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Who wore it best?

Yesterday, my daughters and I went out to shop for a prom dress for my youngest. We had a lot of fun and she found a lovely princess-y dress that fits her perfectly. It’s making me think about pretty dresses in general, and the gowns Austen heroines wore to balls and other events.

Here’s Catherine Morland in the 2007 Northanger Abbey, looking very pretty as she should. Love the embroidery!

I had to show the 2007 version first. Here’s an image from the 1986 version, which I thought as weird and problematic as the 2007 version was charming.

On to Pride & Prejudice–so many versions!

The costumes in the 1940 version always crack me up! I have heard they were reused from Gone with the Wind, but I can’t verify that particular rumor.

Here’s Elizabeth Garvie in the 1980 version, which I know many people like, though I thought David Rintoul was too stiff for Darcy. Anyway, she looks lovely and Regency, though perhaps that decolletage is more revealing than I expected for Elizabeth?

Here’s Jennifer Ehle as Elizabeth in the much-loved 1995 version with Colin Firth. This must have been taken for promo purposes because it isn’t from a scene in the movie, but shows the gown nicely. I love the pleating in the bodice and think her hair looks both accurate and lovely. Yes, I think this is my favorite P&P outfit.

And here’s Keira Knightley in the 2005 version, known for its controversial costumes. The waist is lower than we expect for Regency (maybe it was an attempt at doing something more transitional, late 1790s?) but it is pretty. Her hair looks nice but doesn’t feel quite accurate to me. The lack of gloves is rather jarring, too.

I know she’s a minor villain and not the heroine, but I can’t go without mentioning Caroline Bingley as played by Kelly Reilly. I’ve only seen one sleeveless gown in any period images, and that was in a portrait where the dress may have been more of a costume than regular apparel. Maybe this “gown” was intended to portray Caroline as racy and fashion-forward, but I can’t help thinking real Regency people would be worrying that she’d lost her mind showing up at a ball in what looks more like undergarments. Though unlike Elizabeth, she is wearing gloves.


I thought the 1971 version of Sense and Sensibility was rather a snooze, but I’m finding some of these pics quite amusing. I hadn’t remembered how much the sisters looked like twins. So dramatic and so fluffy! Though actually I rather love the gauzy sleeves.


These are not ball gowns but this image of matchy-matchy outfits is too funny not to share.


I really, really like these dresses from the 1996 version with Emma Thompson and Kate Winslet. I have a pale blue Regency gown, but if I ever get another, I’d like to have one like these, in a deeper color with metallic trim.

I liked the 2008 version of Sense and Sensibility, but I’m puzzled by the gloves in these pictures. Evening gloves in fashion prints and other pictures are nearly always white though I’ve heard of pink and yellow (not green though). Since the Dashwood sisters aren’t wealthy, I would have thought they (especially Elinor) would have white ones that would go with any gown. But these don’t even go well with the gowns! I have a theory. Maybe the kind but somewhat vulgar Mrs. Jennings bought them for the girls as a gift, and they felt obliged to wear them?


Here’s Gwyneth Paltrow in the 1996 version of Emma. This is a nice example of a layered dress. Very chic! I’ve heard that the gowns for this production were a bit fancier than reality, but they are lovely to look at.

And here’s an image from the 2009 version, which reminded me that that I have never seen it!  Now putting it onto my To Do List!  This gown is lovely and although white was popular, it’s also historically accurate to have some colors.

Here’s Amanda Root in the 1995 version of Persuasion. I like the detail around the neckline and the jewelry. Very lovely and ladylike!

Here’s an image from the 2007 version, which I have mixed feelings about (well, no mixed feelings about that awkward-not-in-a-good-way kiss). But I like the velvet and the color is interesting.
I’ve seen two versions of Mansfield Park, neither of which I feel is a good representation of the book. Letting that go, I did enjoy the 1999 version as a story on its own. The embellishment on this dress is interesting–I’d like to hear from a costume expert as to whether it is accurate. But again, there is a shocking dearth of gloves.

The 2007 version I saw only once and thought it very strange. I couldn’t find a ballroom image but here is Fanny on what must have been her wedding day. I’m not sure what I dislike more: the inaccuracy of the costuming, her pose, or her sullen expression.

 

So which dresses are your favorites?  Any theories on the odd gloves in the 2008 S&S, or Caroline Bingley’s gown in the 2005 P&P? Or why Fanny looks so unhappy about marrying Edmund?

Elena

The Argyll Rooms

When I was writing Bound By Their Secret Passion, the final book in the Scandalous Summerfields series, I needed to invent a masquerade that would attract the most scandalous of London’s aristocracy and the Cyprian world. I decided to place the ball in the Argyll Rooms. The year is 1818.

