Part 6

"The general fashion of wearing _Spencers_, reminds us of a wager laid by Lord _March_, who betted several years ago a considerable sum with some of his friends, that he would be able to introduce to general imitation, the most humiliating fashion he could think of. Accordingly he appeared several days successively about the Royal Exchange, dressed like a livery servant. The livery consisted of a blue coat, with crimson collar and cuffs; and he gained the wager."--(_Times, May 16, 1795._)

The accompanying illustration by W. Hanlon (11th July 1795) is, of course, a caricature, but it is intended to show the eccentricities of dress, in which the "Crops" indulged.

THE BOND STREET LOUNGE.

AN IMPROMPTU.

_Modo vir, modo foemina.--Virgil._

(_Times, January 7th, 1796._)

When men in _Petty-Coats_ appear, No wonder Wives the breeches wear: Assuming manners quite robust, Game, swear, drive, box, or _take a thrust_. But happier far would be the case, Were each to keep their proper place: The fair ones wear the female dress, And men adorn their persons less; For such the fashion of the day, They make it difficult to say, Whether the _pretty things_ we meet, Parading through their fav'rite street, A Male or Female we may call, Their shapes are so equivocal. V.

London Coffee-House, _January 7th, 1796_.

"The high kick of fashion is to wear only one spur, like a postillion, and to have an assortment of long whips tied up behind the curricle, in case of wearing them all out in Bond St., during a ride in the morning."--(_Times, August 3, 1796._)

We need not go very far, any day in Winter, to see the young men of our day, doing the same thing, and looking extremely "Norse"--they never telling of the Chamois leather vests they wear.

"One of the latest roads to fame that any of our young men of _ton_ have discovered, is to wrap their bodies carefully in flannel under the shirt, and to keep the coat and waistcoat quite open, to show the strength of their constitution, and set the snow at defiance."--(_Times, January 2, 1797._)

* * * * *

"Margate is already beginning to be crowded, as usual, with all sorts, and for all purposes, some to undo, and some to be undone; wives to leave their husbands, and misses to procure theirs. Some tradesmen gone down to get, and others to get rid of their money: old maids to display tresses not their own, and the young men to show off Brutus heads, when the grand point is, whether their's or their type's in Ross's shop window have the most brains: perhaps there cannot be situations more calculated to display what Shenstone terms 'The various ways of dressing a calf's head.'"--(_Times, August 5, 1799._)

* * * * *

"Milan, _July 15th_.--In order to a due execration of the licentious dresses which our Government has forbidden, the executioner of this place, with his wife, appeared in the public walk. He was _elegantly_ dressed, with his head _à la Brutus_, a large cravat which, concealing the chin, reached to the mouth: long pantaloons, hanging loose: and shoes, the points of which were a finger's length. His wife was quite _à la guillotine_--naked shoulders, neck and arms."--(_Times, August 5, 1799._)

* * * * *

"Our emaciated beaux in their quilted lappelles and stuffed sleeves are like a dry walnut in a great shell."--(_Times, August 20, 1799._)

This paragraph is easily explained by a reference to the two accompanying engravings.

These peculiar garments were called "Jean Debry," after the French statesman of that name, who was born in 1760, died 1834. He was a somewhat prominent figure in the French Revolution, and, as his name was at this time much in men's mouths, he was made the peg on which to hang a coat.--"A French Taylor fitting John Bull with a Jean de Bry," is by Gillray, 18th November 1799, and, although a gross Caricature, fairly represents the garment. The tailor is in ecstasy with the fit. "Aha! dere my friend, I fit you to de life! dere is Liberté! no tight Aristocrat Sleeves, to keep from you vat you like! a ha! begar, dere, he only want von leetle National Cockade to make look quite a la mode de Paris!"

