by Susan Jarrett France Due to civil unrest, a revolution broke out in France in 1789 leading to the end of the rule of the current French monarchy. From 1794 to 1799, a new Directoire go…
The past weekend was full and busy and fun. The only bit of sewing I did was cutting out my regency shift and taking the big black feather off of my regency bonnet. I swapped it out for smaller white feathers and a row of pink paper flowers across the front. I saw some similar trim arrangements on bonnets in my new book so I felt it was a safe and accurate choice. I would have preferred silk flowers but I could not find anything remotely real looking in either Jo Anns, Hobby Lobby or Wal Mart. The whole effect is much fluffier and girlish (as in, little-girlish) and Little Bo Peep-ish but I do not feel so starkly obvious now that the tall black feather is gone. I do still have it. I even made a red velvet ribbon rosette to pair with it which looked stunning, if I do say so myself. Black and red are very magnificent colors. But, it was just not me. Not right now, anyway. If you think it looks horrible just tell me as I am open to any and all suggestions. I keep trying to trim it like an 1860's bonnet but every time I go back to look at fashion plates and paintings and drawings from the early 1800's I realize how very, very different bonnet shapes, styles and trimmings were! Maybe I could pair the rosette and ostrich plume with my red slippers and white gown for the ball. Anyway, no white gowns can be in my future until I first have my proper undergarments. I have my stays and a bodiced petticoat (although I think the petticoat needs some work to make it less bulky) but I have not a proper shift. I finally finished this one today after 4 days of lethargic sewing. It is square cut, boring and I have no idea why it took me so long to make. Despite it being an unfancy garment it has already seen its share of adventure. This morning I awoke at 5 a.m. to a horrendous yowling and screeching beneath the window our bed is next to. Peeping out I saw Cat facing off a strange calico, pale-faced feline and just behind Cat sat the large bunny cage. Since last night was so warm, we kept Milo and Otis outdoors and thought little of it. Apparently, the Strange Cat had advanced with evil thoughts upon the two terrified and helpless bunnies and Cat sprang to the rescue to defend them. Little tufts of white fur bore witness to his heroic defenses. I threw open the window and tried to scare the strange cat away but it would not go and gazed at me balefully. So then my yet-unfinished shift came into play. I threw it on and ran outside to chase the strange cat off. It went very slowly and very unwillingly back to an outbuilding on the property with Cat in close pursuit. After trying in vain to get Cat to come inside with me I scooped up the bunnies and brought them in. I now have gray and white bunny-fur speckles on my shift. Cat returned home later this morning, a little grungy looking and with some fur missing from his backside but seemingly very well pleased with himself. He is now sunning himself on the carpet in the boys playroom. The Strange Cat is nowhere to be seen. If I get motivated I will attempt to refurbish my bodiced petticoat this afternoon so that I can start on my gown and David's tailcoat as soon as possible. Registration for the Jane Austen festival begins today! Edited: Okay, here is a photo of my undies; shift, stays and bodiced petticoat. The petticoat bodice is made of one layer of white cotton lined (I probably should NOT have lined it!) with pale pink cotton since I was out of white cotton at the time I was making this. : / It has a drawstring to adjust the waist which seems to work okay, but there is also a drawstring at the neckline that ties at center back and the back just does NOT overlap and the fabric at the neckline creeps up on the drawstring, so you can see my stays if that makes sense. Also, I think the neckline of the bodiced petticoat looks a tad high. This is about how I want my dress neckline cut so I think the bodiced petticoat neckline should be lower/wider than the dress. Also, the straps on the petticoat seem to be really almost off the shoulder instead of high up on the shoulder. Should I cut it down? Make a new bodice for the petticoat? Could I salvage this one by taking off the bodice, removing the lining, cutting down the bodice a tad bit at the neck and armscyes and then finish and reattach it to the skirt? And maybe make the back button closed instead of tie? (I could still keep the tie at the waistline since it is a bit adjustable. . .) Love, Sarah
