Category Archives: Fashions

If You Decide to Visit Sanditon -Here is What to Wear

The new adaptation of Jane Austen’s Sanditon is all the rage on British TV as I write this post, so here is a collection of fashionable outfits to help you decide what to wear to the seaside. First of all, remember to pack your telescope (or you can hire one from most circulating libraries.) A lady never knows when she might need to check that the gentlemen are sticking to their allocated section of beach.

telescope shoppedThe image above is from La Belle Assemblée for October 1809 and shows ‘Sea Coast Promenade Fashion.’

Telescope0001Somewhat later – I do not have a date for this, but it is c1820 – is this ‘Walking Dress’ from Ackermann’s Repository. I can’t help feeling that this lady is looking positively shifty as she readies her telescope.

 

 

Also in October 1809 the same periodical  showed, ‘Bathing Place Assembly Ball Dress’ (below), illustrated with the neat trick of having a mirror at the back. I can’t help feeling that the head and the bosom are slightly out of proportion… It is interesting that both are published in October – surely far too late for the seaside ‘Season’.

Oct 1809 Bathing Place Assembly

If you feel daring you might like to try one of Mrs Bell’s more… interesting (?) confections….

Bathing evening0001

This extraordinary garment (La Belle Assemblée September 1810) is described as ‘Bathing Place Evening Dress’ and looks like nothing more than some form of night-wear with its buttons right down the front and the display of the shocking pantalettes.

Walking dresses for the seaside show a complete disregard for sea breezes, with bonnets and parasols deployed by every lady. These ladies on the beach at Southend seem to be hanging on to skirts and parasols with some difficulty.Southend

dog walking

This lady, walking her dog on the beach with bathing machines behind her, seems positively agitated as she clings to her hat with her shawl whipping around her. This is a plate from Ackermann’s Repository August 1822.

A rather more tranquil day is shown here in another dog-walking scene, although I would not like to be her lady’s maid, trying to get salt water and sand out of those trailing skirts!

parasol dog bathing machines

1809 Bathing dressWhat did one wear to get to and from those bathing machines? The ever-inventive Mrs Bell produced a magnificent ‘Sea Side Bathing Dress’ for the August 1815 edition of La Belle Assemblée. This is not the costume for entering the sea but for wearing to get there, and it is lavishly trimmed in drooping green, presumably to imitate seaweed. Note the bag she is carrying. This contains Mrs Bell’s ‘Bathing Preserver’ which she produced in 1814. You can see it in its bag again below (La Belle Assemblée September 1814). Here the lady is wearing ‘Sea Side Morning Dress’ with ‘Bathing Preserver. Invented & to be had exclusively of Mrs Bell, No.26 Charlotte Street, Bedford Square.’ The Preserver is in the bag lying beside her chair.

1814 Seaside walking dress & bathing preserver.jpg

Ladies normally wore a simple flannel garment with head and arm holes and possibly a weighted hem – ‘a flannel case’. One could provide one’s own or hire one, and this is what Mrs Bell is referring to in her description of the Perserver:

‘The Bathing Preserver‘ is a most ingenious and useful novelty for ladies who frequent the sea-side; as it is intended to provide them with a dress for bathing far more adapted to such purposes than anything of the kind at present in use; and it will be found most necessary and desirable to those ladies who go to the sea-side unprovided with bathing dresses and will relieve them from the nauseous idea of wearing the bathing coverings furnished by the guides [the ‘dippers’ or bathing-women]. Mrs Bell’s Bathing Preserver is made in quite a novel manner to which is attached a cap to be removed at pleasure, made of a delicate silk to keep the head dry. The Preserver is made of such light material that a lady may carry it in a tasteful oiled silk bag of the same size as an ordinary lady’s reticule.’

Discover all about the Georgian seaside, from bathing dresses to royal patronage, in The Georgian Seaside: The English resorts before the railway age. 

The Georgian Seaside Cover_MEDIUM WEB

 

 

 

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A Valentine Gift?

I have a tiny enamel box, just 4cm by 2cm high, that was surely given as a love-token, perhaps for Valentine’s Day.

Bilston 1

It is almost certainly a Bilston enamel patch box and, although the lid has suffered some damage a long time ago, the two lovers on the lid and the inscription are still clear.

