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Women in 18th Century Politics – 1784 Election

2014 in review

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Look where Berrington’s latest costume display has ended up…featured on the pages of the glossy and stylish September edition of Period Ideas Magazine! The article, features the exhibition ‘Symphony In White’ created by Professor Nancy Hills and currently on display at Berrington Hall.

Article featured in Period Ideas Magazine, September 2014.

‘Symphony In White’ is an exhibition of reproduction costume charting the chronology of fashionable silhouettes from the 1780’s until the 1940’s. All the costumes are based on original designs from the Snowshill Costume Collection and the Hereford Museum and Learning Resource Centre. The exhibition is the result of the brilliant Professor Nancy Hills, Utah State University, who has been studying the construction of the original garments for several years.

Professor Nancy Hills and her dresses on models at Utah State University. ‘Symphony In White’ exhibition at Berrington Hall until December 23rd 2014.

The following is Professor Hills in her own words taking us through the process of creating a few of the dresses featured in ‘Symphony In White.’

Professor Nancy Hills on the dresses featured in ‘Symphony In White’ at Berrington Hall:

Caraco-1785,

Hereford Museum

Caraco-1785, Hereford Museum. Professor Nancy Hills ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

Caraco Pattern, Professor Nancy Hills ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

Caraco-1785, Hereford Museum. Professor Nancy Hills ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

This Caraco worn is gathered at the waist, under the bust and at the center front neck. The sleeves are simple, slightly curved and end just above the wrist. The skirt length of the Caraco sits over a simple petticoat. The drawstrings that hold it closed could easily be adjusted to accommodate a growing abdomen during pregnancy. Down the front edges and around the skirt is a 3 ½ and a half inch two to one ruffle. The neck is finished in a large collar that is reminiscent of a fichu style scarf

1865, Military Inspired Suit,

Hereford

1865, Military Inspired Suit, Hereford. Professor Nancy Hills ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

Cream and Purple silk Military Trim 1865, Hereford. Professor Nancy Hills, ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1865, Military Inspired Suit, Hereford. Professor Nancy Hills, ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1865, Military Inspired Suit, Hereford. Pattern created by Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

Professor Nancy Hills, ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

Each skirt panel is flanked on one side with the selvage of the fabric and cut on the other side angled along the bias. When a cut is sewed selvage to bias, the skirt is pulled to the back. Also note the small delicate pattern reminiscent of the William Morris Tiles. Uniforms from the Crimea War influenced the braided trim on this gown. The Peplum of the bodice is edged with fringe and two rows of velvet ribbon. Similar trim is along the cuff of the sleeves. Note the center front skirt and center back pieces are rectangles with the 10 wedges pulling the skirt to the back. Suit built by Michelle Bradford

1910, Cotton and Lace Day Dress,

Hereford Museum

1910, Cotton and Lace Day Dress, Hereford Museum. Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1910, Cotton and Lace Day Dress, Hereford Museum. Pattern created by Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1910, Cotton and Lace Day Dress, Hereford Museum. Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

This gown shows the softer lines of the influence of the far and near east on Western dress. This garment is softer and simpler than the gowns of 15 year earlier. It has a combination of complicated lace details that seems to give a nod to the complexities of the past with a style relaxation of the modern era. This gown was by far the most complicated to pattern and construct. It was difficult to sort out how big the bodice piece was without the 18 tiny pin tucks or the lace triangles and ribboning. I need to sit down and figure out a way to translate it into modern thinking and sewing order. This is just a working pattern; I anticipate the final pattern will be deconstructed into much smaller bits. Gown built by Michelle Bradford.

1945, CC41 Crepe Rayon Day Dress

Hereford Museum

1945, CC41 Crepe Rayon Day Dress, Hereford Museum. Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1945, CC41 Crepe Rayon Day Dress, Hereford Museum. Pattern created by Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

1945, CC41 Crepe Rayon Day Dress, Hereford Museum. Professor Nancy Hills for ‘Symphony In White’ exhibition at Berrington Hall throughout 2014.

In the UK all Utility items were marked with a CC41 label which stood for “Controlled Commodity 1941”. In the United Stated a similar law was Limited Order L85.

