Le Corsaire 16th May 1829


The most bizarre designs are those that ladies prefer for chiffon dresses. Apart from the fact that the colours with which these fabrics are variegated stand out, there is disproportion in the size of the objects. Are these flowers? You would say old lampas for upholstery. Are these subjects? You think you see Chinese hangings.


The waistcoat used to be a sleeveless justaucorps. This name has just been given by our first tailors to a coat which has skirts; very long and square: it is made in English blue rap, and it is trimmed with yellow button and openings; the skirts join without any notch.

There is a large selection of these light fabrics, at Ozaneaux, tailor, Palais-Royal, n. 169, next to the Valois café.

The shape of the men’s hats is slightly flared at the top, and the edges very raised in a roll. The Corderant stores, located rue Coquilliere, n. 43 to the first, are always the first provided with the most recent varieties of fashion, and moreover, the prices are very moderate, which does not prevent the quality of its felts from being perfect.

Les dessins les plus bizarres sont ceux que les dames preferent pour les robes de mousseline. Outre que les couleur, don’t ces etoffes sont bariolees, tranchent, il y a de la disproportion dans la grandeur des objets. Sont-ce des fleurs? Vous diriez d’ancien lampas pour meubles. Sont-ce des sujets? Vous croyez voir des tentures chinoises.


La soubrevest etait jadis un justaucorps sans manches. Ce nom vient d’etre donne par nos premiers tailleurs a un habit qui a des basque; tres-longues et quarrees: on le fait end rap bleu-anglais, et on le garnit de boutons jaunes, ouvrages; les basques se joignent sans aucun cran, sur la poitrine.

On trouve un grand choix de ces etoffes legeres, chez Ozaneaux, tailleur, Palais-Royal, n. 169, A cote du café Valois.

La forme des chapeaux d’homme est legerement evasee par le haut, et les rebords tres-releves en rouleau. Les magasins de Corderant, situes rue Coquilliere, n. 43 au premier, sont toujours les premiers pourvus des plus recentes varieties de la mode, et de plus, les prix sont tres-moderes, ce qui n’empeche pas que la qualite de ses feutres son parfait.

Le Corsaire

Modes. 24th January 1829

25th of January 1829

We have spoken of frills en rideau, frills which, even in Chantilly blond, are a half ell high. The bias tucks, and even the ribbon treillages are the same height. We make the treillages in moire ribbon in a colour that that contrasts with the background of ball gowns, or in similar ribbons, that is to say, in pinks, blues, yellows, and whites.

The fullness of short sleeves, called en beret, is such that if we unpick one of these little sleeves, either gathered, or bubbled, or draped, from above the wrist which goes just around the arm between the elbow and the shoulder, one finds that the piece of fabric of a half yard, or even three quarters of a yard, has been used.

The sellers of novelties have trouble agreeing on the colour eminence; it is wanted by some to be purple.

We have seen at a belle assemblee lots of violet hats, lined in white, and a few lined in yellow. A hat of buff satin, lined and ornamented in transparent ponceau satin, hat for trimming two esprits that were white with a black curled base. Willow plumes, blue and black, or pink and black, ornament hats of black velvet, lined in vivid pink. A boiteaux willow has between the length of three knotted barbs, a black barb between two pink barbs, or a blue barb between two black. In the past, we called the boiteuse a feather of two colours separated at the edge.

A design of the name mephistopheles is a ponceau ribbon with spiked edges of black, or black with spiked edges of ponceau.

The most elegant hoods are of gros de Naples or of moire the colour of yellow bird of paradise/ On the edge of the pass[?] and on the flap, is embroidered with a garland of leaves of almond or of ivy, in ponceau silk. The edge has a high blond for trimming. In demi-neglige, the elegants wear redingotes of satin or of gros des Indes with a double pelerine. These pelerines are bordered with a fringe with four rows of braided silk net.


Some men’s coats are trimmed with sky blue plush. The little collar is of astracan grey.

At balls, there are fashionists who wear grey and black chequerboard stockings: their handkerchief is of batiste, with an inch wide hem; the corners alone are embroidered.


To today’s sheet is joined engraving 2665.


Coiffure ornamented with pearls and velvet by Mr Hippolite, Dress of gros des Indes trimmed with bubbles of gauze and satin palm leaves by Mme Hippolite.

From: Journal des Dames et des Modes

Onward to 31st of January 1829

Back to 20th of January 1829

Modes. 20th January 1829

20th of January 1829

In general the hats offer pink under black, white under violet, ponceau [poppy-colour] under green, yellow under brown; pink and blue all united, uncut with other colours. When a hat isn’t ornamented with willow or two esprits, it has, for a trimming, a great number of very long white feathers.

To ornament head-dresses of hair, there are gauze ribbon cockades, in a colour called cheveaux [hair colour], which is more or less dark, more or less light, nuanced to the shade chestnut, brown, or blonde, of the tresses. These ribbons are woven with gold or silver.

We have seen at a ball, hops in bloom, interspersed with ponceau [poppy-coloured] feathers, the whole forming a crown. Other garlands are composed of bunches of grapes and roses. As an ornament to the ball coiffure, it is necessary again to mention the pink geranium.

