Petticoat, embroidered, 1870c, English; Whitework, cotton with broderie anglaise inset
And here we are! The third and final segment of 1870s undergarments! If you missed the last two, check out: 1870s Unmentionables: Layer 1-Chemise and Drawers and 1870s Unmentionables: Layer 2: Cors…
Well dear hearts - 1828 was the last year for Ackermann's Repository and so this will be the last set of Regency Fashion plates from that British periodical. I'm still enthralled by all the ribbons, lace and fripperies these fashion plates have recorded as their snap-shot of what real Regency fashions were like. It's been a fun treat to share with you all the lovely dresses be they; morning, walking, promenade, evening, ball, wedding, carriage, mourning or fancy dress. I just can't imagine what it was like to change clothes multiple times a day as those who were well off did back then. I truly adore the colored plates I've been privileged to see, especially when considered that each and every one of them was hand colored - that just blows me away. There were thousands of these magazines printed every month and 30+ hand colored prints in every issue. Just think, no two of these colored plates is exactly alike. I've seen several originals available for sale on eBay and will probably buy a few to frame and display since I love them so very much. But most of all I'm thrilled to have a full 20 year set of these in digital form to play with as I create fun art in Photoshop. I hope you have enjoyed seeing these fun fashion plates as much as I have enjoyed sharing them with you. Please remember to check back in as I post other interesting bits and pieces from Ackermann's Repository that you might find as fascinating as I do. My pick of the 1828 Ackermann's Repository Fashion Plates I could not resist choosing this as my pick for the 1828 fashion plates since it depicts a costume that would be worn to a Fancy Dress Ball - how fun is that! (this plate shows a Sclavonian (Prussian) regional costume and would have been perfect for a Regency Fancy Dress Ball that had an ethnic theme). Masquerades and Fancy Dress Balls were an exciting change of pace for those of the Regency but the two should not be confused. A Masquerade would be one where the participants would wear a mask and would be a bit more relaxed and risque than a regular ball or a fancy dress ball. Fancy Dress balls allowed the participants to dress in fun costume but the identity of all would have been known just as if they were attending a regular ball. Some Fancy Dress Balls may have been themed and others just an open call for fancy dress of one's choosing. Either way the participants faces would not have been covered as depicted in this period poem by the Regency dance master - Thomas Wilson Fancy dress balls must as the next appear, And what they really are you now shall hear. Fancy Dress Balls, some people likewise name Characteristic, and think they are the same; (But Characteristic as I just have said, Is meant to signify a Masquerade,) A Fancy Dress Balls that, where every guest Is in appropriate costume strictly dres't; The face to shew the character, and age They paint, as is the custom of the stage; The mask's forbid the countenance to aid, For "Fancy Ball" means not a "Masquerade." -- Thomas Wilson, The Danciad. London, 1824. I hope you enjoy this final set of Ackermann Repository Fashions for 1828 ! Ackermann's Repository 1828 Fashion Plates 1828 - Ackermann's Repository Series 3 Vol 11 - January Issue 1828 - Ackermann's Repository Series 3 Vol 11 - January Issue 1828 - Ackermann's Repository Series 3 Vol 11 - February Issue 1828 - Ackermann's Repository Series 3 Vol 11 - February Issue 1828 - Ackermann's Repository Series 3 Vol 11 - March Issue 1828 - Ackermann's Repository Series 3 Vol 11 - March Issue 1828 - Ackermann's Repository Series 3 Vol 11 - April Issue 1828 - Ackermann's Repository Series 3 Vol 11 - April Issue 1828 - Ackermann's Repository Series 3 Vol 11 - May Issue 1828 - Ackermann's Repository Series 3 Vol 11 - May Issue 1828 - Ackermann's Repository Series 3 Vol 11 - June Issue 1828 - Ackermann's Repository Series 3 Vol 11 - June Issue 1828 - Ackermann's Repository Series 3 Vol 12 - July Issue 1828 - Ackermann's Repository Series 3 Vol 12 - July Issue 1828 - Ackermann's Repository Series 3 Vol 12 - August Issue 1828 - Ackermann's Repository Series 3 Vol 12 - August Issue 1828 - Ackermann's Repository Series 3 Vol 12 - September Issue 1828 - Ackermann's Repository Series 3 Vol 12 - September Issue 1828 - Ackermann's Repository Series 3 Vol 12 - October Issue 1828 - Ackermann's Repository Series 3 Vol 12 - October Issue 1828 - Ackermann's Repository Series 3 Vol 12 - November Issue 1828 - Ackermann's Repository Series 3 Vol 12 - November Issue 1828 - Ackermann's Repository Series 3 Vol 12 - December Issue 1828 - Ackermann's Repository Series 3 Vol 12 - December Issue ********************* Please note that the two November dresses are black Mourning costumes and the