By Cynthia Amneus, Marla R. Miller, Anne Bissonnette, Shirley Teresa Wajda
'This exhibition catalogue (worth paying for for the pictures by myself) files the artistry and abilities of dressmakers who catered to the elite ladies of Cincinnati' - "Dress". 'One will get an extraordinary glimpse into the company of style during this gorgeous publication...Amneus makes use of dressmaking as a critical topic to merge key concerns within the parts of social and exertions historical past in the course of a time of cultural transformation in the US. the result's a scholarly paintings that files gender roles, equivalent rights, artisanship, and entrepreneurship' - "Michigan historic Review". Dressmaking, thought of a usual extension of women's right paintings in the house, was once a typical and profitable employment for girls within the 19th and early 20th centuries. It afforded artistic expression, status locally, or even the potential of monetary independence. but as marketers, dressmakers confronted exact enterprise pressures, and with the appearance of shops and common mass construction of women's garments, so much have been pressured into bankruptcy. Coinciding with the exhibition Cynthia Amnus equipped for the Cincinnati paintings Museum, this paintings examines the nineteenth-century ideology of women's separate sphere, the early feminist circulate, girls within the place of work, and dressmakers as artisans and execs. greater than one hundred forty beautiful personalized clothing, old pictures, and dressmakers labels rfile the excellent creative and technical ability of the ladies who produced trendy gown in Cincinnati from 1877 to 1922. Bracketing Amnuss incisive examine are essays by means of Anne Bissonnette at the eccentric tea costume, Marla Miller at the pitfalls of getting to know women's cultural paintings, and Shirley Teresa Wajda at the dressmakers prosperous purchasers. In all, A Separate Sphere deals a cautious look at the lives of ladies suffering from ideological barriers. Chronicling offerings made via and imposed on either working-class ladies and their prosperous opposite numbers, it finds how those ladies controlled to augment their prescribed sphere for themselves and for the group at huge.
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Extra info for A Separate Sphere: Dressmakers in Cincinnati's Golden Age, 1877-1922 (Costume Society of America Series)
For the first time, females were employed as civil servants, office workers, and retail clerks, and many became teachers. Nursing also became a viable female occupation. ” Nevertheless, opportunities were expanding: in the s, Harriet Martineau observed that only seven occupations were open to women. S. The surplus population of women who needed work to survive after the Civil War depressed their wages, which already were barely adequate. Using this situation as a lever, women pleaded for help: through no fault of their own, they found themselves .
Using this situation as a lever, women pleaded for help: through no fault of their own, they found themselves . “How inhuman,” wrote a seamstress to a labor paper,“to refuse employment to women on the pretext that possibly they may marry. ” The expansion of new fields of employment in the postwar years prompted discussion of the types of proper jobs for women. Women’s employment needed to be compatible with their physical strength (or weakness); it had to accommodate the needs of the home and enable a woman to remain virtuous.
The women’s rights movement, which developed in the years leading up to the Civil War, emerged from two sources: women’s growing dissatisfaction with their , . : H. & S. 503a,b (see page 57). This movement offered a moral goal outside the home to those women who were most discontent with their subordinate domestic position. For women, championing this cause was a natural outgrowth of the separate sphere ideology. Women’s involvement in the push for the abolition of slavery enabled them to imagine social change for themselves: if the slaves could be freed, so could they.
A Separate Sphere: Dressmakers in Cincinnati's Golden Age, 1877-1922 (Costume Society of America Series) by Cynthia Amneus, Marla R. Miller, Anne Bissonnette, Shirley Teresa Wajda