John Bull surveys himself in the looking-glass, grumbling at his change of costume. "Liberty! quotha! why, zounds, I can't move my arms at all! for all it looks woundy big! Oh! damn your French Alamodes, they give a man the same Liberty as if he was in the Stocks! give me my old Coat again, say I, if it is a little out of Elbows!"

"The items of a fashionable Taylor's bill are not a little curious at present:--Ditto, to pasteboard for your back; ditto, to buckram for your cape; ditto, for wool for your shoulders, and cotton for your chest. Shakespeare talks of Nature's Journeymen who make men indifferently, but our Journeymen Taylors make their customers of any form and dimensions they think proper."--(_Times, Sept. 6, 1799._)

* * * * *

Modern Costume.

"The _Long-toed Shoe_ which now figures in Bond Street was regulated by an Act of Parliament so long ago as the reign of Edward III. No person under the rank of a Knight then had a right to advance his toe more than four inches beyond the natural extremity.... If ever, in some centuries to come, the little hat, stuffed coat, and long-toed shoe of a modern fine Gentleman should be discovered in some Museum of Antiquities, or to survive upon the Stage, they would no doubt give birth to many learned doubts and extraordinary speculations. By the size of a pair of modern _Leather Breeches_, it will naturally be inferred that the present race of men were of a Colossal form. When we suppose in the same collection a pair of our Hussar Boots to have escaped the ravage of time, will not our descendants enquire by what descending scale of rapid decay and diminution mankind is hastening into the pigmy state, or the dwarf? Our Coats too, in which the Cotton, the Wool, the Tow, and all the _et cetera_ of quilting, which now form one half of our bulk, will then only seem the remains of the art of the virtuoso: and the curious stuffing he has devised to represent the gigantic proportions of the wearer. It ought, however, to be known, for the honour of this commercial nation, that it is to the spirit of justice and liberality of our tradesmen, that this extraordinary augmentation of our bulk is to be attributed. Having doubled the price of every article upon us, they have very fairly given us double measure, both in our Coats, Boots, and Breeches. The Hatter, I am sorry to say, is not entitled to the same commendation, for he has of late years perpetually diminished and circumscribed the little brim he allows us, in the exact proportion that he has advanced the price of it, so that the scarcity of felt is like that of bread, the less you have, the more you are to pay for it. I paid a guinea and a quarter for the last I bought, and I was ingenuously told that by the time a hat cost two guineas, it would exactly be the size and the weight of one. All these tradesmen, in a fairer sense than the _hatters_, make the _most_ of their customers: but he to whom the nobler part of man, the head, is committed, diminishes in the most scandalous manner the protection it requires...."--(_Times, Sept. 20, 1799._)

Brobdignag.

WOMEN'S DRESS.

The earliest Lady's fashion book I can find in the British Museum, is "The Lady's Monthly Museum," &c. "By a Society of Ladies,"--and it was published in 1799--or just the last year of which this book takes cognizance. But, luckily, the satirical prints supply the want, in a great measure, although they are somewhat exaggerated. From them we are able to see pictorially what might be hard to describe, and may be perfectly certain that they represent "the very last thing out" at their date of Publication. If, then, we have very little written about female attire, in 1788, and the next year, or two, we must be content with viewing the _veræ effigies_ of the belles of that time.

Brighton, of course, was the fashionable watering-place, for there were the life and gaiety of the young Court, in contradistinction to the humdrum existence led by the King, Queen, and younger branches of the Royal Family, at Weymouth. So it will be interesting to know their habits at this famous sea-side resort. The _Morning Post_, 18th September 1788, has the following:--

"The Ladies have no particular dress for the morning, but _huddle_ away to the bathing place, in close caps, and _gipsey bonnets_, so that they look like a set of wandering _fortune-tellers_, who have just had the opportunity of pillaging the contents of a _frippery warehouse_, with which they had bedecked themselves in haste.

