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| 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.
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| 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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