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Posts Tagged ‘Regency Fashion’

Everything we now use is made [in] imitation of those models lately discovered in Italy. – Observation by an Englishman

diana sackville detail 1777

Diana Sackville, 1777

In the late 18th century, hairstyles for women took a dramatic turn from the pouffed-up and constructed hairdos of the earlier Georgian age to the simple hair styles inspired by the Greeks, Romans, and Egyptians. Curls now framed the face and chignons replaced the complicated, almost architectural concoctions that took hairdressers hours to create. Ancient statues and works of art brought back as spoils of war or as souvenirs from grand tours revealed classical hairstyles. Women began to wear simpler hairdos with long hair pulled back in chignons or simple pony tails, long curls trailing over the shoulder, and short ringlets framing the face. Hair ornaments consisted of flower wreaths, ribbons, jewelry, tiaras, and combs.

greek and roman influences

Hairstyles on statues from antiquity

Lady Caroline Lamb (lower left) sported a saucy short bob, whose influence can be seen from the portrait in the Roman mural at the Metropolitan Museum. Madame Recamier, whose hair is longer, achieves a similar effect with ringlets around her face. Her curly hair, gathered in back, allowed the ringlets to fall. At right, the Marchioness of Queenston achieved a very similar style to Madame Recamier’s, but her bandeau sat further back on her head and the ringlets framing her face were thicker.

Curly styles

Longer hair, while not as prevalent as the up-do’s, usually took the form of a long curl draped over the shoulder. At second to right, Mrs. Henry Baring wore a more casual “do”, with her locks streaming around her neck and shoulders.

long hair

The long curl

Straight, simple hairstyles with few ringlets and ordinary bangs, or a style simply parted in the middle were worn, but were not drawn or painted by artists or depicted in fashion plates as often as the curlier styles.

plain ringlet free

Fashion plates of the time show how these hairstyles looked with bonnets and hair ornaments with a (l – r) walking dress, ball gown, afternoon dress, or morning dress.

fashion plate

The hairstyles that Kate Winslet and Emma Thompson wore in Sense and Sensibility seemed to be particularly true to the period (in my opinion). Some of you may have noticed that I use Kate Winslet’s image of Marianne as my avatar.

hair styles

This image of a Roman statue (a copy of an earlier Greek statue) shows the hairstyle that would become prevalent in the later Regency/early Victorian era (1820’s to 1830’s).

marble head of a woman roman copy of greek statue

1st C. AD Roman bust

“We wore white crepe dresses trimmed with satin ribbon & the bodices & sleeves spotted with white beads. . . Thursday night, Pearl combs, necklaces, earrings, & brooches. . . Tuesday evening we had sprigged muslin. . . gold ornaments & flowers in our heads & Friday we wore yellow gauze dresses over satin, beads in our heads & pearl ornaments” – Fanny Knight Austen

Evening dresses, fronticepiece, The Mirror of Graces,, 1811

Fanny Knight wrote a vivid description of how women dressed and what sort of accessories were popular when she was a young woman. The 1811 fronticepiece to The Mirror of Graces (above) shows how simple and elegant the combination of Neoclassical hair, dress, and accessories looked.  Jewelry styles favored smaller, lighter forms of draped chains and classical motifs, which were reflected in hair ornaments. These days jewelry from the Georgian era is difficult to find, for many of the pieces were refitted or redesigned to reflect motifs of the neoclassical period. (Neoclassical Jewellery ). Ebay Guides can be extremely useful in researching information about this era, such as this one entitled,  Georgian and Regency Combs and Hair Accessories – 1800-1814. (Click here for the PDF document.)

tiaras and combs

Georgian tiara and combs, early 19th c.

