Fashion Women 1810-1814 History Notes Book 27 This book looks at what was fashionable for women in Jane Austen’s times, or the early 1800s, or the Regency Era in Britain. Wars were being fought around the globe so women’s fashion adopted a military look in support of soldiers. Fashions, like the lifestyle, became progressively more extravagant and accessories went from colorful to over-the-top. https://books2read.com/SuziLoveFashion1810-1814
What was fashionable for women in Jane Austen’s times? Mourning, riding, daytime, evening clothing, plus underclothing, corsets and accessories. Fashion Women 1810-1814 History Notes Book 27 This book looks at what was fashionable for women in Jane Austen’s times, or the early 1800s, or the Regency Era in Britain. Wars were being fought around the globe so women’s fashion adopted a military look in support of soldiers. Fashions, like the lifestyle, became progressively more extravagant and accessories went from colorful to over-the-top. https://books2read.com/SuziLoveFashion1810-1814
The Lady’s Magazine said of the basis of women’s fashion that was popular for the first twenty years of the 1800s, ‘White is still the prevailing color for robes. For morning dresses, linen gowns, in large diamonds or squares, are fashionable. Indian muslins, plain or embroidered, are preferred to Florence and satins. The designs of embroidery for shawls are of infinite variety. Long gloves, which reach above the elbow, are not yet laid aside. Medallions are hung around the neck from crossed chains and some of these medallions are shaped like the bags, called ridicules. These reticules are of the lozenge or hexagon shape, with a small tassel at each angle. Reticules, or ridicules, are in lozenge or hexagon shapes with a small tassel at each angle. In capotes, or hats, and ribbands, the violet and dark green prevail over jonquil. Bracelets in hair, pear-shaped ear-rings, medallions on square plates, saltiers of colored stones, are still in fashion.’
Textile of block-printed white cotton in madder colours with pencilled blue. The cotton is printed with 9.5 octagonal panels intended to be cut out and applied to patchwork quilts. Each panels contains a bunch of flowers. Around the inner border is an inscription of Princess Charlotte of Wales married to Leopold Prince of Saxe-Coburg May 2, 1816. In the borders are three Prince of Wales feathers, the Royal Arms, and a crown on each side. At the end of the textile is printed a rectangular panel containing the manufacturers name and in a corner is the name ‘G. Swindels’.
This quilt has an excise stamp for 1816 and is inscribed ‘John Lowe and Co. Furniture Printers, Shepley Hall’, providing the name of the only identifiable manufacturer of these panels, although there are likely to have been others. John Lowe was a well-known firm of calico printers with large cotton factories and extensive bleaching grounds close to the River Tame near Ashton-under-Lyne in Lancashire.
Hand-quilting is done on a frame using needles called ‘betweens’. The stitches are executed with one hand; the other hand is kept underneath the quilt to feel for the needle. Small, uniform stitches (usually a ‘running stitch’) are taken through the three layers to form a decorative design. In ‘piecing’ or ‘patchwork’, small pieces of fabric are sewn together to produce a decorative design. The most enduring method in Britain is done by hand, and is known as ‘piecing over paper’. The pattern is first drawn onto paper and then accurately cut. Small pieces of fabric are tacked round each of the shapes, and then joined together from the back using overstitch. Most of the quilt top visible here has been pieced over paper, but in some areas the fabrics have been applied directly on to the earlier quilt that forms the wadding.
Victoria and Albert Museum, London, England.
