During the Regency era there were any number of ways to embellish a gown, from printing or painting directly on the fabric, to adding lace and other accents, or even embroidery. One method of embroidery, Tambour Work, was especially popular for it’s ease of application. Tambour is French for drum, and refers to the method of creating the embroidery.
Tambour work was at least as popular as embroidery and was faster to produce. The fabric to be worked was stretched on a large frame held on a stand, and the lady used a hook like a tiny, sharp crochet hook to punch through the fabric and create a chain stitch. The result is almost indistinguishable from embroidered chain stitch except that it is so very fine and even, and the work goes more quickly. Tambour work is still used on couture clothing today.
Fine muslins were perfect for tambouring because the loose weave was easy to punch through without damaging. Most work of the era was white-on-white; subtle, but the translucency of the muslin contrasted with the opacity of the tambouring. In addition to tambouring their dresses, fine ladies tamboured fichus (neckcloths), shawls (not very warm, but pretty), reticules, and more.
By the 1830’s, machines had been created which could produce tambour work fabric 140 times faster than the average seamstress. Professional tambour artists were out of a job, and the ladies of leisure soon found other hand crafts to occupy their time and talents. Victorian tastes drifted away from the delicate details of the previous era and the art was virtually forgotten for a time.
Imagine attending a performance at the Theatre Royal, Drury Lane and you discover the object of your affection is sitting in a box to your right. You have no desire to make a spectacle of yourself by leaning out of your box to see who they are with, so you take out what appears to be a straight-barrel spyglass and point it at the stage. While it looks as if you are focusing your attention on the performance, the ingenious spyglass you are holding is allowing you to watch the people in the box to your right. Now you can stare to your heart’s content and no one will be the wiser.
While researching a pair of antique opera glasses this past week, I stumbled across a fun accessory I’d never heard of known as the “jealousy glass.” It looks like a single barrel opera or field-glass, but it actually contains an oblique lens and side aperture that allows the user to discretely see what is happening to their left or right.
The jealousy glass, also known as a polemoscope, was invented by the German-Polish astronomer Johannes Hevelius in 1637. Hevelius believed his invention could have military uses, but the viewing angle was found to be too narrow. During the 18th century, the general population began using the polemoscope to spy on other people.
During Jane Austen’s day, taking a holiday by the sea was no uncommon thing. The popularity of towns such as Brighton inspired Jane to write her last, unfinished novel, Sanditon, about a small town with big city aspirations.
The Sea air and Sea Bathing together were nearly infallible, one or the other of them being a match for every Disorder…
Sea bathing itself, would prove to be an interesting experience for any young lady bold enough or ill enough to be encouraged to attempt it. Wagons, called Bathing Machines, were invented especially for the purpose, and would be drawn out into the water by sturdy women, who might then assist you down into the water where you could paddle about or swim in relative privacy, shielded from view of the shore.
Jane Austen’s cousin, Eliza de Feuillide and her son Hastings spent part of December 1790 through part of January 1791 at the seaside town of Margate. She wrote of her time there, as quoted from JASA’s Jane Austen at the Seaside:
I had fixed on going to London the end of this Month, but to shew You how much I am attached to my maternal duties, on being told by one of the faculty whose Skill I have much opinion of that one month’s bathing at this time of the Year was more efficacious than six at any other & that consequently my little Boy would receive the utmost benefit from my prolonging my stay here beyond the time proposed, like a most exemplary parent I resolved on foregoing the fascinating delights of the great City for one month longer … Was not this heroic? … Hastings grows much & begins to lisp english tolerably well, his education is likewise begun, his Grandmamma having succeeded in teaching him his letters. The Sea has strengthened him wonderfully & I think has likewise been of great service to myself, I still continue bathing notwithstanding the severity of the Weather & Frost & Snow which is I think somewhat courageous.
Elizabeth took up some needlework, and was sufficiently amused in attending to what passed between Darcy and his companion. The perpetual commendations of the lady either on his hand-writing, or on the evenness of his lines, or on the length of his letter, with the perfect unconcern with which her praises were received, formed a curious dialogue, and was exactly in unison with her opinion of each.
-Pride and Prejudice
Smocking is an embroidery technique used to gather fabric so that it can stretch. Before elastic, smocking was commonly used in cuffs, bodices, and necklines in garments where buttons were undesirable. Smocking developed in England and has been practised since the Middle Ages and is unusual among embroidery methods in that it was often worn by laborers. Other major embroidery styles are purely decorative and represented status symbols. Smocking was practical for garments to be both form fitting and flexible, hence its name derives from smock — a farmer’s work shirt. Smocking was used most extensively in the eighteenth and nineteenth centuries.
