Mr. Darcy in the making: The Thrifty Regency Gentleman’s Costume

Beau Monde, 1807, Morning Dress

Beau Monde, 1807, Morning Dress

Mr. Suze used to bug me to let him read my Regency writing. I told him he’d have to read Jane Austen’s Pride and Prejudice first, so he’d understand it better. I didn’t expect him to actually read my favourite novel, but he did! What choice did I have but to share Alias Thomas Bennet with him? I was preparing to submit it to Meryton Press at the time, and he was a good final cold reader.

He became a big fan of my writing, and joined me to watch the A&E/BBC 1995 production of Pride and Prejudice. A good sport, he went along with me on half a dozen meet-ups of my online friends from A Happy Assembly while we were on vacation in Washington, Oregon, and California over several road trips.

When I told him I wanted to go to Louisville, KY for the JASNA AGM, he said I could go on my own; he’d had enough of Jane Austen events. Over time, he softened to say he’d join me and enjoy the city on his own while I was at the conference, and later, he agreed to dress in a Regency costume for the Saturday festivities. In May, my vintage and thrift shop trips to finalize my own costume included searches for his items. I quickly got the lay of the land.

For this post, I’ll speak to two items: the tailcoat and waistcoat. The rest of the costume will be seen in future posts.

I saw only three tailcoats in vintage and thrift stores, at $65 and $35, but two were too large and one, too small. There were no suitable vests for a waistcoat, even if I looked at size extra-large in Ladies’ wear. Mr. Suze is not a large man, and I thought if I did a good job, he’d be okay with this.

Please note these are sewing projects. The same result will not be easy to achieve with no-sew iron-on tape, and the fabric is too heavy for that product in any case.

Upcycling a garment into a Regency tailcoat

Coat, 1810, dark brown herringbone.

Coat, 1810, dark brown herringbone.

Le Beau Monde, 1807

Le Beau Monde, 1807

Regency tailcoat 1815, Metropolitan Museum of Art

Regency tailcoat 1815, Metropolitan Museum of Art

Post-Regency example for fun! 1825-1830 dress coat

Post-Regency example for fun! 1825-1830 dress coat

Regency tailcoats were by no means all the same. They came in many colours, and some had interesting textures, as shown in these thumbnails, which can be enlarged if you click on them.

 

Louis-Léopold Boilly - The Arrival of a Stage-coach in the Courtyard of the Messageries (Detail), 1803.

Louis-Léopold Boilly – The Arrival of a Stage-coach in the Courtyard of the Messageries (Detail), 1803.

Both single and double-breasted designs were stylish, but double-breasted appears more frequently in the examples I could find, and I’ve been told they outnumbered single-breasted by about 2:1. Lapels tended to be wider, and the opening quite high in comparison to modern menswear.

Many modern tuxedo tailcoats require slight modifications to straighten the bottom front to match the style of the early 19th Century. The Regency tailcoat has no back waist seams: each panel is one piece of fabric, whereas post-Regency, the seam at the waistline came into play, and continues in modern tailcoats.

Because I couldn’t easily find a used tailcoat in thrift shops, I looked to the Internet, where previous rental tuxedo coats are readily available at under $100. Problems that rule out some modern tuxedo tailcoats include trim such as velvet or satin that do not look Regency. Shawl collars or narrow lapels are common. Most are black, white, or grey. Black would do for a court suit or a formal ball, but the other two would not work, unless I decided to buy a white one and dye it the popular dark blue of the Regency.

Modern morning coat, dark green wool, herringbone.

Modern morning coat, dark green wool, herringbone.

Back view of Regency tail coat to show the single panels of fabric, with no waist seams.

Back view of Regency tail coat to show the single panels of fabric, with no waist seams.

A wool morning coat in dark green, with a fine herringbone pattern and slightly wider lapels, caught my eye and got approval from Mr. Suze. Of course, he doesn’t know that Jane Austen fans love the idea of a green coat ever since Andrew Davies had Colin Firth choose it to ride into Lambton the day Elizabeth got her fateful letter from Jane!

This coat appeared to have no back waist seam in the photos online, but when it arrived, it did. Also, the collar was not self-lined, so it would have to stay down. Oh, well, we knew we were not going to be perfect by any stretch of the imagination, and it fit well, so that was a huge relief. It was advertised on eBay at £25, or $80 with shipping.

Green tailcoat after first cut of shape of front opening and tails.

Green tailcoat after first cut of shape of front opening and tails.

George "Beau" Brummell, watercolor by Richard Dighton, 1805.

George “Beau” Brummell, watercolor by Richard Dighton, 1805.

Mr. Suze is a bit particular about his clothing. His father was a menswear tailor at the Canadian institution of high-class shopping: Eaton’s. My husband is accustomed to a well-fitted, flattering suit in quality fabric, and that was my goal for the Regency tailcoat. We looked at numerous examples from museum pieces and fashion pages like Ackermann’s, and decided on a full curve at the waist, as opposed to a straighter line. A painting of Beau Brummel served as reference. The line was pinned while “my Beau” wore the coat, and the future wearer did a mirror check to approve it. To further achieve a Regency look, the lapels were pressed higher, and extra buttons are needed to suit this modification. The front of the cut coat is shown above, on the left.

I re-applied the matching fabric facings to the underside of the new shape of the tails. To sew the new contour front edges together, I thought about pinning them under and top-stitching, but I opted to sew a normal seam with the fabric pinned right sides together. That meant I had to turn half the jacket inside out.folded and tied with elastics to sew right sides togetherpinned for sewing, all inside the taildetail of fake side pocket

Green tailcoat, back, final except buttons.

Green tailcoat, back, final except buttons.

I tied the upper portion together with elastic bands as shown and laid it inside along the length of the tail, where I’d opened the bottom hem. The tail was pinned right sides together over it all, and sewn with a 1/2″ seam. It was turned it right side out again by pulling it through the open bottom of the tail.

I did a test run with the narrower side before I was brave enough to photograph it for this blog!

I used scraps of fabric to fake Regency by putting flaps that look like pockets at the sides of the jacket. Regency coats sometimes had a cuff, so if your modification allows more fabric, that’s another way to make it more authentic in appearance. Mine did not.

The Regency coat design didn’t always close, but boasted decorative buttons, and men wore them buttoned or unbuttoned, though I’d assume formal circumstances would demand a tightly-buttoned look. The buttons are plastic, and I have yet to purchase proper buttons for the tailcoat. As mentioned earlier, Regency menswear often had fabric-covered buttons in the same colour, though not always the same fabric as the garment. Regency coat fronts have buttons closer together, so my mockup has 4 buttons where the original suit had one.

My intention was self-covered buttons with a brass ring trim from Dressew, and I had enough extra fabric left for them. But I didn’t have enough buttons of the right size, and none of the stores in my city have the snap-on brass trim. I won’t be able to get to Dressew (in Vancouver, BC) prior to the JASNA conference, so I can’t use these buttons at this time.

Suit, 1815-1820, The Victoria & Albert Museum.

Suit, 1815-1820, The Victoria & Albert Museum.

The alternatives are thread buttons, which are a lot of work I don’t have time for, and metallic buttons. Brass buttons were a must on blue coats in the Regency, and seen on other colours sometimes, too. The estimated cost for this tailcoat is $20 on sale. Some attractive steel buttons with an insignia will cost about $7 at Fabricland, so next shopping trip, I’ll purchase them.

Making a modern vest into a Regency waistcoat

The modification of a vest into a nice facsimile of a Regency waistcoat was an easy sewing project, once I found the suitable vest. Strange, since I was lamenting that I’d have to make this item from scratch!

Waistcoat, 1810-20, National Trust Collections

Waistcoat, 1810-20, National Trust Collections

Waistcoat, early 19th century, British, wool and silk. 21" by 33", Metropolitan Museum of Art.

Waistcoat, early 19th century, British, wool and silk. 21″ by 33″, Metropolitan Museum of Art.

It’s not that Regency waistcoats are so limited in design that it’s impossible to find them: this clothing item was the pizazz in the man’s outfit. Almost limitless possibilities existed for colour and pattern, as seen in the set of thumbnails. Click to see larger images.

