This blue and white checked linen gown has several construction details similar to the chemise, a woman’s undergarment, of the period. The sleeves were gathered near the shoulder and were set in with a gusset at the armpit. The skirt of the gown was made wider at the bottom by the usual method of adding four long triangular pieces—one to each side of both the front and back. The sleeves, however, are not as full as those one would expect to find on a chemise of the period. Also a chemise would probably have had a much wider neckline gathered by a draw-string threaded through a band at the neck edge. Instead, this bathing gown has a moderately low neckline made wider by a slit down the front which is closed by two linen tapes sewn to either edge of the front. Although less fabric was used for the bathing gown than was normally required to make a chemise, it was probably not because of functional considerations as one might like to think, but because of the scarcity of fabric. Close examination reveals that the triangular sections of fabric used to add fullness to the skirt consist of several pieces. In fact the two sections used in the back are made from a different fabric, although it is still a blue and white checked linen. Frugal use of scraps in linings and hidden sections of decorative costume was common practice in the 18th century. The piecing of the bathing gown is further evidence of the fact that it was a garment that had no ornamental purpose.

Of particular interest are the lead disks which are wrapped in linen and attached near the hem next to the side seams by means of patches. No doubt these weights were used to keep the gown in place when the bather entered the water.

The following account of bathing in Dover, England, in 1782 suggests how the bathing gown might have been used at Berkeley Springs:

The earliest illustration showing costume worn in the United States for fresh water bathing is dated 1810 (see fig. 2). Unfortunately the painting reveals only that the bathing gowns were long and dark colored in comparison with the white dresses of the period.

An 1848 article which described, in detail, the fashionable dress called for by each activity at summer resorts, concludes with the following tantalizing paragraph:

This is the only reference to American bathing costume of the second quarter of the 19th century that the author has found at this time. Nevertheless, an English source describes what must have been a transitional style between the chemise-type bathing gown and the more fitted costume of the 1850s.

The Workwoman’s Guide, published in London, 1840, included instructions for making both a bathing gown and a bathing cap. Health and modesty were the main considerations that influenced the choice of color and type of material.

The following details reveal that, in general, this 1840 bathing gown starts as an unshaped garment similar to the gown attributed to Martha Washington [brackets are mine].

The instructions for finishing this gown, however, show that the sleeves were worn close around the wrists and that the fullness of the skirt was secured at the waist by a belt.

By the addition of the above details this type of bathing gown more closely approximates the style of the long-skirted blouse of the 1850s to be described later.

In regard to the bathing cap we are told that,

The “Scene at Cape May” (fig. 3) shows women wearing long-skirted, long-sleeved, belted gowns as well as head coverings similar to the type described in The Workwoman’s Guide.

Thus during the period when bathing became popular as a medicinal treatment, women wore loose, open gowns perhaps patterned after a common undergarment, the chemise. Although this chemise-type bathing costume must have been very comfortable when dry, its fullness was restrictive when wet. The bather could only immerse herself in water which was all that was necessary for the treatment. As the recreational possibilities of bathing began to overshadow its health-giving properties, women’s bathing dresses also became more fitted, following the general silhouette of women’s fashions.

BIFURCATED BATHING DRESS

During the first half of the 19th century in England and the United States, a more tolerant attitude toward feminine exercise led women to abandon the fiction that they were not bipedal while bathing. This acknowledgment, however, was not fostered solely by the need for a more functional bathing dress. It was first evidenced by a few daring European women who wore lace-edged pantaloons trimmed with several rows of tucking under their daytime dresses. The shorter, untrimmed, knee-length drawers which quickly replaced the pantaloons, became an unseen but essential item in the fashionable English lady’s toilette of the 1840s. These drawers, or a plainer version of the longer pantaloons, were adapted not only to the female riding habit but the bathing dress as well. An 1828 English source reported that “Many ladies when riding wear silk drawers similar to what is worn when bathing.”[33] With the increased interest in physical exercise for women, ankle-length, open pantaloons also were being worn in the 1840s with a long overdress as an early form of gymnasium suit. This evidence of the early use of drawers suggests that, like English ladies, women in the United States were probably wearing a type of drawers beneath their nondescript bathing gowns during the second quarter of the 19th century. There is some slight support of this theory in the following stanza of a poem that appeared in 1845:

