France was one of the fashion leaders of this era. So I thought you may find it interesting to find out a little more about the face paints and hairstyles during the 18th Century. Included in my Marie Antoinette talk is a reproduction of one of the high wigs of the period as well as the lower wider wig known as the hedgehog!

Hair styling and cosmetics application had a particularly important function in France.  The toilette, or dressing, was a daily ceremony in which important persons were dressed (including hair styled and cosmetics applied) before a select audience, the ritual was created by Louis 14^th.

For the 18th Century ideal of beauty her forehead was high, her cheeks plump and rosy, and her skin was white. Fashionable eye colours included black, chestnut, or blue; eyebrows were divided (i.e. no monobrows), slightly full, semi-circular, and tapered at the ends in a half moon shape.  Her lips were small, with a slightly larger bottom lip creating a rosebud effect, soft, and red.  

The ideal woman of the 18th century had hair that was black, brown, or blond (particularly fashionable during Marie-Antoinette’s reign); strong red hair was unfashionable and generally would be dyed a different colour, although chestnut and strawberry blond were popular.  Her hair was of wavy or curly texture.

Wigs were introduced in the 17th century, when King Louis 13th (1610-43), who had let his own hair grow long, began to bald prematurely at the age of 23. They were made in general with human hair, but also with hair from horses or goats to make new headdresses every day of the week.

It is in the 1760s that hairstyles featuring height began to appear.  This height was generally equal to about 1/4 to 1/2 the length of the face, and is usually styled in an egg shape.

In the mid- to late-1770s, huge hair became all the rage.  The height of these styles was generally about 1 to 1 1/2 times the length of the face, and was styled in what was considered a pyramid shape (it also looks very much like a hot air balloon).

Hair was nearly always curled, waved, or frizzed before styling, to create texture.  Styling was accomplished with combs and curling irons, held with pins, and dressed with pomade.  When height was desired, it was raised over pads made of fabric or cork shaped like a heart or spear –  wool, tow, hemp, cut hair, or even wire were also used.

They were attached to the top of the head, and then natural and false hair was curled, waved, or frizzed and piled over and around the cushion.  Such elaborate hairstyles could be worn for days or weeks at a time.

Side curls angled up towards the top back of the hair.  The back hair was generally styled in a looped-up ponytail or braid.  Long curls were often left hanging at the nape of the neck.  French styles often had an extra “bump” in the front of the hair, right above the forehead.  In this period, both French and Englishwomen usually powdered their hair.

Powdering was introduced when King Henry 4 of France (1589-1610) used dark powder on his greying hair.  By 1715, wigs started to be powdered. Hair powder was originally used mostly as a degreaser.

White haired wigs were popular because they were expensive and rare, and so men and women began (in the early 18th century) to use white powder to colour their wigs and hair, as it was less destructive than dye.

Hair powder was made from a variety of materials, from the poorest quality in corn and wheat flour, to the best quality in finely milled and sieved starch. It was usually white, but it could also be brown, grey, orange, pink, red, blue, or violet. 

The application of white powder over dark hair produces shades of light to dark grey and White powder applied over very light hair produces a heightened blond effect.

Powder was applied with a bellows (the person being powdered being covered with a cone-shape face mask and fabric smock), with a puff for touch-ups and a knife for removal. To powder wigs, people used special dressing gowns, and covered their faces with a cone of thick paper.

 The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme.  In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair. The high hairstyle ornaments included lots of ribbons, pearls, jewels, flowers, feathers, as well as ships, birdcages, and other items that evoked the theme. In 1774, the Duchess of Devonshire created a sensation when she introduced ostrich feathers into her hair.

Fashion loving ladies of XVIII century were often decorating their hair with jewels. The most sophisticated beauties tried to come up with a more original decoration by attaching stuffed birds, figurines, frigates, ships with sails, mini-gardens with tiny artificial trees and castles models. The making one single piece stylists worked between 1 and 10 hours in a row. Marie Antoinette  even put a Frigate in her hair to celebrate a French naval victory!

