Pattern: improvised Fabric: green linen, white cotton/linen mix for lining Haberdasheries: some narrow white cotton band, green wool to make loops on the back After all that officers’ stuff I really felt like making something for myself again! For last year’s Waterloo re-enactment I made a new chemise and a less chic Regency dress. But I, er, started making this dress the Wednesday before the event, and only had time to finish it provisionally. Now it’s really finished, so here it is! Yes, I did iron it. I think I need to get a better iron… I intentionally made the dress quite short. Working class dresses and skirts were often shorter because they needed to be practical, and also, I like it if my underskirts are visible beneath the dress. The dress bodice closes at the centre front with cotton bands, and the skirt is then placed over it with an apron construction, the apron band going through four worked loops and tying at the back. Here’s a detail of the back, and the inside of the bodice: And this is me wearing the dress at an event, with another camp follower:

"'Yes, and her petticoat; I hope you saw her petticoat, six inches deep in mud, I am absolutely certain'" - Pride & Prejudice, Chapter VIII Last week on Facebook, I posted a few teaser shots of my most recently completed project - a bodiced petticoat appropriate for the Regency Era - and, as promised, today's blog post will detail its construction. A Regency Era Bodiced Petticoat Having wrestled with my fair share of strapped petticoats in the past (and the struggles of sloped shoulders for straps to fall off all day long), I decided that it was time for an upgrade to a bodiced petticoat. Not only does it solve the fiddly strap problem, but the additional bodice helps smooth the front, disguising the line from stays or the support garment, and doubles as a lining under sheer dresses. The style makes for a simple, yet essential undergarment for the columnar silhouette of the Regency Period, and here's how I made mine! Construction Details As with any project intended for historical wear, I first looked to period examples for inspiration. I felt particularly drawn to this early-19th century petticoat from the Museum of Fine Arts (MFA) collection, which is described as a "white high-waisted underdress, [with] drawstrings at neck and waist, narrow shoulder straps, [and] back tie closure" - Woman's Underdress, Early 19th-Century Source: Museum of Fine Arts, Boston (Accession Number 49.876) From looking at this extant example along with several others, I decided to drape a short, front-opening bodice. Once I had a basic pattern, I made a quick mock-up in scrap muslin to check the fit, pinned any adjustments (mostly in the bust area because of the dress form I have to work on), and then transferred the corrections to paper. After draping, I test the pattern in scrap muslin to check the fit. If there's anything I've learned - don't skip the mock-up! Once I was satisfied with my pattern, I cut the bodice pieces out twice - once in a crisp muslin for the outer layer, and again in a lightweight, cotton batiste for the inner layer: After correcting the pattern, I cut the bodice pieces twice - both in cotton muslin (outer layer) and in a lightweight batiste (inner layer) The outer bodice and inner lining were assembled separately. To reduce bulk, I clipped and graded the seams, using pinking shears to prevent future fraying of the finer batiste. Then, the two layers were stitched together along the front edges and neckline, clipped, turned right-sides-out, and pressed in place, rolling the seam towards the inside. The lining and outer bodice were assembled separately, then joined together along the front edges and neckline. Clipping and grading the seams reduced bulk, and pinking prevents fraying of the finer batiste fabric To finish the armscyes, I pressed the seam allowances to the inside, again making sure to roll the lining edge under slightly (so the seam won't show on the outside), and securely whip stitched them closed. I also pressed along the bottom edge of the lining, which will eventually cover the join of the skirt. Pressing, clipping and rolling the seam allowances Whip stitching both the layers to finish the armsyces Next, I tackled the skirt: I measured and ripped two panels of the muslin, stitched the side seams, and flat-felled them to finish. I added three 1/2" tucks to add body to the skirt (which helps prevent the fabric from tangling around the wearer's legs) and a wide hem. To create an opening at the center front, I cut and narrow hemmed a 14" slit, reinforcing the bottom with a strong, button hole stitch: The skirt before attaching, please excuse the wrinkles! With the bodice and skirt now assembled, it was time to join them together! I opted for a flat front, 1/2" deep directional knife pleats at the sides, and 3/4" deep pleats in the back, meeting at the center with an inverse box pleat. (I like that this sounds incredibly technical, when in reality, it was based on the "divide and conquer" method and the math just worked out this time!) I tend to pin and hand baste pleats before machine stitching to prevent any slipping: Flat in the front, 1/2" pleats at the sides, and 3/4" pleats in the back. I hand-baste pleats before machine stitching to prevent any slipping - works like a charm! (As my costume tech professor always says: "a baste is never a waste!") Finally, the finishing steps were pressing the seam allowances up and whip stitching the lining to enclose the raw edges. I did this while listening to "costuber" Sarah Woodyard's video - Sewn Stories: Hand Sewing Health with Samantha Bullat Finishing stitches while listening to Sarah Woodyard's - Sewn Stories: Hand Sewing Health with Samantha Bullat Love these two costumers! ❤ Eventually I might add hooks and thread eyes to the front, but for the following completed project pictures, I just pinned the bodiced petticoat shut! Completed Project Pictures And here's the completed bodiced petticoat: worn over a shift, 1830s corset (because all three sets of Regency stays are currently back in New York), clocked stockings, and pashmina scarf wrapped as a turban. Jet necklace is by Kristen of the Victorian Needle, link to her etsy shop, here. Photos are taken using a new tripod and self-timer feature on my phone. Front view Side view Other side view Silly side view Back view And some images of the bodiced petticoat just by itself: Front view, flat. Front view, open to show a completely finished interior. Back view, flat. I love crisp, direction pleats that meet in the center! Now onto the fun part - dreaming of all the Regency dresses, bonnets, and frilly accessories to wear over top! Oh where to begin...do you have a favorite Regency Era gown or fashion plate? Feel free to share in the comments below - thanks for reading!

