embroidery, ribbon and lace rosettes, beading, etc.78 Boots came in many
colors and were buttoned, laced, or had elastic in the sides.79
G.
Construction Techniques for Costumes
1.
Sewing Machine - Although handwork is always valued, sewing machines have been used
for
making clothes since the 1850s. Many doll clothes were made using a combination of
sewing machine
and hand sewing. Some were handmade, but not all hand sewing was well
done (just like now)!
“The sewing machine was developed in America from the 1840s”.80 Sewing machines
became
widespread in the late 1850s.”81 By the 1860s, few dresses were made at home
without the use of the
sewing machine.”82
“Sewing machines and their users became more efficient. As additional attachments
were
devised, so styles became more complicated and trimmings increasingly ingenious: it
is certain to be
suspected that we owe much of the over-trimming now prevalent to the
facilities afforded by the sewing
machines, which have become valued little friends in many a
household”.83 The machine zig-zag stitch
was used in manufacturing clothes beginning in
late 1870s.84
2.
still show
finishing seams.
Seams and Finishing
a.
Selvage – Selvage edges were routinely used on garments. Many antique garments
the selvage edges. Some competitions do not accept selvage edges for
the
selvage of the
folded under
the left side,
composed
than the humble
folded
b.
cotton,
“In gored skirts, two or more skirt panels…have on straight side provided by
selvage, and the other slanted…the angled side was normally sewn to the
adjacent panel.”85
“Both front edges of the basque are placed on the selvage. The selvage is
at a slight angle. No tacked down but held in place by three brass hooks on
looking at the garment, and three thread loops on the right.”86
“External seams and edging on many of the most sumptuous evening gowns
of intricate yet monumental silk patterning are found to be nothing more
fabric selvage.”87
“The Basque is cut out with both front edges placed on the selvage. These are
under and held in place by five pearl buttons.”88
French Seams (felled) – Used on many garments. French seams are used on fine
batiste or lightweight silk garments especially when no lining is used.
“In 1860 Godey’s Lady’s Book published five articles entitled “How to Dress a
Doll”…directions said that seams were to be felled and backstitch was
recommended.”89
The Collector’s Book of Dolls’ Clothes, p 146
How to Collect French Fashion Dolls, p 30
78 Victorian Fashions and Costumes from Harper’s Bazar, p 34, 108, 118, 136, 180, 191, 203, 235, 245
79 The Paris Collection, p 26, 31-32, 67, 72, 96, 101, 104
80 Costume in Detail 1730-1930, p 228
81 Victorian Dress in Photographs, p 52
82 The Collector’s Book of Dolls Clothes, p 89
83 Victorian Dress in Photographs, p 173
84 Encyclopedia Americana #24
85 With Grace and Favour, p 41
86 The Paris Collection, p 41, 127
87 The Opulent Era, p 86
88 The Paris Collection, p 108, 167, III 71
89The Collector’s Book of Doll Clothes, p 95
76
77
c.
Zig-Zag – Zig-zag is not acceptable for antique reproduction costumes with one
exception. This
exception is referred to as “machine French Sewing” and is used to join laces
to laces, or laces
to fabric. When done properly with a small close stitch, it is very
much like French hand
sewing. Zig-zag is not acceptable for finishing raw edges of
a seam.
d.
Pinking – Pinking is NOT an acceptable finish for seams. Pinking was used
decoratively as a
finished edge on many ruffles or pleats used as trim on doll
(also children and adult) garments
and accessories.90 91
e.
Linings – The finest French and German costumes made of silk or wool were lined
with
lightweight cotton fabric or with lightweight silk to cover the seams. The
outside garment and
the lining were sewn separately, the edges were turned under and
the lining hand sewn to the
inside of the garment. Many cotton dresses were
either completely lined or had line bodices.
