There are about 700 images dated 1770–1900 in which Welsh costume is clearly depicted and there are a similar number of early 20th century photographs, mostly postcards, some based on earlier photographs while others were comic. Many of these images of Welsh costume were marketed as souvenirs of Wales and they helped to preserve the concept that there was something unique about Welsh costume. Most of the photographs were 'staged' by the photographers and the women often wore their own old costumes or borrowed a set from the photographer as in the example above 'Two women in national dress drinking tea' which is one of 80 photographs taken by John Thomas (1838-1905) of young women who wore a selection of garments from three sets of costumes that he kept. 
Much of what was written about Welsh costume was influenced by the observer’s preconceptions: many of the visitors to Wales at the end of the 18th century came in search of the picturesque and of an Eden or Arcadia and this may have coloured what they recorded. They were often delighted to find that many of the women they saw were healthy, happy and pretty and wore a costume which was distinct from that of English maids.
We wanted Aunt March to be very grand so we created the largest crinolines we could get away with on the tiny stages. We used long taffeta skirts that enough fabric in them to fit over crinoline underskirts. However, making these skirts wider also had the effect of lifting them up higher so we also had to lengthen them with taffeta offcuts so they reached to the ground. Many Victorian crinolines had a panel at the bottom which would get dirty and damaged when they dragged on the ground (as we discovered!). The extra panel acts as a dirt panel which is easy to replace when the hems get worn.