Trousers or Breeches for Best Bunchage?

Regency shoes with buckle.

Regency shoes with buckle.

1810 Rare Gentleman's Leather Shoes with Silk Ribbon Ties.

1810 Rare Gentleman’s Leather Shoes with Silk Ribbon Ties.

Footwear assisted the decision of whether Mr. Suze would wear trousers or breeches. The first aim was for comfort, and we thought we’d put buckles on a pair of his black work loafers and be done with it. But clarity on the appearance of a Regency man’s shoe pointed out that the soles of his shoes were too thick. You see, my husband and I both have wide feet and wear orthotics. His feet are sensitive, and he owns shoes he can’t wear for long without pain.

Thrift and vintage stores were checked for several months for plain black shoes or tall boots, both with minimal embellishment, minimal soles, a wider fit, and in my husband’s size. No luck. I thought if I could find some of those folding leather bedroom slippers, it would be better than the work shoes, but I only found new brown ones, at $60.

I checked the Internet. I avoided this for my clothing for Thrift Shop Regency Costume Experiment because shipping charges can double the cost of an item, but my husband’s clothing has been a steal of a deal, even with shipping.

Real riding boots would cost at least $200. Jazz shoes are supposed to be a good alternative, but they didn’t look too much like Regency shoes. At $120, I gave them a miss, too.

I knew Mr. Suze would be more comfortable in boots than in stockings and slippers, and I concentrated on them more than shoes in my search, but the one I found first would dictate the rest of the costume.

The Boots

On a local “For Sale by Owner” site, I came across a pair of new black riding boots that were men’s size 9.5, and the owner claimed they fit wide. The ad stated the seller had originally asked $150 and was now asking $120. I emailed the link to my husband, but nothing happened, so a month or so later, I checked to see if they were still for sale. The price had been further reduced to $80, so I bugged Mr. Suze to go see them.

He returned with a pair of brand new boots, slightly too large, for $65—he’s great at dealing sellers down! The seller’s daughter was very tall, and he’d bought them for her, but she balked at men’s boots, and never wore them. Thick socks and orthotics will help the fit for my husband, and he won’t spend a great deal of time walking in them in Louisville.

The shaft of the boot was too tall, though, and rubbed the back of his thighs badly. We looked to see if we could turn the tops over to show the brown lining, but the leather was too stiff, and the lining had writing.

Riding Boots, 1810, British, leather. Philadephia Museum of Art

Riding Boots, 1810, British, leather. Philadephia Museum of Art

The different kinds of footwear popular in the Regency are in the drawing below. The jockey boot (black with a brown band) is most frequently seen in artwork and fashion magazines, the runner up is the Hessian, and we had a riding boot (left), similar to the Wellington—but it’s really a modern dressage boot, worn for show horse riding.

Regency Footwear

Regency Footwear

He checked to see how much to cut them down and was quoted $65. Ouch!

We looked into whether we could cut them easily ourselves, and there were no clear instructions on the Internet other than repeated short cuts with a utility knife. Now, I’ve cut many things with a utility knife, and 90% of the time, the cut has at least one ugly spot where the knife slipped. That idea was discarded.

Riding forum members advised other riders that the boots are supposed to sit a couple of inches above the knee, high enough to protect the leg from some aspect of the saddle, so they recommended not to cut them. Instead, suggestions included wetting the boots and walking around in them to get the leather to relax, plus wearing a sports wrap around the knee under the pants. We thought we’d still rather cut Mr. Suze’s boots.

Hessian boots: Mid-calf boots coming to just below the knee or lower that have tassels on the top, named for the German soldiers called Hessians who introduced them.

Hessian boots: Mid-calf boots coming to just below the knee or lower that have tassels on the top, named for the German soldiers called Hessians who introduced them.

At first, we said if we’re going to have them cut, we may as well get a Hessian profile. I could add trim and a tassel. We assumed this would be routine for the shoe maker.

Instead, he asked us to mark the cut line and would take no responsibility for problems. We hesitated, unsure we could do a good job of drafting the double curve.

Mr. Suze discovered a second shoe maker who would cut the boots for $40, but the same issue: he wouldn’t take responsibility for a special shape. We decided it was best to remove the top 2” with a profile to match the original curve.