The most common fabric was silk, but cotton and linen were worn as well. Some boasted gorgeous detailed embroidery. Similar to the tailcoat, the waistcoat could be single- or double-breasted.

Waistcoat French or English, 1790–1810, Brooklyn Museum of Fine Arts. Note the detailed embroidery.

Waistcoat French or English, 1790–1810, Brooklyn Museum of Fine Arts. Note the detailed embroidery.

Waistcoat, 1805-1810, Mccord Museum, Montreal. Note the embroidery.

Waistcoat, 1805-1810, Mccord Museum, Montreal. Note the embroidery.

The trouble with modern vests is their simplicity. Plain, pin-striped, or herringbone wool or wool-like synthetics are as good as it gets for suit vests, which are difficult to find. Most thrift shop vests are casual, with zippers and fleece and plaid and quilting and such.

Regency vests usually had stand-up collars and lapels, too, which modern vests lack. The balance is that Regency vests were straight across at the bottom, so I knew I had a fabric source for the collar and/or lapels: that double V-shape on a dressy modern vest.

William Blake, by Thomas Phillips, oil on canvas, 1807.

William Blake, by Thomas Phillips, oil on canvas, 1807.

The internet, and used tuxedo rentals, offered more options in terms of colour and pattern, and the satin vests mimic the look of silk. Mr. Suze and I agreed on a paisley pattern for a fullback vest. It cost $11.99, and included a matching bow tie; the total was $25 by the time we paid for shipping.

He selected ivory since it best suited the green coat, compared to the bright colour palette otherwise available. The other colours would be great with a black or blue tailcoat. We had also noted that many of the waistcoats in paintings were white or ivory.

The vest was a bit on the big side, and I realized I could use that to my advantage, as I pinned it up at the shoulders to get extra fabric to make a short stand-up collar, plus raise the V of the neckline higher, to make it more Regency in appearance. The photos show it pinned up before the cut (left) and after the collar is made, but not attached, and the bottom is trimmed (right). Two extra buttons are on the bottom in the photo on the right, to show how it would look if more were added.Ivory paisley waistcoat, pinned for the cuts to the shouldersIvory paisley waistcoat, collar made, showing cut and location for lapel

 

 

 

 

 

Waistcoat, National Trust Inventory, 1790 - 1810, Cotton and silk, Chastleton House, Oxfordshire.

Waistcoat, National Trust Inventory, 1790 – 1810, Cotton and silk, Chastleton House, Oxfordshire.

Regency waistcoats sometimes had distinct lapels, but more often, the front panel rose to the collar above the button line, and that upper portion was propped open by the cravat. Unfortunately, when I removed the two Vs from the vest’s bottom front to straighten the line for a Regency look, I couldn’t put it on like the latter design, as it was lined in herringbone, the same as the back panel of the vest. The option was a small lapel.

Ivory paisley waistcoat, final

 

 

 

 

If you have additional fabric, a detail that appears on some, but not all Regency waistcoats is a small pocket on each side, which can be faked with a piece of finished size of about 1-1/2″ by 5″. I tried to make them with what I had left, but they were too small.

This vest had matching satin-covered buttons, perfect for Regency. One was cut off with the bottom V, and there was one spare. Because Regency had lots of buttons, I’ll add more in between the current buttons if I have time after my other projects are complete for Louisville.

The two pieces put together look nice! There’s about 2″-3″ of waistcoat showing below the bottom of the waistline of the tailcoat, a fashionable length. The small lapel on the waistcoat fits neatly into the higher opening at the collar of the tailcoat. We’ll see the shirt ruffles and cravat fill that space in a future post!

TSRCE for Gentlemen: Green herringbone tailcoat and ivory paisley waistcoat.

TSRCE for Gentlemen: Green herringbone tailcoat and ivory paisley waistcoat.

Next post: Who knows? My time has become filled with editing for myself and a fellow author, fitness programs that stopped for August, as well as new activities.

I’m scrambling to complete the most important Regency costume projects now, as time is running out. The balance of Mr. Suze’s costume will come some time this month, and I have lots of little projects I want to finish for Louisville. If I can manage to write something to accompany photos, that will be the topic for upcoming posts!

Fun with Reticules: Introduction

Are you playful? The tiny purses of the Regency are! They’re a flexible accessory, with plenty of room to play when selecting or making one. A cute little drawstring bag similar to Regency museum pieces isn’t hard to find, but if none can be procured to suit your taste, they’re not complicated to make for under $10.

My moorish reticuleIn perusing the various fabrics and designs of museum photos of purses from the first 20 or so years of the 19th century, I realized the brocades, embroidery, and silks of modern throw pillows had amounts and type of fabric to suit re-purposing/upcycling into reticules. Decorative cushion covers run from $1.99 to $7.99 at thrift stores. The most common size is 17” square.

Cushion covers come with two layers, sometimes in pairs, often feature attractive trim and, depending on the shape desired, they’re partly sewn. From there, I came up with designs to maximize the fabric, and discovered that up to four reticules could come from one 17” square or larger cushion cover! I have several designs to share, and they could inspire you to use your cover for your own unique reticule.

Now, I know you don’t need so many reticules! You can make just one, or you can give the extras as gifts. Even friends who don’t dress up for Regency events will like them as an evening purse, to store lingerie or jewelry, or to fill with lavender for a closet or drawer scent.

It’s important to consider your final design when you purchase the cushion cover. Many have directional fabric; are made in multiple panels, with different motifs in each; or have modern themes that don’t suit a reticule. The buyer must pick and choose.

Three Cushion Covers for Reticules tTSRCEI chose three:

• For $1.99 at WiN (Women in Need Vintage and Thrift Store), I got a 17” silk dupione cushion cover with a beaded fringe—plastic, but I think it looks enough like glass beads.
• A 16” square gold damask polyester cushion was $2.99 at Value Village, and it looks rich enough to be silk. There’s no edge trim.
• The most expensive cushion was $3.99 at Value Village, a 17” red brocade with pink and yellow roses in the centre field and in a square around it, with multi-coloured bands on each side. It also has a pink corded edge sewn in without the benefit of an attached tab.

Lining the reticule is optional, but may be preferable if it’s a light fabric. I lucked into finding a cream satin pillow sham that has potential to line up to six reticules.

I’ve designed five pages of patterns, to come up with eight different reticules, and potential to modify them with scallops makes even more possibilities! In addition to instructions for each design, I also have instructions for adding lining, cording, trim, and tassels.

The Designs (click on thumbnails for larger views of the museum Regency examples)

1810–20 French, cotton, glass 6 38 in. Metropolitan Museum of Art

1810–20 French, cotton, glass 6 38 in. Metropolitan Museum of Art

Square or rectangular reticules can be made from any cushion cover with dimensions starting at 14” for two side-by-side, and the maximum length that works without wasting fabric is 24”. There is no pattern sheet for these, but there will be instructions.

 

 

 

 

Reticule, Dutch, 1805. Silk, multicolored embroidered silk flowers, slide ring. Rijksmuseum

Reticule, Dutch, 1805. Silk, multicolored embroidered silk flowers, slide ring. Rijksmuseum

Reticule Designs 1 through 4 are on two pages, with instructions. They are nice for cushion covers that have a running trim along the edges, be it fringe (including tassel fringe or ball fringe) hanging bead work, piping, or braid, though all designs work with any kind of cover. Reticule 3 is especially good for piping or braid.

Woven Reticule Purse Shield Shape 1795

Woven Reticule Purse Shield Shape 1795

Designs 2 and 4 are smaller, and would benefit from a lining, so the top would not have to overlap to make the sleeve for the drawstring—we’ll see an example. The Envelope Reticule (#2) is my own original design. It’s Regency-appropriate and unique.

Reticule, American or English, Early 19th century, 10-5/8"x7-7/8", silk, satin, metal, embroidery. Museum of Fine Arts, Boston

Reticule, American or English, Early 19th century, 10-5/8″x7-7/8″, silk, satin, metal, embroidery. Museum of Fine Arts, Boston

Reticule, American or English; Early 19th century, 10-5/8"x7-7/8", silk, satin, metal, embroidery. Museum of Fine Arts, Boston. (Side two.)