We call sleeves montees a l’anglais, those which have, in addition to the circumference of the sleeve and the armscye, a crescent of fabric, of similar fabric to the dress, but gathered and pleated in a thousand pleats. This crescent represents the epaulette of the uniform of British troops. Sometimes it is in velvet on a satin dress, and satin on a redingote of velvet. Its purpose seems to be to allow the dressmaker to attach the sleeves very low, below the shoulder.

A few fashionists have brought back to the wrist the circular bouffant which, last summer, on sleeves a la Marie, enveloped the elbow. Thus descended, we name it manchette.

We make, for ladies who don’t dance at balls, lots of dresses in embroidered grosgain.

In going out for a ball, some ladies put on pelisses entirely lined in fur. These witz-chouras descent less low than normal pelisses.

The round collar on men’s cloaks falls lower than the elbow.

Oddity of the moment: there are women’s stockings the colour of flesh under which little birds are embroidered in Navarin blue, or butterflies painted in colour.


To the sheet of today is joined engraving 2664


Hair-style ornamented with lame ribbons and pearls by Mr Mulot. Dress of crepe trimmed with paws[?] bordered with selvedges of satin.

From: Journal des Dames et des Modes

Onwards to 25th of January 1829

Back to 15th of January 1829

Modes. 15th January 1829

15th of January 1829

Young people wear to balls dresses of crepe, whose hem is trimmed with a bias fold close to the feet, and surmounted with three pleats. Sometimes these pleats are in satin of a different colour to the dress: then, bodice and sleeves are in harmony with the pleats.

We border most bodices with two or three bands tulle, gathered and pleated into large piping; but the shoulders are always off the body.

Besides the arrows, ears of wheat, and flowers in pearls that ornament head dresses of hair, there are belts of pearls; we clip even satin bodices with pearl rosettes.

Some fashionists trim the bottom of a ball dress, whose bodice is pink or blue, with moire ribbons in the colour of the bodice. These ribbons form a treillage that goes up to the knees.

Often, young elegants wear a tulle dress over a dress of yellow satin. The tulle dress is embroidered with carnation buds, ad, at the height of the knees, a range of bouquets.

Berets are, like head-dresses of hair, ornamented with pearls. Often a beret of eminence coloured plain velvet is bordered with two rows of pearls; a rosette in pearls is embroidered on the flat; and three or four cordons of pearls finish in a tassel descending to the shoulder.


Some fashionists wear black tortoiseshell eyeglasses in the form of a figure of 8: a black ribbon, passed in the upper part, suspends them on the chest at the height of the second button of the redingote.

We now make ballroom shoes, for men, in patent leather.

The beaux-fils wear to the ball, knee tight trousers, which mark well the calf, and which are narrow to the bottom of the leg. These trousers only descend to the ankle; they have silk under-feet[?]. Waistcoats are in little velvet in bright blue with fantasy designs. The coat, black or brown, a collar very large in the same fabric: the lapels are wide and have sharp points; the waist low and narrow, the sleeves just to the wrist, and short enough to see a flat or pleated cuff.

The big fashion is to have blue gloves, sewn and embroidered in white silk.


To today’s sheet is joined engravings 2662 and 2663


Satin hat ornamented with blond and flowers by Mme Beauvais, Rue Ste Anne, No 77. Dress of merino embroidered in silk.


Cloth [broadcloth or similar?] coat from Mr Barde, Rue Vivienne, entirely lined in silk. Waistcoat of embroidered grosgrain. Under-waistcoat in velvet. Trousers of cashmere. Cloak of cloth [broadcloth or similar?] lined in staff, and a plush collar. Cloth suit from Mr Barde.

From: Journal des Dames et des Modes

Onwards to 20th of January 1829

Back to 10th of January 1829

Modes. 10th January 1829

10th of January 1829

Besides butterflies and hummingbirds, the hair dressers employ cordons and bandeaux of white pearls to ornament the head dresses of hair. Often these cordons form an open basket in the middle of the head. This fashion is from the reign of Henry IV: various portraits of Gabrielle d’Estrees are representative of this hair style. When the pearls are mounted in a diadem, two cordons serve to fasten it, will reach the top of the coiffure from behind. Flowers also figure sometimes as a diadem.

The round bottom of tulle bonnets, called bonnets parres, have gathers held on to the top of the head by a rosette of gauze, satin striped ribbon. Two double pleats, in tulle, garnish the border of these bonnets. Under the last pleat, which is raised, there is a cordon of lily of the valley, or heather in flower.

Lots of bright green ribbons are employed by the marchandes de modes. On a hat of violet gros des Indes, they put loops and cones in green gauze ribbons.

There is on the satin or velvet hats of a transparent colour, such a profusion of towers of blond, that the two esprits that form the obligitary garnish, are as if implanted in cones of blond.

The hem of plain velvet dresses that are destined for grand soirees, are garnished with a high frill of black or white blond, at the head of which is a twist of two gold strands. From distance to distance, this twist forms a rosette, and the blond frill is designated in festoons.

Some lady’s mantles, in fabric of cashmere, are ornamented, at the collar and the lower border, with Etruscan designs cut with a punch.

The furriers must be overjoyed: the shopping for boas and fur palatines doesn’t stop the buying of muffs: they are in all sizes.