first December costume is Half-Mourning of lavender and black. This was due to the Death of Royal Princess Charlotte who died in October of 1828. Though married and living in Germany; she was the oldest daughter of the previous British King George III and Queen Charlotte and the sister of the current King George IV. Ackermann's Repository did not publish any notice of this but it would have been why these mourning fashions were being shown. - Just thought you'd like to know too. ********************** Ackermann's Repository printed their notice of final issue in the Dec 1828 issue so the public would know there were to be no more issues from that point forward. However a new publication call the Repository of Fashion was to replace the current Ackermann's Repository going forward according to the notice printed. I thought you might get a kick out of reading that notice as well as the attached information for professional binders to place the plates when converting the individual magazines into book volumes. I have found that in 1829 Ackermann's Repository of Fashion was published but in January of 1830 Mr Ackermann suffered a stroke and due to health issues the Repository of Fashion merged with La Belle Assemblee. Ackermann's Repository of Fashion 1829 can be seen online HERE I hope you have enjoyed another journey into real Regency fashions as we end this final 20th year installment of Ackermann's Repository. Here are the quick and easy links to the previous fashions from 1809 - 1827 Ackermann's ran series 1 from 1809 - 1815 Series 1 - Vol 1 & 2 - 1809 Series 1 - Vol 3 & 4 - 1810 Series 1 - Vol 5 & 6 - 1811 Series 1 - Vol 7 & 8 - 1812 Series 1 - Vol 9 & 10 - 1813 Series 1 - Vol 11 & 12 - 1814 Series 1 - Vol 13 & 14 - 1815 The Ladies of Ackermann's Regency Fashion (this is a fun digital art piece I did using many of the above ladies) Ackermann's ran series 2 from 1816 - 1822 Series 2 - Vol 1 & 2 - 1816 Series 2 - Vol 3 & 4 - 1817 Series 2 - Vol 5 & 6 - 1818 Series 2 - Vol 7 & 8 - 1819 Series 2 - Vol 9 & 10 - 1820 Series 2 - Vol 11 & 12 - 1821 Series 2 - Vol 13 & 14 - 1822 Regency Garden Party with a Roaring Rogue (this is a fun digital art piece I did using several Ackermann's Repository images from series 2 and one fun lion man from J.J. Grandville, who was another Regency period illustrator.) Ackermann's ran series 3 from 1823 - 1828 Series 3 - Vol 1 & 2 - 1823 Series 3 - Vol 3 & 4 - 1824 Series 3 - Vol 5 & 6 - 1825 Series 3 - Vol 7 & 8 - 1826 Series 3 - Vol 9 & 10 - 1827 Series 3 - Vol 11 & 12 - 1828 (current posting) Ghost Ladies of the Regency (A whimsical piece of artwork I created using several Ackermann's Repository images.) Thanks for following along with my Ackermann's Repository Regency Fashion Series and please remember to check back for all the other fun non-fashion items from Ackermann's Ill be posting in the near future. Thanks for visiting me here at EKDuncan.blogspot.com If you have enjoyed seeing these images from Ackermann's Repository and would like the opportunity to see and read an original for yourself they are are available on line at www.archive.org Click HERE then choose the volume you are interested in. You can then see and read them online or download them to your computer for future reference. Enjoy!
And here we are! The third and final segment of 1870s undergarments! If you missed the last two, check out: 1870s Unmentionables: Layer 1-Chemise and Drawers and 1870s Unmentionables: Layer 2: Cors…
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The Fashions by Jules David Nov 1868 Date: 1868 Artist: Jules David Image Size: 200mm x 270mm Condition: Excellent. Matted and French lines. Price: $120 Technique: Original hand coloured steel engraving. To read about Jules David click here
Evening dress from the crinoline period, ca. 1860. Origin: England. The fabric is a violet-lilac (mauve) moiré silk. The first artificial aniline pigment, mauveine, is named after this color. It was discovered by chance in 1856 by the British chemist William Henry Perkin. Shortly afterwards, a large number of artificial dyes were developed, revolutionizing the dyeing industry. In 1858, the first fabrics were produced in mauve. "Mauve, or violet colored silk" was mentioned by name in Godey's Lady's Book and Magazine from 1858 to 1869 as the fashionable color of the better people. When Queen Victoria wore a silk dress dyed mauve to the wedding of her daughter Victoria in 1858, the color was widely reported and described. The skirt of this beautiful evening dress falls in the manner of 1860s skirts. Subtle train. The skirt is decorated with a large bow. This in turn is decorated with lace. No lining, as these skirts were worn with petticoats over the crinoline. The top is made in the style of a berthé. A berthé is a collar that covers the décolleté (which runs round). Bedfordshire Maltese lace is attached to the bodice. The lace is complemented by cream-colored net tulle and black velvet. Lined with cotton on the inside. Cap sleeves with the same decoration. Lacing at the back. In very good condition. Subtle discoloration (especially) in the hem area. Several small, round holes, but these disappear (almost completely) in the folds. Chest: ~ 80 cm Waist: ~ 61 cm Front length: ~ 140 cm Back length: ~ 165 cm