“A ‘simple’ serge dress must have its silk linings and silk petticoat to wear
with it, and
the latter with its pinked ruffles on the inside, so there is much truth as well
as humor in the
assertion that it is only necessary to turn a simple woolen gown
wrong side out in order to
have a pretty silk one”.92 Some jackets had linings
made separately and hand sewn to the
inside.”93
“Thin gold China silk lines the tunique, the construction of which differs
slightly from
that of the velvet. The lining is sewn separately by machine and
stitched to the tunique by
hand with the seams and raw edges on the inside of
the garment. The front edges and all
edges of the panels are folded under…The
edges of the lining are also folded under, then
stitched to the velvet by hand
along all edges…The edges of the lining area also folded under,
then stitched to
the velvet by hand along all edges…This method of lining creates a finished
look to
the inside, with no seams or raw edges visible.”94
“The bodice itself is an unusual type…in which the dress fabric is arranged in
pleats
left loose at the neckline…The looseness of the fabric is deceptive, since in
fact the dress is
made over a complete fitted lining to which the pleats are tacked to
keep them in place.”95
f.
Flat Sewn Linings (Inner Linings Sewn in the Seams) – The linings of many jackets
and skirts
were sewn in the seams to give fragile fabrics more strength.
Cottons or glazed cottons were
often used for these linings but silks were also
used. Skirts were sometimes lined with stiffed
muslin.96
“Basque and coat sleeves are lined with a tan glazed cotton…the two fabrics
are
worked as one. Seams are sewn on the machine, and an overcast stitch
neatens the edges.”97
“The polonaise front and back sections and the sleeves are lined with a thin
glazed
cotton. The two layers are worked as one piece of fabric…with an overcast
stitch to neaten the
edges.”98
“Although glazed cotton is usually used to line dresses, fine white silk taffeta
lines
this Basque: the two fabrics are worked as one. Seams are sewn by machine
and an overcast
stitch neatens the edges.”99
The Jumeau Book, p 399, shows the lining on a skirt and Basque. On page
400,
illustration 400G shows the inside construction of a dress.
g.
Overcast – Hand overcast seams are permissible as this finishing technique was used
on many
garments when unlined or when linings were sewn in the dress
seam.
The Paris Collection, p 68
In Their Fashion, p 19
92 With Grace and Favour, p 69
93 Victorian Fashions and Costumes from Harper’s Bazaar, p 203
94 The Paris Collection, p 37
95 With Grace and Favour, p 37
96 Costume in Detail 1730-1930, p 223
97 The Paris Collection, p 49
98 The Paris Collection, p 57
99 The Paris Collection, p 107
90
91
h.
unwrinkled
boned fashion lady doll
supports…”100
with nine bones”101
Boning – In women’s bodices, boning was used in the seams to present a smooth
line. Boning was not always used when costuming dolls, but a few
bodices were found.
“Yellow silk taffeta gown has low bodice, fitted waist with sewn-in bone
“Rose satin bodice is elaborately constructed, fully muslin lined and fitted
H.
Underwear
“Research has shown that the majority of the chemises, petticoats, drawers and combinations were
white cotton
fabric – nainsock, cambric, batiste or muslin. Drawers could be either straight, or full and
gathered to a band.
Trimming included tucks, insertion, ribbon insertion, embroidery and lace. Close with
ties or button.”102
Underwear for women and children was very similar and changed very little from the
1860s through the
1890s.103 Notice that a ‘majority’ of underclothes were not white. Examples of colored
underwear and silk
underwear were found. Sometimes a flannel, quilted or lightweight wool petticoat,
was included.
A Tete Jumeau with a lady-shaped kid body wears professionally handmade clothes of the 1890s.
Included is “a
combination – bodice and petticoat as well as drawers…made of the same green cotton as the
dress lining. The
underwear is lavishly trimmed with lace, pink ribbons, and bows.”104
Underwear of a wax head fashion doll is described ‘petticoat of blue-brown taffeta.’105 “Among the
alarming
phenomena of that exciting epoch was the novelty of colored undergarments for ladies,
shocking the principles of prudery…Chemical dyes were introduced in 1860, the first being solferino and
magneta…the sewingmachine had arrived which made possible an abundance of ready-made underclothes
in exuberant hues.106 Day
petticoats (except with light summer dresses) were usually colored, scarlet
being fashionable.
Linsey petticoats, scarlet, violet and all fashionable colors…In winter, colored
flannel knickerbockers were frequently
worn, of a brilliant scarlet 107. Increasing in favour…the silken
undergarments…trimmed with white or black
lace…very short, very full, each set of the exact shade of
color…made in delicate pink, blue, white, maize, red
and in black especially. The stays are of satin of
the same shade”108
Set of underwear for a lady included many or all of the following. A chemise and drawers, next come a
corset, a
corset cover, a bustle or crinoline and one of more petticoats. Or a lady could wear a
combination chemise and drawers under her corset, eliminating a two-pieces. A combination could also be a
chemise-petticoat garment
with separate drawers.