 Sweets the Love That meets Return

reads the caption and a dashing chap with a curling feather in his hat and a dramatic cloak makes lingering eye contact with a fair maiden carrying flowers.

Bilston 2

You can tell it is a box for patches, or beauty spots, and not for tiny sweets or snuff because of the mirror inside. It is a pleasure to hold – the waisted design means that it fits securely between the fingers of one hand to hold it steady while the patch was applied with the help of the mirror.

The box itself probably dates for the 1770s or 80s when the fashion for patches was at its height. They served to cover up skin blemishes or to draw attention to a pretty dimple or to the eyes. In this portrait the lady is seated at her dressing table, about to apply a beauty spot. The patch box she holds has a mirror inside the lid and on the table is another box, much the same size as mine.

689px-Anne_de_La_Grange-Trianon_by_Circle_of_François-Hubert_Drouais

Circle of Francois-Hubert Drouais (1727-65). Via Wikimedia

Craftsmen in the small town of Bilston, just to the South-East of Wolverhampton, began to make enamelled items in about 1745 when Huguenot refugees settled there bringing the technique with them.  The industry was still flourishing in the early 1800s producing snuff boxes, trinket boxes and similar items, but by the 1820s it was in decline with the reduction in snuff-taking and the improvement in manufacturing techniques for fine bone china objects. Bilston enamellers had vanished by the 1850s.

Today Bilston enamels fetch hundreds of pounds. Mine, with its damage, was a very cheap auction bargain!

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Be a Man – Leave That Umbrella At Home!

We’ve arrived at that windy season when raising an umbrella is asking for trouble, as this delicious original water colour sketch (unfortunately undated) reminds me.

windy-weather

The interesting thing about this is that the men are using umbrellas, something that they probably wouldn’t have considered before the early 1800s.

Although parasols as protection from the sun date back to the 4th century BC in the Near East, and possibly earlier in China, the idea of using them to hold off the rain appears to be a 17th century innovation in France, Italy and England – but for ladies only. By the mid-18th century continental gentlemen would happily be seen sheltering from a downpour under an umbrella covered in oiled silk and English ladies would routinely use them, but there was a distinct stigma about Englishmen resorting to an umbrella.

Umbrellas were, it seems, ‘French’ and therefore, by definition, an effeminate accessory. Beau Brummell would never carry one, considering that no gentleman should, and advocated taking a sedan chair if there was the slightest risk of rain.

However, some practical men did ignore the jeers, the most well-known of them being Jonas Hanway (1712-1786), a much travelled man, who designed his own, rather large and cumbersome umbrella and persisted in using it. He was verbally attacked by the hackney carriage drivers who saw this as a direct attack on their business but he ignored their threats and one of the slang terms for an umbrella at the time was a Hanway. (The Victorian ‘gamp’ was named after Dickens’s Mrs Gamp, not the other way around.) The below detail from a Victorian imagining of Mr Hanway shows the interest he attracted.

Hanaway2

By the early 19th century practicality had won over prejudice for most gentlemen and the use of a rain umbrella became usual for both sexes. In 1814 in Mansfield Park Jane Austen writes of the rescue of a very wet Fanny Price:

“… when Dr Grant himself went out with an umbrella there was nothing to be done but to be very much ashamed and to get into the house as fast as possible; and to poor Miss Crawford, who had just been contemplating the dismal rain in a very desponding state of mind, sighing over the ruin of all her plans of exercise for that morning, and of every chance of seeing a single creature beyond themselves for the next twenty four hours, the sound of a little bustle at the front door and the sight of Miss Price dripping with wet in the vestibule was delightful.”

Street Feb

Cruickshank’s delightful series of sketches of various months often show umbrellas. This one (February) has a man using his as a walking aid to negotiate the muddy street while the lady with her skirts hitched up has a far less substantial version.

In this undated sketch (a little earlier than the Cruickshank) both men hold umbrellas, although I suspect that the use of one on horseback may just be part of the joke.wet men

Specialist shops soon started selling umbrellas, as can be seen in another Cruikshank scene which shows one belonging to J. Gingham. The ladies are using what look more like parasols whereas the gentleman inside the shop is having a much more sturdy version demonstrated.

