1806 Two Ladies In White Walking Dresses, French. Puffed sleeves, extra long gloves, bonnets tied under chins and decorated with flowers, walking boots, green cashmere shawl. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien. These fashionable ensembles with a variety of fashionable and practical accessories would have been worn by Jane Austen and her family and friends during the day when out walking in the park or visiting village shops. Hats were a necessity to protect fair skin from the sun and scarfs and shawls added color and warmth to an outfit.
1804-1815 ca. Wedding Dress. Silk dress with square bodice and very small bodice, short puffed sleeves, beautiful train decorated in gold. via Palais Galliera, or Musée de la Mode de la Ville de Paris. City of Paris Fashion Museum, formerly Musée Galliera. https://books2read.com/SuziLoveFashionWomen1805-1809
18th Century Snuff Boxes. Not only were boxes made to serve a purpose, but decorative boxes of all types were prized, especially in the 18th Century when everything decorative and extravagant was in vogue and taking a pinch of snuff was fashionable. Snuff is made from ground or pulverized tobacco leaves and is sniffed from a pinch of snuff placed on the back of the hand. Flavorings were added to the tobacco to give a fast hit of nicotine and a lasting scent. Snuff began in the Americas and was used in Europe by the 17th Century.
Snuff became popular from the mid 1600s to the mid 1800s and was more popular than smoking. Inhaling snuff, or snuffing, was first seen by a European missionary in 1493 in Christopher Columbus’s new world within Haiti’s indigenous Taino. Until then, tobacco had been unknown to Europeans, but its use spread quickly throughout Europe during the 1500s. By the second half of the 17th century, ornate boxes started being produced to keep the precious powder dry and an entire industry making accessories blossomed around the fashion of taking snuff. Noblemen, and some women, carried extravagantly decorated snuff boxes with them at all times and would offer a pinch of their own particular blend to friends and family. Therefore, these boxes were always on display and so it became a competition to see who could have the most bejeweled or expensive box possible. books2read.com/suziloveFashMen1700
1770-1771 ca. Gold and Enamel Snuffbox 18th Century ca. Gold and Enamel Snuff Box, Europe.1759 Gold Snuff Box, English.1755 Battersea Enamel Snuff Or Patch Box. 1754-1755 ca. Gold Snuffbox, French. 1760 ca. Snuffbox With Scenes from Don Quixote 1760 ca. Gold Mounted Lapis Lazuli Snuff Box 1700s Portrait Miniature Snuff Box of Gold and Tortoiseshell1750 ca. Carved Agate Snuffbox, Germany. 1749-1750 ca. Double Snuff Box, French. 1728-1729 ca. Snuffbox With Dolphin and Ship,18th Century Taking Snuff and Pretty Snuff Boxes. #Georgian #Antiques #BritishHistory books2read.com/suziloveFashMen1700 Share on XRL_2_D2D_RetailerBuyLink_RL_2
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From 1700 until the early 1800s, pockets with waist ties were worn by women to keep essential items on their person. Generally of linen or some other cotton fabric, they were often quilted, or embroidered and gifted or handed down to others. In the 18th century, women’s pockets were not sewn into their gowns. Instead they were attached to a tape and tied around the waist as separate garments. Worn under the hoops and petticoats, they were accessed through openings in the gown and petticoat seams. By the early 1800s, round gowns were both flowing and almost transparent so pockets could no longer be worn under dresses, so ridicules, or bags, or reticules were carried instead. Jane Austen and her female friends and family would have worn pockets under their out layers.
From the Curator Victoria and Albert Museum, London: Quilting was a popular form of decoration for a variety of garments including pockets. However, hand-quilting was a time-consuming method of decoration. The increased demand for quilted petticoats, waistcoats and pockets led to the invention of woven quilting.
1700-1725 ca. Pair of Linen Twill Women’s Pockets With Crewel Embroidery and Waist Ties, British. Embroidered in yellow, green and pink worsted thread with chain and stem stitches, design of flower pot with flowering plant, bound with green worsted tape and sewn to linen tape tie. Designs are similar but not identical, suggesting both hand-drawn and possibly work of an amateur. Pockets may have been handed down to another person who found them too small as each pocket has been extended at top by 4 cms. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
by 4 cms. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1750-1800 ca. Woman’s Pocket With Waist Ties, New England, America. Linen plain weave, cotton plain weave, wool embroidery. Dimensions 39.5 cm x 27.5 cm. Polychrome crewels on cotton and linen, vine with buds, flowers and leaves and initials M.W. in center. In 18th century, women’s pockets were tied around waist with tape as separate garments, worn under hoops and petticoats, accessed through openings in gown and petticoat seams. via Museum of Fine Arts, Boston, U.S.A. mfa.org
1750-1800 ca. Woman’s 1750-1800 ca. Woman’s Pocket With Waist Ties, New England, America. Linen plain weave, cotton plain weave, seams. via Museum of Fine Arts, Boston, U.S.A. mfa.org1700-1800 ca. Women's Pockets With Waist Ties. #Georgian #Regency #JaneAusten #Underclothing books2read.com/suziloveFashWomen1700s Share on XHN_1 Fashion Women Late 1700s History Notes Book 1 by Suzi Love.
