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Channel: The Gibson Girl's Guide to Glamor: Natural Beauty, Victorian Beauty and Edwardian Fashion
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"No woman of refinement will neglect her personal appearance. She will be clean, kempt and becomingly attired, at all times. Self-respect and consideration for others demand it. Despite restricted means and physical disadvantages, any woman can maintain an attractive exterior and she should strive to do so under all circumstances. She is sadly lacking in a sense of fitness who neglects her appearance at home and dresses only for society. In fact her first and chief endeavor should be to present a pleasing picture to her family. Many a domestic tragedy has had its beginning in a dressing sacque. A woman can not afford after marriage to neglect the accessories that attracted her husband before it. But the consideration for him that will prompt her to make a good figure in her social circle should restrain her from extravagance."

 -- Mrs. Charles Harcourt

Making Victorian and Edwardian Hair Styles

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I feel bad that I don't offer more tips on Victorian and Edwardian hairdos. They are the most popular search queries that lead people to this blog; but, in fact, fashion, cosmetics and beauty recipes are much more common topics for the posts here. 

The trouble is, most of the old time hair styles are so elaborate, that you basically need a maid or hairdresser to help you do them -- and I haven't got those things to help me. And just posting a picture of a hairstyle -- especially an elaborate one -- always seems so useless and unhelpful.


Those hair tutorials and other styling advice that we do have here on GGGtG can be found clicking here.


Victorian Gibson Girl Fashion: Dress-Makers

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Dress-making, Millinery, And Plain Sewing. 

The business of dress-making and millinery seems to be one in which acomparatively few persons make all the money, while the rank and file do most of the work. At least such is the case with regard to this industry in large cities. In small towns and villages it is different, and the village dress-maker is an institution in herself, and frequently a person who has attained to no little importance in the community. The familiar type of the village dress-maker, who carries the gossip of the place from house to house, portioning out her time between the different well-to-do villagers in need of her services, and acting as the arbiter of taste and fashion in the community, has by no means disappeared; and perhaps it is just as well to say that in the smaller villages and towns the person who devotes herself to dress-making will probably find the best field for her activity. The expenses of business in a large city, and the constant risk of bad debts, make the life of most fashionable dress-makers far from a bed of roses.
There is a common impression to the effect that all fashionable dress-makers and milliners accumulate fortunes, but as a matter of fact it is said by those in the business that the fortunes made in dress-making in New York City in the last twenty years may be counted on the fingers of one hand. It is true that some women have succeeded exceedingly well, one fashionable dress-maker having invested a large amount of money in real estate in New York City and Long Branch, and thereby more than tripled her earnings; the fortune of this dress-maker was recently estimated at nearly a million dollars, but probably not more than a quarter of this sum was due to the dress-making business she carried on for nearly twenty-five years.
Very much the same may be said as to the business of millinery shops. It milliners grow rich, or even succeed in acquiring enough money to withdraw from the business.
is notorious that the cost of the raw In most of the shops work begins material which enters into a bonnet or at eight o'clock, or even earlier, and hat is absurdly out of proportion to the lasts until six, with extra hours until price asked for the finished article in eleven or twelve at night in the height fashionable shops; and yet very few of the busy season. The wages vary.
The chief troubles of the trade, according to one of the best milliners of New York, are bad debts and the impossibility of disposing of materials which have become a trifle out of fashion. The business, like that of fashionable tailors, is one largely run upon long credits; some of the best customers of the leading milliners of New York allow their bills to run from two to three years, and, of course, in some instances such bills are never paid. Yet, from the peculiarities of the business, fashionable milliners and dress-makers, as well as tailors, cannot afford to press their customers too hard for money, or to take the debt into the courts, unless the sum is exceedingly large. They are afraid of having, or acquiring, the reputation of harsh dealing, and prefer to lose the money rather than appear in court.
The rank and file of the workers for milliners and dress-makers do not have an over-easy or over-pleasant life, according to the stories told by themselves. [...] Very few dress-makers in New York employ more than sixty hands upon the average, and the rooms are usually well ventilated and well lighted.
[...]
The ambition of most women who enter the workshops of fashionable dress-makers and milliners is naturally to establish a business of their own, and there are nearly four hundred dress-makers in New York City who do work in their own flats and employ from two to ten assistants. Such dressmakers do not make fortunes, but they appear to make a comfortable living; they are not haunted, as a rule, by bad debts, for their customers are among the people who pay as they go, and they are not brought into competition with the army of women, both city and country, who sew for the wholesale houses. In the same way there are many small milliners, chiefly upon the cheaper avenues, who appear to make a very modest but sufficient income, so that if a woman has some business capacity as well as taste, the field of dress-making and millinery is not necessarily one of drudgery or starvation. The apprenticeship is, however, a hard one, and most girls who have homes in the country will do well to make their business where they are, rather than risk the troubles and possible dangers of life in a large city.
The shops naturally attract an army of women from the country to large cities every year, and New York is said to give employment to sixty thousand shop-girls and women. The life is, at best, one of long hours and small pay, very few saleswomen, even in the best New York shops, receiving more than six dollars a week.
A number of influential men and women have worked for years to better the condition of the New York shopgirls, in the way of seats behind the counters, easier hours, improved ventilation and sanitary arrangements. The White List is a publication widely circulated by one such association, which contains the names of shops where employees are humanely treated. The members of the association agree, so far as it is convenient, to deal only with the shops found in this list.
The law compelling shop-keepers to provide at least one seat for every six shop-girls, was due to the efforts of such a society, and now that some laws exist for the protection of shop-girls an attempt is made to see that they are enforced. Violations are frequently discovered. In one large shop where the law has been obeyed to the extent of putting in the one seat required for every six girls, a fine was imposed upon any girl found sitting on it!