Carle Vernet (1758-1836) est un peintre de genre et de chevaux, dessinateur et lithographe français. La partie de son œuvre la plus populaire est celle consacrée aux petits métiers de Paris dont nous reproduisons 38 lithographies aquarellées d'époque, extraites du recueil les "Cris de Paris", édité par Delpech (1ère édition de 1825). Fils du paysagiste Claude Joseph Vernet (1714-1789) et père du peintre Horace Vernet (1789-1863) qui sera son élève, il inaugura, avec Gros, la peinture militaire (notamment les batailles napoléoniennes) et il excella dans les scènes de chasse, les petits métiers de Paris et les scènes populaires. Il réalisa également 116 lithographies des les fables de La Fontaine. Ci-contre, le jeune Carle Vernet en 1772 en train de dessiner. Carle Vernet peint par Robert Lefevre et blason de la famille Vernet L'afficheur L'allumeur de réverbères L'escamoteur Voici un genre qui n'a pas disparu et on peut toujours en rencontrer dans certains quartiers de Paris, notamment du côté de Montmartre. La laitière Quand Vernet réalise ces lithographies, il existe encore de nombreuses fermes autour de Paris, notamment à Grenelle et à Vaugirard. Marchand d'artichauts Marchand d'encre Marchand d'oublis Les oublies étaient de petites pâtisseries rondes, dépliées et cuites entre deux fers, faites de pâte délayée. Petit gâteau magique, l'oublie faisait s'envoler les soucis... L'oublieux passait le soir dans les maisons et l'on jouait aux dés les délicieux gâteaux. Marchand de billets de loterie Marchand de cuillers d'étain Marchand de laurier Le laurier était beaucoup utilisé en cuisine. Marchand de marrons Un grand classique toujours d'actualité. Marchand de melons Bouquetière C'est ainsi qu'on appelait les fleuristes. Marchande de chasselas Le beau chasselas de Fontainebleau ! Marchande d'eau de vie Une petite envie sur le boulevard ? Et hop ! cul sec ! Marchande d'huîtres ou écaillère Marchande d’œufs Marchande d'oranges La fameuse pomme de Noël, un luxe autrefois. Marchande de café La bière et le vin se buvaient dans les tavernes mais le café se prenait dans la rue. Marchande de carpes Marchande de cerneaux Avant l'apparition des cacahuètes, on grignotait des cerneaux de noix. Marchande de choux Le choux a longtemps été le légume de base et on en faisait autrefois une grande consommation, notamment pour la soupe. Marchande de châtaignes Marchande de harengs Bon marché, le harengs était très consommé autrefois, notamment le vendredi, jour sans viande. Marchande de moulins à vents Marchande de mouron Il s'agit du mouron blanc (stellaria media) destiné aux petits oiseaux. Marchande de plaisirs Les plaisirs sont des formes d'oublies, des gâteaux d’une pâte dorée croquante, mince comme du papier, en forme d’entonnoir coupé en deux dans la hauteur. Marchande de poires Il faut toujours garder une poire pour la soif ! C'est un fruit très désaltérant. Marchande de poires cuites Cuite, la poire est doublement un dessert. Marchande de pommes de terre La pomme de terre a mis un certain temps pour entrer dans les mœurs culinaires. Marchande de raisin Marchande de saucisses Le pain-saucisse est un repas de rue depuis la Rome antique. Marchande de tisane Marchande de volaille et de gibier Ces viandes n'étaient alors pas nécessairement vendues dans toutes les boucheries-charcuteries. Marchande de pommes Gagne-petit Il s'agit là du rémouleur de couteaux, de ciseaux et de rasoirs qui portait sa meuleuse sur le dos. Savetier C'est ainsi qu'on nommait le cordonnier qui réparait les chaussures. Il pouvait même vous en fabriquer à l'occasion. Compléments

THE SPODE BLUE ROOM COLLECTION “Warwick Vase” First Introduced c 1834 THE SPODE ARCHIVE COLLECTION REGENCY SERIES “Ruins” First Introduced c 1848 THE SPODE ROOM CALENDAR PLATE “Greek” 1997 “Willow” First Introduced c 1790 ✨SOLD✨ “Greek” First Introduced c 1806 ✨SOLD✨ “Caramanian” First Introduced c 1809 ✨SOLD✨ “Rome” First Introduced c 1811 ✨SOLD✨ “Milkmaid” First Introduced c 1814 ✨SOLD✨ “Lucano” First Introduced c 1819 ✨SOLD✨ “Asops Fables” First Introduced c 1831 ✨SOLD✨ “Pagoda” First Introduced c 1840 ✨SOLD✨ Check out the shop VintageLMG https://www.etsy.com/shop/vintagelmg/ for more vintage pieces! Good used vintage condition, wear consistent with age and use. Listed items for sale are vintage so please expect signs of wear consistent with age. Any flaws photos will be included so you know what you are purchasing. Additional photos can be sent if requested. Before purchase look at all photos, make sure description meets your fancy and ask questions if unsure.