The UK Government gave out pamphlets that encouraged women to recycle and mend everything they owned. They even gave instruction on how to take apart a man’s suit (abandoned by many Military personal) and make into a woman’s suit or clothes for children. Rationing, Utility, Austerity is epitomized in this CC41 rayon frock.

The original dress is a lovely rose color. The dress is made from Rayon Crepe. Almost all fabric was replaced with rayon, which imitated wool, silk, linen or cotton. Dresses were restricted to two yards of fabric, 6 seams, two box pleats and 3 buttons and style lines were only in the front of the garment. Toward the end of the war as the tide began to turn for the allies some clothing restrictions began to relax a bit. This dress has 5 buttons and no more 6 than seams. One of the things I noticed was there was no interfacing in this dress. This was completely in keeping with the austerity of the time. By the end of the war only the style lines had become less restrictive not the inner structure. This dress was built by Michelle Bradford.

Want to see it for youself? Visit A Thousand Fancies at Berrington Hall for more information.

If you Would like to see Nancy Hill’s TED presentation please click the link: Nancy Hill TED talk Make Do and Mend.

A Symphony In White Look where Berrington's latest costume display has ended up...featured on the pages of the glossy and stylish September edition of…

#A Thousand Fancies #Althea Mackenzie #Berrington Hall #Professor Nancy Hills

1750s Pink satin with silver metal embroidery, white heel cover. Charles Paget Wade costume collection, stored at Berrington Hall

1730-50s mustard yellow satin uppers and heel covers. Charles Paget Wade costume collection, stored at Berrington Hall

1740s Raspberry silk upper and heel cover, brown leather soles. Charles Paget Wade costume collection, stored at Berrington Hall

1700-30s, Charles Paget Wade costume collection, stored at Berrington Hall

1730s Brocade uppers and heel covers, brown soles. Charles Paget Wade costume collection, stored at Berrington Hall

1820s Cream Silk Slippers adapted for fancy dress, Charles Paget Wade costume collection, stored at Berrington Hall

I don’t subscribe to the female stereotype of adoring shoes but I challenge anyone not to be excited, or just a little bit intrigued, by the rows and row of boxes in the Costume Curator’s stores at Berrington Hall.

Women’s shoes in the 18th century were predominantly made of fabric. The material was often patterned dress silk although it was not usual to choose a gown and shoes in matching material. The fabric side straps (called latchets) would be pinned with a metal buckle (of which Charles Paget Wade collected many and I shall be blogging about shortly!).

It’s easy to see how the embellishment of a sparling buckle could enhance any shoe, take these mustard yellow satin shoes from the early 18th century (dated 1730s-50s). They are attention-catching regardless owing to the the popping acid colour that has not diminished in vibrancy over the centuries.

1730-50s mustard yellow satin uppers and heel covers. Charles Paget Wade costume collection, stored at Berrington Hall

My favourite pair are these pink satin mules with silver metal embroidery. They are simply beautiful objects to behold…and not unfamiliar in shape to modern eyes. The best part of these shoes, and all costume in fact, is seeing the wear and tear that could only have been created by the shoe being worn and not, for once, the usual agents of deterioration National Trust staff are used to.

1750s Pink satin with silver metal embroidery, white heel cover. Charles Paget Wade costume collection, stored at Berrington Hall

On discovering a charming book (Selbie, Robert. The Anatomy of Costume, 1978) about costume the other day it amused me to discover the description of 18th century ladies approach to footwear;

‘Most fashionable women, who did not set foot out of doors unless they had to, had shoes of silk, velvet and satin…Madame du Barry…complained to her shoemaker that her shoes had worn out too quickly. He replied “But Madame, you must have walked on them!” ‘

I would take the anecdote and information with a pinch of salt as the Georgian’s had a clever solution to maintaining the delicate fabric of their footwear; leather clogs! A wonderful example exists in Killerton’s vast costume collection (see below).

1720s purple brocade shoes, Killerton Costume Collection. Image taken from Jane Ashelford’s The Art of Dress’, 1996.