On this day’s sheet is attached engraving 2661


Plain velvet hat ornamented with feathers and satin ribbons, by Mme Millet, Boulevart Italien, No 20. Plain velvet dress trimmed in Marten. Half ankle boots.

From: Journal des Dames et des Modes

Onward to the 15th of January 1829

Back to the 5th of January 1829

October 1829 Fashion Plates from: La Mode: Revue des modes, galerie de moeurs, album des salons

Tail coat without side pockets, waistcoat of silk brocade, cravat without the collar of the shirt.

Alpine dress, Moire hat.

Alpine dress, printed in the Magasins des Dames a la mode at 59, Rue des Petits-Champs, Satin hat, heeled ankle boots.

Morning Wrapper – – – – – – – – – – – – – Redingote of lined muslin

Bonnet d’Herbault in blond and flowers.

Over-dress in red cachemire, Greek embroidery in gold

Under-dress in white satin trimmed in blond

Folding Chinese fan, placed in the ???

Hat of sky blue velvet, lined in white satin from the atelier of Herbault

Dress of garnet coloured Indian reps, ciscan gloves from chez Bodier, Rue Richelieu

Corder’s[?] bonnet. Sleeved waistcoat of reindeer skin, patch pockets. Trousers in knit suede colour; from l’athenee des modes, rue Richelieu, No. 104. Leather gaiters from chez Boivin, rue Castiglione.

Black velvet robe trimmed with fringes of feathers. Beret a la Rob-roy with bird of paradies, the head with a ruby eye.

Coiffure of rose buds. White satin robe. Tunic in Japonnaise trimmed with rouleaux forming a chain. Sleeves of blond. Jewelled clasps. Garnet poplin cloak lined in green plush, large mantle in big pleats trimmed with a fringe.

New opera hat. Pleated Diebitsch. Brown coat reflecting blood colour [possibly a changeable fabric?], lined in similar velvet. Trousers of black cashmire.

Velvet train embroidered in gold. White satin robe trimmed in blond. Barbed mancherons and similar sleeves. Pearl adornment. Dress and train from Victorine. Coiffure from Frederic.

Berline made for S. A. R. Monseigneur le Duc de Bordeaux by Thomas Baptiste.

Convertible de Heliers by Thomas Baptiste, rue Lepelletier: No. 23.

From: La Mode: Revue des modes, galerie de moeurs, album des salons

Principals of Costume, October 1829

(Translated (somewhat inexpertly by me) from French)

Those who attach the most importance to fashion are almost always less than the people who affect to distance themselves from it; because originality in dress is, more often than not, a mania for appearing bizarre, and a manner of being ridiculous.

It is in our plan of stopping sometimes the exigencies in the fashion to critically examine good taste. One of our friends, an erudite artist, who has made all the sorts of costumes, in all times and in all countries, for research, has consented to help us in our studies; one must pardon him for speaking seriously on a thing perhaps frivolous, but he considers it like an art, posing that the foundational principle is that taste never has to be called and embellished with that which is today convenient. In support of that opinion, he argues that tight and embarrassing clothes always take away the advantage of those who wear them; that the grace cannot exist without ease and a certain abandon; that in fashion, there are general precepts, but no absolute laws. We take his opinion, that it is not in the crowd of people following most strictly the new fashion that he recounts: instead, the women, like we can name, in distinction and elegance attired and charming look, without imperious command. This forward we have found useful, now our knowing friend will instruct us in his studies.

Women’s Clothes (First Article)

In Ancient Greece, clothing was worn with reason in the rank of fine art; the principles were determined; its influence on taste, on the arts, on habits and morals, was wisely appreciated, and public officials had a duty to prevent the violation of its fundamental laws.

In modern times, clothing has degenerated considerably; the forms are more disgraceful and the most incoherent combinations of colour have been adopted with eagerness; just in our days the middle classes, deceived by self-interested observations and without taste, have surrendered to each object of an extreme ridiculousness. The most high classes even let themselves be deceived.

Happily the progress of public taste starts to do more or less justice. The knowing of all that relates to the human figure and the continual relationship with the admirable models that Greece leaves us, tend to destroy the bad taste of graceless automatons and the folly of a costume that, the most often, is in direct opposition to all notions of taste.

The truth of this point is that the French study exclusively the costume of other countries, and put it centre stage too often. The other nations give Frace credit because of the knowledge they attributed to them, and all the more willingly because they thought these matters frivolous, and having no need of the help of the philosophical principles.

What is dignified of remarking, is that this is regards mainly the dress of women, while men in Franch generally follow English fashions.

“The pretintailles [fashions?] of the old regime suit us even less, who never had a single piece of clothing of their own invention. In the time of Henry IV, the costume of France was Spanish; under Louis XIII it was Flemish, Louis XIV added the wig of Polichinelle [Punchinello?]. Under Louis XV it was strangled, and the size of our justaucorps increases or decreases at present according to our tailors in London.

Today the other nations, and above all the English, follow most often the French fashions, and settle the preferences of their clothes after the most simple imitations of the models of Greece.

One is brought to think with the Athenians that the matter of dress and the appearance of the human figure is not less one of fine art than the construction of houses and the arrangement of gardens.

