"The shawl is the third defining garment of Austen's women's fashion, along
with bonnets and muslin gowns, and it has as complicated a trans-global history
as the fabric. Indian men, and some women, had worn a square or oblong piece of
fine, embroidered wool since the late sixteenth century, and it possibly
originated in Persia. Most prized and expensive were Kasmiri shawls of light,
warm cashmere. A pale ground fabric was finished with
intricately woven ends and borders incorporating the boteh pattern.
These shawls were originally woven in pairs and worn with wrong sides together
so that no construction showed."
"The first British production of [imitation] shawls took place in ... Edinburgh
and Paisley.
1
Fashion in Jane Austen's World
"Wealth was whispered in the skill of the tailor, not the precious fabrics,
and the class was implied by the hauteur given by a correctly tied cravat
that held the head high causing movement to be limited and precise."
2
"The collar which was always fixed to his [Beau Brummell] shirt, was so
large that, before being folded down, it completely hid his head and face,
that the white neckcloth was at least a foot in height ... the shirt collar,
which he folded down to its proper size; and Brummell then standing before
the glass, with his chin poked up to the ceiling, by the gentle and gradual
declension of his lower jaw, creased the cravat to reasonable dimensions,
the form of each succeeding crease being perfected with the shirt which he
had just discarded. 3
"Fanny Burney encapsulated what dress ought to do for its wearer: suit the
style of their beauty and 'assimilate with the character of her mind,
gender and class'.
"Many agreed it was important to be well and respectably dressed for one's
station, standing out neither in excessive originality nor in ostentatious
neglect of garments. 'A degree of conformity...to preclude the appearance
of particularity, is responsible and becoming', and defined the sartorial
middle ground for the gentry Austen immortalized. Below the aristocratic
upper elite, more genteel than the labouring peoples comprising the majority
of Britons, the gentry and professional classes sought to balance prosperity
and respectability, taste and appropriate display in their social bodies.
aste was the polite, mannered key to negotiating fashion with reason and
feeling to achieve the exclusive moral and physical quality of elegance. The
plea 'In your...dress, and in all other things, aim at propriety and neatness,
avoiding all extravagances' matches Austen's personal attitude to dress
emerging from her letters - namely, that one should follow 'the principles of
decency...the rules of reasonabl frugality and Christian simplicity'.
4
"Cynosure of fashion reigned when people aped style without elegance or
the subtler qualities of gentility...proving Lord Chesterfield's point that
'taste requires a congruity between the internal character and the external
appearance', an idea with deep social implications. Dress ought to proclaim
the inward personin an 'ideal conjunction of clothing, rank and moral status'
despite the vagaries and dictates of abstract fashion. The horror of a woman
of fashion was 'a modern belle', with assured, almost masculine', ease, loud
conversation and 'the scarcely clothed colours of her fashionable form',
unfeminine, immodest and brash. Writers of the period shared a disgust for
enthusiasm and originality - the 'love of singularity and ambition for
notoriety...[in] the pretensions of fashion' in dress.
"Contemporary writers on clothing further articulated their concerns in two
areas. First, expenditure on fashionable clothing diverted spare money from
charitable concerns, and time for its construction from poor work and
household labour. Second, fashion occupied the thoughts unnecessarily and
divertred from attending to higher activities, interfering with learning,
education and religion."
"Comentators were concerned with the moral implications of attention to
appearance at the expense of character. Austen agreed: none of her
characters directly discussing dress or fashion are notable for their quality
of mind or heart. 'A woman cannot be educated against the "dangerous
Diversions in Fashion...by being removed from temptation, for once of age and
living in the world she has been guarded from, she will be ill-equipped to
deny their force. Immunity to such seductive pleasure can be achieved only
through the wisdom gained by Reading and Philosophy." Elizabeth Bennet (Pride
and Prejudice), as judged by the Bingley sisters wafting their 'air of decided
fashion', is notfashionable. Her manners are very bad and she has '"no
conversation, no style, no taste, no beauty"' However, she reads, and therefore
might deny fashion's force."