Reticule, American or English; Early 19th century, 10-5/8″x7-7/8″, silk, satin, metal, embroidery. Museum of Fine Arts, Boston. (Side two.)

The patterns can be modified, for example, scalloped edges can be added to designs 1 and 3, tassels sewn into the seams at the points. The folded end finish directions of Reticules 2 and 4 will make these scalloped reticules close in looks to the museum examples.

1800-1825 French Reticule, LACMA Collections

1800-1825 French Reticule, LACMA Collections

The American Girl's Book, Or, Occupation for Play Hours - Eliza Leslie, Harriet Elizabeth Fourdrinier

The American Girl’s Book, Or, Occupation for Play Hours – Eliza Leslie, Harriet Elizabeth Fourdrinier

 

 

 

One of the most common styles of reticules seen in the Regency is a three-sided version of the above, and instructions are included with the pattern for #3 and #4. A large cushion cover with a plain back is best for this design.

 

Reticule, 10-1/4" long, French. Early 19th c. Silk, metal, glass. Metropolitan Museum of Art

Reticule, 10-1/4″ long, French. Early 19th c. Silk, metal, glass. Metropolitan Museum of Art

Design #6 is ideal for a cushion cover with a regular banded design making square interior frames on the sides, and preferably also a corded or piped edge. It can be made with either same both sides or one-side finished cushion covers. The finished reticule looks similar to the one on the left. Depending on size, a nice central field design on the cushion could make another reticule.

 

 

 

Reticule, silk and metal, 1800–1810, probably German. Metropolitan Museum of Art. Like Petal Reticule #2.

Reticule, silk and metal, 1800–1810, probably German. Metropolitan Museum of Art. Like Petal Reticule #2.

Petal Reticule #1 (No historical information on this example.)

Petal Reticule #1 (No historical information on this example.)

There are two patterns for Petal Top Reticules, which work well with cushion covers with a corded or piped edge and some motif of interest near the corners. Both of these work better if the back panel is a plain/lining material rather than matching the front side.

 

Six-petaled reticule. (No historical information.)

Six-petaled reticule. (No historical information.)

The inspiration museum designs show one where two matched cushion covers would be needed to make 6 petals for Petal Reticule #1.

Reticule, 1818. Glass, silk. Brooklyn Museum Costume Collection.

Reticule, 1818. Glass, silk. Brooklyn Museum Costume Collection.

 

 

 

 

 

A long Petal Reticule or three-sided Reticule #1, with sharp scallops cut in the sides can look like a Pineapple Reticule (right), which were very popular.

 

Construction:

No-sew tape can be used to make the reticules, but some seams should be reinforced with hand stitching and bias tape, and no-sew tape is hard to use on curves. The beginner sewer will find it takes less time and may be easier to sew the short, straight seams.

Square reticule examplesA mock-up is shown for the most straightforward design: the square reticule. The option of tassels or fringe is shown, as well as a geometric design on the side, made with cording. You can see what beads would look like on the drawstrings.

The dahlia and marigolds are from my garden, in one of Grandma Lauder’s pinwheel crystal vases. I was dead-heading and awkwardly lopped off a few fresh flowers, so I kept them!

~~~

There are far more reticule designs in museums, many more complicated than these simple ones, made by up-cycling an item that’s no longer stylish for its original intent!

~~~

NEXT POST: Some examples of assembly of these reticules, and the patterns.

My Regency Costume Cheat Sheet, by Suzan Lauder, Regency Romance Author

Example of Regency letter-writing by http://toracellie.blogspot.ca

With 17 verbose posts full of images, the challenge of an Absolute Basic Check List was a bit daunting. How does one summarize a lady’s needs for a full Regency costume suitable to wear at a function where people are knowledgeable about the era? Actually, some of the links shared at the end of this post do a pretty good job of it.

For procuring and creating the costume parts, however, the individual blog posts in the Thrift Shop Regency Costume Experiment series will be of much more use. That’s because of the numerous images of step-by-step construction of the re-purposed or upcycled items, museum examples of actual clothing from the Regency era, period fashion magazine sketches, and paintings of people in the era. There are also topic-specific links and how-to videos in many areas.

This post also has a number of overview links, links with more images of museum and purpose-made Regency wear, and a sort of “next steps” list for some readers: how-to links that require sewing skills.

For the Checklist, I’ve noted price ranges:

  • Lowest prices listed are the minimum you would pay for a good-quality finished version of the item (new, gently used, or repurposed/upcycled using minimum crafting or sewing skills), based on my experience with the guidelines set out for the Thrift Shop Regency Costume Experiment.
  • If there is a zero instead of a bottom price, it’s because this is an item you’d probably choose only if you already had one, and if purchasing, another choice on the list is preferable.
  • Highest prices are for purchase of a period-correct, attractive, good-quality (but not always top end), brand new item from a good vendor, custom-made to fit you in the case of clothing.
  • If there is a question mark instead of a price, it means the item is of such a personal nature, the top end cost is based on the buyer’s evaluation.
  • If you have the item on hand, it will cost nothing.
  • Most items can be obtained in the lower half of the price range.

Footwear

  • Simple ballet flats ($5-$20)
    • Fully enclosed (pump).
    • Round, pointed, or square toe.
    • Slim sole, separate heel under 1” high (not wedge), and any heel over ¼” should be a flared kitten heel.
    • Silk-look fabric, fine cotton, or soft leather.
    • Any colour except for black, dark brown. Wide stripes and large dots are fine.
    • No elastic, rubber, jute or coarse cotton, large trim items, folded leather detail, external seams, etc.
    • Ribbon ties up the leg with flat soles are optional (good for keeping shoes on while dancing).
    • Simple trim is optional.

      My second set of footwear for potential Regency Costumes: a pair of half-boots and two pairs of satin ballet flat shoes. The boots will have the buckle removed (perhaps for a man’s shoes!) and get dressed up with a ribbon and fabric rose across the base of the toes. The white and pink shoes will be cleaned, then the white will get white ribbons to lace up the legs. The pink shoes will have the fringe covered with a ribbon and the cut-away area disguised.

  • For day wear, flat, lace-up half-boots ($18-$155).
    • 8′-12″ tall, round toe, slim sole and ¼” heel maximum.
    • Light colours.
    • Softer leather, cotton, or denim.
  • Orthotics may fit if you buy a half size larger than normal.
  • Post: Put on Your Dancing Shoes!

Stockings

High-lift foundation garment for “the girls”

  • Custom made Regency short stays ($70-$190), for C cup and under, OR
  • Custom made Regency full corset ($95-$380), for D cup and higher, OR
  • Push-up bustier or modern corset that’s low cut and not too cinched in the waist ($0-?), OR
  • Well-fitted (or slightly small) demi-cup, push-up bra, such as a Balconette. ($20-$?), plus a waist cincher if needed for extra lift.
  • Post: Lift and Separate!

Chemise and petticoats or pantalettes

  • Authentic, custom-made, new, Regency undergarments from specialty stores or Etsy:

    Petticoat, early 19th c, American, Boston Museum of Fine Arts

    • Chemise ($45-$100) (worn under the corset for comfort), and
    • Petticoats ($35-90) or pantalettes ($35) (to “fluff out” the gown so it won’t stick between your legs), OR
  • In place of all of the above:
    • A floor-length full slip or nightgown, deep cut to match neckline of stays/corset/bra ($7-$38), or
    • A floor-length half-slip pinned to base of bra ($7-$20), or
    • Plain, lightweight, light-coloured cotton capris or pajama pants, or pants liners. ($5-$20), and
    • A low-cut camisole if needed with the last two items ($5-$25).
    • Super-fine woven cotton is best for comfort, but polyester will work.
  • Post: Twenty Layers of Unmentionables and no Panties!

