HISTORICAL ROMANCE AUTHOR BEVERLEY OAKLEY DISCUSSES GEORGIAN ERA FASHION

The author in her historically accurate costume

Beverley Oakley is both an historical costume maker and the author of Regency, Georgian and Victorian-set romance laced with mystery and intrigue. Today she joins us to discuss fashion in the Georgian era. Learn more about Beverley and her books at her website.

How Did a Lady of the Georgian Era Prepare For a Day Out?

“Serendipity” – meaning the discovery of something interesting or fortunate by chance – is one of my favourite words as it pretty much encapsulates my life.

It was serendipitous that I discovered my husband around a campfire in Botswana twenty-five years ago. Not just because he turned out to be an excellent husband, but because of his encouragement and the exciting life he’s given me. Without that, I’d not have lived and worked in twelve countries and published twenty-five historical romances.

It was serendipitous, also, when I stumbled upon a pair of russet silk curtains for only $1.99 in a Melbourne op-shop (or charity shop). With ten metres of beautiful fabric in a colour fashionable during the Georgian period, it fired up my dormant enthusiasm for costuming, serendipitously sparking a whole new platform from which to publicise my historical novels.

Historical Costume Talks

Many years ago, I’d studied costume design at the London School of Fashion. I’d always been fascinated by the Georgian era and the beautiful quality fabric gave me license to embark upon an ambitious project at very little cost.

I immediately sought out the Janet Arnold pattern book I’d been given for my eighteenth birthday on the even of my departure to the UK.

At first the project of making a 1780s polonaise was just for the fun of it. I envisioned my latest novel’s beautiful heroine, Celeste, wearing it as she secretly slips through the trees at Vauxhall Gardens for an assignation with the dissolute – but redeemable – rake, Lord Peregrine, in Wicked Wager.

However, I soon realised I couldn’t wear the gown unless I had the proper underpinnings. I needed 1780s stays (the precursor of the corset), to create the barrel-shaped torso and to push up the breasts, referred to at the time as ‘rising moons’. I also needed panniers and a ‘bum-roll’ to push the skirt out at the sides and back to create the right silhouette.  As I researched the layers required by the lady of fashion, I gained a better understanding of the mind-set of the day.

Here’s how the Georgian lady would go about dressing.

The author made these 1780's
stays and the chemise using
historically accurate patterns
and cutting instructions and
apologizes for the daringness
of the cut.

First she’d put on her chemise (which was cut with no wastage from good quality, hardwearing linen). The chemise, or shift, was worn against the skin and would be frequently laundered in an age when bathing was infrequent and the garment would absorb the body’s natural oils.

From an authentic pattern of 1780 I made half boned stays or a ‘pair of bodies’ as they were sometimes referred to. Working women often wore leather stays until they disintegrated but there are some beautiful extant luxury examples.

Panniers and Corset

By the time I’d finished the panniers, I’d hit upon the idea of staging a costume display accompanied by a talk. Calling it ‘History through Costume – From Georgian splendour to Regency Simplicity’, I shopped it around and was delighted by how many libraries and community groups booked me for an hour-long talk with questions on the social and political events of the period 1750-1820. This was the impetus for finishing the costume and selecting the information I’d relate.

Finding the right shoes was a mission. I’d planned to make a pair until another op-shop hunt yielded a pair of gems. As an aside, ladies would put on their shoes and stockings before being laced into their stays. Believe me, it’s incredibly difficult to bend down and put them on afterwards – just as it is driving for an hour on the freeway with lots of twists and bends when you’re confined by a 1780s polonaise, which allows little shoulder movement. (I had to strip down to my chemise in order to drive home after my first talk, having made the mistake of going in costume since I wasn’t’ sure I’d find someone at the library who could lace me up.)

The Bum Roll

Panniers and the ‘bum-roll’ achieved the fashionable silhouette. Ladies’ drawers made their appearance in 1806 but only ‘fast’ women wore them.

Russet Petticoat with Both Front and Back Ties

While to us a petticoat is an undergarment, during the Georgian period the petticoat referred to the actual skirt. The fabric was pleated onto ties that went first around the front and was tied at the back, and then around the back (tying at the front.) It was quite versatile as it allowed for expanding girths so could be used by different family members or during pregnancy. A pair of separately constructed pockets would have been tied around the waist first, enabling the wearer to place her hands through the side slits of the voluminous skirts, into the large pockets. The slim, high-waisted silhouette of Regency fashion put an end to pockets and heralded the introduction of the reticule or ‘ridicule’ as it was also known.

Finally, the gown would complete the ensemble. (The cosmetics, adornments and high hairstyles of the times – ranging in height from 1 to 1-1/2 times the length of the face – are a topic for another time; though I will mention that while trying to authenticate the powdered look during one race against time to get to a show, I found myself about to spray a can of white enamel paint over my elaborate hairstyle instead of coloured hair spray).

So, there’s a glimpse into the dressing routine of a Georgian lady. I’m always finding new facts to include in my talks, which some schools are now interested in, and which have been aired on radio.

Oh yes, and if you don’t know how the lady of 200 years ago answered the call of nature during long and riveting church sermons, and you can’t get to one of my shows, the answer is that she might well have discreetly used a bourdeloue, an elegant vessel made of porcelain or pewter and shaped like a gravy boat which her maid would have emptied into the garden or church yard.

My latest novel, Wicked Wager, is set in 1780 when the polonaise was the height of fashion. Wicked Wager was previously published by Harlequin Escape under the name Beverley Eikli and has since been revised. The ebook is on sale for .99 cents through the end of April.

Wicked Wager

Can innocence survive the machinations of a malevolent society beauty and a charismatic rake?

Two weeks before her nuptials to her cold, harsh cousin, virtuous Celeste Rosington finds herself in the arms of notorious libertine, Lord Peregrine.

The unexpected encounter is, at first, shocking, but as his charm weaves its magic, becomes a welcome distraction from her troubles. Isn’t she already the subject of whispers due to her involvement in the mysterious disappearance of a wealthy plantation magnate - a role, orchestrated by her demanding husband-to-be?

A role in which Celeste failed spectacularly.

Nevertheless, Celeste has no intention of sacrificing all of her scruples for a man she knows is only toying with her. One kiss from handsome, charismatic Viscount Peregrine will surely be enough to give her the strength to fulfil her marital obligations?

But what if one kiss is not enough?

With her reputation in the balance, Celeste soon finds herself navigating the treacherous waters of envy, intrigue and deadly secrets, unaware she’s a pawn in a wicked wager between a ruthless society beauty and delicious, dissolute Lord Peregrine.

Could Peregrine really be a party to such perfidious plans? Will his reckless charm be the final undoing of a young woman once respected for her virtue and piety?

Or will Peregrine discover that true love is more powerful than greed and ambition in time to save Celeste from the terrible fate that otherwise awaits her?

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