1720s Leather clog overshoe, Killerton Costume Collection. Image taken from Jane Ashelford’s The Art of Dress’, 1996.

1720s purple brocade shoe and leather clogs, Killerton Costume Collection. Image taken from Jane Ashelford’s The Art of Dress’, 1996.

A similar brocade shoe from roughly the same period (1730′s) exists in the Charles Paget Wade collection stored at Berrington Hall, sadly its matching clogs long gone.

1730s Brocade uppers and heel covers, brown soles. Charles Paget Wade costume collection, stored at Berrington Hall

Another interesting feature of Georgian footwear was the significance of the red leather heel. The red heel was indicative of aristocratic nobility in the French courts. The fashions were adopted in England during this period but Costume Curator Althea Mackenzie informs me it was much harder to police in Britain and eventually lost its kudos as a signifier of fashionable privilege…until Louboutin revived the tradition of course ;)

1700-30s, Charles Paget Wade costume collection, stored at Berrington Hall

These raspberry silk heels are dated around the 1740s.

1740s Raspberry silk upper and heel cover, brown leather soles. Charles Paget Wade costume collection, stored at Berrington Hall

In clashing contrast the conservation record states that the emerald green damask silk has been dated by Natalie Rothstein around 1742-44.

1742-44, Emerald green damask shoes. Charles Paget Wade costume collection, stored at Berrington Hall

And finally the prettiest but slightly anachronistic sets of Georgian ballet pumps that have been adapted for fancy dress…by Charles Paget Wade and friends? Who knows! The flat shoe of the late Georgian period is indicative of the impact the French Revolution, and the institution of the Reign of Terror, had on fashion. Although the flats pictured are of a later date, the fashion for flat shoes were adopted in the last decade of the eighteenth owing to their working class affiliations; they infer the necessity of walking as opposed to footwear indicative of those who could afford travel by carriage.

1820s Cream Silk Slippers adapted for fancy dress, Charles Paget Wade costume collection, stored at Berrington Hall

A Cinderella Moment… I don't subscribe to the female stereotype of adoring shoes but I challenge anyone not to be excited, or just a little bit intrigued, by the rows and row of boxes in the Costume Curator's stores at Berrington Hall.

#18th Century #Althea Mackenzie #Berrington Hall #Charles Paget Wade #costume #Embroidery #Fashion #georgian #Hereford Museum Resource and learning centre #shoes #Snowshill #The Hidden Wardrobe

Wearing the garden

The Hidden Wardrobe:

The amazing NTtrasurehunt blog (nttreasurehunt.wordpress.com) putting the spotlight on some of Snowshill’s treasures stored/exhibited at Berrington Hall. Please check out Emile’s blog; it showcases the National Trusts incredible and varied collections across the country.

Originally posted on Treasure Hunt:

Damask waistcoat in 1770s style, using fabric from 1755. Wade…

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18th century, Queen Hortense Fan at Berrington Hall

Fans are like hats…once a necessary accessory to an outfit but nowadays a rare sight for fashion purposes. Fans are more likely to be found in display cases in museums and the stores of specialist societies than worn, or rather used, by an individual in the street.

As object d’art they are beautiful to behold and often exude a skill and craftsmanship we sometimes overlook owing to their redundant functionality today; perhaps making it harder for those interested in dress history to get excited about. Everybody is able to relate to clothing but accessories are so subjective. That said, it is hard to overlook the incredible detail of this 18th century fan from the Boudoir at Berrington Hall below…

18th century, Queen Hortense Fan at Berrington Hall

The conservation record simply states that the fan is;

’18th century painted with classical scene. Belonged to Queen Hortense of Holland, the Comte de Flahaut’s mistress. She was the daughter of Josephine de la Pagerie, who later became Napoleon’s brother Louis, King of Holland.’

If anyone has a specialism in this area or is able to provide further information on the fan I would be most grateful.

The fan can currently be viewed in the beautiful surroundings of the Boudoir at Berrington Hall.

Fabulous Fans Fans are like hats...once a necessary accessory to an outfit but nowadays a rare sight for fashion purposes.

