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Ackermann’s Fashion Plates January 1816

April 18, 2018 By BlissBennet Leave a Comment

 

The start of 1816 also signaled the start of the second series of Ackermann’s Repository of Arts, Literature, Fashions, Manufactures, &c. In the note “To Our Readers and Correspondents” in Vol. I, no. 1 of this second series, the editors note “though some few individuals may perhaps experience disappointment at the omission of certain articles which they have been accustomed to find in our pages, we are confident, that the general voice will pronounce in favour of our endeavours to heighten their interest and to enlarge the sphere of their utility.” One thing that has been cut is the “Allegorical Wood-Cut, with Patterns of British Manufactures,” i.e., the fabric samples that had once appeared at the back of every edition of the Repository. They had been becoming more and more rare over the years, replaced by the less expensive black and white needlework patterns; 1815’s volume included only two fabric sample pages, one in January and one in May. Had the practice become too expensive? Or were drapers and dressmakers coming out with their own catalogues, and no longer needed to puff their wares in the Repository?

 

Ackermann's Fashion Plates, January 1816. Plate 4: Morning or Carriage Dress

January’s first fashion plate, a “Morning or Carriage Dress” (plate 4) of an unspecified “dark blue ladies’ cloth.” The back of the bodice is gathered tight at the waist, and spreads out across and off the shoulders, almost like a fan. Dark blue satin, cut on the “byas,” trims the hem of the dress. Most striking is the “headdress al la mode de Paris” made from white lace ornamented with two rolls of ribbon. It almost looks like the coxcomb of a rooster, doesn’t it? The description terms it “in the highest degree original”; I wonder if any of Ackermann’s readers thought “original” might just be shading over into “silly” here?

 

Ackermann's Fashion Plates, January 1816, plate 5: Evening Dress

Plate 5, an “Evening Dress,” is plain in its underlying lines, but “superbly ornamented with French Lama work in silver.” I couldn’t find any information on “French Lama work”; is it a kind of embroidery or crewel work, perhaps? The ornamentation on the skirt, which is not confined just to the hem but rises almost past the lady’s knees, looks almost three-dimensional, doesn’t it? The bodice is also quite intricate, with the “crape fronts of the bosom open at each side, so as to display the white satin one underneath.” The sleeves echo this intermingling of satin and crape, with the satin this time the recipient of silver ornamentation. Mrs. Bean, of Albermarle Street, is the designer of both of this month’s dresses.

 

Ackermann's Fashion plates, January 1816: descriptions

 

Though readers interested in fashion might have mourn the lack of fabric samples, the editors invite them to rejoice at an addition in the updated Repository: “The attention of our fair readers, especially those resident in the country, is requested to our notice respecting an extension of our observations on Female Fashions, which we trust will give them general satisfaction.” These extensions take the form of longer columns, rather than additional fashion plates, alas. But with the war with France finally over, English readers must have been eager for news from the heart of fashionable taste: Paris. As the commentary accompanying January’s fashion plates notes “Although the French fashions, in their present fantastic and unbecoming form, can never appear to our fair country-women worthy of imitation, yet as they may feel some curiosity respect the decoration fo the French belles, we have engaged a correspondent, on whom we can rely, to furnish us with a correct account of the Parisian fashions, which shall appear every other month.” Curiosity without imitation? I wonder…

As these accounts from France run several pages in length, I won’t reproduce them here (although I will mention the “fashionable colors for the month”: “dark brown, yellow shot with green, crimson, the darkest bottle green, celestial blue, pale lavender, and that incongruous mixture, green and orange shot”).

