1818 ‘The Stamford Dandy or A Modern Peeping Tom’. Lord Stamford rides past a row of houses looking through his glass at a woman who stands at an open first-floor window. Other women watch him from the two other windows. Dressed as a dandy with red tailcoat, high white collar and cravat, black top hat and wearing loose white trousers. Artist not known. Via British Museum, London, UK. britishmuseum.org (PD-Art)
1816 Crossing The Pont des Arts, Paris. Illustrations by Francis Courboin. via Les Modes de Paris. (PD-Art) suzilove.comThis plate depicts two women crossing the Pont des Arts, which is also known as the Passerelle des Arts. The women wear very high-waisted dresses. Both women wear a large white feather in their hats, symbolic of the white plume of Henri IV’s famous battle cry, “Ralliez-vous à mon panache blanc!” and made popular by the 1814 restoration of Louis XVIII on the throne. Restoration also brought back various styles, especially those denoting luxury, from the Ancien Regime. The woman on the left wears an ‘old-fashioned’ lace collar and the resurgence of luxury materials, such as fur are indicative of feminine styles of the Restoration period. (PD-Art) 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
Richard, Earl of Winchester, groaned. Heaven save him, for lust had addled his wits. Contrarily, if he’d read similar thoughts on the face of any drooling young pup, he’d have leapt across the pews and planted him a facer. Embarrassed himself, and Lady Laura Jamison, with his possessiveness. The gossips would squeal with delight to see him break his own rules and behave like an obsessed suitor.
Far better that onlookers saw the relationship between him and Laura as sparring siblings because, in private, his indifference was becoming harder and harder to maintain. More so, when Laura studied him surreptitiously, or so she thought, and compared him to other men. When she recorded his suitability as her mate as part of her quest to ensure the survival of the human species. Blast the woman and her speculating eyes, because no matter how sexually innocent her assessments of his anatomy might be, his body leapt to readiness faster than any seasoned street walker lifted her skirts.
And damn his randy thoughts for creating so many pictures of them cavorting in his bed. In that arena, if nowhere else, he was certain their passionate natures would prove a perfect match. He clenched his fist at the thought of giving up something else. The intelligent and strong children their couplings would produce. Because if he had Laura’s body under him once, he’d be old and wizened before he tired of her.
1815 Man’s Double Breasted Navy Wool Tailcoat As Worn By the Men In the Bridgerton and Jane Austen Families.
This navy double breasted wool tailcoat has M-notched lapels, kite-shaped rear seaming, and black silk covered buttons. The sleeves are gathered at the shoulders and there is a high collar.
Quilting has been added to the inside chest and lower neck areas and brown velvet has been added to line the cuffs. The pockets are concealed in the tails and have been lined with brown chintz. via Kerry Taylor Auctions. kerrytaylorauctions.com
1806 Nankin Riding Habit, French. Red scarf, green gloves, riding boots, straw hat decorated with taffeta. The type of outfit Jane Austen and her friends would have worn if they went horse riding. Nankeen Or Nankin Fabric: Durable, buff colored cloth, made of Chinese cotton which is naturally brownish yellow. Originally brought from Nanking.
Love revealed at a courtesan’s ball. Brenton, Lord Mallory, attends his first courtesan’s ball in ten years to appease his concerned friends, though he’d rather stay home and read to his motherless daughters. Though mortified that Brenton unmasks her at a scandalous ball, Lady Lillian Armstrong doesn’t regret their night together. But will the object of her girlish adoration still treat her as his best friend’s little sister, or will he now see her as a mature and willing woman? books2read.com/suzilovePHB
Fashion Women 1800 By Suzi Love History Notes Book 12 #Regency #Fashion Love gorgeous historical women’s fashions? Take a look at what women wore and carried in 1800 in Europe and around the world. books2read.com/SuziLoveFashionWomen1800
Women’s dress changed dramatically after 1785. The rich fabrics and complicated, formal shapes of the late 18th century gave way to simple, light fabrics that draped easily. These new gowns achieved something of the effect of the simple tunics shown on classical Greek and Roman statues and vases. Inspired in part by the statuary of ancient Greece and Rome, the new fashion was epitomised by light cotton gowns falling around the body in an unstructured way, held around the high waist with a simple sash and accompanied by a soft shawl draped around exposed shoulders. This style was ideal for the Indian imports like Kashmiri shawls and Bengali muslin, as used in this embroidered gown. Championed by such influential figures as Emma Hamilton in England and Madame Récamier in France, the so-called ‘Empire’ style catapulted Indian muslin into the forefront of fashion.