 

How trousers intended to be breeches became trousers

After months of no luck finding pants suitable for breeches, I discovered a pair of buff-coloured Nubuck pants for $5.99 at Salvation Army.

Blogger Experiments in Elegance has a post on how to fake a Regency costume, and for breeches, advises cutting the pant legs off a few inches below the knee, and utilizing fabric from one cut-off leg to make a trim band for the bottom of the breeches.

I had bought some nice buckles from Dressew to use for knee buckles that would be used on the trim band. However, the most common closure was a set of three to six self-covered buttons up a placket above ties that are an extension of the trim band, which would be narrower than the blogger suggests.

Knee buckle, 1770-1810 American

Knee buckle, 1770-1810 American

Buckskin breeches, showing buttons and tie closure and jockey boots. Metropolitan Museum of Art.

Buckskin breeches, showing buttons and tie closure and jockey boots. Metropolitan Museum of Art.

 

 

 

 

 

Buttoned fall on museum breeches.

Buttoned fall on museum breeches.

Regency boots with breeches: Edmund Blair Leyton On the Threshold

Regency boots with breeches: Edmund Blair Leyton On the Threshold

Regency breeches had buttoned falls in front rather than the modern fly, though the odd museum piece from that era shows early use of a buttoned fly. The same blogger describes how to make a flap for the fall-front with the other leg.

 

 

 

Breeches were the best idea if I could find shoes. With boots, either breeches or trousers would suffice. Trousers would be advantageous for me, as I could put a stirrup at the end to hold the pants into the boot, much less work than making breeches.

 

 

 

 

 

 

Trousers and Hessians: Thomas Philip Robinson the third Baron Grantham and later Earl de Grey aged 35 years - portrait study by the great French artist Jean Auguste Dominique.

Trousers and Hessians: Thomas Philip Robinson the third Baron Grantham and later Earl de Grey aged 35 years – portrait study by the great French artist Jean Auguste Dominique.

Trousers became popular in the mid-Regency for casual wear, but breeches with stockings and slippers remained the correct clothing for formal occasions like balls. Eventually, trousers overtook breeches in formal wear as well, though this occurred after the end of the Regency.

Since neither boots nor trousers were appropriate ball attire in the Regency (though one Oregon Regency Society gentleman said he was wearing his to the ball anyways), our story would be we were sneaking into the ball for a short while to watch, but would not dance since Mr. Suze was not properly attired.

We do not want to dance. It’s not that we don’t want to dance, it’s that we don’t want to ruin our marriage in the attempt to dance.

We took ballroom dance lessons once, and Mr. Suze stared at his feet and forgot he had a partner. I got frustrated and started to lead, but I’m terribly uncoordinated, which didn’t help Mr. Suze concentrate on his feet. We’d get messed up on the steps, he’d get mad, I’d try to instruct him, and we’d stop to argue. Neither of us were able to learn the steps of one dance before the instructors moved on to the next.

We’d try again, and repeat the whole mess. We finally dropped out of class, deciding we were too terrible at this, and we didn’t want to keep arguing to get better.

Neither of us is concerned that his trousers and boots aren’t correct for the ball, as we’ll be lurkers and watchers.

trousers after legs slimmed, with watch pocket, fake front fall edges before addingSince Regency trousers were slim, I cut about 3” from the inseam of the pants. Instead of using part of a pant leg for a flap, I used some of the cut fabric to make panels that look like the trim panels for the sides of the falls. Self-covered buttons were also made to fake Regency at the top of those flap edges, as well as to secure suspenders to keep the trousers high. A small watch pocket was made to set inside the waistband.

steampunk costume pocket watch showing paper insideAt first, I despaired of finding a pocket watch at a reasonable price, as the vintage watches I’d seen were over $100, and that was for either one that was a fake and used a battery, or another that didn’t work and would be another $200 to repair!

But Value Village had a display of Steampunk accessories for Hallowe’en, and I got a cool pocket watch and chain for $1.99! Outside, it’s a pretty good-looking imitation for the price. Inside, it has a hilarious paper face!