 

What were formerly called “needlework patterns” are in this second series termed “muslin patterns.” Here is January’s:

 

Ackermann's Repository, January 1816: Muslin Patterns

 

 

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Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates December 1815

March 28, 2018 By BlissBennet Leave a Comment

 

After the whites and pale pink of the dresses in the previous two months of Ackermann’s Fashion Plates, it feels like a breath of fresh air—holiday air—to gaze on the crimson red slip and silver-striped French gauze evening gown of December’s plate 33. Trimmed with white flowers and green leaves, the gown conveys a decidedly festive air. The three-quarter length frock is “drawn up in the Eastern style” on the bottom, the slit “confined by a cluster of flowers” that matches those adorning the hem. The white satin trim, edged with crimson ribbon, trims the hems of both gown and slip, as well as the bodice and sleeves. And to top it all off, the evening gown features a negligé, this one not an item of intimate apparel, but rather a necklace of irregularly set beads or pearls.

Ackermann's Fashion Plates December 1815: Evening Dress

Vol. XIV, no. lxxxiv, plate 33

I can’t remember seeing evening gloves trimmed with a quilling of tull before, as are the ones in this plate.

 

Ackermann's Fashion Plates December 1815: Promenade dress

Vol. XIV, no lxxxiv, plate 34

Plate 34’s Walking Dress also features a splash of color, this time the dark blue of a twilled sarsnet pelisse. Look at those large ribbon bows adorning the front opening of the pelisse! And I’m amazed by the border of leaves decorating the hem; it is difficult to tell from the picture, but the description suggests that they might be appliquéd onto the pelisse itself, rather than simply embroidered (“a border or leaves formed of the same sarsnet, edged with white satin”). The slashed sleeves at shoulders and wrists, as well as the elaborate collar (not described in the copy), must have added hours and hours of work for whichever seamstress was assigned the task of crafting this gown. Not to mention the way the hem is drawn up into small festoons, almost like a curtain…

 

Mrs. Bean, the creator of this ensemble, was, according to her trade card, dressmaker to both the Duchess of Kent and to Princess Charlotte. It must have been a mark of distinction to rate a “special appointment” with “the ever-varying and approved taste of Mrs. Bean.”

Trade card for Mrs. Bean, Milliner and Dressmaker.

Trade card for Mrs. Bean, Milliner and Dressmaker. British Museum

 

December 1815’s needlework patterns are also quite unusual: six circles, each with its own design. They remind me of the hex signs you see adorning the barns in Pennsylvania Dutch country. What do you imagine they were intended to adorn? Seat backs? Screen covers? Pillows?

Ackermann's Needlework patterns December 1815

 

Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates November 1815

March 21, 2018 By BlissBennet Leave a Comment

 

As in last month’s fashion plates, Ackermann’s November plates feature a morning gown and a walking dress (although this month labeled with the fancier title “Promenade Dress”), and a lady with a book in hand. I wonder if after the tumultuous summer and fall in the aftermath of Napoleon’s defeat at Waterloo, ladies were spending more time at home or on quiet walks than they were socializing?

Plate 27, the morning dress, features a petticoat topped by an unusual cross-bodice jacket, rounded at the bottom front and collar. The high waisted look of the period is achieved by the addition of a ribbon or belt cinched or tied right below the bosom. Both the petticoat and the jacket are trimmed with a broad border of cross-hatched “French work,” which also appears at the wrist of each sleeve. I’d like to try to sew a version of that little jacket some day…

Ackermanns Fashion Plates November 1815: Morning Dress

Vol XIV, no lxxxiii, plate 27

 

The description of plate 28, the Promenade Dress, says it is made of “the moreno blue striped satin,” something the painter of this plate doesn’t seem to have heeded; the dress appears white, or perhaps a pale pink, and I don’t see anything in the way of stripes. At least the illustrator got the blue of the satin ribbon on the hat right!

Ackermanns Fashion Plates November 1815: Promenade Dress

Vol. XIV, no. lxxxiii, Plate 28

Have you ever heard the word “gypsy” as a verb? The copy here says  the bonnet is “composed of orange-coloured satin, gipsied with a handkerchief of the same.” Any guesses as to what that might mean?

 

Ackermanns Fashion Plates November 1815, copy

 

Although it is termed “Patterns for Needle-Work” in the issue’s Table of Contents, the actual pattern page appears to be titled “Muslin Patterns.” Unlike patterns in earlier issues, which typically featured long, narrow patterns for the edge of a gown, this page features three sets of tiny repeating motifs, along with two short leaf and vine patterns. To embroider on a handkerchief, perhaps, instead of a gown?

