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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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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

Ackermann’s Fashion Plates January 1815

January 10, 2018 By BlissBennet Leave a Comment

 

My planned short break from Regency fashion plate blogging extended into a month and a half-long hiatus, due to illness, holiday planning and travel, snowstorms, and a cold snap with several days of no heat in my house. But now that 2018 is underway, I’m determined to get back on a regular blogging schedule, bringing you the fashion plates and descriptions from Ackermann’s Repository from 1815 and 1816.

Ackermann's Fashion Plate January 1815, plate 3: full dress

Vol. XIII, no. 73, plate 3: Evening Dress

Ackermanns opens its 1815 year with two pale-colored dresses: a full dress in celestial blue, and an evening or opera dress in light pink. Both dresses feature wide bottom borders—a new trend for 1815? Both borders are white, the celestial blue dress’s embroidered “with shaded blue silks and chenille” in a pattern of circles or wreaths, the light pink’s plain, but edged on top and bottom with tufts of lace. My fingers itch to reach out and touch these two different embellishments, don’t yours?

Ackermann's fashion plates January 1815, plate 4: Evening Dress/Opera Dress

Vol. XIII, no. 73, plate 4: Evening Dress/Opera Dress

 

I’m intrigued by the accessories featured in these prints. Nothing in the copy describes what it is that the young lady in plate 3 is holding. Is it something like a modern-day compact, which would hold a small mirror and face powder or blush/rouge? Or is it more likely to be pair of linked painted miniatures, perhaps of the owner herself and her beloved? Or of loved ones now departed?

The copy for plate 4 does describe its unusual short cape, as a “shell lace tippet.” I wonder if the tippet was knit, crocheted, or tatted? I can’t recall seeing anything like it in any fashion plate of the period I’ve seen before.

Ackermann's fashion plates January 1815: text

 

The new year brings a return of the fabric sample page at the issue’s end. Only three samples instead of four, and only two intended for dresses. Interestingly, where the fashion plates both feature light colors, all these fabric samples are on the darker end of the color scale.

Ackermann's fabric samples, January 1815

I have to say that I don’t find the first sample, No. 1/2, intended for furniture upholstery, all that appealing, despite the description’s terming it “choice.” Sample 3, which is recommended for morning or domestic wear, is a more appealing black and green striped “tabinet,” a fabric that Fairchild’s Dictionary of Textiles reports is “a poplin produced chiefly in Ireland, made with silk warp and wool filling and given a moiré finish” or, more simply a “thin taffeta with a moiré finish” (558). Sample 4 is also a blend, this time of cotton and silk “toilinette,” which Fairchild’s explains is “a plain, figured, or printed fabric made of silk and cotton warp with a woolen filling” which was popular during the period for women’s dresses and men’s vests.

Ackermann's fabric samples January 1815: text

 

Can you say “tabinet and toilinette” ten times fast?

 

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

Ackermann’s Fashion Plates December 1814

November 15, 2017 By BlissBennet Leave a Comment

The last issue of Ackermann’s Repository for 1814 features an unusual fashion plate: a collection of five different head-dresses! From the simple cottage bonnet (#4) to the elaborate Russian à la mode (a tall, almost stovepipe top, but without the coat-scuttle-like brim of the Oldenburg bonnet), 1814’s Regency lady could find examples of hats for any and all occasions. I’ve never heard of a “melon cap” (#2) before, but I’m rather taken by it, with its puckered satin and what is described as “narrow bead trimming inlet.” I wonder what it looked like from the front?

Ackermann's fashion plate 29, December 1814: Head-Dresses

Vol. XII, no. lxii, plate 29

 

Hat #1, a “full turban,” can be made from either silver net or “tiffany,” another fabric term with which I was unfamiliar. Fairchild’s Dictionary of Textiles reports that tiffany is “a very thin, fine, semitransparent French silk fabric. Used in France and England during the 17th century for veils.” Perhaps by Regency times, the term had taken on the second or third definition included in Fairchild’s: “A very think plain wave linen fabric with a sized finish” or “A lightweight, sheer muslin; a kind of gauze. Sometimes, it is sized, dyed, and used for making artificial flowers.”

Ackermann's Fashion Plates December 1814: text

Which bonnet would you choose to step out in to celebrate December’s festivities? If none of the above are to your taste, perhaps you would prefer the “Spanish hat” featured in plate 30 (below), which is paired with a short, walking-length pelisse in puce. I think of puke green when I hear the word “puce,” but here it refers to a dark purple brown or brownish purple color. But even this version of puce has gross-out associations: puce is the French word for “flea,” and the color is said to be the color of what remains after a flea has been crushed.