Hungary Water - Old Fashioned recipe

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5 tsp 95% alcohol
1/2 tsp rosemary water
1/2 tsp rosemary essential oil


This stuff was used for many things, but I am especially fond of it as a mouthwash (not too tasty, but really freshens the breath!) It's also a good rub for sore muscles, toner, and hair tonic! A past post about Hungary Water was made here.

Also note that the Petit Albert contains a Hungary Water recipe -- but you'll need a home still to make that one.

1904 Fashion - Ball Gowns and Dinner Gowns

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OF late years there has not been so appreciable a difference between dinner gowns and ball gowns as was the case ten years ago, and as will be the out of fashion, although this case this season. Formal dinners son, like last winter, in these days might in truth be called banquets, and of necessity the most elaborate of dress is required, and such style of dress as would be equally appropriate at a ball. But by the term dinner gown is understood such a gown as is suitable for a dinner, not a dance, and different from a ball gown in being made with larger sleeves, and cut perhaps less decollete.
The fashionable dinner gown for the coming winter season is quite different in general appearance from last winter's style. The skirt is wider, there is a decided tendency towards crinoline, the waist is more elaborately trimmed, and the sleeves arc much larger. Plain silk and crepe de Chine, velvet in many different weaves and crepe meteor (a kind of crepe de Chine), are the favorite materials, although satin, flowered silks, lace and fancy nets of all kinds, and decolletage of silver galloon is for everything to be elaborately trimmed. A smart model made in black figured net has vertical lines of heavy white lace around the entire skirt, the net shirred between the bands of lace, the lines rather close together at the waist, and gradually diverging until at the foot of the skirt they are wide apart, while between are lines of narrow gold braid tied in bowknots. The waist is heavily trimmed with points of the lace, and has gold braid on a deep bertha of the net, while one large red rose catches the bertha up at the left shoulder. The sleeves are made in two large puffs above the elbow, while a broad belt of gold ribbon finishes the waist.
Spangled black gowns are again to be worn, but the design for the spangles is always one that is rather flaring and graceful, never in stiff lines, and there are fewer spangles, while the net or lace must be finer than when more thickly covered with the spangles. A touch of color is seen on all black spangled gowns; often the belt is of blue or pink velvet, and a rosette or flower fastens the bertha at the left shoulder.
Belts of plain or fancy ribbon in draped folds and fastened with rhinestone or jewelled buttons are also quite a feature of the dinner gowns. Handsome buckles add greatly to the effect of the waist, no matter of what material the gown is made. In taffeta silk, the bodice may be of flowered ribbon, or of taffeta to match the rest of the gown, and the silk is so arranged that it has the effect of being shirred at either side of the buckle in front, for the fad is to have all belts or bodices fasten in front, or a little to one side if that is more becoming. The only exception is when the waist fastens at the back, and in such fashion that the belt would look badly if made separate. The gold and silver ribbons are most effective in belts, and are finished in a succession of small bows instead of with buttons or buckles.
Embroidered crepe de Chine cannot be called a new fashion, but there is considerable difference in the new styles of the embroidery. The material itself is often hidden under the heavy silk flowers, and bands of drawn-work which look like lace, but are in reality the crepe de Chine with the threads drawn and made like the linen drawn-work. When exorbitant prices are asked for gowns this season, the excuse for once is reasonable that so much hand-work compels it, and none but handwork is possible on these very elaborate gowns.
There are some most attractive gowns made of a new sort of poplin, much softer in texture and lighter in weight than old-fashioned poplin. This in light gray, cream white, or any pale shade of color makes up most satisfactorily in afternoon or dinner gowns. The trimmings in bands of Irish lace insertion, or in silver or steel embroidery are effective, and can be arranged to give the long lines that are more generally becoming than the trimmings on most of the present models.
Quaint and old-fashioned in effect, but considered extremely smart, are the ruchings of box-pleated taffeta ribbon, or pipings of satin in whito or some contrasting color. This last fashion has, however, been too generally used in the cheaper readymade taffeta and cloth gowns during the summer to be considered very smart any longer, and must not be followed without great care. After all, no matter whether there is unlimited money to be spent, or close economy to be consulted, one's dress always requires no end of care and thought in the choice, or the results will be most disappointing.

