Welcome back to another installment of Regency fashions from the pages of Ackermann's Repository. In my last post for 1818 - I gave a bit of information about Mourning dress customs, since these were playing a significant part in fashions that year. Ackermann's published a record number of 4 fashion plates depicting Full-Mourning dress; then to started off the new year of 1819, they published 2 fashion plates showing Half-Mourning as the Royal court continued in it's mourning for beloved family members. My pick of the 1819 Ackermann Fashion Plates The Regency Royal court was in Mourning from late 1817 through 1819 due to the deaths of Princess Charlotte in Nov 1817 and then later for Her Royal Majesty Queen Charlotte in Nov 1818. (Princess Charlotte was the only child of the Prince of Wales "Prince Regent aka Prinny" who later became King George IV. Queen Charlotte was the wife of King George III and mother to the Prince Regent). The Prince Regent was ruling England in place of his father George III (Mad King George) so Prinny was actually setting the tone for Court mourning due to his loss of both daughter and mother during this time. Ackermann's Repository 1819 Fashion Plates 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue Please note that even though some of the coloration on this garment appears to be a pale blue; this coloration is depicting the shadowed areas of the white trim. If you read the description of the garment below you will see that it is in the traditional half-mouning colors of black, grey and white. There is no blue in this outfit at all. 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue I'm including all the Ackermann's fashion articles for January 1819 depicting these Half-Mourning costumes and how the Royal families mourning was effecting the fashion trends of the time. I thought it was an interesting glimpse into this time period and hope you enjoy reading it too. 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue Now to continue with the Ackermann Fashion Plates of 1819 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue (Just an interesting tidbit I wanted to share). On occasion there were errors with the Ackermann Fashion Plates. The most common error seems to be where the colorist applied the wrong choice to a garment. For instance the description of a dress may have stated pale green but it was actually colored in pink. Each of Ackermann's "plates" were hand-colored by hired women all over London and they and their children did the work in their homes; therefore this type of mistake did happen from time to time. This is why some issues my have that particular garment in the correct color where other issues would have the same plate in an incorrect color. Another example would be the very first January 1819 fashion plate of a half-mourning, walking dress. There are areas which appear to be a pale blue when there is no blue at all in this garment - based on both the description and the fact that blue is not a half-mourning color. It's not uncommon that a colorist would use a very light blue when accenting the shaded areas of a white item; however in this example it was an incorrect choice and cause the garment to appear as if it is light blue when it is not. Chances are there are probably examples of this same garment in other issues where this is not the case and the colorist used a more appropriate pale gray for shading rather this this stronger blue seen in this example. Another type of error is in the printing of a plate. Here are two such examples where that happened in June 1819. (The Evening Dress and Morning Dress received the wrong captions under each costume.) It is possible that the error was caught in mid-print and there could be other issues that had the correct caption under each costume but the issue I had access to shows the errors. 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Evening Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Morning Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue September 1819 Fashions Missing The Ackermann's Series 2 Vol 8 I had access to was missing the fashion plates for September of 1819. The Fashion descriptions were there but the fashion plates were not. I do not know if this was a printing error that they were excluded or if those plates were accidentally removed when the July - Dec 1819 issues were being bound into book form that became Vol 8. Rather than tease you by only showing the descriptions for the missing garments I thought I'd give you a fun bit of information about the binding process to show how these individual issues became books in libraries; which allowed several of them to survive over the past 200 years, so we can still enjoy them today. A bit of information about how these magazine issues became Bound Book Volumes Ackermann's Repository was a monthly periodical that was published over a 20 year period from 1809 to 1828 with a total of 3 Series. Series 1 was 1809-1815 Series 2 was 1816-1822 and Series 3 was 1823-1828. This was an extremely popular publication and in many cases these issues were later bound professionally into volumes that included 6 months per bound volume (This helps to explain the odd numbering system on the plates, if you were wondering what all the Series and Volume numbers meant on some of the plates) This numbering system is what allowed independent binders to properly order the pages of each issue as they turned them into bound book form. Unlike magazine we get today and throw out or put in the recycling bin; Ackermann's was in a way a historical account/reference of daily life, fashion, politics, art, literature and more of the time; therefore granting it a place in many private libraries. Subscribers of the day had several options when it came to the binding of the Ackermann's Repository issues. They could save and take their issues to a binder and have them bound as they chose to coordinate with other books in their personal libraries. (Ackermann's even published and sent binders the information necessary to do this correctly) You could also purchase pre-bound issues directly from Ackermann's and other booksellers with various binding options to choose from. There was even a trade up option available where for an up-charge you would return your issues to Ackermann's and purchase one of the pre-bound versions for a discounted amount. Here is an example of Ackermann's giving binding instructions in one of their issues. (another fun tidbit to read since it also includes an open call for articles and how to subscribe or obtain issues of Ackermann's) Example of binding instructions and more (Update 09-27-13 I located images of what the missing Sept 1819 Fashion Plates look like) I found these two September 1819 Ackermann fashion plates listed on eBay today! It's always so much fun to find the "missing" pieces so I hope you enjoy seeing them too. Now for the conclusion of the 1819 Fashion plates 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue I hope you have enjoyed another adventure into the Ackermann Repository fashions of the Regency era. 1819 puts us half way through Ackermann's series 2 and also the mid-point of the 20 year run of Ackermann's Repository. For your convenience: below are links for for the previously posted fashions from series 1 and the first part of series 2. 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 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 (1820 - 1822 - are yet to be posted) Series 2 - Vol 9 & 10 - 1820 Series 2 - Vol 11 & 12 - 1821 Series 2 - Vol 13 & 14 - 1822 Ackermann's ran series 3 from 1823 - 1828 (series 3 coming soon) I hope you join me again for more from Ackermann's Repository Till next time... 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!