Beth -- she of the fairytale-themed recipes and the literary makeup line -- will be joining us for a number of diverse and fun Janeite posts this AIA. The first of them is this look at the infamous "white soup," featured in innumerable ball scenes (that will never not sound strange...) and family dinner parties. Beth will be walking us through how to make both traditional and modern versions, and I have to say, having always thought of white soup as some bland and fussy thing, it sounds surprisingly simple but tasty! We'll be seeing more of Beth soon, but make sure to check out her blog during AIA for more Jane Austen goodness! "As for the ball, it is quite a settled thing; and as soon as Nicholls has made white soup enough, I shall send round my cards." -Pride & Prejudice, Jane Austen What exactly is white soup? A staple of balls during the Georgian and Regency period, it's basically a creamy chicken soup. From The London Art of Cookery, by John Farley (published in 1783): "Put a knuckle of veal into six quarts of water, with a large fowl, and a pound of lean bacon; half a pound of rice, two anchovies, a few peppercorns,a bundle of sweet herbs, two or three onion, and three or four heads of celery cut in slices. Stew them all together, till the soup be as strong as you would have it, and strain it through a hair sieve into a clean earthen pot. Having let it stand all night, the next day take off the scum, and pour it clear off into a tossing-pan. Put in half a pound of Jordan almonds beat fine, boil it a little, and run it through a lawn sieve. Then put in a pint of cream, and the yolk of an egg, and send it up hot." It's a stock-based soup, thus filling and fortifying. And with its chicken base, it's in the "new" French style (previously, the English were heavy eaters of beef and game exclusively), which is partly why it was so en vogue at balls. I also assume easy to make in large batches and serve attractively in tureens. I've simplified it a bit (how many of us have a knuckle of veal at the ready??) by using pre-made stock and cut chicken (added back in) instead of a whole fowl (removed from the final dish). However, if you want to make it more historically accurate, see the recipe note at the bottom of this post! You'll need: 4 cups beef stock Salt to taste 1 lbs. chicken (I used skinless, boneless thighs) 3/4 cup almond flour/meal 1 cup cream 1 egg yolk 1. Warm the beef stock over medium heat, adding the salt. 2. Cook the chicken in a pan (with a bit of oil in it) over medium-high heat for about 5 minutes per side. 3. Remove the chicken from the pan and let cool on a plate. 4. Turn the heat under the pan off, and add the almond flour/meal to the pan, stirring until it absorbs the leftover grease/oil. 5. Add the almond meal to the broth and turn it to low heat. 6. Shred the cooled chicken, adding the meat to the soup. 7. Add the cream and egg yolk to the soup, stirring until combined. 8. Serve warm. Want to make it exactly as Bingley's cook would have? You'll need: 1 knuckle of veal 1 large whole chicken (plucked) 1 pound bacon (or ham) 1/2 pound rice Two anchovies (or 2 Tbsp salt) Sprigs of thyme, winter savory, parsley, bay leaf and marjoram, with a handful of black peppercorns (bundle in a cheesecloth, tied up tightly, to serve as a spice ball) Two onions, peeled and halved Two heads of celery, chopped into large pieces 24 cups water 1/2 lbs. almond flour/meal 2 cups cream 1 egg yolk 1. In a large pot, layer the knuckle bones, chicken (breast-side down), and ham. Then toss all the rest of the ingredients in there. 2. Bring to a boil, then simmer for 4-6 hours (keep an eye on the water level!) 3. Strain everything through a sieve into a large, clean pot. 4. Let it cool overnight. A layer of jelly will form on the top (the gelatin from the bones). 5. Skim the jelly off into a pan set over medium-high heat. 6. When the jelly is melted, add the almond flour/meal and beat until combined. 7. Strain this mixture through cheesecloth, into the stock. 8. Warm the stock gently over medium-low heat. 9. Just before serving, whisk in the cream and egg yolk. Your end result should be smooth and creamy, with no chunks. Bonus: the rice will be cooked and flavored, ready to serve in its own right. Same with the ham and chicken (which won't be very flavorful after this treatment, so put them in dishes whose primary flavor comes from a sauce or seasonings). Toss the anchovies, onions, celery and bones to the pigs. Keep an eye out for a second Eat Like Austen post, coming next week, as well as some other goodies from Beth throughout Austen in August! Click here to return to the Austen in August Main Page

Milkmaid braids (AKA crown or halo braids) are absolutely adorable! Perfect for spring and summer, milkmaid braids are a super-chic way to create a beautiful updo. It’s relatively easy to create this hairstyle, too! You can leave out your bangs to create a looser, messier finish, or do a tighter, s

Before last week, I’d never made an Empire/Regency dress. Imagine that. I love the period, but for some reason I felt intimidated by them, which is funny, as I’ve made lots of far more advanced and complicated things. Mind, I have made a shortgown, which is basically the same thing, only, well, shorter. But I’m rambling. Picture by Pernilla Leijonhufvud Recently I was invited to attend a small event at a local museum, and though I could have whipped up a petticoat to use with said shortgown, I really wanted a dress. I had a cotton fabric with an almost handwoven look to it that I wanted to use. That would work well, as I wanted to portray the housekeeper of the middle class house we were to be in. The stripes reminded me of the ones in ordinary Swedish women's extant dresses from the period. They were quite often made from linen/wool, but cotton is also represented. Just two problems: the fabric only measured 150x210 cm, and I only had one week in which to make the dress. That’s one week where cutting, fitting and sewing