Late Georgian and Regency fashion plates are a passion of mine and I have a large collection. The most familiar, and usually easiest to obtain, are those published in Ackermann’s Repository and in La Belle Assemblée. The Lady’s (also Ladies’) Monthly Museum, Fashions of London and Paris and The Lady’s Magazine. These are all English. The Journal des Dames et des Modes is the source of most of the French fashion plates that collectors find today. These are all from journals that were A5 size or lightly larger. What is a thrill (and an expensive one at that) is to come across the gorgeous Quarto sized plates from Le Miroir de la Mode. Despite its French title this was an English production, the work of the mysterious Madame Lanchester, or, more prosaically, Mrs Ann Lanchester. Madame Lanchester, a fashionable modiste and designer, produced designs for Ackermann, Fashions of London and Paris and La Belle Assemblée. She had a shop in New Bond Street c 1803-4 and St James’s Street in 1806-9. For less than two years, between 1803-4, she published Le Miroir de la Mode to promote her own work. The first print is shown at the top in the cheaper uncoloured version. It was also produced with a vibrant red pelisse. Below is a detail of another plate showing the detail fo the drawing. It was an incredibly lavish production and only the wealthiest ladies could have afforded it. There were two plates in each issue and the text was given in English, French and Italian. The plates were hand coloured and each had a tissue overlay. Where Madame Lanchester got the money from for this extravagant publication is a mystery, because in January 1803, when she was in Sackville Street, and described as ‘dealer and chapwoman’, she was declared bankrupt. In the previous year this advertisement had appeared in the Morning Chronicle (24th April 1802). SALES BY AUCTION part of the SUPERB and VALUABLE STOCK of MADAME LANCHESTER of Sackville-street. Messrs. ROBINS beg most respectfully to acquaint the Nobility, Gentry, and the Public, that they SHALL SUBMIT BY AUCTION, on the Premises, in Sackville-street, on Wednesday And two following days, at 12 o’clock. THE truly elegant and unparalleled ASSEMBLAGE of the various elegancies of DRESS, ornamented with superb LACES, the property of MADAME LANCHESTER, going in a few months to Paris, consisting of White and Black Lace, Veils and Cloaks of the most delicate patterns, rich laced Caps And Sleeves, Spencers, Morning Calsons, Handkerchiefs and Equivoes, Pelices, Morning and Evening Dresses, beautiful White and Black Laces, ornamental Gold Watches and Trinkets, a few Boxes of Rouge etc. The whole of the Dresses Made up in that style of fashion for which Madame Lanchester Has become so eminently distinguished. – May be publically viewed On Monday and Tuesday prior to the Sale (by Catalogues only). Which may be had at 2s each, on the Premises, and of Messers. Robins, Covent-garden. It gives a good idea of the stock held by a fashionable modiste, but presumably the explanation that she was going to Paris was merely a front to cover the financial problems that caused the bankruptcy less than a year later. However, she must have recouped her fortunes somehow, established herself in New Bond Street and published her short-lived magazine. Between 1806-9 insurance company records place her at 59, St James’s Street but in 1810 she was again declared bankrupt. After that, nothing is known of Ann Lanchester and all we are left with are the exquisite plates to provide serious temptation for collectors on the rare occasions they come on the market. Louise Allen Scandal in the Regency Ballroom April 2013
Ackermann's Repository was a popular British publication of the Regency period and its monthly issues were in distribution from January 1809 till its final issue on December 1828. Fortunately for us, Ackermann's Repository was published by a printing house that specialized in producing bound volumes intended for reference and private libraries. Had this just been a fashion magazine, I believe many of the amazing plates would have vanished over time; however since this publication was a literary, economic, political, architectural,as well as a fashion publication; the pages of Ackermann's was treated as a reference item and several full collections of these bound volumes still exist today. (In 1829 Ackermann's had a fashion only publication - "Ackermann's Repository of Fashion".) Ackermann's was know in its day as one of the premier print shops and produced many illustrated book series and lithographs during it's time. From the beginning "The Repository of Arts, Literature, Commerce, Manufactures, Fashions, and Politics" as it was formally called was intended to be bound into books even though it was available as a monthly magazine as well. This is why you see the odd numbering system on the illustrated plates. At the end of each year, that years issues were available as a 2 volume set and could be purchased in a variety of binding options directly from Ackermann's or from several of the other binding houses or book sellers in London. A subscriber also had the option of having their individual issues custom bound to order. It's just so interesting how things were done 200 years ago. 1823 was the start of Series 