Category Archives: Romantic Era

19th Century Women’s Cotton Caps with tails and frills as worn by women in Bridgerton and Jane Austen years. #Bridgerton #RegencyEra #Hats #JaneAusten

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19th Century Early Women’s Cotton Caps. Worn as morning caps, night caps, or under other hats. With lappets, hanging ties, or tails, which were also called ‘follow me lads’, or ‘flirtation ribbons’. via Museum of Fine Arts, Boston, U.S.A. mfa.org. via Museum of Fine Arts, Boston, U.S.A. mfa.org

Definition Caps: Worn as morning caps, night caps, or under other hats. Jane Austen and her family and female friends would have worn caps like these, sometimes during the morning at home, to bed to keep their long hair from becoming knotted, or under a bonnet to hold a hairstyle in place.
Caps sometimes had hanging ties, or tails, were also called ‘follow me lads’, or ‘flirtation ribbons’.

Definition Lappets: Two long strips of material, often lace, hanging from top of head down back or over  shoulders. Sometimes extensions of a headdress and a requirement for court dress.

19th Century Early Women's Cotton Caps. Worn as morning caps, night caps, or under other hats. Hanging ties, or tails, also called 'follow me lads', or 'flirtation ribbon's. via Museum of Fine Arts, Boston, U.S.A. mfa.org
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Fashion Women 1815-1819 History Notes Book 28 https://books2read.com/SuziLoveFashionWomen1815-1819

19th Century First Half Woman’s Cotton Mull Cap as worn by women in Bridgerton and Jane Austen years. #Bridgerton #RegencyEra #Hats #JaneAusten

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19th Century First Half Woman’s Embroidered Cap, French. In the 19th Century, women wore some sort of headwear during the day and the evening. Finely decorated cotton caps were worn during the morning with informal or At-Home, dress and at night with nightwear. These caps had fine embroidery, ruffles, lace edgings on the streamers, embroidered, pointed edges of the ruffles, ties, and streamers, known as ‘follow me lads’ or ‘flirtation ribbons’.

19th Century First Half Woman’s Embroidered Cap, French. Cotton mull with cotton embroidery, linen bobbin lace insertion, silk ribbon, round gathered crown with spoked wheel design in center surrounded by long leafed wreath, outside this a wreath of carnations, same carnations around forehead band and neck band, design embroidered with white linen thread, white taffeta ribbon run through the embroidered net casing and tied in center back. via Museum of Fine Arts, Boston, U.S.A. mfa.org


19th Century First Half Woman's Embroidered Cap, French. Cotton mull with cotton embroidery, linen bobbin lace insertion, silk ribbon, round gathered crown with spoked wheel design in center surrounded by long leafed wreath, outside this a wreath of carnations, same carnations around forehead band and neck band, design embroidered with white linen thread, white taffeta ribbon run through the embroidered net casing and tied in center back. via Museum of Fine Arts, Boston, U.S.A. mfa.org


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1810-1850 ca. Bridgerton or Jane Austen Style Front Lacing Corset With Extra Wide Straps, American Or European. #Bridgertons #JaneAusten #RegencyFashion #Corset #RomanticEra

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1810–1850 ca. Corset, American or European. Front lacing, extra wide straps for under a
square neckline dress. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org

1810–1850 ca. Corset, American or European. Front lacing, extra wide straps for under a square neckline dress. via Metropolitan Museum, N.Y.C., U.S.A. metmuseum.org

Surviving stays, or corsets as they became to be called in the nineteenth century, show that both longline and shorter corsets were worn and that they were made of cotton, silk and sateen. A lot of these corsets were front fastening, plus many were laced at both the front and the back so our aristocratic fictional heroines could indeed dress and undress themselves without the assistance of a maid.

Corsets 1810-1830 History Notes Book 17 This book shows how corsets changed to fit well under clothing,  give maximum support and comfort. Corsets pushed up breasts and showed off the bust line beneath a square-cut and low-cut neckline as in the early 1800s, or Regency years. Jane Austen and her female and friends wore these corsets. https://books2read.com/SuziLoveCorsetBook17

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How did people travel in Bridgerton’s and Jane Austen’s Years? What did they take to make themselves comfortable? #Bridgerton #JaneAusten #GeorgianEra #RegencyEra #VictorianEra

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HN_10_Travel and Luggage By Suzi Love History Notes Book 10. How did people travel in Jane Austen's times. In past centuries? What did they take with them to make their long journeys easier? Travel by road, ship, canal, or railway all took a long time and had dangers so people learned to prepare. And then, in the nineteenth century, road improvements, inventions, and scientific developments made travel more pleasurable. books2read.com/SuziLoveTravel

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1845-1865 ca. Black Faille Evening Slippers, French. #RomanticEra #Regency #Shoes

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1845-1865 ca. Black Faille Evening Slippers, French. Designed By Melnotte for Department Store J. Petit.
Black slippers, which went with anything, were an essential for mid 1800s fashionable ladies. Generally made of satin so dull faille fabric is unusual so possibly for mourning. Label written largely in French of London shop, exclusive agent, plus other fashionable imported Parisian accessories. via Metropolitan Museum, NYC, U.S.A. metmuseum.org

