1805-1815 ca. Empire Style, High-Waisted Dress, American. Typical style of dress worn in the time of Jane Austen. Long sleeves under short sleeves, square neckline, back fastening. Via Five Colleges and Historic Deerfield Museum Consortium. museums.fivecolleges.edu
Definition Empire Style Dress: High-waisted white gown defined women’s fashion during the Regency Era. ‘Empire’ is the name given to the period when Napoleon Bonaparte built his French Empire. High-waisted, loose gowns were adopted by the aristocracy as a symbol of turning away from the fussy, elaborate and expensive clothing worn in the 1700s.
1805-1815 ca. Empire Style, High-Waisted Dress, American. Long sleeves under short sleeves, square neckline, back fastening. Via Five Colleges and Historic Deerfield Museum Consortium. museums.fivecolleges.edu1805-1815 ca. Empire Style, High-Waisted Dress with Long sleeves under short sleeves. #JaneAusten #RegencyEra #Fashion https://books2read.com/SuziLoveFashionWomen1805-1809 Share on XFashion Women 1805-1809 History Notes Book 26
What did Jane Austen and friends wear? This book looks at early 1800s fashions, which were elegant and pretty with high waists and fabrics that were almost transparent. These Empire style gowns, named after Napoleon’s first Empress, became popular throughout Europe, and were then copied around the world. Colorful outwear was added to make an ensemble more attractive and warmer.
https://books2read.com/SuziLoveFashionWomen1805-1809
Claridge’s Hotel – London’s Historic Places Claridge’s was founded in 1812, during the Regency Era, as Mivart’s Hotel at 51 Brook Street, Mayfair, London, UK.
Lord William Beauclerk leased the terrace house from the Grosvenor Estate with permission to turn it into a hotel run by James Edward Mivart, the anglicized name for French chef Jacques Mivart. By 1838, the hotel grew to buy five consecutive houses along Brook Street, knocking down the walls to create one large hotel and Mivart prospered by introducing English county families to subtle French cooking to replace their traditional stodgy fare. Mivart designed the hotel for guests who wished to stay longer, so apartments were let by the month to foreign royalty and nobility who enjoyed the ambiance of the well-run hotel yet had the privacy of their own suites. The Prince Regent, who succeeded to the throne as King George IV in 1820, had a suite of rooms permanently reserved for him so he could discreetly carry on his playboy lifestyle.
In 1827, The Morning Post noted that Mivart’s was the fashionable rendezvous for the high Corps Diplomatique. In 1854, the hotel was sold to Mr and Mrs Claridge who ran a separate hotel at 49 Brook Street. They combined the two operations to trade as “Mivart’s at Claridge’s” until, after Mivart’s death, the hotel changed its name to Claridge’s in 1856, adding “late Mivart’s” underneath.
In 1860, Queen Victoria and Prince Albert visited the Empress Eugènie of France, who had made Claridge’s her winter quarters, and Queen Victoria was so impressed that she wrote to her uncle, Leopold I, King of the Belgians, in glowing terms of Claridge’s. The hotel became so connected to royalty it was called an “extension to Buckingham Palace”.including the Grand Duke Alexander of Russia and King William III of the Netherlands, until by 1853, The Times decided London had just three first-class hotels- Mivart’s, The Clarendon in Bond Street and Thomas’s in Berkeley Square.
In 1881, William Claridge’s failing health forced them to sell to a consortium, but the hotel consisted of several private houses and couldn’t be upgraded to compete with purpose built hotels cropping up all over London. The Savoy for example, built in 1889, offered lifts to all floors, electricity, en suite bathrooms and the best chef in Europe, Auguste Escoffier. So in 1894, Richard D’ Oyly Carte, founder of the rival Savoy Hotel, purchased Claridge’s and commissioned CW Stephens, designer of Harrods, to rebuild the hotel from the ground up. The new Claridge’s opened in November 1898.
1897 Claridge’s Hotel, Mayfair, London, U.K. A perspective view of the new building showing the front entrance in Brook Street and the return front in Davies Street. Drawn by C. W. Stephens, architect.
After World War I, Claridge’s flourished due to demand from aristocrats who no longer maintained a London house and Carte’s son, Rupert D’ Oyly Carte, added a new extension. During World War II, Peter II of Yugoslavia and his wife spent their exile at Claridge’s until on 17th June 1945, suite 212 was ceded by the UK to Yugoslavia for a single day to allow their heir, Crown Prince Alexander, to be born on Yugoslav soil.