Welcome back to another installment of Regency fashions from the pages of Ackermann's Repository. In my last post for 1818 - I gave a bit of information about Mourning dress customs, since these were playing a significant part in fashions that year. Ackermann's published a record number of 4 fashion plates depicting Full-Mourning dress; then to started off the new year of 1819, they published 2 fashion plates showing Half-Mourning as the Royal court continued in it's mourning for beloved family members. My pick of the 1819 Ackermann Fashion Plates The Regency Royal court was in Mourning from late 1817 through 1819 due to the deaths of Princess Charlotte in Nov 1817 and then later for Her Royal Majesty Queen Charlotte in Nov 1818. (Princess Charlotte was the only child of the Prince of Wales "Prince Regent aka Prinny" who later became King George IV. Queen Charlotte was the wife of King George III and mother to the Prince Regent). The Prince Regent was ruling England in place of his father George III (Mad King George) so Prinny was actually setting the tone for Court mourning due to his loss of both daughter and mother during this time. Ackermann's Repository 1819 Fashion Plates 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue Please note that even though some of the coloration on this garment appears to be a pale blue; this coloration is depicting the shadowed areas of the white trim. If you read the description of the garment below you will see that it is in the traditional half-mouning colors of black, grey and white. There is no blue in this outfit at all. 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue I'm including all the Ackermann's fashion articles for January 1819 depicting these Half-Mourning costumes and how the Royal families mourning was effecting the fashion trends of the time. I thought it was an interesting glimpse into this time period and hope you enjoy reading it too. 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue Now to continue with the Ackermann Fashion Plates of 1819 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue (Just an interesting tidbit I wanted to share). On occasion there were errors with the Ackermann Fashion Plates. The most common error seems to be where the colorist applied the wrong choice to a garment. For instance the description of a dress may have stated pale green but it was actually colored in pink. Each of Ackermann's "plates" were hand-colored by hired women all over London and they and their children did the work in their homes; therefore this type of mistake did happen from time to time. This is why some issues my have that particular garment in the correct color where other issues would have the same plate in an incorrect color. Another example would be the very first January 1819 fashion plate of a half-mourning, walking dress. There are areas which appear to be a pale blue when there is no blue at all in this garment - based on both the description and the fact that blue is not a half-mourning color. It's not uncommon that a colorist would use a very light blue when accenting the shaded areas of a white item; however in this example it was an incorrect choice and cause the garment to appear as if it is light blue when it is not. Chances are there are probably examples of this same garment in other issues where this is not the case and the colorist used a more appropriate pale gray for shading rather this this stronger blue seen in this example. Another type of error is in the printing of a plate. Here are two such examples where that happened in June 1819. (The Evening Dress and Morning Dress received the wrong captions under each costume.) It is possible that the error was caught in mid-print and there could be other issues that had the correct caption under each costume but the issue I had access to shows the errors. 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Evening Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Morning Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue September 1819 Fashions Missing The Ackermann's Series 2 Vol 8 I had access to was missing the fashion plates for September of 1819. The Fashion descriptions were there but the fashion plates were not. I do not know if this was a printing error that they were excluded or if those plates were accidentally removed when the July - Dec 1819 issues were being bound into book form that became Vol 8. Rather than tease you by only showing the descriptions for the missing garments I thought I'd give you a fun bit of information about the binding process to show how these individual issues became books in libraries; which allowed several of them to survive over the past 200 years, so we can still enjoy them today. A bit of information about how these magazine issues became Bound Book Volumes Ackermann's Repository was a monthly periodical that was published over a 20 year period from 1809 to 1828 with a total of 3 Series. Series 1 was 1809-1815 Series 2 was 1816-1822 and Series 3 was 1823-1828. This was an extremely popular publication and in many cases these issues were later bound professionally into volumes that included 6 months per bound volume (This helps to explain the odd numbering system on the plates, if you were wondering what all the Series and Volume numbers meant on some of the plates) This numbering system is what allowed independent binders to properly order the pages of each issue as they turned them into bound book form. Unlike magazine we get today and throw out or put in the recycling bin; Ackermann's was in a way a historical account/reference of daily life, fashion, politics, art, literature and more of the time; therefore granting it a place in