Wearing the Garden; A post by Althea Mackenzie, Curator of Costume for the Charles Paget Wade Costume Collection

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

Damask waistcoat 1770s style, 1755 fabric. ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection

1800s embroidered cream silk with spangles, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

1750 – 60 Gold Silk Damask Waistcoat, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

The history of the waistcoat goes back to the period of the Restoration when Charles II introduced it as part of ‘correct dress’. The style was derived from the Persian vests and in 1666 John Evelyn wrote: “To Court, it being the first time his Majesty put himself solemnly into the Eastern fashion of vest changing doublet, stiff collar, bands and cloak, into a comely dress after the Persian mode.” It is not known why the term ‘vest’ was replaced by the term ‘waistcoat’. One idea was that the waistcoat was made from the remaining ‘waste’ pieces when tailoring a two piece suit! The waistcoats on display show how they changed in shape and style during the Georgian period (1692-1837), the period when the four Georges were on the throne. In the early part of the century the waistcoat was long, with the emphasis on elaborate and striking decoration. This was concentrated on the centre front and the pocket flaps. It created a powerful sense of authority and status. By the end of the 18th century the emphasis had changed and it was the waistcoat was very much a ‘uniform’. The style was much shorter and the decoration lighter and delicate.

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1750 – 60 Gold Silk Damask Waistcoat, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

These changes in fashion reflected the social change that occurred during this period. At the beginning of the century the aristocracy was still very much based on inherited position, they were confident and very much using their costume to represent their superior position within society. As the century evolved the power of the aristocracy was increasingly challenged by a successful and aspiring middle class who made their money through trade and commerce. This new ‘middle class’ wanted to emulate the fashion of the aristocracy and had the money to do so. It became more and more difficult for the landed aristocracy to maintain their position and as more people became part of a wage based economy they had increasing opportunities to buy a wider range of fashionable goods. One of the many laments of the period was that it was increasingly difficult to tell the difference between the master and the servant or mistress and maid.

1750 – 60 Gold Silk Damask Waistcoat, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

1760s beryl blue satin waistcoat with snowdrops, daffodils and stylised leaf design in silver gilt. Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1750 – 60 Gold Silk Damask Waistcoat, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

1760s beryl blue satin waistcoat with snowdrops, daffodils and stylised leaf design in silver gilt. Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1750 – 60 Gold Silk Damask Waistcoat, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

1760s beryl blue satin waistcoat with snowdrops, daffodils and stylised leaf design in silver gilt. Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

The earliest waistcoats in the collection come from 1740-1750. They are heavily embroidered with gilt lace and would have been highly expensive items. They would have been made in a workshop. The design would have been pricked and pounced onto fabric stretched on a frame. This would then have been drawn out for the various young girls to embroider. When finished the waistcoat would be made up to fit the client by the tailor. Later on in the period it became more possible to buy ready made items. Drizzling was the practice of pulling out gold and silver threads from brocades to sell back to the silver and gold lace maker for pin money. It became all the rage of the ton – the fashionable set – not so much for the money as for the amusement it provided. It is said that Prince Leopold spent most of his leisure hours in drizzling using the drizzling tools that belonged to his wife.

Damask waistcoat 1770s style, 1755 fabric. ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection

Goldwork was originally developed in Asia and has been used for at least 2000 years. Its use reached a remarkable level of skill in the Middle Ages when a style called Opus Anglicanum was developed in England and used extensively in church vestments and hangings. In the 18th century it was often used in decorating waistcoats, particularly those of the early part of the century.

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1755-65 silk satin cream ground with cut and uncut velvet design, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

Velvet is a material that immediately denotes wealth. Its production was very labour intensive and skilled, a velvet weaver could take many weeks to set up the loom for a complex weave. Some of the most exquisite velvets are found in the 18th century from Italy and France and are created by combining cut and uncut velvet to produce sophisticated and vibrant designs.

1780-90 tamboured design on cream silk satin, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

Pocket detail, 1780-90, Tamboured lozenge design, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1780-90, Tamboured lozenge design, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1780-90, Tamboured lozenge design, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1780-90 tamboured design on cream silk satin, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

The technique of tambouring was developed on the Indian sub-continent and was transported by the various European East India Trading companies to Europe. The fabric to be embroidered is stretched over a frame and then embroidered from below using a tambour hook which creates a running chain stitch. The effects were very popular in the 18th century and it was an activity done by many young ladies who could reveal the elegance of their hands whist tambouring.