"Plebian fashionability worried people of Lord Chesterfield's mind, because
well-dressed lower classes threatened social order by blurring the lines
between seeming and being. One's appearance was supposed to reflect one's
place in the world...,"
5
"Regency people had fewer clothes and so their individual garments becam part
of their identity. One could recognise the person by their worn-in coat hung
on a hook, retaining their shape and physical characteristics. Everyone wears
garmentsindividually. Their person contributes to the silhouette, as Austen's
niece Ana Lefroy (1793-1872) found when she tried to distinguish between her
two aunts seen from behind and wearing identical bonnets. Everything in a
person's ensemble revealed something about them to the Regency observer. Cut,
fit and style of garments were important in conveying the message, but equally
important were textile and workmanship. Sources constantly reiterate how
observers instantly recognized fabric quality in dress. 'The materials used
and the craftsmanship employed in the construction of a garment can yield
precious information about the cost, market, and final user of such an
artefact...'
6
"All cotton came from outside the British Isles, mainly from the East Indies
and the recently independent American states. Cotton's global trade role
has been the subject of recent outstanding scholarship, and is a complex,
far-reaching background to the history of Regency dress, hidden behind the
cheerful, delicate prints cherished across society. Enslaved people working
cotton plantations on the other side of the Atlantic sustained Britain's
booming fabric-manufacturing industry, and Austen's unease aboout the slave
trade is present in Emma and Mansfield Park."
7
"Help with coiffures was a valued skill in employees. Various servants
assisted [Jane] Austen's follicular efforts. In1798 Nanny Littlewart was
dressing Austen's hair, and in 1804 a Jenny in Lyme Regis 'fasten'd up
my hair to day in the same manner that she used to do up Miss Lloyd's'."
8
Cleanliness, bathing, avoiding the disguises of irregularities by using
cosmetics, healthyness is very much a part of the world of Jane Austen.
Good nutrition (malnutrition, illness or labour distorts the figure and
may cause skin disfigurements, even poor dental health).
9
see "Porter at Charing Cross by John Dempsey, 1824" #6, below.
However, while the disguises of cosmetics are to be avoided, false hair
(chignons, wigs [not powdered], ringlets, papers [curls, drop curls,
nape curls]) were an acceptable way to improve nature by augmenting
charms. 10
Exposure to inclement weather: heat, cold, rain, sun, wind was to be
avoided. 11
"Jane asked Cassandra to 'send up my Silk Pelisse by Collier [Southampton
Coach] on Saturday'..."
"Captain Williamson raises an interesting point when he suggests that the
classic high-waisted Regency gown styles were inspired by Indian fashions.
He says that 'the paishwaz' (meaning the 'peshawar shalwar' - a traditional
style of dress in the north of what is now Pakistan), 'mall bodi[c]ed, made
extremely full, and gathering up to the bosom' and reaching the ankles, was
'the robe from which our ladies have taken their present dress'. Of all the
styles existing in the British-connected world in the late eighteenth century,
regional Indian variations on garments with high waists or skirts starting
under the bust and made of muslin are the closest match to European fashion,
and may have influenced their adoption through imports and Britions returning
home, like Austen's Hancock relatives. In 1792 Fanny Burney noticed the
conspicuous 'Indian princess' style, 'chiefly of muslin', in the London dress
of Mrs. Hastings, wife of the former governor-general, just as waistlines were
rising. Classicism in dress may have been equally
an East India Orientalism in dress."
Click here.
12
"Competition between Indian and British muslins became critical in the mid-1790s,
when the EIC [East India Company] started to be concerned about shops selling
equally elegant British products for prices a quarter or a third lower than
Indian ones. Between 1802 and 1819, duties on imports of Indian textiles for
the British market were raised nine times. By the time of Northanger Abbey's
publication in 1818, the East India Company muslin factories in the subcontinent
had shut owing to increased profit-seeking and oppressive working conditions.