many private libraries. Subscribers of the day had several options when it came to the binding of the Ackermann's Repository issues. They could save and take their issues to a binder and have them bound as they chose to coordinate with other books in their personal libraries. (Ackermann's even published and sent binders the information necessary to do this correctly) You could also purchase pre-bound issues directly from Ackermann's and other booksellers with various binding options to choose from. There was even a trade up option available where for an up-charge you would return your issues to Ackermann's and purchase one of the pre-bound versions for a discounted amount. Here is an example of Ackermann's giving binding instructions in one of their issues. (another fun tidbit to read since it also includes an open call for articles and how to subscribe or obtain issues of Ackermann's) Example of binding instructions and more (Update 09-27-13 I located images of what the missing Sept 1819 Fashion Plates look like) I found these two September 1819 Ackermann fashion plates listed on eBay today! It's always so much fun to find the "missing" pieces so I hope you enjoy seeing them too. Now for the conclusion of the 1819 Fashion plates 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue I hope you have enjoyed another adventure into the Ackermann Repository fashions of the Regency era. 1819 puts us half way through Ackermann's series 2 and also the mid-point of the 20 year run of Ackermann's Repository. For your convenience: below are links for for the previously posted fashions from series 1 and the first part of series 2. 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 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 (1820 - 1822 - are yet to be posted) Series 2 - Vol 9 & 10 - 1820 Series 2 - Vol 11 & 12 - 1821 Series 2 - Vol 13 & 14 - 1822 Ackermann's ran series 3 from 1823 - 1828 (series 3 coming soon) I hope you join me again for more from Ackermann's Repository Till next time... 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!
Jane Austen fans are familiar with the high-waisted muslin dresses popular during her adulthood. How many are aware that machine-made net or gauze became a “hot” item from 1810 and on? …
French, English, and German fashion plates from 1819. All images come from the collection of the Bibliothèque des Arts Décoratifs. www.lesartsdecoratifs.fr/francais/bibliotheque/ PLEASE ATTRIBUTE THESE IMAGES TO THE BIBLIOTHÈQUE DES ARTS DÉCORATIFS. At a minimum, please link back to this Flickr set.
Welcome back to another installment of Regency fashions from the pages of Ackermann's Repository. In my last post for 1818 - I gave a bit of information about Mourning dress customs, since these were playing a significant part in fashions that year. Ackermann's published a record number of 4 fashion plates depicting Full-Mourning dress; then to started off the new year of 1819, they published 2 fashion plates showing Half-Mourning as the Royal court continued in it's mourning for beloved family members. My pick of the 1819 Ackermann Fashion Plates The Regency Royal court was in Mourning from late 1817 through 1819 due to the deaths of Princess Charlotte in Nov 1817 and then later for Her Royal Majesty Queen Charlotte in Nov 1818. (Princess Charlotte was the only child of the Prince of Wales "Prince Regent aka Prinny" who later became King George IV. Queen Charlotte was the wife of King George III and mother to the Prince Regent). The Prince Regent was ruling England in place of his father George III (Mad King George) so Prinny was actually setting the tone for Court mourning due to his loss of both daughter and mother during this time. Ackermann's Repository 1819 Fashion Plates 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue Please note that even though some of the coloration on this garment appears to be a pale blue; this coloration is depicting the shadowed areas of the white trim. If you read the description of the garment below you will see that it is in the traditional half-mouning colors of black, grey and white. There is no blue in this outfit at all. 1819 - Ackermann's Repository Series 2 Vol 7 - January Issue I'm including all the Ackermann's fashion articles for January 1819 depicting these Half-Mourning costumes and how the Royal families mourning was effecting the fashion trends of the time. I thought it was an interesting glimpse into this time period and hope you enjoy reading it too. 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue 1819 Fashions- Ackermann's Repository Series 2 Vol 7 - January Issue Now to continue with the Ackermann Fashion Plates of 1819 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - February Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - March Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - April Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue 1819 - Ackermann's Repository Series 2 Vol 7 - May Issue (Just an interesting tidbit I wanted to share). On occasion there were errors with the Ackermann Fashion Plates. The most common error seems to be where the colorist applied the wrong choice to a garment. For instance the description of a dress may have stated pale green but it was actually colored in pink. Each of Ackermann's "plates" were hand-colored by hired women all over London and they and their children did the work in their homes; therefore this type of mistake did happen from time to time. This is why some issues my have that particular garment in the correct color where other issues would have the same plate in an incorrect color. Another example would be the very first January 1819 fashion plate of a half-mourning, walking