We now have to find a watch fob of some sort. The Pragmatic Costumer has a nice article on watch fobs for ideas.

finished breeches with suspendersA combination of the leg narrowing, the original size of the pants, and the need for So Mr. Suze to wear the pants high like Regency gentlemen caused the pants to be tight at the waist band. A 5” deep opening was made in the seam at the back of the pants, and eyelets and laces were added for true Regency fashion. I was going to sew the fly closed and have him use them.

When he tried the trousers on, he couldn’t reach the ties. Not such great idea, after all! We left the fly.

Puttin’ on the Ritz: The Walking Stick and Gloves

Cane with tortoiseshell and brass wire piqué on ivory.

Cane with tortoiseshell and brass wire piqué on ivory.

Mr. Suze’s project was to make himself a walking stick. We had some pieces of bamboo that had previously been used for supporting plants, and some of the Ackermann’s prints had bamboo walking sticks. I’d been looking for a handle re-purposed from a drawer or door handle, similar to the photo (left). I also knew that drapery rod ends may have other designs suitable for this.

Mr. Suze went to Habitat for Humanity’s Re-Store and found a pineapple-like end that he attached to the bamboo, then to Rona for an end piece so the bottom wouldn’t scratch floors.

I’d read that the walking sticks were quite long, and had seen some Ackermann’s illustrations that confirmed it, but my husband wasn’t so keen on a tall cane. The compromise was to make the length so his hand on the top made his arm parallel to the floor. He freshened up the bamboo with a light sanding and shoe oil.

TSRCE men's boots, gloves, and walking stick. The cut-off panels from the boots are shown.

TSRCE men’s boots, gloves, and walking stick. The cut-off panels from the boots are shown.

I was pleased with the pineapple look, as I’d learned at the JASNA Jane Austen Tea just a few weeks earlier that in the Regency, pineapples were important because they were so expensive. They were imported from Suriname or India, and a shipment of pineapples would allow a ship’s captain to retire in fine comfort. The rich had pineries to try to grow them, but they were so dear, they were rarely eaten, but just left on the table for decoration as they deteriorated! This explains why there were so many reticules of pineapple design as well.

The gloves are white cotton costume gloves for $4.99 from Value Village. They’re not something you’d see at other times of the year, but the Hallowe’en costumes are out! A Regency gentleman would be more likely to wear kid gloves, but I had enough trouble with the search for kid opera gloves for my costume since the few I found were far too small. There’s a good chance they’re more rare for a man!

Mr. Suze opted to glue on whiskers rather than grow his own sideburns, and found a moustache at a Dollar Store that’s pretty perfect, except it’s black, and he used to be blond but is all grey now! We’ll try using tempera paint to change the colour. He had the top of his hair left long for two haircuts, and will comb it forward, as that was the Regency style.

Quizzing glasses

Quizzing glasses

Perhaps he’d like to forego his glasses for the popular Regency accessory, the quizzing glass!

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One thing I missed last week was the closure on the sleeves of the shirt. It has plastic buttons right now, but the most common was ribbon ties. Cuff links as we know them today became popular in Edwardian period, though in the post-Regency, around 1840, simple versions were introduced in France.

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Some helpful sites for the Regency Gentleman’s costume:

The Oregon Regency Society’s Outfitting the Regency Man has links for purchasing authentic product and patterns to make costumes from scratch. Their How-To sheet shows a modification of a standard tuxedo tailcoat.

The Black Tie Guide’s Regency Evolution: Dress Details has details on things like lapels, colour, and etiquette while providing an excellent, succinct summary of the man’s outfit.

How to Make a Men’s Regency Boot on a Budget by Living with Jane uses leather-look boots and adds a leather-look panel to the top for jockey boots. They look like rubber boots to me.

How to Convert an Ordinary Suit Coat into a Tail Coat from Tor.Com is useful as long as your suit coat or blazer is in a fabric like Regency examples.

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Next Post: I hope to have another episode of “Faking Regency,” because I haven’t yet finished my ball gown, which was my intended post for Monday. I’ll add a post between Monday and Louisville if I have time, then there will be pictures from the JASNA AGM!

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!

