In the old days monogramming was a way of life, especially in big wealthy families and estates. Sometimes it was the only way to distinguish who owned what as the nightshirts and bed linens were all similar in one household.
The all important Trousseau was a measure of the bride’s wealth and included in some cases, years and years worth of embroidery and painstaking stitchery. The household would be further augmented by inherited linens passed down from mothers to daughters, creating a real history in the linen press.
The trousseau or dowry also provided a measure of material security for a young couple starting out. It gave them a base to build on, and showcased the talents and skills of the new wife.
European linens usually have 2 initials, the wife’s initial and her husband’s. When one finds a piece with a single monogram it indicates a wedding that did not take place, for whatever the reason. Double (and sometimes triple) monograms are the norm. Single monograms are a particularity of the United States and generally not seen in Europe.
However, there is no hard and fast rule for which monograms were used. Personal items would often have the first and last name initials, the more generic family linens, intended for passing down along the line would perhaps have both last names.
The contents of the trousseau depended on the wealth and importance of the family. Twelve sheets was common in wealthier families, sometimes more. Dozens of dish towels, towels, napkins, lapkins, tablecloths, ‘chemises’ (night and day shirts), bloomers, nightdresses, handkerchiefs and more were meticulously prepared, embroidered and monogrammed. Girls began sewing when they were very young, 6 or 7 generally. Every girl was taught the basic skills and produced one or several ABC samplers. Other samplers would show a girls mastery of mending, darning and patching skills, and other embroidery stitches.
Acceptable monogram colors were white and red. Generally red is less formal, and would be more for luncheons and casual events.Red was commonly found along with white for monograms and ornamentation. Red was a strong dye and would resist launderings and the rough treatment linens received in the days prior to the advent of the washing machine. Every day pieces were embroidered more simply in red,often just cross stitched. This was done as much for indentification within the linen cupboard and to keep items organized and paired, as for indicating ownership. This system of accounting as it were enabled linens to be rotated so they would wear evenly, and also helped keep track of all the pieces in the trousseau ~ a valuable investment for the family.
The more formal and fancy linens were done in white on white. These would be used very little (and in many cases never at all) and laundered sparingly. They were passed down from generation to generation.
All the women in the family were involved in the creation of the linens for the household, present and future. The ‘gentle’ arts were always in the hands of the women. This means not just the embroidery but the weaving, the sewing and the actual monogramming.
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