1810-20 copper plate printing on cream silk satin, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

1810-20, Copper plate printing on cream silk satin, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

The printing of textiles from engraved copperplates was first practiced in the United Kingdom by Thomas Bell in 1770. The presses first used were of the ordinary letterpress type, the engraved plate being fixed in the place of the type. Later the cylinder press was employed – the plate was inked mechanically and cleaned off by passing under a sharp blade of steel; and the cloth, instead of being laid on the plate, was passed round the pressure cylinder. The plate was raised into frictional contact with the cylinder and in passing under it transferred its ink to the cloth.

1800s embroidered cream silk with spangles, ‘Wearing the Garden’ exhibition at Berrington Hall until June 30th. Snowshill Costume Collection.

1800s flowers & spangles, Wearing The Garden at Berrington Hall, May 1st – June 30th 2014

The waistcoat above is cream silk embroidered with flowers in multicoloured silks with spangles interspersed. The foreparts are edged with gold and silver braids and black velvet and spangles, each surrounded with a ring of vellum. The pockets and collar are edged with gold and silver braids. It appears to be an earlier garment adapted to the changing fashion of the late 18th century.

‘Wearing the Garden‘ will be on display until 30th June. The next exhibition, ‘Big Bottoms & Small Waists‘ will be on display at Berrington Hall July 1st – August 31st.

Wearing The Garden Wearing the Garden; A post by Althea Mackenzie, Curator of Costume for the Charles Paget Wade Costume Collection…

A Thousand Fancies….

Originally posted on Textile and Dress Historian:

The power of objects to inspire a thousand fancies Charles Paget Wade

Charles Paget Wade, a poet, architect, artist-craftsman and not forgetting keen collector of eclectic objects, to inspire.

This collection can be seen at Snowshill Manor, which Wade gave to the National Trust in 1951. The collection of course would not be complete without…

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(via The Duchess at Berrington Hall)

The Duchess at Berrington Hall, until June 30th 2014

‘Evening Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Stomacher detail, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Drunken dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Evening dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Necklace, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Dressing the Duchess, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Drunken Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Day dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

In rural Herefordshire, amongst acres of field and farmland, Henry Holland’s perfectly formed and beautifully designed mansion, Berrington Hall, is deserving of its accolade ‘a Georgian gem’. Most would consider this an accurate description but some find the austere design in stark contrast with its elegant, jewel-like interiors. Almost everyone will agree that, of late, a little bit of Georgian glamour has been weaving its way through the house in the form of a few wonderful costume exhibitions; more recently the exhibition of costumes from the 2008 film The Duchess, on loan from COSPROP, have been stealing the show.

The costumes currently on display at Berrington Hall were worn by Ralph Fiennes and Keira Knightley who played The Duke and Duchess of Devonshire respectively, in the 2008 motion picture directed by Saul Gibb. The costumes were designed by Michael O’Connor and earned the designer both the Academy award and BAFTA in 2009. It comes as no surprise as the costumes are breathtakingly beautiful and elegant and are more than fitting displayed against the elegant Georgian spaces within Berrington Hall.

On the day of installation Costume Curator, Althea Mackenzie, and Conservation & Engagement Assistant, Chloe Reynolds, were on hand to dress the purpose-built mannequins as worn by Knightley in the 2008 film. In the gallery below you can see exactly how the shape has been built up on the mannequin and how no detail was spared by the costume design team.

‘Evening Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Dressing the Duchess, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

The Wedding Dress

This sack back dress, with folds at the back falling from the shoulders is an excellent illustration of formal dress of this time (1770s). The 3 dimensional trimming, made from the same fabric as the body of the gown is typical as of course are the skirts held out horizontally by panniers or hooped petticoats.

In the film The Duke is seen to cut the wedding dress from his new Duchess, not only was this scene evocative but also accurate, it would not be unusual to be sewn into your dress.