“It is particularly incumbent on those who never change their opinion, to be secure of judging properly at first.” Jane Austen Pride and Prejudice (1813) .#JaneAusten #Regency #Quote
1792 Grand Piano, London, UK. Maker John Broadwood (1732–1812) Mahogany, oak, curly maple, ivory, ebony, brass. Credit: Mr. and Mrs. Jerome C. Neuhoff, 1957 via Metropolitan Museum New York City, U.S.A. metmuseum.org books2read.com/suziloveMusicPiano
1864 Silk corset, made to be worn over a chemise. Made in France or Britain. Aqua blue silk lined with linen, edged with machine-made lace, reinforced with whalebone, metal, lined with cotton twill. The front has fastenings and the back has lacings. The wearer of this corset could dress without help because the steel ‘split busk’ fastens in front. The front fastening was invented in 1829 but did not become common until the 1850s. The whalebones press into the waist to shape the hipline into an extravagant curve, to flatter and support the fashionable cage crinoline. In the 1860s women relied on voluminous skirts, in addition to corsets, to make their waists appear small.
Flossing, or embroidery, to stop bones poking through fabric, edged with machine-made lace, reinforced with whalebone, metal fasteners, V-shaped front for better fit & extra shaping. The front has fastenings and the back has lacings. There are fewer bones in the back of the corset than the front and none over the hips. Trimmed at the top edge with a narrow band of machine-made lace. Stiffened with whalebone and machine-stitched with an incised swivel latch to lock the busk fastening. Boned at the centre front, back and diagonally from the side to back and sides to front. The boning is hand-stitched into place. Metal eyelets. Lined with cotton twill. The corset reaches the top of the hips and is gored at the bust and hips.
During the 19th century, corsets were made from a variety of materials and shapes changed often. Sometimes breasts were pushed up and almost over the top and waists could be tiny and other curves were emphasized. By the end of the 19th century, corsets weren’t laced so tightly because wide crinolines created the illusion of tiny waists. There are fewer bones in the back of the corset than the front and none over the hips. From the late 1840s to the 1860s skirts were full and bell-shaped, at which point corsets were relatively short and not particularly tightly laced, since the massive skirts made all waists look proportionally small.
The corset was worn over the chemise and it moulded the figure of the wearer into the fashionable shape of the day. These shapes ranged from slender to curvaceous and everything in between during the 19th century. Like the chemise, the corset in the 19th century was made of a wider variety of materials, in this case blue silk lined with linen. It did not need to be very tightly laced, for the illusion of a small waist was created by the very wide circumference of the crinoline.
Credit : Given by the Burrows family. Museum number:T.169-1961. The donors of this corset linked it to a 1864 marriage in the family. Victoria and Albert Museum, London, U.K.
As some of my historical romance books are set in a house in Grosvenor Square, its history fascinates me. How about you? Do you love the history associated with Grosvenor Square? The Jamison family in Embracing Scandal and Scenting Scandal live in Grosvenor Square.
Grosvenor Square - Pronounced ˈɡrovna’, is a large garden square in the exclusive Mayfair district and the centrepiece of the Mayfair property of the Duke of Westminster and takes its name from their surname, “Grosvenor”.
In 1710, Sir Richard Grosvenor obtained a licence to develop Grosvenor Square and the surrounding streets and development started around 1721. Grosvenor Square became one of the most fashionable residential addresses in London from its construction until the Second World War, with numerous leading members of the aristocracy in residence. The early houses had five or seven bays, basement, three main stories, and an attic. Colen Campbell produced a design for a palatial east side to the square featuring thirty Corinthian columns but this was not carried out and in the end most of the houses were built to individual designs. There were mews behind all four sides. Many houses were rebuilt later and acquired an extra storey. Number 23 (later 26) was rebuilt in 1773–74 for the 11th Earl of Derby by Robert Adam and shows how grandeur of effect and sophisticated planning might be achieved on a confined site. It was demolished and rebuilt again in the 1860s.
1761 – Sir Richard Grosvenor, the 7th Baronet, was created Baron Grosvenor of Eaton in the County of Chester
1784 – Became Viscount Belgrave and Earl Grosvenor under George III.
1831- At coronation of William IV, Robert Grosvenor, the 2nd Earl Grosvenor, became Marquess of Westminster
1874 – Queen Victoria created the title Duke of Westminster and bestowed it upon Hugh Grosvenor, 3rd Marquess of Westminster.
Current title holder is Gerald Grosvenor, 6th Duke of Westminster and his seat is at Eaton Hall, Cheshire The Dukedom and Marquessate are in the Peerage of the United Kingdom The rest are in the Peerage of Great Britain. The courtesy title of the eldest son and heir to the Duke is Earl Grosvenor.
