Dexter, Dextra, Dextrum: The Bloomer Costume on the British Stage in 1851

  title={Dexter, Dextra, Dextrum: The Bloomer Costume on the British Stage in 1851},
  author={Tiffany Urwin},
  journal={Nineteenth Century Theatre and Film},
  pages={113 - 89}
  • T. Urwin
  • Published 1 December 2000
  • Art
  • Nineteenth Century Theatre and Film
O n 27 September 1851 the Illustrated London News printed a page showing three very different pictures of mid-nineteenthcentury womanhood: Amelia Bloomer, the "originator" of the Bloomer costume for women and the subject of a contemporary dress debate; the celebrated travesty actress Madame Celeste in her role as hero of the Queen's Secretat the Adelphi Theatre; and a trio of models arrayed in the latest fashions from Paris (Plate 1). Difference was signified here by costume, and the choice and… 
1 Citations
‘Bloomers’ and the British World: Dress Reform in Transatlantic and Antipodean Print Culture, 1851–1950
Abstract The ‘bloomers’ are rarely considered beyond their 1851 origins in the United States and subsequent appearance in Britain. This article expands dress reform scholarship by analysing print


Actresses and Prostitutes in Victorian London
Despite the tendency for Victorian performers to be credited with increasing respectability and middle-class status and for actors to receive the highest official commendations, the popular
"When I Acted Young Antinous": Boy Actors and the Erotics of Jonsonian Theater
Critics of sex and gender in Tudor-Stuart theater generally subordinate the polymorphic eroticism of Jonson’ plays to the rigor of his finales. But his meantimes and endings are dialectically
Lesser Ladies of the Victorian Stage
The theatrical memoirs published by actresses in the nineteenth century were generally written by women who had achieved recognition in their profession and had, therefore, acquired a place in
Male Impersonation in the Music Hall: the Case of Vesta Tilley
Music hall has only recently been treated to ‘serious’ as distinct from anecdotal study, and the ‘turns’ of its leading performers remain largely unexplored. Particularly revealing, perhaps, are the
The Evolution of the Male Impersonator on the Nineteenth-Century Stage
  • Female Transvestism on the Victorian Stage: Mediations of Crisi
  • 1982
Paris: Flammarion, 1964: 373), and Harper Dexter is asserted to have been an American in texts on Bloomerism dating from 1967 to as recent as 1993 (see Charles Neilson Gattey
  • The Bloomer Girls. London: Femina
  • 1967
Bloomers received criticism ofa similar nature in their country of origin
    Imaged: Tile Hamar: Form and Visua] Cui/tire Sillce Ille Rellaissance
      Follies oj the Da.1' at the Li verpool Amphitheatre and at the Theatre Royal