3 When these were later bound into their 2 volume sets. Jan - Jun 1823 were part of Series 3 Volume 1 July - Dec 1823 were part of Series 3 Volume 2 1823 would have volumes 3&4 1824 would have volumes 5&6 and so on and so forth till the series was completed At the end of the 20 years of Ackermann's Repository there were 40 bound book volumes. According to the information I've found up to 1,000 bound volumes of Ackermann's Repository were sold per year. I've yet to find a number of how many issues of each magazine were sold per month; however it must have been a lucrative venture for it to have been published in both formats for a twenty year period of time. My pick of the 1823 Ackermann's Repository Fashions I have been posting all the lovely fashion plates from the pages of Ackermann's and continue now with Series 3 which ran from January 1823 - December 1828. These fashion would be considered late Regency and can be most easily identified by the more form fitting bodices, dropping waistlines and fuller skirt bottoms. Today I will be posting the fashions for 1823 and I hope you enjoy seeing them. This is what the cover page for Series 3 Vol 1 (Jan - June) 1823 looked like in the bound book form Ackermann's Repository 1823 Fashion Plates 1823 - Ackermann's Repository Series 3 Vol 1 - January Issue 1823 - Ackermann's Repository Series 3 Vol 1 - January Issue 1823 - Ackermann's Repository Series 3 Vol 1 - February Issue 1823 - Ackermann's Repository Series 3 Vol 1 - February Issue 1823 - Ackermann's Repository Series 3 Vol 1 - March Issue 1823 - Ackermann's Repository Series 3 Vol 1 - March Issue 1823 - Ackermann's Repository Series 3 Vol 1 - April Issue 1823 - Ackermann's Repository Series 3 Vol 1 - April Issue 1823 - Ackermann's Repository Series 3 Vol 1 - May Issue 1823 - Ackermann's Repository Series 3 Vol 1 - May Issue 1823 - Ackermann's Repository Series 3 Vol 1 - June Issue 1823 - Ackermann's Repository Series 3 Vol 1 - June Issue This is what the cover page for Series 3 Vol 2 (July - Dec) 1823 looked like in the bound book form 1823 - Ackermann's Repository Series 3 Vol 2 - July Issue 1823 - Ackermann's Repository Series 3 Vol 2 - July Issue 1823 - Ackermann's Repository Series 3 Vol 2 - August Issue 1823 - Ackermann's Repository Series 3 Vol 2 - August Issue 1823 - Ackermann's Repository Series 3 Vol 2 - September Issue 1823 - Ackermann's Repository Series 3 Vol 2 - September Issue 1823 - Ackermann's Repository Series 3 Vol 2 - October Issue 1823 - Ackermann's Repository Series 3 Vol 2 - October Issue 1823 - Ackermann's Repository Series 3 Vol 2 - November Issue 1823 - Ackermann's Repository Series 3 Vol 2 - November Issue 1823 - Ackermann's Repository Series 3 Vol 2 - December Issue 1823 - Ackermann's Repository Series 3 Vol 2 - December Issue ************* For those of you who want a bit more than to see the pretty fashions; here are the fashion descriptions from the November 1823 issue. I though I'd show this one since it included descriptions of the fashion plate showing hats. You will notice I left the pages intact and did not crop out the extra bits from the previous article that precedes the fashion articles; nor did I remove the beginning of the article that followed the fashions. This is so you can see how the articles ran one into the other and how they can jump from one topic to the next without the two being related. Here we have on page 305 the ending of a technology article followed by fashion then one about a new illustrated literary book soon to be available for sale by Ackermann's. Here at the bottom of the November fashions article we see an subtle advertisement for the new release of Ackermann's annual "The Forget Me Not". "The Forget Me Not" was another well known publication by Ackermann's. This "Literary Annual" was published around November of every year (just in time for the Christmas gift giving season) from 1822-1847 and targeted mainly the female marked. This new style of "annual" contained 12 engravings to represent each of the months and stories or poems to accompany each. It also contained a review of the previous year, the recent census, a family tree of the monarchy of Britain and a list of sovereign families and ambassadors for other kingdoms. This would have been a very safe gift for a gentleman to present a lady and in some years it sold up to 20,000 copies. It is believed that the bound version of Ackermann's only sold upwards to 1,000 copies per year; so this shows how popular "The Forget Me Not" was. ************* I hope you have enjoyed another trip through the Regency Fashions of Ackermann's Repository and that you join me again when I post the fashions for 1824. For your convenience here are some quick links to the earlier Regency fashions I've posted on my blog. 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 (1824-1828) still to be posted Till our next Regency adventure 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!
