A Georgian princess needed more than a mantua to be properly dressed. From the many under layers to the different costumes for each daily activity, her wardrobe was indeed full. We have a wonderful record of this from 1787, when the 14-year-old Harriet Johnson created nine different costumes for her cut-out paper doll, all based on Queen Charlotte’s dresses.
Harriet really understood the importance of having the right set of clothes, and her doll would not have been embarrassed among other society ladies. Her outfits include two semi-formal robes à l’anglaise(fitted closed bodice with open skirt to show the petticoat underneath), a fashionable morning caraco (short jacket) and skirt, an outdoor redingote (masculine riding coat), a winter outdoor ensemble with a large wrap and fur muff (hand warmer), a simple indoor dress, semi-formal robe à la circassienne (gown with asymmetric skirt), a mourning dress and a court mantua.
To keep all these outfits looking (and smelling) perfect, layers of undergarments were crucial. They helped to support the enormous skirts and mould the body to the fashionable, but completely unnatural lines. In the morning, a princess started her dressing process with a long chemise or shift. This simple white gown (like a nightgown) was basically her underwear – the first piece of clothing in direct contact with her body. These chemises were usually made of very fine linen or cotton and a fashionable lady could have them trimmed with lace or embroidered with her monogram. In a time when bathing was not a customary practice, changing your chemise daily helped to maintain some degree of freshness. They also protected the expensive outer garments from bodily secretions. Many of the elaborate textiles, especially the ones woven or embroidered with metal threads, could not be washed; the best way to keep them clean was to keep them from touching the skin.
Next came two or more layers of petticoats, which provided warmth and volume. They were usually made of a coarse linen or wool, and depending on how many layers you wore, they could become quite heavy. At the top, linen stays (a predecessor to the corset) reinforced with strips of whalebone moulded the torso to the desired V shape and forced the breasts up. They also created a rigid base for the gown to be arranged on. A large fabric pocket followed, sometimes decorated with pretty embroidery, and tied around the waist. This acted as a sort of purse, where a lady could carry all her essentials and a secret letter or two.
On top of the chemise, petticoats and pocket sat the hoops, made of linen and stiffened with whalebone or cane. Their shapes and sizes evolved according to the changing silhouettes, round one moment, square the next, and from flat to bulky. Stockings were next, secured by ribbon garters above or below the knees. They were made of fine knitted cotton, silk or wool and usually had delicate clocks (the area around the ankle), which were either knitted in or embroidered in bright, contrasting colours. Stockings could also be expensive and even princesses were expected to make them last. George II’s daughters were only allowed 12 pairs every two years. The swinging movement of the stiff skirts often gave a glimpse of the beautiful stockings and shoe to a lucky observer. Once all these layers were on, a lady was finally considered ‘undressed’, that is, ready to wear her gown.
Accessories also occupied a special place in a wealthy woman’s wardrobe, particularly shoes. Fashionable ladies wore pointed, heeled shoes made of fine silks, such as damasks and brocades, which were often decorated with gold or silver braids and detachable jewelled buckles (header). Their silks did not need to match the dress (except for very formal occasions), and so could be worn over and over again with different ensembles. The same with the buckles; one pair was enough to enrich many shoes. Such fragile footwear was not meant for working women or intended to be worn out-of-doors – it would never survive the deadly combination of British weather and unpaved streets. To protect your beautiful shoes, you could wear pattens, wooden platform soles that were tied to your shoes and helped to raise them from muddy/dirty ground. Although protective, they were quite clumsy and better suited for the short distance between door and carriage. For a walk, a lady was better equipped with plain leather ankle boots or flats. At home, fashionable ladies also wore slippers, a backless mule made of silk decorated with embroideries and lace. They were delicate, feminine and rather sexy, and can often be found in many rococo paintings, especially those depicting intimate scenes of ladies in their toilettes.
Finally, there were myriad trimmings, such as lace flounces, ribbons, feathers and artificial flowers that could be used as further embellishments. These were added at the very end of the dressing process. You could transfer them from one gown to another and arrange them in different combinations to show your good taste and individual style. They also created the illusion that you owned a greater number of dresses. Although princesses and courtiers had far more garments than the average woman, clothing was still extremely costly. Being creative with your trimmings was a clever way to manage your clothes allowance. Another trick to keep your wardrobe looking fresh was to constantly alter your gowns to the new styles. This way you could keep wearing the precious textiles for longer, without looking old-fashioned.
Sustainable fashion
It would be easy to assume that life as a royal in the 18th century must have meant endless new clothes for every possible occasion. George II’s daughters, for example, were allowed a new pair of shoes every week, and when you see Queen Victoria’s black satin shoes from nearly a hundred years later, you can see how they might not have lasted very long.