Empire Dress: Owes its name, physical emancipation, popularity, and even its sexiness to France. In this English example, French style is slavishly followed in the gown’s high waist and modish stripes.
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.
Inspired in part by the statuary of ancient Greece and Rome, the new fashion was epitomised by light cotton gowns falling around the body in an unstructured way, held around the high waist with a simple sash and accompanied by a soft shawl draped around exposed shoulders. This style was ideal for the Indian imports like Kashmiri shawls and Bengali muslin, as used in this embroidered gown. Championed by such influential figures as Emma Hamilton in England and Madame Récamier in France, the so-called ‘Empire’ style catapulted Indian muslin into the forefront of fashion.
The finger prodded her chest again. Gently yet insistently. But his voice softened. “And I, the man, and the duke, choose you. You, Lady Rebecca. Do you think I can’t decide for myself, for my family, for you and me, what’s best?”
“But that’s what I’ve always done. It’s always been up to me to work out the best plan for everyone and then make it happen.” “In the past, that’s what happened.”
“But even now, it’s up to me to keep everyone safe. You said yourself that neither my family, nor the society, could go on without my making these types of decisions. I’m always the one with the clear head. In time, you’ll see that I’m right to walk away from you when this is finished.”
“No, no. This isn’t finished by a long shot, sweetheart. There has to be some consolation in my life for taking on control of Julia and my brothers, for assuming the family titles and topping up our coffers.”
“I know how hard you’re working to succeed. But it’ll never work if you have someone like me in your life.” “I don’t want someone like you, Becca. I want you.” This time his kiss was tinged with desperation. “Answer me one thing.” Her eyes widened. “Do you love me, minx? Do I still hold your heart?”
“Stop! It’s unfair to ask me that. Leave, please, just leave.” Turning away, Becca wished him gone before he glimpsed the fat tears collecting in her eyes. It was crucial that she remain strong. Even if it broke her heart to do so.As he reached the door, Becca heard Cayle mutter, “I will have you, Rebecca Jamison. I will not stop until I find a way.” She didn’t know whether it made her happy, or if it simply terrified her.
1819 Typical Gentleman’s Outfit, French. The type of outfit worn by Jane Austen’s male family and friends. Brown cutaway coat with extra long tails, white trousers, high white cravat, heeled black boots with spurs, gloves, black top hat and a cane. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
Trousers: The word Trouser came into usage in the late 1600’s, so we’ve had trousers around for a long time. But at first, they were mostly for lower classes. Revolutionary France started a trend for sans-culottes, which meant trousers or pantaloons instead of culottes, or knee breeches, which were associated with the aristocracy. The styles of the revolution moved across to England and were taken up by those who either sided with revolutionary ideals or who took them up as part of a protest against the establishment set. Early on, trousers were generally a bit looser than pantaloons or breeches and ended at the ankles, often with side slits to get the foot through or straps under the foot straps to keep the trousers in place.
1815 White Walking Dress, English. Lady reading outside. Aqua pelisse, or coat, open to reveal a yellow lining, yellow gloves, high bonnet with feathers and blue shoes. Jane Austen and her family and friends would have worn this style of walking ensemble and as Jane Austen was very fond of reading, it’s easy to picture her looking like this. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.