"For years, 'Indian muslins remained the benchmark against which British technical
ingenuity was tested. Only when British manufacturers could equal the quality of
Indian goods were British goods more secure in international markets. Striving to
profit from the high consumer desire for muslins spurred industrial weavers on to
new technological innovation. By the 1810s, with muslins embedded in everyone's
wardrobes, they finally achieved excelence (helped by the raised tariffs). 'The
yarn of the British muslins is much evener spun, by the machinery now employed',
a contemporary pamphlet informs readers. This is the key to distinguishing between
hand-spun, hand-woven Indian muslin, with a slight undulation in its matrices,
compaired with smooth, straight industrial British muslins. The unevenness of
Indian muslin 'gives the cloth a vitality that is lacking 'in machine-made products.
Some charm is gone. Indian areas produced over 100 varieties of muslin, including
the popular jamdani, muslin with the pattern woven in, and chikan,
embroidered muslin. These names were erased in the transition to European fabrics,
though the techniques remain in 'sprigged' and 'spotted" styles. The crewel spots
Austen sought in a muslin derive from the double-sided satin-stitch dots called
do-rukha".
"Indian textiles from the late eighteenth century surviving in collections have
lost one sensual aspect that made them exotically appealing to British consumers:
their perfume. Packed tightly alongside spice cargoes, muslins absorbed a distinctive
smell that became part of how shoppers judged a cloth's origins. A Bolton weaver
used spices on his domestically produced muslin to imitate
this fragrance, and a 1795 book of 'valuable secrets' cheerfully explains how to
fake Indian painted silks, and add the distinctive scent of cinnamon, cloves and
other spices associated with genuine imported articles. British muslins [not indian]
were frequently sent to India to be repacked and returned to England as Indian
muslins, having acquired an alluring Eastern bouquet."
13
English Ladies in the British West Indies used the services of local slaves. Even
without traveling to British Colonies such as the British West Indies, British
Guyana, or Australia, English Ladies would be familiar with African Blacks and
African Blacks in London (see "Black Charlie, below: # 9)
"The only character of West Indian origin in Austen is Sanditon's Miss
Lambe, 'about seventeen, half Mulatto, chilly and tender', with 'an immense
fortune'. Her English companions, the Beaufort sisters, are described as a common
type of girl:
"tolerable complexions, showy figures, an upright decided carriage and an assured
look...very accomplished and very ignorant, their time being divided between such
pursuits as might attract admiration, and those labours and expedients of dexterous
ingenuity by which they could dress in a style much beyond what they ought to have
afforded; they were some of the first in every change of fashion. And the object of
all was to captivate some man of much better fortune than their own[,]"
"...as many Austen characters do. The town residents expect Miss Lambe's guardian,
Mrs. Griffiths, to be 'as helpless and indolent as wealth and a
hot climate are apt to make us'."
14
"England did have bright days, when sun protection from parasols and hats was
essential to maintaining an untanned, pale skin, the
epitome of beauty for centuries. Oil portraits show the effect of men's constant
hat wearing on the complexion up to the temples their
faces are ruddy; above the hatline their foreheads are pale. Women sought to
avoid this weathering. Not only did 'the ruddy peasant' have the coarse brown
skin that Miss Bingley [Pride and Prejudice] sees in Lizzy Bennet, there was a
feeling that 'only licentious women expose their skin', 'therefore all tanned
women are licentious'. Although delicate white skin merging
with delicate white fabric was the aesthetic ideal, Lady elizabeth Spencer-Stanhope
(1795-1873) reflects the difficulty of realizing the ideal when describing a ball
in 1807, where 'the pure white of the Calico [draping the ballroom]
made all the ladies look dirty'.