Such conspicuous consumption was unusual, however, and in general clothes and fabrics would have been reused and altered until they were no longer recognisable. The princesses may have been allowed a new pair of shoes every week, but they were only allowed 12 pairs of stockings every two years.
Garments were repaired or remodelled for a different use. Linen shirts, for example, once they had been repaired beyond use, could have been remodelled to make a garment for a child, or the rags could even eventually have been broken down for paper.
This tells us a lot about the wealth and investment that was tied up in cloth and clothing, and the people of the past would probably be horrified at how society today can buy items of clothing, wear them once and discard them more or less immediately.
Regency Style
As the long 18th century came to a close, in the West both society and fashion were going through big changes. In Britain, the elderly George III’s health was deteriorating and it became clear that His Majesty was no longer fit to rule. His eldest son George, the extravagant Prince of Wales, formally became Prince Regent in 1811, ruling, in his father’s place for the remainder of the King’s life.
In fashion, changes were already noticeable from the 1780s, when both men and women started to adopt simpler, more informal styles. In 1783, Queen Marie Antoinette, shocked genteel French society when a portrait of her was exhibited wearing a chemise à la reine. This was a simple dress of white muslin with long sleeves, low neckline and its soft fullness gathered with a sash around the waist. Unlike the previous fashionable garments, this was made all in one piece and put on over the head, just like a chemise. The painting was withdrawn, but the fuss it had created helped to popularise the style.
By the new century, women’s fashionable dress had evolved to a long and slim silhouette, with fitted bodice, high waistline (just below the bust) and narrow but loose skirt. According to the 1811 book The Mirror of the Graces; or, the English Lady’s Costume, written by ‘A Lady of Distinction’:
‘In the morning the arms and bosom must be completely covered to the throat and wrists. From the dinner-hour to the termination of the day, the arms, to a graceful height above the elbow, may be bare; and the neck and shoulders unveiled as far as delicacy will allow.’
Instead of the heavy silks, clothes were made of light, sheer (sometimes almost transparent) fabrics such as linen, muslin, and silk net, and were often white. Colour came in the form of trimmings around the neck, waist and hem and warmth was provided by large rectangular shawls.
This style was popular from around 1795 to 1820 and can be referred to as Directory style or Empire line after the political regimes in revolutionary France, or as Regency fashion after the Prince Regent in Britain. Inspiration for this style came from the Greeks and Romans, following excavations of the ancient cities of Pompeii, Herculaneum and Athens.
The Regency style also coincided with the life of Charlotte, Princess of Wales. Born in 1796, she was the only legitimate daughter of the Prince of Wales and his estranged wife, Caroline of Brunswick. As a child, Charlotte was described as a tomboy, but flourished into a good-natured, tall and beautiful young woman. She loved music and read extensively. She particularly enjoyed Jane Austen’s Sense and Sensibility, remarking ‘I think Maryanne and me are very like in disposition’. Most of all, she was adored by the nation, as people looked forward to her succeeding her unpopular father.
In 1816, Charlotte married Prince Leopold of Saxe-Coburg-Saafeld (later Leopold I, King of the Belgians). By now, her free spending father was deep in debt, so her trousseau was paid for by her grandmother, Queen Charlotte. It was made by two London dressmakers – Mrs Triaud was responsible for the wedding dress, going-away outfit and eight dresses, while Mrs Bean created 26 dresses.
Her wedding dress reflects the high-waisted Regency fashion. It was made of very fine silk net embroidered with silver over a slip of silver tissue, and trimmed with Brussels lace. She also wore a train of silver tissue lined with white silk satin and embroidered with silver. On her head, there was a wreath of diamonds in the shape of rosebuds and a diamond hairpin. Her jewellery also included earrings, an armlet and a set of pearls.
The groom wore for the first time a full British uniform decorated with many insignias, a sword and belt ornamented with diamonds and other gems. The Prince Regent and his brothers also wore military uniforms embellished with insignias.
After their wedding, the couple enjoyed a very happy, but tragically brief marriage. In 1817, the 21-year-old Princess became pregnant, to general delight. However, she suffered a long and traumatic labour, lasting nearly two days, and after being delivered of a stillborn son, Charlotte died of post-birth complications. In an instant, the nation had lost two generations of heirs to the throne and the shock led to national mourning. Her father’s grief was so intense that he became ill, and all over the country linen-drapers ran out of black mourning cloth. Charlotte’s death also marked the decline of Regency fashion. By the time of George IV’s coronation, a new silhouette was emerging, with waistlines gradually descending, and skirts becoming wider.
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