Such elaborate hairstyles could be worn for days or weeks at a time The hair was not washed at all for months and was only combed with specially made tool resembling to a metal hand..
To keep this artistic work as long as possible, it was regularly greased with pork lard. A typical hairstyle was height of about one meter. Sleeping with such a haircut was possible only on special cushions. A metal grid was worn on the head to protect the sleeping beauty from mice. Because of the unusual shapes of each individual hairstyle, bespoke hats were made in order to not damage the hair.

• In 1781, Marie-Antoinette lost much of her hair after the birth of the dauphin. Famous coiffeur Léonard Autie later claimed that he created for her the coiffure à l’enfant, which she wore, along with her chemise à la Reine, in the famously reviled painting by Louise Elisabeth Vigée-Le Brun. 

• Growing interest in what were considered “natural” fashion, brought about by the Enlightenment, created what was a more “natural” style in the 1780s. During 1779-81, the shape of the hair started to become rounder and height began to diminish. This lower form of the pouf tended to be worn with fatter side curls than previously.

• This became the hedgehog style was fashionable in the 1780s and 1790s. This is the very big enormous hair full of curls that seems easily done and wildly styled, you can see it all the time in Thomas Gainsborough portraits

• The hair was cut shorter to form a large curly or frizzy halo around the head, which was wider than tall. A small hank of much longer hair, either left straight, in ringlets, or braided, hung down the back or was worn looped up.  These styles could still be very large, and false hair continued to be used to fill out a woman’s natural hair.

In keeping with this more “natural” look, powdering began to fall out of favour, although it still appears frequently in paintings and fashion plates.  Powder fell definitively out of fashion in France with the Revolution of 1789; in England. In keeping with the mood of the period, ornamentation became more restrained, generally a ribbon, or a few feathers, flowers, or jewels.

I hope you have enjoyed reading this post and that you will come along to my Marie Antoinette talk to see both the very high over ornate court wig and the hedgehog wig yourself! 

It is the 400th anniversary of the death of William Shakespeare this year and his life and works  will be celebrated over the country.

William Shakespeare  was born in 1564  and died in April 1616 He was an English poet, playwright and actor and was widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist.

He is often called England’s national poet and the “Bard of Avon”. His plays have been translated into every major living language and are performed more often than those of any other playwright. In 2016 celebrations will commence in the United Kingdom and across the world to honour Shakespeare and his work.

Newcastle City Library will be joining in these celebrations and I am pleased to announce we have been booked to present our 16th Century inspired Fashion Show at Newcastle City Library.

We will present our show on Saturday 14 May  – our event is to be included as part of the popular ‘Late Shows’ which take place during the evening in the main library which is located in Newcastle City Centre.

We have already presented a number of events at the venue including costume talks and shows – it is a superb venue with wonderful facilities.We will present our Tudor Fashion Show show on the evening of 14 May- times to be confirmed.

My exciting show includes a eight exquisite costumes I have designed and created worn by models. They are accompanied by beautiful period music, a brief history of each historical figure and a talk about the design and construction of each costume.

My fashion show team consists of of eight people which includes four/five models.The show is both informative and interesting as well as humorous.

Our show presents King Henry VIII in full regalia arriving to a fanfare of trumpets, Queen Elizabeth I in an elaborate gold silk gown with decorative jewelled ruff, Queen Anne Boleyn wearing an elegant  blue silk/gold gown worn with a pearl trimmed French hood.

A stunning silk Peacock Blue dress with partlet for the young Mary Queen of Scots, a very attractive rose silk gown embroidered with gold for Queen Catherine Howard.

Also included are a stunning silver silk gown worn by Queen Jane Seymour or an elegant court costume with doublet, hat and sword for King James VI of Scotland. Mary Queen of Scots taking off her velvet robes to reveal her elegant execution gown is the dramatic finale to the show.

Please join us on 14 May for this celebration of Shakespeare – I am sure you will enjoy the show.

For more information click –  http://thelateshows.org.uk/2016/newcastle-city-library

My talk is called ‘Enter the World of Jane Austen’ – costumes included in my display were inspired by clothing which would have been worn about the time of the Battle of Waterloo.