What was fashionable for women in the late 1700s? Extravagant colors and fabrics and outrageous styles were all seen in these flamboyant fashions.
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1660-1700 ca. Green Velvet Gaming Purse, Probably French. Trimmed with Copper-Gilt Thread, probably French. This purse was designed especially for gaming, or gambling, and would have held money, or counters, and is of a different design to other 17th-century purses. The base is a flat circle and the sides are gathered on a drawstring to stop money or gaming counters from spilling out, and to hide how much a gambler had in the purse. The bag’s plain look was probably a deliberate move to fool other gamblers into thinking the owner had little money.The purse is quite plain, with no embroidery and only a twist of copper gilt thread, gilt being a cheap substitute for gold or silver thread.
Playing and betting on card games was a socially acceptable pastime for the wealthy in the late 17th century. Along with dancing, riding and the theatre, it was an amusement for those classes that did not have to work. A gentleman or lady who did not participate in games such as ‘Quadrille’ and ‘Basset’ would have been considered ‘low-bred and hardly fit for conversation’ according to ‘The Compleat Gamester’, published in 1674. Victoria and Albert Museum, London, UK.
1805 January Two Ladies In White Paris Dresses, English. Two interesting bodices, long gloves, necklaces, shawl, fan and adorable hats. Fashion Plate via The Lady’s Magazine Or Entertaining Companion for the Fair Sex, London. These are the types of outfits worn by Jane Austen and contemporaries and were seen in English magazines, where French fashions were obsessively copied despite the two countries being at war for many years.
1806 Young French Gentleman. Brown Castorine Coat Over Blue Tailcoat, French. White cashmere breeches, white stockings, yellow gloves, black hat and a cane. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
French fashions and Georgian and Regency Era fashions from Great Britain were copied around the world. This is the normal daily outfit for a gentleman in the early 1800s, or in the times of Jane Austen, for daily city and country life.
Le Beau Monde magazine made suggestions for men’s fashion in November 1806.
“The neckcloth should, by no means, be too greatly puffed out; but should be neatly united in front with a large unspread bow. Dark bottle green coats will be as generally worn this season, as those of brown colours were last winter.
“For morning dress frock coats will be prevalent: those of an olive hue, with a black velvet collar, will be the most universal. Fancied waistcoats of all manufactures may be worn with this kind of coat; but fashion ordains the invariable use of dark blue or light-coloured kerseymere pantaloons, and half-boots. The boots must rise somewhat higher in the leg than has recently been the custom, and the toes of them should be formed into a perfect semi-cirlce.
“Full dress coats will likewise be made of dark green cloth, double-breasted, and will possess the similar ornament of a black velvet collar. Single-breasted white waistcoats, and light-coloured kerseymere breeches will be in much estimation. Either flesh-coloured or now-white silk stockings fashion now considered as elegant.
“The hair, for morning dress, should be cut à la Titus; for full dress, it should be powdered. Buckles for the shoes are employed in full dress; but ribbands are allowed in afternoon or dinner dress.”
1818 Redingote Or Overcoat French. Blue tailcoat, red waistcoat, straight blue trousers, black boots, knotted kerchief and black top hat. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
Here is an example of when English magazines copied French fashion plates. 1815 December Left: French fashion plate Ensembles French and English via Journal des Dames et des Modes. White short length ball dress with tiny bodice. Right: English fashion plate by Rudolph Ackermann in the Repository Of arts. Blue sarsnet Pelisse, or Walking dress, or Redingote. Decorated with white lace trim on neck, vertical front, and hem. Carrying red shawl and with high plumed bonnet.
Typical of the outfits worn by Jane Austen and her contemporaries for daytime and evening activities. An Empire style, or high-waisted white dress with jewelry for evening and for daytime a Pelisses or Walking Dress or Redingote or coat for warmth and with pretty hats, shawls and shoes.
Here is an example of when English magazines copied French fashion plates.
1815 December Left: French fashion plate Ensembles French and English via Journal des Dames et des Modes. White short length ball dress with tiny bodice.
Right: English fashion plate by Rudolph Ackermann in the Repository Of arts. Blue sarsnet Pelisse, or Walking dress, or Redingote. Decorated with white lace trim on neck, vertical front, and hem. Carrying red shawl and with high plumed bonnet.1815 December Ensembles French and English. White short length ball dress with tiny bodice. Blue sarsnet Pelisse, or Walking dress, or Redingote. Decorated with white lace trim on neck, vertical front, and hem. Carrying red shawl and with high plumed bonnet. via Journal des Dames et des Modes. 1815 December Blue Walking Dress, English. Decorated with white lace trim on neck, vertical front, and hem. Carrying red shawl and with high plumed bonnet. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.
1815 December French and English Ensembles In Fashion Plates. #JaneAusten #Regency #Fashion https://books2read.com/SuziLoveFashionWomen1815-1819 Share on X
1814 Gentleman’s Morning Outfit, French. Green double-breasted cutaway tailcoat, cream trousers, high collared shirt, unusual black cravat, heeled black boots with small spurs, fob at his waist, black top hat with decoration. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
