Unfortunately there are very few historical undergarments in museum collections. I suspect that, much like today, underwear was interchangeable and discarded long before one’s more expensive outerwear.

Consequently, in order to exhibit historical garments we need to recreate those supporting structures. We need to determine whether the work needs a bustle or a crinoline? Should the latter be bell-shaped or flat at the front? How many petticoats would have been worn? Each question must be carefully researched so that the new underpinnings correspond to the cut and proportions of the garment and are correct for the period that it falls within.

The first step however, is to determine the most appropriate mannequin for the garment in terms of size and shape.

Once dressed on the right form, we can then assess how a garment fits and falls. We can identify where extra padding might be needed, for example in the bust or the shoulders, and infer the desirable shape for the skirt. Consultation of pattern books and comparative examples also gives further guidance.

The next task then falls to our textile display specialist who physically recreates the necessary underpinnings. Technically, any new undergarments are a twenty-first century version of historical forms. This is because the job they do is often two-fold; providing shape and giving conservation support to fragile items. This means that they must also be made from materials that will not damage the garment and are easy to dress. Sometimes this means creating several layers of underpinnings.

Below you can see the work that went into creating the undergarment for this 1878 princess-line wedding dress in ivory organza.

Re-created first layer, flat front crinoline with bustle and rear flounces.

Re-created second layer, covering outer dress with rear train and fastening at front with Velcro