1.
Drawers and Knickerbockers – Patterns were found for drawers and knickerbockers
gathered to a
waistband. Drawers have straight legs and the legs of knickerbockers are
gathered to a band at the
knee.109
2.
Chemise – A chemise was a short knee-length cotton undershirt with trim usually matching
the
drawers. Many undressed dolls were sold in chemises.
3.
Combinations – A combination was a one-piece garment combining the drawers and chemise
or it
could be a combination of chemise and petticoat. These were worn to eliminate some
of the bulk at the
waistline.110
4.
Corsets – Corsets for ladies opened in the front and laced in the back. Examples of doll
corsets are
found laces up either back or front.111 They were made in many colors and
prints.
In Their Fashion, p 72
The Way They Wore, p 34
102 Doll Costuming, p 132-134, The Way They Wore, and In Their Fashion
103 Wedding Fashions, p 16, 17, 44
104 The Collector’s Book of Doll Clothes, p 371
105 The Collector’s Book of Doll Clothes, p 381
106 The History of Underclothes, p 153
107 The History of Underclothes, p 168
108 Victorian Dress in Photographs, p 178
109 American Dress Pattern Catalogs, p 13, 28, 51
110 American Dress Pattern Catalogs, p 51, 57, 67, 70
111 The Way They Wore, p 18, 19
100
101
5.
Crinoline– Crinolines were used to support very full skirts without the use of multiple
petticoats.112 113
6.
Petticoats – Petticoats were usually cotton, silk, or flannel. Shape and style changed to
support the change in styles of the costumes.114 115
I.
Outer Clothing
Costumes for the poupees ranged from homemade to very elaborate costumes. “The differences
between the
professionally made dolls’ clothes and homemade ones were probably greater during this
period than at any
other time in history. Hundreds of professional women and some men in Paris were
engaged entirely in making
items of apparel and the various accessories for dolls. Luxury lady dolls wore
elaborate gowns with great
quantities of fancy trimming that must have been very time-consuming to
make, but resulted in some of
the most artistic and expensively dressed dolls ever produced.
“These dolls are often three-dimensional replicas of the contemporary fashion plates (1865-1878).
Many of their
clothes have been preserved, not only because they are aesthetically pleasing, but also
because their original
cost provided an incentive to preserve them. Although seamstresses earned less than
fifty cents a day for
making dolls’ clothes, many of the dolls’ trousseaus were so elaborate and
complete that they added as much as
a hundred dollars to the cost of the doll itself.”116
1.
How Styles Evolved
1860-1865 – By the 1860 the crinoline was at its largest, very large silks were gathered around
short
rounded waistlines resulting in a dome shaped skirt. Sleeves were full and flared.
Flounces and ruffles
trimmed the bottom of the skirts.
1866-1870 – Crinolines were becoming smaller. More skirts were cut in gores taking much of
the
fullness from the rounded waistlines leaving the fullness at the bottom of the skirt
which now
resembled a funnel. Skirts included an underskirt and overskirt.
Toward the end of this period the
overskirt was pulled up at the sides and the fullness was
pulled toward the back with ties on the inside
of the garments. The entire garments
were masses of drapery and trimming.
1870-1875 – The fullness in the skirts were pulled toward the back with ties on the inside of
the skirts.
Overskirts were highly trimmed. Pulled high and draped also. Jackets with peplums
were worn.
Sleeves fit the upper arms and flared over the wrists. Toward the end of this
period, skirts began to
slim down.
1876-1882 – By 1878, the fashionable line had become elongated and very slender. The bustle
became
small and virtually disappeared. Skirt fullness pulled to the back was low with long
heavily decorated
train for dresses worn inside. Some trains could be removed for
walking outside. Basques (jackets)
were longer and heavily boned to fit well over the
hips. Princess line dresses were popular. By the end
of this period, skirts became so
flat in front with all bulk pulled to the back by tapes tied behind the
knees, so that a woman’s
ability to walk was inhibited.
1883-1890 – The long trains disappeared. The knees were freed from the tapes for easier
walking, but
the bustle was back larger than ever. The bodices of jackets and dresses were
often pointed in the
front. Sleeves were slim.