Historical dresses / historical wedding dresses from the Regency and Biedermeier era, individually designed for historical weddings or museum exhibitions.
Late Georgian and Regency fashion plates are a passion of mine and I have a large collection. The most familiar, and usually easiest to obtain, are those published in Ackermann’s Repository and in La Belle Assemblée. The Lady’s (also Ladies’) Monthly Museum, Fashions of London and Paris and The Lady’s Magazine. These are all English. The Journal des Dames et des Modes is the source of most of the French fashion plates that collectors find today. These are all from journals that were A5 size or lightly larger. What is a thrill (and an expensive one at that) is to come across the gorgeous Quarto sized plates from Le Miroir de la Mode. Despite its French title this was an English production, the work of the mysterious Madame Lanchester, or, more prosaically, Mrs Ann Lanchester. Madame Lanchester, a fashionable modiste and designer, produced designs for Ackermann, Fashions of London and Paris and La Belle Assemblée. She had a shop in New Bond Street c 1803-4 and St James’s Street in 1806-9. For less than two years, between 1803-4, she published Le Miroir de la Mode to promote her own work. The first print is shown at the top in the cheaper uncoloured version. It was also produced with a vibrant red pelisse. Below is a detail of another plate showing the detail fo the drawing. It was an incredibly lavish production and only the wealthiest ladies could have afforded it. There were two plates in each issue and the text was given in English, French and Italian. The plates were hand coloured and each had a tissue overlay. Where Madame Lanchester got the money from for this extravagant publication is a mystery, because in January 1803, when she was in Sackville Street, and described as ‘dealer and chapwoman’, she was declared bankrupt. In the previous year this advertisement had appeared in the Morning Chronicle (24th April 1802). SALES BY AUCTION part of the SUPERB and VALUABLE STOCK of MADAME LANCHESTER of Sackville-street. Messrs. ROBINS beg most respectfully to acquaint the Nobility, Gentry, and the Public, that they SHALL SUBMIT BY AUCTION, on the Premises, in Sackville-street, on Wednesday And two following days, at 12 o’clock. THE truly elegant and unparalleled ASSEMBLAGE of the various elegancies of DRESS, ornamented with superb LACES, the property of MADAME LANCHESTER, going in a few months to Paris, consisting of White and Black Lace, Veils and Cloaks of the most delicate patterns, rich laced Caps And Sleeves, Spencers, Morning Calsons, Handkerchiefs and Equivoes, Pelices, Morning and Evening Dresses, beautiful White and Black Laces, ornamental Gold Watches and Trinkets, a few Boxes of Rouge etc. The whole of the Dresses Made up in that style of fashion for which Madame Lanchester Has become so eminently distinguished. – May be publically viewed On Monday and Tuesday prior to the Sale (by Catalogues only). Which may be had at 2s each, on the Premises, and of Messers. Robins, Covent-garden. It gives a good idea of the stock held by a fashionable modiste, but presumably the explanation that she was going to Paris was merely a front to cover the financial problems that caused the bankruptcy less than a year later. However, she must have recouped her fortunes somehow, established herself in New Bond Street and published her short-lived magazine. Between 1806-9 insurance company records place her at 59, St James’s Street but in 1810 she was again declared bankrupt. After that, nothing is known of Ann Lanchester and all we are left with are the exquisite plates to provide serious temptation for collectors on the rare occasions they come on the market. Louise Allen Scandal in the Regency Ballroom April 2013
The first challenge of the 2019 Historical Sew Monthly is Dressed to the Nines: Make something fancy so you’ll be ‘dressed to the nines’ – whether its the full outfit, or a little accessory. Or look at the challenge in a different way, and make something from a year ending in 9 (find a portrait or fashion plate or mention to support the date), or even an item with 9 major design elements (9 buttons down the front, 9 tucks in a petticoat etc) You can interpret this challenge in the most obvious way, and use it as a chance to show off a spectacular, glamorous, historical outfit where you are: ‘Dressed to the Nines’ (I don’t feel I really need to show you any inspiration images for that! I’m sure you have plenty of your own) If you don’t have the time to make a whole garment (or don’t have one almost finished that you can complete) then you can: Make a smaller part of a fabulous outfit: A lace jabot? A reticule …
I have been working really, really hard these past few days on the Frankencorset to try and have it in wearable shape for a Costumer's Gu...