The wedding was very much like other weddings, where the parties have no taste for finery or parade; and Mrs. Elton, from the particulars detailed by her husband, thought it all extremely shabby, and very inferior to her own. “Very little white satin, very few lace veils; a most pitiful business! Selina would stare when she heard of it.” But, in spite of these deficiencies, the wishes, the hopes, the confidence, the predictions of the small band of true friends who witnessed the ceremony, were fully answered in the perfect happiness of the union. -Emma Jane Austen fans are familiar with the high-waisted muslin dresses popular during her adulthood. How many are aware that machine-made net or gauze became a “hot” item from 1810 and on? 1823 Evening dress with gauze overlay “Net dresses were very fashionable and their popularity was spurred by new inventions. The development of machine-made net in the late 18th and early 19th centuries meant that gauzy lace effects were increasingly affordable either as trimmings or garments. The bobbin-net machine was patented by the Englishman John Heathcoat in 1808 and produced a superior net identical to the twist-net grounds of hand-made bobbin lace. It was so successful that women in the highest ranks of society, including the Emperor Napoleon’s first wife, Josephine, wore machine-net dresses. Initially, however, all machine nets were plain and had to be embroidered by hand.” – Victoria and Albert Detail of an evening dress with net lace. Image @Victoria & Albert (more…)
A grand thought has struck me as to our gowns. This six weeks’ mourning makes so great a difference that I shall not go to Miss Hare till you can come and help choose yourself, unless you particularly wish the contrary. It may be hardly worth while perhaps to have the gowns so expensively made up. We may buy a cap or a veil instead; but we can talk more of this together…Now we are come from church, and all going to write. Almost everybody was in mourning last night, but my brown gown did very well… It makes one moralise upon the ups and downs of this life.
-Jane Austen to Cassandra
March 5, 1814
Outward manifestations of grief have changed in mourning rituals over the centuries. These days when we think of 19th century mourning, we tend to confuse elaborate Victorian rules of the 1860′s with the less rigid mourning etiquette of the earlier 19th century. Mourning fashions during the Regency Period are fully described in Dressing for Mourning in the Regency on the Jane Austen Centre’s website. Only the wealthy could afford the specially made fashionable mourning outfits shown in the fashion plates featured in Ackermann’s Repository or La Belle Assemblee, but the rising popularity of fashion magazines meant that the details of dress quickly spread through the provinces. Most people remade mourning clothes from an existing wardrobe, adding new linings to cloaks and pelisses, covering existing bonnets with a new piece of crape, and dyeing old dresses. Jane Austen wrote about her mother in 1808: “My Mother is preparing mourning for Mrs E. K. – she has picked her old silk pelisse to peices, & means to have it dyed black for a gown – a very interesting scheme.“
One can imagine how an illustration like the one on the right would inspire women to add mourning details to their wardrobes, but such an expensive outfit would still be beyond most women’s means. The middle class was rising in Continue reading Regency Mourning: An In-depth Look
Wednesday. — Mrs. Mussell has got my gown, and I will endeavour to explain what her intentions are. It is to be a round gown, with a jacket and a frock front, like Cath. Bigg’s, to open at the side. The jacket is all in one with the body, and comes as far as the pocket-holes — about half a quarter of a yard deep, I suppose, all the way round, cut off straight at the corners with a broad hem. No fulness appears either in the body or the flap; the back is quite plain in this form , and the sides equally so. The front is sloped round to the bosom and drawn in, and there is to be a frill of the same to put on occasionally when all one’s handkerchiefs are dirty — which frill must fall back. She is to put two breadths and a-half in the tail, and no gores — gores not being so much worn as they were. There is nothing new in the sleeves: they are to be plain, with a fulness of the same falling down and gathered up underneath, just like some of Martha’s, or perhaps a little longer. Low in the back behind, and a belt of the same. I can think of nothing more, though I am afraid of not being particular enough. Jane Austen to Cassandra May 5, 1801 Round gown, 1798, Metropolitan Museum The popularity of the high-waisted regency gown is due to both (more…)
Regency fashion (1800-1820) was based on classical principles of flowing Grecian robes. Although gowns enjoyed thin fabric and plunging necklines for evening wear, day dresses required something a little more substantial both for the sake of modesty and comfort in drafty old houses. A tucker or chemisette (a side opening half blouse) answered perfectly, filling in during the day, and able to be removed in the evening should the occasion so require it. They had the additional benefit of being able to be worn with any number of gowns further expanding the wardrobe. In our shop, you can purchase your own ready made Chemisette or buy the Regency Underthings pattern which includes a corset, chemise and two different chemisette patterns. (more…)