15
Jane Austen was too much a woman of her own class, overly concerned
with Regency Fashion, based upon a "whiteness" of women of her White
Class, avoiding the dark solar skin complexions, wearing white muslins,
health, nutrition being foremost, proper manners of her class, proper
attitudes. Her concerns with British West Indies absenteeism and
pluralism was not focused upon Colonial racist injustice, sans even a
rudimentary view based upon anthropolgy.
16, 17
Note the usual "tropical" and "tolerable complexions",
and "dirty" racist views. 18
However, Jane Austen's views concerning or related to the issue of
Abolition moderate the views expressed here.
à la victime,
à la Guillotine,
à la Titus, à la Brutus,
à la Caracalla,
à la Madonna.
Names used for short hair cuts of victims of the Reign of Terror on a Tumbrel.
Click to see à la victime.
apron-front, bib-front
See fall-front.
banyan
A loose, informal man's robe, nightgown, or dressing-gown mode of cotton,
silk, or wool. Worn at home before formally dressed. Originally from India.
Click to see.
Barcelona handkerchief
A twilled lightly colored silk handkerchief, plain, checked, or with
patterns. Originally from Spain.
batiste
Cambric, a fine linen cloth from Flanders or Picardy for morning gowns.
beaver (or castor)
A woolen felted cloth, heavilly napped with raised surface (beaver
fur is heavy and thick). Also a cheap leather, dyed different
colors, used for gloves.
bedgown
An informal jacket or gown with loose sleeves, worn at home, or by
working women.
bib-front
See fall-front.
bicorn à la Nelson or
bicorn à la Napoleon
The way a bicorn is worn (English or French style).
Click to see.
bobbin net
A machine-made lace, imitating fine bobbin or "pillow" lace. Plain woven in a hexagonal mesh.
bodice
The part of a woman's gown worn around the upper torso (including the lining).
This includes a quilted or baleen-boned undergarment (corset, jumps, stays).
bombazine
A twilled * fabric of wool worsted +
of cotton with silk or worsted alone. Often black, used for mourning dress.
*: twill refers to warp fibers (vertical in "#")
and weft fibers (horizontal in "#") but instead of fibers going over and under a single
fiber, the warp goes over several weft fibers.
+: worsted means any thread or fabric made from combed, long-staple
fibers of fleece (more durable than short-staple wool).
boteh
A curved teardrop design from India, commonly known now as "paisley" (after the Scottish town of Paisley).
box-coat
A greatcoat, a heavy, loose overcoat with one or more capes. Especially worn when seated outside a coach.
breeches
Men's trousers reaching to just below the knee where they are constricted by fastening strings. Worn
with stockings covering the lower leg. Stockings of fine white cloth for the wealthy, blue, durable
cloth for lower-class workmen. Trousers cover the whole leg.
buckskin
A fine white woolen cloth with a distinctive eight-end satin twill in which the surface
texture resembles deer skin (used for horseback ridding).
busk
A smooth, straight piece of wood inserted into the front of stays (hold cloth in place) or a
corset, between breasts to separate the breasts with a straight center line.
Click to see.
calash
(also called an "ugly")
A calash bonnet is a large, folding hood or bonnet, made of silk or satin,
supported by hoops of cane or baleen. This bonnet hid the face as it was
large, intended to protect hairstyles or perukes that required a high
size. It could be used for privacy (to help hide the face).
Click to see.
calendered
Cloth and ribbing, etc. scatters light. When the cloth and ribbing is flattened under calender rollers
at high tempertures and pressures, the cloth and ribbing is uniformly flattened making a uniform material
that uniformly scatters light (thus has a sheen).
calimanco
A plain or twilled woolen or worsted cloth, either plain, striped, checked, or figured often used for waistcoats.
cambric
A fine white linen or cotton fabric, often called "French lawn".
cases
Whaleboned brassières.
cawl
The soft fabric back part of a bonnet, attached to the brim.
chenille
(French: "caterpillar")
Soft, fluffy, silk embroidery thread.
clock
The ankle of a stocking.