dress. There are areas which appear to be a pale blue when there is no blue at all in this garment - based on both the description and the fact that blue is not a half-mourning color. It's not uncommon that a colorist would use a very light blue when accenting the shaded areas of a white item; however in this example it was an incorrect choice and cause the garment to appear as if it is light blue when it is not. Chances are there are probably examples of this same garment in other issues where this is not the case and the colorist used a more appropriate pale gray for shading rather this this stronger blue seen in this example. Another type of error is in the printing of a plate. Here are two such examples where that happened in June 1819. (The Evening Dress and Morning Dress received the wrong captions under each costume.) It is possible that the error was caught in mid-print and there could be other issues that had the correct caption under each costume but the issue I had access to shows the errors. 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Evening Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 7 - June Issue An example of an Ackermann's Error - this is the Morning Dress for the June issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - July Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue 1819 - Ackermann's Repository Series 2 Vol 8 - August Issue September 1819 Fashions Missing The Ackermann's Series 2 Vol 8 I had access to was missing the fashion plates for September of 1819. The Fashion descriptions were there but the fashion plates were not. I do not know if this was a printing error that they were excluded or if those plates were accidentally removed when the July - Dec 1819 issues were being bound into book form that became Vol 8. Rather than tease you by only showing the descriptions for the missing garments I thought I'd give you a fun bit of information about the binding process to show how these individual issues became books in libraries; which allowed several of them to survive over the past 200 years, so we can still enjoy them today. A bit of information about how these magazine issues became Bound Book Volumes Ackermann's Repository was a monthly periodical that was published over a 20 year period from 1809 to 1828 with a total of 3 Series. Series 1 was 1809-1815 Series 2 was 1816-1822 and Series 3 was 1823-1828. This was an extremely popular publication and in many cases these issues were later bound professionally into volumes that included 6 months per bound volume (This helps to explain the odd numbering system on the plates, if you were wondering what all the Series and Volume numbers meant on some of the plates) This numbering system is what allowed independent binders to properly order the pages of each issue as they turned them into bound book form. Unlike magazine we get today and throw out or put in the recycling bin; Ackermann's was in a way a historical account/reference of daily life, fashion, politics, art, literature and more of the time; therefore granting it a place in many private libraries. Subscribers of the day had several options when it came to the binding of the Ackermann's Repository issues. They could save and take their issues to a binder and have them bound as they chose to coordinate with other books in their personal libraries. (Ackermann's even published and sent binders the information necessary to do this correctly) You could also purchase pre-bound issues directly from Ackermann's and other booksellers with various binding options to choose from. There was even a trade up option available where for an up-charge you would return your issues to Ackermann's and purchase one of the pre-bound versions for a discounted amount. Here is an example of Ackermann's giving binding instructions in one of their issues. (another fun tidbit to read since it also includes an open call for articles and how to subscribe or obtain issues of Ackermann's) Example of binding instructions and more (Update 09-27-13 I located images of what the missing Sept 1819 Fashion Plates look like) I found these two September 1819 Ackermann fashion plates listed on eBay today! It's always so much fun to find the "missing" pieces so I hope you enjoy seeing them too. Now for the conclusion of the 1819 Fashion plates 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - October Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - November Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue 1819 - Ackermann's Repository Series 2 Vol 8 - December Issue I hope you have enjoyed another adventure into the Ackermann Repository fashions of the Regency era. 1819 puts us half way through Ackermann's series 2 and also the mid-point of the 20 year run of Ackermann's Repository. For your convenience: below are links for for the previously posted fashions from series 1 and the first part of series 2. 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 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 (1820 - 1822 - are yet to be posted) Series 2 - Vol 9 & 10 - 1820 Series 2 - Vol 11 & 12 - 1821 Series 2 - Vol 13 & 14 - 1822 Ackermann's ran series 3 from 1823 - 1828 (series 3 coming soon) I hope you join me again for more from Ackermann's Repository Till next time... 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!
Christian Albrecht Jensen, Cathrine Jensen (the artist's wife) (1825)
French, English, and German fashion plates from 1819. All images come from the collection of the Bibliothèque des Arts Décoratifs. www.lesartsdecoratifs.fr/francais/bibliotheque/ PLEASE ATTRIBUTE THESE IMAGES TO THE BIBLIOTHÈQUE DES ARTS DÉCORATIFS. At a minimum, please link back to this Flickr set.
