What clothing was used in Mexico in this important period of its history? Unknown Mexico reveals it to you ...
In Mexico, fashion has been approached rather in a descriptive way, without proper approaches considered within a broader social context. That is why it is pertinent to suggest, for future studies, the visualization of the predominant clothing issue within a social context that involves the cultural and ideological sphere. And of course, it is essential to place this issue within the daily life of nineteenth-century Mexicans at all social levels, in order to deepen its understanding.
The detailed description of the characteristics of the clothing of inspiration, especially European, that adapted to our environment is not enough; Rather, it is preferable to consider the issue of clothing in force in the second half of the 19th century in Mexico, as the result of two fundamental aspects. On the one hand, the concept, the predominant idea about women, their image and their function at all social levels, a trend that goes hand in hand with current trends in both literature and art. On the other, the scarce development of the textile industry in our country and the possibilities of importing fabrics and accessories that complemented the fashionable and commonly used wardrobes. During the Porfiriato, the textile industry grew, although its productions focused on the production of cotton and blanket fabrics.
Blouses, bodices, shirts, corsets, lace bodices, multiple petticoats, crinolines, crinolines, camisoles, camisoles, frú, frú silk, pouf, bustle, and others; an endless number of garments in white clothes, cotton or linen, by means of which it was intended that society ladies enhance their beauty. Wide variety of accessories such as umbrellas, hats, scarves, lace collars, gloves, bags, sneakers, ankle boots, and many more.
In the second half of the 19th century, the prevailing idea was that women, through their presence, their ornaments and their clothing, gave men prestige and were the living example of their economic success, a criterion in force among the so-called “people of hair".
After the post-independence years, under Napoleonic influence, the narrow and tubular dresses of the times of the Iturbide Empire slowly began to expand through a “fashion” in which women had never used so much fabric to dress. The Marquesa Calderón de la Barca referred to the “rich dresses” although a bit old-fashioned that the Mexican women wore, which were distinguished by the wealth of their jewelry.
Between 1854 and 1868, and especially during the years of Maximilian's Empire, the crinolines and crinolines reached their peak, which were nothing more than structures capable of supporting a skirt up to three meters in diameter and almost thirty meters in cloth. The image of the woman is, therefore, that of an inaccessible idol who keeps her environment at a distance. Unattainable as a romantic, evocative and nostalgic figure in contrast to everyday reality: imagine the enormous difficulty to sit or move, as well as the discomfort to carry out daily life.
Antonio García Cubas, in his magnificent work The Book of My Memories, made reference to this fashion coming from Paris that “exposed the ladies to conflicts and shame”. He defined the so-called "crinoline" as a rigid armor made with starched or glued canvas and the crinoline was "the hollower" formed "of four or five rattan hoops or thin sheets of steel, from smaller to larger diameter and linked by ribbons of canvas". The same author described with grace the difficulties that the “traitorous” crinoline provided: it rose at the slightest pressure, reflected in the water, revealing the inner part and became an “indiscreet vault” at the mercy of the wind. For theater and opera, as well as at meetings and evening parties, the neckline was enhanced, with bare shoulders, and the shape of the sleeves and the height of the waist were simplified. In particular, the roundness of the body was exhibited in generous necklines, on which the Mexican ones were rather moderate, if we compare them with the uses in this regard in the French court of Eugenia de Montijo.
During the day, especially to attend mass, the ladies simplified their clothing and wore Spanish mantillas and silk veils, the youngest, or covered with a silk shawl. García Cubas refers that no one went to church with a hat. Regarding these accessories, the author defined them as "those pots filled with flowers, those birdhouses and implausible devices with ribbons, feathers and crow's wings that ladies wear on their heads and have come to be called hats."
For the elaboration of the dresses, there was not yet a textile industry that was sufficiently extended and varied in its productions in our country, hence most of the fabrics were imported and the dresses were made by copying European models, especially Parisian ones, by dressmakers or native seamstresses. There were shops whose French owners sold the models almost four times more expensive than in Paris, due to customs duties added to the profits. These sums were gladly paid only by a limited number of wealthy ladies.
For their part, the women of the town dedicated to work - vendors of vegetables, flowers, fruits, water, tortillas, food, and in their work, the grinder, the ironer, the laundress, the tamalera, the buñolera and many more with “their straight black hair, their white teeth that show with frank and simple laughter…” - they wore huipiles and petticoats of colored wool or cotton fabrics. Their ornaments were made up of "necklaces and reliquaries, silver rings on their hands and coral gourd earrings" and their gold earrings, which the woman who made the enchiladas, as well as the fresh water vendor, wore. Of course, as an indispensable garment was the shawl, made of silk or cotton, whose value depended on its length, the shape of the ends and behind which the women hid: “they hide forehead, nose and mouth and only see their pure eyes, as among Arab women… and if they don't wear them, they seem to be naked… ”The presence of traditional Chinese women stands out, dressed in“ an inner petticoat with embroidered woolen lace on the edges, which they call enchilada tips; over that petticoat goes another one made of beaver or silk embroidered with ribbons of fiery colors or sequins; the fine shirt, embroidered with silk or beads ... with the silk shawl that is thrown over the shoulder ... and his short foot in a satin shoe ... "
The masculine dress, unlike the feminine one, was conserved more within the comfort and the work activity. The indigenous peasants and shepherds burned by the sun, wore the unmistakable shirt and white blanket pants. Hence the growing production of cotton blankets for which many Mexican factories arose in the late 19th century.
As for the ranchers, their clothing consisted of "deer suede breeches, adorned on the sides with silver buttons ... others wear cloth with a gold braid ...", a hat adorned with a silver shawl, large wings and to the sides of the glass "some silver plates in the shape of an eagle or gold whimsy. He covered his body with the sleeve of Acámbaro, a kind of cape, and a serape from Saltillo, considered the best.
The male costumes were the frock coat, with a top hat, the tailcoat, the military uniform, or the ranchero or charro costume. Men's clothing has remained practically the same since the use of the frock coat by Benito Juárez and the group of liberals, who proudly maintained the republican austerity as a symbol of honesty and good government. This attitude even extended to wives. It is worth remembering the memorable reference to the letter that Margarita Maza de Juárez wrote to her husband: “All my elegance consisted of a dress that you bought me in Monterrey two years ago, the only one that I have regular and that I save for when I have to do something. tag visit ... "
As the nineteenth century ends, the mechanization of the textile industry and the decrease in the price of cotton fabrics, still combined with the interest in covering and concealing, frees women from the crinoline, but adds the bustle and remains the whale rod corset. By 1881, luxury dresses for Mexican ladies were made in various fabrics, such as silk faya, and adorned with beads: “The women disputed the narrower waist, achieved with corsets so tight that they even took their breath away. they made them swoon, rivaled in profusion of lace, appliqués, pleats and embroidery. The woman of the time had studied and precise movements and her figure full of ornaments symbolized romanticism ”.
Around 1895, the variety of fabrics increased in silks, velvets, satins, the traditional lace denoting opulence. Women become more active, for example, to play some sports such as tennis, golf, cycling and swimming. In addition, the feminine silhouette becomes more and more refined.
When the large volumes of fabric disappeared, around 1908 the corset was finished, so the appearance of the female body was radically transformed and at the beginning of the 20th century the dresses were smooth and loose. The appearance of women changes radically and their new attitude heralds the revolutionary years to come.
Source: México en el Tiempo No. 35 March / April 2000