had to be completed around all the things stay at home parents of little children do. I used the pattern I drafted for the shortgown as a starting point, but changed it into a drop front. And then it was the cutting. I only had two rather short skirt lengths of fabric, and both bodice and sleeves had to come from the two pieces on either side of the shaped front skirt panel. As it is cold this time of year, I wanted long sleeves, or things would have been much easier. This is indeed a little sister of The Insanely Pieced Dress I made a few years ago: The bodice back is made from two pieces, picture of that further down. The bodice fronts are made from 4 pieces each: The bodice “bib” is made from three pieces: The sleeves are made from 4 and 6 pieces respectively, not counting the bias strips at the wrists: In the end these are all the scraps that were left: Naturally I hand sewed the dress, using waxed linen thread (unbleached where it wouldn’t show, and brown for the rest) and period stitches. I lined the bodice and sleeves of the dress with unbleached linen. I might not have lined the sleeves had not all that piecing in them needed some protection from wear. I did my best to make the direction of the stripes follow the bodice as seen in extant dresses, and am rather happy with how it came out. The bib is pinned in place with reproduction brass pins. I put a pleat near each end of the bib to make it shape itself around the bust nicely. I still haven’t decided if I’ll stitch them down to make darts or leave them as they are. The sleeves are pleated at the back of the shoulders, and are full enough at the wrists to pull on without any closures. A tuck at the elbow (seen above in the picture of the piecing) provide a little extra room for movement. The bias strips are decorative, but their primary function is adding well needed length. The sleeves are still slightly too short, but they will do. The skirt is smooth in front, and the ties on the front part of the skirt runs through stitched bars by the back seams, and then ties in front, under the skirt. The skirt is cartridge pleated in the back. A small pad prevents the skirt falling in at the small of my back, and also supports the ties of the skirt front and any apron that might be worn. I added tapes to the inside of the bodice back to tie in the front, as I didn’t think the bodice lining did a good enough job to keep the bodice back tight to the body. The fine white cotton ties are too fine for this kind of dress – it was still a rather fancy material here in Sweden – but it’s what I had at hand. At least they won’t show. I faced the skirt hem with a cotton/linen tape I wove a couple of years ago – facings are brilliant when you don’t really have any skirt length to sacrifice on hems, and it’s a period way to finish them. The tape too is pieced – it was initially used as 18th century style ties in a hobbit skirt, and are in four pieces. In the end I managed to get the dress wearable in time for the event, if not completely finished, hence the mitts in some of the pictures - the sleeves were not yet hemmed. Now however, it’s all done! Picture by Pernilla Leijonhufvud I really like how it came out, and enjoy wearing it. Now I'm really keen to make more Empire dresses. The pictures with the mitts are from the event at the museum, the ones without were taken today, when the weather finally allowed me to document the finished dress. I haven’t had time to participate in the HSM for a while, but this dress fit the last challenge of the year. The Challenge: # Re-Do What Challange/s are you re-doing?: # 2 Blue (the dress has a lot of blue in it), # 3 Stashbusting (everything came from my stash), # 5 Practicality (it is very much a dress to work in), #6 Out of Your Comfort Zone (first time making a dress of this period), # 10 Sewing Secrets (lots of almost invisible piecing). Fabric: Rather heavy weight, plain weave cotton and linen. Pattern: My own. Year: 1810’s. Notions: Two kinds of linen thread, three kinds of cotton or cotton/linen tape, cotton batting. How historically accurate is it? Pretty much. Materials, pattern and sewing is rather good. Hours to complete: Difficult to say… estimated somewhere between 25-30 – the piecing took quite a bit of time to get nice. First worn: For a small museum event last Saturday. Total cost: Nothing at this time, as everything came from my stash. The main fabric and the brown linen sewing thread were originally a gift, the linen fabric was left over from a previous project, and two of the tapes were recycled from other clothes.

This is a printable sewing pattern and guide for a corset top. Perfect for a fantasy costume/cosplay or unique outfit ^-^ This PDF includes: - Easy, ready-to-print A4 and US letter 1:1 scale patterns of all parts in different sizes - A full guide with construction instructions - Full colour images demonstrating the process - Tools and materials list - Information on printing, materials needed etc. This pattern includes 10 sizes: XS to 2XL, European size 34 - 52, US size 2 -20, UK size 6 - 24 You will need about 1m x 0.6m of each fabric (lining and outer fabric). General information about the guide: File type: PDF E-Book dimensions: A4 Language: English Pages: 10 NOTE! This is NOT a physical product! It is just a digital downloadable sewing pattern and guide! You need to buy all materials, tools etc. so you can sew it yourself. If you need help with anything, feel free to contact me! ^-^ If you have previsouly purchased this pattern (when it was not graded), please message me and I will send you the graded pattern. This product is for personal use only! Please do not resell or distribute. ✧ Thank you for your visit and purchase! Feel free to tag me on Instagram (@trine.k.n) if you use my products! :D

The feminine, romantic style known as the coquette aesthetic first emerged in the early 2010s and is seeing a massive resurgence thanks to Gen Z. Here's everything to know about the coquette trend.