The Argyll Rooms were originally at the corner of King Street and Little Argyll Street in what was once the north wing of the mansion of the Duke of Argyll, partially demolished to build Little Argyll Street. It opened as the Argyll Rooms in 1806, hosting various entertainments such as music, dancing, burlettas, and dramatic performances, including readings by the famous Sarah Siddons. And, of course, the infamous Cyprian’s Ball.

In 1818, though, the old Argyll Rooms were to be demolished to make way for New Street, which would eventually be called Regent Street.  Here’s the map showing the eventual path of Regent Street.

So I invented a last Masquerade Ball in the old Argyll Rooms. Luckily I found a detailed description of the rooms in British History Online.

The Rooms were ‘fitted up in a style of great magnificence. Corinthian pillars, illuminated by gilt lamps, grace the entrance and the lobbies. The ground-floor consists of three very extensive rooms, the first of which is hung with scarlet drapery. The drapery of the second is a rich salmon colour, lined with pea-green. The third, though inferior to the others, is nevertheless, finished in a capital style; and the whole is most brilliantly lighted up.

‘The grand saloon is of an oblong form, with elliptical terminations, and is used for the purpose of theatrical representations; and also for masquerades and balls. Above the entrance, on each side, are three tiers of boxes, amounting in the whole to twenty-four. The first range above the ground tier is ornamented with elegant antique bas-reliefs in bronze; the upper tier is of ethereal blue, decorated with scrolls in stone colour, and both are enclosed with scrolls in rich gold mouldings. Over each box is a beautiful circular bronze chandelier, with cut-glass pendants. The draperies are of scarlet; and the supporters between the boxes represent the Roman ox, and Fasces, in bronze and gold.

‘At the opposite end are the orchestra and stage, over which is the following appropriate motto: “Sollicitæ jucunda oblivia vitæ”. The walls of the middle space, of an ample size, are superbly ornamented with ranges of Corinthian pillars, representing porphyry with gold capitals. On the intermediate pannels, which are surrounded with borders of blue and gold, are basreliefs, in stone colour, as large as life, the subjects of which are admirably adapted to the purposes for which they are placed there….’

I was able to sprinkle in this description as my characters moved from room to room at the masquerade ball, eventually winding up in one of those very private boxes.

Here’s how my imagined masquerade ball might have appeared, although this print is from 1825 when the new Argyll Rooms would have been opened:

Theodore Lane, George Hunt – The British Museum

Bound By Their Secret Passion will be released in paperback on March 22 and as an ebook on April 1. You can get a sneak peek here.

Spring Thinking: Looking Forward, into the Past

As I pondered a topic for this month, a friend suggested “spring fashions” and here’s what happened: 1) I decided fellow Risky Isobel’s expertise on Regency fashions so far exceeds my own, I should leave that topic to her, and 2) I started to suffer an almost rabid craving for spring in England. Is anyone else feeling it?

Spring comes earlier to England, at least to much of it, than it does to my own location in New England, in the U.S. I recall vividly my surprise to discover snowdrops blooming in London in January the first time I ever crossed the pond. This month, March, is when I usually begin to look for them here, and not this early in March, either, despite the very mild weather we’ve recently had here.

But, oh, in England! March is a month for daffodils and other spring flowers we are only still wishing for where I live. Here the green tips are only just beginning to show in the gardens. I found some potted primroses in my local market and had to buy them, even though they are already fading. This tiny watercolor by E. Daniels (it’s only 2 inches by 2 ¼ inches) graces a shelf in my office, a beloved souvenir from a past trip to England that gives me primroses year-round.

In The Winter’s Tale, Shakespeare wrote: “Daffodils/That come before the swallow dares, and take/ The winds of March with beauty”. This image has lasted through the centuries. The seasons and nature offer a wonderful bridge between us and the past. The same kind of March winds that Shakespeare mentioned are roaring outside my windows today as I write this, even if I haven’t yet any nodding daffodils. These kinds of seasonal details help us as storytellers trying to make our historical fiction feel real. We need those threads of common experience that transcend the centuries to help anchor our characters and plots!

Several of my books are set in late spring, or at least begin then. In my first one, A Perilous Journey, I took a little liberty to have my characters find late-blooming daffodils even though it was May, but at least they were in the north on their way to Scotland…. I’ve always loved the playful cover created by artist Alan Kass for the original (OP) Signet edition of that book.  (It is only available now from Penguin Intermix as an ebook.)

The arrival of spring, when it finally does come here, probably won’t cure my craving for England (I am sooooo overdue for a visit!). However, it will help. In the meantime, I’ll go out and check the forsythia to see if it has started to bud. I’ll bring some branches inside to “force” into bloom and tide me over while I wait! I’m certain that’s something a Regency heroine might do, if I ever start a story in March. But not with forsythia, and not because it would already be blooming. It wasn’t introduced in England until after the Regency. A Regency heroine would have to use flowering quince, or pear, apple, or cherry branches from the orchard, or lilacs, or mock orange or….hmm, more research required. Perhaps she’ll just pick some daffodils!!