Proper Breathing, from Mme. Qui-Vive

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Among the first lessons that the beauty student must learn is how to breathe properly. I know, my girls, that that sounds awfully stupid, but there are yards and acres of truth in it nevertheless, and the subject is well worth your while—you can depend upon that. Haven't you ever noticed that most of the women who have gone in for vocal culture have round, pretty waists? Almost invariably the singer is a woman of fine figure, well-poised head, firmly-set shoulders and easy carriage. And the reason is simple. She has learned from the beginning that she must breathe properly, that every breath must come from the abdomen and not from the chest, and that to breathe in that way she must hold up her chin and expand her lungs.
We often mistake carriage for fine figure. It is the woman who poises her head well and who keeps her shoulders back that attracts the eye of other women. There is something brisk and energetic and active about her that makes of her a sight good to look upon; while another woman with perhaps a much better figure will trail about with a down-in-the-mouth air and a slow, doleful gait that will give one the blues and an absence of appetite for weeks to come. You cannot possibly breathe properly and have your shoulders stooped—at least you cannot make such a combination without a mighty big lot of discomfort. If you breathe as you should you will develop the chest and bust, give better lines to the shoulders and—unless you are naturally inclined to be plump and rotund—will make your waist become round and slender and pretty. If you doubt this, try for yourself and see.
I wish that I could impress my readers with the fact that improper breathing brings many ills. Breathing is a highly important function, and bad breathing not only produces symptoms of consumption, but makes the waist unduly large. The reason for this is that holding the chest up will keep all the internal organs in their proper places, and so not allow them to spread the waist in the unsightly way that usually denotes deficient vitality instead of the "Greek health" upon which physicians are wont to dilate. Good breathing strengthens muscles and makes the flesh firm. The reward is a perfect, round, slender figure and a trim waist.
Begin your breathing lessons in the morning just after getting out of bed, when you will have no tight skirts or bands to hinder the full expansion of the lungs. Raise every window and get all of God's blessed air that you can, and, above all things, let not this practice cease when the winds of winter blow as if from Greenland's icy mountains. The breathing exercise is all the better then. Place your hands on your hips and walk slowly across the room, your chest held upward and outward, and every breath coming deeply from the abdomen. After three trips you will find yourself pretty well tired out. Rest for a few moments and try again. The next morning make the exercises longer, and as soon as the muscles that hold your chest up become firm and strong there will be little exhaustion. Vary the exercise by standing still, taking as long a breath as possible and holding it for several seconds. This practice, indulged in for five or ten minutes every day, is most beneficial. But the main motive in all breathing exercises is to get into the habit of standing straight with the shoulders held back and the chest up. "Play" that you are trying to make your chest creep up and touch our chin. One of the greatest injuries that come from wearing tightly laced corsets is the compression of the ribs. The unyielding steel and buckram will not permit a variation in the waist measure as a deep breath is inhaled or expelled. The proper and healthful corset is the one that expands or contracts with each respiration of its wearer, and that is why I am such an enthusiastic devotee of the corset waist with the elastic bands on either side. It matters not one bit how tight the clothing may be, so long as it is given elasticity and is yielding.
This is absolutely necessary to perfect health and the proper development of a woman's figure.
With the breathing capacity increased, enlargement of the lungs and development of the chest are sure to be the results. But, be it understood, please, that this growth is not the work of a day or a week, or a month even. However, if it is continued religiously there will be a difference of five or six, or even seven, inches in your chest measure in the course of a year, to say nothing of the improvement in carriage and figure, and the health and strength that correct breathing will give.
There are a number of things to remember. The first is that one must secure breath control, the next that the best authorities condemn thoracic or upper chest breathing. Keep the chest up and out, and let the expansion be at the waist line. Inhale slowly and smoothly as much air as you can, swelling out the lower chest at the sides just below the arm pits as the air is drawn in. Hold this air five seconds. Then exhale it slowly and gradually, crushing in the ribs gently with the hands as the air goes out. During the exhalation be sure to keep the upper chest still. Do not let it sink, as it will be apt to if not restrained by an effort of the will. Exhale again and hold the breath for ten seconds, then for fifteen seconds, and finally for twenty seconds. This exercise will do for the first day. Increase the power of holding the breath by practicing regularly each day.
Be careful not to make any motion suddenly. In calisthenics of any kind the more slowly and carefully the exercise is performed the greater will be the benefit. But best of all, keep in mind that these breathing exercises are not only making you a pretty woman of pretty figure, but giving you that greatest of all beauty elixirs—health.





