If a piece was actually torn, tulle was placed beneath the damaged area, the fabric was smoothed into place, and a few hand stitches done to hold it together. Others needed the embellishments reattached. The hardest part of this was to figure out just how the loose parts were arranged in the first place.

It turned out this project was more interesting than I had ever anticipated for I was able to get a good look both outside and inside each garment and observe construction methods first-hand. First, I had expected to encounter hand sewing in the basic construction of at least some these garments, but there was none.

There was, however, considerable hand sewing in the details and finishing of the garments, especially the earlier ones. Most seam allowances were overcast by hand. Embellishments were also attached by hand. Several collars of various types were attached by a rather loose hand stitch to an otherwise finished neckline. Were they detachable for cleaning purposes?

While several garments had buttons used for decorative purposes, only one had actual working button/buttonhole closures. Another had three sets of two huge beads, 1-plus inch in diameter, strung on a short, but fairly large cord (like drapery tieback cords) in a toggle arrangement, and there were three sets of very large bound button holes to string the toggles through to close the opening in this dress front. It seems, however, the preferred method of closure in these garments was by hooks and eyes — lots and lots of hooks and eyes! Consider putting hooks and eyes from neck to hem in an ankle length dress so precisely the entire front placket lays smooth and flat!

Filet lace with yarn, ribbon and metallic threads, are pictured. (Photo courtesy of the MRHC)

I repaired several bodices which were probably very late 1800s and early 1900s. They were quite fitted and usually had eight or nine stays (though one had 13!) spaced around the midriff. The odd number was required because there was one on each side of the closure seam, either mid-front or mid back. The bodices were underlined and the stays were ensconced in the seam allowances by hand sewing. Even a stand-up collar could have up to seven stays. Think Gibson-girl style!

The earlier clothes were quite embellished. The fabric could be brocade or burn-out velvet with minimal added detail, or else a plainer fabric was used and embellished with ruffles, lots of ornate lace, piping, covered buttons, etc., or any combination thereof.

Dresses from later into the 1900’s used more pleats on both bodice and skirt rather than all the laces and ruffles.

There was a party dress of a sheer fabric with lots of sequins, but even so, it was much less ostentatious than the earlier embellished bodices. One velvet frock, simply constructed, very effectively used a great many rhinestones for embellishment.

Another interesting observation was how some garments gave a glimpse into the owner’s life. For example, a cotton dress of a simple style had quite a large hem. When I took a closer look I saw the hem had once been even deeper. I knew because there was a ‘wear-line’ several inches above the current hem. Perhaps it had belonged to an adolescent girl who wore it for several years!

A cape with cutwork is seen. All are from the Marquette Regional History Center’s permanent collection. (Photo courtesy of the MRHC)

These repair projects helped us learn more about the clothing items in the History Center’s collection and will allow them to be safely displayed in future exhibits. To learn more about historic clothing, textiles and other fiber arts, attend the Marquette Regional History Center’s 2018 Lake Superior Fiber Festival from 10 a.m. to 4 p.m. Saturday.

Included with admission are colorful displays from local quilting, knitting and weaving guilds; a hands-on kid’s corner; pop up fashion show; and 8 educational presentations on crochet, silk embroidery, the 100 Day Project, quilting basics, weaving and vintage and historic textiles. For more information call 906-226-3571 or visit our website marquettehistory.org.