Where do you like to ferret out what would be blooming when in your stories? Or, what sources do you love to go back to for inspiration, not necessarily information? My favorites for inspiration include both the Country Diary and the Nature Notes of an Edwardian Lady (Edith Holden), even though these are not from our period. For sheer visual inspiration, I’m currently enjoying a lovely book called The Writer’s Garden: How Gardens Inspired Our Best-Loved Authors, by Jackie Bennett with photography by Richard Hanson. A picture book that visits the homes and gardens of 19 authors, starting with Jane Austen at Godmersham and Chawton, it is a visual treat and a delightful way to travel by armchair! I highly recommend it, especially if you’re craving spring and it hasn’t come yet where you are!!

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In Search of Braces on the Bookshelf

Some of the Bookshelves in Sandra's StudyLike everybody who writes historical fiction of any kind (I imagine), I have collected a surprising number of research books over the years. Some are exactly the kind of books you would expect to find on my shelves – like the books on English country houses and those on the history of London; others are a bit more… shall we say “eclectic”? There’s a book on medieval warhorses (bought in 2001 when I was in Galway as an exchange student), a very comprehensive book on elements of castle building (bought in 1998 when I was still writing fantasy fiction), a book on secret orders throughout history, a catalogue of the Museo La Specola in Florence (a museum of historical anatomical waxes) (why, Sandy, why?!!?!?), and more than one survival guide.

I started collecting research books for my writing in my late teens, so some of those books I’ve had for over twenty years. (And one book has… um… wandered from my parents’ shelves to my own.) I have always loved knowing that I can probably find a book on whatever I want to look up on my shelves. Of course, with the internet, the game has changed completely. Still, I like to have the books on my shelves — just in case.

Now, when you write the kind of historical fiction where your main characters happily shed their clothes on a regular basis throughout the story, it’s always helpful to know how many layers they have to get out of and how these clothes work. For some reason, though, I had never dwelt much on the exact workings of male clothes, except for the obvious, like, if it’s Regency, you want him to pull off his shirt over his head.

That kind of changed when I started to write m/m.

So after doing some intense research on woolen jumpers, there I was in the middle of getting my two Regency guys out of their clothes, when suddenly it occurred to me, “Oh my gosh, what about braces!?!?!?”

What followed were several minutes of me staring intently at the aforementioned bookshelves, scanning my fashion books — only to realize that while I own a good number of books dedicated to female fashion (like Cunnington’s English Women’s Clothing in the Nineteenth Century or Bradfield’s Costume in Detail 1730-1930), I don’t own anything that is solely dedicated to male fashion.

Oh dear. (= A very British way to imply a crisis of epic proportions.)

But luckily,  Johnstone’s Nineteenth-Century Fashion in Detail (bought in 2008 in the V&A) came to my rescue. Though for the most part covering female fashion, it still has a few entries on male clothes. Hooray!

As the title implies, the book focuses on details of fashion and includes close-up photos of specific parts of clothes (even though you always get a sketch of the whole piece as well). Moreover, the notes give information about the construction of the depicted pieces of clothing in question, which is really helpful for understanding how these clothes were worn and how beautifully made they were. (I might have said “Ooooohhh!!!!” a couple of times in response to photographs of gorgeous ruffles down the sleeve of a dress or of the intricate embroidery covering the hem of a dress.)

And then I stumbled across these pantaloons.

a picture of Sandra's desk with the open book showing the pantaloonsAren’t they GORGEOUS? (And yes, braces. Look at the two top buttons on each side.)

Pantaloons, the accompanying text informs us, “were a form of close-fitting trousers or tights introduced into fashionable dress during the 1790s. They complemented the close-fitting lines of early nineteenth-century men’s coats as they were shaped to the leg, often ending just above the ankle where button fastenings or straps kept them in place. Although difficult to cut and put together without causing creases or wrinkles when the leg was moved, they could look extremely elegant. […] Pantaloons also brought the glamour of military uniform into men’s fashionable dress, especially when teamed with Hessian boots.” The decorated front, however, is unusual, which makes the author conclude that this particular pair might have been for military use.

Still, by that point, I had thoroughly fallen in love with that embroidered front (and all the possibilities it offered for some… eh… playfulness), so I decided they would be exactly the kind of thing my grumpy earl would wear if he wanted to impress somebody special. 🙂

And speaking of the grumpy earl: I got the revision suggestions back from my editor (who loved the story — wheeee!!!), so this morning, my desk features a new, crisp printout of the manuscript, all ready for me to get started on those revisions. Wish me luck!