Retro Posting -- Foot soaks

Victorian Hair Tutorial


Repairing a Victorian Costume

High Button Boots

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A museum specimen, behind glass.


Shoes that fasten with buttons have been around at least since the middle ages, but in the 1870s they really took off as a fashion. Button-up boots were extremely common in the Victorian and early Edwardian era, to the extent they were eventually considered something of a 'common' style and not really advertised to the highly fashionable, who wanted to wear shoes that were new and different. Button boots are extremely difficult to find nowadays, as most costume shoes only have non-functioning decorative buttons and a modern zipper is used instead for getting the shoes on and off. So far the only exception I have found is American Duchess Tavistock boots. (I have bought some other shoes from American Duchess and might be saving up for a pair of the Tavistocks in the future...) 

S-Bend Painting

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Hey folks! Just a reminder that the S-Bend Corset/La Sylphe painting is still for sale. Don't think she's available indefinitely, though -- if she doesn't sell by April 10th, the canvas is going to be painted over and reused for something else, because art supplies aren't free and I can't store paintings for endless amount of time.

The S-Bend is based on this photograph, at left, of La Sylphe, which was heavily doctored in-period (before Photoshop and digital images, there was hand-retouching of negatives and prints.)

The painting of La Sylphe was created in order to test a style of painting whereby two colors of gesso are used under the paint. The wall area is coated with a tan gesso, whereas the figure's space is coated in white gesso to give her a more luminous appearance. Because oil paint is partially transparent, this shows through into the upper coatings of paint, which have been applied thinly in a medium of drying oil. 7 days of work went into its creation.

If you are interested in saving this little treasure, visit my eCrater art store where she is available for purchase.

Spanish Wool Rouge

Get Yourself a Victorian Portrait

Tooth Care in circa 1900

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Poor teeth are not only the cause of intense suffering, but also the obscure source of a great many ills. Sound and healthy teeth are needed to masticate the food properly. The Arabs, who possess fine teeth, have a proverb that " He who does not masticate well is an enemy to his own life." When the teeth are sensitive, either from actual caries, or from the softening of the enamel under the action of acids, there is a natural inclination to spare the tooth, so the first part of digestion is shirked and trouble is sure to follow in the stomach. When decay has actually started there is an additional menace to the health, for the poison from decaying bone is extremely noxious, and contaminates the secretions and blood. It may cause blood poisoning, always does impair the general health through disturbed digestion, and is often the originating cause of very grave troubles.
Therefore, the tiniest spot of decay demands the immediate care of the skilled dentist. If there is no delay, and the work is well done, the tooth is perhaps safe for a lifetime. Don't forget that though you cannot change the external structure of the teeth, as long as the health of their nerves is maintained you can supply them with the limesalts which strengthen them, and these should not only be provided in the food, but brought in immediate contact with the teeth by means of lotions and the chalk treatment. When the teeth are so sensitive from eating acid fruits that the lightest touch of a finger-nail to one, at the neck, causes exquisite pain, the chalk treatment will correct the trouble and harden the enamel in twenty-four hours.
Much harm is done the teeth by the use of highly extolled lotions and powders which, too often, contain injurious acids and gritty substances that ruin the enamel. It is unsafe to use any compound whose constituent elements are unknown to you. The teeth can be kept perfectly clean by the use of white Castile soap and precipitated chalk once daily, using an antiseptic lotion or warm lime-water for the night-toilet.
These two substances act harmoniously together, counteract acid, and if used with a fine tooth-brush of medium stiffness can do no harm. They can, of course, be wisely supplemented by tonic, aromatic, and antiseptic lotions to strengthen the gums and sweeten the breath.
The brush should be used up and down on the teeth, not around them. The motion should be from the gums towards the crown, so the bristles of the brush will pass between the teeth as much as possible. The insides should be cleaned with the same care as the outsides, and the brush should be rotated on the contact surfaces of the molar teeth, in whose minute crevices decay is apt to start, from the persistency with which food is inclined to lodge in them.
Never pick at the teeth with any metal implement, as there is danger of injuring the enamel. 