1845-1865 ca. Black Faille Evening Slippers, French. Designed By Melnotte for Department Store J. Petit. Black slippers, which went with anything, were an essential for mid 1800s fashionable ladies. Generally made of satin so dull faille fabric is unusual so possibly for mourning. Label written largely in French of London shop, exclusive agent, plus other fashionable imported Parisian accessories. via Metropolitan Museum, NYC, U.S.A. metmuseum.org
1845-1865 ca. Black Faille Evening Slippers, French. Designed By Melnotte for Department Store J. Petit. Black slippers, which went with anything, were an essential for mid 1800s fashionable ladies. Generally made of satin so dull faille fabric is unusual so possibly for mourning. Label written largely in French of London shop, exclusive agent, plus other fashionable imported Parisian accessories. via Metropolitan Museum, NYC, U.S.A. metmuseum.org
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1800s Cartoons For Riders At The Hunt In Bridgerton and Jane Austen Daily Lives. #Bridgerton #JaneAusten #RegencyEra #Cartoon

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Cartoons For Riders At The Hunt. Typical comical scenes from The Bridgertons and Jane Austen’s Daily Lives. From: 1860 Mr. Sponge’s Sporting Tour by Robert Smith Surtees. via Google Books (PD-100)

Success At The Hunt. From: 1860 Mr. Sponge's Sporting Tour by Robert Smith Surtees. via Google Books (PD-100) suzilove.com
Success At The Hunt.
Riding with the hounds separates the good riders from the pretenders. From: 1860 Mr Sponge's Sporting Tour by Robert Smith Surtees. via Google Books (PD-100) suzilove.com
Riding with the hounds separates the good riders from the pretenders.
How embarrassing! Coming to grief on the hunt. From: 1860 Mr Sponge's Sporting Tour by Robert Smith Surtees. via Google Books (PD-100) suzilove.com
How embarrassing! Coming to grief on the hunt.
Excitement of The Hunt for all riders. From: 1860 Mr Sponge's Sporting Tour by Robert Smith Surtees. via Google Books (PD-100) suzilove.com
Excitement of The Hunt for all riders.
A Good Place To Watch the Hunt Go Past. via 1860 Mr. Sponge's Sporting Tour By Robert Smith Surtees. via Google Books (PD-150) suzilove.com
A Good Place To Watch the Hunt Go Past.
A Young Man Speaking To A Young Lady At the Hunt. via 1860 Mr. Sponge's Sporting Tour By Robert Smith Surtees. via Google Books (PD-150) suzilove.com
A Young Man Speaking To A Young Lady At the Hunt.
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1820-1840 ca. Hand-Embroidered Wedding Corset, Connecticut, USA. #Regency #Corset #RomanticEra

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1820-1840 ca.  Hand-Embroidered Wedding Corset,   Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset.  The back closure has ivory eyelets for the lacing.  The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textiles

1820-1840 ca. 1 Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
1820-1840 ca. 2. Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
1820-1840 ca. 3 Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
1820-1840 ca. 4. Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
1820-1840 ca. 5. Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
1820-1840 ca. 6 Hand-Embroidered Wedding Corset, Connecticut, USA. Ivory cotton covered with hand embroidery, including love birds on hearts, front pocket for busk, eyelets for back lacing. Trapunto (to embroider) cording decorates and shapes corset. The back closure has ivory eyelets for the lacing. The center-front has a pocket panel for inserting a busk. Trapunto (to embroider) shapes the corset by outlining the design with two or more rows of running stitches and then padding from the underside which gives a raised effect.The technique was always considered very elegant. Trapunto first appeared in 14th century Sicily and was widely adopted for clothing in Tudor England, and then brought to America by the new settlers. In addition to the cording, the corset is totally covered with hand-embroidered flowers and there are two embroidered love birds on hearts at the center-front. Above the birds is a section of trapunto work. via Vintage Textile.
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1800s Top Hat Styles During the 1800s #Regency #Romantic #Victorian

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Top Hat Styles Chart during the 1800s, from the Regency Era through to the Victorian years. Most popular style was cone shaped and tall in height. Originally made of beaver and very short but later from silk and taller. Tall crown, widens at top, narrow brim turns up slightly at sides. https://books2read.com/SuziLoveFashionMen1800-1819

Top Hat Styles Chart during the 1800s, from the Regency Era through to the Victorian years. Most popular style was cone shaped and tall in height. Originally made of beaver and very short but later from silk and taller. Tall crown, widens at top, narrow brim turns up slightly at sides.
HN_23_D2D_Fashion Men 1800-1819
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1836-1840 ca. Floral Print Cotton Dress With Silk Satin Piping. #RomanticEra #Fashion #BritishHistory

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1836-1840 ca. Floral Print Cotton Dress With Silk Satin Piping, English. Cotton printed in soft pink, red, white, and green floral motif on light brown, edged with green silk satin piping and lined with linen and cotton. Sleeves tightly gathered, loose at elbow, skirt gathered from tight fitting bodice edged with green satin piping. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.From the Museum: Soft colours and floral patterns are a distinctive feature of many 1830s day dresses. Here, pink, red and white flowers harmonise with the brown ground and green piping. The construction of the sleeves is also interesting as they are tightly gathered at the top and loose around the elbow. This accentuates the slope of the shoulder and the tightness of the wrist.

1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
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1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
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1836-1840 ca. Day Dress Of Printed Cotton, English. Printed in soft pink, red, white and green floral motif on light brown, edged with green silk satin piping, lined with linen and cotton and sleeves tightly gathered, loose at elbows, skirt gathered from tight fitting bodice. via Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
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