In addition to gold and silver hair ornaments, such as tiaras and diadems, young women wore silk ribbons, strands of pearls, feathers and other fancy hair ornaments in their hair, most notably for balls and formal occasions. These hair jewels were a visible sign of a family’s or husband’s wealth. Bonnets, hats, or turbans were also worn on social outings. The second image from the right (above) is of a George III silver comb, 1807.  “Silver combs of this type appear to have been a speciality of Birmingham, where they were produced in a small quantity and in a collectable variety of forms.” (Cinoa)

As the Regency era progressed long hair became increasingly popular and full ringlets began to appear near the side of the face. Hair ornaments for balls included jewellery, bandeaux, turbans and wreaths of grapes and towards the latter end of the Regency era flowers, turbans and ostrich feathers were seen to adorn the hair. (Overseale House)

ornaments

These days we achieve curls and ringlets with a hot curling iron. The use of hot irons in the 19th century was tricky, for hair could easily be singed. Back then, curls were made with pomade, a hair gel, and curling papers. The lost art of the paper curl describes how a person today can make a similar curl using old-fashioned techniques.

Lydia is exposed to an unregency like cut

Perdita Weeks as Lydia Bennet in Lost in Austen

The transition from the structured hairstyles of the mid-18th Century to the Regency period was not achieved without its own set of complications, as this James Gillray cartoon shows. The cartoon was drawn in the earlier Neoclassical period, when round gowns were still worn.

gillray fashion cartoon

A lady putting on her cap, Gillray, 1795

The fashion plate below shows how charming and uncomplicated, yet classic, the combination of the 1802 hairstyles and afternoon dresses are together, whereas the 1811 fronticepiece showed how rich both hair and fabric can be made to look using similar principles of fashion design.

1802 Lady's Monthly Museum afternoon dress june Payne Milliner Old Bond Street

Afternoon Dress 1802 Lady's Monthly Museum

More links on this topic:

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The National Gallery of Victoria

The National Gallery of Victoria

Inquiring Reader: Emma, the author of this post, lives in Melbourne, Australia. After she interviewed me for a class assignment, I asked her if she would give us her impressions of the the fabulous fashion show at the National Gallery of Victoria. Happily, she said yes. Click here to read an article on Jane Austen Today and for more images from the exhibit. I first featured this post on Jane Austen Today and decided to embellish it a little, adding more images of the museum and items in the exhibit. New links have been added, as well as additional comments about the dresses. About 50 costumes were shown in the exhibit. If you click on all the links to view images on other sites, you will see about 20% of the outfits and a few of the Regency items that accompanied them.

Entrance arch to the National Gallery of Victoria

Entrance arch to the National Gallery of Victoria

Entrance to exhibit

Entrance to exhibit

The National Gallery of Victoria has a permanent space for textile exhibits that is often overlooked by visitors. So, you can imagine my surprise when I entered the Persuasion space and found it far from empty. There were young children, middle aged couples, elderly couples and a selection of tourists, all gathered in the rooms openly admiring the clothing and documents behind their glass cases.

Exhibits with dresses, drawings and artifacts

Exhibits with dresses, drawings and artifacts

The collection was set up beautifully in their cases, decorated to become rooms – painted blue, with pianofortes, writing desks and sitting chairs.

It was interesting listening to the thoughts of those around me, with many observing the “heaviness of the walking dress” and the “gorgeous detailing on that white muslin.” Of course every woman in the room stopped to admire the outfit worn by Colin Firth in the BBC adaptation of Pride and Prejudice, no doubt reliving the lake scene.

Detail, cotton muslin dress, 1815

Detail, cotton muslin dress, 1815

Regency chair "throne"

Regency chair "throne"

With so many pieces to choose from I had no idea how I was going to pick one or two to write about, but finally I have settled on the ball and the walking dress.

Having read many ball scenes in Austen’s works it what inevitable that I would love the ball dress. The dress was an empire line, with a skirt that went outwards into a cone shape, and the sleeves were puffed with lace detailing. It was interesting to read the plaque which revealed just how complicated the ball dress actually was – with there being gauze, embroidery with silk floss, lace, satin, piping and some sort of plants vine used in its construction.

