Square Dance Clothing

Old square dance dresses of today can trace their history back to the elegant ballrooms of France and the grand manors of England. In those countries, the minuet, polka, waltz and quadrille were danced. As people emigrated to America they brought their customs, dress and dances with them. Gowns were made from damask, taffeta, silk or fine muslin. The fullness in the skirt was obtained by wearing a hoop skirt underneath. Coiffures were often high and possible powdered. It was an era of stately music, stately dances and stately dress.

We move forward a hundred years and hope to open the West in on. Days are long and hard with both men and women settling the land, working in the fields, and tending the livestock. Women grow their own flax to make linen, use wool from their sheep to spin yarn, weave their own material and dye it with dyes made from roots and berries. There is not much time for gaiety so every occasion is used for socializing. Barn-raisings, weddings and holidays were prime examples when gatherings were held. Often people came from miles around to see their neighbours, catch up on the news and dance the night away. These dances were held in kitchens, barns, out-of-doors, even in the saloons. Women's dresses were long, starched petticoats and floor length pantaloons were worn underneath. The costuming allowed free and exuberant movements in the square, circles and couple dances.

We move forward to the 20th century, the 1920's in particular and we find Henry Ford endorsing and sponsoring early American Square Dancing in Lovett Hall, in Detroit, Michigan. Lovett Hall was complete with teakwood floor, crystal chandeliers and formal straight chairs on either side of the ballroom. A live orchestra and a dancing master were on hand to teach and prompt the evening's dances, which consisted of waltzes, two-steps, early squares and contras. In the beginning formal attire was mandatory with the ladies in long gowns and white gloves.

Following World War II, there was a resurgence in square dancing. In choosing their costumes, ladies remembered the long dresses of the early years. At first, these dresses were straight and worn without a petticoat. It wasn't long before the length came up to just above the ankles and starched petticoats and pantalettes were added. Cotton was the fabric used which ment hours of ironing, not only for the dress but the petticoat as well.

By the early 1950's, squaw dresses were "discovered". Some of the newer cottons could be washed, crushed together while wet, and pulled through something tubular, like a stocking, or tied at intervals. When dry, a three or four tiered skirt would present a pleated look, much like the skirt worn by Indian women. Miles and miles of ric-rac were used as trim, which made these dresses weight eight or nine pounds. Imagine dancing all night in a dress weighing eight or nine pounds. Talk about your aerobic exercise! Many a lady remembers repleating one of these skirts, either by hand or with clothespins, or even with a contraption where the material was woven in and out of metal ribs. Square dance hemlines had gone up to ankle or calf length, and pantalettes to below-the-knee bloomers. By the late 1950's some of the embossed cottons could be washed carefully and be presentable without ironing.

In the 1960's came the nylon, nylon net, dracon, polyester and novelty blends that did not have to be ironed. The "drip-dry" era was in full swing. So were the petticoats. Layers of nylon net were used for the petticoats which held the dresses out beautifully. The hemlines were rising and now we had fancipants with row after row of lace trickling down the leg. How far the fancipants extended up the thigh was a personal choice.

Along with the 1970's came the border prints. These prints can be used not only with the print providing the decoration around the bottom of the skirt, but working the design into the bodice and sleeves. Skirt length got shorter and it became a matter of personal choice as to the length. Petticoats also got fuller and with the hemline creeping up the thigh, the look began to be more like that of a tu-tu skirted ballerina. Many young girls and exhibition groups have kept the tu-tu look.

The 1980's gave us a return to a fancier dress. Most of the patterns feature rows of ruffles, lace and ribbons with very full skirts and petticoats. The colours are bright and eye catching. Border prints are still going strong. Many women now wear colour coordinated dresses, petticoats and pettipants. The length of the dress and the pettipant is left to your good taste. They can range from knee-length to the "sissy britches" style. Thanks to continuing modern technology in materials, most are still permanent press or "drip dry", and require little, if any touch-up with the iron.

Modern square dance clothes are no longer "Authentic Covered Wagon" type. Men wear well-fitting western shirts, western pants or jeans, and boots or comfortable shoes. Women may be as individual as they like in their dress, letting their imagination run free. Sleeves, necklines, skirts, trims, colours, combinations, there was no limit! Some of the choices that we have today include denim western dresses, prairie skirts, belts, accessories to change and mix and match outfits. Dance shoes are available in many styles, heel heights and colours.

The choice is yours. Good taste in underpinnings, in skirt lengths and necklines should always be considered. What looks well on the wearer and to the beholder is the criteria.

We have a wonderful heritage to look back on in square dance dresses, who can tell what the future will bring.