Its that time of year where we are putting the summer things away and getting ready for winter. In a Regency estate, it also may be the time to set aside some b

Dock Scene by Abraham Jansz Begeyn ca. 1662 "But to return to our subject: no time was lost; we struck whilst the iron was hot, fixed Mr. Cocke off with a good Queen Ann's musket, plenty of ammunition, a tomahawk, a large cuttoe knife, a Dutch blanket, and no small quantity of jerked beef. Thus equipped, and mounted on a tolerably good horse, on the ___ day of April, Mr. Cocke started from Cumberland river, about 130 miles from this place, and carried with him, besides his own enormous load of fearful apprehensions, a considerable burden of my own uneasiness. Letter of Judge Henderson to Proprietors remaining in North Carolina Boonsborough June 12, 1775 Dutch blankets appear in great quantities in 18th century documents from Virginia. They were used by Soldiers (the most common type of blanket specified in the accounts from the Va Public Store for Va Continental use), Indians, Slaves and civilians alike and seem to have been VERY common. Pennsylvania Packet, 13 May 1778 DESERTED from Capt. Nathaniel Fox's company of the 6th Virginia, James Anderson, a black soldier, six feet high, about forty years of age, rather spare made, and fond of liquor; had on when he went away, a light grey cloth coat and waistcoat: the coat faced with green, a pair of oznabrig overalls, and a small round hat with a piece of bear-skin on it: He took with him a pair of leather breeches which he had to clean, and also his firelock, cartridge-box, and new Dutch blanket. He is a ditcher by trade, and it is probable will endeavor to get employment in this State. Whoever apprehends said deserter and delivers him to some officer of the regiment, or secures him so that he may be brought to his regiment again, shall receive TWENTY DOLLARS reward. John Gibson, Col. 6th Virginia Reg. Governor Dinwiddie to Colonel George Washington. “June 24th, 1757... Col. Stephen is highly blameable to take any of the Regimental supplies for the Indians... If any of the Dutch Blankets rem’n, and not wanted for the Indians, I’ve no objection to their being replaced in the room of those made use of.” p. 654. Virginia Gazette (Purdie & Co.), Williamsburg , May 2, 1766. RUN away from the subscriber, the 16th of February last, two Virginia born Negro men slaves, of a yellow complexion, about 5 feet 8 or 9 inches high; had on when they went away Negro cotton waistcoat and breeches, shoes and stockings, and osnabrugs shirt, and took with them several other clothes, and five Dutch Blankets. One named CHARLES, is a sawyer and shoemaker by trade, carried with him a set of shoemaker tools, is about 28 years of age, speaks slow, can read, and may probably procure a pass and get on board some vessel. The other named GEORGE, about the same age, is round shouldered, which causes him to stoop when he walks; they are both outlawed. Whoever brings, or safely conveys, the said slaves to me, in the upper end of Charles City county, shall have 5 l. reward for each, if taken in this colony, if out thereof 10 l. CHARLES FLOYD. “27. Clough Overton. May 20, 1783. Dutch blanket, £3:9:0; 1 pr billiard balls, 5:10; Otter skin 6:0; shoe buckles, knee buckles, a cabin in Harrodsburg, etc., £103:10:10.” p. 133. “Records of Lincoln County (Concluded).” In “The Register of the Kentucky State Historical Society, Frankfort, Kentucky.” Vol. 12, No. 34. The State Journal Company, Frankfort, Kentucky, 1914. Appearance and Origin So- what did these "Dutch" blankets look like and where did they come from? Aside from knowing that they must have likely been quite visually distinct from French point, English duffel and English "rose" blankets, there is a dearth of information in the second and third quarters of the eighteenth century, but we do have a few hints: 1723 Dutch Newspaper Advertisement "2 woolen Blankets ...one with yellow and...other with green stripes" A green striped twill blanket is shown in "A Woman and a Fish-pedlar" by Van Mieris (1713) is shown below.(16 3 1723 Oprecht Haerlemsche Courant) 1759 Invoice of Sundries to be sent by Robert Cary and Company for the use of George Washington: "...100 yards Dutch Blankets." 1761 "... Bale No 2-Stript Dutch Blanketing ..9..2y[ard]s @ 15/6 7/11/-" Invoice of Goods shipt Aboard the Catherine William Warden Mas[te]r for Quebec on accot & Risque of Bogles Cross Munro Glassford & Co. Neil Jameson papers Vol.1 1757-62 Miss. Div. Library of Congress [ Readings in American Business History - Page 62 Peter A. Coclanis]. 1775-1783 "... New York Historical Society (INV.6090.1-18) Bale Seals from Revolutionary War encampments in New York-WOLLE DEEKIN [sic WOLLEN DEKEN] GEMAANT BINNEN LEYDEN [WOOL BLANKET MADE INSIDE LEYDEN] Leiden is a city and municipality in the province of South Holland, Netherlands. The city had a thriving woolen business including blanket production for centuries. Thanks to Dave B for finding this one! June 1776 Dr. Nicholas Flood probate inventory Richmond County, Va 16 Dutch Blankets 1 ps. 8£.15 do do in anor 7£10s 15.10. 0 [William Lee] to Richard Henry Lee. “Paris, 12 September, 1778. My dear Brother:... I have sent from Holland 2,000 Dutch blankets and 3,000 pr woolen stockings, on acct of the Secret Committee.” p. 480. Washington To CLEMENT BIDDLE Hd. Qrs., Newburgh, May 15, 1783. The Blankets which I used to Import for my Negros came under the description of Dutch Blankets, abt. 15 in a piece, striped large and of the best quality, such I now want. In case of a purchase, I would have them sent to my House upon Potomack River consigned to Mr. Lund Washington at Mr. Vernon abt. 10 Miles below Alexa. Thomas Jefferson refers to them several times, equating them with striped blankets in 1787, and mentioning width in 1788: "As I could find a use here for 3. or 4. striped blankets (sometimes called Dutch blankets)" Papers: 1 January to 6 August, 1787 - Page 598 "Dutch Blankets 6/4 wide— 15. in a piece" Papers: Mar. to 7 Oct. 1788 - Page 393 In case there was any doubt as to whether or not all Dutch blankets were identical, the following advertisement from the Virginia Gazette helps muddy the waters. "Dutch Blankets of all Sorts" Virginia Gazette, August 22, 1771 Expanding the search through the mid 19th century adds a few more clues: The Kentucky Gazette, 17 June 1797 Ten Dollars Reward. Ran away from the subscriber, on the 13th instant, SAM, a likely Negro man, five feet ten or eleven inches high, rather slim, but straight and well made, with long hollow feet, of a dark complexion, about twenty two years old, he took with him a blue cloth coat, a short country fulled lead coloured ditto, a thin home made ditto, a pair of black breeches, a black half worn wool hat, and a twilled Dutch blanket, with sundry other clothing. I will give the above reward for said Negro if delivered to me, in Fayette county, on Steele _____, or Five Dollars if secured in any jail so that I get him. MOSES HICKS. 