Colonialism
Fashions came from and traveled to British Colonies: Australia, East Indies, West Indies,
Indian subcontinent, Austraalia, New England (North America), Brazil, Africa, etc. Exotic
fashions were given names: "Orientalism".
Click to see.
corduroy
A sturdy cotton fabric with ridges (cords), used for breeches, waistcoats and coats. Used
especially for rural workmen. Also called "fustian". It identified class membership.
corset
A close-fitting, soft undergarment worn to support breasts (and to shape breasts). Lightly
stiffened with baleen or cording stays.
Cossacks
Very loose fitting trousers, usually pleated at the waist, held in place by a rope,
drawn in at the ankles with a ribbon.
Click to see.
crop
A hairstyle for both men and women: hair cut short.
dickey
A man's false, detachable shirt front (chemisette, for a woman).
ditto suit
A man's suit with breeches, wastecoat and coat all mae of the same fabric.
Dorset button
Buttons made of metal rings decoratively covered in fabric or thread.
do-rukha
Double-sided stitched designs/motifs, equally visible on both sides of fabric: there is no
right or wrong side, so both sides are usable.
Click to see.
drawers
Underwear trousers, knee length for men, ankle-length for women. Made of linen, cotton, or wool.
fall-front
An opening at the front of a gown: a panel of fabric that is held in place using pins or buttons
attaching to shoulder bands. Covers the bust hiding the bodice lining.
Click to see.
falls
Same as fall-front.
fan parasol
A parasol with a hinged stick allowing vertical or horizontal shade.
Click to see.
fichu
A square (or triangle) of cloth worn around a woman's neck, shoulders and chest for warmth.
Constructed of light-weight linen or cotton.
front
A hairpiece worn at the front of a woman's head, or the brim of a bonnet.
fustian
A coarse twilled fabric of linen warp (vertical) and cotton weft (horizontal). Similar
to corduroy, but without ribs.
gaiters
(spatterdashes)
Leg coverings made of leather, canvas, or wool, that extended from the knee (or calf) to the
front of the foot (to be worn with breeches). Fastened with buttons down the outer side. Half-gaiters
or spats extended from the ankles to the front of the foot (to be worn with trousers or pantaloons).
Click to see.
galloon
Narrow ribbons or braids of wool r gold, silver, or silk thread, used as trimming.
galosh
Shoes were often galoshed for bad weather such as rain. The front of the shoe is made of sturdy,
water-resistant leather, while the back of the shoe to the ankle is constructed of fabric.
Click to see.
gipsy hat
A large-brimmed, circular straw hat, held in place on the head by a wide ribbon over the
top of the hat and tied under the chin.
Fashion is more than clothing, for example, status, class-identification,
distinctions by clothing between free, slave, prisoner, health (Leprosy),
foreigners, expressions of power, displays, etc.
Click to see.
habit
A woman's linen or cotton garment with long sleeves, as part of a horse riding ensemble.
half-handkerchief
A handerchief was a square piece of cloth. Cutting along the diagonal to get two pieces of isosceles
triangles of cloth to produce half-handkerchieves.
Light, silk gauze, woven with illuminated silver or gilt threads.
latchet(s)
A pair of tab-bindings at the top of shoes that go through a metal or cloth buckle.
Click to see.
Leghorn
A fine, very pliable straw from the Livorno region of Italy. It is plaited
into strips. These strips of straw may be made into headwear, a hat, or a bonnet.
Click to see.
Levers lace
A kind of net made on a Levers machine (1813) using Jacquard loom
technology (1805) to create zig-zags and V-shapes or to imitate lace.
livery
A distictive uniform originally used by guildsmen to seize goods to be destroyed
as not made by a guild. Not just anyone could seize goods which had a value. As
evidence that the people seizing goods were legitimate guild representatives,
distinctive livery uniforms identified these guild policemen. In the contextt of
"fashion", livery was also used to identify household male retainers or servants
by special color combinations or design (herald).