The rather crude but delightful sketch of seabathing at Coney Island in 1856 (fig. 7) shows the ladies wearing very full, ankle-length, trousers with a sack top extending loosely only a few inches below the waist. This type of bathing costume, which was primarily a bifurcated garment instead of a skirted one, became the prevailing fashion as reported in English women’s magazines of the 1860s.

In contrast to the originally European skirtless costume, the Philadelphia publication, Peterson’s Magazine, stated that bathing dress should consist of a pair of drawers and a long-skirted dress. The recommended drawers were full and confined at the ankle by a band that was finished with a ruffle. These drawers were attached to a “body” and fastened so that, even if the skirt washed up, the individual could not possibly be exposed. The dress was made by pleating or gathering the desired length of material onto a deep yoke with a separate belt securing the fullness at the waist. The bottom of the hem was about three inches above the ankle and was considered rather short. Loose shirt sleeves were drawn around the wrist by a band which was finished with a deep ruffle as a protection against the sun. According to this article many women wore a small talma or cape which hid the figure to some extent. It was recommended that the drawers, dress, and talma be made of the same woolen material.

To complete a bathing toilette the following items were considered necessary: a pair of large lisle thread gloves, an oil cap to protect the hair from the water, a straw hat to shield the face from the sun, and gum overshoes for tender feet.

The red, tan, and blue-green checked bathing dress shown in figure 8 is jauntily trimmed with crimson braid edging the collar, belt, and wrist and ankle bands. This costume is a variation of the style described previously. The drawers, unlike those described in Peterson’s Magazine, are sewn to a linen band with linen suspenders attached. The unfitted, unshaped skirt (8 ft. 8 in. in circumference) is pulled in at the waist by a belt attached to the center back. A similar technique for forming a waistline is described in The Workwoman’s Guide of 1840.

Women’s magazines in the United States from the third quarter of the 19th century show illustrations of bathing costume, but in many instances these publications used European fashion plates. Harper’s Bazar, (spelled thus until 1929) particularly in its early years, used fashion plates and pattern supplements from its German predecessor Der Bazar. Thus, in one issue one can find a fashion plate showing the predominantly bifurcated European bathing suit and, in a column on New York fashions, a separate description of long-skirted bathing dresses with trousers. During the same period Peterson’s Magazine had illustrations previously used in the London publication, Queen’s Magazine.

American women seem to have accepted the majority of styles shown in European fashion plates, except for the skirtless bathing suits. The writer of an 1868 column on New York fashions sought to convince his readers to try the more daring European style although he grudgingly admitted that the “Bathing suits made with trousers and blouse waist without skirt are objected to by many ladies as masculine and fast....”[36] This style was in fact, very similar to the costume worn by men when they bathed with the ladies. A year later, the writer of the same fashion column had given up the campaign to dress all women in the skirtless suits and admitted that these imports “... are worn by expert swimmers, who do not wish to be encumbered with bulky clothing.”[37] Such practical bathing dress was thus limited to a very small number of progressive women.

The majority, consisting of those who were strictly bathers, wore the ankle-length drawers beneath a long dress as described or illustrated in the majority of sources that originated in the United States. Why was the European bathing suit not fully adopted by American women? Differences between the bathing customs of the two continents undoubtedly encouraged the development of different dress. While men and women in the United States bathed together freely at the seashore during the latter half of the 19th century, this practice was not widely accepted in England until the early 1900s. In the presence of men, American women probably felt compelled to retain their more concealing dress and drawers.

In England swimming seems to have been more popular among women than it was in the United States. While encouraging its readers to swim, during the late 1860s, Queen’s Magazine used forceful language of a kind that was not found in American publications until the late 19th century. If swimming was more acceptable as a feminine exercise in England it is understandable why English women were more receptive to a functional, skirtless bathing suit—especially since it was worn only in the presence of other women.

