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Archive for the ‘Fashions’ Category

Image @Colonial Williamsburg Official Site

The blog, Two Nerdy History Girls, featured Janea Whitacre, mistress of the millinery & mantua-making trades in Williamsburg in their last post about Accessories: Head to Toe, a symposium that was recently held in that historic city.   Accessories Head to Toe: Beautiful Fashion From 1760 to 1830 showcases some images from the people of the Margaret Hunter Shop, where milliners and mantua makers still plie their craft.

An interview with Ms. Whitacre illuminates how fashion was made in those days, and how fashion and economics are tied together.

Janea: Mantua-making – that’s gown-making, so we’re the 18th-century dressmaker, and what we do is cut the gown to the person, so the lady is her own mannequin or her own dress form. So I don’t need to take measurements, I don’t do patterns. We cut to the person.

Lloyd: Okay, so at the risk of getting this wrong, what you are is what in a male version a tailor would be.

Janea: There’s a lot of overlap between the trades. The tailor is going to claim that stay-making and making ladies riding habits is his trade. I’m going to claim that it’s my trade. But the difference between the trades is really how we cut the fabric out. He takes measurements and does patterns. We usually don’t, because our customers are perfection in their stays. So as long as they have the stays, we’re ready to cut.  Click here to read the rest of the interview on history.org

Handiwork: The Colonial Williamsburg Official Site

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Bandeau: in clothing and fashion, the term means a narrow band of ribbon, velvet, etc., worn round the head. A wide range of materials make up a hair bandeau, including jewels, ribbons, cloth, and flowers. In some cases, a tiara can be said to be an elaborate form of the bandeau. This head band has been popular since the beginning of recorded history, for the decoration is flattering for almost any hair style. The bandeau provides an instant frame for curls, adds color, and can hold unruly hair in place. Bandeaux were quite popular during the Regency era as both formal and informal head wear.

Structured bandeau with feathers. Northanger Abbey (Cassie Stuart and Greg Hicks) 1986

In the image above, Isabella Thorpe’s bandeau resembles an open turban. It play an integral part in the hair design.

Court gown, 1799. This bandeau, worn for a formal event, also holds feathers, as in the above photo.

Bandeau made of ribbon, similar to the illustration below, but with the bow to the side. This is an informal use of a bandeau, which carries enough "weight" to serve as a headcover. Emma (Gwynneth Paltrow and Jeremy Northam) 1996

1812 La Belle Assemblee, evening dress and bandeau, which frames the curls beautifully.

Felicity as Catherine Morland (2007) wears a thin bandeau. This image is inaccurate in that ladies in those days did not venture outdoors without a head cover. We can tell that Isabella (Carey Mulligan) is “fast” for she reveals more of her bosom during the day than is ladylike and wears no hat while strolling through Bath.

Woman wearing a chemise dress (1799) and thin bandeau, and contemplating a hat.

The Countess of Oxford wears a thin ribbon bandeau. Painted by John Hoppner, 1797.


Rolinda Sharples painted a flower bandeau for the lady at front and center of this detail.

Thin satin or silk ribbon bandeau woven into the hair on the righ;, bandeaux made with pearls in the center two images; and gold ornamental combs in the hairstyle on the left.

Bandeau with long lace streamers. 1818 French court dress, La Belle Assemblee.

Bandeaux have been popular throughout the ages, and continue to be so.

Pompeii couple. The woman at left wears a thin bandeau.

Beaded bandeau from the Edwardian Era

Haley Steinfeld, 2011 Oscars

Gallery of Fashion – Women’s bandeaux

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Emma was not inclined to give herself much trouble for his entertainment, and after hard labour of mind, [Lord Osborne] produced the remark of its being a very fine day, and followed it up with the question of:  “Have you been walking this morning?”

Walking dress with blue half boots, 1818. La Belle Assemblee.

“No my lord, we thought it too dirty.” (Unpleasant, stormy.)

“You should wear half boots.” After another pause: “Nothing sets off a neat ankle more than a half boot; nankeen galoshed with black looks very well. Do not you like half boots?”

“Yes; but unless they are so stout as to injure their beauty, they are not fit for country walking.” – Jane Austen, The Watsons

Satin half boots, 1830. Image @Vintage Textile

Ladies shoes were quite delicate in Jane Austen’s day. They were made of satin or soft kid leather, and thin soles with short heels.  Kid leather was a soft and pliable leather made from young goat skin that was often used for slippers (and gloves as well). Shoes made from kid leather could be dyed or embroidered, but the thin flimsy material could barely withstand ordinary wear and tear, much less rough treatment.

Delicate pastel kid shoes with stencilled motif, 1800. Image @Victoria & Albert Museum

During the mid-Regency, tied shoes went out of fashion as lace-up half-boots became popular for outdoor wear. Made of leather or nankeen (a durable natural cotton from China, with a distinct yellow color), these boots were more geared for long walks in the country than the delicate slippers they replaced. But the boots were deceptive, for the leather was quite thin by today’s standards and tore and scuffed easily or were quickly ruined by the elements. As a general rule, thick leather shoes with sturdy wooden soles were worn by laborers. The ruling classes, it was felt, needed no such rough and tumble items.

1795-1815 leather boots. Image @Metropolitan Museum Collection.