Mameluke
Mameluke cap, Mameluke sleeves. Mamelukes were enslaved Caucasian children used as soldiers.
The state was their parents: clothing them and feeding them. References to items of Mameluke
clothing is an example of Orientalism, such as wearing turbans. Use of such exoticism was an
unconscious sign of accepting slavery, not surprising, as England was the largest Western
society based upon slavery (not withstanding Abolitionism).
Too see Mameluke sleeves Click to see,
Too see a Mameluke cap Click to see.
mancheron
A decorative historical-style epaulette, or a puffed upper sleeve.
Used in women's fashion.
melton
A thick, well-fulled fabric with a smooth, close nap with a twill weave. Popular for riding-habits.
miser's purse
A long tubular purse which, similar to a muff, had a small compartment inside to hold small objects.
mittens
Fingerless gloves that extended up the arms for warmth. Fingerless to aid articulation.
moleskin
A cotton fustian with a dense texture similar to the fur of moles. Popular with labouring men.
Pantaloon-like trousers with an extension over the front of the foot (to offer protection against mosquitoes).
mousseline (French)
Muslin. British muslin was called organdie.
Click to see.
muffetees
Very short mittens or small wrist muffs.
nankeen
A fabric of yellow cotton (originally from Nankin or Nanjing).
Oldenburg bonnet
A bonnet style with a very high crown and wide brim.
palampore
An Indian cotton cloth with floral or leaf patterns. Mordant-painted and resist-dyed.
pantaloons
Close-fitting, calf or ankel-length men's trousers, often strapped under the foot.
For women, an undergarment of long, loose drawers, worn under a skirt.
pastboard
Rolled and compressed paper used to stiffen bonnet fronts.
patent lace, pattinet
Machine-made lace.
patten
A wooden sole attached to a tall metal ring held on the foot by leather straps. Normal shoes were
fastened to the wooden sole. Similar to Japanese "geta", the raised shoe was protected from water.
Click to see.
pelerine
A woman's small cape of lace, silk, or fur. Lower edges curve to meet at a point in the front.
Click to see.
pelisse
A woman's coat-dress, made of many materials such as muslin to thick wool,
of variable length between knee to ankle, may have collar, cape or sleeve.
Click to see.
petticoat breeches
A man's knee-length trousers (not breeches), gathered at the waist, loose about the
legs, no fastening at the knees (not breeches). Often worn by seafaring labourers.
pier-glass
A full-length mirror.
poke bonnet
A bonnet with a crown, fitting close to the head, a long brim, cylindrical in shape.
Click to see.
poplin
A lightweight dress fabric: dense silk warp, worsted weft.
prunella
A lightweight twill, warp-faced worsted, usually black, for clerics, thus called "clergyman".
Pusher lace
A lace mad on a Pusher machine (1812)
rating's trousers
Trousers made as slops for sailors uniforms or prisoner uniforms. Short trousers for convenience of movement.
Click to see rating's trousers.
riding-hood
A woman's large, detached hood worn when riding.
round gown
A gown with bodice and skirt in one: skirt closed all around, not open in front to expose the petticoat.
Click to see.
ruching
Ruching is a gathered overlay of fabric strips that are pleated,
fluted, or gathered together to create a ripple-like effect. The
frill or pleat of the fabric, often lace, chiffon or muslin, has
evolved from the 16th century ruff.
Click to see.
seersucker
A striped fabric of woven silk and cotten, often with a rippled
effect (cotton warps with looser tension than silk warps).
shako hat or cap
A shako hat is a tall, cylindrical hat with visor, plume, or ornimental plate.
A shako hat is often used for Hussars (light horse cavalry).
Click to see.
shift, smock, chemise
A woman's knee-length undergarment of plain linen or cotton, worn next to the skin.
slops
Cheap clothing, ready made in standard set sizes, esppecially for seafarers and labourers.