Geogiana’s wedding took place in secret with only several guests to avoid throngs of curious onlookers. The costume reflects the understated simplicity of an 18th century wedding. It is cleam silk with a sack back and decorated stomacher, pinned to the corset beneath. It has a separate under skirt. “Diamonds” decorate the center front of the stomacher.

‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Stomacher detail, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Sleeve detail, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Sleeve detail, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Stomacher detail, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Necklace, ‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

‘The Wedding dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

The Duchess Bath Park Day Dress

The Duchess of Devonshire was well known for her beauty, charisma and as a leader of fashion. In the film the clothes illustrate the changing fashions of the times. Starting with sack back and panniered dresses the style moves on to the polonaise style of this dress. With its flounced petticoat and looped up robe this dress epitomises the style favoured around 1780. The move from heavy brocades to lighter silks like taffeta work well treated in this way The style is not only fashionable it is also practical lifting the hems up and away from dirt and dust on the ground.

Notice also the frayed edges to the ruffles on the robe, this is also a style detail from this time many ruffles were finished this way or were pinked which gave a looser softer ‘Rococo’ look.

Dressing the Duchess, the ‘Day Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

The ‘Day Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

Keira Knightley as Georgiana, Duchess of Devonshire wearing the ‘Day Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

The ‘Day Dress’, The Duchess exhibition at Berrington Hall, April 1st – June 31st 2014

The Duchess at Berrington Hall, until June 30th 2014

The Duchess at Berrington Hall The Duchess at Berrington Hall, until June 30th 2014 In rural Herefordshire, amongst acres of field and farmland, Henry Holland’s perfectly formed and beautifully designed mansion, Berrington Hall, is deserving of its accolade ‘a Georgian gem’.

#A Thousand Fancies #Berrington Hall #The Duchess

So here it is…my favorite hat in the exhibition. It feels a little sacrilegious to say this as this hat is actually on loan from the Hereford Museum and Learning Resource Centre (If I could do a second blog on the incredible costume collection housed there I would; Over 8000 items!). I do happen to have another firm favorite from the Snowshill collection but today I wanted to put the spotlight on this showstopper. Also, if I ever decide to renounce a career in heritage and open a lovely pub somewhere then I have to acknowledge that this hat has given me the inspiration for the name of my future establishment; the Bird & Pearl…keep an eye out for it tucked among the eateries in Mumbles, Swansea in a decades time ;)

1880s-90s Bird Hat, on loan from the Hereford Museum Resource and Learning Centre

What makes this hat even more special is that tells a significant tale. When I asked Costume Curator, Althea Mackenzie, what information she had on this particular hat she responded that it was the fashion for killing birds for the purpose of adorning hats and clothes in the late 19th century led to the creation of the RSPB. A reminder of the sobering and silent narratives woven into historical garments, no matter how spectacular or beautiful they may be.

The Bird & Pearl So here it is...my favorite hat in the exhibition. It feels a little sacrilegious to say this as this hat is actually on loan from the Hereford Museum and Learning Resource Centre (If I could do a second blog on the incredible costume collection housed there I would; Over 8000 items!).

There has been many late nights and early starts of late but its all been for the most excellent of causes; the celebration of historical fashion! I hope the images below can give you an insight into how the past week at Berrington Hall has unfolded…and to David, Althea & Chloe…thank you :)

Installation week of the Hats & Bonnets for ‘A Thousand Fancies’ at Berrington Hall, Until April 30th 2014

1880s-90s Bird Hat, on loan from the Hereford Museum Resource and Learning Centre

Installation week of the Hats & Bonnets for ‘A Thousand Fancies’ at Berrington Hall, Until April 30th 2014

Conservation & Engagement Assistant, Chloe Reynolds, helping me with the inventory for the Hats & Bonnets exhibition at Berrington Hall

Hats & Bonnets at Berrington Hall, Until April 30th 2014

1740′s Riding Habit, created by NADFAS. On display at Berrington Hall.

Costume Curator, Althea Mackenzie, installing the Hats & Bonnets for ‘A Thousand Fancies’ at Berrington Hall, Until April 30th 2014

1740′s Riding Habit, created by NADFAS. On display at Berrington Hall.

