More on Footwear

Some more Juicy shoes, this time for the whole family!

This September 1800 Costume Parisien plate of a man and boy, shows both in long trousers (pantaloons) and slippers

This 1809 Plate from Ackerman's Repository shows mourning costume. I love the doll too!

Children's Shoes (unknown Gender)

Boys shoes. these are young boys in dresses with pantaloons or in skeleton suit like outfits.

Costume Parisien Plate from 1813 shows a Young Man in his clothing. He is dressed in the fashions of an adult, not in a Skeleton suit.

Shoes for Girls

We can see that there isn't much of a difference between shoe styles for little girls and those worn by little boys.
This Plate from Ackerman's Repository from September 1810 shows just how similar they are. the two children wear the same style of sleeve too!

And Lastly Men's Footwear!
A couple of styles from Costume Parisien 1817, showing Shoes with small dainty heels worn with Trousers and Riding boots worn with Breeches.

One last link, this time to a lovely 1800 Costume Parisien plate showing Ladies shoes. notice the back ankle!

Hair Styles for Men

Well here we are, 2 weeks out and I think it is about time I post on Hair style that Men wore in period.
Don't worry it isn't anything too out of the normal for us.
First off, some Links!
Jessamyn's page is a good place to start.

Bad news for those of you with Moustaches and Beards, they were not popular! They do on occasion show up though. Here is an 1818 cartoon of a Dandy Club. please remember this is a cartoon and is an exaggeration. Also sailors commonly didn't shave when out at see, Officers on the other hand likely did!

I know this is going against any of you who may be participating in Movember.


This website covers mens and womens hair

Boys suit inspiration

Commonly called a "skeleton suit" though the earlier French term translates to English as "sailor suit" because of the fact that it has long trousers like sailors wear instead of the breeches that genteel society wore.
My current research theory is that the term "skeleton suit" comes from the 1820's.


Thes are the inspirational images I am looking at as I draft my pattern.
 Artwork

The Sackville Children, by John Hoppner, 1796. Jacket and trousers are different colors. slightly raised waist. The boy is about 3 or 4 years old.

Frederick Seymour and Sir Horace Seymour K.C.H., by Henry Edridge, sold at Christies in 2010

The Hülsenbeck children,  by Philipp Otto Runge1805-10. Green with short sleeves, high waist
 Sketch version is dated 1805-6

The Woolsey Family, by William Berczy, 1809 both boys in green, natural waist

Also take a look at WikiCommons for more

Original Garments

Museum of London has an example that is earlier than what I am looking at.

Tidens Toj late 18th century

Tidens Toj 1800


suit sold at Christies in 1999


Metropolitan Museum 1983.3.1a, b red and white strip cotton c.1820

Some thoughts on shoes

A very good post on American Duchess about regency shoes and how modern ones are not right. AD is in the process of having reproductions made, but they will not be available in time for my party.

I know I have posted some surviving examples before, but here are some details from Fashion plates of Ladies footwear.

February 1800 Journal des Luxus der Moden (German) 

 

 June 1809 Journal des Luxus der Moden

 

January 1811 Journal des Luxus der Moden

Sometimes the shoes match the dress, like in this Costume Parisien plate from 1808

Other times they match the bonnet like in this English copy of Costume Parisien from 1808

They came in patterns as well as plain, as we can see in this plate, another English copy of Costume Parisien from 1808

Childs Dress Mock-up

Remember this post about the inspiration for the project?
Well I have finished the mock up (well mostly finished)
I decided to go for something different from the currently available patterns and went with the smooth front styles.
It was drafted to a size 3 and is tested on my son who is 3 and a half, wearing 3T.
I am not quite happy with the sleeves, so more pattern alterations are needed, but as is it is quite servicable.
This was made in 100% cotton, machine sewn with cotton thread, ties at front neck, back neck and waist are 1/4" cotton tapes from Wm Booth.

The skirt is long, it was designed with tucks in mind but I wanted to see what it looked like without. (okay I was lazy and didn't want to put them in)

This is sewn in a very modern and costumy way. I knew that when I made it the ties are tubes instead of singl layer hemmed.