In 1858, Winslow Homer, who was later to become a well-known American painter, was welcomed into the society at Newport until it became apparent that he wanted to sketch the bathers for a weekly newspaper (see fig. 4). So great were the ensuing objections that he was permitted to complete his sketches “... provided he depicted the bathers only in the water and only above the waistline and without divulging the identity of the bathers.”[38]

As can be seen in figure 4, these sketches serve more as a testament of Homer’s fancy than as an accurate historical statement on style. The two feminine legs exposed in the water from just below the knee to the toe and the feminine head coverings appear to be anachronisms. According to several other illustrations of the period, these women were undoubtedly wearing long drawers. The young artist at 22, however, has been described as having an eye for feminine beauty and a sense of fashion. He seems to have exploited to the full the decorative possibilities of hoop skirts blown by the breeze or agitated by some pretty accident to discreetly reveal a trim ankle. A drama of breeze versus long skirt appears with the small feminine figure in the left background of this print. The force of the waves and the motion of the frolicking bathers gave the artist opportunity to show two more pretty accidents. The only head covering he showed for feminine bathers was a ruffled cap that framed the face. Other sources show Newport bathers wearing the less attractive wide-brimmed straw hat (fig. 9). The straw headgear worn over these caps seems more likely since Newport’s fashionable belles would surely have sacrificed appearances and worn a straw hat to avoid an unfashionable sunburn and tan.

Nevertheless, Homer’s sketch reflects characteristics seen in certain surviving examples from the 1860s—namely that the top was becoming more fitted, being attached completely to a belt with the fuller skirt pleated or gathered to the bottom edge of the belt. In the Design Laboratory Collection of the Brooklyn Museum there is an 1860 black poplin specimen that may be a bathing dress. This example is trimmed at the shoulder seam with epaulets, an example of the extent to which fashion was finally playing a part in bathing costume.[39]

The dresses described above appear peculiar not only to 20th century eyes, but they also seem to have amused mid-19th century correspondents. One writer in 1857 declared that,

Another writer felt that he

This use of the term “Bloomers,” referring to long full drawers or trousers, is a reminder of how similar the 1855 bathing gown with drawers (see fig. 8) was to the reform dress introduced in 1848 and worn by Amelia Bloomer, the feminist, in 1852.

Despite the evident use of a new waistline treatment, the most popular bathing costume of the 1870s, according to Harper’s Bazar, continued to feature the yoke blouse that reached at least to the knee. This combination of blouse and skirt was held in position at the waist by a belt. The high neck was finished with a sailor collar or a standing pleated frill, while the long sleeves and full Turkish trousers, buttoned on the side of the ankle, concealed the limbs. In 1873 a column on New York fashions reported an effort to popularize short-sleeved, low-throated suits then in favor at European bathing places and which had been illustrated in the Bazar. Nevertheless, the writer hedged this report by adding that

Nevertheless, sketches of bathing scenes from the seventies indicate that some American women wore even shorter sleeves and trousers than those prescribed by the fashion magazines.

Linen and wool fabrics were both suggested in the 1840s, but by the 1870s flannel was most frequently used for bathing dresses, with serge also being recommended. Navy blue, and to a lesser extent, white, gray, scarlet, and brown were popular colors in checks as well as solid colors trimmed with white, red, gray, or blue worsted braid.

Bathing mantles or cloaks were worn to conceal the moist figure when crossing the beach. These garments were made of Turkish toweling with wide sleeves and hoods, and were so long as “to barely escape” the ground.

In 1873 one good bathing cap was described as an oiled silk bag-crown cap large enough to hold the hair loosely. The frill around the edge was bound with colored braid. Many ladies preferred, however, to let their hair hang loose and under a wide-brimmed hat of coarse straw tied down on the sides to protect their skin from the sun (fig. 9).