If the characteristic trait of all fine art is that the subjects who are depicted have a certain expression or produce on the spirit an effect at the same time, constant, and agreeable, the costume produces it in a striking way, and the principals on which it is called for that which is neither indefinable nor even vague. Therefore, for example, like all the objects that are expanded at the top, and narrowing at the bottom, the same as reversed pyramids, an air of lightness, and an appearance of gravity in the opposite sense, the same, for costume, a light head and a trained dress characterise the most elevated lady, while a big hat and a short dress distinguish the young girl.

Colours are not less susceptible to be reduced to principals, as we shall see.

Maybe the magic effects of fashion, and the making certain that dress is most distinguished, when it does not conform, is less agreeable compared to a dress of lesser beauty that she made, causes one to think of some people who, in costume, the public taste stands above reason and is independent of all principals.

To respond to an objection, we will observe that one of the circumstances that here influences taste, influences also fine art, to which people don’t refuse to have certain principals. This circumstance is the novelty without which the meaning would cease to be exciting; the novelty, so attractive, is tellingly irresistible for youth, which is inseparable from the same idea, and the most striking sign of old age is novelty’s absence.

In declamation, in sculpture, in painting, in rhetoric, in poetry, and in music, who is the man who insensible to the charm of novelty while respecting his principles? And in the costume, whose subjects address so directly to the senses and interest doubles the imagination, should we expect for the novelty to cease to have its effect? Is it not more reasonable to thank that it acts again to our advantage?

The same love of novelty that produces la mode, is also, in some sort, the reason for which all classes of society are so eager to follow the changes: it is they who render the mode universal, and becomes the reason why it is adopted even by the most ugly persons alike as those who give grace to all they wear.

The first principal of costume is that a large garment that drapes in part over the body, and that envelopes the rest, is generally preferable to a dress more fitted, which is fitted to everything by its cut and its shape.

As to the grandeur, the form, &c., the details depend more or less on the circumstances, therefore we will not stop there, and we will inquire only on the patterns of superiority of the first garment: 1st it is always more cold in summer and more warm in winter; in the two seasons it exposes less the ill effects of the changes of temperature than a more fitted garment. There you go for the utility; 2nd the same garment can always be worn in a manner pretty or grand; a fitted garment is more often petty, and becomes ridiculed when the mode is past. There you go for the expression.

The second principal of costume is that, if all the objects when enlarged at the top and diminished at the base have, like the inverted pyramid, an air of lightness and the appearance of gravity in a contrary position; the human figure also, when the clothes that are worn are in one or the other form, take equally one or the other appearance. It is that we have already observed a light coiffure and a wide and long dress indicate a lady of elevated rank, while a large hat and a short dress belong rather to the young girl.

In examining in a critical manner the costume of women, and above all that of the present day, it is necessary to observe that we have taken its general character a little while after the beginning of the French Revolution, when the imitation of the Greek models became a la mode. The old colour of clothing and that which was unpleasant was set aside for more graceful clothing, more commodious, and more in accordance with nature. That clothing has endured up until today with those more marked characters; the point on which it varies, in different times, with the raising and lowering of the waist. It is sometimes high, sometimes low, sometimes middling; but it is evident that the last place is the only one that is natural or convenient.

Here we remark that the beauty of the waist itself depends a lot on the form of the corset.

The shawls or the scarves compose the most ordinary full body adornment. The first is only convenient for tall and thin people: but it does not produce a beautiful effect even for them, while it is ruinous for short people, or those who are overweight, however well made they may be. The scarf is better convenient for all sorts of people; it works perfectly as the peplum of the ancient Greeks, and it is capable of the same agreeable arrangements.

We go now to make a few remarks on the different parts of women’s dress, and begin with that which serve the head, and first of all with the veil, which is the most elegant of all. In large, easy pleats, they are agreeable in themselves, and contrast agreeably with the colours of the figure. At the same time they excite curiosity, they hide that in the face which appears harsh, and give grace and beauty.

A woman with an oval face shape should wear a hat with a flared brim that reveals the bottom of the cheeks. A woman with a round face shape should wear a less open hat; and if the bottom of the cheeks are too protruding, it diminishes that default in the edges of the hat stopping near the chin.

A long neck necessitates the corners of the hat descending and the extremity of the dre, s filling, more or less, the intermediate space. For a more short neck, it is necessary to have a hat equally short and closing perpendicularly, and the part next to the dress neither high nor big. People who have big shoulders must have shoulder pads very full on the corner of the shoulder; the front like the back of the dress must form oblique pleats from the point of the shoulder to the middle of the bust.

If one has too little chest, it can be remedied with oblique pleats at the top of the clothing.

If the bottom of the back isn’t ample enough, its resemblance can be supplied with pleats at the back of the dress.

Big women can wear a large or more garnished dress, or one and the other; little women a less large dress, but also as long as possible, with very low garnishing.

The tight shoes make the foot appear large and the instep particularly protrude. Would you believe that it’s still a new truth, and that it is not generally understood?

