I'm an Australian author of contemporary and historical romances, plus history non-fiction.
My books range from sexy to erotic, late 1700s to the mid 1800s, and with a dash of Australia thrown into the mix. My heroes and heroines challenge tradition and my stories often expose the seamier levels of life.
I now live in a sunny part of Australia after spending many years in developing countries in the South Pacific. My greatest loves are traveling, anywhere and everywhere, meeting crazy characters, and visiting the Australian outback.
I hope my books bring history alive and you have fun adventuring with my roguish heroes and feisty heroines.
1562-1575 ca. Wine Cooler With a Pageant Battle with Elephants, Italian. Maiolica, or tin-glazed earthenware, from the workshop of the Fontana family. 1553-1580. Coolers were set near the table on a credenza or sideboard, visible to diners and within easy reach of servants. They are designed to be viewed from any side, but especially from above when empty. When not in use, coolers remained in place to convey the owner’s refined taste and, due to the relatively inexpensive medium, personal modesty. via Metropolitan Museum New York City, U.S.A. metmuseum.org
1816 August. Morning Dress in Bridgerton or Jane Austen style, English. White high-waisted dress worn with a blue striped spencer, blue boots, and a white hat white blue trim. Fashion Plate via Lady’s Magazine.
Description Spencer: Short jackets worn for warmth over the high-waisted Empire style gowns that were popular after the French Revolution, where there was a shift away from opulence and decadence to simpler fashion. This jacket with very short bodice and long sleeves was known as a Spencer and was named after the male coat made famous by the Earl Spencer and said to have originated in accident to Lord Spencer in hunting when coat tails torn off and a cropped jacket was invented. The dresses in the early 1800s therefore became looser, lighter, and flowing and women became cold due to their very low cut and short bodices. Short fitted jackets that went easily over the dresses and provided extra modesty and some warmth. As Europe and many other parts of the world were deep in wars in the late 1700s and early 1800s, men in uniform were found everywhere. In support of these military men, fashions leaned towards military style shoulder paddings, shoulder embellishments, loops, buttons, and braids.
I love these snippets from Captain Gronow’s Recollections 1864. Even though they were written after the Regency, they give us fun bits of information about Almack’s Assembly Rooms, the Prince Regent or later King George IV.
“Good society at the period to which I refer was, to use a familiar expression, wonderfully “select.” At the present time one can hardly conceive the importance which was attached to getting admission to Almack’s, the seventh heaven of the fashionable world. Of the three hundred officers of the Foot Guards, not more than half a dozen were honoured with vouchers of admission to this exclusive temple of the beau monde; the gates of which were guarded by lady patronesses, whose smiles or frowns consigned men and women to happiness or despair. These lady patronesses were the Ladies Castlereagh, Jersey, Cowper, and Sefton, Mrs Drummond Burrell, now Lady Willoughby, the Princess Esterhazy, and the Countess Lieven.
Almack’s: Exclusive temple of the beau monde. The gates of which were guarded by the lady patronesses,The Ladies Castlereagh, Jersey, Cowper, Sefton, Willoughby, Princess Esterhazy, and Countess Lieven.
From Captain Gronow’s Recollections 1864.
The most popular amongst these grandes dames was unquestionably Lady Cowper, now Lady Palmerston. Lady Jersey’s bearing, on the contrary, was that of a theatrical tragedy queen; and whilst attempting the sublime, she frequently made herself simply ridiculous, being inconceivably rude, and in her manner often ill-bred. Lady Sefton was kind and amiable, Madame de Lieven haughty and exclusive, Princess Esterhazy was a hon enfant, Lady Castlereagh and Mrs Burrell de tres grandes dames.
Many diplomatic arts, much finesse, and a host of intrigues, were set in motion to get an invitation to Almack’s. Very often persons whose rank and fortunes entitled them to the entree anywhere, were excluded by the cliqueism of the lady patronesses; for the female government of Almack’s was a pure despotism, and subject to all the caprices of despotic rule: it is needless to add that, like every other despotism, it was not innocent of abuses.
Almack’s
The fair ladies who ruled supreme over this little dancing and gossiping world, issued a solemn proclamation that no gentleman should appear at the assemblies without being dressed in knee-breeches, white cravat, and chapeau bras.
From Captain Gronow’s Recollections 1864.
