More Mourning Attire Etiquette 1908

Collar and cuffs sets of white crepe. – Worn with mourning attire, they serve to relieve the gloominess of all black. Dull fabrics for whites are required.

Collars and cuffs are worn with mourning and serve to relieve the gloominess of all black. Organdy generally is worn by widows throughout the entire period, and linen and several other materials are worn by other members of the family. These dainty accessories require care and thought to arrange properly. Organdy does not launder satisfactorily and must be discarded after a short time. 

One way of adjusting is to cut foundations from stiff black crinoline the width of the cuff, smaller on the wrist edge. On this the organdy is basted, after being folded to fit it, a single edge one inch deep being turned under to represent a hem. On one side of the cuff sew small white linen buttons, three or four, according to its width, and opposite these cut buttonholes through both crinoline and organdy. If carefully done this will be neat.

The finishing of seams, methods or hemming, setting in of lace, etc… are of unfailing interest to women who like to sew well. In any white work it is exceedingly bad to leave a raw edge. In years gone by many women in making the long seams on underwear would stitch it on the wrong side on the machine, then have a quarter inch edge left which was overcast together in the finest possible manner. The reason for this was that it was supposed to lie so flat, iron more easily, and look better when done. But the French or felled seams, if not clumsily done, make a fine finish and are generally preferred.

When one can take the time and can sew evenly these seams are sometimes done by hand. This almost seems a waste of time, when nearly all of us have so many calls on our time. But if the work is to be hand sewed, the first sewing of either of the seams named is done by taking several running stitches and then a back stitch. In the finish of the felled seam it Is hemmed, and in the French seam it generally is run. To look neat the stitches must be tiny ones and perfectly even. 

A French seam is made by running and back stitching a seam on the right side or stitching it on the machine, trimming it off close, creasing it well. and, turning to the wrong side, a second row of stitch- ing is put in, which covers the first row. The finished seam should not be over an eighth of an inch wide. A felled seam is stitched first on the wrong side, then one edge is trimmed close to the stitching, and the other edge is turned over and hemmed down. It is a nice finish to do this hemming by hand. The finished width should be the same as the other. _San Francisco Call, 1908

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Mourning Attire Etiquette in 1908

Mourning clothes of today are much less depressing and easier to wear than formerly. This has direct reference to hats and bonnets. There may be said to be almost a touch of coquetry given to the hats, many are so bewitchingly shaped and trimmed and the short veils are so becomingly draped. One seldom sees the long crêpe vell worn over the face now. Instead a transparent veil has a border of crêpe or dull silk, and the long veil is draped at the back of the hat or toque.

  

Styles in Mourning Garments Show a Tendency Toward a Softening of the Somber Tone

WHILE there are some people who do not approve of dressing in black when some near and dearly beloved relative dies, probably the majority feel differently and feel that they must go into mourning; that it not only shows respect to the one who has died, but that in a measure it is a protection to themselves. Like many another question it is not an easy task to choose a mourning outfit when the purse is light, while if money does not have to be considered the matter is made an easy one.

The first thing that must be considered in choosing materials is quality. Nothing is a much poorer investment in the clothes line than cheap black goods, while black cloths of good quality wear long and satisfactorily. While the first cost of going Into mourning may be considerable, it is the reverse afterward, as the same gown may be worn on almost every occasion, the same suit also doing good duty, and nothing like the variety is needed in hats, gloves, parasols, and the various accessories.

Mourning clothes of today are much less depressing and easier to wear than formerly. This has direct reference to hats and bonnets. There may be said to be almost a touch of coquetry given to the hats, many are so bewitchingly shaped and trimmed and the short veils are so becomingly draped. One seldom sees the long crêpe vell worn over the face now. Instead a transparent veil has a border of crêpe or dull silk, and the long veil is draped at the back of the hat or toque.

The long veils may be of crêpe silk which comes especially for the purpose, or brussels net. There is nothing much richer or handsomer than crêpe, used either for a veil or for trimming, and it is better finish, softer, wears better, and is less expensive than formerly.

Deep mourning is supposed to be worn only six months or a year, and then is lightened decidedly. There are doubtless a great many who pay no attention to these dictates of fashion, but yield instead to their inclination to wear the same depth of mourning for a much longer period. People in deep mourning should wear plain clothes; elaborate trimmings, glossy cloths, and silks are all out of place. – San Francisco Call, 1908

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White Mourning Wear Etiquette

A mere 11 years after the passing of Queen Victoria, the black mourning attire that she had made famous for decades, was being pushed aside and white mourning attire was being promoted. – ‘Only of late years has this spotless garb been taken up for mourning wear; but all white mourning is now considered as correct and as “good form’’ for the deepest mourning as all black —provided the white is of that dull, dead, unglistening sort known as “mourning white.”’