The trials of Regency correctness in fiction writing: My guest post on Austen in August

Words coined during Queen Victoria’s era, critical plot points that require our hero to travel to London from Derbyshire and back twice in the same week, a twist that depends on English Parliament sitting in the fall in the wrong year–these elements creep into our Regency fiction writing every so often, and the poor author must re-think the scene. All three have affected my latest novel! On top of it, there’s technology and medicine, titles and inheritance law, etiquette and fashion… all must be in order in an Austen-inspired Regency romance, or beware!

When literary historian and blogger Roof Beam Reader was looking for guest blogs for his annual Austen in August series, I suggested a tongue-in-cheek summary of the challenges with keeping true to the era, and the energetic viewpoints of Austen enthusiasts regarding historical accuracy in Jane Austen Fan Fiction on some story boards. It was a new topic to him, and he was keen, as no one had taken this direction on his blog yet.

Regency lady writing: did she have issues with anachronisms? --From Ackermann's Repository for Art, 1813.

Regency lady writing: did she have issues with anachronisms? –From Ackermann’s Repository for Art, 1813.

Click here to read my post on Regency correctness on Roof Beam Reader’s blog! #AusteninAugustRBR

If you’ve already signed up for the Austen in August reading challenge, you can enter the giveaway, too! I’ve donated a signed copy of my Regency romance with a mystery twist Alias Thomas Bennet, a choice of reticule from a set including the two I upcycled for the “Pretty Little Purses” post for the Thrift Shop Regency Costume Experiment, and a special “grown-up lady” lace cap to be made to order.

A pretty wrap to keep out the chill: Regency shawls.

Shawl, muslin cotton, white embroidery. Made in India, 1806- 1814.

Shawl, muslin cotton, white embroidery. Made in India, 1806- 1814.

Whitework Shawl, 1810-1820

Whitework Shawl, 1810-1820

The first Regency shawls I saw were summer-weight, wispy things, mostly white-on-white and all lacy-looking. Thus, I purchased a sheer Indian shawl, as it was as close as I could get. Made of fine net in a seafoam colour with silver embroidery, it was a compromise, but I knew silver embroidery was popular on clothing in the Regency period. (Click on thumbnails for larger images.)

Shawl, cashmere and silk, 1800–1820, Metropolitan Museum of Art

Shawl, cashmere and silk, 1800–1820, Metropolitan Museum of Art

At some point, I saw other shawls, and realized these delicate ones were the minority. The majority were the  Kashmiri shawls, with their ubiquitous wide paisley panel at the ends and a border along the sides. Paisley, paisley, paisley. Most were cashmere, some with silk for a magnificent sheen. Wool, silk, or blends were also seen.

Shawl, Spitalfields. Silk, England 1810 -1815. The workers of the silk weaving district in London were French Huguenot silk workers who had fled to England to escape a religious purge.

Shawl, Spitalfields. Silk, England 1810 -1815. The workers of the silk weaving district in London were French Huguenot silk workers who had fled to England to escape a religious purge.

Shawl, wool and silk, Scotland, 1815.

Shawl, wool and silk, Scotland, 1815.

Shawl. Silk and wool. England, circa 1815.

Shawl. Silk and wool. England, circa 1815.

 

1812, Costume Parisien.

1812, Costume Parisien.

1811, Costume Parisien

1811, Costume Parisien

The love affair with Kashmiri textiles went to gowns, too. You can see how they were matched.

 

 

 

1810, Costume Parisien.

1810, Costume Parisien.

1810, LACMA collections.

1810, LACMA collections.

Felicite de Durfort von Merry-Joseph Blondel, 1808

Felicite de Durfort von Merry-Joseph Blondel, 1808

What’s with the paisley? The bent teardrop was a popular “Tree of Life” design in Persia. When Scotland became a leader in the production of textiles, the town of Paisley became the place where cashmere shawls were made. In England, the design became named after the town.

I was ecstatic when I found two paisley Pashmina shawls at Value Village for $7.99. This turned into a facepalm moment in my shopping history. I chose the one I liked best, that would go best with my outfits, and set aside the other. The next day, I realized these shawls were uncommon, and I could have given the second to a friend, or even sold it to someone assembling a Regency costume. But when I went back, the second one was gone.

 

While paisley was popular, Regency shawls used other designs, in all the colours of the rainbow!

