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Because they were meant to be worn outdoors, the full costume of the Walking Dress always included a head covering of some kind, an outer garment or wrap, and gloves. Bonnets, caps, and veils were worn to cover the head, and were often the means of the most dashing or frivolous fashion statement. Note the large plumes on the bonnets in figures 3, 7, and 12. Or the use of artificial flowers in figures 2, 4, 5, 6, and 13. Or the veils in figures 5 and 10. Notice also in the accompanying magazine texts that hats and bonnets sometimes get more detailed descriptions than the dress, indicating the importance of head gear. Depending on the season, various outer garments or wraps were worn. The short spencer jacket can be seen in figures 5, 8, and 13. The longer pelisse can be seen in figures 9, 10, and 12. Variations of the cloak can be seen in figures 1, 5, 6, and 11. Artfully draped shawls are shown in figures 2, 3, 4, 5, and 10. And note the bold leopard tippet (a sort of abbreviated stole) in figure 8.
Figure 2
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La Belle Assemblée
September 1807
"London Walking Dress for September 1807"
Magazine text:
"A Lady and her Child, attired in the most elegant fashions of the season.
Lady's Dress — A round gown with a short train, ornamented at the feet with flutings of muslin or needlework; a long sleeve rucked, with full top; frock back, and lapelled bosom cut low and trimmed with scalloped lace. A chapeau á la bocage of imperial chip or sarsnet, ornamented with a wreath of ivy or jonquille; a single sprig of the same in front of the bosom in lieu of a brooch. A shawl of Chinese silk, thrown negligently over the shoulders. Hair in a single band across the forehead, relieved by loose curls in front and at the sides. Hoop earrings of amber or cornelian. Straw-coloured kid gloves and shoes."
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The walking costume also lent itself to a wonderful assortment of accessories. Note the parasols shown in figures 1, 6, 8, 10, and 11 (and especially the strange convention of holding a closed parasol by its tip rather than its handle); the huge fur muffs shown in figures 7 and 12; the reticule (purse) in figure 9. Notice also the types of jewelry worn with Walking Dresses: the hoop earrings in figures 2 and 7; the watch fob in figure 3; the quizzing glass in figure 9.
La Belle Assemblée
October 1808
"Afternoon Walking Dresses" |
Figure 3
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During the early years of this brief range, the skirt portion of the dress is still quite long, covering the tops of the feet, and often including a train. The plates show that, in general, the hem length shortens and trains disappear as the years progress. The silhouette also becomes slightly slimmer as the fullness of the skirt, once gathered all the way around the waist, is drawn to the center back, producing a full back and flatter front. Also notice that although an outer garment may be seen in a variety of colors, the dress beneath is almost always white. As we go beyond the years represented here, more color and pattern will be seen in the dresses. Throughout this period, England was at war with France, and a quasi-military style often crept into women's fashion. Note the military cut of the pelisse in figure 8 and the spencer in figure 5, and helmet shape of the bonnet in figure 12.
The quality of prints from La Belle Assemblée during this period are inconsistent. During its first year, 1806, many of the prints were drawn by established artists, including figure 1, drawn by Royal Academician Arthur William Devis. Several are beautifully engraved (figure 1 by the well-known engraver James Mitan) and are stunning works even in black and white. The quality of prints, however, quickly became uneven at best. Compare, for example, the rendering of drapery and faces in figure 1 with the slightly more crude, somewhat clumsy drawing in figure 3. The hand coloring, too, is often rather slapdash.
Figure 4
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Ackermann's Repository
June 1809
"Walking Dress"
Magazine text:
"Spotted muslin under-dress,over which a light coat, bordered with cerulean blue. Blue silk head-dress, bound round with silver cords and tassels. Blue silk scarf, lined with white; silver border and tassels. White shoes edged with blue. York tan gloves."
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When Rudolph Ackermann began to publish his Repository of Arts in 1809, the quality of the prints was outstanding and consistent. The drawings were beautifully, even delicately, engraved and the hand coloring was meticulous. None of the artists are named, as far as I can discover, though the occasional engraver signed his work. In these early years of Ackermann's Repository, the faces in the fashion prints are especially striking for their softness, delicacy, and often engaging expression. They are so sensitively and expertly tinted, it is quite possible they were done by colorists who specialized in faces.
For the next few years, the quality of La Belle Assemblée prints improved (see figures 6 and 7), no doubt as a result of the stiff competition from Ackermann's Repository. By 1812, however, the LBA prints were of a comparable quality to Ackermann's (see figure 12) and remained so throughout the Regency period. It is quite possible they shared artists and engravers. The signature of one engraver, William Hopwood, can be found on both LBA and Ackermann's fashion prints.
Lots more prints below. Click on any print to open another window with a larger image.
Ackermann's Repository
June 1809
"Walking Dresses
Magazine text:
"Standing Figure -- A Venetian spencer of violet satin, or sarsnet, with a row of small round buttons embroidered in silver, with a pendant loop to each; confined at the neck with a silk cord or silver tassel. Beaver hat of the same color, rather small, turned up in front, with a silver bottom and loop. Worked muslin dress and skirt, to shoe the feet and ankles. Black silk slipeprs and York tan gloves.
"Sitting Figure -- Muslin under-dress, with full loose sleeves; a Tunic à l'antique of yellow crape, trimmed with broad lace round the bottom; yellow silk head-dress, with short veil. Purple mantle, lined with white. York tan gloves.
