1816. June Blue Merino wool riding dress with high waist and embroidered and ornamented round the bust and cuffs and fastens on the back of the shoulder. Double ruff of fine Vandyke lace is separated from shirt collar by a Chinese silk handkerchief of blue and white. Small round hat made of fine beaver or moss silk, the half boots are of blue kid with Limerick gloves worked and seamed with blue and she is carrying a riding whip. These riding habits were usually designed by men and were in two pieces, a jacket and a skirt, worn over a shirt but this is in one piece and the full skirt falls from directly under the bust. Fashion Plate via John Belle’s La Belle Assemblée or, Bell’s Court and Fashionable Magazine, London. https://books2read.com/SuziLoveFashionWomen1815-1819
Typical of the riding costumes worn by Jane Austen’s female contemporaries. The style is still in the Empire fashion of a high-waist with the full skirt falling from just under the bust and with a frill and small decorations on the wrists and shoulders to make it look unique.
1820 Brown Evening Dress Of Figured Silk Muslin With Brown Gauze Trim. An evening dress of tobacco coloured figured silk muslin, warp float, small sprig repeat design. Shallow, round neckline, short puffed sleeves, high, empire-style waistline and long tubular skirt. Bodice has narrow cream lace trim above a band of self fabric edged with cream silk braid and brown silk taffeta piping. Bodice front has brown silk gauze joined on at side seams with 3 van dyke points down sides of centre front. Edges of points bound with silk taffeta and trimmed with ball buttons covered in brown silk floss.
Centre front panel has brown silk cord lacing through 17 handworked eyelets bordered by 2 v-shaped strips of same silk taffeta rouleaus. Self fabric waistband is trimmed with cream braid and piping, with two van dyke points either side of centre back. Bodice laced at back from neck to waistband while gauze overlay from front forms a band tucked over the waist, which extends over skirt to form a narrow peplym, also van dyke pointed and bound with taffeta. Two self fabric epaulettes attached at sleeve seams and trimmed with brown silk passmenterie tassel, at shoulder and with same braid and piping. Short sleeves overlaid with brown silk gauze ruched between rouleaux bands stitched to lining. Cuff bands piped and braided and cut into 8 van dyke points above overlay. Points are trimmed with braid, piping and silk covered ball buttons. Skirt of dress falls to the ground, trained at back, and flounce of satin striped silk gauze falling from corded seam. Bodice lined with cream cotton. Via Powerhouse Museum, Sydney, Australia. collection.maas.museum.
Passementerie: Art of making elaborate trimmings or edgings (in French, passements) of applied braid, gold or silver cord, embroidery, colored silk, or beads for clothing or furnishings.Styles of passementerie include the tassel, fringes, ornamental cords, galloons, pompons, rosettes, and gimps, as well as other forms. Tassels, pompons, and rosettes are point ornaments, and the others are linear ornaments.
What did Jane Austen and friends wear? Early 1800s fashions were elegant and pretty with high waists and fabrics that were almost transparent. These Empire style gowns, named after Napoleon’s first Empress, became popular throughout Europe, and were then copied around the world. Colorful outwear was added to make an ensemble more attractive and warmer. History Notes Book 26 Fashion Women 1805-1809. https://books2read.com/SuziLoveFashionWomen1805-1809
1830 ca. Rosewood and Inlaid Brass Inkstand, England. Each side has cut-glass inkwells with brass inlaid tops and pen trays, so ideal for a partners desk. via 1st Dibs Auctions 1stdibs.com
1802 Gorgeous French Hats. Bodice and Trims. To match a blue dress with a spotted fur collar. Fashion Plate via Journal des Dames et des Modes, Costume Parisien. French fashions like this were copied by English magazines so these styles of hats would have been worn by Jane Austen and her contemporaries. https://books2read.com/SuziLoveFashionWomen1801-1804
1829 July 4th George Shillibeer’s Omnibus, London, U.K. First Omnibus between Paddington and Bank of England via the New Road, now Marylebone Rd., Somers Town and City Rd. Via Wikimedia Commons. books2read.com/SuziLoveTravel
What did Jane Austen and friends wear? Early 1800s fashions were elegant and pretty with high waists and fabrics that were almost transparent. These Empire style gowns, named after Napoleon’s first Empress, became popular throughout Europe, and were then copied around the world. Colorful outwear was added to make an ensemble more attractive and warmer. History Notes Book 26 Fashion Women 1805-1809. https://books2read.com/SuziLoveFashionWomen1805-1809
The Empire waist gown defined women’s fashion during the Regency Era. ‘Empire’ is the name given in France to the period when Napoleon built his French Empire. High-waisted, loose gowns were adopted by the aristocracy as a symbol of turning away from the fussy, elaborate and expensive clothing worn in the 1700s. Jean-Jaques Rousseau advocated copying peasants and returning to a simpler life and more natural fashions. Unrestricting clothing was part of the new Democracy in France and these simpler and flowing fashions were adopted all over Europe, including Britain and despite the continual wars being fought against France during the early 1800s. Not even war stopped fashions from being copied everywhere.