Basic empire waist gown ($38-$400)no information

  • Floor length, empire waist.
  • Straight (non-fitted) skirt, flat in front and gathered in back.
  • Short, puffed sleeves and wide, low neckline for a dinner/evening/ball gown; long sleeves and high neckline for morning gown (to 4pm).
  • Simple-print finely-woven cotton, linen, or percale (not black-based), smooth silk, organdy, or synthetics that are good facsimiles.
  • 2m (6’-7’) by 1”-2” ribbon tied under the bust.
  • Don’t buy a pre-made “Regency” gown for under $100 on Etsy, as most are terrible!
  • $200-$400 should buy a nice, authentic, custom-made gown.1812 costume parisien
  • Posts: Floor length, Empire waist, and what else? Anne Shirley? (description of a Regency gown and examples); A Morning Gown plus some Frankenstein Gown Parts (what aspects of vintage gown styles to avoid; my gown purchases; morning gown modification from 80’s vintage); Were Regency gowns worn on the Titanic? (purchase tips for new handmade Regency gown; what to look for in a vintage gown to re-purpose).

Regency Hair Style

  • Centre parted, with ringlets around the face; fancy up-do with bun and curls or braids, worn close to the head. (How-to and video links in posts.)
  • If hair is too short for a fancy up-do, a hairpiece (bun maker, bun hair, and 1-3 braids for $10-$30), fall ($0-$50), wig ($0-$92), or a turban are options.
  • Ringlets can be purchased or taken from a doll or fall ($7-$60) and held on by a bandeau, or flat pin curls can be made.
  • For very short hair, comb forward in a “Titus” and hold in place with a ribbon, bandeau, or similar decorative item.
  • If desired, trim with ribbon, lace, bandeau, braided fillet, small silk flowers, feathers, tiara, diadem, combs, etc. ($0-?)
  • Posts: Faking Purdy Locks: The Modern Hairstyle goes Regency;
    Regency Bad Hair Day? Wrap a Turban! (my clip-on fall in an updo at end of post).

Headwear

  • Bonnet or hat ($6-$70)
    • Preferable if your hair looks nice when you remove your hat indoors.
    • Brim is sturdy, not floppy, and straw or satin-type fabric.
    • Capote hat or bonnet can be made from a wrap-around straw visor or hat, a 20” diameter simple, smooth, silk-like fabric cover, and a ribbon.
    • A good hat base is the narrower brim straw picture hat at Michaels, $5.
    • Add 1.5′-2.5′ of 1″-1.5” ribbon to make ties for a bonnet.
    • If desired, trim with several bunches of small fabric flowers and greenery; larger fabric roses; an ostrich, peacock, or other feather and brooch/medallion; hat pin; or combination, or other designs based on Regency sketches.

      Mock up of design of green and straw visor with green velvet cap.

      Mock up of design of green and straw visor with green velvet cap.

    • A nice range of new items can be found at the upper half of the price range above. Fancy items are double the top price listed here.
    • Posts: The Thrifty Regency Hat-trick! (Capote hat from visor and dinner napkin for under $10); How-to Times Two: Variations on Dressing up a Bonnet (The Pink Hat); Special Headwear for the Grown-up Lady (museum hat examples at the end of the post).
  • Lace cap ($2-$40)
    • Optional; for married or single-and-proud-of-it women only.
    • Similar to the idea of a turban, this will hide hair for women who can’t manage a Regency hair style and will be indoors where they must remove their hat.
    • Can be made from super-fine white cotton and/or fine whitework lace items such as doilies, handkerchiefs, curtains, cushion/pillow covers, or purchased applique items and ribbon.
    • Post: Special Headwear for the Grown-up Lady
  • Turban ($15-$40)
    • An alternative to the hat or bonnet that does not have to be removed when you go indoors.
    • A nice choice for evening wear if you’re unable to create an up-do.
    • Twist 2-3 silk or satin scarves (how-to and video links on this blog), or a length of silk or satin fabric (could be a table or dresser runner, a pashmina, small shawl or wrap) about 15″-20” wide and 40” long about your head behind ringlets; secure with safety pins and bobby pins.
    • A brimless, soft, natural fabric hat with a scarf or fabric wound around its base in textured waves works well also.
    • Fringe or ends with some type of embellishment or trim are recommended, and can be left to droop on one side.
    • Braid or cord can be woven around with turban cloth.
    • Add feathers, foliage, brooch, medallion, hat pin, or similar items.
    • Post: Regency Bad Hair Day? Wrap a Turban!

Jewelry ($0-?)

  • Simplest would be a medium-sized “jeweled” cross on a chain.
  • More elaborate choices include “jeweled” necklaces, armlets, bracelets, brooches, rings, earrings, and combs.
  • Almost all stones are are acceptable, but they should be cut stones. Costume jewelry is fine if it doesn’t look plastic.
  • Cameos and red coral were popular.
  • Drop earrings were on hooks not studs; clasped or open hooks are period.
  • Lover’s eye brooches were fashionable.
  • Post: Shiny things expose my inner crow!
Regency Opera Gloves, kid, Metropolitan Museum of Arts

Regency Opera Gloves, kid, Metropolitan Museum of Arts

Gloves

  • Cotton, silk, or kid leather.
  • Short or optional for day wear ($5-$25).
  • Evening gloves go above the elbow: 24”-31″ (opera-length) with a loose-fitted upper arm are period-correct ($8-$32 for synthetic; $50-$200 for natural materials); 19” minimum.
  • If synthetic opera gloves are worn, buy a matte and not shiny satin finish, as it looks fake.
  • Any colour but black. White and softer colours were most common.
  • Post: I never did mind about the little things…

Fan ($1-$10)

  • Optional, but necessary on a warm day or in a ballroom.
  • Folding hand fan.
  • Avoid plastic and obvious synthetic materials for the sticks and guards.
  • If the fan has any scenes on the leaves, they should be English.
  • Any colour. Trim can include feathers, sequins, metallic, mother-of-pearl.
  • Post: I never did mind about the little things…

Parasol ($20-$200)

  • Optional if your face is protected from the sun by a bonnet or hat, or you are in a ballroom.
  • Eight or fewer ribs is Regency-appropriate, but who’s counting? As long as it’s not a dozen!
  • Pagoda shapes were most common, but round parasols were also in use.
  • A shallow curve is fine, but avoid flat Asian-style parasols.
  • The fabric should look like silk or cotton if possible.
    • Patterns on the fabric itself were rare, and would be a wide stripe or large dot or similar.
    • Fabric on vintage pagoda parasols from the early 20th century might not be very close to a Regency look.
    • Do not buy a Battenburg lace parasol, as they’re Victorian.
  • Most trim was on the periphery of the parasol: fringe (almost any kind), tassels, or lace. Some had embroidery.
  • Any colour but black.
  • Post: I never did mind about the little things…

Reticule ($5-$65)

  • Small drawstring bag (under 8” by 8”).
  • Almost any colour or shape works, in a fine fabric, beaded, netted, or knitted.
  • Avoid printed satin, most open lace or crocheted styles, eyelet lace, or leather.
  • Beads or sequins should not look plastic.
  • No zipper, but metal snap clasp or gate closures are fine.
  • The smooth silk bat-wing or moon reticules on Etsy are overpriced ($15-$22) for what you’re getting. The beaded and embroidered ones are often very good deals.
  • Post: All the pretty little purses

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A few good overview web sites for a Regency costume:

These sites are summaries of what we’ve learned during the 17 previous posts in the Thrift Shop Regency Costume Experiment blog series, and I refer to them regularly myself.

Best site (pdf version) for showing the details one should search for: It’s All in the Details: Making an early 19th Century Ball Gown, by Hope Greenberg.

Best site (pdf version) for applying the other to real life: Miss Lisa Brown’s Guide to Dressing for a Regency Ball—Ladies’ Edition.

Less useful, but detailed, with lots of drawings and paintings is Wikipedia’s 1795-1820 in Western fashion.

An interesting article explaining Regency fashions while referencing the movie adaptations of Pride and Prejudice. Dressing for the Netherfield Ball in Pride and Prejudice: Regency Fashion.

Lots of links for buying stuff new can be found at Regency Attire: Purchasing Your Costume by Regency Dances.org  Not all these items are accurate, as they try to cover numerous costuming situations.

