Maine Memory Network

Representing the early bustle period, this modest bustle required either a narrow crinoline or crinolette (flat at front, curved at back) underneath. The bodice is waist length at the front and extends into a gathered overskirt at back. This design feature is reminiscent of a late 18th century robe à la polonaise, a contemporary of the robe à la française exhibited nearby, with how the overskirt’s fabric gathers up, a bit like a curtain valance. The long bodice is cotton velveteen with satin trimmings and metal buttons intentionally left undone at the bottom. The satin skirt both coordinates and contrasts with the dark purple bodice.

Mary Rines Thompson (1918–1992), a member of the Rines family of Portland who operated the Eastland Hotel, Rines Bros. department store, and media outlets including what later became WCSH, donated the ensemble to Westbrook College.

Both functional and structural undergarments appeared under the bustle silhouette. A slip-like chemise and pantaloons formed the basis of every ensemble. Worn under a corset, the chemise protected the wearer’s skin, as well as outer garments from perspiration or soiling. The corset was a necessity, and like silhouettes, they evolved over time.

In the 1870s, corsets were shorter, elongating down over the hip as the period progressed. They were stiffened by baleen (whalebone) or metal, laced at back, with a hook-front enclosure. The silhouette emphasized an hourglass figure, accentuated by the flat front skirt. Flat at front, and protruding at back, a bustle’s size or scale varied, at its shelf-like peak during the third bustle era, circa 1881–1899.

Initially, crinolines or narrow caged crinolettes, as seen here, supported the skirt. This gave way to bustle pillows and tie-on bustles, made of materials like horsehair or wire, and crafted in a variety of shapes and sizes. To smooth out a silhouette, an additional petticoat might be worn over the bustle pad or crinolette.

This copper-colored silk faille ensemble represents the later bustle period, circa 1881–1889, with its shelf-like bustle. In classic late 1880s style, it features a pleated flat-front skirt, draped from side to waist with an asymmetrical swag. Pleats continue through the back, where the generous, deeply folded swag swings up and over. Sets of surviving inner tapes reveal how the bustle drapery was adjusted to increase or reduce the swag folds.

The bodice edges are trimmed with iridescent hexagon shaped glass beads. The front closure features similar buttons. This elegant dress is associated with Ida M. Bowles (1858–1934), reportedly her wedding dress when she married Dr. Charles R. Anderson on May 18, 1886, at Saccarappa, modern-day Westbrook.

This three-piece ensemble with a dress, vest, and underskirt, is likely the product of a home seamstress. Its simple silhouette relies on texture, layers, and accents of bold color for the 1880s style.

Made from a textured knobby weave wool, cotton, and silk blend, the front panel is a gray silk taffeta. Royal blue taffeta accents appear throughout. Draped fabric creates the bustle silhouette, gathered with bustle ties, and supported by either a bustle pillow or narrow crinolette. This ensemble is a rare example in both fabric and construction.

Likely worn by a person of more modest means, as evidenced by its construction, its wearer was fashion conscious, and creative with texture and color. The piece is associated with either Mabel (Little) Boynton of Jefferson, Maine or Rose (Perkins) Hale of Boston, Massachusetts, Lillian Hale’s mother and mother-in-law, respectively.

During "Northern Threads" physical installation, this young woman’s blue striped bodice and overskirt was paired with a caged crinolette, up lit to show the airy space beneath. Typically, the dress’ sheer fabric required an underdress or underskirt, as well as a sash or belt, none of which survive for this ensemble. The up lighting revealed how the crinolette supports the dress, and leaves room for the wearer’s legs to move freely, without the hindrance of the previous era’s cumbersome petticoat layers.

A crinolette is narrow, pushing out from the back, as compared to the circular hoop skirt style of earlier crinolines. Made from sheer cotton fabric with blue silk stripes, the bodice has a slight waist flare or peplum. Ruffles throughout add stylistic interest. It is difficult to measure length without a surviving underskirt, but proportionally, this overskirt would hit at about mid-calf, the era’s fashion standard for a teen or young woman. The garment is associated with the Ballou (also spelled Ballow) family of Newcastle.