We presented our talks at 2pm on both days in the ‘War Cinema’ –they were well attended and we had an enthusiastic audience on both occasions. They particularly enjoyed my ‘regency bonnet tutorial’ – I explained how to make a very attractive bonnet in a couple of hours from an inexpensive straw hat!

We also had time to enjoy the sights, sounds and smells of the battleground which were brought to life to celebrate the 200th anniversary of one of Britain’s greatest military triumphs.

Stunt riders from Goole-based Atkinson Action Horses were at the Royal Armouries to mark the anniversary of the Battle of Waterloo starting on Saturday. Stunt rider Mark Atkinson, from Atkinson Action Horses performed with horse Jonny (who also was seen in the popular TV series Poldark). The team were at the Armouries this weekend – June 20 and 21, showcasing cavalry fighting techniques used at Waterloo amid black-powder firings.

Actors dressed as Wellington and Napoleon Bonaparte provided a comedy touch. A tiny –Napoleon Bonaparte in a ‘Punch and Judy’ style booth as well as a very tall Lord Wellington in stilts and very large boots – a very amusing pair!

The Royal Armouries also hosted a parade by members of The Yorkshire Regiment on the anniversary of battle, June 18, as well as dramatic productions, study groups and not forgetting our Regency Costume Display.

It was very busy on both days so both the Royal Armouries and ourselves had a very successful weekend – it is certainly worth a visit! Our thanks to Rachel – the Events Manager for all her help and support in presenting our events – we certainly enjoyed presenting our talks and meeting all the visitors!

Last Thursday we presented ‘Regency Afternoon Tea with talk and costumes ‘in the very beautiful and also traditional setting of ‘The Royal Scots Club’.

The Royal Scots Club is a welcoming private members’ club in the heart of one of the world’s greatest cities, Edinburgh. Situated within one of the capital’s finest Georgian streets, the Royal Scots Club offers that rare combination; the charm of a country house hotel with a cosy club atmosphere

The Royal Scots Club has 25 individually designed, en-suite bedrooms, traditionally furnished with all the luxury facilities you would expect from a high class hotel.

The Royal Scots club is located within one of Edinburgh’s most beautiful areas. With its Georgian architecture and traditional fixtures, the Royal Scots Club truly captures the warmth and character of a Scottish country house.

We presented our talk in the beautiful Hepburn Suite – a fabulous room with luxury furnishings and a lovely spacious stage. It was a very interesting, lively, humorous and informative lecture about the design and construction of gowns I have created inspired by the Regency period. Beautifully costumed mannequins/dummies accompanied my talk.  Included were Empress Josephine, a pretty white cotton afternoon dress for Jane Austen, a lilac silk ball gown and regency underwear and accessories.

I was ably assisted by my husband Michael dressed as a ‘Regency Gentleman’ He looked splendid in his new costume worn for the first time.  It included a linen shirt, silk waistcoat, trousers, cravat, boots and wool tailcoat. I completed the tailcoat only a week ago and I must admit I am very pleased with it. I used very dark blue medium weight wool. The sleeves are lined with dark blue silk and it is finished with dull gold buttons. The sleeves are lined in silk so the coat can be removed easily as the sleeves are fashionably tight.

The event was fully booked and members of the Royal Scots Club had travelled from far and wide.  A lovely couple had travelled from Stockport to Edinburgh for a three day break – the highlight of their last was my Regency Talk with Afternoon Tea. They said they really enjoyed my talk.

I designed and made a Regency Bonnet which was included as part of my ‘Afternoon Outfit’ – the bonnet proved one of the highlights of my talk. I demonstrated how easy it is to create a bonnet yourself from a plain straw hat with a brim.  After the talk I was prevailed upon to draw a template for the bonnet on a paper napkin so members could go home and make a bonnet for themselves!

There is a large amount of metal trimming and frogging on most of my regency costumes as military touches were very popular at the time.