1796 Dutch Navy blankets mentioned in the Rotterdam Courant (Rotterdamse Courant 14-04-1796) "Commissioners in Rotterdam, from the commission for the affairs of the navy... 8oo WHITE LIDCHE [Lieden] BLANKETS, with RED STRIPES" The Tennessee Gazette And Mero-District Advertiser; January 31st, 1807 Lost or Stolen...A New Saddle, with plated piece of metal over the pummel and Cantel. It had no saddle cloth except a Dutch blanket with red stripes, fastened to the Saddle together with a Valise pad attached thereto..." Thomas Jefferson again equates them with striped blankets on December 27, 1812 "Dutch or striped blankets..." Britische Waaren-Encyklopädie/British War encyclopedia Hamburg in der Nemnichschen Buchhandlung/London bey Thomas Boosey 1815 p64 "Unter Dutch Blankets, verstehen die Englander die Scharzen, oder wollener Decken, die in der Nahe von Solingen in Grosser Menge verfertigt werden." "Under Dutch Blankets, the English understand the Scharzen, or woolen blankets, which are made in the vicinity of Solingen in large quantities." The archaic textile term Scharzen is defined in the 1809 publication Tagebuch einer der Cultur und Industrie gewidmeten Reise (Diary of a journey dedicated to culture and industry). p450 "Here, in ancient times, a fabric whose chain was linen and the weft was cowhair, under the name of Scharzen, was made. In recent times, this article has gone into woolen bedspreads, which one calls outright and sometimes wrongly Scharzen now and then..." By 1839 we have the Comprehensive Lexicon of merchandise knowledge in all its chapters" [ thanks to Gottfried P. for the translation help!] Vollständiges Lexikon der Warenkunde in allen ihren Zweigen AD. 1839 "Dutch Blankets-Are white, woolen, both sides twilled blankets with colorful stripes at the edges and colorful flowers at the corners, 4 ½ to 6 feet long, 4 feet wide, which mostly are shipped to America...Rose Blankets, white, woolen, un-twilled, of various sizes with worked-into flowers or figurines in colorful wool on the corners, are from Kilkenny and other production centers of Ireland..." Multi colored striped Dutch Blankets ca. 1566-1794 Blanket Fragment from Burr's Hill in Rhode Island In addition to the above sometimes confusing notes from the historical record, we have surviving fragments of a striped twilled blanket from a Native burial site named Burr's hill in Rhode Island. The Burr's hill site roughly dates from the mid to latter end of 17th century, "The earliest European trade objects in the Burr's Hill collection date from the early seventeenth century or possibly even the late sixteenth century..." and on the other end "some of the glass beads are of types dating as late as 1710-1745." A Queen Anne era "AR" stamped stoneware mug on page 57 indicates a production date range for that object of 1705-1714. Fragments of these blankets can be seen in black and white in the Burr's Hill dig report and are also shown in color in Montgomery's excellent Textiles in America. As stated in the Burr's Hill dig report on page 102 "Blankets of this type were woven in the seventeenth century in both Holland and England..."and "...[fig. 94 caption] Wool blanket fragment, probably of Dutch or English manufacture." Detail from The Census at Bethlehem, 1566, by Pieter Bruegel the Elder Adriaen van Gaesbeeck Leiden 1621-1650 A kitchenmaid ironing Jan Steen Baptism ca. 1650 Domestic Interior 1631 to 1672 The Wallace Collection. Interior with woman cooking Esaias Bourse 1656 The Wallace Collection. Gerrit Dou, Woman at a Window, 1663, The Fitzwilliam Museum, Cambridge A Woman at her Toilet by Jan Steen, ca. 1665 Gerrit Dou, "A Poulterer's Shop", ca 1670. National Gallery (UK). Adriaen van Ostade The Cottage Dooryard 1673 Grocer's shop by Frans van Mieris 1715 Poultry Seller by Willem van Mieris ca. 1733, Rijksmuseum Detail from Abend am offenen Feuer (Evening by the open fire) by Jan Josef Horemans the Elder (1682 – 1759) A man and a woman in a grocer's shop by Frans van Mieris the Younger (Dutch, 1689–1763) Frans van Mieris the Younger (1689 - 1763) AN INTERIOR WITH A WOMAN DOING NEEDLEWORK AND A YOUNG BOY WITH A HOOP Het gebed voor de maaltijd (The prayer before the meal) Wybrand Hendriks 1786, after Jan Steen's 1660 painting Rijksmuseum Burgerlijk binnenvertrek (Domestic Interior) by Adriaan de Lelie 1794 Similar blankets can be seen in numerous 17th and 18th century paintings by the French Le Nain Brothers, Jan Steen and etc., although one of my favorites is the dock scene at the top of the page (by Dutch painter Abraham Jansz Begeyn c1662)- these twill woven, striped blankets from Holland are likely what Americans would eventually call "Dutch" blankets. In addition to the visual evidence, there are correlating 18th century quotes mentioning multiple colored striped blankets from Pennsylvania. A 1714 letter from James Logan to Edward Hackett describes similar blankets in the Indian trade " ...3rdly. Striped Blankets that are white like other Blankets only towards the ends they have generally four broad Stripes as each 2 red and 2 blue or black ... they are sold by ye piece containing 15 blankets for about 3 lbs 10/." (See Montgomery's Textiles... James Logan Papers in the Historical Society of Pennsylvania, Logan's letter book, 1712-15)." In the 1772 Dutch language version of Peter Kalm's travels in North America, He describes the