"It is to be remarked that the ladies do not atone for the negligence of the morning, by neatness, and elegance, during the rest of the day, but _shuffle on something_ by dinner time, covering themselves with an enormous _nondescript_ bonnet, which, to the confusion of all order, they afterwards think a proper garb for the Assembly."

In doors, the dresses were not so _outré_, as we see by the two illustrations taken from "The School for Scandal," 1st August 1788.

That ladies copied the eccentricities of male attire, and made them their own, we have proof in this cutting from the _Morning Post_, 15th January 1789:--

"Among other fashions lately introduced from Paris is the brace of gold watch chains now sported by our fashionable females. Some economical husbands may wish their wives were less imitative."

The portrait of the Duchess of York (the Princess Frederique, Charlotte, Ulrique, Catherine, of Prussia, married to the Duke, November 1791), shews us the indoor dress of a lady of rank in 1792. She had a remarkably small foot, and many were the delineations of her shoes--actual size, &c.

Of all curious freaks of fashion the following is the most incomprehensible, yet it doubtless obtained:--

"The fashion of dressing, at present, is to appear _prominent_, and the stays are made accordingly. This is holding out a wish to be thought in a thriving way, even without the authority of the _Arches Court_ of Canterbury--something in the French way--a philosophical desire to be _conspicuously great_ with MISCHIEF, without any regard to law or reason. The idea was at first sent forward by a few _dropsical_ Ladies."--(_Times, March 25, 1793._)

* * * * *

"The _Wapping Land-ladies_ are all at the very pinnacle of the fashion. Nature has given them prominences which far out-picture the false mountains at the West end of the town. It is not only the fashion of appearing six months gone, that prevails with the ladies--but that of not having any waists, so that, even with their prominences, they may be called--_No-body_." (_Times, April 15, 1793._)

A series of prints were published which represent the amount of indebtedness, ladies were under, to Art, to repair the ravages made by Nature.

No. 1 shows us most graphically the "levée au matin."--Tears drop from the eyeless socket--a yawn discloses the want of teeth, and, the handkerchief, tied round the head, which does service for a night cap, tells a sad tale of baldness.

In No. 2 the defect of nature is being remedied by the insertion of a glass eye--which the subsequent illustrations prove to be very effective.

No. 3 shows the triumph of the hairdresser's art; and, certainly, it adds much to the ladies personal attractions.

In No. 4 false teeth are being inserted, to replace those, of which unkind nature has robbed her.

No. 5 applies the bloom of youth to the faded cheek,--a bloom that never yet deceived any one.

In No. 6 the Belle has finished her toilette, and is now prepared to break all hearts.

This series is attributed to Rowlandson--and, most probably, is his work. It is called "Six Stages of making a face.--Dedicated with respect to Lady Archer," of which lady we shall hear more anon under the head of "Gaming."

Waists, as may have been perceived by the last two, or three examples, have been gradually disappearing, until, as in "The Scarecrow," they became practically _nil_. High feathers were beginning to come in, and, in addition to the "panache," was worn a curious thing made of straw, very much resembling the "bristle plume" which used to be worn in the Shakos of our Engineers, and Artillery. In imitation of the men, the ladies' throats were swathed in voluminous wrappers.

With very low bodices, and very high waists, came very scanty clothing, with an absence of petticoat, a fashion which left very little of the form to the imagination. I do not say that our English Belles went to the extent of some of their French sisters, of having their muslin dresses put on damp--and holding them tight to their figures till they dried--so as absolutely to mould them to their form, or that they ever discarded stockings, and went to balls with bare feet, and only wearing sandals, having on but the lightest of classical clothing--but their clothes were of the scantiest, and we shall find that, as year succeeded year, this fashion developed, if one can call diminution of clothing, development. Men made fun of it, _vide_ the following from the _Times_, 12th August, 1794:--"Amongst prudent papas, the favourite toast at this time is 'The present fashion of our wives and daughters,' viz. _No Waste_."