My Empress Josephine Velvet Robe has been trimmed with sumptuous gold guipure lace and lavishly embellished with gold embroidery and gold spangles. A fashion for military touches persisted at this time so many coats, robes and outer garments were covered in decorative braids, tassels, frogging and cords; as a result their wearers looked like members of the Hussars.

Our Room at the Club

I have decorated my red velvet Spencer (a short jacket worn by ladies during the regency) with gold military style braid and four beautiful gold frogs to fasten down the front. Many ladies in support of their office beaux wore a feminised version of their uniforms.

I was asked where such trimmings can be obtained and I recommended MacCulloch and Wallis – a super shop located in central London near John Lewis. If however London in not on your doorstep they do offer a very good online service which I would certainly recommend.

 http://www.macculloch-wallis.co.uk/

I was also asked where you can obtain 1” square paper for pattern drafting – to be honest I haven’t been able to purchase any rolls of squared paper this size.

My answer is to buy a large roll of plain white paper and cut off a couple of meters. Then mark one inch down the side and across the top – join the points with a ruler to create a grid of one inch squares.  It takes quite a long time but is worth it.  Do not use this paper to draft your patterns.  Buy a roll of tracing paper and stick the tracing paper carefully over the grid at the edges with clear tape. Use the one inch grid underneath to draft you pattern on the tracing paper – use pencil just in case you make a mistake.  When you have finished carefully remove the tracing paper and you have your pattern and the grid underneath to use again for your next pattern – It certainly saves you a lot of time!

Feedback from the members was excellent – they said they were all very entertained by my talk. I have no doubt that we will returning to the Royal Scots Club in the future.  In the meantime I mustn’t forget to mention that we are presenting our Regency Talk again this time  at their sister club ‘The Army and Navy’ located in Pall Mall on 19^th March 2015 – we are really looking forward to presenting our talk in London.

http://www.therag.co.uk/club-membership/events/upcoming-events/

By kind and generous invitation of the ‘Royal Scots Club’ we stayed overnight in one of their beautiful executive suites on the second floor – it was a fabulous room with a lovely view of Edinburgh. We also visited the members only dining room where we enjoyed a feast of delights including Escalope of venison with redcurrant jus and Fillet of Scotch beef in a mild pepper sauce Next morning we feasted on a hearty Scottish breakfast before returning home. I cannot recommend the ‘Royal Scots Club’ too highly. I would also like to thank all the staff at the ‘Royal Scots Club’ for making our stay such a delight.

I certainly mustn’t forget to thank Janet – Secretary of the Scots Club – a delightful lady – for all her help in making the event such a success and for her kind hospitality – I must say we really enjoyed our visit.

After the event we received the lovely message below from Janet the Club Secretary –

“We so enjoyed having you and Mick at the Club and giving that extremely entertaining and informative talk. There were three ladies in today who yet again re-iterated how much they had enjoyed the presentation and the costumes on Thursday. You have an enviable gift, to be able to produce such fabulous outfits, and so kind of you to share it with us.  I do hope you enjoyed your stay as much as we enjoyed having you here – there will definitely be a next time! And I know some of the ladies from Thursday want to be in touch about other presentations.So many many thanks, we do appreciate you travelling up to Edinburgh and hope to see you at the Club again in the future”.

I have created a Regency Outfit which is to be worn in 2015 as part of my talk ‘Enter the World of Jane Austen’. This elegant outfit comprises of a shirt, trousers, waistcoat, coat and cravat. I have completed the shirt, trousers and waistcoat and still have to make the coat and cravat but thought you may be interested in seeing pictures of the costume so far. (Click any photograph for them to enlarge).

My Regency Shirt was created in the  1790-1830 in the English Style’ with period construction techniques.

The shirts were usually made in unbleached or partially bleached linen. It is interesting to note that  ‘Irish’ – a kind of flax linen is sometimes mentioned during this period for shirts. Although the shirts were usually plain – occasionally ‘checks’ such as blue-white and brown/white were used for work shirts. I have created this attractive shirt in fine linen fabric in an off-white shade. The fabric was washed in hand hot water twice prior to cutting as the material can shrink up to 10%.