1880s-90s Bird Hat, on loan from the Hereford Museum Resource and Learning Centre

Bird & Pearl detail. 1880s-90s Bird Hat, on loan from the Hereford Museum Resource and Learning Centre

Label from 1908 hat on loan Hereford Museum Resource and Learning Centre

Detail of artificial trim from 1908 hat on loan Hereford Museum Resource and Learning Centre

Making space at Berrington! Volunteers help to clear the office to make room for visitors

Berrington’s newest volunteer for the Upstairs Landing is showing the way for the costume hungry!

What a week! There has been many late nights and early starts of late but its all been for the most excellent of causes; the celebration of historical fashion!

March Events at Berrington Hall:

Hats & Bonnets

18th – 20th Century hats & bonnets from the Charles Paget Wade costume collection (On display until 30th April)

Gorgeous Georgians

A stunning display of star items from the Charles Paget Wade costume collection (Running throughout 2014)

Patterns of Fashion 2013 Finalist

The Polonaise, C1770-85, created by Grace Cheetham, Arts University Bournemouth, from the Janet Arnold pattern of the original Snowshill garment (On display until 30th April)

Changing Silhouettes

18th – 20th century replica garments created by NADFAS (On display until 30th April)

Dressing the 18th Century Lady

Saturday 29th & Sunday 30th March; live demonstrations from the talented Staymaker (see below for more information)

Hats in March, Hoops in April…

What a busy few weeks! Just recently the Costume Curator, Althea Mackenzie and the General Manager of Herefordshire, David Bailey and I met with design team 20/20 to discuss the new exhibition space at Berrington Hall. Here’s one of the sketches to illustrate how the space is going to be used to showcase our first of five (yes, five!) displays at Berrington Hall throughout 2014.

20/20 design for CPW Display Room at Berrington Hall opening March 2014

The first display, Hats & Bonnets, and will run from March 1st to April 30th. For more information about Hats & Bonnets, and future displays, please see the A Thousand Fancies blog post.

Within this space we shall also be talking about the incredible collector Charles Paget Wade and how his vision and understanding of the power of objects has enabled the survival of such wonderful garments. Check out this fabulous blog The Wonderful World of Wade to see more of Wade’s incredible collection stored at Snowshill Manor.

Wade loved to dress up and try on costumes with his friends and in April the team at Berrington Hall shall be inviting visitors to do the same in the new Georgian Wardrobe space in the mansion. Here’s a sketch of how the space will look from the team at 20/20;

The Georgian Wardrobe Room at Berrington Hall opening April 1st 2014

Speaking of which the very knowledgeable and talented Staymaker is currently very busy creating some fabulous hoops for our visitors to try on in our new Georgian Wardrobe Room! From April 1st we shall be encouraging visitors to walk through doorways and sit on chairs whilst retaining elegance and decorum…I wish you all the very best of luck with that!

The Staymakers hoops for Berrington Halls Georgian Wardrobe Room

Pocket Hoops, thestaymaker.co.uk

Small square hoop, thestaymaker.co.uk

Hoop petticoats were fashionable for most of the 18th century from about 1710 till the 1780s; in England they were retained for Court wear till 1820. Created by thestaymaker.co.uk

Small square hoop, thestaymaker.co.uk

To see some more incredible undergarments created by The Staymaker (many of which can be worn at Berrington Hall from April 1st) please visit The Staymaker website.

Saturday 29th and Sunday 30th March – The Staymaker comes to Berrington Hall

The Staymaker is making an appearance at Berrington Hall! During the last weekend in March (dont forget your mums – its Mothering Sunday) The Staymaker shall be demonstrating to visitors the art of dressing, and undressing, the 18th century lady. Please see below a snippet of whats to come in The Staymakers own words…

Dressing the 18th Century Lady

Below are pictures showing the stages in dressing for an 18th century lady. This style of outfit would have been called an ‘undress’ since it is informal clothing that a woman might have worn around the home or amongst friends informally. Clothing suitable for social events would be described as ‘dress clothes’. For example ladies attending court would be told to appear ‘fully dressed’. The clothes shown would have been fashionable circa 1730 – 1750.