From: La Mode: Revue des modes, galerie de moeurs, album des salons

Onwards to part two: Harmony in Colour

Newest London and Parisian Fashions for December 1829

This Publication is indebted to Mrs. Bell, removed to No. 3, Cleveland Row, opposite St. James’s Palace, for the designs and the selection of the Fashions, and the Costumes of All Nations, which regularly embellish it. Mrs. Bell’s Magazin de Modes is replete with every fashionable article ; and at which there is a daily and constant succession of novelties in Millinery, Dresses, &c. &c. &c. AND AT MOST MODERATE PRICES. – Mrs. Bell’s Patent Corsets are unrivalled, and very superior to all others; they impart an indescribable grace and elegance to the figure.

First Plate
FRENCH FANCY-BALL DRESS. – (Une Merveilleuse.)

The fancy-balls of the French were formerly entirely confined to one season of the year; but among the British now residing in France, are many of the fair daughters of Hibernia, who are passionately fond of fancy balls, and who were the first who introduced them to that high favour they are now in England. Since the sojournment of our Islanders in the French capital, though confined to a select few, and those of the very higher classes, the fancy-ball of various travestissemens, has been introduced with, a success which foretells its progressive influence.
It seems, however, that they have not quite attained to the true spirit of the beautiful diversity displayed by the British on these occasions; and that their fancy displays itself much in a kind of burlesque on the present fashions: such as the short petticoats, tunic robes, pinched-in waists, and flying ribbons at present in vogue. Such appears to be the design of the dress which we present to our readers, which was worn on a particular fancy fete, by a French lady of distinction.
It consists of a short petticoat of garnet-coloured satin, trimmed by a band of velvet the same colour round the border, finished, we cannot say, next the feet, but considerably above the ancle, with narrow lace of a Vandycke pattern. Over this is a tunique robe of orange-coloured gros des Indes, lined, and turned back with facings of white satin, edged in battlement-notches. This tunique is short, is left very open in front, and has, on each hip, a band of orange ribbon with long ends. The back of the body, (for there is no appearance of it in front) with the Mancheron sleeves, are of white satin, trimmed with blond; to these are attached long sleeves of orange-colour, fitting tight to the arm, and where the sleeves unite at the elbow are orange-coloured ribbon, with long bows and ends.
The bust-part of this dress is left extremely open, yet it is entirely concealed: a double trimming of blond on white satin, unites at the waist to the notched facings of white satin down each side of the tunique. A shirt of delicately fluted tulle is worn over the neck, and front of the bust, turning back with a fine Vandycke lace collar, and the shirt fastened down the front by buttons of emeralds set in gold.
Over this is a scarf of embroidered tulle, the ends depending low down the front of the petticoat, and finished all round by a very narrow Vandycke edging. The hair is very elegantly arranged in the newest French style, and is ornamented on the left side with a bow of orange-coloured ribbon, of rather an outre size; from this spring four black Heron’s feathers; two almost erect, two drooping. The stockings are of white ribbed silk; with shoes of whito satin cut
down remarkably low, and very long quartered. The ear-pendants are large, and of the new heavy fashion of massive gold. Over the neck is thrown a chain of gold beads.
We have authority for saying that this dress is worn to ridicule the female dandies of France, known by the title of Merveilleuses: ladies whose aim is to excite sensation and wonder, by their following every fashion, in the extreme.


A dress of very light fawn-coloured gros de Naples, with a very broad flounce, in points; those points which are at the head of the flounce pointing upwards; each are edged with green satin brocaded in spots of ruby colour. The body is made plain, with a coller a la Paladin, pointed all round; the two front points, longer than the others, terminate under the sash, and form a kind of stomacher in front of the bust; and are trimmed like the rest of the collar by a full quilling of blond and a narrow rouleau of green satin; the sleeves are a l’Imbecille, and are finished at the wrist by a cuff trimmed with narrow blond; and confined next the hand by a neat gold bracelet with a pearl broach. A sash of plaid ribbon encircles the waist, of ruby, fawn-colour, and green, and ties in front with a small bow, and ends just above the head flounce. A papillon-rosette, formed of blond and green ribbon, is placed on each shoulder; though the breadth of this dress over the bust appears capacious, and the tucker of blond very narrow, yet the shoulders are more concealed, and it is altogether a very decorous improvement on the low dresses worn some months ago. The bonnet is of the last new shape which we so highly recommend; appearing like a hat in front, from being so becomingly short at the ears. It is of celestial blue gros de Naples, spotted with ruby, and finished by slight puffings of broad striped blue ribbon, and two blue aigrettes. A small bow is placed under the right side of the brim, on which side the bonnet ties close, with a bow; very broad strings float loose. The shoes are of lilac satin, The ear-pendants are of rubies.


A lilac pelisse of reps silk, ornamented down the front of the skirt, where it fastens by embossed satin, representing leaves, with three points; these are divided by a rather full rouleau, on each side of which are spread out the leaves. The body is made plain, with sleeves a la Donna Maria; the two bands which confine the fulness of the sleeve at the top, have the appearance in front of a pelerine-cape; which it would not be possible to wear if the sleeves were left unconfined. The pelisse is made as high to the throat as possible, where it terminates by a narrow ruff of lace. The bonnet is of white satin, trimmed and tied with white striped ribbon; the crown is also ornamented with blond; and a demi-veil of blond turned up in front, is placed at the edge of the brim. A mentonniere of blond fastens the bonnet under the chin. The shoes are of black corded gros de Naples.
N. B. A back view of the same costume, in fawn-colour, with the bonnet trimmed with blue striped ribbon.