Although still a minority in women’s footwear at the beginning of the 19th century, ankle boots would become the dominant style of daytime footwear by the 1830s. This early pair of fashionable boots shoes shows the importance of angular lines, repeated throughout designs and evident from what ever position the boots are viewed. The museum also possesses a similar boot with a small “Italian” heel (2009.300.1487), demonstrating the overlap in styles. The original shoelaces, unlike those now in the boots, would have most likely matched the dark teal color of the leather. – Met Mus collection database

1795-1810, blue European boots. Image @Metropolitan Museum Collection

Boots began to become fashionable for women in the last quarter of the 18th century, but their use was limited primarily to riding and driving. Few pairs survive, and the peculiar wrap-around leg on this example is specific to this period and extremely rare. Although not well-fitted enough to provide a particularly secure fastening to the foot, the wrapped leg may have been intended to provide superior protection from dust and moisture than the standard laced closure. Colored footwear was a favored means of complimenting plain white dresses in the early 19th century, and the dark teal blue color seen here seems to have been particularly favored.- Boots

1812-1820 ladies boots. Image @Victoria & Albert Museum

In the early years of the 19th century boots gradually became acceptable for women. By 1804, half-boots with front lacing and ribbon trimmings, like this pair, had started to appear in fashion illustrations for ‘walking’ or ‘morning’ dress. Hardwearing cottons – the striped uppers are made of cotton jean – became increasingly available and were used as alternatives to leather. Heroines in novels by Jane Austen (1775-1817) are often described wearing footwear of this kind. V&A

Nankeen half boots, 1795-1810. Image @Virginia Review

Toughening Nankeen for rough wear and tear: To Wash- Put a handful of salt into a vessel with a gallon of cold water immerse the nankeenm and let it remain for twenty four hours; then wash it in hot lye without soapm and hang up to dry without wringing it, Nankeen washed in this manner will keep its colour for a long time – The Dictionary of Daily Wants, 1866

1830. Sturdier damask gaiter boots. Image @Vintage Textile

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1810 woven Chinese silk cloth with handpainted decorations. Image @Victoria & Albert Museum

We have come to associate delicate white muslin material woven in India with Regency fashion to such a degree that it is easy to forget that other colors and printed fabrics were also used, and that many silk and cotton dresses were made of fabrics with colorful patterns and distinctive designs, such as this 1820’s day dress, or this 1790 caraco printed jacket…

 

1790 Caraco jacket of printed cotton. Image @Christie's

…or the lively Ackermann dress below.

Dinner dress, Ackermann. 1817

Some of the fabrics were  lavishly embroidered…

1810 Evening Dress with embroidery

… or painted to produce a patterned effect.

1780-1800. Painted satin cloth. Image @Victoria & Albert museum

But with the industrial revolution, printing and dying techniques began to be improved.

Fabric, Manchester art gallery

By the mid-eighteenth century, wood-block printing on cotton and linen textiles had developed to a high standard, even though the home market was affected by legislation protecting the silk and wool industries.” – *V&A

 

Block printed round gown. Image @Colonial Williamsburg

The dyeing techniques used to produce the strong fast colours on imported Indian chintzes which had dazzled European customers in the seventeenth century had been mastered, and colour ranges were developed further with the introduction of ‘pencilling’ of indigo in the 1730s, and ‘china blue’ by the early 1740s.” – *V&A

Block printed cotton, 1790. Image @Victoria & Albert Museum

“A commentator on the state of British textile arts in 1756 wrote : “chintz…can imitate the richest silk brocades, with a great variety of beautiful colours. This length of block-printed cotton dress fabric is typical in its design and colouring of English production at the end of the 18th century.” – *Block Printed Cotton, Victoria & Albert Museum

 

Child's cotton dress roller printed, 1820. Image @Vintage Textile

Roller printing also became popular.

Roller printing, a mechanical improvement on the copperplate technique, was developed in England in the late eighteenth century and was in use in the north of England by 1790.” – **Met Museum

Detail, roller printed Regency day gown.

The copper roller gave manufacturers the ability to print larger quantities of fabrics at greater speeds, for lower prices, and the production of printed cotton increased dramatically in the nineteenth century.” – ** Source: Textile Production in Europe: Printed, 1600–1800 | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

1800 dress fabric, British. Image @Victoria & Albert Museum

 

19th century white cotton gown with roller print. Image @Greene Collection

More on the topic:

1795-1800 Printed cotton gown detail. Image @Victoria&Albert Museum

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Banyan, Dress for Excess

Dress for Excess: Fashion in Regency England, the fashion exhibition at the Brighton Pavilion this year, features a quilted printed (chintz) banyan, or men’s dressing robe worn over a shirt and knee breeches. (Click here to see the full image of the robe .)

When at home, a gentleman would change into an informal knee-length dressing gown known as a banyan, and wear it around his family at breakfast,  playing games, such as cards or backgammon, and while reading in his library or writing letters. One can readily imagine Mr. Bennet wearing a banyan in his study, and most definitely Mr. Woodhouse (image below), as he sat by the fire reading a newspaper.

Mr Woodhouse (Bernard Hepton) in a fur-lined fitted man's dressing gown, or banyan

The banyan was a loose, full kimono style in the early 18th century, but later evolved into a more fitted style with set-in sleeves, similar to a man’s coat. It was known as an Indian gown, nightgown, morning gown, or dressing gown. First used as a type of robe, it was originally worn for leisure and in at-home situations; but came to be worn as a coat out-of-doors, in the street, or for business. Many gentlemen had their portraits made while wearing banyans. They were made from all types of fabrics in cotton, silk, or wool (Cunningham, 1984). – Cross cultural influences on fashion prior to the twentieth Century

Nicholas Boylston in a loose fitting banyan, 1767. Painted by John Singleton Copeley. Image @Wikipedia

More on the Topic

Tartan wool banyan lined in bottle green silk, 1800. Image @Christie's

 

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