-- Fletcher 



Strawberry Cold Cream III

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So I still hadn't totally given up on the Strawberry Cream Recipe. Thinking I'd solved the problem, I decided to prepare a batch, and this time, I was determined, IT WOULD BE CREAM.

However, I discovered this is still a tricky recipe to make. I used jojoba oil for the spermaceti, and found... wait... yes, now it wouldn't emulsify. The mixture came out all chunky and with red strawberry extract oozing from it. Maybe spermaceti was a bit more emulsive than jojoba oil, I don't know; but this recipe seemed to have too much water/alcohol to absorb smoothly into the the oil. So I still ended up having to add cetyl alcohol to bring it together -- though happily, this time it still maintained a nice thin, creamy consistency, sort of like a body butter. I call it a success.

So, this recipe went: 1.5 ounces jojoba oil, 1 ounce beeswax, 1 tsp cetyl alcohol, 1 ounce strawberry extract, 0.5 ounce glycerine, 0.5 ounce almond oil, 0.5 ounce rosewater, 8 drops neroli oil, 8 drops lemongrass oil, 8 drops lemon oil. Also optional additions: 4 drops of phenonip and 2 drops red color. (The jojoba oil makes it kind of a tawny hue instead of a nice pale pink, making the extra color a good option. Victorians would have used alkanet extract or a pinch of carmine to make a cream like this pink colored; I cheated and used regular food color since I figure it's about the same as the alkanet extract would be, without leaving me to hand make something else for all this.)

I do wonder if the repeated melting and whipping actually helps, too -- might boil off the excess water and alcohol.

For as much of an ass-pain as this cream is to make (especially since I basically have to make my own strawberry extract for it every time, which takes several extra days) this is actually a fantastic moisturizer, and with a scent that rivals anything from LUSH -- my mother said it smelled like strawberry lemonade. The texture is like a stickier version of Cetaphil cream (perhaps caused by the sugar in the strawberries.) I think I will continue making it. Perhaps I'll even change up the scent... maybe see what happens if I use Vanilla extract and orange essential oil for an orange cream fragrance?


1910s Hair Style Tutorial (Downton Abbey)

Stockings, ca 1913

No, corsets didn't destroy health

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io9 has a report on the latest research into corsetry during the Victorian era.  It notes a few interesting things:

  • Measurements of extant historical garments find none to have waists smaller than 20 inches. 
  • S-bends, contrary to their intended purpose, were probably more unhealthy than the old hourglass style.
  • Many health issues associated with corset wearing were probably issues women were more susceptible to in general (for example, rib deformities -- which can be caused by no-longer-common diseases like tuberculosis and rickets) 
  • Corsets helped women achieve a more maidenly appearance, contrary to the Victorian ideal of women as mothers.

Edwardian Rose Face and Body Powder Cosmetic Recipe at Home

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This is adapted from a recipe in John Veitch Shoemaker's book of beauty recipes. It's been adapted to use reasonable measurements without a recipe yield of 14 lbs. Nevertheless, it still makes a lot...


Rose Face Powder

9 pounds rice flour, finely sifted
65 drops each rose essential oil and sandalwood essential oil
1 gram carmine (optional)

Thoroughly combine.

Alternately, about 2 1/4 ounces of flour and 1 drop of each oil will also work if you don't mind lack of coloring and want something a bit more suitable for personal use.

Gibson Girl Shop Updates

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Done some updates to the Gibson Girl's Beauty Shop -- check it out! I particularly made some adjustments to the lipstick and blush sections to keep them up to date. I've also added a new section of old fashioned hair brushes to the list.

I also fixed the name on the Cold Cream department, which had been showing up incorrectly. Of course, if you want a real historical style cold cream you should check out the one being sold on this blog, on the left hand side of the page ($15, plus $3 shipping and handling and comes in a lovely historical style glass jar.)
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