Sites for examples of Regency gowns:

Museum gowns:
Real people wore these, so they’re a bit more accurate than fashion plates such as Ackermann’s Repository for Art, La Belle Assemblée, or Costume Parisién.
The Vintage Thimble tumblr
Kyoto Costume Museum Archives 1800s-1810s

Ideas from others’ modern interpretations:
The JASNA AGM Regency Ball in Brooklyn, 2012. Most of these are probably handmade from modern reproduction patterns. There will be non-Regency clothing represented as well, as not everyone is immune to the marketing of those selling the Titanic/Downton Abbey gowns.
The Jane Austen Festival in Bath is a similar situation.

Erica Duncan's montage of Regency fashion plates for each year between 1809 to 1828.  Original art from Ackermann's Repository for Arts. Click on thumbnail for much larger image.

Erica Duncan’s montage of Regency fashion plates for each year between 1809 to 1828.
Original art from Ackermann’s Repository for Arts.
Click on thumbnail for much larger image.

Pinterest has a lot of good images, but I’d suggest searches by clothing article rather than just “Regency,” as the number is overwhelming even then.The site will often offer sub-headings at that point, too. This is an example of a huge board. Take care, as some images are modern and may contain misinformation; that’s why I like to stick to museum examples. But sometimes those are mis-dated by some pinner, too. It won’t be long before you’re picking them out yourself, though, as there’s nothing like 50 Regency gowns compared to one 1830’s gown. Warning: Pinterest is like crack.

Resources for making your own gown if you can sew a bit:

A video tutorial from Follies Past shows how to make a Regency ladies’ gown from a bridesmaid dress, a set of curtains, and a lace blouse. This requires beginner sewing skills.

Old Petticoat Shop offers their Regency Dress Online Class for $97 plus fabric, notions, etc.

My Regency Journey from Tea in a Teacup goes through creation of an entire Regency costume, but made from scratch.

Diary of a Mantua Maker has two tutorials on fitting a Regency gown: the first shows common mistakes and the second, sleeve and bodice fitting.

Sense and Sensibility Patterns has a number of videos with tips on how to fit your gown or modify the design of a pattern, as well as some sewing techniques.

~~~

Update: A nice little summary for evening wear, with some of the wonderful descriptions from The Lady’s Magazine and La Belle Assemblée: Mimi Matthews’ Elizabeth Bennet, La Belle Assemblée, and Early 19th Century Fashion.

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turban 1 croppedNEXT POST: The grand finale! Photos of my completed costume, plus an overview of my learning experience with the “experiment” and brief notes on what the summer bonus posts will look like.

I never did mind about the little things…

Slippers similar to ballet flats; several layers of underwear to enhance her bosom and disguise that she had legs; a gown appropriate for the time of day; stylish curls and a fancy but tidy up-do; a turban, bonnet, or hat, and perhaps a cap; a cherished piece of jewelry—what more could a Regency lady need?

From Costume de Promenade, 1804-1805, opera gloves

From Costume de Promenade, 1804-1805, opera gloves

Accessories, of course! Heaven forbid if she left her home without her gloves, and she’ll die from the heat at a ball without her fan! On a morning promenade, her parasol will keep her delicate skin from growing coarse and brown in the sun.

This post is about how to obtain these accessories for your Regency costume.

~~~

Dudmaston National Trust (Claire Reeves) -- Embroidered kid gloves, circa 1800-1830

Dudmaston National Trust (Claire Reeves) — Embroidered kid gloves, circa 1800-1830

 

Gloves

Gloves were common apparel outside the home, though period art indicates they were not imperative during the day. It’s pretty simple to find Regency-appropriate gloves for day-wear: short, cotton gloves are acceptable, and stores carry them for hand care at a low price. I continue to watch for nicer ones, in finer cotton, and maybe with trim like seed pearls or lace, but simple will do. Of course, if you can obtain kid gloves, it’s even better!

For evening wear, the sleeves were short and the gloves were long. Super long, much past the elbow. Opera-length.

Circa 1810 kid leather, buff.

Circa 1810 kid leather, buff.

Not a problem, right? Long, synthetic, “satin” evening gloves are dirt cheap, and easy to find. One would think they’d pass for fancy ones from 1812. White sounds like the right colour, right? Unfortunately, they’re not the best choice.

Most Regency evening gloves were made of kid leather. They were often white, but also came in many colours, usually muted, softer tones.  Though vintage kid opera gloves in cream, buff, bone, pale yellow, pale pink, ecru, and similar colours are common on Etsy and ebay, with bids starting at $25 and up, read the fine print: they tend to be size 6 or 6.5 when most women these days wear at least a size 7. (In case you don’t know your glove size, this is a handy link: Your Glove Size.)

Glove lengths in inches.

Glove lengths in inches.

Beware: many vendors will say their gloves are opera length, but they may be as short as 11 inches! A true opera-length glove goes past the elbow: a minimum of 19 to 21 inches on most women.

In addition, vintage kid gloves can be stained, torn, worn, or otherwise damaged, especially if unlined. The three-button wrist opening is Victorian, so don’t be tempted to buy gloves with that style.

“New” in-package vintage opera-length kid gloves start at $150 on ebay, but are in small sizes, too. Brand new kid gloves made for coming-out balls are $200-$300 in Regency colours and modern sizes. If that were not enough to make this accessory difficult, many Regency gloves had embroidery along the back!

From La Belle Assemblee April 1808, opera gloves

From La Belle Assemblee April 1808, Opera gloves

As seen in Regency art, the fit tended to be relaxed, which meant the glove fell so it drooped along the arms, yet still wound up falling higher than the elbow. To accomplish this, a minimum of a 12-button glove (24 inches long) would be required, and the example to the left is much longer.

Glove lengths in “buttons.” Opera gloves are 12 buttons or longer.

An alternative, new lambskin gloves, come at reasonable prices ($25 starting bid on ebay for unlined 21-inch gloves) for black (mourning gloves in Regency), white, brown, or bright, saturated colours. Faux leather is about $10 for the same colour ranges.

Museum of Fine Arts, Boston--Women's Gloves, early 19th century, silk.

Museum of Fine Arts, Boston–Women’s Gloves, early 19th century, silk.

Fabric evening gloves in the Regency were cotton or silk, and they weren’t shiny. If all you can find are those shiny satin ones (they are 19 inches long), some people use sandpaper them to dull them, then dye them if desired. The colour selections in dyes these days are bright, basic tones, so watch to limit dye time so the colour isn’t too saturated; though if I recall correctly, that type of fabric takes dyes poorly.

Cotton fabric embroidered gloves, circa 1790-1810, bias cut for stretch, gold and sequinned scrollwork pale pink floss silk detailing

Cotton fabric embroidered gloves, circa 1790-1810, bias cut for stretch, gold and sequined scrollwork, pale pink floss silk detailing.

my glovesI purchased 19 inch (8-button) matte-look synthetic gloves for $7.99 at Dressew in Vancouver, BC, in pale pink and white, on top of the original white satin pair. They also had purple matte, but I felt it was too bright. The nice buff yellow colour was only in the shiny satin finish. All these gloves fit the arm snugly, and just barely cover the elbow, but many Austen costume wearers feel they’re a reasonable enough choice. Like with my stockings, I may try to mimic an embroidered pattern using fabric paint.