Bathing shoes or slippers were generally worn when the shore was rough and uneven. In 1871 manila sandals were worn, but the most functional bathing shoes are said to have been high buskins of thick unbleached cotton duck with cork soles. They were secured with checked worsted braid. Two years later there were bathing shoes of white duck or sail canvas with manila soles. Slippers for walking in the sand were “mules” or merely toes and soles made of flannel, braided to match the cloak, and sewn to cork soles.

Throughout this period the social aspect of bathing predominated over the therapeutic goals and women were making a greater effort to transform their bathing garments into attractive and functional outfits. Motivated by the presence of men at the seashore and by the competition with other women for masculine attention, ladies were more concerned with the style of their bathing dresses and appropriate trimmings. Thus bathing costume joined the ranks of other fashions described in women’s magazines.

Now that women were frolicking in the water rather than simply being dunked several times, their costume became somewhat more functional. Long trousers gave them greater freedom in the water although the skirts which continued to be worn, tended to negate this improvement. Even as early as the 1870s there were efforts to shorten sleeves and eliminate high necklines. This trend to make bathing dress more practical increased in momentum toward the end of the century.

PRINCESS STYLE BATHING DRESS

Although attitudes toward sports were more enlightened by the 1880s, many women continued to wear the old bathing dress with its belted blouse extending to a long skirt and a pair of trousers. As an alternate to this garb, the “princess style” was developed with the blouse and trousers cut in one piece or else sewn permanently to the same belt. A separate skirt extending below the knee was buttoned at the waist to conceal the figure. This new style in bathing costume was probably derived from an innovation in women’s underwear. During the late 1870s a new style of undergarment, the “combination” of chemise and drawers, had come into use. Petticoats could be fastened to buttons sewn around the waist of the combination. This streamlining of undergarments helped the lady of fashion to maintain a desirably svelte figure. Apparently the advantages of this streamlining were obvious, because it was not long before women were quietly adapting this style to bathing dresses. By the 1890s the skirt was often omitted for swimming (fig. 12), giving the more active women more freedom in the water. Following popular dress styles, the top of the bathing costume was bloused over the belt. The sailor collar, either large or small, was a great favorite, but a straight standing collar with rows of white braid was also worn.

The “princess style” was not the only innovation available in bathing dress. Harper’s Bazar reported in 1881 that imported French bathing suits[43] for ladies were made without sleeves, since any covering on the arm interfered with the freedom desirable for swimming. Nevertheless, according to other contemporary fashion descriptions, American bathing suits retained their long sleeves until the early 1880s when the foreign fashion of short sleeves came to the United States. In 1885 it was reported that

Sleeves were pushed up in 1890 and puffed high about the shoulders by means of elastic tape in the hem. By 1893 fashion reports acknowledged that sleeve length was a matter of individual choice.

Despite this neat resolution of the diminishing sleeve, contemporary sketches of bathing scenes indicate that some women in the United States were wearing the shorter sleeves even earlier.

Short full trousers, reaching just below the knee, accompanied by knee-length skirts—sometimes worn even shorter—succeeded the long Turkish trousers and ankle-length skirt. As the trousers diminished in length, long stockings or bathing shoes with long stocking tops became a necessary part of the bathing costume to cover the lower limbs, particularly in mixed bathing (see fig. 1). The stockings, which were cotton or wool, plain or fancy, and of any color or combination of colors in keeping with the costume, were worn with a variety of bathing shoes, sandals, or slippers when bathing off a rocky shore. Foot coverings were usually made of white canvas; the slippers were held on by a spiral arrangement of braid or ribbon about the ankles, while the laced shoes were often made with heavy cork soles. A gaiter shoe or combination shoe and stocking was made of waterproof cloth, laced up the sides, and reached to about the knees. Low rubber shoes were also worn.

