What was fashionable for women in the late 1700s? Extravagant colors and fabrics and outrageous styles were all seen in these flamboyant fashions. #Georgian #nonfiction #amwriting books2read.com/suziloveFashWomen1700s
1806 Waiting For the St. Cloud Coach, Place de la Concorde, Paris. Illustrations by Francis Courboin. via Les Modes de Paris. (PD-Art) This couple is depicted waiting for the coach, which was a passenger vehicle drawn by four horses. The woman is wearing a fashionable hat or “capote” that covers her face. Her dress maintains the empire waist and has very long sleeves that also have a ‘mancheron’ or a gathered sleeve at the shoulders. The man is wearing a ‘habit du gagé’ or a coat with tails, buttoned at the waist. His hat is a ‘haut-de-forme’ or what is commonly known in English as a top hat. He wears tight, short pants tucked into large, riding boots, as was the fashion for men. 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 VIa Brown University Library .
1806 Young French Gentleman. Blue tailcoat under a short brown Castorine coat, cream cashmere breeches, white stockings, yellow gloves, black top 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. https://books2read.com/SuziLoveFashionMen1800-1819
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
1805 May Two Ladies In Jane Austen Style Walking Dress and Full Dress, English. White dress with a train under a purple cape, purple reticule or bag, and green parasol. Pink evening full dress with low cut bodice, short sleeves and light draping shawl. via Vernon and Hood at The Lady’s Monthly Museum, London, U.K.
Definition Reticule, or Ridicule, or Bag or Purse: Often with a drawstring to pull closed and usually made of cloth or covered cardboard and often decorated with beading or embroidery. A reticule, or purse, or handbag, was usually carried by a woman during the Regency period to carry all their daily necessities. Earlier, women used pockets that tied at the waistline and were hidden in the folds of their skirts. 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.
19th Century First Half Gentleman’s Black Tailcoat. Wool broadcloth, triple notch collar, narrow waistband, sleeve tops gathered and uniformly wide to single scallop edge at bottom sleeve, inner tail pockets, death head embroidered buttons, elaborate hand quilted lining with floral patterns in concentric square frames and a “F.M.W.” monogram embroidered at the centre back top in red. Via Augusta Auctions – augusta-auction.com
Tailcoat: A Regency Era, or early 1800s, gentleman was outfitted in more practical fabrics, such as wool, cotton and buckskin rather than the fussy brocades and silks of the late 1700s. The men in Jane Austen’s life would have worn a black tailcoat like this for everyday wear. https://books2read.com/SuziLoveFashionMen1800-1819
1800 Riding Dress of A Young French Man. Blue cutaway coat with wide collar, loose pants tucked into high black riding boots, high white cravat, brown gloves, riding crop and a very small black hat. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
1804-1829 ca. Two Gentlemen and A Lady, Italian. Dressed as ladies and gentlemen would be in the times of the Bridgerton family and Jane Austen and friends. Gentleman in a caped overcoat with black top hat and red umbrella. Lady in walking costume of lavender cape over red dress, red shawl, white bonnet and black walking shoes. Gentleman in blue opera cloak with red lining, black top hat and black shoes. Men And Women In Costumes, 1804-1829 The Miriam and Ira D. Wallach Division, The New York Public Library. nypl.org The sort of fashionable outfit and items worn or carried by Jane Austen and her contemporaries when out walking. Outfits were always heavily accessorized with coats, shawls, hats and parasols.
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.”