 

Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates October 1815

March 14, 2018 By BlissBennet Leave a Comment

 

The first of October 1815’s fashion plates includes a negligé, but don’t get too excited; this negligé is far different than the garment we currently associate with the term. The French word négligé appears in an English source as early as 1715, but at that time was used as an adjective, to describe someone negligently or informally attired. By the mid-18th century in America, the term had also come to describe a lady’s loose-fitting gown or informal male garment. During the same period in England, the word was also used to describe a kind of men’s wig, and a necklace or girdle of irregularly set beads. Not until the mid 19th century did negligé take on its current meaning, a light dressing gown or nightgown, typically made of flimsy, semi-transparent fabric and trimmed with lace and ruffles.

Plate 22 features a white cambric muslin petticoat, topped by a white negligé, which to my eye looks more like a short, light jacket than a dressing gown. Although it is trimmed all round with “French work” to match that of the petticoat flounce, it appears to be made of the same cambric as the petticoat, not of any silky or semi-transparent fabric. More of a comfortable additional layer to keep the arms warm on chilly October mornings than something meant to entice the eyes of another.

Ackermanns October 1815 plate 22: Morning Dress

Vol. XIV, no. vxxxii, plate 22

 

Though Plate 23 is labeled ” Walking Dress,” its model sits, rather than walks, amongst picturesque rocks, a book open in one hand. She, too, is dressed in white cambric, though her second layer is more colorful than that of the lady in plate 22: an open pelisse of grey sarsnet, lined with salmon satin. Look at the slashed sleeves; though they appear grey in the plate, the description says they, too, are made from the salmon satin. An unusual color combination, don’t you think? I’m very drawn to the model’s French bonnet, with not one but three grey ribbons set about its crown, to match the pelisse.

Ackermann's Fashion Plate October 1815: Walking Dress

Vol. XIV, no. lxxxii, Plate 23

 

Ackermann's Fashion Plate copy October 1815

 

This month’s needlework patterns feature swirls of leaves in three different settings.

Ackermanns October 1815 Needlework pattern

Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, costume, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates, August 1815

February 28, 2018 By BlissBennet Leave a Comment

 

Ackermann’s August 1815 issue prints a detailed description of the battles of Quatre Bras and Waterloo, more than 11 pages long. It also reports on the legislative sanctioning of a monument in commemoration of the victory, as well as a call for a general subscription throughout the country for relief of widows and orphans of men killed in the conflict (151 officers, 2, 284 “men,” Ackermann’s reports).

Fashion, though, does not cease for war, at least not in the annals of Ackermann’s. The only concession appears to be the absence of a needlework pattern for this issue. Primrose and celestial blue, as was reported in the July 1815 column, continue to be popular, but apple-blossom and Pomona green have replaced evening-primrose amongst the fashionable set. Sandals are more in vogue than are boots, and the backs in full dress are “generally brought very low, and frequently to the bottom of the waist.”

Ackermanns fashion plates August 1815: Evening Dress

 

This month’s plates do not feature such low-cut dresses, however. The Evening Dress of plate 10 covers much of the back with zig zag rows of tull and satin (I wonder if this continues on to the bodice?), which is meant to match trim which ornaments the gown’s hem. The accompanying cap is likewise made of satin and gathered tull, which looks both fashionable and cool for August’s heat.

Ackermann's Fashion Plate, August 1815: Promenade Dress

Vol XIV, no lxxx, plate 11

The bodice of the Promenade Dress (plate 11) is rather high compared to other dresses featured in the journal this year. The simple lines of the dress are accentuated by the small stripes of the gown, which is made of satin-striped sarcenet of celestial blue and white. The details of the sandal ties in the plate are quite unusual, although no comment is made about them in the description beyond the fact that they are “crossed high up the ancle with blue ribbon.” Was our illustrator taking liberties? Or did some creative shoemaker lace ribbon up the middle of the top of the foot, almost in a gladiator-style sandal? If you know of any similar extant examples from the period of similarly laced sandals, I’d love to see them!