April showers

A gentleman travelling by stagecoach might take a umbrella, as can be seen in this image of someone missing the stage –

missing

Of course you had to be considerate in how you used your umbrella. In 1822 Stanley Harris recalls sitting in front of a woman with an umbrella who would “shove it below your hat so adroitly as to send a little stream of water down the back of your neck.” This delightful drawing by Cecil Aldin shows the misery of being on top of the stage in the rain, even with a brolly. But even in this downpour, it is only a female passenger who is using one.

Rain

Finally here is a print showing  a French invention – an umbrella complete with lightening conductor. Somehow I cannot see any English gentleman consenting to be seen with such an inelegant contraption!

Umbrella_fitted_with_lightning_conductor

(This is an out of copyright image from Louis Figuier: Les merveilles de la science ou description populaire des inventions modernes (S. 596 ff.) (1867), Furne, Juvet)

 

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The Georgian Muff

I wanted to write this blog last week when the blizzards were howling, but I couldn’t get across the back garden to my studio and my print collection. Now the need for a muff has reduced I’ve managed to wade across and retrieve the volume covering 1795-1805. I found it was absolutely stuffed with illustrations of muffs.

For the early history of muffs, and the origin of the name, I can’t do better than refer you to this interesting post by The Costume Historian (snufskins anyone?). During the 17th and 18th century men used muffs too (Samuel Pepys borrowed his wife’s last-season muff and had to buy her a new one) but by the end of that period they were coming to be seen as effeminate and positively French (Horrors!).

Muffs could be made of fur, swansdown or padded fabrics, although all the ones in the prints in my collection look like either fur or the skin of very long-haired sheep, with the occasional one that might be feather. Infuriatingly, even when I have the description with the image they don’t describe the muff. Even if lined with silk and padded with down these vast muffs must have weighed a great deal and it is difficult to see how one could have put both hands into the biggest ones without your elbows sticking out like jug handles. There would certainly be room inside for other things – it was even possible to buy muff pistols, although confronted by a foot-pad it might have been more effective simply to smother him with the muff itself. In one or two images you can see that they are being held by the rim – the idea of a loop handle or strings around the neck doesn’t seem to come in until they reduced greatly in size with the Victorians.

The image at the top of this post is from Heideloff’s The Gallery of Fashion for February 1799 and show large, long-haired fur muffs, the brown one with walking dress and white one used inside. This next plate is from Phillip’s Fashions of London and Paris (February 1800) and shows two Full Dresses, one accessorized by a vast fluffy white muff. Presumably this was simply carried for effect – or would cold rooms have made it necessary?

I have a number of plates from The Lady’s Monthly Museum which are notable for their rather plain ladies and decided lack of elegance! Here is a pair of Morning Dresses for February 1800.

And for December that year two more Morning Dresses with very shaggy muffs. In the descriptions details right down to stockings are described – but not the muffs.

For March 1801 The Lady’s Monthly Museum has a charming pair of Morning Dresses with a poodle who seems to think the large white muff might come from a relative of his and an Afternoon Dress with the muff discarded on the sofa while the very nattily-dressed gentleman makes intense eye-contact.

For February 1802 here are two ladies from a very lovely Gallery of Fashion plate with below it Morning Dresses from the much less exclusive Lady’s Monthly Museum.

For March 1805 The Lady’s Magazine has a London Walking Dress with a very curly muff and a feather to match and The Ladies’ Monthly Museum a figure in Full Dress with a positively enormous white muff.

And finally, here is a rare plate from Le Miroir de la Mode by the mysterious Madame Lanchester. I blogged about her here with some more examples from my collection. In this example of a Walking Dress from January 1803 the muff is so large that it seems almost as long as the wearer’s legs!

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Keeping a Diary – and a lady who didn’t

I recently deposited my late father’s 40+ years-worth of diaries with the Great Diary Project , an incredible undertaking to preserve diaries of all kinds.  It made me think about keeping a diary – and how many good resolutions there must be to do just that which are never fulfilled. Which reminded me that I own a ladies’ memorandum book for 1822 –  and the owner didn’t use it either.

The book is beautifully bound in plain red Morocco leather with a tab to keep the covers closed and measures just over 4.5 x 3.25 inches.