Indians living near Montreal in 1749 as "Clad in White cloths, roughly unshorn cloths, of that kind which one does use for blankets on the beds. The Wilden [Indians] always wear such garments...Most of the time there are some at the edges blue and red stripes." A "new Blanket, with red and blue Stripes on the Sides..." was listed as stolen in the Pennsylvania Gazette in 1759 (see image below). Pennsylvania Gazette- April 12, 1759 ad mentioning a new red and blue striped blanket. Above are a couple reproduction "Burr's Hill" blanket variations based on period images and the extant fragments (The three color blanket at right is by Robert Stone hand weaver NB: Mr. Stone does not agree with my hypothesis, and produces a fine product at a fair price). Odds and Ends The multi-colored stripe motif seems to have persisted in blankets of unknown or non Dutch origin for some time. Detail from Two Indians and a White Man in a Canoe by Pavel Petrovich Svinin (ca. 1811-1813). Metropolitan Museum of Art, Rogers Fund, 1942 Accession Number: 42.95.33 Below is an image of a Cherokee ca. 1820 (interestingly enough the same artist depicted a Seneca woman in a point blanket, was this possibly a regional preference?) and a Witney blanket scrap woven in the 1860s. Cherokee, Mr. Martin 1820, NYHS Plain wove Witney blanket sample 1864 Single color striped Dutch Blankets 1656-1825 In addition to multi-colored stripe decorations, some "Dutch" blankets may have been made with a single color (red seems to predominate in what I have found so far) stripe pattern, and both styles seem to have existed contemporaneously, Esaias Borse and Frans van Mieris the Younger depicted both styles about 75 years apart from each other. The Tennessee Gazette And Mero-District Advertiser; January 31st, 1807 Lost or Stolen...A New Saddle, with plated piece of metal over the pummel and Cantel. It had no saddle cloth except a Dutch blanket with red stripes, fastened to the Saddle together with a Valise pad attached thereto..." The three wool blankets shown below are from the Nederlands Openluchtmuseum collection. The top two were donated together, and are described in Onder de dekens, tussen de lakens by A. Meulenbelt-Nieuwburg as "dated at the end of the 18th, beginning of the 19th century". The top two are both center seamed, and feature a three color printed cotton edge binding with a floral motif and brown ground instead of the red woolen thread blanket stitch typically used in England and America. The brown striped blanket has an odd ribbed plain weave that is very similar to excavated 16th century textile fragments from Amsterdams Historisch Museum (see Onder de dekens... page 50). Late 18th/early 19th c blanket from Drenthe. Foto Nederlands Openluchtmuseum Late 18th/early 19th c blanket from Drenthe. Foto Nederlands Openluchtmuseum 19th c blanket from Drenthe. Foto Nederlands Openluchtmuseum Interior with woman cooking 1656 Esaias Bourse The Wallace Collection. Pieter de Hooch Woman, Child, Maid ca 1663 Cornelis de Man A man Weighing Gold ca. 1670 Pieter de Hooch. Mother Nursing Her Child, c. 1674/1676 Detroit Institute of Arts Bedding from a late 17th - early 18th century dollhouse, Gem Museum the Hague from Het Hollandse pronkpoppenhuis Mother sits with her child wrapped in a blanket Jan Luyken 1712 Rijksmuseum Woman and a Fish Peddler Willem van Mieris ca.1713 Attributed to Horemans 1725 to 1775 Cheltenham Art Gallery & Museum Happy Baby with Mother 1728 Willem van Mieris Frans van Mieris the Younger fish and poultry seller 1730 Nursery by Cornelis Troost, dated 1741 Museum Boijmans Kraamkamer (Nursery) by Cornelis Troost, dated 1748 Rijksmuseum Hollandse kraamkamer, Pieter Tanjé, after Cornelis Troost, 1757 Rijksmuseum Goede Buren (Good Neighbors) by Johannes Christian Janson ca. 1780-1810 Rijksmuseum Attributed to Jan Jozef Horemans II (1740-1790) Johannes Christiaan Janson (Dutch, 1763–1823) An amorous couple in a window Johannes Christiaan Janson (Dutch, 1763–1823) Mother and child Attributed to Jacob van Strij (1756-1815), "La Couseuse." Abraham van Strij (1753-1826) A Winter Scene 2nd half 18th c Abraham Van Strij the Housewife ca 1800-1811 Abraham van Strij (1753-1826), "A Mother with her Children in the Hall of a Town House". Abraham van Strij (signed and dated 1810), Dutch interior with woman knitting and dog. Willem Bartel van der Kooi (ca.1816 to 1818), A Happy Father and A Happy Mother, Fries Museum Cornelis van Cuylenburg Strijkster ( Ironing Star ) ca. 1825 centraal museum 12644 Odds and Ends Philipp Georg Friedrich von Reck's depictions of Yuchi Indians in Georgia ca.1736 show several similar blankets, however the Hanover native identified them as having English origins. "The Indian King and Queen of the Yuchis, Senkaitschi." "(6) A woolen blanket" "The king wears a buffalo skin, the queen wears a British blanket from Charles Town." The Papers of Sir William Johnson, Volume 9 August 1756 William Johnson. Memorandum of Sundry Articles necessary for Indians (Huntington Library LO 1389 [A]). p562 Memorandum of Indian goods... Blankets of different sizes, Kersey Whale.... Common Indian Blankets of 20-24-&30 in a piece Red striped Do. qty 15 in a peice... In 1764 Richard Byron executed a series of watercolors depicting Canadian Natives in the St. John River Valley. Two of his studies include what appear to be white blankets with thin red stripes. "Micmac Indian of Nova Scotia" drawn by Richard Byron in 1764 Sotheby's Auction Catalog Oct. 1991 Lot 267 C "An Indian Squaw" drawn by Richard Byron in 1764 Sotheby's Auction Catalog Oct. 1991 Lot 267 E Detail from La Pegna, Maxen- Heeresgeschichtliches Museum Vienna Two paintings by Hyacinth de La Pegna (1706-1772) of Prussian soldiers ca. 1758/9 are shown on the excellent Kabinettskriege blog by Alex Burns ( link ). All of the blankets are depicted as off white with blue stripes, and three stripe variations are shown. Hopefully more information on this once commonplace item will come to light. I am indebted to the assistance of many others with this topic, especially Mike G., Steve R., Matt N., Robt S. Ken. H., and Tom A., who have shared a wealth of great info and leads on this front- thanks guys!