In the meantime, I’m still watching ebay and Etsy for ball gloves in size 8 and any colour but black, brown, or loud! If I can get 16-button (31 inch) gloves in a nice soft yellow or cream, it will be like heaven! If they’re kid leather with no wrist buttons, I’ll have to pay more than I did for any of my dresses!

~~~

Fans:

A Regency ballroom can become very warm. Fans were a must-have accessory for one’s comfort. Chinatown, thrift, vintage, and budget stores are possible places to buy your fan.

The one fan I purchased was part of a $2.99 grab bag at Value Village. Though I adore it, it’s rather simple for its purpose: a medium-toned wooden brisé fan with a line drawing of a Chinese scene printed on the leaves, and a satin-looking sleeve.my first fanIt took months to find this fan. The available fans were all cheap-looking or had non-Regency features. Most wood fans had paper leaves that were plain or had very Asian motifs, and pale, plain wood sticks. Fans with silk/satin leaves had sticks and guards made of cheap plastic, no matter how pretty or elaborate the painting on the leaves!

Ten or so years ago when I shopped for a gift for my sister, fans with dark, rich wood or enamelled sticks, with inlays such as mother-of-pearl on the guards, were available at a reasonable price, but I didn’t see one fan like this in months of searching. It doesn’t help that, though the Chinatown in my current city is the second-oldest on the West coast, it’s also the smallest, at two blocks long.

Brisé fan, circa 1790, wood.

Brisé minuet fan with blue silk. Dutch, 1810. Museum of Fine Arts, Boston.

Regency fans came with sticks and guards made from ivory, mother-of-pearl, bone, tortoise shell, metal, ebony, and horn. Ribs and leaves could be of the same material as the sticks, or the fan could have leaves made from gauze, silk, paper, or feathers, and trimmed in gilt, lace, ribbons, or sequins. They could be inlaid or piquéd, painted, pierced in a pattern, or embroidered, and any scene depicted would be English. For full size images, click on the thumbnails.

Battoir fan, 1800-1830. Silk, ivory, and metal. National Trust Collections, UK.

Battoir fan, 1800-1830. Silk, ivory, and metal. National Trust Collections, UK.

Fan, 1800-1815, French. Bone, silk, metal, wood. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art.

Fan, 1800-1815, French. Bone, silk, metal, wood. Brooklyn Museum Costume Collection at The Metropolitan Museum of Art.

Folding fan of ivory sticks with a silk leaf embroidered with sequins and painted with a female figure watering plants. English, circa 1810. Fan Museum, Greenwich.

Folding fan of ivory sticks with a silk leaf, embroidered with sequins and painted with a female figure watering plants. English, circa 1810. Fan Museum, Greenwich.

Folding fan. Carved, gilded mother-of-pearl sticks, silk leaf decorated with gold sequins, embroidery, mezzotint. Two girls with a cat. English, circa 1800-1820. Fitzwilliam Museum.

Cartouche fan, from a plate in Ackermann's Repository for Art, 1808.

Cartouche fan, from a plate in Ackermann’s Repository for Art, 1808.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The coolest fans (not meaning efficacy, but in eye-catching quality) are the cartouche fans, which open to 360 degrees.

If you can find a fan with an attractive non-plastic material for the sticks and guard, and a pretty painted or embroidered design that isn’t too Asian, it will do well.

 ~~~

 

Parasol:

If you’ve followed this blog from the start, you’ll know one of my catch-phrases is “Parasol in a Ballroom.” This originates from a scene I wrote in the original Alias Thomas Bennet before posting it in serial form at A Happy Assembly.

While in London, Jane Bennet writes to her sister Elizabeth, who is at Hunsford:

“Mary and I attended a private ball at Miss Morris’ home and it was all that was spectacular. The ballroom was the largest I have ever seen, and the candles were so brilliant that the room was almost as bright as day. The ladies were in beautiful dresses and held lovely fans or parasols.”

Cassandra, the final cold reader, tagged the final word with a simple comment in a balloon: “At a ball?”

Indeed! Why would they use parasols indoors at night? In my mind, I could just see Cassie’s head-tilt! It’s been a joke between us ever since.

tumblr_na3t53ZkSc1s5i6ido3_1280Although a parasol is an optional item, mainly for when the headwear doesn’t protect the Regency lady’s face from the sun, it’s seen in many fashion sketches of the time, leading me to believe it was for show, as well.

Walking dress, parasol with knotted tassel fringe, 1810.

This item comes in so many variations, it’s not nearly so difficult to procure something that is a good facsimile. Deep or shallow scallops between the ribs, either rounded or pagoda shaped, deep or shallow curve to the parasol body, but not flat: all are appropriate in almost any colour except black, unless you are in mourning.

Parasol, 1805, Metropolitan  Museum of Art

Parasol, 1805, Metropolitan Museum of Art

Parasol, European, circa 1805. Silk knit with glass and steel beads, wood, bone, and metal.

Parasol, European, circa 1805. Silk knit with glass and steel beads, wood, bone, and metal.

Multiple modes of decoration enhance the parasol cover, such as stripes, prints, tassels, embroidery, and all types of fringe: eyelash, brush, ball, and multiple-knot tassel fringe. Others are plain. Most handles were straight, though a few curved ones existed, and they were sometimes decorated and inlaid not unlike the guards on the fans. A fascinating Regency specialty is the hinged parasol.

Hinged parasol, Costume Parisien, 1810

Hinged parasol, Costume Parisien, 1810

Lace is not common, though, and the ones I’ve seen with lace use it as trim similar to fringe. The Battenburg lace parasols sold as Regency are Victorian, so don’t waste your money!

Of course, a real Regency parasol frame is made from wood or baleen (whalebone), and the cover from silk. Modern Asian parasols of wood frame construction tend to have too many ribs; Regency ones had four to ten, though six to eight were most common on the plates I’ve seen, and many had seven.

Pagoda parasol from Ackermann's Repository print, 1814

Pagoda parasol from Ackermann’s Repository print, 1814

If you’ve followed this blog from the start, you know my obsession with the idea of a pagoda parasol, which has a second upward curve on the canopy of the parasol. They were common during the Regency period, in fact, up until the 1960s. Vintage pagoda parasols on Etsy and ebay are usually mid-20th century, with a metal frame and handle made from bakelite, a non-melting plastic that’s still used for items such as billiard balls today. The fabric is often in a “modern” pattern for the era, so it may not work well for a Regency costume.

A vintage pink nylon-covered non-pagoda umbrella, with a matching fitted sleeve complete with a grommet for the spiked end, was purchased for $9.99 at WiN (Women in Need Vintage and Thrift Store). It has an interesting, curved, patterned aluminum handle. I’m not a pink person, yet I manage to repeatedly find the best items in pink!

Silk parasol, ca. 1811, Victoria and Albert Museum.

Silk parasol, ca. 1811, Victoria and Albert Museum.

Two-inch wide white fringe was one of the items in my amazing budget purchase of multiple types of trim for $5 in Mazatlán, and the idea was to tone back the pink and make the umbrella look more like a Regency parasol.

Garden promenade dresses, 1809, Fashion Plate Collection. Tasseled parasol on the right and parasol with knotted tassel fringe on the left.

Garden promenade dresses, 1809, Fashion Plate Collection. Tasseled parasol on the right and parasol with knotted tassel fringe on the left.

Later, a local Indian fabric store (K T Boutique and Fabrics) was selling certain colours of tassels at half price, and I liked the idea of tassels better, as the parasol would be less bulky when folded. I got eight in a muted violet for $1 each.

But I kept looking for my pagoda parasol with a straight handle, in materials that looked like they could be from the Regency.

Then I read an article on how to make a regular umbrella into a pagoda parasol, using a length of milliner’s wire twisted into a spring and inserted inside the canopy of the umbrella, around the part of the stick that’s above the frame. Some time ago, I’d been curious about the inner workings of a pump cosmetics bottle, and had two short, fat springs on hand as a result, so I didn’t have to use my questionable wire-bending skills.

 

 

First spring inserted above the upper rib of the umbrella frame.

The beginning of the pagoda shape from the first spring, and second spring displayed (just hanging on the end of a rib) to show how it looks before installation.

Inside the open umbrella, I placed my fingers around the umbrella stick between the canopy and the frame, then easily slid the canopy up the spike so I could thread the spring on, much like you’d put a key on a key ring. Click on the thumbnails for larger images of the instructional photos.

Second spring in place.

Second spring in place.

After the first, I decided it would look better with two springs. The second was much harder to install. You could not do this with an umbrella that does not have a long enough spike on top.

A slimmer spring would be better, as these tend to slide down over the ribs when the umbrella is closed, and I have to reach in and wiggle them up to get the umbrella to open. In addition, the extra bulk means the matching sleeve no longer goes on all the way. I’m going to wait until I finish my hand lotion to procure the alternate spring!

I found it difficult to figure out how to tie on the tassels, so I’ve shown the steps I eventually used to save you all some trouble. I did a better job of showing the “How-to” steps by using captions this time! Click on the thumbnails for larger images.

Tighten the top knot on the tassel (left). Tie a second knot about 2-3mm or ⅛ inch above it (right).

Loop string between rib and fabric, inside of where the cover fabric ties to the end of the rib.