This is a DIGITAL sewing pattern for late Victorian ball bodices, worn around 1890. The sewing pattern includes two different versions of a ball gown bodice from around 1890. The bottom edge reaches slightly below the waistline at the sides and is pointed in front and back, the squared neckline is piped and fitted with a drawstring. The bodice is flatlined with a (waxed) cotton fabric, no additional lining is added. All seams are boned and the seam allowances neatened with an overcasting stitch. The bodice fits perfectly with the Fan-Skirt pattern #0414: https://www.etsy.com/de/listing/212870832/edwardianischer-rock-fan-skirt-um-1890?ref=shop_home_active_1&crt=1 View A (1890´s): The bodice is closed at the center front edge to edge with hooks and eyes and has huge puffed sleeves. The neckline is decorated with flounces and trimmings from sheer fabric and (faux) fur. View B (1880´s): The sleeveless bodice is closed at the center front with buttons and is decorated with lace, forming little sleeves if wanted. Also suitable for cosplay or steampunk costumes. Please scroll down for yardage and pattern information. →→WHAT YOU RECEIVE←← This is a DIGITAL pattern (PDF), you can download both size ranges and languages after payment has been confirmed. The pattern comes with detailed and illustrated sewing instructions in English and German. It is a multi-size sewing pattern, you can choose between Sizes US 8-18 (EU 34-44) and Sizes US 20-30 (EU 46-56). A seam allowance of 5/8" (1,5cm) is included in my patterns. The pattern is ready to be printed out on DIN A4 or US Letter. Format DIN A0 to be printed at a plotter / copy-shop comes with a second email at no additional costs. →→HOW MANY PATTERN PAGES TO PRINT←← The sewing pattern itself consists of: Size US 8-18 (EU 34-44): 27 pages A4/US letter or 1 1/2 A0 Size US 20-30 (EU 46-56): 35 pages A4/US letter or 1 A0 →→PATTERN INFORMATION←← Recommended fabric: Fashion fabric: (silk) satin, (silk) taffeta, velvet Flatlining: midweight (glazed) cotton fabric Flounce: (silk) chiffon Yardage: Size US 8-18 (EU 34-44): Fashion fabric View A: 2yds. with a width of 51“ (1.7m with a width of 130cm) Flounces View A: 1yd. with a width of 51“ (0.9m with a width of 130cm) Fashion fabric View B: 1yd. with a width of 51“ (0.9m with a width of 130cm) Flatlining View A + B: 1.1 yds. with a width of 51“ (1m with a width of 130cm) View B: 10 fabric covered buttons Ø 5/8“ (1,5cm) Waistband: twill tape or grosgrain ribbon, 3/4“ (2cm) wide: 1yd. (1m) Hooks and eyes, 3/8“ (1cm) wide tight woven cotton tape, narrow tape for drawstring Plastic boning or cable ties Size US 20-30 (EU 46-56): Fashion fabric View A: 2.2yds. with a width of 51“ (2m with a width of 130cm) Flounces View A: 1.3yds. with a width of 51“ (1.1m with a width of 130cm) Fashion fabric View B: 1.3yds. with a width of 51“ (1.1m with a width of 130cm) Flatlining View A + B: 1.5yds. with a width of 51“ (1.2m with a width of 130cm) View B: 10 fabric covered buttons Ø 5/8“ (1,5cm) Waistband: twill tape or grosgrain ribbon, 3/4“ (2cm) wide: 2yds. (2m) Hooks and eyes, 3/8“ (1cm) wide tight woven cotton tape, narrow tape for drawstring Plastic boning or cable ties
Evening dress from the crinoline period, ca. 1860. Origin: England. The fabric is a violet-lilac (mauve) moiré silk. The first artificial aniline pigment, mauveine, is named after this color. It was discovered by chance in 1856 by the British chemist William Henry Perkin. Shortly afterwards, a large number of artificial dyes were developed, revolutionizing the dyeing industry. In 1858, the first fabrics were produced in mauve. "Mauve, or violet colored silk" was mentioned by name in Godey's Lady's Book and Magazine from 1858 to 1869 as the fashionable color of the better people. When Queen Victoria wore a silk dress dyed mauve to the wedding of her daughter Victoria in 1858, the color was widely reported and described. The skirt of this beautiful evening dress falls in the manner of 1860s skirts. Subtle train. The skirt is decorated with a large bow. This in turn is decorated with lace. No lining, as these skirts were worn with petticoats over the crinoline. The top is made in the style of a berthé. A berthé is a collar that covers the décolleté (which runs round). Bedfordshire Maltese lace is attached to the bodice. The lace is complemented by cream-colored net tulle and black velvet. Lined with cotton on the inside. Cap sleeves with the same decoration. Lacing at the back. In very good condition. Subtle discoloration (especially) in the hem area. Several small, round holes, but these disappear (almost completely) in the folds. Chest: ~ 80 cm Waist: ~ 61 cm Front length: ~ 140 cm Back length: ~ 165 cm