And then there was the walking dress, a dress that I’m not sure I’d like to go for a walk in myself. I’d expected something lighter so I was very surprised by the heavy bronze satin dress in the case. It appeared very restrictive – fitted, long tight sleeves – but was incredibly beautiful and well made.

The bronze walking dress is at right

The bronze walking dress is at right

The exhibit closes at the gallery on November 8, 2009. I encourage anyone that can make it to go. It’s free of charge and definitely a collection not be to missed.

This 1802 round gown is similar to one that Jane Austen would have worn

This 1802 round gown is similar to one that Jane Austen would have worn

Click here for an audio tour of the exhibit. In it you will learn that this exhibit shows the more provincial, country dresses that were designed for walking and outdoor activities. Empire dresses allowed for a greater freedom of movement than in previous eras. The thin cotton, often low-cut gowns also revealed more of a woman’s figure than before, prompting Jane Austen to write about a vicar’s wife that she was “nakedly and expensively dressed.”
pub_Persuasion_P

Pelisse and dress, 1818

Pelisse and dress, 1818

More links to images:

Carriage dress, silk gros de naples, 1830

Carriage dress, silk gros de naples, 1830


Photos NVG

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Prior to the 19th century, children were dressed as miniature adults…

18th c. Girl With a Kitten, Jean-Baptiste Perronneau

18th c. Girl With a Kitten, Jean-Baptiste Perronneau

Children’s fashion often preceded similar changes in adult clothing. Simple frocks for girls in the closing decades of the 18th century foreshadowed the fashionable high-waisted, neo-classical style that would become popular for women during the first decades of the 19th century.

1790 Portrait of a Girl, John Hoppner

1790 Portrait of a Girl, John Hoppner

This pastoral image of a young girl by Thomas Gainsborough is a reminder that poor girls wore “tattered hand me downs or clothes made of coarse woollens and rougher cottons or mixtures like fustian.” (Fashion-Era)

Cottage Girl with Dog and Pitcher, Gainsborough, 1785

Cottage Girl with Dog and Pitcher, Gainsborough, 1785

The easy, loose-fitting shifts below made it easy for little girls to play. The little boy’s skeleton suit is described in the post below.

The Sackville Children, John Hoppner 1797

The Sackville Children, John Hoppner 1797

A little girl’s mourning dress in 1809, although black, remained comfortable and unrestrictive. More details about this dress are at this link from Jessamyn’s Regency page.

Mourning dress, Ackermann plate, 1809

Mourning dress, Ackermann plate, 1809

Childrens’ fashion posts on this site:

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1800-1819 Cover Fashion Plates
The moment I learned of Regency Era Fashion Plates, 1800-1819: A Collection of Fashion Plates and Descriptions by Timeless Tresses, I ordered it. Available in the U.K. through the Jane Austen Centre and at Amazon.com in the U.S., the book is not inexpensive. (My copy cost $44.) When it arrived I immediately tore open the package and began to peruse the book, which contain pages upon pages of colored fashion plates almost full copier paper size. That’s the good news. Compiled from the personal collections of Timely Tresses, the book is the joint venture of Mandy Foster and Dannielle Perry, two participants in living history who research fashion and create costumes based on the plates of a particular historic era. This is not the team’s first compilation. If you visit their site, you can choose from a variety of fashion plate books. But as I went through the book I was disappointed to find out that, while the fashion plates are arranged in date order, very few come with descriptions, nor are they identified by the season for which the dresses were designed. The plates are so large that in some instances they are blurred, and except for the cover, their colors are washed out.

Detail of a plate in the book, Costume Parisien, 1799

Detail of a plate in the book, Costume Parisien, 1799

For those who are new to Regency fashion, it would have been helpful if these two seasoned collector/historians had shared some pertinent information about their fashion plates, helping the reader to “see” the changes in the silhouettes and styles of the gowns, where the fashion influences came from, and the difference between British fashion of the era and French fashion. Over half the plates are from Le Journal des Dames et des Modes Costumes Parisien or Costumes Parisien.  The Journal des Dames et des Modes was published in Paris from 1797 to 1803 and called Costume Parisien from 1803 to 1839. Until about 1825 the plates were drawn by Horace Vernet, which means that all of the Parisien plates in this book were drawn by him.