Plate the Second

A pelisse of Cachemire; the colour tourterelle, made en tunique, with coloured Cachemire-shawl bordering. The body made plain, and the waist encircled by a band of the same kind of trimming which forms the tunique; sleeves a l’lmbecille, with rounded ornaments at the wrists, turned back the same as points; with a ruffle of lace next the hand, and beneath that a bracelet of aqua-marina, and gold. Two pelerine-capes, each edged round by shawl-trimming, descend over the shoulders; and a double ruff of lace encircles the throat, tied in front with white striped ribbon. The hat is of black velvet, trimmed under the brim, on the right side, with an ornament, en coquille, of broad blond, having, in the centre, a rosette of white striped ribbon; a rosette of which, is placed on the left side beneath the brim; and two long puffs of this ribbon, mingled with two of black velvet, ornament the crown.


FIG. 1. – Canezou-spencer of white jaconot muslin, the body laid in plaits, and a black satin fiancee round the throat, fastened in front by a gold buckle, A hat of pink gros de Naples, with very broad stripes of green and dark purple: the crown trimmed with bows of green ribbon, figured with purple.
N. B. – Back view of the same figure.
FIG. 2. – Front and back view of a crape beret of etherial-blue, ornamented by bands of silver; that part of the calotte inclosing the hair in front, formed of silver net-work.
FIG. 3. – Back and front view of a bonnet in white plush silk; with three bias stripes under the lining, of broad, pink plush; the edge of the brim bound with the same. The crown trimmed with a row of puffing all round, of broad, pink, striped ribbon, with a bow of the same on the left side.
FIG. 4. – Front and back view of a black blond cap, the edges of the blond embroidered with white, and the crown embroidered with white sprigs. The borders of this cap turn back, and over each temple is a bow of rose-coloured satin ribbon; a bandeau of which, crosses the forehead; puffs of the same ribbon are elegently disposed among the blond.

Plate the Third

A dress of myrtle-green satin, with a broad hem at the border, headed by a braiding of satin. A Melclat-cloak in satin de laine, of a dark Etruscan brown, with broad stripes of scarlet, on which are Arabesque designs in black. A large pelerine cape descends rather lower than the elbows, and is surrounded by a deep fringe; over this is a rounded collar-cape, fringed in the same manner, the fringes of the same mingled colours as are found in the cloak, which fastens in front of the throat by a double broach of white and gold enamel, and is surmounted by a bouffont-ruff of net. A bonnet of black velvet with ornaments of black blond and plumage, with a black lace veil. Half-boots of black corded gros de Naples, and doe-skin gloves.


A dress of milk-chocolate coloured gros de Naples, fastened down the front of the skirt with large rosettes, representing quatrefoil; the body en gerbe, with a pelerine-cape, trimmed round by broad fringe, with a beautifully wrought head; next the throat is a falling collar finished by the same kind of fringe, and surmounted by a very narrow, single ruff of lace. Sleeves a l’Imbecille, confined at the wrists by very broad bracelets of gold, fastened by an ornament-broach of jewels, composed of sapphires and rubies. Bonnet of pink gros de Naples, with large puffs of the same, in the centre of which is one of milk-chocolate colour. Half-boots of sage-green kid, and white gloves, embroidered at the back of the hand in colours.


Over a satin slip of bright Jonquil is worn a frock of tulle, of the same colour: above the broad hem, at the border, is a trimming, in wavings of gauze ribbon; each point of which is finished by a rosette of the same, and a full-blown Camelia (Japan rose) with its green foliage. The corsage is a la Sevigne; with very short sleeves, over which are ornaments a la Physche, of very broad, white blond. The hair is arranged in the Chinese style, with the loops of hair much elevated on the summit of the head; and is crowned by bouquets formed of ears of corn, full blown damask, or Japanese roses, and blue corn-flowers. The ear-pendants are en girandoles, and are, as well as the necklace, formed of cameos in coral. The shoes are white satin, tied en sandales.
N. B. Two back views are represented in this plate; one of the black velvet bonnets in the carriage dress; the other the head-dress in hair, a la Chinoise, on the ball-dress.

Plate the Fourth

A dress of mignionet leaf-green satin, with two white blond flounces over a moderately broad hem; these flounces are at some distance from each other; and from the upper one to the feet, are placed, in front, four rosettes with one pointed end; in the centre of each a gold button. The body is plain, with fichu-robings, which are edged with white blond and fasten under the sash, which terminates in a bow in front, of the same kind as the rosettes at the border. A double ruff of lace comes just below the throat: as this is one of those high dresses, which a slight in- disposition may plead excuse from the usual etiquette of low dresses for evening parties. The sleeves are a l’Imbecille, with blond ruffles turned back; and next the hand very broad bracelets of braided hair, fastened by an emerald set in gold. A dress hat of white satin is trimmed under the right side of the brim with three ornaments of blond, and under the left by two rosettes of richly striped white gauze ribbon: the crown of the hat is ornamented with blond, and full bouquets of pink and white exotic flowers, The shoes are of green satin, the colour of the dress, and the gloves white kid.