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Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fashion

Ackermann’s Fashion Plates July 1815

February 21, 2018 By BlissBennet Leave a Comment

 

The news of Waterloo has still not caught up with Ackermann’s publishing schedule, nor with its fashion plates, in this July 1815 issue. In fact, the space devoted to the text for the plates is a bit longer than typical. It includes not only descriptions of the two dresses featured, but also more general comments on current ladies’ fashions. We learn that bodices of cross or handkerchief fronts are currently the rage in morning and walking dress, especially when trimmed with quilled tull or ribbon. Fashionable colors this summer are “primrose, celestial blue, and evening primrose.” The higher hems seen in earlier 1815 plates also reflect current trends: “the length of the petticoat continues not to exceed meeting the top of the boot.”

 

Ackermanns Fashion Plates July 1815: Walking Dress

Vol XIV, no. lxxix, plate 4

 

I’m struck by the beautiful mantle of oh so fashionable celestial blue the lady of plate 4 has draped about her shoulders to keep her warm on what looks to be a rather windy day. Made of twilled silk, it is “richly embroidered at the ends in shaded silks, composing roses or lilies of the valley.” The lady’s stockings are made of “patent silk,” a term which I have not encountered before. Fairchild’s Dictionary of Textiles lists patent cord, patent flannel, patent twist, and others, but no “patent silk”…

 

Ackermanns Fashion Plates July 1815, plate 5: Evening Dress

Vol XIV, no lxxix

 

Can you guess how the stripes of the evening dress of plate 5 were made?  By interspersing “folds of satin of Pomona green and white” between tull. Was it made in a factory, I wonder, or did some seamstress spend hours and hours sewing rows of satin on that delicate hexagonal mesh? The ribbon adoring the waist and the sleeves is likewise trimmed with net edged with satin ribbon. Roses and appliquéd lilies of the valley head the gown’s blonde lace flounce. A striking dress, is it not?

Ackermann's fashion plates July 1815: text

 

Like last month’s needlework patterns, July’s also include a bouquet-like pattern. Are young ladies’ fancies turning to hints of summer love?

Ackermann's July 1815 Needlework patterns

 

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Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates June 1815

February 14, 2018 By BlissBennet Leave a Comment

 

There is no hint of the tragedy of Waterloo hovering about Ackermann’s fashion plates for June of 1815. Not only did news travel much more slowly in the early 19th century than it does today, but journals took a lot longer to typeset and print. This month’s fashion plates both feature white, one a ballgown of “French figured gauze, worn over a slip of white satin” (plate 28), the other a carriage dress of white satin. The lady of the ballgown is a bit shorter, and more plump, than one is used to seeing in fashion plates of the era, which I (being rather short myself) quite enjoyed! The figure on the gauze of her gown looks to be of a floral nature, complimenting the “wreaths of lilac” separating the skirt from a blond lace trim border.

Ackermann's Fashion Plates June 1815, plate 28: Ball Dress

Vol XIII, no lxxviii, plate 28

 

I’m quite impressed by the rich ornamentation at the hem of the carriage dress’s pelisse (plate 29): “clusters of leaves made in white twilled sarsnet, headed (? or beaded?) with tull.” Look at the sharp points of those appliqués! Very difficult handwork there! And though the description doesn’t mention it, the print shows the dress under the pelisse with another quite detailed ornamentation round its bottom, a pointed zig-zag trim, perhaps ornamented with beads. Not to mention that “superb shell trimming of white satin ribbon and tull” around the lady’s neck. It looks so fuzzy; I wish I could reach out and skim a finger across it!