There was a very pretty song, called "Shepherds, I have lost my love, Have you seen my Anna?"--and this was parodied as follows--the music being the same as the original song:--

[Song: SHEPHERDS, I HAVE LOST MY WAIST.

Shep-herds, I have lost my waist, Have you seen my bo - - dy?

Sac - ri - ficed to mo-dern taste, I'm quite a hod - dy dod - - dy.

For fashion I that part for - sook Where sages place the bel - - - ly;

'Tis gone, and I have not a nook For cheesecake, tart, or jel - ly.]

"Never shall I see it more, Till, common sense returning, My body to my legs restore, Then I shall cease from mourning, Folly and fashion do prevail To such extremes among the fair, A woman's only top and tail, The body's banish'd God knows where!'

That a fashion may become one person, and not another, is peculiarly exemplified by the two following pictures by Gillray, 9th December, 1794, both called "Following the Fashion:"--

"St. James's giving the Ton, | "Cheapside aping the Mode, a Soul without a Body. | a Body without a Soul."

* * * * *

The tax on Hair powder was much objected to; people had been used, for a long time, to grease, and powder their hair and wigs; and, when the duty of a Guinea per head was passed, many left off using it. The illustration "Leaving off Powder, or a Frugal family saving a Guinea," was doubtless the fact in many a family. The man, in the coloured engraving, with his "crop," to our eyes does not look so singular, as the lady, with her "fausse chevelure" unpowdered looks so bad, that, no wonder, ladies reverted to their own locks, as we see in future illustrations. So also shall we see the "Cap" of the period, the length of which is most amusingly portrayed.

The wearing of false hair is of very early origin, inasmuch as we possess, in the British Museum, an early Egyptian wig, and, in every age, we find women supplementing their natural attractions, by the addition of some one else's hair. Here is a Hair-dresser's advertisement of 1795, wherein is not only mentioned the price, &c., of hair, but shows the antiquity of the "Chignon," which, otherwise, many might think of modern date.

"TO THE LADIES.--T. BOWMAN respectfully acquaints the Ladies, that he has entirely removed his Shop and Manufactory to No. 102 New Bond Street, near Brook Street. Firmly relying upon the future favors and recommendation of his old Customers, and trusting to the superiority of his articles, he has augmented his stock of Chignons or Braids, from 600 to near 1000, in 14 shades (not 20) of brown colours, besides Auburns, Flaxens, &c., and in 8 lengths (not 50) at 10s., 14s., £1 £1 1s., £1 11s. 6d., £2 2s., £3 3s., £4 4s., and £6 6s. each. Any colour matched in all the sizes in a minute. T. Bowman formerly gave a description of his Braids, but that has been copied by another and applied unto his own, without their possessing one requisite for which Bowman's Braids have been distinguished: and, not contented with slaying by twenties, he now kills by fifties. Bravo! Captain Boabdill, fifty more, kill them!!! As for the shades, what with Chinese hairs, mixing, and dying, he may have them (as he says) of every tint, but for real, natural, Brown colours. T. Bowman, with by far the greatest stock in the Kingdom, cannot make more than 14 shades; he can only challenge a comparison, and pledges himself to make good every assertion he has at any time made. His Brunswick fillets, an entire new and elegant article, with curls complete, fit either for morning or full dress, from 7s. 6d. to 10s. 6d. each, with Tetes, Borders, and every article in ornamental Hair, much cheaper than at any shop in town: having a very large stock, and dealing for ready money only, he has as yet made no advance on his old prices, although the price of hair is now double. Country orders, with money, or reference, duly observed. Chignons, &c., changed when not approved of, if not powdered."--(_Times, June 22, 1795._)

* * * * *

"Corsettes about six inches long, and a slight _buffon_ tucker of two inches high, are now the only defensive _paraphernalia_ of our fashionable Belles, between the necklace and the apron-strings.--(_Times, June 24, 1795._)

"The annual City Assemblies, from the glowing colours which decorate the _belles_, may be now fairly styled _red-hot balls_."--(_Times, Dec. 29, 1795._)

But Feathers were now used on the shafts levelled at the vagaries of Fashion.