A dress of etherial-blue crape, the corsage a la Sevigne; the sleeves a la Donna Maria, of white blond or crape; the Spanish points at the wrist, double, and of rich blond. The head-dress, a beret of blue crape, ornamented by bands of silver. This dress is trimmed at the border of the skirt, by a very full ruche, set on in points, forming an ornament nearly approaching to the knee.


A pelisse robe de Chambre of some very fine stuff texture, such as double Merino, Lyonese-crape, or European Cachemire. This represented in our engraving is of a buff-coloured ground, on which is a running pattern of flowers of various colours. Over sleeves, which fit almost close to the arm, and terminate at the wrist by a cuff of royal-blue pluche de soie. are very loose sleeves below the elbow lined with blue plush, and which appear like the Russian-mantelet-cape. Over this is worn a pelerine of royal-blue plush silk, the ends dependent in front, to the feet. Round the throat is a very narrow, but full ruff of lace. The hair is arranged a la Madonna, with a cap of fine point lace in the Cornette-style, but not fastened under the chin. The slippers are of blue kid.


FIG. 1. – Beret cap of white satin and blond; the caul, white satin, and the front part formed of double points of blond; long lappets of blond depend over the back, and strings of gauze ribbon of pink float over the shoulders in front. At the base of the row of blond next the hair are bouquets of the yellow blossoms of the Auricula.
FIG. 2 – Head-dress in hair, parted on the forehead with full clusters of curls on each side of the face; on the summit of the head is a loop of hair, behind which the remainder is formed en corbeille, in open-work.
FIG. 3. – Back view of the same head-dress.
FIG. 4. Fashionable blond cap; the caul formed en coquille, by rouleaux of blue satin; long ends of blue satin ribbon with lappets of lace float loose.
FIG. 5. Beret of pink satin, ornamented by gold bands.


Deeply penetrated with gratitude towards our fair and distinguished patronesses, for the increased success of our work, we feel it an incumbent duty to anticipate their wishes, by a faithful detail, both of English and foreign fashions, and their several changes; cautioning, at the same time, our general readers, to guard against following the extremes of fashion, for such arc always avoided by the female of real elegance. The dresses for the ball-room, and for the evening party, will be found, this month, more delicate in regard to what concerns the display of the shoulders; and though the petticoats are short, they are not indecorously so. The high patronage Mrs. BELL has long obtained from many ladies of the first rank, enables us, through her kind information, to offer a sure criterion, whereby to regulate the toilet of a distinguished female.
The most beautiful novelty in the hat department, is comprised in those for the carriage, one of which is of black velvet, bound with a bias of ponceau and black velvet figured in a pattern a la Grecque. The crown is trimmed with ornaments of black velvet, edged with the same velvet as that which forms the bias binding. A black weeping-willow feather, of tassel plumage, formed from what is called the ostrich-hair or barbs, droops gracefully over from the right side of the crown, and is fastened to one of the ornaments near the front, by a ponceau net- work, formed of narrow satin rouleaux.
A still more novel and truly superb carriage-bonnet, is of beautifully figured velvet; its colour is that of the dark velvet leaves, belonging to the petals of the pensee (heart’s-ease). White satin ribbon ornaments the crown, with a beautiful white weeping-willow feather, formed in the same manner, and of the same material as the black plumage above described. We particularly recommend the beautiful article of which this charming bonnet is made, which will be found far superior for winter than the newly-invented damask-satin; though the pattern on this splendid velvet is of a running kind, and the flowers represented thickly set, yet they are small, delicate and distinct, and the white ornaments impart a liveliness to the rich, sombre colouring of the pensee. The bonnets for the promenade are of plain black velvet, or of black satin, lined and trimmed with velvet, and these latter are expected to prevail much this winter, either in figured or plain satin; on the right side of the velvet bonnets, which are generally trimmed with black satin ribbon, is a bow, with the ends finished by feather-fringe net, with light fringe depending from the net, of extreme fineness, and of a marabout texture.
A very elegant dress for demi-parure, or afternoon home costume, is of Lyonese crape, of French grey, with a broad flounce at the border, festooned, and pointed and bound with black satin; the body made tight to the shape, and confined round the waist by a pointed cestus, bound with black satin; the dress is made rather more than partially low, with a Paladin collar round the tucker part, pointed in front, and bound in a similar manner to the other ornaments. The sleeves are of a very moderate width, and have mancherons diversified with black satin. Another home dress is of gros de Naples, the colour terre d’Egypte; this dress is made in the skirt en tunique, formed by layers of emerald-green plush silk, two rows of which surround the border, and face the sides; the body is made plain, and a broad collar-cape surrounds the throat, which is fastened close down like the facings. The sleeves are a l’Amadis, with the gauntlet-cuff formed of two rows of silk plush, the latter row coming nearly as high as the bend of the arm. This dress fastens down the front en pelisse, and is faced down, over where it is fastened, in pluche de soie.
Though there are as yet no balls of any eclat in London, it is expected that white crape dresses, beautifully embroidered or painted, in various colours, will be much in favour for that style of costume; the same light kind of dresses are also likely to be in favour for young persons at evening parties. Rich fringes prevail much in ornamenting dresses of satin or gros de Naples, and have a beautiful effect: in the make of the gowns, and in the form of their sleeves, there has been but little alteration this month, nor can we expect it till the fashionable winter is finally set in; the shoulders, certainly, are not exposed so much us they have been for the last two months, and when a dress is low, it is, while accordant with the rules of full dress, perfectly decorous. The new head-dresses boast more variety; in particular, we mention an opera-hat of the most becoming and elegant shape, formed of black velvet and black satin ribbon; scarlet and flame-coloured plumage, in feather-fringe, are tastefully mingled and disposed over the crown and brim; while a slight ornament, composed of the same, archly bends under the brim, and ties the hair; another head-dress for the same elegant spectacle, is a black velvet beret, with a row of very large white beads across the front part, which encircles the head, and round the crown are white satin puffs, and white marabouts. For the dinner party, the beret cap is reckoned very elegant; the crown, or caul, is of black velvet. The front is in Vandycke tiers of tulle, edged with blond, and white satin rouleaux, with points of pink satin, placed alternately. A beret for the evening dress party is peculiarly elegant; it is of black tulle, entwined by gold coloured satin rouleaux, which also form an open caul in treillage work, from whence depends a bow of gold-coloured satin ribbon, with long streamers; a beautiful plumage of gold colour droops and plays, in several feathers, over this very tasteful head-dress.
The novelties in out-door costume are also very attrac- tive; the most admired is a pelisse-cloak of gros de Naples; the colour, a beautiful tint, between the peach-blossom and the tourterelle. A mantelet-cape of black velvet, falls as low as the elbow, and is trimmed round with a rich, broad, cordon fringe. Over this is a falling collar, trimmed, also, with the same, while a pointed, standing-up collar of black velvet surmounts it at the throat. The great comfort, as well as the additional beauty to this cloak, is the Venetian sleeves, which are left open, and then fasten again down the arm, by gold buttons, exquisitely wrought, and in the shape of hearts; the seams of the sleeves are finished by a narrow rouleau of black velvet, and they terminate at the wrists by a black velvet cuff.
Another elegant envelope is a pelisse of gros de Naples, the colour Nile-water green; it is trimmed with sable fur-fringe, en serpentine, down each side of the skirt, in front, and over a moderately broad hem at the border: in the interstices formed by the serpentine wave, are branches of round foliage, formed of the fur-fringe, each leaf surrounded by a narrow rouleau of green silk, the colour of the pelisse. The corsage turns back, with lappels of green satin, discovering an elegant habit-shirt, or chemisette. The sleeves are a l’Amadis, finished by a gauntlet-cuff, with a very full frill-trimming, the same material as the pelisse, at the opening where the cuff buttons.
The colours most in favour are pensee, lavender-grey, peach-blossom, terre d’Egypte, emerald-green, gold-colour, pink, flame-colour, and bright geranium.