Bathing caps of waxed linen or oiled silk were used to protect the hair. They had whale bone in the brim and could be adjusted by drawstrings in the back. Blue, white, or ecru rubber hats were also used. These caps had large full crowns—which held in all the hair—and wired brims. A wide-brimmed rough straw hat, tied on with a strip of trimming braid or with ribbon, was sometimes worn as protection against the sun (fig. 9).

Bathing mantles like those of the 1870s were still being worn by the late 19th century and these were frequently trimmed with colored braid. Cotton tapes sewn in parallel rows, mohair braid, or strips of flannel were still being used to make the bathing dress more attractive.

Navy blue and white, as well as ecru, maroon, gray, and olive were popular colors for the bathing dress. In 1890 the writer of a fashion column thought it pertinent to add that “... black bathing suits are worn as a matter of choice, not merely by those dressing in mourning.”[45] Apparently the wearing of black no longer had this exclusive significance when bathing, but prior to 1890 it did.

As women became more active in the water and were learning to swim they began to accept more practical changes in bathing costume. Not only the style, as described previously, but also the fabric was considered for its functional characteristics. Flannel was still widely used but was being replaced by serge which was not as heavy when wet. Another indication of this trend was that stockinet, a knitted material, was gaining in popularity at the end of the century.

The “princess style” of the early 1890s combined the drawers and bodice in one garment: the separate skirt fell just short of the ends of the drawers which covered the knees. By the mid-1890s, however, the drawers which were now called knickerbockers, were shortened so as to be completely covered by the knee-length skirt. These knickerbockers were either attached to the waist in the popular “princess style” or they were fastened to the waist by a series of flat bone buttons.

During this same period, the mid-1890s, knitted, cotton tights were sometimes worn in place of knickerbockers. Bathing tights differed from the knickerbockers in that they were hemmed rather than gathered on an elastic band at the lower edge and that they were not attached to the waist. When tights were used they were completely concealed by a one-piece, knee-length bathing dress. The use of the more streamlined bathing tights was another step toward more functional bathing costume. Despite these improvements, most women continued to wear stockings, usually black, when they bathed or swam in public. The dictates of fashion and standards of modesty continued to conflict with practical considerations.

As with street dress, corsets seem to have been an important though unseen bathing article necessary for maintaining smart posture. In 1896 it was reported that

While describing the bathing dresses available in 1910 an article noted: “Some of these are made up with ... princess forms that are boned so as to do away with the bathing corset.”[47]

The bodice of the bathing costume continued to be bloused, but by 1905 it was modified to be merely loose. An article appearing in 1896 noted that bathing suits should be cut high in the neck, not tight around the throat, but close enough to prevent burning by the sun. The sailor collar continued to be used during the late 1890s but became less fashionable shortly after the turn of the century. Nevertheless there had to be some white around the neck for the bathing dress to be considered smart. The puffed sleeves, which had become popular in the late 1890s were modified in breadth and length to allow free use of the muscles in swimming (fig. 13).

In 1897 fashion magazines were suggesting that skirts of bathing dresses looked best when the front breadth was shaped narrower toward the belt, while by 1902 the skirts were fitted over the hips in order to delineate the figure. In 1905 pleated skirts again became fashionable, although flared skirts were still acceptable.

Dark blue and black were the popular colors, although white, red, gray, and green were also used. Flannel was no longer recommended for bathing dress; serge and “mohair”—a fabric with a cotton warp and a mohair or alpaca weft—were widely used. The impractical bathing dress of silk fabric was worn by those who could afford this extravagance; thus, the conspicuous consumption of the “leisure class” was even found at the beaches.

Bathing hats were still being worn but it was considered more fashionable to wear a rubber or oil silk cap covered with a bright silk turban when there was a surf. For the bather who seldom ventured very far into the water the most fashionable practice was to have no covering at all.

Throughout the 19th century bathing costume followed an impelling course toward becoming more functional. As the popularity of recreational bathing and then swimming for women increased, the number of yards of fabric required to make a bathing dress decreased. Nevertheless, by the 1900s, many women knew how to swim, but the majority were still bathers. Thus bathing suits continued in use through the first quarter of the 20th century.

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