1891 – 1898 – Some bustles lingered into the 1890s. But by 1893, the hourglass figure was
popular.
Huge leg of mutton sleeves were popular until 1897, skirts were gored with
no gathers or fullness to
pull back. Hats were larger and highly decorated.
2.
Fabrics
Cotton, silk velvet, wool and laces are fabrics of choice for doll clothes. Polyester and nylon
fabrics
should not be used for antique reproduction dolls.
3.
Trims
a.
Lace – should be made of natural fabric such as cotton, silk or wool. Laces can be
either
handmade or machine made. “With the technology to produce net
The Way They Wore, p 16-17
In Their Fashion, p 15
114 In Their Fashion, p 14, 16, 55, 98, 99
115 American Dress Pattern Catalogs, p 16, 50, 69
116 The Collector’s Book of Doll Clothes, p 145
112
113
mechanically well
established in the late 18th century, it was only a
matter of time before machine-made laces
were on the market in the 1840s.”117
b.
Braid – colored and metallic braids were used as decorations.
c.
Ribbons – should be of silk or rayon.
d.
Hand Embroidery – Beautiful hand embroidery is always appropriate and highly
valued.
e.
Machine Embroidery –Several references to machine embroidery being used as early
as 1850
were found.
“Swiss manufactured eyelets first began coming out of Switzerland about
1850…
machine sewing of tucks began to appear around the 1870s.”118
“Apparently, a Disuzear lingerie of hand and machine embroidery caught the
eye of
judges at the Exposition Universelle of 1878 and was awarded a silver medal.
The confluence
of paper pattern production, the perfected and widely distributed
sewing machine were
enhanced by textiles and trims in the 19th century”.119
The English Woman’s Domestic Magazine dated 1875 says “Embroidery and
beadwork were also executed by machine from the mid 1870’s and this
became a popular
ready-made trimming, usually in a color which matched or
harmonized with the dress.
Patterns are in raised silk work and have quite the
appearances of being done by hand though
this, of course, is not the case.120
“Exquisite machine embroidery was worked on treadle machines in the
1800s. The
hoop was pulled from side to side to make precise zig-zag or satin
stitches.”121
f.
Beading – Is appropriate for many early dolls. Fashion ladies especially are beautiful
in
beading.
4.
Fastenings
a.
Hooks and Eyes – Generally used to close dresses and jackets. Looped thread eyes
usually
look nicer than metal eyes.
b.
Buttons – Buttons may be used to close petticoats, drawers, dresses and jackets.
Buttons were
made of almost any material except plastic. Buttons of pearl, glass,
metal, bone, wood,
paperweight and cloth can be found. Many buttons were
used as decorations instead of to
close garments.122 Some buttons on antique
123
124
garments tend to be large.
c.
Ties – Fabric ties were used many times to close petticoats, drawers and dresses.
Some
antique dresses were laced up the back.
d.
Snaps – Snaps were invented in the late 1890s and were not commonly used until
after the
1900.
J.
Head Covering
Fashion ladies wore hats, when outside, and some kind of decorating in their hair when inside wearing
day
dresses or ball gowns. Hats were small from 1865 to 1890, and became larger after 1890s.125
1.
Hats/Bonnets – Hats and bonnets were made of straw or fabric and were elegantly
trimmed.126 Trim
included flowers, leaves, ribbons, lace, embroidery, feathers and
beads. Flowers should not have any
plastic leaves, stems or trim. Plastic or nylon straw
should be avoided.
2.
Hair Ribbons/Flowers/Feathers/Beads – were worn with ball gowns.
K.
Accessories
1.
Jewelry (1850-1900s) – All fashion dolls wore jewelry. Those purchased undressed or in a
chemise
wore earrings and a beaded necklace to cover the joint between neck and shoulder
The Opulent Era, p 84
Antique Clothing: French Sewing by Machine, p 15
119 With Grace and Favour, Victorian and Edwardian Fashion in America, p 3
120 Victorian Dress in Photographs, p 173
121 Singer Instructions for Art Embroidery and Lace Work, Foreward
122 Fashion Dolls, p 49, 56
123 Fashion Dolls, p 47, 76, 78, 99
124 How to Collect French Fashion Dolls, p 15
125Victorian Fashions and Costumes from Harpers’ Bazaar, p 5, 25, 36, 55, 86, 97, 186, 208, 225, 240
126 The Paris Collection, p 25, 32, 67, 72, 92, 96, 100, 104
117
118
plate. Necklace
cameos were popular. From 1850 and onward, machines allowed for mass
produced jewelry – brooches,
bracelets and earrings. Earrings were long and dangling in the 1870
and by 1890 became smaller (one
or two stones). By 1900 some were on wire posts.