Over the past few months, a discussion about wearing historical costume for everyday occasions has made the rounds in some online costuming groups. This reminded me of how much I love wearing Regen…
Let's learn how to make a Regency corset! How to insert bust gussets, install a wooden busk, and create corset cording easily!
Historical costuming
I recently tweeted the following picture, showing a fashion plate from France, 1778, showing a huge elaborate hairstyle that was often popular with French and English women of this time period. The…
Theflatknitstockingsembroideredwithmargueritesandwheatearsedgedwithpri
Introduction Fashion Evolution: Key Moments from the 1600s to Today is a journey through time, exploring the rich history of fashion across centuries. From the...
The ninth stop on my Regency Journey is to make a reticule, the Regency version of a handbag. In the 18th century, women had carried their various personal effects in pockets worn underneath their …
A little while back I was leafing through a book by the Gemeentemuseum in the Hague, ‘Romantische Mode’, which accompanied their exhibition on 19th century fashion a while back. And I s…
I will admit it, I get the conveyances of the Regency confused all the time. So here is a primer on all the assorted vehicles of the Regency era for your (and
Print the pattern, make a toile...voila! You're ready to go.
One of my goals for 2018 was to make two pairs of Regency stays that worked on me: one for the 1790s, and one for the 1810s. I did not achieve this goal. I made The J.S Berhnhardt 1810s Stays, View C (and took them in and altered them so they have a better, if not great, fit), and another pair that I was equally unenthused about, but my year got rather taken over by settling in to teaching at Toi Whakaari, so personal sewing took a back seat. I’m determined to get back on track with this goal in 2019, and so far I’m halfway there: I have 1790s jumps that are super comfortable, give me lots of support, and actually create lift! I used the 1790s jumps pattern given on pages 102-107 in Salen’s Corsets: Historical Patterns and Techniques. The pattern as given in the book fits about a 40″ bust (and bigger if you want space in your front lacing) I drew it out and graded it up and down last year …
Time: circa 1805 Reproduction of an empire dress made of a delicate tulle lace, also wonderfully suitable as a wedding dress. The sleeve cut and crossed top still contain elements from the Directoire. The dress is complemented by a silk belt with an antique cameo. The design is based on an original cut around 1805. Material: Underdress 100% fine linen, upper dress mixed fabric, belt 100% silk Dimensions: Underbust: 0.85 m variable with a belt Chest circumference 0.90 m Length measured from the shoulder-neck point: 1.58 m at the front, 1.75 m at the back The dress can be shortened in the underbust area so that the hem lace remains. The dress pictured is for sale. Our company has specialized in the design and manufacture of high-quality historical fashion for more than 20 years. We work for museums, artists and private individuals. There is a reference page with our work on our website gandiva.eu.
Unsere 5. Englandreise auf den Spuren von Jane Austen beginnt diesen Freitag und natürlich mache ich mir seit geraumer Zeit Gedanken darüber...