Before the Napoleonic wars, there had been a “pan-European” approach to dressing in which the rich and fashionable from countries across Europe largely wore similar fashions influenced by Parisian designs. But because of the war between the two countries, Britain and France took distinctly different approaches to dress design between 1808-1814. During this time period, very little information about fashion trends was shared. French waistlines remained high as British waistlines were lowered. Except for a few Ackermann plates, Regency Era Fashion Plates, 1800-1819, largely ignores British fashion during this 6-year time span, with most of the plates coming from Costumes Parisien. Since the book aims to be a resource for those desiring to make accurate costumes of the era, these differences need to be pointed out. A costumer for a film or play might mistakenly use  a French fashion plate to create a gown for a British character, for example. When British women were finally allowed to visit Paris after the war, they saw a stark difference between their British designed gowns and Parisian high fashion. In no time the French influence took over once more and British waistlines crept up again. After 1820, French designers looked across the Pond for inspiration and English-inspired motifs became all the rage.

The most obvious differences between British and French fashion would have been in the use of lace. Through a decree by Napoleon, French ladies were forbidden to use British fabrics, resulting in the revival of the French Valenciennes lace industry. British dresses began to be heavily influenced by Romantic motifs, such as the Gothic, whose embellishment looked ridiculous and cumbersome to the French.  I had hoped that these trends would have been pointed out clearly in the book and discussed at some length by the authors, but the annotations were sorely lacking, and only the end plates and a very few plates at the beginning describe the details of cloth and trim that the gowns were made of.  Even the simple expedient of sorting the plates according to year AND season would have made the plates easier to understand. (It is hard to tell whether the dresses were to be worn in fall or spring, for example.) Thankfully we can turn to the Ladies Monthly Museum on Cathy Decker’s site for some of the descriptions, but, frankly, this is a lot of work that the book could have saved us. One other point: the book concentrates solely on women’s fashion. Anyone looking for examples of men’s or children’s clothes of the era must look elsewhere.

3 regency fansFor the number of fashion plates, I give the book 3 out of three Regency fans. For overall impact and usefulness, I give it 2 out of three.

More links:

Regency Era Fashion

From Classic to Romantic: Changes in the Silhouette of the Regency Gown

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The clothing that families have saved over the centuries were usually those items that were special or particularly treasured. This blog – Trouvais – features samples of the most lush 18th and 19th clothing imaginable.  Combined with luxury items of today, the site is a feast for the eyes.

Detail, early 19th c. redingote

Detail, early 19th c. redingote

Meg Andrews is another site worth visiting. Delectible clothing and items from the past are featured. Visiting the site makes you feel as if you have entered a museum.

Striped cotton dress, 1810

Striped cotton dress, 1810

David Brass Rare Books may seem like an odd site to feature as a fashion site, but its rare and illustrated colored books show images of people in the past. One can easily concentrate on the Regency period and have plenty to view. One image, which I have shown previously, is from a book entitled The Fashions of London and Paris, 1798-1810.

Close up, Promenade in Kensington Gardens, 1804

Close up, Promenade in Kensington Gardens, 1804

I must also brag a little about my site. I don’t feature commentary about every facet of fashion like Cathy Decker, but I have gathered an extensive list of links . You may click on Social Customs During the Regency Era in the tab above and scroll down to fashions, or view the fashion links to the right in my sidebar, where such gems as Vintage Textiles sit. You can also read my fashion posts at this tagged link: Regency Fashion. Enjoy!

Sold Directoire dress from Vintage Textiles

Sold Directoire dress from Vintage Textiles

Five Old Things showcases three posts of a trip to the Costume Museum in Bath. The three posts are heavy with images, like this one of an 18th century man’s coat, embroidered waistcoat and pants.

Man's suit with embroidered waistcoat

Man's suit with embroidered waistcoat

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