 The sleeves are sewn to the same band, which is not quite correct.

Yes it was late when I took these pictures!

Ackerman's Repository fabric swatches for 1810

Ackerman's Repository January to June 1810 on Archive .org

January 1810
From Archive

No. 1 & 2 is a ruby damask chintz for furniture
No. 3 is a mazarine  and orange flowered gossamer silk for full dress, like Circasian and Polish robes.
No. 4 is a cotton or mole velvet for robes, mantles or coats. It is less than half the price of silk velvet.

February 1810
From Archive

No. 1 is a royal embosed satin for robes or pelisses
No. 2 is a superfine imperial orange bombazeen for ladies dress, would be great trimmed with black velvet or silver.
No. 3 is an imitative angola shawl dress of blended green and amber
No. 4 is an India rib, permanent green print. there was recently a newly patented green dye garenteed not to run.

March 1810
From Archive

No. 1 &2 are a bronze green and azure blue tapastry print for funrishing.
No. 3 is a ribbed cambric muslin particularily good for morning robes and frocks.
No. 4 is a double-sided, figured, amber-shot sarsanet, for robes tunics and vests. The laced bodice 9now frequently worn with the white dress) is particularily pretty when composed of this material.

April 1810
From Archive

No. 1 ia a French flowered muslin for morning dress or lounge wraps
No. 2 is a figured double twill  jonquil sarsanet
No. 3 is a rock-coral muslin for round robes or spring pelisses
No. 4 is a double twilled imperial stripped muslin for morning wraps, evening frocks and tunics.

May 1810
From Archive

No. is a French knotted muslin  for morning wraps and the Austrian Frock
No. 2 is a fancy convent striped muslin suitable for morning or domestic habit. sometimes for pelisses for young ladies,
No. 3 is an imperial waves lilac shot sarsanet for the military spencer, pelisse and robe. The high gown with Arminian stomacher and collar or French aprons of Paris net look good when made from this material.
No. 4 is a permanent green shawl print for men's waistcoats.

June 1810
From Archive

No. 1 & 2 are a permanent lilac chitz furnitishing
No. 3 is a Persian lace muslin, for ball or evening dress. To be worn over white satin or sarsanet. Sleeves should be long and full.
No. 4 is a permanent blue stripped twill jean for the waistcaots and trowsers of fashionable men, particularilly the young men under their hussar jackets during the summer.







Ackermans Repository july to December 1810 from Archive.org

July 1810
From Archive

No. 1 is real Indian Muslin
No. 2 is a permanent green cambric muslin for morning wraps, summer pelisses, and high miliraty gowns.
No. 3 is a lilac embossed muslin for dinner and evening,
No. 4 is a seaweed or rock muslin for evening and should be worn over whitesatin or sarsanet.

August 1810
From LACMA
From Archive

No. 1 & 2 is a fast colored deep cerulean blue furniture chintz
No. 3 is an imperial fancy stripped cambric muslin for frocks, pelisse wraps, and robes
No. 4 is a raised corded leno, for evening or dinner, worn over colored satin or sarsanet slips.

September 1810
From Archive

No. 1 is a cashmire shawl muslin for the evening robe or wrap pelisse
No. 2 is a morine corded cambric musling for morning robes, Grecian wrap, and childrens frocks and trowsers.
No. 3 is an Indian shawl cambric for dmestic costume, high morning robe, embroiderd shirt and foundling cap.
No. 4 is a white velvet for painting.

October 1810
From Archive

No. 1 & 2 is a furniture print
No. 3 is for dresses
No. 4 is a styled silk toilonet for mens waistcoat,  three quarters of a yard wide.