Today our Regency time travels for fashion will take us to the year 1824 and oh what an assortment of fashions we have for this year. The trends continue with the lowering and snugger form-fitting bodice and fuller skirt bottoms as we have seen for the past few years. Then is October we see see two mourning fashions; however this time it is not due to a death in the British Royal Family but for the French King Louise XVIII. I found it interesting that the British Court was ordered to go into a short period of mourning for the French king and that many in the British higher ranks were expected to follow along. I will post the fashion article showing this mandate after posting all the fashion plates, so I hope you take a look at it as well. This is my pick of the 1824 Ackermann's Repository Fashion Plates As always, it is difficult for me to choose my pick of the fashions for any one year. I was drawn to this fashion plate due to the interesting composition. Not only is the dress and ladies face charming but the scene in itself was too unusual to be passed over. I hope you have fun looking at and choosing a favorite of your own. Enjoy! Ackermann's Repository 1824 Fashion Plates 1824 - Ackermann's Repository Series 3 Vol 3 - January Issue 1824 - Ackermann's Repository Series 3 Vol 3 - January Issue 1824 - Ackermann's Repository Series 3 Vol 3 - February Issue 1824 - Ackermann's Repository Series 3 Vol 3 - February Issue 1824 - Ackermann's Repository Series 3 Vol 3 - March Issue 1824 - Ackermann's Repository Series 3 Vol 3 - March Issue 1824 - Ackermann's Repository Series 3 Vol 3 - April Issue 1824 - Ackermann's Repository Series 3 Vol 3 - April Issue 1824 - Ackermann's Repository Series 3 Vol 3 - May Issue 1824 - Ackermann's Repository Series 3 Vol 3 - May Issue 1824 - Ackermann's Repository Series 3 Vol 3 - June Issue 1824 - Ackermann's Repository Series 3 Vol 3 - June Issue 1824 - Ackermann's Repository Series 3 Vol 4 - July Issue 1824 - Ackermann's Repository Series 3 Vol 4 - July Issue 1824 - Ackermann's Repository Series 3 Vol 4 - August Issue 1824 - Ackermann's Repository Series 3 Vol 4 - August Issue 1824 - Ackermann's Repository Series 3 Vol 4 - September Issue 1824 - Ackermann's Repository Series 3 Vol 4 - September Issue 1824 - Ackermann's Repository Series 3 Vol 4 - October Issue 1824 - Ackermann's Repository Series 3 Vol 4 - October Issue 1824 - Ackermann's Repository Series 3 Vol 4 - November Issue 1824 - Ackermann's Repository Series 3 Vol 4 - November Issue 1824 - Ackermann's Repository Series 3 Vol 4 - December Issue 1824 - Ackermann's Repository Series 3 Vol 4 - December Issue ********************** As promised here is the October 1824 fashion article giving some information about the British court ordered mourning for the King of France's death. I just get a thrill out of seeing the phraseology used during this time period. I hope you have enjoyed this little walk through 1824 Regency fashions from Ackermann's Repository and that you will join me again later as we continue with this fun series. Till next time... 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!
French, English, and German fashion plates from 1819. All images come from the collection of the Bibliothèque des Arts Décoratifs. www.lesartsdecoratifs.fr/francais/bibliotheque/ PLEASE ATTRIBUTE THESE IMAGES TO THE BIBLIOTHÈQUE DES ARTS DÉCORATIFS. At a minimum, please link back to this Flickr set.
Today our Regency time travels for fashion will take us to the year 1824 and oh what an assortment of fashions we have for this year. The trends continue with the lowering and snugger form-fitting bodice and fuller skirt bottoms as we have seen for the past few years. Then is October we see see two mourning fashions; however this time it is not due to a death in the British Royal Family but for the French King Louise XVIII. I found it interesting that the British Court was ordered to go into a short period of mourning for the French king and that many in the British higher ranks were expected to follow along. I will post the fashion article showing this mandate after posting all the fashion plates, so I hope you take a look at it as well. This is my pick of the 1824 Ackermann's Repository Fashion Plates As always, it is difficult for me to choose my pick of the fashions for any one year. I was drawn to this fashion plate due to the interesting composition. Not only is the dress and ladies face charming but the scene in itself was too unusual to be passed over. I hope you have fun looking at and choosing a favorite of your own. Enjoy! Ackermann's Repository 1824 Fashion Plates 1824 - Ackermann's Repository Series 3 Vol 3 - January Issue 1824 - Ackermann's Repository Series 3 Vol 3 - January Issue 1824 - Ackermann's Repository Series 3 Vol 3 - February Issue 1824 - Ackermann's Repository Series 3 Vol 3 - February Issue 1824 - Ackermann's Repository Series 3 Vol 3 - March Issue 1824 - Ackermann's Repository Series 3 Vol 3 - March Issue 1824 - Ackermann's Repository Series 3 Vol 3 - April Issue 1824 - Ackermann's Repository Series 3 Vol 3 - April Issue 1824 - Ackermann's Repository Series 3 Vol 3 - May Issue 1824 - Ackermann's Repository Series 3 Vol 3 - May Issue 1824 - Ackermann's Repository Series 3 Vol 3 - June Issue 1824 - Ackermann's Repository Series 3 Vol 3 - June Issue 1824 - Ackermann's Repository Series 3 Vol 4 - July Issue 1824 - Ackermann's Repository Series 3 Vol 4 - July Issue 1824 - Ackermann's Repository Series 3 Vol 4 - August Issue 1824 - Ackermann's Repository Series 3 Vol 4 - August Issue 1824 - Ackermann's Repository Series 3 Vol 4 - September Issue 1824 - Ackermann's Repository Series 3 Vol 4 - September Issue 1824 - Ackermann's Repository Series 3 Vol 4 - October Issue 1824 - Ackermann's Repository Series 3 Vol 4 - October Issue 1824 - Ackermann's Repository Series 3 Vol 4 - November Issue 1824 - Ackermann's Repository Series 3 Vol 4 - November Issue 1824 - Ackermann's Repository Series 3 Vol 4 - December Issue 1824 - Ackermann's Repository Series 3 Vol 4 - December Issue ********************** As promised here is the October 1824 fashion article giving some information about the British court ordered mourning for the King of France's death. I just get a thrill out of seeing the phraseology used during this time period. I hope you have enjoyed this little walk through 1824 Regency fashions from Ackermann's Repository and that you will join me again later as we continue with this fun series. Till next time... 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!