While the choice of white material might seem go unnoticed today, in Beau Brummell’s time the wearing of white shirts, waistcoats and neck cloths was an indication of a man’s money.  In order to maintain an immaculate appearance in a filthy city or the country, these easy to dirty clothes would have to be changed at lot which meant a lot of laundering charges affordable only by the well off.

The pattern of a man’s shirt was relatively simple. It was made from a series of squares and rectangles sewn together to form an unfitted and comfortable undergarment.

The neckline is formed on the body by folding a rectangle of fabric lengthwise – it is then cut into a ‘T’ shape to form the opening for the head. There are also triangular gussets sewn to the edges of the neckline at each side with shoulder straps stitched over the top. The neckline is then gathered and drawn up to the correct size to fit the collar.  The collar cut twice the width required and then folded down in half and fastened by two buttons and tiny hand worked buttonholes.

The shirt sleeves are rectangles of fabric gathered into wristbands fastened by a single bone button and a hand sewn buttonhole. The cuff is decorated with top stitching – it was often made with replaceable cuffs (so the shirt would last longer).

The sleeves have a square of linen which is sewn to the top of each sleeve so when the shirt underarm seams are sewn together it creates a gusset to allow the arm full range of movement.  The shirt sleeves are then gathered and sewn to fit the shoulder seam. After the side seam is stitched a rectangle of fabric called a sleeve binder is sewn to the shoulder seam inside to strengthen and finish the shirt. The shirt also has side slits which are hand hemmed. The sleeve seam is dropped  – that is to say not placed at the top of the arm as are the seams in a modern dress shirt.

it is a very interesting fact that although the shirt frill at the front was very fashionable at one time it had fallen out of favour by this time as the cravat usually fully covered it Older gentlemen who were more conservative clung to the old insignia of rank with a ‘frilled shirt’. This however was usually worn only for  the evening and by 1800 had usually completely disappeared.

Although it can’t be seen in the photographs the shirt is very voluminous – it reaches to the gentleman’s knees and is tucked into the trousers.

In the photographs the gathered cuff, shoulder straps and dropped shoulder can clearly be seen. It is certainly a very attractive garment!

Regency Gentleman’s Waistcoat

I have created a beautiful silk damask and linen waistcoat as part of my regency Gentleman’s outfit.

To make this garment I have based the design on a single- breasted gentleman’s waistcoat circa 1790 – 1815. It has a standing collar and six buttons. The pattern is inspired by features and construction details from numerous waistcoats and contemporary patterns and illustrations.

During this period only plain colours for a shirts, jackets and trousers were deemed fashionable so with his waistcoat the Regency man was allowed to choose a pattern. Any colour of fabric can be used as long as it is a colour that can be created from natural dyes. Fabrics used for waistcoats include cotton, silk, wool or linen. Sometimes they were embroidered, as they had been in the 18th Century, or else they could have patterns woven into the material. . I have used very high quality woven 100% silk damask in shades of black and fawn.

The lining for regency Waistcoats was usually a nice quality cotton or linen in a natural light tan or cream – I have used tan coloured light brown linen which was a remnant left over from making the Regency trousers.(see below).

Although most of the waistcoat was hidden beneath the frock coat, the fabric could be seen along the edges of the front lapel and collar and from beneath the bottom front panels of the frock coat.   Regency period is all about elegant simplicity, no big floral type prints or anything too shiny. A regency waistcoat is also short, it reaches about an inch below the natural waist, it is not long like the 18th Century styles that hang to the hips. A regency waistcoat does not have have points – it is also a straight line across the front.

Please note during this period the waistcoat is intended to fit 1” below the natural waistline so the it will just cover the top of the trousers. There must be no gap between the waistcoat and trouser. It fits snugly and smoothly over the body so not creating bulk under the jacket. If required tapes can be attached to the back to tighten the fit across the chest and stomach.

It was usual to make the back of the silk waistcoat out of linen or a cheaper fabric as it would not be been seen  – the regency waistcoat was never worn without a coat.

