Busks shaped and reinforced the centre front of stays, or corsets. They were made from whalebone, wood, and bone, and were often inscribed with names, dates, and symbols of love because they were positioned close to the heart. The corsets worn in Jane Austen’s later years and by women in Bridgerton times often had busks to stiffen the corset and support the breasts.
1755 Wooden Busk For Stays, English. Flat piece of wood with design scratched or picked out, and accented with red stain. Design comprises of circles, stylized geometric stars, heart motifs, and the initials and date ‘EB 1755’. Indistinct inscription on the back, scratched into the surface of the wood with three lines of script.1800-1840 ca. Scrimshaw Corset Busk, American. Designs are of a ship and the places the sailor visited. Sailors made these as gifts to be worn close to the heart by their loved ones. Dimensions (inches) 12.5 (L) , 1.3 (W). Dimensions (centimeters). 31.7 (L) , 3.3 (W) via Winterthur Museum Collection.19th Century. Scrimshaw Baleen Corset Busks, American. The first with figure inscribed Annabelle, ship, whale, and verse On the off shore grounds I think of thee, so I’ll catch my whales and leave the sea; the second inscribed Mary and 1836 12 3/8in. high the longest. via Christie’s Auction Rooms. 1833 August. Corset Busk of carved whalebone. Face carvings, house, geometric circle, potted plant, sailing ship, American flag. Joseph Bradford. Carvings, plant, house, anchor, sea birds over ship, tree. Whale skeletal bone, inscribed with knife and using black pigment. Length: 13 1/8″ 33.4 cm; Width: 1 9/16″ 3.9 cm; Thickness: 1/8″ 3 mm.Busks shaped and reinforced front of corsets. Made from whalebone, wood and bone. Often inscribed with names, dates and symbols of love because they were positioned close to the heart. Via Hereford Museum. 1771 Wooden Corset Busk, American. Carved Maple wood. Via Winterthur Museum. 19th Century Early. Corset Busk of Double-Sided Carved Wood. Honey colored wood, probably maple, carved on both sides. Two trees of life, hex symbol design, two entwined hearts, pinwheels, and growing plant. Back has delicate scrimshaw-look design of seashore town, chapel, homes, lighthouse and ships, horizontal rather than front vertical. Measures: 13.75″ x 1.5″. via Antique Dress.18th Century Wooden Busk for Stays, European. Via metmuseum.org18th Century Late – 19th Early Carved Maple Wood Busk, American. Spirals top & bottom, two hearts meet at center, “PC” carved on reverse. Worn by member of Robbins family, inherited by Ellen A. Stone. Via Fine Arts Museum Of Boston, USA.
1795-1805 ca. Evening Dress, Spain. Batiste, embroidered with sequins and floral theme. Via Museum Collections in Spain. ceres.mcu.es
The Empire styles at the beginning of the 19th century were made of a soft, lightweight fabric gathered just under the breasts. It featured a low square neckline, and small, short, puffed sleeves with a low shoulder line. Although lawn and batiste were used, muslin was the fabric of choice as it was easy to clean. The thin muslin clung close to the body and emulated styles worn in ancient Greece. Shades of white predominated, with the addition of pale pastel shades worn for day wear.
Definition Batiste: Soft, sheer, cotton or linen fabric in white and delicate colors, used for handkerchiefs, nightwear and neckwear. Probably named for its inventor, Jean Baptiste, of Cambrai.
1790-1805 ca. Women’s pink patterned kid leather shoes as worn by Jane Austen and other ladies in her times. Made by Hoppe, London, of stencilled kid leather.
In Jane Austen’s years, fragile slippers were worn for balls and evening events but for walking sturdier shoes were needed, In the early 1800s, slippers were made of fabric such as satin or from leather, were flat or had a very small heel, slightly rounded toes and were laced up on the top. They were usually not made in right or left, but instead one shoe shape and in multiples so that when one slipper wore out, another was on hand to replace it.
Want To Know More About Georgian Era Men’s Fashions? Try History Notes Book 2 By Suzi Love. Fashion Men 1700s Late. books2read.com/suziloveFashMen1700 What was fashionable for men in the late 1700s? Extravagant colors and fabrics and outrageous styles. Take a look at their suits, hats, accessories and bedroom fashions.
What was fashionable for men in the late 1700s? Extravagant colors and fabrics and outrageous styles. Take a look at their suits, hats, accessories and bedroom fashions. Strictly speaking, the Georgian Era might include all the years that a ‘King George’ ruled in England, but for the purposes of this book the ‘Georgian Era’ is primarily the late 1700s when mad King George III ruled. His son became Prince Regent in the early 1800s, therefore creating the years known as the Regency, and became George IV on the death of his father.
The Georgian years officially ended with the death of King George IV in 1830.
Do you need more factual and visual information for your historical fiction? Try History Notes Books 1-28. Non-fiction Series: Fashion, corsets, Regency Era, music and social manners in the 18th and 19th centuries e.g.
1770-1790 ca. Child’s Stays, American. Linen plain weave, baleen, or whalebone, silk braided tape. Dimensions: Center Front Length: 5 3/4 inches (14.6 cm) Waist: 18 inches (45.7 cm). Made in United States of America. This pair of stays is only eighteen inches around, and might have been worn by a small child of eighteen months to two years old. Putting stays on young girls and boys was not seen as harsh, but rather as insurance that their figures would develop the correct form, with chest out and shoulders down. While boys usually wore stays only in early childhood, they were considered essential for females throughout their lives. via Philadelphia Museum of Art philamuseum.org Accession Number: 1988-15-1Credit Line: Purchased with the Bloomfield Moore Fund, 198
1790-1810 ca. Jane Austen Style White Linen Shift Or Chemise, American. #RegencyEra #JaneAusten #underclothing https://books2read.com/SuziLoveFashionWomen1801-1804
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.
1715-1790 ca. Miniature Sable Pocketbook, France. Glass beads strung on linen, or sablé, woven silk and metallic binding. Miniature envelope-style pocketbook. Polychrome opaque and translucent glass beads strung with linen thread, held together by interlocking looping stitches, or sablé. Designs on white ground, cupid shooting arrow at blue and red hearts. Borbon arms surmounted by coronet, red heart with five keys. Gilt-galloon binding. Blue silk taffeta lining. Cardboard foundation. via Museum of Fine Arts, Boston. mfa.org