Tying her garters! Dressing the 18th century lady at Berrington Hall, 29th & 30th March 2014. Please see thestaymaker.co.uk

Dressing the 18th century lady at Berrington Hall, 29th & 30th March 2014. thestaymaker.co.uk

All women in the 18th century wore a ‘shift’ next to the skin to keep the upper layers of clothing clean from the body’s dirt. It was usually made from linen but could be made of cotton or ‘Scotch cloth’ – a fabric made from the fibres of nettles.

In the first image the lady is tying garters to hold up her stockings. Stockings had designs known as ‘clocks’ worked at the ankle, which can just be seen here in white on the lady’s left ankle. Her stays, pockets and a spare pair of garters lie close by.After tying her garters and putting on a short under petticoat – called a dickey in England – she is laced into her stays. To see more of these stays visit the stays page.

Silk Taffeta Stays – mid 18th century, thestaymaker.co.uk

Silk Brocade Stays, thestaymaker.co.uk

Working Class Stays 1740′s – 1760′s, thestaymaker.co.uk

The lady is now tying a pair of pockets about her waist which will contain all she needs to carry about with her such as money, keys, fan, handkerchief, etc.

An English nursery rhyme mentions pockets:

Lucy Lockett lost her pocket Kitty Fisher found it. There was nothing in it but a ribbon tied around it.

Because the pockets were simply tied about the waist the knot could come undone and the pockets fall to the floor, which is what happened to Lucy Lockett.

The pockets could be reached through slits left in each layer of petticoat. In the 18th century a woman’s skirts were referred to as petticoats. The word skirts usually only referred to the lower parts of a man’s waistcoat or coat.

Dressing the 18th century lady at Berrington Hall, 29th & 30th March 2014. thestaymaker.co.uk.

Here the lady has put on her false rump or bum – a pad worn about the hips to give the skirt a fashionable shape. Over this she is wearing a quilted petticoat and then one of linen. A petticoat of stiff ribbed silk has now been put on, together with an apron and a half neck handkerchief. Later in the century the handkerchief was known as a fichu.

For normal day wear a handkerchief would be worn to fill in the neckline providing warmth and protection from the sun. A suntan was not fashionable in the 18th century and usually indicated that the person had to work outside for a living. For more dressy events in the evening it was normal to remove the handkerchief and show the cleavage.

To read the full article please visit The Staymaker or come and see the live event at Berrington Hall on Saturday 29th or Sunday 30th March 2014.

Hats in March, Hoops in April… March Events at Berrington Hall: Hats & Bonnets 18th - 20th Century hats & bonnets from the Charles Paget Wade costume collection (On display until 30th April)

A Pretty Polonaise

Gallerie des Modes et Costumes, Polonaise dress, 1778, http://thedreamstress.comGallerie des Modes et Costumes, Polonaise dress, 1780’s.Gallerie des Modes et Costumes, Robe à la Circassienne, 1770′s, http://www.ekduncan.com

What would the fashionable lady…

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#18th Century #Berrington Hall #Fashion #georgian #Nancy Bradfield #polonaise

The Charles Paget Wade exhibitions at Berrington Hall 2014

A Thousand Fancies

Charles Paget Wade spoke of the power of objects to ‘inspire a thousand fancies.’ In 2014 Berrington Hall will showcase a series of costume exhibitions against the backdrop of its beautiful Georgian interiors to inspire a thousand…

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#18th Century #Berrington Hall #Costume Exhibition 2014 #Eighteenth Century #historic costume #History #Regency

Facebook & Twitter

The Hidden Wardrobe has brand new sparkly pages on Facebook and Twitter to promote its 2014 calendar of costume themed exhibitions, displays, workshops, events and much, much more…but no followers! If you want to get involved you can find me at:

Faceboo…

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Win a chance to look round our studio

Reblogged from Textile Conservation Studio:

The National Trust has launched an appeal to raise money for textile conservation projects

Along with this appeal is the chance to win a tour around our conservation studio in a prize draw.

Please take a look at…

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