1815 The First Quadrille at Almack’s Assembly Rooms, London. Left to Right: Marquis of Worcester, Lady Jersey, Clanronald MacDonald and Lady Worcester. “It was not until 1815 that Lady Jersey introduced from Paris the favourite quadrille, which has so long remained popular. I recollect the persons who formed the very first quadrille that was ever danced at Almack’s: they were Lady Jersey, Lady Harriett Butler, Lady Susan Ryde, and Miss Montgomery; the men being the Count St Aldegonde, Mr Montgomery, Mr Montague, and Charles Standish.” From The Reminiscences of Captain Gronow 1810-1860. 1811-1820 Snippets of Regency Life By Captain Gronow. #RegencyEra #Almack's #PrinceRegent https://books2read.com/suziloveROver Share on XRL_1_D2D_Regency Overview RetailerLinks
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1818 ‘The Stamford Dandy or A Modern Peeping Tom’. Lord Stamford rides past a row of houses looking through his glass at a woman who stands at an open first-floor window. Other women watch him from the two other windows. Dressed as a dandy with red tailcoat, high white collar and cravat, black top hat and wearing loose white trousers. Artist not known. Via British Museum, London, UK. britishmuseum.org (PD-Art)
1816 Crossing The Pont des Arts, Paris. Illustrations by Francis Courboin. via Les Modes de Paris. (PD-Art) suzilove.comThis plate depicts two women crossing the Pont des Arts, which is also known as the Passerelle des Arts. The women wear very high-waisted dresses. Both women wear a large white feather in their hats, symbolic of the white plume of Henri IV’s famous battle cry, “Ralliez-vous à mon panache blanc!” and made popular by the 1814 restoration of Louis XVIII on the throne. Restoration also brought back various styles, especially those denoting luxury, from the Ancien Regime. The woman on the left wears an ‘old-fashioned’ lace collar and the resurgence of luxury materials, such as fur are indicative of feminine styles of the Restoration period. (PD-Art) Illustrations by François Courboin from Octave Uzanne’s Les Modes de Paris. Variations du goût et de l’esthétique de la femme, 1797-1897, L. Henry May, Paris, 1898, or from the English translation of the same work: Fashion in Paris : the various phases of feminine taste and aesthetics from 1797 to 1897, William Heinemann, London, 1898. Modes De Paris
Richard, Earl of Winchester, groaned. Heaven save him, for lust had addled his wits. Contrarily, if he’d read similar thoughts on the face of any drooling young pup, he’d have leapt across the pews and planted him a facer. Embarrassed himself, and Lady Laura Jamison, with his possessiveness. The gossips would squeal with delight to see him break his own rules and behave like an obsessed suitor.
Far better that onlookers saw the relationship between him and Laura as sparring siblings because, in private, his indifference was becoming harder and harder to maintain. More so, when Laura studied him surreptitiously, or so she thought, and compared him to other men. When she recorded his suitability as her mate as part of her quest to ensure the survival of the human species. Blast the woman and her speculating eyes, because no matter how sexually innocent her assessments of his anatomy might be, his body leapt to readiness faster than any seasoned street walker lifted her skirts.
And damn his randy thoughts for creating so many pictures of them cavorting in his bed. In that arena, if nowhere else, he was certain their passionate natures would prove a perfect match. He clenched his fist at the thought of giving up something else. The intelligent and strong children their couplings would produce. Because if he had Laura’s body under him once, he’d be old and wizened before he tired of her.
1815 Man’s Double Breasted Navy Wool Tailcoat As Worn By the Men In the Bridgerton and Jane Austen Families.
This navy double breasted wool tailcoat has M-notched lapels, kite-shaped rear seaming, and black silk covered buttons. The sleeves are gathered at the shoulders and there is a high collar.
Quilting has been added to the inside chest and lower neck areas and brown velvet has been added to line the cuffs. The pockets are concealed in the tails and have been lined with brown chintz. via Kerry Taylor Auctions. kerrytaylorauctions.com
1806 Nankin Riding Habit, French. Red scarf, green gloves, riding boots, straw hat decorated with taffeta. The type of outfit Jane Austen and her friends would have worn if they went horse riding. Nankeen Or Nankin Fabric: Durable, buff colored cloth, made of Chinese cotton which is naturally brownish yellow. Originally brought from Nanking.
Love revealed at a courtesan’s ball. Brenton, Lord Mallory, attends his first courtesan’s ball in ten years to appease his concerned friends, though he’d rather stay home and read to his motherless daughters. Though mortified that Brenton unmasks her at a scandalous ball, Lady Lillian Armstrong doesn’t regret their night together. But will the object of her girlish adoration still treat her as his best friend’s little sister, or will he now see her as a mature and willing woman? books2read.com/suzilovePHB
Fashion Women 1800 By Suzi Love History Notes Book 12 #Regency #Fashion Love gorgeous historical women’s fashions? Take a look at what women wore and carried in 1800 in Europe and around the world. books2read.com/SuziLoveFashionWomen1800
Women’s dress changed dramatically after 1785. The rich fabrics and complicated, formal shapes of the late 18th century gave way to simple, light fabrics that draped easily. These new gowns achieved something of the effect of the simple tunics shown on classical Greek and Roman statues and vases. Inspired in part by the statuary of ancient Greece and Rome, the new fashion was epitomised by light cotton gowns falling around the body in an unstructured way, held around the high waist with a simple sash and accompanied by a soft shawl draped around exposed shoulders. This style was ideal for the Indian imports like Kashmiri shawls and Bengali muslin, as used in this embroidered gown. Championed by such influential figures as Emma Hamilton in England and Madame Récamier in France, the so-called ‘Empire’ style catapulted Indian muslin into the forefront of fashion.
Empire Dress: Owes its name, physical emancipation, popularity, and even its sexiness to France. In this English example, French style is slavishly followed in the gown’s high waist and modish stripes.
Empire style, or early 1800s, high-waisted dresses made it impossible to either sewn in a pocket or to tie on a pocket. So women began carrying small, decorated bags called Reticules, or ridicules, which generally pulled close at the top with a drawstring.
Inspired in part by the statuary of ancient Greece and Rome, the new fashion was epitomised by light cotton gowns falling around the body in an unstructured way, held around the high waist with a simple sash and accompanied by a soft shawl draped around exposed shoulders. This style was ideal for the Indian imports like Kashmiri shawls and Bengali muslin, as used in this embroidered gown. Championed by such influential figures as Emma Hamilton in England and Madame Récamier in France, the so-called ‘Empire’ style catapulted Indian muslin into the forefront of fashion.