Headdresses and hairstyles The pictures trace the changes in evening headdresses, from the modest turbans of the early Regency, through the penchant for veils and onto tall feather headdresses and the return of turbans, higher than before. The hairstyles move from neat, high twists with ringlet
This is, I admit, a slight “fluff” post, but I had to share this fabulous poem about early Regency fashion as seen through the eyes of a woman alive at the time: Mary Darby Robinson. Ma…
Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Mme Francoise St Amant French-born Jean Joseph Vaudechamp (1790–1866) was a was a pupil of Anne-Louis Girodet de Roussy-Trioson. In the winter of 1831–32, he sailed to New Orleans, Louisiana, seeking his fortune. Many of the Louisiana Creoles identified with French culture & selected Vaudechamp to paint portraits for them. Over the next 10 years, he spent mostly winters in New Orleans, painting popular portraits of the locals. Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Lady in White Dress Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) A Creole Lady Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Edmond Jeane Forstall and Desirae Forstall Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Mrs Samuel Bell Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Mrs Antoine Julien Meffre-Rouzan Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Daughter of Samuel Hermann Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Marie Emeranthe Becnel Brou Madame Samuel Herman Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) A Young Lady Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Woman with Fur Collar Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Two Children Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Mrs Louis Edouard Forstall ( Mathilde Plauche) Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Madame Morales de Marigny Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Woman with Fur Boa Jean Joseph Vaudechamp (French-born New Orleans artist, 1790–1866) Fanny Augusta Hunt
French, English, and German fashion plates from 1819. All images come from the collection of the Bibliothèque des Arts Décoratifs. www.lesartsdecoratifs.fr/francais/bibliotheque/ PLEASE ATTRIBUTE THESE IMAGES TO THE BIBLIOTHÈQUE DES ARTS DÉCORATIFS. At a minimum, please link back to this Flickr set.
I'm a bit of a diva. I'm an introvert, but if I know what I'm doing (like singing a song, performing a dance, or flying a kite in full 1780s ensemble), I admit I like attention! And usually, posing for pictures when I'm all dolled up in a vintage or historical outfit is the same. But sometimes, I get an an attack of "I don't know what I'm doing!" Suddenly I have no idea how to stand, what to do with my hands, how to position my feet, or do anything else with my body. So I just default to nothing at all. Photo by Festive Attyre, who was certainly not to blame for the lack of a pose. I've thought about researching how to pose; Stephanie shared some terrific posing basics recently. But those are general techniques. What poses did they do back then? And which "then" are we talking about? Take Betty Grable's iconic pinup. Source That would look really strange in an 1860s hoop skirt! Each period has its own style and its own points of beauty to emphasize. So mostly for my own education and entertainment, I'm going to make an informal survey of original pictures from different periods to figure out a handful of basic poses for each. Particularly I'm going to focus on full-length, standing-still views that don't rely on large props like furniture, or seated poses without tables or other things. Usually when I take costume pictures I'm without any props except for what I carry, such as in the halls at Costume College. My best opportunities tend to be a tree or two when I'm outside. First up, I'm starting with the Regency period. The Picnic with the Pixies is Saturday, and I want to be prepared! * The title line is from the song "Charade," from the 1963 movie of the same name. Music by Henry Mancini, lyrics by Johnny Mercer. The Classical Ideal: Posing in the Regency Style Free Standing I prefer portraits, because they don't tend to suffer from bad drawing or out of proportion figures like fashion plates do. However, full-length free-standing portraits are rare. Anne has the benefit of a romantic seaside backdrop, and a shawl that is both rippling in the wind and velcro'd to her left elbow. But the right hand placement is graceful, and her hidden left hand could be holding a reticule or parasol. Her whole body, and her head, are angled slightly away from the viewer. One foot is foward. Joseph Clover, Anne, Lady Beechey Source: bbc.co.uk viaGinger - Scene in the Past on Pinterest From a fashion plate, but this is just a single example of a very simple and common pose. Face and body straight or barely angled to the viewer with one arm down by her side holding something (anything - just make sure it's something) and the other bent at an acute angle, with the hand just across the centerline of the body. White space is achieved between both arms and the waist. Feet are in fourth ballet position, with the front foot pointed. This can be done with an accessory, like a reticule, in the upper hand, or it can be empty. The hand can also be held higher, lower, or lower still. Just keep the elbow bent and the wrist curved downward. If the hands are any lower, they're usually together. 