Worn by Wearer Once Known
Re-worn by Dare de LaFemme
Transition Dress with Day and Evening Bodices, Europe or North America, c.1893, jacquard silk satin, silk velvet, glazed cotton, cotton twill, thin wool batting and cotton canvas/tarlatan. Agnes Etherington Art Centre. Gift of Hariette Folger McGinnis, 1951 (C51-477.6a–c)
Dare de LaFemme’s Transition Dress with Evening Bodice, Kingston, 2025, spandex, jacquard, polyester sateen, net interlining and lace. Made by Jessica Dykins
This transition dress comprising one skirt and two bodices—one for day and one for evening wear—cleverly combines luxury and economy.
Transition dresses were not uncommon over the second half of the nineteenth and early twentieth centuries. These typically consisted of one skirt and multiple bodice options that could include separate day and evening bodices (as with this example) day, dinner (semi-formal) and evening bodices; and/or add-ons to a bodice allowing it to convert from one to another (such as removable partlets or dickies to fill in a neckline or removable lower sleeve pieces). By making one skirt with multiple bodices or bodice options, one could essentially create two or more full outfits for only slightly greater cost than one. The very high quality of the textiles and workmanship of this ensemble, along with the stylish designs demonstrate a convergence of affluence and economy. Such ensemble sets were also useful for travelling, like an early version of the ‘capsule wardrobe’ idea.
The day bodice is characterized by full coverage: a high neckline with close-fitting standing collar and full-length sleeves with full upper and fitted lower portions. In contrast, the evening bodice features an open v-neckline and short, though very full, puffed sleeves. The full upper sleeves and overall conical shape of the skirt, creating an exaggerated hourglass silhouette, are hallmarks of 1890s fashion, particularly over c.1893–1897.
The ensemble would have been worn over a series of undergarments including a chemise, set of drawers, stockings corset, corset cover and probably at least two petticoats–likely all but the corset was made of washable white cotton. Hair was mostly put up with a knot at the back or (more fashionably) on the top of the head at this time, with a curled or frizzed fringe at the forehead. Small hats were worn perched on the top of the head but made of rich materials often featuring feathers, wings, or even entire bodies of exotic birds. Gloves were a must when out in public, and day footwear usually comprised close fitting mid-calf button-up boots with small heels.
Carolyn Dowdell, Dress Historian
The multi-layered three-piece dress demonstrates significant skill and creativity in its conception and construction.
The base or lining of each bodice is cut and constructed of cotton twill to waist length and closely fitted to the body with darts in the front and curved seams down the back. The dress fabrics are partially sewn as one with the lining pieces and partially draped, pleated and gathered over top.
The day sleeves comprise a fitted, wrist-length velvet and cotton twill sleeve with a puffed upper sleeve cut of dress silk mounted overtop. Likewise, the evening bodice sleeves have a fitted lining with a much fuller outer layer stiffened with a cotton canvas called tarlatantarlatan is a loose weave, stiffened cotton canvas, used to add shape and body to garments.. Between outer and lining layers are tarlatan ruffles to help puff up the outer sleeve layer.
The day bodice fastens up the centre front with metal hooks and eyes, while the evening bodice laces up the centre back with ribbon through small hand-worked eyelets. Tabs inside the centre back of each bodice correspond to buttons on the back of the skirt waistband, which, when fastened, prevented gapping as the wearer moved or sat down.
The skirt is cut with seven triangular-shaped gores to create the flared silhouette. It consists of four layers of different materials. The outermost layer is the jacquard silk satin dress fabric, then a layer of thin wool batting, an interlining of tarlatan and finally a silk taffetasilk taffeta is a crisp, lightweight, fabric, typically with a lustrous appearance. Its name comes from the Persian word for silk, tāfta. Today, taffeta is most commonly made from polyester. Taffeta has a distinctive rustle called “scroop”. lining. The layers of each gore were assembled individually and then treated as one for sewing. These layers give the skirt shape and body.
One of the day bodice’s over sleeves is missing and appears to have been used to patch an area of the skirt on one side front gore. Although stitched fairly carefully, the patch is not subtle and was likely executed significantly later when the dress may have been used as a theatrical costume, as was common practice during the first half of the twentieth century. Further evidence of this is some alteration to the waist of the skirt, with the back gathering (cartridge pleating) re-worked and now less tidy than it originally would have been, along with a crudely sewn addition to one side of the waistband at the back.
Carolyn Dowdell, Dress Historian
Scroll through details of the 1893 Transition Dress, with construction notes by Carolyn Dowdell, revealing the intricacy and skill of historical dressmaking.
Click on images to enlarge.
Dare de la femme
Dare de LaFemme began doing drag in Kingston in 2019, at a time when Kingston had not seen a Drag King for several years. With his passion for glamour mixed with comedy, he quickly became a staple in the Kingston drag scene. Over the years he has also had the wonderful opportunity to perform alongside many of the stars from RuPaul’s Drag Race when they come through Kingston and the surrounding areas.
Dare has a passion for curating events that showcase a variety of performing arts disciplines. He is the producer and host of Dare’s Royal Variety Show, which has run for 2 consecutive show seasons in 2022 and 2023. The show features drag, burlesque, circus artists, and musicians, and takes place in Gananoque at the Royal Theater Thousand Islands.
Dare has also been hired to host and perform at several distinguished events such as the ReelOut Opening Gala (2023), Napanee Pride shows (2021 & 2022), the Imagination Ball Fundraiser for the Quinte West Youth Centre (2023), and the Kingston Pride Festival (2023). He also co-created a clown duet with Erin Ball of Kingston Circus arts to showcase at Electric Circuits (2022).
Dare has been hired by several small town libraries to host their very first Drag Storytime events. Despite many protesters at these events, Dare has always been committed to showing up bravely and promoting the celebration of diversity among 2SLGBTQ youths and allies.
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