A short, close-fitting jacket without tails. Originally worn by men over a longer coat,
but worn by women, too (worn over a gown).
Click to see.
stays
A close-fitting undergarment, shaped and stiffened by baleen, cording, canvas, or a
busk (wood) and laced closed. Breast support was especially important: to keep (stay)
the breasts in place and properly shaped. Stays increasingly became known as corsets.
Click to see stay with courset,
Click to see Long stays,
Click to see Short stays.
staylace
The lace or cord with which women's stays and corsets were threaded, fastened and tightened.
taffeta
Plain-weave silk, woven with highly twisted threads.
tambour work
A form of chain-stitch embroidery of silk or cotton threads using a tambour
hook, usually for translucent fabrics such as muslin, net and gauze.
tissue
A silk fabric with satin ground with additional weft for ornamental patterns,
illuminated with silver or gold threads to get "silver tissue" or "gold tissue".
top boots
Men's boots reaching just below the knee, then turned-over tops displaying a lighter coloured leather.
Click to see Top boots.
tucker, brassiere
A seperate edging of linen, lawn, or muslin, especially worn at the top of a
low-necked bodice and tucked into it.
Click to see.
tulle
Machine-woven hexagonal net named after a French town (1768).
tunic (half-robe)
A knee-length gown, often sleeveless, loose, worn over an evening gown.
turban
A round headdress, ppopular. Inspired by Eastern cultures (Ottoman),
thus a basis for Orientalism (exotica).
Click to see.
twill
A weave in which the warp thread passes over multiple weft threads, then passing
under one or more weft threads. This produces diagonal designs on the fabric surface.
union cloth
Any fabric made with cotton (warp or weft), and another fiber (wool) as (weft or warp).
unmentionables (inexpressibles)
Euphemism for "breeches".
Vandyke
Any trimming or accessory finished with a V-shaped edging. Flemish artist van Dyck
often painted portraits with V-shaped collars or V-shaped beards.
Click to see,
Click to see and
Click to see.
veils (little face)
Little face veils, often made from lace, added a public view of mysterious Orientalism.
Click to see.
velveret
A stripped or ribbed fabric or cotton warp and silk weft.
The combed, long-staple fibers of fleece, more than double the length of short--staple wool.
York tans
Leather gloves in a buff, bark or tan colour.
Bibliography
Davidson, Hilary; "Dress in the Age of Jane Austen: Regency Fashion"
Downing, Sarah Jane; "Fashion in the Time of Jane Austen"
Gillray, James; "1757-1815: Meisterwerke der Karikatur"
Hayes, John; "The Art of Thomas Rowlandson"
Payne, Matthew;, Payne, James; "Regarding Thomas Rowlandson, 1757-1827: His Life, Art & Acquaintance"
Stedman, John Gabriel; "Narrative of a Five Years Expedition against the Revolted Negroes of Surinam"
Wardroper, John; "The Caricatures of George Cruikshank"
Wright, Thomas; Evans, R.H.; "Historical and Descriptive Account of the Caricatures of James Gillray:
Comprising A Political and Humerous History of the Later Part of the Reign of George the Third"
1
Davidson, Hilary; "Dress in the Age of Jane Austen: Regency Fashion", pp. 272, 273
2
ibid., p. 31
3
ibid., p. 31, 32
4
ibid., p. 41
5
ibid., pp. 42, 43
6
ibid., p. 47
7
ibid., p. 265
8
ibid., pp. 54-56
9
ibid., p. 53
10
ibid., p. 56
11
ibid., p. 165
12
ibid., p. 269
13
ibid., pp. 270, 271
14
ibid., p. 277
15
ibid., pp. 151, 152
16
ibid., pp. 269-271
17
Helvétius, Claude Adrien; "De l'esprit"
18
Davidson, Hilary; "Dress in the Age of Jane Austen: Regency Fashion", p. 277
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