1814, Costume Parisien. Dress of wool. Source: flickr.com viaGinger - Scene in the Past on Pinterest This is very elegant, whether you have an accessory or not. Arms crossed, slightly clasping the wrists. Plenty of white space around the waistline. Body facing the viewer, face and gaze tilted away and slightly down. Feet in fourth ballet position. Here's a variation with the hands lower down, but elbows still strongly angled. 1815 I like this variation - the pensive look! It's rather sweet. One hand holding the other elbow, fingers on the side of the face. Facing the viewer, head tilted toward the hand. Feet in a loose third, pointed. 1810, Costume Parisien. Velvet hat, trimmed with plush-marten. Velvet jacket. Here, angle the body slightly away, and turn the head slightly back to the viewer. The active hand is shading the eyes or touching up the curls, and the feet are in third ballet position with the angled foot directly toward the viewer. Here is another plate where the figure is touching her headdress. It may feel awkward (or silly!) to us, but it's a period pose. 1816, Costume Parisien. Satin spencer, dress of crepe. Source: flickr.com viaGinger - Scene in the Past on Pinterest The lady in a tam is in a surprisingly modern pose. Is her hand really on her hip? She looks very jaunty, and with her hand hidden by her plaid, she's not emphasizing an unfashionable waistline. Body angled away from the viewer, head turned slightly toward, one hand on a chair back (or a wall, or a table, or a fence, &c.), left foot forward with supporting leg bent. I'm not sure that last part is physically sustainable. Just don't stand straight with your feet together! March 1814. Opera Dress. La Belle Assemblée. Source: flickr.com viaGinger - Scene in the Past on Pinterest This is somewhat unusual, but it's so striking I'm including it. The subject is an older lady, wearing an old-fashioned cap with a fashionable dress. The pose is completely side-on, arms gracefully bent and hands holding a posey in front of her. Note also that she is in motion, or posed that way, with one foot in front of the other. Woman in a Blue dress, Jacob Maentel, ca. 1810; Winterthur 1957.1121 A Source: museumcollection.winterthur.org viaGinger - Scene in the Past on Pinterest Free Standing, Back View This is excellent for showing off the back of the dress. Whole body is slightly angled, upper body slightly more away, and head approaching profile-view. Arms are slightly bent and slightly to the front, preserving white space between the body. The foot closest to the viewer is peeking out from under the dress. Get in this pose as if standing at an angle, then take the left foot and step away into fourth ballet position, shifting weight forward and keeping the toe of the right on the ground. That should drape the skirt nicely. 1811, Costume Parisien. Hat of satin and crepe; dress of merino wool. Source: flickr.com viaGinger - Scene in the Past on Pinterest Here is an unusual back view portrait, unfortunately not full length. The girl's body is angled not completely back to the viewer. Her upper body is slightly twisted toward the front, while her head is straight over her right shoulder and her eyes meet the viewer's. Her back arm is down and slightly bent, while her active arm is angled so her elbow is above her waist. Her fingers and thumb make an "O," with fingers together, just touching her cheek. Again, white space is preserved around her waist, even with the draping of the shawl. Ekaterina Vasilevna Saltykova, c. 1800 Source: Ginger - Scene in the Past on Pinterest Leaning Okay, I said I didn't want poses that relied on a prop. But Felicte's pose is a favorite in portraits and fashion plates alike, and very Classically-inspired. She is leaning slightly to the left, probably with her hip supported by the fence or gate. The fence is just high enough to support her left elbow at a slight angle away from her body. Her arm and hand come forward and across her body. Her left leg crosses her right casually, feet fairly close together and toes angled slightly toward each other. As with Lady Beechy, her non-active arm and hand hangs at her side, in this case holding both a bouquet and her shawl. Her head is tilted back slightly to the right, opposite from how she's leaning. Felicite de Durfort von Merry-Joseph Blondel, 1808 Source: blog.costumeantique.de viaGinger - Scene in the Past on Pinterest This pose can be replicated against a vertical surface like a fence, tree, boulder, interior wall, or even a doorframe. The figure's feet are at least a foot away from the support, forcing her to lean back into it. The surface and her body are both angled significantly away to the viewer's left. Her arms are slightly bent, hands holding a book; a fan could be used similarly. As with Felicite, her left foot is crossed over the right, this time barely resting on the ground, almost in fifth ballet position. Her face is angled (too much - bad drawing) back to the viewer's right; either like this, or straight at the camera, would be effective. 