"At all elegant Assemblies, there is a room set apart for the lady visitants to put their feathers on, as it is impossible to wear them in any carriage with a top to it. The lustres are also removed upon this account, and the doors are carried up to the height of the ceiling. A well-dressed Lady, who nods with dexterity, can give a friend a little tap upon the shoulder across the room, without incommoding the dancers. The Ladies' feathers are now generally carried in the sword-case, at the back of the carriage."--(_Times, Dec. 29, 1795._)

* * * * *

"A young lady, _only ten feet high_, was overset in one of the late gales of wind, in Portland Place, and the upper mast of her feather blown upon Hampstead Hill."

"The _maroon fever_ has been succeeded by a very odd kind of light-headedness, which the physicians call the _ptereo mania_, or feather folly."

"The Ladies now wear feathers exactly of their own length, so that a woman of fashion is twice as long upon her feet as in her bed."--(_Times, Dec. 30, 1795._)

* * * * *

"We saw a feather in Drury Lane Theatre, yesterday evening, that cost _ten_ guineas. We should have thought the _whole goose_ not worth the money."--(_Times, Jan. 6, 1796._)

Here is a contrivance by which "A Modern Belle going to the Rooms or Balls" can go fully dressed, with her feathers fixed:--

"There is to be seen in Gt. Queen Street, a Coach upon a new construction. The Ladies set in this well, and see between the spokes of the wheels. With this contrivance the fair proprietor is able to go quite dressed to her visits, her feathers being only a yard and a half high."--(_Times, Jan. 22, 1796._)

The freaks of fashion, towards the latter end of 1795, are most curious. "Waggoner's frocks," and the "Petticoat" dress, are singular illustrations of feminine taste. This latter is noticed in a paragraph in the _Times_, 27th Oct. 1795. "The present fashionable dress is the most simple imaginable. The petticoat is pinned to the Cravat, and the arms come out at the pocket holes."

"The only new fashions that remain for our modern belles are certainly puzzling and difficult. There can be nothing new, but going either dressed or naked."--(_Times, Jan. 27, 1796._)

The following paragraph from the _Times_ refers not only to the general absence of dress, but also to the famous (or infamous) Miss Chudleigh, a maid of Honour to the Queen, afterwards Duchess of Kingston, and tells the story of how the Princess of Wales, wife of Frederick (father of George III.), rebuked her for her nakedness.

"One night, when the late Duchess of Kingston appeared at Ranelagh in a dress which may be compared with the undress of some of our fashionable _belles_, a _handkerchief_ was thrown to her, not from the Prince, but the Princess of Wales."--(_Times, March 5, 1796._)

"Lady Godiva's Rout, or Peeping Tom spying out Pope Joan," is by Gillray, 12th March 1796, and is a scathing satire on the extremely _decolletée_, and diaphonous, dresses of the time. The fair one, whose uncovered bosom so attracts the candle snuffer, is intended to represent Lady Georgiana Gordon, afterwards Duchess of Bedford.

"High Change in Bond Street" is by Gillray (27th March 1796), and is a most amusing caricature of the then prevalent fashions both of men and women. The "Bond Street Loungers," are depicted to perfection.

"At the late Fandango Ball in Dublin, a certain Lady of Fashion appeared in the following very whimsical dress:--Flesh coloured pantaloons, over which was a gauze petticoat, tucked up at each side in drapery, so that both thighs could be seen; the binding of the petticoat was tied round the neck, and her arms were through the pocket holes. Her head dress was a man's pearl coloured stocking, the foot hanging down at the back of the head like a lappet, and in the heel of the stocking was stuck a large diamond pin, the _tout ensemble_ not less novel, than ludicrous."--(_Times, May 26, 1796._)

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