TO the woman to whom all black is hopelessly unbecoming white mourning is a veritable boon. Only of late years has this spotless garb been taken up for mourning wear; but all white mourning is now considered as correct and as “good form’’ for the deepest mourning as all black —provided the white is of that dull, dead, unglistening sort known as “mourning white.” This dull white may be obtained in certain serges, silks, and worsted weaves, in silk and wool fabrics, in mohair and wool fabrics and in dull-finished linens. It may not be obtained in satin, in velvet or in broadcloth, these materials being barred to the woman who desires to dress in conformity with the rules of sartorial etiquette. 

All white mourning must, however, be absolutely “all white.” One bit of black jewelry; one morsel of black ribbon—even a black boot will render it immediately half-mourning, or second mourning, rather than first or deep mourning as it is intended to be. This picturesque and agreeable white mourning may be worn anywhere in summer time, and indoors in winter time. It goes without saying that the conventional woman would not make a bizarre spectacle of herself by walking down a city street in mid-winter clad from head to foot in snowy white; nor would she enter a restaurant so clad when all the women about her were garmented in dark tailored costumes and furs. In the evening, the white costume would not be as conspicuous—but then the woman in deep mourning is not apt to frequent the restaurants during the gay evening hours. 

In the house, however, white mourning is charming and is not only more becoming and dainty than the somber and depressing black, worn for the sake of fitness in the street; but it has a better effect on the nerves and spirits of its wearer and on those of children in the home. The white mourning costume illustrated might be worn with propriety by a very young woman for luncheon or afternoon tea, the white frock being covered with a long white coat for the journey in limousine or taxicab. The frock is of dull white peau de sois with trimmings of white crepe and hand scalloping. The hat of dull white silk is trimmed with white lilacs and white leaves and the white mesh veil with three dull white silk bands is draped in the mourning, fashion. Buttoned boots of white buckskin complete the dainty costume. 

Evening gowns of white chiffon, made with many tucks but no other trimming, are ideally graceful and lovely for the wearer of mourning and a string of pearls will add just the right touch of elegance to such a frock. White net and white point d’esprit are also considered correct for morning wear and a young girl in deep mourning may dress in the evening at home in little frocks of tucked or ruffled net, with soft sashes of dull white silk. Such frocks should be modestly cut at the neck and should have long shirred sleeves of the net to the wrist; for upon one thing does convention insist —in the mourning gown– and that is the sleeve to the wrist. An elbow sleeve immediately cheapens a mourning costume and detracts from its dignity and distinction. 

White footing is a correct mourning trimming which makes up in its delicate grace for the lace which is barred. Evening gowns of dull white peau de soie trimmed with frills and shirred insertions of white footing are exceedingly dainty, and in summer, dimity and batiste gowns may be as elaborately trimmed with this footing as one desires. Tucks and buttons are two other trimmings allowed to the wearer of mourning and a great deal is made of these trimmings by the clever dressmaker. Huge buttons, covered with the dress material are used with big loops of dull silk, or rows of small crepe covered buttons are effectively placed. Chiffon and crepe de chine frocks and blouses are elaborately tucked, pin-tucks being generously used on the waist and wide horizontal tucks on the skirt; and corded seams and armholes afford another effective trimming to relieve the monotony of the dead white or black. 

White serge in a particular dead white weave which comes from mourning use is liked for fall and winter frocks, made along the simple trotteur lines now in favor. Such a frock may have big buttons and loops of dull silk, or buttonholes bound with the silk. The armholes will be corded and if desired, a white leather belt with a pearl buckle may finish the waistline. A huge collar of white crepe with cuffs to match will add much smartness —if crepe is worn. And this white crepe is so beautiful and makes such a rich and effective trimming that it does seem a pity not to make use of it because of a sentiment against the use of crepe in mourning. As a matter of fact, crepe is no more suggestive of gloom than any other mourning fabric and just now it is generously used in all fashionable mourning. A silky weave of mohair with worsted is much liked by the French couturiers for mourning gowns for indoors. This material is trimmed with dull silk or with crepe, and it lends itself most gracefully to the long, clinging lines now favored. 

A white gown recently made in New York for a young widow, has a straight, narrow skirt trimmed with two deep ungathered flounces of white crepe, the upper flounce being set on at the hip and the lower one at the knee. The surpliced bodice crosses over a deep vest of the white crepe, crepe buttons and loops outlining the surplice front, and at the back falls a very deep, rounded collar of the white crepe which reaches almost to the waistline. The long, close-fitting sleeves have a line of crepe buttons up the side, almost to the elbow while the gown drags slightly on the floor all around and with it are worn white kid boots with French heels and small white pearl buttons. White Colonial pumps of kid or might be worn with white silk stockings if desired, but the stockings should be plain, and not too thin, with embroidered clocks at the side if desired. 

Dull white pongee makes a charming mourning gown for informal home wear and some women like breakfast frocks of dull white linen, made very simply with skirts short enough to show the white buckskin pump or buttoned boot. Crepe is not used on these simple gowns, but a big collar of fine batiste or handkerchief lawn would be in good taste.– Sacramento Daily Union, 1912

Etiquette Enthusiast, Maura J. Graber is the Site Editor for the Etiquipedia© Etiquette Encyclopedia