Ackermann's Fashion plate 30, December 1814

Vol. XII, no. lxxii, plate 30

For a color with such an unpleasant name, it certainly appears attractive in this plate, especially with the unusual choice to pair it with trim of “celestial blue satin.” And are those triple “copes” meant to echo the Garrick coats, with their three to five caplets or collars, favored by those dashing Regency gentleman noted for their driving skills?

 

The year’s volume concludes with “Patterns of British Manufactures,” rather than with the needlework patterns that had become far more common in the journal during 1814. Was the expense of cutting out and glueing down these small fabric scraps growing too costly to keep up? Or were manufacturers less interested in displaying their new wares in Ackermann’s pages than when the Repository was new?

Happily, this month’s fabric samples include one of “erminette,” a fabric also used in the Walking Dress of plate 30. Yet another fabric term that sent me scurrying to my dictionary! The long description of the sample states that this fabric is a new invention, created by “Messrs. Fryar of Huddersfield (the patentees of the seal shawl).” This fabric, it is claimed, “combines the warmth of the Vigonia and Angola cloths with the lightness and flexibility of an Indian shawl.” Fairchild’s Dictionary of Textiles, which describes it as “a brown woolen dress fabric,” has the dating a bit off, stating that it was produced in the late 19th century.

Ackermann's December 1814 fabric samples

 

Two of the other fabrics are suited for more exotic outfits: the “Persian dress” and the “Albanian costume.” For holiday masquerades? Or just for a touch of the unusual?

 

 

 

 

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Ackermann’s Fashion Plates October 1814

September 27, 2017 By BlissBennet Leave a Comment

Oddly, since 1814 was known as the “year without a summer” in England, both ladies in October’s fashion plates are wearing sandals with their walking costumes. One hopes that their stockings were thick enough to keep their poor toes warm!

Both dresses also feature handkerchiefs of net used as sashes tied around the bodice, the first “crossed over the bottom and tied in bows behind,” the second “tied in streams and small bows behind.” The handkerchief in Plate 19 almost makes the lady appear to be wearing a bandolier, although nothing else about her appearance evokes a military air. The checks of the handkerchief in Plate 20 give the wearer a countrified air to my eye, although linking checked fabric with the country may be an association that dates to later than the Regency period.

Promenade Dress, Ackermanns October 1814

Vol. XII, no. lxx, plate 19

 

Text to accompany fashion plates, Ackermanns October 1814

 

Walking Dress, Ackermann's October 1814

Vol. XII, no. lxx, plate 20

As in one of last month’s plates, this month also seems to feature a color mismatch between plate and description. The dress in plate 20 is described as “evening primrose-coloured,” but looks to be almost the same shade of “celestial blue” as the gown in plate 19.

Plate 19 is described as a “Promenade dress,” while plate 20 is labeled “Walking Dress.” I wonder if Regency readers would have know the differences between the two?

 

Flowing elliptically-petaled flowers and leaves are featured in this month’s needle-work pattern, along with small dots along the edge. Smaller floating flowers appear above the main flowers, giving the feel of fall seeds floating in the wind.

Needle-work pattern, Ackermanns October 1814

 

 

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

Ackermann’s Fashion Plates September 1814

September 20, 2017 By BlissBennet Leave a Comment

 

Is the lady in the first of this month’s fashion plates on holiday by the seaside? Or is she the daughter or wife of a naval officer, watching by the shore, hoping to catch sight of the ship that will carry her beloved family member back home? She looks rather disappointed; has she given up looking through the spyglass at the sailing ship in the distance to gaze instead off into the distances of her own imagination?

The dress she wears, a round robe of lilac or evening primrose sarsnet, features trimming at both hem and neck of a quilling of blond lace edged with chenille (perhaps to keep the lady warm against September’s cool ocean breezes?). A “French hat” of white and lilac satin keeps the winds from ruffling the lady’s face-framing curls.

 

Morning Dress, Ackermann's September 1814

Vol. XII, no. lxix, plate 14

 

Text for Ackermann's Fashion plates, September 1814

 

The second plate features an “Evening Half-Dress,” presumably to be worn for an informal evening at home. Though the copy describes it as “a plain frock,” its long sleeves (inset with lace) and its full flounce of blond lace at the hem and its quilling of lace around the neckline certainly give it a far less than plain feel. The dress fabric is meant to be “striped sarsnet Italian net of peach-blossom colour,” but the pigment must have discolored; the dress looks more purplish black than pink.

The lady’s position highlights her unusual hair style: short full curls in a row several inches higher than the nape, and curls in rows down he sides of the head, with the crown combed flat and straight. Lots of time spent with the curling iron to achieve that look, no doubt.