Sandra's Author Desk

The Life and Opinons of Ignatius Sancho

One of my favorite Georgian novels is The Life and Opinions of Tristram Shandy, Gentleman (and not just because I also adore the movie with Albert Finney!). I own a Victorian copy in two volumes that I found at a used bookstore in Berkeley when I was in grad school. It was far too expensive for my scholarly pockets, but I had to have it (mostly because it had been signed by the original owner when he finished reading it in 1868 and again by a subsequent owner in the 1930s). All of this is a long way of introducing one of my favorite bits of triva about the novel. Ignatius Sancho (the famous black abolitionist and the first black man known to have voted in a British election) wrote Sterne, the author or Tristram Shandy, a letter asking him to write something opposing slavery. Sterne not only replied, but he kept the letters and they were both published posthumously in 1775. [Note: Tristram Shandy was originally published in nine volumes over seven years, this exchange took place before the final volume was published in 1767; the scene Sterne refers to in his reply in in the final volume.] It seemed fitting to share this exchange for Black History Month.

Ignatius Sancho

Sancho to Sterne
REVEREND SIR,
It would be an insult on your humanity (or perhaps look like it) to apologize for the liberty I am taking.—I am one of those people whom the vulgar and illiberal call “Negurs.”—The first part of my life was rather unlucky, as I was placed in a family who judged ignorance the best and only security for obedience.—A little reading and writing I got by unwearied application.—The latter part of my life has been—thro’ God’s blessing, truly fortunate, having spent it in the service of one of the best families in the kingdom.—My chief pleasure has been books.—Philanthropy I adore.—How very much, good Sir, am I (amongst millions) indebted to you for the character of your amiable uncle Toby!—I declare, I would walk ten miles in the dog days, to shake hands with the honest corporal.—Your Sermons have touch’d me to the heart, and I hope have amended it, which brings me to the point.—In your tenth discourse, page seventy—eight, in the second volume—is this very affecting passage—”Consider how great a part of our species – in all ages down to this—have been trod under the feet of cruel and capricious tyrants, who would neither hear their cries, nor pity their distresses.—Consider slavery—what it is—how bitter a draught—and how many millions are made to drink it!”—Of all my favorite authors, not one has drawn a tear in favour of my miserable black brethren—excepting yourself, and the humane author of Sir George Ellison.—I think you will forgive me;—I am sure you will applaud me for beseeching you to give one half hour’s attention to slavery, as it is at this day practised in our West Indies.—That subject, handled in your striking manner, would ease the yoke (perhaps) of many—but if only of one—Gracious God! – what a feast to a benevolent heart!—and, sure I am, you are an epicurean in acts of charity.—You, who are universally read, and as universally admired—you could not fail—Dear Sir, think in me you behold the uplifted hands of thousands of my brother Moors.—Grief (you pathetically observe) is eloquent;—figure to yourself their attitudes; hear their supplicating addresses!—alas!—you cannot refuse.—Humanity must comply—in which hope I beg permission to subscribe myself,
Reverend, Sir, &c.
I. SANCHO

Sterne’s Reply to Sancho
There is a strange coincidence, Sancho, in the little events (as well as in the great ones) of this world: for I had been writing a tender tale of the sorrows of a friendless poor negro—girl, and my eyes had scarse done smarting with it, when your Letter of recommendation in behalf of so many of her brethren and sisters, came to me—but why her brethren?—or yours, Sancho! any more than mine? It is by the finest tints, and most insensible gradations, that nature descends from the fairest face at St James’s, to the sootiest complexion in Africa: at which tint of these, is it, that the ties of blood are to cease? and how many shades must we descend lower still in the scale, ‘ere Mercy is to vanish with them?—but ’tis no uncommon thing, my good Sancho, for one half of the world to use the other half of it like brutes, & then endeavour to make ’em so. For my own part, I never look Westward (when I am in a pensive mood at least) but I think of the burdens which our Brothers & Sisters are there carrying—& could I ease their shoulders from one once of ’em, I declare I would set out this hour upon a pilgrimage to Mecca for their sakes—[which] by the by, sancho, exceeds your Walk of ten miles, in about the same proportion, that a Visit of Humanity, should one, of mere form—however if you meant my Uncle Toby, more—he is [your] Debter,
If I can weave the Tale I have wrote into the Work I’m [about]—tis at the service of the afflicted—and a much greater matter; for in serious truth, it casts a sad Shade upon the World, That so great a part of it, are and have been so long bound in chains of darkness & in Chains of Misery; & I cannot but both respect and felicitate You, that by so much laudable diligence you have broke the one—& that by falling into the hands of so good and merciful a family, Providence has rescued You from the other.
And so, good hearted Sancho! adieu! & believe me, I will not forget [your] Letter. [Yours]
L. STERNE.

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