November 1810
From Archive

No. 1 is a Spanish embroidered net for evening or full dress, worn over a white satin slip.
No. 2 is an Indian shawl print suitable for a domestic or walking gown.
No. 3 is a Brazilian striped muslinet for morning wraps, jackets, frocks, and high gowns.
No. 4 is a Spanish striped toilonet for men's waistcaots

December 1810

From Archive

No. 1 is a silver grey figgured poplin for evening, pelisses and spencers as well.
No. 2 is a honeycomb gauze for evening or full dress, worn over a black gossamer satin slip, trimmed with black velvet or jet. could also be worn over grey or white.
No. 3 is a satin stripped gauze, for evening, worn over a black slip, with short sleeves and a demi-train. Also worn over white
No. 4 is a merino crape for domestic or intermediate morning dress,

Ackerman's Repository fabric swatches from 1812

Ackerman's Repository January to June 1812 from Archive.org

January 1812
From Archive

No. 1 is suitable for ladies morning dresses, childrens frocks and trowsers.
No. 2 is a printed cambric for morning or domestic wear
No. 3 is a white cotton velvet for painting.
No. 4 is a Merino cloth of Wellington brown, from robes, pelisses and mantles

February 1812
From LACMA
From Archive

No. 1& 2 is a furniture chintz
No. 3 is a a bright geranium lustre for evening wear
No. 4 is a black or puce colored muslin for evening. For domestic wear it should be made high and plain. For evening it should be low in the bosom with short full sleeves.

March 1812
From Archive
No. 1 is a figure cisalpine washing silk for evening
No. 2 is a printed checked cambric muslin
No. 3 is a muslin for morning wraps, spring pelisses and childrens wear
No. 4 is a printed Marseilles for waistcoats

April 1812
From LACMA
From Archive

No. 1&2 resembles tambour work and is for men's waistcoats
No. 3 is a cerulian blue imperial gauze for evening or dinner dress
No. 4 is a printed cambric for morning or domestic dress, usually plain high dresses or grecian wraps

May 1812
From Archive
No. 1 is similar to Indian tartanic muslin and is used for morning roves or summer wrap pelisses
No. 2 is a lemon-grounded printed cambric, suitable for high gown or morning wrap
No. 3 is a trimming for ladies hats and bonnets made from willow shavings.
No. 4 is suitable for mens waistcoats and ladies dresses with dark blue cloth.

June 1812
From Archive
No. 1 is a printed cambric
No. 2 is Chinese crape
No. 3 is a lilac spotted sarsanet for full or evening dress.For Grecian robes, sometimes the Spanish vest and tunic, or a round robe.
No. 4 is an embosed fancy paper







Ackerman's repository July to December 1812 on Google Books

Also on Archive.org

July 1812
From Google Books (in B&W!)

No. 1 is a Pomona green figured sarsnet (silk) calculated for spencers, pelisses, and evening robes.
No. 2 is a transparent striped Merino crape (wool?) for evening wear. It is usually formed in short tunics, round frocks, or Turkish loose robes.
No. 3 & 4 appear to be cotton prints. intended for intermediate or domestic style of dress.Robes of these materials should invariably be formed high in the throat with long full sleeves frills, ruffs, or collars of lace or needlework and confined altthe bottom of the waist and wrist with ribbons to suit.

August 1812
From Archive (above)
From Google Books (below)
No. 1 is a blue velveteen for Pelisse and Spencers

No. 2 is a bright yellow figured silk for short pelisses spencers or eveningdresses.
No. (Missing) was a white chintz (cotton) was sold by the piece, which made 3 dresses. It was idea for morning wear and childrens cloths.
No. 4 (missing) was an imitation of moroco leather and was used to make ladies slippers.

September 1812
From Archive (Google is in B&W!)

No. 1 is a celestial blue imperial striped (silk) sarsnet adapted for pelisses, spencers, evening robes, and mantles.
No. 2 is a sea weed ground printed (cotton) cambric so evidently calculated for the humble order of morning and domestic wear.
No. 3 is a beautiful fancy silver paper for ladies work tables boxes card racks &c.
No. 4 is a striped Scotch jaconot muslin (cotton) designed for the morning dress and children's wear

November 1812
From LACMA

From Archive (above)

From Google Books (below)

No. 1&2 are for beds and other furniture
No. 3 is for Ladies winter dresses
No. 4 is Sarsanet silk for Ladies evening dresses

Ackerman's Repository fabric swatches. for 1809

Ackerman's repository was an English fashion publication that included fabric swatches!
This is very helpfull to us all these years later when we are looking into what fabrics would be good for making our costumes out of.