Push tassel through loop to tie to rib.

Push tassel through loop to tie to rib.

Pull the tassel to the end of the rib and push the gap between the knots over the ball at end of rib.

Pull the tassel to the end of the rib and push the gap between the knots over the ball at end of rib.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Final pagoda shape of parasol, with eight tassels. Matching sleeve is shown below.

Final pagoda shape of parasol, with eight tassels. Matching sleeve is shown below.

Parasol closed, with sleeve. You can see all the tassels here.

Voila! A pagoda parasol with tassels for my Thrift Shop Regency Costume! I’m so pleased, I barely care what else I wear!

 

 

 

 

~~~

NEXT POST: One of the easiest items to find for your Regency costume is a reticule. A small drawstring bag (at least 5 inches wide, but under 8 inches in each dimension) of almost any shape, in a rich fabric, will suffice. If the bag you found is too simple, we have ways to dress it up! I have six examples, and three came to me in fine condition with no need for upgrades. Three need simple, typical modifications that are super-easy for the non-crafter.

~~~

Pop quiz: Did anyone know the source of the title without looking it up? In what other movie did the same guy play a sort of a “cleaner?” What Regency-era movie was he in?

I’d adore some comments! (The Meryton Press blog page version of this post is the best location for this.) I’m trying to decide how to do a give-away, and feedback would help me to know if anyone besides me is reading this shiz.

~~~

Updates: If you’re interested in learning more about Regency fans, or just seeing some more beautiful designs, check out this blog post: Special Exhibition: The Unrivalled Beauty of the Hand-held Fan in the Romantic Age 

Thanks to Zorylee Diaz-Lupitou, who solved my problem with the comments box. Hopefully, it should be working now!

How-to Times Two: Variations on Dressing up a Bonnet

Hat 2 underside and shape

Underside of hat to show brim shape and braided trim.

A bit of an impulse buy, as a few of my items were, the Pink Hat has a beautiful, perfect Regency shape and some nice trim. I was so pleased with those aspects, I overlooked the fact that it was overpriced for what it is and for the intention of this experiment, at $25 from a little second-hand store.

It’s so very, very PINK! I almost never wear pink!

I was uncertain whether to include it in this blog. I decided it represented a normal part of this type of project, and if my readership knew I could eat my mistakes, they may have less fear of showing up in an item that was slightly incorrect. The idea worked so well for me that I used the Pink Hat as a bit of a mascot!Hat 2 materials used

This post shares two quick and easy ideas for enhancing this hat and making it appear like a Regency bonnet. The materials for both are in the photos above.

~~~

The Pink Hat Design #1: A three-ribbon design is seen often in Regency hats and hairstyles. (Click on the thumbnails for larger images.)

  • Loosen the existing hat band around the front and sides.Hat 2 loosen band and loop ribbon under
  • Fold a ½” to 1″ wide by 2m long ribbon in half and tuck under the band from below, with the loop heading to the back of the hat.
  • Arrange so the ribbon is at an angle with the tails at the middle of the hat band front to back, and the middle of the ribbon is just barely over the back of the crown of the hat.Hat 2 pin ribbon to band at halfway back both sides and loop over back edge of top where it sits best and smoothest
  • Use the band to help you fold each side of the ribbon up and back over the hat, one going straight across the middle, and the other at a slight angle across the front crown of the hat.Hat 2 fold ribbon up and over top of hat, one end over middle and one over front of hat
  • Each tail can go under the far side of the hat. Adjust so the hatband is down and the ribbons are roughly in the middle, though they won’t be neat at this point.Hat 2 remove pin holding in place and add one at the fold of the ribbon
  • Safety pin the ribbon at the “V” made when the ribbon is folding under the hat band (the first fold you made) on each side.
  • Remove the ribbon. Re-install, but this time, do not wrap over band, instead, use the pin to help you place the fold behind the band.
  • Adjust until the bands are equally spaced and smooth over the crown, the hat band is down and in place, and the “V” is hidden.Hat 2 Remove ribbon, then put back in place only under the band, using the pin as a guide as to fold location
  • Pin in place from behind.
  • The ties will come down the middle of the side of the hat to tie under your chin, and the bonnet will sit back of your ringlets.

 

Additional ideas:

  • If desired, you can flip the front of the bonnet up, using steam to shape it, but be careful of burns.

    July 1812

    July 1812

  • I’ve left the existing fabric flowers in back because I like them, and they hide a gap in the brim trim.
  • A strategically placed ostrich feather, curved forward, with some smaller items at its base, would work instead of the fabric flowers.
  • Additional trim is optional, but a ribbon flower, a few clusters of flowers, a medallion, or whatever pleases you can be placed on the joint of the three ribbons. Remember, simple trim means early Regency, and embellishments became more elaborate, especially in the teens. Match to your outfit’s time period.

This bonnet cost about $28, plus any additional trim.

Hat 2 pin in place from behind and trim as desired

Note that a similar hat, in natural straw, without the hatband or trim, is $5 at major craft stores. I’d recommend going that way. A ½” to 1½” wide hatband should be attached at the centre back to facilitate the instructions in this post. Ribbon, braid, beaded band, or similar material can be used.

~~~

The Pink Hat Design #2: Inspired by hats in the Napoleonic Collection, with a sheer panel of fabric stretched over the hat and tied under the chin.Hat 2 design 2 fold scarf in half and slide under band from rear

  • Fold an oblong scarf (about 5 feet long) in a co-ordinating colour in half. A sheer or solid scarf can be used.
  • Slide down the front of the crown of the hat, under hatband, in a flat position.
  • Adjust so front (folded) edge of scarf is under hatband.Hat 2 design 2 roll edge of scarf and tuck under band
  • Roll up corners and tuck along sides under hatband. Adjust to your choice of fit: tight over crown of hat; with soft, regular folds; or puffed like a Capote hat.Hat 2 design 2 cross ends of scarf over back of hat
  • Pull tail ends of scarves so they cross to opposite sides and the back of the crown of the hat is covered.
  • Tug tail ends of scarf forward under hat band until they are midway between the front and back of hat.Hat 2 design 2 tuck scarf ends under band at about halfway point and adjust to hide extra fabric
  • Adjust folds and edges that are tucked under the band.
  • If necessary, pin, double-sided tape, or glue sections of the scarf under the edge.
  • The existing fabric flowers, with the frayed edges trimmed, are good embellishments for this hat. But each person has their own ideas, so add extra trim as suits your fancy!

Hat 2 design 2 completedThis bonnet cost about $32, plus any alternative or additional trim the owner selects.

~~~

Why are these called bonnets and not hats? The only difference I could figure out between a bonnet and a hat was that a bonnet was tied on and a hat was not. These are called “cottage” bonnets.

Luise Kleider der Konigen 1810

1810

Cottage Bonnet ca 1810, Meg Andrews

1810

 

 

 

 

 

 

 

 