But even though it contains no fascinating insights into the daily life of a lady in 1822 it is a lovely item in its own right, and it does contain two handwritten recipes and a mass of other useful printed material including “New Songs and Melodies”, instructions for country dances and quadrilles, the price of stamps and “Enigmas, Charades and Rebuses.”

The diary belonged to “Elizabeth Plant. Greatwood Lodge.” I did not have much confidence that I could find her – but an on-line transcript of a deed appointing Thomas Plant “Farmer of Greatwood Lodge in the parish of Eccleshall in the county of Staffordshire” as a trustee in 1879 gave me the parish. Greatwood Lodge is still there, a red-brick farmhouse that was perhaps quite new in Elizabeth’s time, and still a farm.

The frontispiece has a fashion plate and a view of a fine country house in Suffolk

As the frontispiece says the diaries were sold by a Bury St Edmund’s bookseller and throughout East Anglia the choice of a Suffolk house was probably for marketing purposes. Perhaps Elizabeth received it as a gift from a friend or relative.

I wonder if she took the picture of the walking dress to her local dressmaker, or even attempted it herself – and did she and her friends try out the country dances the book contained?

Amongst the poems I particularly like this cynical view off London – perhaps intended to convince the country-dwelling owners of the diary that they were in the right place:

The only things that Elizabeth wrote in her diary were two recipes, one for gingerbread and one for “toufy” or toffee, both on the accounts page for January. The  gingerbread sounds tasty!

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George Hoby, Boot and Shoe Maker

I have posted before about shoemakers, cobblers and cordwainers (November 2014), but after a recent Twitter exchange about a George Hoby invoice I thought I would talk about it here, rather than in 140-character snippets! [I tweet as @LouiseRegency].

George Hoby (1759-1832) is probably the best-known London bootmaker, if only because he was the man Wellington went to to get his iconic Wellington boots made up. There is plenty of information about Hoby on-line, so I won’t repeat it here – but it took me ages to work out which corner of St James’s Street and Piccadilly his shop was on. The answer is the western corner which now has a shop selling caviar. Hoby, who died leaving £120,000, would probably have approved!

I own two of Hoby’s original invoices, from 1809 and 1818. Below is the 1808 one, both sides. It would have been folded so that the address was on the outside and sealed with red wax which is still visible on the front.

hoby-wood-front

 

hoby-wood-back Mr George Wood lived in Blandford Court which was on the south side of Pall Mall behind Marlborough House which is within a five minute walk of Hoby’s shop which is probably why the invoice appears to have been hand-delivered. I suspect that Mr Wood was a relative of Lieutenant-General Sir George Wood, ” the Royal Bengal Tiger” and his brother Sir Mark Wood, bt. Sir Mark certainly lived in Pall Mall.

The invoice is on very thick paper and shows that Hoby was ‘By Appointment” to four Royal Dukes – Kent, Cumberland, Sussex and Cambridge. The fact that he did a great deal of mail-order work is indicated by the box of “Instructions” for measuring yourself for boots. There is the hand-written number 311 on the left and 221 at the top right. These might be customer numbers, invoice numbers, ledger references – frankly, I have no idea, but the invoice for 1818 has 644 and 291.

Mr Wood’s bill was for:

Bill delivered £6 7s (ie he appears to be behind with his bills!)

Aug 9 1Pr (pair) Boots Soled & heeled 13s

1 Pr of [?] Bound 2s 6d

Sept 15 1 Pr Shoes 15s

1 Pr Boots soled & heeled 13s

The invoice is smaller than the later one and seems to have been cut off at the bottom because “Sir” can still be seen. It appears to have been sent like this because of the folds in the paper, so possibly the obliging note, shown below, did not apply to gentlemen owing £6 7s!

The 1818 invoice is on good paper, but nowhere near as thick. Hoby has retained the patronage of the four Royal Dukes and added their niece, the heir to the throne, Princess Charlotte and her husband, Leopold of Saxe-Cobourg.

hoby-crowder-front

hoby-crowder-back

This bill is to Major Crowder at the Plough Inn, Cheltenham. Major John Crowder was late of the 7th Regiment of Foot and had served with gallantry (according to his obituary in the Gentleman’s Magazine) at Copenhagen and in the Peninsula being wounded twice, once severely. He retired on half pay in 1815 and was promoted Colonel and knighted in 1838, a few months before his death.