Ackermann's fashion plates June 1815, plate 29: Carriage Dress

Vol. XIII, no lxxviii, plate 29

 

Ackermann's Fashion Plates June 1815: description

 

This month’s needlework patterns: one row of vines, and another of bouquets. I’m thinking I may need to include a character in a future book who eagerly awaits the arrival of Ackermann’s every month, just so she can get started on a new needlework project…

Ackermann's June 1815 Needlework patterns

 

 

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Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates May 1815

February 7, 2018 By BlissBennet Leave a Comment

 

Frills are the name of the game in May 1815’s fashion plates, with both the walking dress of Plate 24 and the Evening dress of plate 25 trimmed on bottom an around the neck with white flounces. Though in the print they appear to my eye to be made of lace, the walking dress’s deep full flounces above the hem and neck are described as being made of “French cambric” “richly worked.” Perhaps that fabric was embroidered using one of the needlework designs featured in one of Ackermann’s earlier issues?

 

Ackermann's May 1815, plate 24: Walking Dress

Vol XIII, no. lxxvii, plate 24

 

The rich ornament on the hem of Plate 25’s Evening Dress is described as “garnet yewer.” The word “yewer” does not appear in Fairchild’s Dictionary of Textiles, and as the only definitions in the Oxford English Dictionary refer to water pitchers and udders (!), I’m wondering if this might be a typo. Especially as the trim in question is decidedly not red, but white, in the fashion plate. But I’m having a hard time figuring out what might be the correct wording. Any guesses?

Ackermann's Fashion Plates, May 1815, plate 25: Evening Dress

Vol. XIII, no. lxxvii, plate 25

Both prints give us a clear look at each lady’s footwear, and how those dainty slippers were kept on her feet. The walking dress features “sandals of green kid,” with 3 bands of ribbon lying flat across the top of the foot before crossing round the ankle and tying in a tiny bow. The white kid slippers look to have only the 3 bands of ribbon—I wonder, in the days before elastic was invented, how well such ribbons would have held a slipper on the foot?

Ackermann's Fashion Plates May 1815: descriptions

 

This month’s magazine features fabric samples for ladies’ dresses. Sample one introduces another word with which I am not familiar: “kluteen.” Again, I could find no definition for this word in Fairchild’s nor in the OED; perhaps the typesetter for this edition of the magazine was unusually careless?

Ackermann's Fashion Plates: Fabric samples May 1815

 

The “Japanese betilla muslins” of samples #2 & 3 were a little easier to identify; Fairchild’s lists “beteela,” “bethilles,” and “betilles,” all types of Indian muslin. Why these samples are deemed “Japanese” I’m not quite sure (especially as the copy tells us they were manufactured in Britain). But the description assures readers that “since the interchange with Parisian fashions and the rage for colors have taken place, they are becoming the leading article of the day.” I can picture a morning dress being made from one of them, can’t you? But I think I’d like one more that was made from sample #4, the “pink and blue printed muslin, of extremely delicate appearance.” Perhaps I’ll have to send one of my characters off to J. and T. Smith’s in Tavistock Street in a future book?

 

Ackermann's Fabric Samples May 1815: description

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Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

Ackermann’s Fashion Plates April 1815

January 31, 2018 By BlissBennet Leave a Comment

 

April 1815 returns us to dresses of white, with both a white satin evening gown and a white muslin morning robe. In fact, the most colorful item in either print is the yellow and green parrot sitting on the finger of the lady in the morning gown; one might be forgiven for mistaking the green ribbons adorning the lady’s mob cap for feathers plucked from her favorite pet! Her white robe of demi-length is described as a négligé (another fashionable French import due to the cessation of French/English hostilities?), and is flounced with “French trimming.” The colored silk handkerchief tied “carelessly” around her neck gives the outfit a hint of informality uncommon in Regency-era fashion plates.

Ackermann's Repository fashion plate April 1816, plate 19: Morning Dress

Vol. XIII, no. 76, plate 19

 

This morning dress’s négligé hides the bodice of the petticoat below, but the bodice of the evening gown dips just as low in front as in previous fashion plates featured in 1816. The white satin gown features a double hem border, the lower of white satin trimming, the upper of blond lace gathered “into a narrow heading of corresponding trimming, and tastefully laid on in festoons above the lower.” Plaited blond lace also trims the deep-V neckline, which is echoed on the dress’s back.