"Child's Dress -- Swedish coat of grey cloth or silk, clasped down the front with silver ornaments; short open sleeves. Hat of same colour, turned up and silver loop." |
Figure 5
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Figure 6
La Belle Assemblée
September 1809
"The Garden Promenade Dress in September 1809" |
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Figure 7
La Belle Assemblée
March 1810
"Hyde Park Walking Dress"
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Figure 8
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Ackermann's Repository
November 1810
"Walking & Morning Dress"
Magazine text:
"Walking Dress [standing]— Robe of White Indian muslin, with Spanish vest and Flemish skirt, ornamented at the bottom, bosom, and sleeves with needlework, or appliquéd lace; antique cuffs, pointed collar, fastened in the center of the throat with a topaz broach. Bonnet á la Mary Queen of Scots, composed of intertwined crape and straw, and lined throughout with rose-coloured sarsnet; the extremity of the crown finished with Vandyke scallops in white satin, the edges terminated with straw; a small bouquet of autumnal flowers in front, blended with bows of white satin ribbon, and tied under the chin with the same. French tippet of leopard skin shag. Shoes and gloves of rose-coloured kid.
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"Morning Dress [seated] — A plain muslin round gown with long sleeves, and embroidered habit shirt; short sleeves over, composed of alternate lace and muslin; habit shirt trimmed round the throat with a deep lace. Muslin spencer jacket without sleeves, very short, trimmed round the arm-holes, bosom, and waist with lace. A helmet cap, formed of alternate lace and stripes of embroidery; finished on the crown with a square of lace, edged with beading; in the front, full quillings, or gathered lace, formed in a sort of turban; the cap tied under the chin with white ribbon. Gloves and shoes of buff-coloured kid." |
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Ackermann's Repository
January 1811
"Walking Dress"
When this identical dress was published in the following month's issue of the Lady's Monthly Museum, it was described as follows:
"A round high mourning robe of cambric, with a deep, full-trimmed collar; a Swedish cost of French grey cloth trimmed with a white swansdown trimming, fastened in front with a pearl broach; clasps to correspond for the waist; a traveller's hat of black or grey velvet, trimmed with swansdown; half boots of grey cloth, laced and bound with black velvet; Chinese ridicule of grey satin; gold eye glass and chain; buff gloves." |
Figure 9
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Figure 10
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Ackermann's Repository
June 1811
"Promenade Dresses"
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Ackermann's Repository
August 1812
"Promenade Dress"
Magazine text:
"A plain jaconot or imperial cambric muslin round dress, formed high in the neck, and trimmed round the bottom, up the front, collar, and sleeves, with fullborders of plaited muslin. A white satin hussar cloak, ornamented with deep capes and antique floss trimming and tassels. A Lavinia hat of fine moss straw — a small cap of lace beneath, ornamented on one side with a small bunch of flowers, and tied with cerulean blue ribband on the other. A rosary cross and bracelets of the coquilla nut. Boot, or Roman shoes, of blue kid. Gloves a lemon colour; and parasol of correspondent shot sarsnet, with deep ball-fringed awning.We are indebted to the unrivaled taste and invention of Mrs. Gill, of Cork Street, for these, as for many others of the most elegant specimens of British costume which embellish this work." |
Figure 11
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Figure 12
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La Belle Assemblée
November 1812
"Morning Walking Dress"
Magazine text:
"Short pelisse of deep lilac, shot with white; back broader than they were worn last month, and on each hip a Spanish button. It is made with a collar up to the throat, and trimmed round with rich fur; sleeves long and loose, with a fur at bottom to form a cuff, rather shorter in front than behind, and two Spanish buttons are placed just at the bottom of the pelisse in front, which fastens with a loop crossing from one to the other. The bosom is ornamented in the same manner; a belt of embroidered ribband round the waist, and a gold clasp in front. A bonnet of the same materials as the pelisse, crown a helmet shape, front very small, and a wreath of laurel round it; three white feathers are placed at the back of the bonnet, and fall over the front; broad ribband, same as the bonnet, is pinned plain under the chin. The hair is brought very low at the sides, and a single curl on the forehead. Buff gloves, and dark brown kid boots. Large silver bear muff."
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Journal des Dames et des Modes
1812 (no month indicated, though appears to be late spring or summer)
"Costumes Parisiens"
"Chapeau de Gros de Naples. Canezou et Robe de Perkale." I sent a copy of this print to the art department at Penguin/Putnam as an example of what the heroine could be shown wearing on the cover of A Change of Heart.
What do you think? Did they get it right?
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Figure 13
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For more information on fashion prints, see these sources:
Alison Adburgham, Women in Print: Writing Women and Women's Magazine from the Restoration to the Accession of Victoria, George Allen and Unwin Ltd., 1972.
Irene Dancyger, A World of Women: An Illustrated Hisotry of Women's Magazines 1700-1970, Gill and Macmillan, 1978.
Madeleine Ginsburg, An Introduction to Fashion Illustration, Victoria & Albert Museum, 1980.
Vyvyan Holland, Hand Coloured Fashion Plates 1770-1899, Batsford, 1955.
Doris Langley Moore, Fashion Through Fashion Plates 1771-1970, Clarkson N. Potter, Inc., 1971.
Sacheverell Sitwell and Doris Langley Moore, Gallery of Fashion 1790-1822, Batsford, 1949.
Cynthia L. White, Women's Magazines 1693-1968, Michael Joseph, 1970.
Alison Adburgham, Women in Print: Writing Women and Women's Magazine from the Restoration to the Accession of Victoria, George Allen and Unwin Ltd., 1972.
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