By the mid 1860s, the hoop gave way to renewed back interest. This required a new type of support for the skirts. Petticoats made of horse hair with tucked bottoms were donned then topped with a stuffed crinoline. When stuffed with eiderdown it made a cloudlike foundation. Ladies were said to float along. One topic of conversation was whether they really had legs under all this encumbrance. The new skirts were gored with flounces. Tan Moire was chosen to execute this 1868 walking dress. Crossways bands of dark brown velvet draw the eye back to the flounce, which is bound in velvet. Separates introduced during the 1850s allowed a skirt to have both a day and an evening bodice. In remodeling this outfit we added a new body or blouse and a jacket. The introduction of the short bolero jacket necessitated a bodice be added to the false sleeves shown before. These were called bodies. The art of insetting lace between two pieces of material became popular at this time, we purchased material woven with this design to save time.   

The popular jacket of the 1860s was called the Figaro. Seventeen yards of braid were used to trim it. The pattern was seen in Peterson's Magazine. These magazines contained poems, art, stories, recipes, fashions and other sundry items of interest to the Victorian woman including news of the Civil War. A brown velvet sash covers the bands where the body and the skirt meet. This gown was patterned after one made in 1868 in England. In 1863, New York milliner Mrs. Cribbs, would construct a new bonnet for a measly $125. Popular during the Civil War, was a "pork pie" bonnet.

Godey's ladies book illustrated a quilted cloth boot, so one was fashioned to match this afternoon dress. Many editorials were written to disapprove of the new trains, especially while out walking on the unpaved streets. Necessity became the mother of invention. Tapes were added to the skirt so when out walking the train could be caught up. This back interest developed into a full fledged bustle in the 1870s.

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