Evening dress worn by Maria Traill (nee Windeyer)
Object No. 2003/101/1
Evening dress dating from around 1880, comprising bodice and skirt in green silk floral brocade and cream silk satin. This dress with it's fitted boned bodice and slim fitting trained skirt trimmed with a panel of cream silk satin shirring is typical of its time and an excellent example of the style, manufacture and materials used in a dress worn by a wealthy young Australian woman in the 1880s. The dress was worn by Maria Traill (b.1859 d.1927 nee Windeyer), oldest child of Sir William Charles Windeyer and Lady Windeyer (Mary Bolton). Maria (pronounced Mar-eye-a, known by her family as Mia) was part of a relatively wealthy, progressive and well-connected family. Lady Windeyer was a pioneer of womens' rights, founder and first President of the Crown Street Womens Hospital and President of the Womanhood Suffrage League of New South Wales. Sir Charles Windeyer, politician and judge was also an advocate of social reform particularly in the area of womens education. He was Attorney-General in Henry Parkes' ministry and introduced, as a private members bill, the Married Women's Property Act of 1879. We can only speculate on why this dress was treasured by Maria and subsequently passed down through her family. It may have been worn to an important ball or party as Maria seems to have had an active social life. In a letter from Maria's prospective husband Arthur Irby Traill, to her mother in 1878, Arthur thanks Mary Windeyer for the photograph of Mia (Maria) and laments '..but I confess I would much rather see the original; and to hear of all those balls & parties makes one exclaim why did I ever leave Sydney?' Practitioner, Pioneer, Pastoralist-Rowland John Traill by Sheila Galbraith, 1998. Maria married sheep breeder Arthur Irby Traill (b 1854 d 1931) in 1881 at Raymond Terrace. They lived at Llangollen where Traill continued to develop the Collaroy beed of fine wool sheep originally established by his father Dr R J Traill at Collaroy in 1855. Arthur appears to have been a very successful sheep breeder, winning trophies for his merino wool in Australia and overseas. The dress dates from around 1878-1882 and may have been worn by Maria before or soon after her marriage to Arthur Triall. Maria would have had access to the illustrated fashion pages appearing in newspapers and fashion magazines. By this time companies like Butterick were producing paper patterns as a service to professional dressmakers, and fashion magazines were including paper patterns for the home dressmaker. Maria may have given an illustration of the style she wanted to a local or Sydney based dressmaker to have made up or they may have allowed her to select from their own range of styles. The dress has been machine sewn using a lock stitch sewing machine, such machines were commonplace by this time allowing dressmakers to spend more time on hand stitched embellishment such as the hand-sewn panel of ruching down the front of the skirt. It also appears that the dress was altered soon after it was worn by Maria. The seams in the bodice have been let out a few millimetres to accomodate a slightly larger torso. Maria may have gained a little weight or worn it after her marriage in the early stages of her first pregnancy. She also had four younger sisters and it may have been altered for one of them to wear. With this outfit we are also fortunate to have been able to obtain copies of photographs of Maria Traill. While she is not wearing this particular dress the photographs date from around the same time and provide a picture of a confident, fashionably dressed young woman. Glynis Jones, Curator
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Summary
Object Statement
Evening dress, womens, comprising bodice and skirt, silk / cotton / boning / metal, maker unknown, worn by Maria Traill (nee Windeyer), Sydney, New South Wales, Australia, 1878-1884
Physical Description
Evening dress comprising bodice and skirt worked in green silk floral brocade and cream silk satin. The boned fitted bodice features a pointed waistline, short sleeves, and a low square cut neckline (both of which have the remains of tiny cut threads inside where a trim of [lace] collar and cuffs would have been attached and removed for washing). The centre back opening fastens with lacing (two dark green laces - not original). There is an inner waistband that fastens at centre back with two metal hooks and eyes. The bodice is hand and machine sewn and fully lined with cream cotton. The floor length skirt features a panel of ruched cream silk satin down the front, trimmed either side with flowers and bows. The back of the skirt features a self fabric train which buttons onto the skirt and is trimmed with a cream lace border. Inside the skirt is a small pocket at side back and a row of tape ties to draw the skirt tightly around the body. The dress is sewn using a chain or lock stitch sewing machine and if fully lined with cream cotton. The back opening fasten with two metal hooks and eyes.
PRODUCTION
Notes
Designer unknown but Maria Traill (nee Windeyer) would have had access to daily and weekly newspapers and fashion magazines which would have featured drawings and sometimes patterns for the latest fashions. Dressmakers in Sydney would also have illustrations and patterns for the latest fashions so she may have selected a design from the stock of her favourite dressmaker. The dress with its very form fitting elongated silhouette and ruched trim is very typical of evening dress from the period 1878 to 1882.The bodice features internal boning to keep it's form fitting shape and would have been worn over a corset. The trained skirt was a popular choice for court and evening wear at this time. Though impractical, contemporary female commentators remarked on how graceful and dignified the trained skirt looked. Such a form of dress also helped identify the wearers class and social position, as only those who could afford to travel by carriage could hope to keep the train clean. The sewing machine was in common use in Sydney by the 1870s making it quick and easy to sew the seams of dresses. Alleviated from this task the decoration on dresses became increasingly elaborate and time consuming in it's own right as can be seen in the hand shirred panel on the front of this skirt. The skirt also features a row of internal tape ties allowing the wearer to pull the front of the skirt tight around the legs while also creating a bustle effect at the back. Probably made by a Sydney based seamstress. 1878-1884
HISTORY
Notes
Worn by Maria Traill (nee Windeyer) around 1878-1882. Alterations to the bodice suggest Maria may have gained a little weight or possibly wore it in the early stages of her first pregnancy in 1882. Alternatively it may have been altered and worn by one of Maria's four younger sisters. The bodice darts have been let out a few millimetres to allow for a slightly stouter figure. Owned and worn by Maria Traill (nee Windeyer). Given by Maria's daughter Mildred Lucy Traill (Millie) to her daughter Barbara Davies at age 15. She kept it in a cedar chest for over 60 years until she died in 1986. Barbara's daughter Elsie Ritchie recalls her mother often brought the dress out to talk about Maria and the family. Barbara Davies bequeathed the dress to her granddaughter Julie Down who donated it to the Powerhouse Museum.
SOURCE
Credit Line
Gift of Julie Down, 2003
Acquisition Date
25 June 2003
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