Over the centuries, the humble apron has been both a practical item and a fashion statement, with fashions varying dramatically through the decades. But is it a dying artefact or will it ever come back into style?

During the late 18th century, early 19th century, trains on gowns were de rigueur. I chose to show the two gowns below, since the styles were popular when Jane Austen was a teenager (first image) a…

Medieval asymmetric Renaissance Faire Dress with long sleeves and vest over dress Vest Over-Dress: *Item Fabric Dress Shell:75%Polyester+25%Polyamide Lining:98%Polyester+2%Viscose *Item Elasticity:None. *Item Features: 1) Hits at ankle 2) Sleeveless 3) U-Neck 4) Lace-up front 5) Open side-seam pockets 6) Irregular high-low hem 7) Flared A-Line silhouette 8) Garment is not elastic 9) Partially(bodice) lined Dress: *Dress Fabric: Shell:62%Viscose+38%Polyester Lining:98%Polyester+2%Viscose *Dress Color:Dark Green/Black/Pale Apricot(As pictures show). *Dress Closure:Pull-on *Dress Elasticity:None *Dress Features: 1) Hits at mid-calf 2) Long bell sleeves 3) Of-the-shoulder design 4) Neckline with tie 5) Smocked waist 6) Open side-seam pockets 7) Irregular high-low hem 8) Flared A-Line silhouette 9) Soft & comfortable fabric 10) Dress is not elastic 11) Main body lined No Accessories Included Notes: 1,The actual color of garment might be slightly different from pictures,since different screens display colors differently due to monitor settings and pixel definitions. 2,Please allow slight manual measurement deviation for the data. Here are some important details for you to keep in mind: Chosing the right sizing. Choosing the Right Size is Crucial: We recommend against relying solely on past sizing habits. Please consult the size charts, typically found at the end of the picture gallery or in the description if it is One size. Follow the instructions provided there to take your measurements and select the correct size on the chart or opt for custom sizing, where applicable. If you still have doubts chose the next bigger size or contact me for support. Size Availability: Our items are exclusively available within the specified size ranges, except for custom-made pieces. Shipping & Tracking: Expected Delivery: Your item is estimated to arrive within the specified time frame. Should there be any delay, please reach out to us promptly. Sometimes, the shipping agent may not leave a retrieval notice. If your item remains unclaimed after a week, it might be returned to us. Thus, please notify us without delay. Multiple Deliveries: If you've ordered a set or multiple items, anticipate separate deliveries. Returns: Return Policy: Items can be returned within 30 days of delivery. Contact us for the return address. However, please note that custom-made items tailored to your specific measurements cannot be returned.Customized items can only be returned or refunded if they fail to meet the agreed specifications. Business Hours: Based in Germany, we respond to inquiries Monday through Friday, from 9 am to 7 pm. We're here to assist you during these hours. Please refer to the size chart in the picture gallery for accurate measurements. #NOTE: Kindly avoid selecting a size based solely on your usual preferences. Take measurements and refer to the size chart to ensure the perfect fit. If you're uncertain or prefer a looser fit, consider choosing a size larger. If you're in search of distinctive and top-quality vintage-inspired dresses, you've come to the right place! Our online marketplace offers a wide selection of handcrafted and vintage clothing items, ranging from medieval dresses and regency dresses to Victorian dresses, renaissance dresses, Ren Faire dresses, Victorian gowns, cottagecore dresses, milkmaid dresses, Edwardian dresses, wedding guest dresses, Victorian costumes, and fairy corsets. Whether you're attending a themed party, a Ren Faire, or a wedding, we have the ideal dress for every occasion. Our medieval dresses draw inspiration from the Middle Ages, featuring flowing fabrics, corsets, and intricate embellishments. Meanwhile, our regency dresses capture the essence of the early 19th century with empire waists, delicate prints, and romantic ruffles. For those enamored with the late 19th century, our Victorian dresses showcase high collars, bustles, and exquisite lacework. 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I came across this 18th Century traditional Dutch costumes on Pinterest and was instantly smitten with the color combination and subtle pattern mixing. This inspires me on trying new color and pattern combinations with my own wardrobe and also when I'm looking at linesheets for the modern vintage inspired clothes for Adored Vintage. Image Source: Traditional Costumes in Holland in the 18th Century