 

Evening Half-Dress, Ackermann's September 1814

Vol. Xii, no. lxix, plate 15

 

 

It’s been several months, now, since Ackermann’s has included its former fabric samples. I’ll continue to reproduce the needle-work patterns in their place. Thistle flowers leaning in one direction, with leaf fronts tilted in the other, echo the feeling of the wind in the first plate, I think.

Needle-work pattern, Ackermann's September 1814

 

 

 

 

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Ackermann’s Fashion Plates, July 1814

September 6, 2017 By BlissBennet Leave a Comment

 

Extravagant trimmings are the order of the month for July 1814’s fashion plates. The morning gown on display features Vandyke lace and cotton ball fringe around its hem, as well as abundant lace and needlework around the collar. The cotton ball fringe is also used to confine the full sleeves in four or five places down the arm. The bodice is described as “full body, inlet lace or needle-work, confined by several drawings to fit the shape”—I’m wondering if “drawings” here refers to “drawing strings,” or whether some other means were used to make the bodice conform to the wearer’s figure.

 

 

This month’s evening dress begins with the extravagance of “a blond lace train, richly embroidered in silver lama, with a superb border of the same.” It is a bit difficult to see the details of the lace train in the actual print, so I’ve added a shot of a dress in the V&A Museum c. 1820, which features blonde lace as a trim, below the print. This gown features gold, rather than silver, embroidery, but you can imagine a similar effect. The Ackermann’s gown has the additional feature of “rich silver cord, and large bullion tassels, tied on the side in long loops and streamers”—handy for fidgety fingers no doubt, but all too likely to catch on passing furniture, I fear!

 

Evening Dress, Ackermann's July 1814

Vol. XII, No. lxvii, plate 4

 

Blonde lace detail from a gown from the V & A Museum collection

Blonde lace detail. From the V & A Museum: https://collections.vam.ac.uk/item/O110585/ball-gown-unknown/

 

No fabric samples this month, just a detailed needlework pattern (perhaps for the collar adorning this month’s morning gown?)

 

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

Ackermann’s Fashion Plates June 1814

August 24, 2017 By BlissBennet Leave a Comment

I’m intrigued by the hat in the first of this month’s fashion plates, described as an “Oldenburg bonnet.” I’d never heard of such a bonnet before, and began searching for hints about where the name may have come from. I found mention of Her Imperial Highness, the Grand Duchess of Oldenburg, the mother of the current King of Prussia, Alexander, who visited England in March of 1814, in Edward Seymour’s History of the Wars Resulting from the French Revolution (1815). Seymour reports that the Grand Duchess, “impelled by an insatiable thirst for knowledge, was continually engaged in visiting those objects of curiosity more particularly calculated to enlighten the mind” (Vol. II, page 450). Her visits included two to Oxford University; one of those visits was commemorated in this print, now at the British Museum:

 

The Oldenburg Procession through Oxford, May 1814

As you can see from the above print, the Duchess wore a quite distinctive hat. The new style bonnet, in vogue for several years after the Grand Duchess’s visit to England, is described in The Habits of Good Society (1863) as “nothing more or less than a coal-scuttle in straw, and turned up around the brim; it was tremendously warm to wear; and caricatures were drawn at the time showing a gentleman’s difficulties in making love to his inamorata, whose face was enclosed in the Oldenburg bonnet” (187).

Ackermann’s version is not quite so extreme as the Duchess’s, but it still keeps the face quite hidden:

Ackermann's June 1814 Plate 36: Walking Dress

Vol. XI, no. lxvi, plate 36

 

No such hiding for the lady in Plate 37, “Full or evening dress.” Her gown is cut quite low in the back, and adorned with silver beads down the back seams of the bodice, an ornamentation I’ve never seen before in a Regency-era fashion plate. Have you?

Ackermann's June 1814, plate 37: "Full Dress"

Vol. XI, no. lxvi, Plate 37: Full Dress

I’ve also never seen sleeves decorated in the fashion show here, either. They are described as composed of “tull or silk net and white satin, with four drawings of easy fullness, lengthwise on the arm, severally edged with silver beading, and terminate at the wrist with a silver Vandyke fringe.” I wonder if the length-wise ornamentation made for difficulties in bending one’s elbow?

The lady’s tunic is described as “evening primrose colour,” but looks more like a lavender to my eye. Perhaps the plate’s original color faded or underwent some chemical reaction?

 

Last month’s fashion for fleur de lis continues in June’s fabric samples: see #2, an “elegant printed marcella for gentleman’s waistcoats, remarkably appropriate to the season, and peculiarly adapted by the fleur de lis by the present circumstances of the times.”

 

 

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