A portrait from 1810-1814 of Rudolph Ackermann, shop owner and founder of ‘The Repository Of Arts’ magazine, The Strand, London. via National Portrait Gallery, London. Plus, an image of Ackermann’s premises in 1809. His ‘Repository of Arts, Literature, Fashion, Manufactures, etc.’ was published from 1809 to 1829 with images of Regency London, Regency furnishings and grand homes as well as beautiful fashion prints and descriptions every month. Ackermann originally supplied artists, amateur and professional, with supplies for watercolor painting. In 1799, he began manufacturing and selling his own watercolor paint blocks which were supplied by other colourmen, although at least three colors were his own mixture – Ackermann’s Green, White and Yellow. From 1817, his eldest son Rudolph Ackermann junior was responsible for the watercolor manufacturing. Ackermann also trained as a carriage designer. He began publishing prints and colour-plate books like ‘The Microcosm of London’ and ‘Doctor Syntax’ in the early 1800s.
The Repository of Arts was one the most popular magazines in Jane Austen’s time as it displayed everything ladies wanted to learn e.g. history, important country seats and houses in England, music, current events such as theatre plays, plus fashion plates and embroidery patterns. Ackermann’s shop in The Strand, London, was one of the fashionable places to shop during the Regency Era. The Repository also included poetry, travel reports, society reports and upcoming lectures. It also included serious subjects e.g. politics, legal matters, medicine and agriculture, a meteorological journal and details of the London markets. In 1817, the price of the magazine was 4 Shillings, so quite expensive for the time.
In the first issue, published for January 1809, Ackermann included an ‘introduction to the history of the useful and polite arts’ which said: “It is universally admitted, that to cultivate a taste for the arts, and an acquaintance with the sciences, is a pleasure of the most refined nature; but to do this without regard to its influence upon the passions and affections, is to ‘tear a tree for its blossoms, which is capable of yielding the richest and most valuable fruit.’ The cultivation of this taste may and ought to be subservient to higher and more important purposes: it should dignify and exalt our affections, and elevate them to the admiration and love of that Being who is the author of every thing that is fair, sublime, and good in nature.”
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.
The patronesses of Almack’s controlled a lot of a young lady’s acceptance into English society in Jane Austen’s times. To be given a voucher and admitted to an assembly, there was an introduction into London’s polite society.
1817 Evening Mourning Dress, English. Black short length dress, layers of feathers on the skirt, long lace headdress falling from an upswept hairstyle and black shoes. Fashion Plate via John Belle’s La Belle Assemblée or, Bell’s Court and Fashionable Magazine, London.
Mourning – Full Or Deep Mourning: Entire ensemble and accessories must be black. Shiny fabrics were not allowed so bombazine became the fabric of choice for many. Hats had veils added and jet was the preferred jewelry.
Mourning – Half or Slight Mourning: allowed touches of grey and white to be added to full, or deep, mourning ensembles. Some lustre, or shine, was allowed in fabrics and accessories. After a time, mauve or deep purple could also be worn.