For the interfacing have used light canvas which is period correct. I

Before I started I made a toile (a mock up of the body of the waistcoat) in cheap calico. A toile [“twahl”] – or a muslin – is an initial mock up of a garment made in cheap fabric so you can check and alter how the pattern fits your body before cutting into your nice fabric.

The first job is was to attach light canvas interfacing to fronts and apply stay tape (1/4” wide) along the hem line of the front edge  – this was to prevent stretching. I then hand stitched the lapel and front facings along the front and bottom edge. . The lapels are faced with silk only where the collar lapels turn back – the rest of the front lining is linen (see picture below).

Buttonholes are then worked down the front of the left front – I have sewed six neat buttonholes – not my favourite job I must admit!

The back waistcoat edges are then pressed under and attached to the fronts at the shoulder seams. The collar is interfaced with canvas and sewn with small parallel stitches (pad stitches) to help the collar curve and keep it stiff. The collar is then stitched to the neckline.

The collar is constructed to look the same inside and out – with the inner and outer collar edges even and the edges sewn together with over-stitches.  This creates a finished look from the front edges of a standing collar from any angle.

The lining was prick stitched to the outer front the full length of the arm scythe with lining and facing hemmed along the collar seam. The back lining edges are turned under and the back is attached to the front at the side seams.

The back lining is neatly hand stitched along the side seams, arm scythes and lower hem edge and the buttons attached. Bone, metal or wood buttons can be used during this period. However metal buttons were usually used for coats only so I have used these pretty buttons in natural coloured wood for my waistcoat. I think they look very attractive and tone with the fawn tone of the fabric.

Waistcoats are usually worn with the collar standing at this period. Some had pockets and some did not – it is I suppose a personal preference. I prefer the style without pockets for a smoother line.

Voilà a beautiful Regency Waistcoat and believe it or not it fitted perfectly first time – it was well worth the time spent making a toile!

Regency Gentleman’s Trousers

I have created these Regency Gentlemen’s Trousers   they have a high waist and were worn from 1790 to about 1810.

By the turn of the 19th Century, breeches, pantaloons and trousers worn by all men were sewn with a flap in front called a fall front. This flap was always held in place by two or three buttons at the top. No belts were worn instead breeches, pantaloons and trousers were held up by tight-fitting waists, which were adjusted by ties sewn in back of the waist.

As waists rose to the belly button after 1810, braces(also known as suspenders)  were used to hold the garment up. They were designed for the waistband to be worn just under the natural waist.

The Trousers were slit up the seam for a few inches above the ankle as this allowed the foot to get through the leg of the pants. Trousers were made of wool, linen or cotton. Though they were at first only appropriate for day-wear they eventually gained acceptance for wearing in the evening as well.

The back had rather full fabric which I have pleated into the waistband at the back –  seats were baggy to allow a man to rise easily from a sitting position. They also could have a drawstring tightening at the back (the behind should never be seen since it’s always covered by tails). My trousers were inspired by the style of several pairs of trousers from late 1700’s and early 1800’s. To be honest they do look strange and full at the back –  when compared to modern trousers but nevertheless are correct for the regency period.

These trousers have the waistband in two sections, left and right with a lace tie at the back and buttons in front. There is fall closing (which unbuttons to let the flap down) and below fall flaps called bearers. There are also rectangles of fabric called binders which finish the edges of the the fabric cut to create the flap. A pocket is placed on each side which has  button closures. There are also short opening at the ankle seams called vents and linings in the fall and waistband. Legs are cut on the straight grain with no pressed creases!

The bottom edge of the waistband sits at the natural waist and the  ankles are loose and finish at the ankle bone not the shoe as in modern trousers. Suspenders or braces must be used to hold them up.

Fabrics used during the regency period included cotton, flax, hemp, linen, wool and cotton/linen mix. Colours included yellow-tan, blue various browns, white and pale colours for fine dress or a variety of other deep tones worn with a dark blue, green, or brown coat. I have used a fawn shade of medium weight linen with black cotton for the lining.