1803, Costume Parisien. Hat of Organdie, Piquéé. Source: athousandpix.blogspot.com viaGinger - Scene in the Past on Pinterest Seated Part of the Regency aesthetic seems to have been the graceful, relaxed curve of classic art. This is directly in opposition to the super-straight-backed look of the 18th century; however, it is definitely not a modern comfortable slouch. * This lady is seated in a "modern" (Regency) chair with a slightly tilted back. She is seated all the way back in it, gracefully reclining her upper body. So she isn't sitting ramrod straight, but her belly (if she had one!) isn't sagging. Also her shoulders are still down, not rounded or slumped forward in a modern slouch. (Even in this portrait, the shoulders do not round forward.) Her head is tilted slightly forward. * Her hands and forearms are slightly crossed, not quite to her elbows; they're not tucked into each other in the modern style. This keeps that all-important "white space" around her waist. Also, her arms are positioned below her high waistline, but not resting on her belly or her lap. * Her legs are extended forward, slightly bent at the knee, and crossed just at the ankle. Again, the foot toward the viewer is crossed over. One foot is flat on the ground, the other pointed. This can be a very comfortable pose. 1818 Source: dragonflyformals.com viaGinger - Scene in the Past on Pinterest Here's a different seated pose, good for backless seats. * Kitty is seated at an angle to the viewer, but leaning slightly forward and twisting toward the viewer, looking back to her left. Her long necklace or necklace can drape naturally. Her arms are resting in her lap, one with plenty of white space from the gown. The other covers her side, but her bare arm does not visually merge into her gown. * Her legs and feet in particular are the key here. The back knee is bent at right angles. The front leg is extended more like in the previous portrait, with her foot showing. This is another comfortable Regency pose that is easy to hold. Note that her knees are apart, although it's not emphasized as in some fashion plates. Try to avoid a knees-together pose for Regency; most of the time it looks stiff and prim, opposite of the graceful, relaxed look desirable for the period. Portrait of Kitty Packe, by Sir Henry William Beechey (1753-1839) Source: commons.wikimedia.org viaGinger - Scene in the Past on Pinterest A seated pose in a short, nearly straight-back chair. It is nearly straight - her upper body does angle slightly back. * The back arm is over the back of the chair, angling her body slightly; she holds a fan, but a posey or a handkerchief or a card would work as well. Note the white space between her arm and her waist. Her other arm covers her waist, but like Kitty's, it is bare and doesn't blend. It is slightly bent, with her wrist bent more and holding a handkerchief. * Her legs are crossed at the knee! Again, very modern to us, but very common in period illustrations. The near leg is the one that's on top. September 1813, Evening Dress. La Bell Assemblée. Source: flickr.com viaGinger - Scene in the Past on Pinterest Here, the Princess is seated, with lower back and tummy straight. I'd have to practice getting that graceful upper body forward curve without actually slouching or rolling my shoulders in! Her arms are together in her lap, palms upward, fingers relaxed. Her feet aren't visible, but her legs aren't crossed; her ankles might be. Princess V. S. Dolgorukaya, Henri Francois Riesener Source: commons.wikimedia.org viaGinger - Scene in the Past on Pinterest One more seated picture. Again, legs crossed at the knee; also the hands are together in the lap, this time palms down, hand on wrist. She is sitting like the Princess, but with her head forward and tilted to the side. September 1814, "Sea Side Morning Dress and Bathing Preserver [?]," La Bell Assemblée. Source: flickr.com viaGinger - Scene in the Past on Pinterest General Guidelines If you can't remember any one particular pose, but someone points a camera at you, what do you do? * Angle your body away from the camera. * Turn your head back toward the camera. * One hand up and one hand down, or clasp them together. * Hands and fingers curved, palms downward. * If standing, feet in third, fourth, or fifth position. * If sitting, cross your ankles or your knees, with camera-side foot on top. * White space around the waist! One thing I left out of this analysis was trained gowns. There are a surprising number of illustrations of gowns with trains, and how Regency-period women draped them, carried them, and even pinned them. Sometimes they look strange to us, particularly in fashion plates drawn with less skill; but there's some interesting, helpful things there. At least to anyone who wears a trained Regency gown. Would anyone be interested in such an analysis?
We have recently received a few inquiries about this beautiful dress and court train and while editing the photos, I decided to share them with the public in a blog post. This evening dress is of i…
