1830s Man’s Double-Breasted Frock Coat, English. Double-breasted frock coat with a nipped-in waist. The broad lapels are faced with silk velvet. This gentleman’s frock coat has a crescent-shaped breast pocket and two larger curved pockets on the front of the skirts. Woolen beaver cloth trimmed with silken velvet.
The waisted frock coat came into fashion in about 1816 and became an enduring style. Typically it had a narrow waist and full skirts hanging vertically in front. The frock coat was worn for everyday purposes such as morning dress, usually with a top hat, cane and trousers. By 1830 frock coats were made in a variety of designs according to taste, fashion or type of activity. This example has an out-breast pocket, a feature which appeared on coats during the 1830s. This coat was given by Messrs Harrods Ltd. Victoria and Albert Museum, London, UK. collections.vam.ac.uk.
1820 July 6th View of London Bridge and Custom House with Margate steam yachts, London, U.K. Hand colored By artists and Engravers, P. and D. Colnaghi and Co Ltd and Co (publishers) and R. Havell and Son. via Royal Museums Greenwich. collections.rmg.co.uk
1795-1810 ca. Roller Printed Dress, English. Empire style, high-waisted, roller printed dress with skirt gathered at the back to create a full skirt and with simple V-necked bodice and long sleeves. Sleeves are closed with a narrow band of fabric which fastens with a hook and eye. via Victoria and Albert Museum, London, UK. 1810 ca. Sewing of Gown. 1795-1799 ca. Fabric Block Printing. Pattern of floral trails blends influences from Indian-painted and printed textiles, and woven silks, a style which remained popular until the end of18th century.
The pattern of floral trails seen on the printed fabric of this gown exhibits a blend of influences from Indian-painted and printed textiles, and woven silks, a style which remained popular until the end of the 18th century. The sleeves of this gown are closed with a narrow band of fabric, which fastens with a hook and eye.
The dress is styled with a high-waisted , fitted bodice, which fastens centrally. The neck, which is trimmed with a 1″ frill of matching material, is rounded a the back and V-shaped at the front. The bodice is lined with white cotton which extends 1/3 of the way down the full length tapered sleeves. A trimming decorations is attached to the wrist of the right sleeve (made from the same material and lined with white cotton), which fastens with a metal hook and eye at the hip. The skirt has an ‘apron’ style front with fastening tapes attached to either side, in addition to this there are vertical pocket slits situated at either side of the skirt measuring 11″. The front and rear sides of the skirt are constructed from one width of fabric – 39.5″ wide. The waistline at the back of the skirt is gathered a the centre and is constructed from two pieces of material measuring 46″ wide.
The cotton has blue threads in the selvedges denoting English origin, and is block printed in a polychrome palette with pencilled blue on a white ground. The design consists of an all-over pattern of delicate floral trails of carnations, pinks an other stylised flowers interspersed by vertical arborescent meanders bearing exotic fruits and stylised flowers. The pattern repeat measures 10.5″ by 10″.
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
1840s Woman’s Shoes or Slippers, Probably United States. Square toes, silk satin, sueded leather, linen, and kid leather. via Los Angeles County Museum of Art, California, USA. collections.lacma.org Shoes in the early 1800s were flat or low heeled and occasionally decorated with a bow or floral embellishments. From the 1820s onwards, square toes became fashionable.
18th Century Early. Silk, Leather, and Linen Mules, European. Embroidered in the Florentine Style, a type of flame stitch canvas work with varied stitch lengths often in subdued tones. via Metropolitan Museum, NYC, U.S.A.
What shoes did the Bridgertons and Jane Austen wear? Gray Slippers, American, with long ankle ties.
Typical Regency Era women’s footwear as worn by Jane Austen and her contemporaries and by the Bridgerton family were shoes that had low heels, slightly rounded toes, embellished with a bow and with ribbon ties for the ankles. Shoe styles and shapes were generally very plain but then shoes began to be made in bright colors to match the colorful Empire style, or high-waisted, gowns. Plus, as gowns were lighter and floatier, glimpses could be had of these new pretty shoes. Ribbons, rosettes and other decorative. embellishments allowed ladies to personalize shoes.
1809 October A fine cambric or Indian muslin high-gown, with long sleeves and falling collar, ornamented at the feet and around the neck with appliquéd lace or needle work. Deep amber broach or gold filigree buckle, confining the dress at the throat and waist, with bracelets to match. Gold chain and opera glass. The woodland hat of fine plaited straw or chip, with ostrich feather falling on one side. A French cloak of bright purple sarsnet or velvet, lined with amber or rose, and trimmed entirely round with black lace and beading. Parasol, with deep amber awning. Shoes and gloves of buff kid. Fashion Plate via Rudolph Ackermann’s ‘The Repository of Arts’.
1800s White Evening Dress. Long train on the dress, gold sash, evening hair style, and carrying a fan. via The Museum of Fine Arts, Boston.
Definition Empire Style Dress: Named after the First Empire in France. Empire dresses had a low neckline and skirts started directly under the bust and flowed into the classical relaxed wide styles of Greece and Rome. This style of dress is associated with Jane Austen and her contemporaries as a high-waisted dress was worn most days. Cotton, silk or taffeta were the popular fabrics. Only the very wealthy could afford white dress in this style as the cottons were imported from India and had to be carefully cleaned, usually by a lady’s maid.
1804–1815 ca. Fawn Cotton Dress With Embroidery Beading, Austrian. Simple Empire style dress with A-line skirt from a high waistline and short bodice as Jane Austen and contemporaries across Europe would have worn. Fawn colored cotton with deep bead embroidered hem, embroidery on the wrists and around the wide scooped neckline. Transparent fabrics of the early were beginning to be replaced with fabrics with more weight that were less likely to tear. Plain silks in vivid colors were at first made up in the simple lines of muslin dresses but then plain gowns began to be decorated with intricate contrasting applications and beading. This dress was part of “The Fine Art of Costume” exhibition, 1954 October 15th at the Met Museum, N.Y.C. via Metropolitan Museum, NYC, U.S.A. metmuseum.org. Credit: Gift of Mr. Lee Simonson, 1939. Accession Number:C.I.39.13.52
Empire Style Dress: Named after the First Empire in France. Empire dresses had a low neckline and skirts started directly under the bust and flowed into the classical relaxed wide styles of Greece and Rome. This style of dress is associated with Jane Austen and her contemporaries as a high-waisted dress was worn most days. Cotton, silk or taffeta were the popular fabrics.
1804-1815 ca. Front Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Back Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Side Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Black and White. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Black and White Group. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Beading View. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Beading View. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Beading View. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Beading View. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Beading View. Fawn Cotton Dress with Bead Embroidery, Austrian.
1804-1815 ca. Fawn Cotton Dress With Embroidery Beading, Austrian. #Regency #JaneAusten #Fashion https://books2read.com/SuziLoveFashionWomen1805-1809 Share on X Fashion Women 1805-1809 History Notes Book 26 What did Jane Austen and friends wear? https://books2read.com/SuziLoveFashionWomen1805-1809