2.
Other Jewelry – Watches, sometimes with a chain to be worn as a pocket watch, sometimes
with a
pin for a dress. Also, beaded rosaries were popular.127 128
3.
Purses (Reticules) – Many purses were made specifically for dolls.129 130 “As early as the
middle ages,
purses were carried by men as well as women. In the 1830s, Josephine was said to
carry a reticule at
all times. By 1850, velvet reticules were enriched with hand
painting or embroidered with metallic
threads, gilt or steel beads. In addition to reticules
made in the drawstring style, framed ones also
became popular. After 1850 many
commercially made reticules were available. In Germany, beautiful
beaded reticules were
made of Bohemian glass while the Italian prided themselves with their fine
examples of
Venetian glass. They can be made of fabric, leather, metal, metal mesh or beads. They
have many different shapes (round, square, or long) and they can close in many different ways (metal
frame, drawstrings)”.131
4.
embroidery,
Muffs – Many fashion dolls carried muffs made of fur or fabric. Many were decorated (i.e.
braid, beading). Fashion dolls also wore coats or suits trimmed with fur. 132
133 134
5.
Umbrellas/Parasols – Umbrellas were made of silks, laces and materials to match or
coordinate with
costumes. From 1850-1870, the umbrellas were small with very long
handles. As the century
advanced, umbrellas became larger and more like today’s
size and shape. Generally, the handle should
fit under the doll’s hand when her arm is
outstretched.135 136 137
6.
Gloves – Gloves were knitted, crocheted, or sewn of fabric or fine leather, sometimes in color
to match
costume. Some were embroidered or beaded and some were fingerless
mitts.138 139 140
7.
Other Accessories – Dolls carried as accessories almost anything in miniature that adults
used.
Some other accessories included chatelaines, fans, opera glasses, sewing cases, travel
bags and hair
combs.141
V.
JUDGING MODERN DOLL REPRODUCTIONS
The category of modern dolls is a relatively new area. Several artists sculpted dolls in the
such as Maggie Head Kane, Joyce Wolfe and Boots Tyner. With Boots’ new famous and still
Sugar Britches, the world of modern reproduction was reborn.
Standards for competition are simple as compared to French/German reproductions.
The painting, wig and body style must be identical to the original doll.
Costuming is identical to the original also. Man-made materials as well as natural materials
may be used according to what was used in the original costume. If unable to locate exact material, the dress
care
should be taken to use similar colors, similar prints, and always in proportion to the doll.
Seams should be finished. Sewing machines may be used, as well as sergers.
Accessories to depict a theme should be the same as the original.
early 1970s
very popular,
VI.
BIBLIOGRAPHY
The Way They Wore, p 38, 83, 89
The Paris Collection, p 25, 32, 67, 92, 96, 104
129 In Their Fashion, p 37-38, 57, 131
130 The Paris Collection, p 25, 32, 67, 92, 96, 204
131 Handbags
132 In Their Fashion, p 32, 34, 116-117
133 How to Collect French Fashion Dolls, p 142
134 The Way They Wore, p 37, 85
135 In Their Fashion, p 60-63
136 Fashion Dolls, p 19, 25, 42-43, 58, 90, 94, 99, 105
137 The Paris Collection, p 25, 31, 67, 72, 92, 96, 101
138 In Their Fashion, p 57, 60
139 The Way They Wore, p 38, 40
140 The Paris Collection, p 25, 32, 67, 72, 96
141 Fashion Dolls, p 112-115
127
128
Bailly, C., Bailly, S., & Desmarest, E. (1993). Automata. Paris, France: Exhibition at Bagatelle, Trianon and
Terrasse.
Blum, S. (1974). Victorian Fashions and Costumes from Harper's Bazar,1867-1898. New York, New York: Dover
Publications.
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