The trousers were assembled as a left and right half and then joined at the crotch seam.

I lined the bearers (also known as under-fall) and stitched two buttonholes on the left side of the bearer only.

I attached the fall binders and bearers to the trouser fronts. I then attached the fall linings.

I made the pockets in black cotton fabric and attached them to the trouser front. I then worked buttonholes in the pocket flaps and fall binders and stitched the bottom edges of the pocket together on the inside.

I then stitched the side seams of the trousers and hemmed the ankle vents. The waistband was lined and attached  – I pleated the fabric to fit at the back – about eight pleats each side.I left the back open (for the lacing).

I sewed buttonholes in the left waistband and stitched the inseams and crotch seam. Finally I worked two eyelet holes into both sides of the back waistband and. threaded through a tie for fastening. I then attached 9 buttons!

I also made a pair of simple braces of brown coloured woven strapping attached to the trousers by four wooden buttons – two at the front and two at the back. The cross at the back is back stitched in a diamond shape to prevent the braces from slipping off the shoulders.

The trousers fit very well and certainly look the part with the waistcoat and shirt.

I have included only basic construction notes in this post however If you would like to recreate these garments yourself I would certainly recommend Kannik’s Korner patterns which include full and comprehensive instructions. For more information I would be happy for you to contact me.

By the way just a note – I am currently searching for some period glasses as Specsavers aren’t quite the part -if anyone can help please contact me!

My next project is to design and make a regency Gentleman’s coat and cravat to complete this costume – I will be posting pictures when finished so please watch this space!

Tudor Talk and Costume Display

On Tuesday 6th of May 2pm I will be presenting a very interesting and informative talk about the design, construction and inspiration for historical gowns, as well as a brief history of the people who wore them. The event will also feature a fabulous display of Tudor costumes as well as a personal appearance by King Henry VIII! A lavish cream tea will follow the talk and a private viewing of the Tudor exhibition within the castle.

Do not miss ‘The Power and the Glory’
Enter the magnificent world of early Tudor England in this temporary exhibition at Auckland Castle, the former home of Bishop Richard Fox (1494-1501), who was Henry VII’s most trusted advisor.
Sunday 30th of March – Tuesday 30th of September.

‘The Power and the Glory’ will showcase some of the finest sacred masterpieces from the Tudor period, including the newly discovered State Paradise Bed of Henry VII and Elizabeth of York. Included with admission to the Castle.

Just to let you know I am to be be interviewed by Chris Percival on his show on Bishop FM Radio next Sunday from 12 noon. We will chat about my Tudor Talk and Display to be presented at Auckland Castle on Tuesday 6th May – don’t miss it! 

see more at http://aucklandcastle.org/events

Yesterday I presented my new talk ‘Enter the World of Jane Austen’ at Stockton Library – it was very successful indeed we were sold out with over 75 people attending.  My talk included   a number of Regency costumes I have designed and made.  They included a morning gown with cap and petticoat, an afternoon gown with spencer, chemisette and Bonnet, a very attractive lilac silk ball gown with reticule and turban and a fabulous ‘Empress Josephine’ masquerade outfit of gold dress with sparking over robe, fan and diadem.

My display included a pretty morning gown that could have been worn by Jane herself  – everyone was delighted when I removed the detachable sleeve. Short sleeves were worn during the summer and long sleeves were buttoned or tacked in to the gown for the cold winter months. A lady at my talk remarked ‘ what a good idea – perhaps we should have detachable sleeves today’.

The reticules – the regency form of handbags were also included in my display – they proved very popular with my audience  – a number of ladies asked me how to construct them as it was remarked that they would make an excellent evening bags for today.

I also presented a very interesting introduction about the changes in fashion from 1775 the year of Jane Austen’s birth to 1817 the year of her death aged only 42.

Included were a number of pictures from the period which were both informative and humorous. I included two very amusing pictures called ‘Advertisement for a husband by Dr Syntax’  and also a picture called ‘The Three Graces’ by Gilroy.  One illustrated the lack of available men during the period and the other the apparent lack of underwear at the time! I also included a lovely picture of Jane by her sister Cassandra wearing a gown  with chemisette and cap – I of course included examples of these items in my display.