Ackermann's Fashion Plates April 1816, plate 18: Evening dress

Vol. XIII, no. 76, plate 18

Ackermann's fashion plates April 1816: text

 

In response to last month’s letter to the editor, Arbiter Elegantiarum makes a cameo appearance, to bemoan, like the earlier writer, the current state of English female fashion. Apeing French styles, as AE and his predecessor accuse Englishwomen of doing, is not only a mistake in taste; it is also, he implies, a sign of their lack of patriotism: “Where can be the good sense of those who will blindly and stupidly adopt the dress of a people whose manners we ought to execrate, and whose feelings we abhor?” AE once believed that “women were reasonable beings, and that English women were superior beings,” but now despairs as he watches the speed with which the “mania” for foreign fashions has swept his homeland. The only way he can possibly imagine influencing such  empty-headed creatures is by appealing to their “passion for admiration”: all Englishmen feel “a disgust bordering on horror” at their countrywomen’s attempts to dress in a manner that renders them “all that is ugly, monstrous, and deformed.” Ah, the personal (or the fashionable) as political…

Ackermann's April 1815: Arbiter Elegantiarum on Women's Fashions

 

Regency women uninterested in being fashion-policed might instead sit down with this month’s Needlework patterns, two wider borders with myriad tiny leaves to occupy one’s hand and one’s mind.

Ackermann's Repository Needle-work patterns April 1815

Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, exotic, fabric, fashion, needlework

Ackermann’s Fashion Plates March 1815

January 24, 2018 By BlissBennet Leave a Comment

 

Daytime wear is the subject of March 1815’s fashion plates, which feature  one walking dress and one morning dress. The walking dress (plate 13), departs from the previous two months’ focus on pale colors; our model here is decked out in a lush purple velvet pelisse, described as “evening-primiose-coloured.” Curled satin trim runs along each side of the front edge of the pelisse; tiny capes, “trimmed to correspond,” just cover each of the lady’s shoulders. An immense bonnet, styled “French,” looms over this wearer’s head, with an equally impressive ostrich feather topping it. I don’t imagine you would be hard to spot in a crowd if you wore that hat!

Ackermann's fashion plates March 1815, plate 13: Walking Dress

Vol. XIII, no. 75, plate 13

Plate 14’s morning dress is primarily white, but includes small touches of lilac to match plate 13’s evening primrose hues. A white petticoat trimmed with borders of needle-work is paired with a striped white spencer, tied under the bosom with “a bracelet” of unspecified material. It might simply be ribbon to match that adorning the wearer’s “melon cap,” coordinated to match the lilac kid half-boots. As in the past two months’ plates, this gown’s border, too, is a deep one.

Ackermann's Fashion Plates March 1815, plate 14: Morning Dress

Vol. XIII, no. 75, plate 14

 

Ackermann's Fashion Plates March 1815, text

 

In addition to the fashion plates, this month’s Ackermann’s has the added bonus of a letter to the editor, with “Remarks on Female Fashions.” The writer mourns the disappearance from the pages of Ackermanns of Arbiter Elegantarium, who in earlier editions of the magazine offered fashion advice (and remonstrance) to the women of England. He also mourns the current trend for all things French (“that vortex of frippery, buffoonery, and extravagance”), which, due to the cessation of hostilities with France, threaten the “contamination” of English “good taste.” The writer has a special abhorrence for overly large hats (of the type featured in plate 13), and the move away from the simpler lines of dresses of the earlier Regency period, ones that more closely mirrored “the best ages of antiquity.” So amusing to read these deprecations against fashion, especially when placed right next to the plates that extol such dress!

Ackermann's March 1815 "Remarks on Female Fashion" text, part 2

 

The magazine ends with several needle-work patterns for narrow borders or edgings. Perhaps some were used to make the embroidered embellishments on the flounce of the morning dress in plate 14?

Ackermann's Repository March 1815, needlework patterns

Filed Under: Regency History Tagged With: Ackermann, Ackermanns, Ackermmann's, clothing, dress, fabric, fashion, needlework

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