 

 ~~~

I still have three—count ‘em—three more potential Regency hats/bonnets!hat basicsTwo hats in the original “group of seven” didn’t make the “Okay for Regency” grade indicated by an open parasol: their shapes and fabrics are intended to show contrast.

The brown synthetic fleece hat might be okay as a base, if wrapped with fabric almost like a turban; tulle or net might work.

The sad little baseball cap visor has no parasol, as it’s not worth the effort. Not even a tea cosy will revive it.

Close-up of painting, Portrait of a Woman--François Flameng

Close-up of painting, Portrait of a Woman–François Flameng

1814, Metropolitan Museum of Art

1814, Metropolitan Museum of Art

I want to make the larger-brimmed visor (far right, $4 from a Wal-Mart in Mazatlán, Mexico) into a Lady Catherine stove-pipe or leghorn bonnet, which involves a curved tube. After a lot of searches, I found a site that gave me an idea how to start it. There will still be lots of trial and error, so I’m leaving it to after the main blog series, in the “bonus” posts. (Click on the thumbnails to see larger images.)

Fez and rollupI’m not sure if I’ll create something with the roll-up hat from the San Diego zoo from 10 or more years ago (upper left), but I bought a little purple felt fez I could prop on top! It would assemble/disassemble well for travel! Hahaha! This hat is also suitable for a Capote-like covering or a tube, just like the other two topless hats. (Hmmm. That sounds nasty.)

The big reveal: the Lydia Bennet special! (Click on thumbnail for larger image.)

Lydia hat before

The “Lydia Bennet” hat, before.

“Look here, I have bought this bonnet. I do not think it is very pretty; but I thought I might as well buy it as not. I shall pull it to pieces as soon as I get home, and see if I can make it up any better.”

And when her sisters abused it as ugly, she added, with perfect unconcern, “Oh! but there were two or three much uglier in the shop; and when I have bought some prettier-coloured satin to trim it with fresh, I think it will be very tolerable.”

—Pride and Prejudice, Chapter 39

French, 1800-1805, Boston Museum of Fine Arts

French, 1800-1805, Boston Museum of Fine Arts

At first glance, this hat is quite pretty. But looks deceive: it has good bones, but requires some serious deconstruction of braided plastic ribbons, then replacement with satin and sheer ribbon in a similar design. You can see the look in these museum hats; that’s why I was drawn to this one.

1820, Augusta Auctions

1820, Augusta Auctions

American, 1810, Metropolitan Museum of Art

American, 1810, Metropolitan Museum of Art

 

 

 

 

 

 

 

 

 

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There are more complicated hats and bonnets you can make, but sewing and more complex craft skills are required.

http://themerrydressmaker.blogspot.ca/2011/08/regency-bonnet-tutorial.html
https://teainateacup.wordpress.com/2011/08/01/how-to-make-a-regency-poke-bonnet-in-ten-steps/?blogsub=confirmed#blog_subscription-3

This video demonstrates the second of the more complicated sites above:
http://oregonregency.blogspot.ca/2008/04/how-to-make-regency-poke-bonnet.html

I can’t quite understand tearing apart a straw hat into its spirals, or cutting off the back half and having to cover it, when it’s more work than is necessary. Regency bonnets came in so many shapes; it’s odd to take a shape that would work, only to change it to another, rather than seek out the second shape in the first place. But these sites have other good ideas.

Modern reproduction Poke bonnet

Modern reproduction Poke bonnet

Even more complicated is a stovepipe bonnet from the late Regency, made with a buckram frame: https://www.youtube.com/watch?v=98vKEHfjOAA

If I do a stovepipe bonnet, I’ll likely use more traditional techniques as in the Regency: cardboard and/or papier maché. It’s not so much that I’m afraid of buckram (maybe I am) or have no clue where to obtain it, but I know my skills with wire, and I’d wind up with a bumpy cam-shaped thing when I need an oval.

 

 

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More on my pillowcase cap: A web site with a series of cap patterns for sale included a comment that the more uppercrust caps had more than one style of lace on them, as did the lovely examples in an earlier post. I’d like to find some finer pieces of whitework or lace to fill in some holes, rather than use the plain cotton of the pillow case. Shopping never seems to be done!

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NEXT WEEK’S POST: There’s more to undies than corsets! **Cue tawdry bump-n-grind music!**

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Special Headwear for the Grown-up Lady

1806 capIf you asked a reader of Regency Romance what character would wear a cap, they would say a married woman or a spinster. But what makes a spinster, and why would they wear a cap? The reader would reply, an unmarried woman past her prime would wear a cap. But they might be vague on why.

To signify she was off the marriage market? To indicate her age? To allow her to avoid fussing over her appearance for yet another unproductive Season? So she could sit on the sidelines and not dance until the handsome rake/Lord noticed her? Ah, the appearance of a Regency Romance cliché!

The whole thing must have been confusing. Married women wore a cap, so it would follow that the odd time, the rake would have flirted with Lady Offlimits—until Lord Offlimits showed. There might be a better chance of it, since the spinster would have been passed by repeatedly, implying she was never as vivacious as Lady Offlimits. Unless, of course, she was crossed in love. Another Regency Romance cliché.

For the 21st century woman, the choice of a cap is personal. I figure it’s a lot like the turban: a way to hide your non-Regency hair indoors when your hat or bonnet must come off. If you’re married, or single and proud of it, you certainly have the option, and would have in the Regency. We’ll just assume that you have to be a grown-up to wear a cap: old enough to be married.

doily cap materialsdoily cap tie off start

 

 

 

 

doily cap threading one

 

One of great-Grandma Lauder’s tatted doilies, 21 inches in diameter, was easy to make into a cap. I tied a matching ribbon to a point about 2½” from the edge and pinned a safety pin to the other end. The safety pin helped me to weave the ribbon in and out around the doily at 2½” from the edge until about 2½” from the start point, gathering in the fullness. I tightened the ribbon so the “cap” fit my head loosely, then tied the other end off, too. Then I tied a bow to tighten the cap with once in place.

It’s a bit big for my head, and droops, but I have a small head. I still think it looks rather pretty.doily cap gatherdoily cap

Bonnet  cap 1806

1806 cap/bonnet

The trouble is, I doubt many caps looked like this, so at best, it’s graded as a “closed parasol”: okay in a pinch, but not correct. The one shown from 1806 has some similarities in appearance from the front, but it’s not the same construction. You see, I had mistaken the idea of a lace cap as a cap made of heavier lace like tatting, and had not paid a great deal of attention to real examples.

In actual fact, Regency caps were made from  fine cotton, muslin, or linen, often with whitework embroidery, including eyelets, drawn thread techniques, and areas cut away so lace-like darning can fill the area.

1806

Back view showing embroidery on 1806 cap/bonnet.

side view, 1806 bonnet

Side view, 1806 cap/bonnet

 

 

 

 

 

 

 

 

Museum of Fine Arts, Boston lace cap, 1815

Lace cap, 1815, Boston Museum of Fine Arts

First half 19th century, Europe - Cap - Cotton mull with cotton embroidery, linen bobbin lace insertion, and silk ribbonmfa.org.

 

 

 

 

 

 

 

Sources of whitework might be found on a pillow sham as seen below, as well as handkerchiefs, scarves, or tablecloths. The shams, found at a small thrift shop for $1.99 for the pair, have some large drawn thread panels that can be used to make a cap, but it will be complicated.pillow sham for creating cap

The first step will be to figure out how best to select the panels of embroidery, then where to cut them for the right shapes to piece together for a cap. The panels should be sewn together because of the complex shapes and need for fine, flat seams. Ruffles on the front edge of the hat and ties at the throat seem to be optional, which saves me some fussing.

I’ve been watching for a pattern that may better suit my situation before I start this project. The one shown may not be perfect, but it may be all I have.

The Female's Friend and General Domestic Adviser Robert Huish~

With all the mention of what your hair will look like if you remove your headwear, and all the alternatives, we have yet to spend any time on hats and bonnets! Is that a bit like Chicken Little, worried about something unknown that may never come to pass?Hat from Karl August Hagberg painting1810 from Ackermann, three types of headwear

 

 

 

 

napoleon exhibitIt could be that your event is an out-of-doors afternoon Promenade. A Regency lady would wear some kind of head covering outdoors to give her an air of modesty. To shield her delicate skin from the sun, she may also carry a parasol, but it will not be a substitute for headwear, as in the drawing of the set of three ladies above.

Unless you plan to spend an appreciable amount of time indoors during the event, you might never need to remove that hat while in your Regency persona. Alternately, if you plan to attend a Regency ball in the evening, and take on your persona indoors, you need not don a hat or bonnet in the first place. My event, the Louisville, KY Jane Austen Society of North America Annual General Meeting in October 2015, will call for both.

1805 to 18101810 bonnet mfaHere are some of the wide variety of designs for Regency hats and bonnets from around 1810, as well as the original seven modern hats I collected to demonstrate what you can find in your closet, showing which ones will work and which are devoid of the famous grading parasol!

cap 1810 metChapeau a la Pamela. France, circa 1810.first 7 hatsNEXT POST, I’ll give some ideas on how these hats can be made into Regency hats or bonnets, and show step-by-step how I made a Capote hat with one of them. I may have time to make a second hat or the whitework cap before then, too.

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Here is a cute article by Anna Snyder on the clichés mentioned above: How To Tell If You Are In a Regency Romance Novel