Nearly all of the older houses were demolished during the 20th century and replaced with blocks of flats in a neo-Georgian style, hotels and embassies. The central garden was originally reserved for the occupants of the houses but is now a public park managed by The Royal Parks. Grosvenor Square. Grosvenor Square has been the traditional home of the official American presence in London since John Adams established the first American mission to the Court of St. James’s in 1785. Adams lived, from 1785 to 1788, in the house which still stands on the corner of Brook and Duke Streets. During World War II, Eisenhower established a military headquarters at 20 Grosvenor Square, and during this time the square was nicknamed “Eisenhower Platz”.
The former American Embassy of 1938–1960 on the square was purchased by the Canadian government and renamed Macdonald House. In 1960, a modern USA Embassy was built on the western side of Grosvenor Square and caused controversy in the mainly Georgian and neo-Georgian area. In 2008, the United States Government chose a site for a new embassy in the Nine Elms area, south of the River Thames with with relocation completed by 2016 or 2017. In October, 2009, English Heritage granted Grade II listed status to the building which means new owners will not be allowed to change the facade.
Grosvenor Square in Literature In Little Dorrit by Charles Dickens the Barnacles are said to live at “four Mews Street Grosvenor” which “was not absolutely Grosvenor Square itself but it was very near it”. Caroline Bingley makes a comment regarding the local dance in Pride and Prejudice ”We are a long way from Grosvenor Square, are we not, Mr Darcy”. It appears in the title of several novels including The Lonely Lady of Grosvenor Square by Mrs. Henry De La Pasture (1907) and The House in Grosvenor Square by Linore Rose Burkard (2009) In Oscar Wilde’s play Lady Windermere’s Fan, the Duchess of Berwick says, “I think on the whole that Grosvenor Square would be a more healthy place to reside in. There are lots of vulgar people live in Grosvenor Square, but at any rate there are no horrid kangaroos crawling about.”
1820 ca. Typical Regency Wrap Corset.. Worn over a chemise. Cross-over fabric and lacing at the back. Tied around at the front. via Roger-Viollet Palais Galliera, Musée de la Mode de la Ville de Paris. Object number- GAL1957.16.17 Corsets changed at the e4nd of the Regency Era 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 would have worn this type of soft wrap corset. https://books2read.com/SuziLoveCorsetBook17.
Corsets worn during the early 1800s, or Regency Era, or Jane Austen’s lifetime, when dresses were low cut with square necklines. https://books2read.com/SuziLoveCorsetBook17
1800s Typical Puddings and Pastries.These are the sort of puddings and pastries Jane Austen’s family would have eaten on a regular basis during the early 1800s, or Regency Era. Open Apple Tart, Galette, Apricot Fritters, Pancakes and Apricot Jam, Charlotte Russe, Macaroni Cheese, Cherry Tart, Mince Pies, Almond Puddings, Tartlets, Compote Of Fruit, Fruit Pudding, Fruit Tart, Christmas Plum Pudding, Milk Pudding and Roly Poly Jam Pudding. From: 1850s- 1860s Mrs. Beeton’s Books of Household Management. via Google Books (PD-150). 1800s Typical Puddings and Pastries Served In Households Like Jane Austen’s. https://books2read.com/suziloveOLD
1810 French Gentleman. Riding outfit of double-breasted brown coat, tight pants with a side button decoration, jaunty black hat, gloves, and a crop. Fashion Plate via Journal des Dames et des Modes, or Costume Parisien.
In the early 1800s, men no longer wore complicated styles and extravagant fabrics. Men’s fashion simplified and became more conservative. A well cut tailcoat, vest, pantaloons and an immaculate cravat of beautiful white linen in the style of George Bryan, or Beau, Brummell. Clothes were a status symbol and indicated a man’s social position. These clothing items were the sort worn by Jane Austen’s male family and friends.
The London To Louth Royal Mail, England, U.K. Print by Charles Cooper Henderson. (1803-1877)
How did Jane Austen and her family? Did they go by stagecoach? The dreadful condition of British roads caused great apprehension to all classes of travelers. Making a journey anywhere in the country was a big undertaking and often a gentleman composed his last will and testament before his departure. Traveling in vehicles was only possible during the day or on the nights with very bright moonlight with few vehicles attempting road travel in winter and any travel on a Sunday was frowned upon. books2read.com/SuziLoveTravel
Description of Stage Coach Travel in England. via 1815 Journal Tour of Great Britain. “The gentlemen coachmen, with half-a dozen great coats about them, immense capes, a large nosegay at the button-hole, high mounted on an elevated seat, with squared elbows, a prodigious whip, beautiful horses, four in hand, drive in a file to Salthill, a place about twenty miles from London, and return, stopping in the way at the several public-houses and gin-shops where stage-coachmen are in the habit of stopping for a dram, and for parcels and passengers on the top of the others as many as seventeen persons. These carriages are not suspended, but rest on steel springs, of a flattened oval shape, less easy than the old mode of leathern braces on springs. Some of these stage coaches carry their baggage below the level of the axletree.”