Be sure to check that they are for garments, not home decorations!
Ackermans Repository January to June 1809 on Archive.org

 January 1809
From Archive.org
No. 1 is a plush (similar to velvet)
No. 2 is a velvet (likely silk)
No. 3 is a brocade or tissue used for pelisses
No. 4 is a floral satin for evening dresses

February 1812
From Archive
 No. 1 is a figgured satin as worn by the Duchess of Chandos at Her Magesty's Birthday
No. 2 is a gold coloured figured satin as worn by Countess Rothsay at Her Magesty's Birthday
No. 3 is a Bishops blue bombazeen, usefull for morning dresses
No. 4 is a silk stripe shawl used for man's waistcoats (vests) and is made of wool and silk.

March 1809
From Archive
No. 1 is Anglo-Merino (wool) cloth, as fine as muslin (the period kind, not what you buy in the stores)
No. 2 is a new article called "queen's silk" and is used for dresses and pelisses, comes in all colors.
No. 3 is a satin twilled silk for dresses and pelisses
No. 4 is a Persian double silk
All three silks are a half ward wide.

April 1809
From LACMA
From Archive
No. 1&2 is a furnishing calico
No. 3 is Scotia silk, manufactured in Scotland. Mixture of cotton and silk, for pelisse and dresses, half yard wide.
No. 4 is a spotted muslin.

May 1809
From Archive
No. 1 is an Adairian dot for morning dresses, yard and a half wide (54")
No. 2 is a white and lilac figured sarsanet for pelisses. half yard wide
No. 3 is a turkish figgured gauze for dresses in a variety of colors, but mainly the one shown, half yard wide
No. 4 is called printed India rib, similar to marcella, used for men's waistcoats.

June 1809
From Arcive
No. 1&2 is a cotton for furnishing called Oriental Pink
No. 3 is a lilac spotted gossimer (silk) for full dresses
No. 4 is a white and green coral figgured silk












Ackerman's Repository July to December 1809 on Archive.org

July 1809
From Archive
No. 1 is a yellow printed book muslin for evening dress, an ell wide
No. 2 is a striped mulsin or nainsook, for morning dresses
No. 3 is a printed cambric muslin
No. 4 is a chintz or shawl pattern marcella for men's waistcoats

August 1809
From Archive
No. 1 is Irish net, for dinner and evening dresses, also tippets and scarves
No. 2 is Merico Crape for ladies dresses is a blend of silk and wool, three quarters of a yard wide
No. 3 is Andalusian washing silk used for robes and pelisses
No. 4 is a printed daimond Marcella quilting for men's waistcoats 3/4 yard wide

September 1809
From Archive
No. 1& 2 is a pattern for furniture
No. 3 is an imperial jonquil gause or Spanish net intended for the best robes, worn over white satin or sarsanet
No. 4 is silt striped quilting for waistcoats, best worn with the summer brown or blue coats now in fashion.

October 1809
From Archive
No. 1 is a corded muslin for morning and afternoon dresses, also morning wrap or simple evening frock, as well as children's trowsers
No. 2 is a Brasilian corded sarsanet for robes, pelisses, and spencers, half yard wide
No. 3 is a Pomona green shawl print in imitation of Indian silk, for morning wraps or pelisses. an ell wide
No. 4 is a rose coloured print book muslin for the ball room or evening party. made up as round dresses or French frocks, must be worn over wtite satin, sarsanet, or glazed cambric. an ell wide.

November 1809
From Archive
No. 1 is a fretwork striped muslin for gowns, robes and pelisses, suitable for almost all styles of dress
No. 2 is an arabian jubille silk
No. 3 is an imperial green shawl print, for home costume, morning wraps and high gowns
No. 4 is a chintz kerseymere for mens waistcoats, best suited for the darker winter coats.

December 1809
From Archive
No. 1 is a gold jubilee muslin, good for dinner or evening
No. 2 is a jubilee shawl cambric for the wrap pelisse, round domestic jacket. could be trimmed with black velvet
No. 3 is called gossamere cloth, blended of silk and wool, for robes, mantles, pelisses. The last two should be lined with sarsanet of contrasting colors.
No. 4 is for men's waistcoats