The Major’s bill is for:

May 29 1 Pair Boots £2 18s

1 Do (ditto) Dress (presumably dress or evening shoes) 17s 6d

June 2 1 Do Boots £2.18

1 Do Dress 17s 6d

Box (presumably for packing) 2s

On June 2nd a pair of shoes and a pair of boots were returned. These must be the shoes sent out on May 29th, which says something for the postal service!

The message on the bottom of the page has been cut off on Mr Wood’s bill.

Unfortunately we cannot compare the price of boots over the nine years, but shoes seem to have increased by 2s 6d – although, of course, the Major’s may have been of a more expensive type.

 

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The Earl of Wittering Goes to the Seaside Part 10: A Walk on the Beach

The broad sweep of sand was one of the factors that had decided Porrett in his selection of Weymouth for the Earl’s seaside visit. Now he finds himself delighted with his choice as the Countess and her daughter in law drive off in one of the charming little donkey carts for hire, their husbands stride along the seashore, young Arthur rummages happily amongst the seashells on the tide line and he is left to escort Miss Gatwick – Emily.

beach scene

She clings to his arm and laughs as they pass small children happily building sandcastles. ‘Mama would never have let me do that when I was small.’

‘The followers of Rousseau believe that childish play is healthy,’ Porrett observes, wondering why he has to sound so incredibly pompous when he speaks to Emily. ‘And here on the beach there is so much more room than at the inland spas. Children can play without disturbing anyone else.’

So can adults,’ Emily says as her mother and grandmother pass them in their donkey cart, Mama holding onto her hat and laughing. ‘Oh, do look at that very fetching bathing dress.’

She points to a lady wearing (to Porrett’s vast relief) a costume designed for the walk to a bathing machine rather than the actual costume for immersion itself. He is still finding the somewhat casual approach to ladies’ dress embarrassing.  ‘I assume it is supposed to be trimmed with seaweed,’ he says dubiously, hoping that Emily will not want to wear something so outlandish. (The example shown here is from La Belle Assemblee for 1809. In her hand she is holding the bag for her Bathing Preserver, the costume she will actually wear in the water, an invention of Mrs Bell, the modiste who was also responsible for this subtle little number.).

1809 Bathing dress‘Such a pity green does not suit me.’ They wander on a little, Porrett tongue-tied with love, Emily uncharacteristically silent. Finally she blurts out, ‘You went swimming this morning.’

‘Er, yes. I felt I should check the facilities.’

‘I saw you. From the window.’ She pauses and gulps audibly. ‘With Papa’s telescope.’

Porrett feels the blood drain from his face and tries very hard not to think about where it is heading. Emily had been watching him swimming. Him swimming naked. With a telescope. ‘Miss Gatwick…’

‘Emily, please, Frederick. You looked magnificent rising from the waves. Like a sea god,’ she adds breathlessly.

Porrett has no illusions about his personal charms. He is rather less than six foot tall, has sandy hair,  takes strenuous exercise to prevent a stoop as a result of so much desk work and has to wear wire-rimmed spectacles for documents in small print. If Emily thinks he looks like a god then either she is seriously ill and hallucinating or she… she…

1816 Costumes Parisien‘We cannot,’ he mumbles with nothing like his normal fluency. ‘You are the granddaughter of an earl. I am…’

‘The third son of a bishop and the second cousin of a duke,’ Emily says just as there is a shriek and a lady is hauled spluttering to the surface by two burly female dippers.

Porrett closes his eyes in dismay – this lady has gone in without her flannel ‘case’ – then opens them again with a yelp when Emily digs her elbow into his ribs in a most unlover-like manner. ‘Oh, Papa,’ she says. ‘Do go and distract him before he causes a riot.’ And, of course, the Viscount is on the waterline gawping. Porrett, ready to tackle dragons to save Emily the slightest embarrassment, strides off to deal with her father. Yet again. Dipping crop

Find out more about the many attractions of a walk on the beach and the changing attitudes to children’s play in The Georgian Seaside.

Next time – a rift between the lovers puts Emily’s life in danger. Can Porrett save the day and win her hand? Find out in the concluding episode.

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