Over a year ago I read a fabulous blog post on the Regency Redingote entitled Boy to Man: The Breeching Ceremony. The article is thorough and I was quite satisfied with its information until I ran into this quote, written by Jane Austen in 1801 to her sister Cassandra:
Mary has likewise a message: she will be much obliged to you if you can bring her the pattern of the jacket and trousers, or whatever it is that Elizabeth’s boys wear when they are first put into breeches; so if you could bring her an old suit itself, she would be very glad, but that I suppose is hardly done.”
This short passage told me much more about the topic and I decided to pursue it further.
During the 18th century boys and girls were dressed alike in baby clothes during their infancy and in petticoats as toddlers. In Beechey’s image, our modern eyes would not identify the infant as a boy unless he was labeled as such.
When first we came, all the umbrellas were up, but now the pavements are getting very white again.
Jane Austen to Cassandra
Bath, May 17, 1799
During the 17th century, ladies used parasols for protection from the sun. A century later they were using oiled umbrellas as protection from the rain as well. By the early 19th century, the design of the umbrella had improved and its use had become widespread. After Maria’s marriage, Fanny Price was overtaken by a heavy shower close to the Parsonage and sought shelter under an oak. When the Grants spotted her, they sent out a servant, but Fanny was reluctant to come in:
A civil servant she had withstood but when Dr Grant himself went out with an umbrella there was nothing to be done but to be very much ashamed and to get into the house as fast as possible; and to poor Miss Crawford, who had just been contemplating the dismal rain in a very desponding state of mind, sighing over the ruin of all her plans of exercise for that morning, and of every chance of seeing a single creature beyond themselves for the next twenty four hours, the sound of a little bustle at the front door and the sight of Miss Price dripping with wet in the vestibule was delightful. – Jane Austen, Mansfield Park
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…)
19th Century Learning Academies and Boarding Schools As many Jane Austen fans know, Rev. George Austen ran a boarding school out of his parsonage house in Steventon to augment his £230 pr year income. In1793 he began to teach the sons of local gentlemen in his home to prepare them for university. His library was extensive for a man of modest means, from 300- 500 volumes, depending on the source, an amazing collection, for books were frightfully expensive. Rev. Austen encouraged Cassandra and Jane to read from his library and supported budding author Jane in her writing. At some point, the Austens sent the girls to boarding school in Reading, for which he paid £35 per term, per girl, a not inconsiderable sum. He received around the same amount of money per boarder, and it is conjectured that the Austens hoped to replace their two daughters with many more pupils, which made economic sense. (See Linda Robinson Walker’s link below.) Mrs. Austen was not an indifferent bystander. She cooked, cleaned, sewed, and clucked over the boys like a mother hen, and was involved in their maintenance in a hands-on and caring way, acting as a surrogate mother. In his Travels Through England in 1782, German traveler Karl Phillip Moritz describes learning academies, head masters, and boarding schools. From his observations, one gains a sense of what life must have been like for the Austens and their pupils: A few words more respecting pedantry. I have seen the regulation of one seminary (more…)
I stumbled upon Georgette Heyer during a golden time of my life after college graduation when I had three precious free months before I began school again. Bursting with youthful energy, I didn’t know what to do with my time. And so I hit the books, but this time for pleasure. In those days, I could gobble up a book a day if I was so inclined, and I sped through Jane Eyre. Wuthering Heights. Tess of the d’Urbervilles. Rebecca. Father and Sons, by Ivan Turgenev, one of my favorite authors, and Pride and Prejudice (for the second time in my life). That last novel with its sparkling wit and clear view of village life seemed like a breath of fresh air after the heightened emotions of the Victorian authors. To me, Mr. Bennet was the image of my father, whose wry statements always made me pause before I could figure out if he was making sport of me, himself, or some other unwitting target. Mrs. Bennet reminded me of my crazy Dutch grandmothers – both of whom were slightly hysterical and VERY demanding. I read Pride and Prejudice twice that summer (and began a tradition of reading it every summer for the next twenty years). Greedily I reached for more Jane Austen novels until there were none left. I railed against the illness that carried Jane off before she could produce enough novels to assuage my addiction. Where to turn? The library, of course. I looked up Regency novels and (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…)
From Prada to Nada made $3.3 million at the box office, both foreign and domestic. I’m surprised to read that it was that much. I happened to watch the film on Netflix this past weekend when I had nothing better to do than wash clothes. The notion of a remake of Jane Austen’s Sense and Sensibility and plucking Marianne and Elinor Dashwood from Barton Cottage and landing them in 21st Century L.A. intrigued me, for Emma Woodhouse’s move from tranquil Highbury to a Beverly Hills high school in Clueless was a resounding success with both critics and viewers. I also liked the idea of switching up cultures, for hadn’t Ang Lee’s hit, Eat Drink Man Woman, been successfully transformed into the delightful Tortilla Soup with its Mexican-American family substituting for the Japanese chef and his daughters? But I quickly came to the conclusion that From Prada to Nada is to Jane Austen what a black velvet painting is to the Mona Lisa. Here then is the story: Mary, Papa, and Nora before his fatal heart attack Once upon a time in Beverley Hills there lived two very pretty girls in a house called Bonita Casita. They had a Papa but no Mama. Mary (Alexa Vega) on Rodeo Drive. One was short and ditzy, liked to shop, and wore party dresses morning, noon, and night. Her name was Mary Dominguez (MD = Marianne Dashwood). Nora turned orange at Papa's funeral. The other was a tall, practical, intellectual, wannabee lawyer named (more…)