The construction of bonnets proved a hit with my audience – they are in fact quite simple to construct and easy to decorate and certainly very attractive when worn. I was happy to share my construction techniques.

I spoke to a lady from a local Embroiderers Guild who was interested in booking my talk. I present a large number of talks with display for a number of  Embroiderers Guilds – the ladies really love my  presentations.

I am sure all the audience at Stockton enjoyed my costume lecture and display.  I spent over a hour chatting to them and answering questions afterwards.  I  like everyone to have a good look at my work – I was happy to remove the spectacular sleeveless robe  form the Empress Josephine costume to reveal the construction of the gold satin court gown beneath. I was even commissioned by a visitor who asked me if I could make her wedding dress!

We presented the talk in Stockton library – it has excellent facilities and we were made very welcome. I would like to thank Claire and all the staff for her help – it was much appreciated (again).

[See image gallery at www.tudortalkandcatwalk.com]

Last Saturday I presented a new talk ‘Kings and Queens in Costume’at beautiful Lauriston Castle in Scotland. The Castle is set in picturesque grounds just outside Edinburgh.

I have been involved in a number of evens for Edinburgh Councils. They include a photo shoot at Edinburgh Castle/Princes Street and a Period Fashion Show with a Scottish flavour at Trinity Apse a 15^th Century Kirk in Edinburgh. I have also presented costume lectures at Lauriston Castle as part of the popular Lauriston lectures programme.

This is my third lecture at Lauriston  Castle- it is an excellent venue – the period drawing room is a fabulous setting for my costume talk/ display.

I have created fabulous theatrical costumes for royalty complete with masks, headdresses and jewellery. Costumes on display included a glittering gold outfit for Cleopatra Queen of the Nile, an elegant pink silk Gown for Henry VIII’s fifth wife Queen Katherine Howard, a new French silk gown for Mary Queen of Scots and a lavish court gown for Empress Josephine. I presented a very interesting, lively and informative talk about their design and construction.

Due to popular demand my husband accompanied me in full regalia as Henry VIII.

My talk was very well received – feedback was excellent.  The guests included a number of ladies who have attended my previous costume talks at Lauriston – it was lovely to meet them again. Visitors at my talk included a couple of theatre/costume design students who are studying at a local University.

Margaret and the rest of the staff were wonderful – they provided excellent facilities plus friendly hospitality.  We were happy to chat to the guests afterwards during a fabulous high tea which included strawberry/cream scones, drinks and sumptuous sandwiches.

I always enjoy presenting events at the castle – I mustn’t forget to thank Margaret for the excellent food – we really enjoyed it and also thank you to Andrew  who carried my mannequins!

It was a  very interesting, lively and informative lecture about the design/construction and inspiration for my  historical gowns,as well as a brief history of the people who wore them.

Integral to the event was a display of four costumes on mannequins with headdresses, fans, underwear and jewelry as well as a personal appearance by King Henry VIII.

Costumes for Elizabeth I, Mary Queen of Scots and Anne Boleyn were also included.

You can view an album of all the events on the Newcastle Fashion Facebook page.

https://www.facebook.com/media/set/?set=a.502756853113329.1073741833.157890277599990&type=1

I have included some photographs of our event below I hope you enjoy viewing them.  The Newcastle Fashion Week pictures were taken by local photographer Lee Scullion.  [See image gallery at www.tudortalkandcatwalk.com]

Today we presented a ‘Mother’s Day Costume Talk’ for the Woodhorn Museum and Heritage Centre in Ashington.

It was a lovely venue – a beautiful light and airy function room with excellent facilities next to the  amazing ‘Cutter’ building.

Inspired by the monster coal cutting machines once used deep underground the new Cutter building at Woodhorn just outside Ashington is the place to come to learn about the history of Northumberland. The site of the former colliery has recently undergone a £16 million programme of work to turn it into a major heritage and tourism venue.