1801, Costume Parisien

1801, Costume Parisien

Shawl, silk and cotton, English, 1800-50, Metropolitan Museum of Art

Shawl, silk and cotton, English, 1800-50, Metropolitan Museum of Art

1802, Journal des Dames et des Modes

1802, Journal des Dames et des Modes

Spitalfields rectangular silk shawl with Chinoiserie borders, c.1810

Spitalfields rectangular silk shawl with Chinoiserie borders, c.1810

La Belle Assemblée, February 1811.

La Belle Assemblée, February 1811.

Silk shawl by Spitalfields, London, 1810-1815.

Silk shawl by Spitalfields, London, 1810-1815.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The fiber Kashmir, or cashmere, is made from the down hairs of Nepalese capra hircus goats, also called Cashmere goats or Pashmina goats. The Pashmina shawl is the modern equivalent of the Kashmiri shawl, and they’re ubiquitous once again, but in different designs. Pashmina is a high-level cashmere, made from the thinnest threads.

However, most modern shawls labelled “Pashmina” have no Pashmina hair in them, but unlike the word “cashmere,” there is no regulation of the term. The best knock-offs are made from cashmere and silk and cost around $100; the cheapest are $20 for viscose and/or wool. The latter textiles may keep you warm, but don’t have the light weight of the fibers they’re mimicking. Real cashmere will pill with wear, and doesn’t have sheen or create static electricity.

I bought a real Pashmina in Turkey in 2001, and since have acquired two knock-offs. Below are my shawls. They’re folded in half both so you can see their true size in comparison with one another, except the Value Village shawl is scrunched a bit to flip it over so you can the pattern on each side.My shawlsThe parasol ratings show the real Pashmina (pale green) with a closed umbrella, meaning it’s okay, but not the best choice. There are almost no shawls in my Regency image collection that are plain with no pattern. Its large size and light weight in comparison to its warmth is great, though. It’s my airplane blanket!

The red and brown “Pashmina” is as soft and has a nice silk-like glow, but its perpetually smooth texture and $19.99 price make me believe it’s viscose. The pattern and the stripe near the ends make this shawl reasonable in a Regency costume.

The brown striped “Pashmina” with animal spots was a gift. It’s small for a shawl: I use it as a large scarf. The fabric is coarse and probably contains a fair bit of sheep’s or regular goat’s wool. Though this scarf goes well with many of my winter clothes, the pattern eliminates it from my Regency wardrobe, so no parasol.

The previously mentioned seafoam net with silver is like an evening gown wrap, and that will be its best use at any Regency event I’ll attend.

Shawl c.1820

Shawl c.1820

The Value Village shawl is two-sided, with the centre area having bold stripes on one side and a dark grey main field opposite. When I took the photograph, I had not recalled any Regency shawls with a bold stripe in the main field, and thought I’d use what is likely intended as the back as the outside of the shawl. When I gathered photos for this post, I found an historical example similar to the side of the thrift store shawl that got a closed parasol! The sun came out, so we need to open that little parasol perched on the stripes!

Shawl, British, silk c.1822, Metropolitan Museum of Art

An interesting historical shawl is one that has no paisley and uses a different traditional design altogether: tartan. It’s a pity the only piece of Lauder tartan I own is a small scarf! I’d love to find a way to work it into one of the costumes without cutting it up or modifying it. It would be lame as a turban. These days, over the shoulder and tucked into the belt is reasonable, but I’ve yet to see a Regency outfit with tartan in this way. Do any of you know?

 

More shawls: Though mostly post-Regency, Mimi Matthews’ blog has a selection of beautiful 19th century artwork with shawls.

~~~

I’d planned to do a cushion reticule post today, but I haven’t made the last reticule for the set, and I had company this weekend from two different cities! Neither stayed with us, but my house needed to be tidied, and after that, our time was full with brunch, and The Bug Zoo, and skinny, former opium den streets, and other such tourist attractions!

I decided to do this shawl blog post first, as it was quick and easy. I know you don’t mind!

Next post: A twist added another design to my reticule arsenal, and three different designs will be shown, plus I hope to have the pdf’s ready for the patterns and instructions. After that, I still have at least three other designs I want to try making, but I may take a reticule break and show some of the “Faking Regency” tips.

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.

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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!

 

 

 

 

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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.

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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.

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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!