There are hats of figured silks in very large patterns, that are named Juliette. These hats are generally trimmed with blond and flowers.
Damask satin is a very brilliant looking silk; a hat has appeared of this satin of Jaune-vapeur, the trimming of which consisted in large puffs of plain black velvet, with notched ends. These ends were lined with satin and ornamented with fringe, with an open head of net-work.
The artificial florists make, with velvet, flowers resembling half-opening roses. These flowers are generally placed on white satin hats. Many hats of satin are ornamented with a very large bow, formed of a broad bias of satin. The two ends of this bow are trimmed with feather fringe. The greatest part of deshabille hats are of satin plush, or velvet, and have only a simple ribbon round the crown, which crosses and ties under the chin. Young persons wear hats of plush, very broad white stripes, on rose-colour, or Jaune-vapeur on white. These tie simply down by a white satin ribbon, which crosses the crown. The black velvet bonnets have almost all a broad black blond at the edge of the brim. Many hats of lilac, or of celestial-blue satin, have, on the brim, a half handkerchief of black satin, trimmed round with a ruche; the wide part is formed in puffings round the crown; and the corner is brought down to the edge of the brim. The hats are lined with black velvet, and the brim edged by a ruche; they have also four or five bows of gauze ribbon, with satin stripes. Some hats are of white satin, with four white aigrette feathers, tipt with Jaune-vapeur, with a demi-veil of blond at the edge of the brim.
The fashion-mongers give the name of apprets to these bands or bows with long puffs, which are always placed obliquely on hats; the same also extends to the end of the bows, to the fringes, or barbs of feathers.
The most fashionable of all colours is that of the orange- coloured breast of the Toucan, a bird from Brazil; this colour is particularly admired for bonnets, and looks well when trimmed with ribbon of cherry-coloured gauze.
Hats of Pensee coloured velvet are ornamented with a band of the same, as broad as the crown is high. The two ends of the band are trimmed with fringe, which is very broad. In front is placed two butterflies’ wings, formed of white blond.
Several hats, whether of velvet, or of satin and velvet, have, at the two ends of the bows, which form thetrim- ming, a fringe, with a handsomely wrought head. Fringes are made from the barbes of the Ostrich, as well as from silk. A hat-bonnet of plain black velvet, is ornamented with a long plume of the bird-of-paradise, and is reckoned the most elegant head-covering for the public promenade. For the morning-walk, the most appropriate hat is of velvet, in the English form.* {*About five years ago, a very handsome female friend of one of our Editors, went to Paris, where she acquired the name of La belle Anglaise, and every body imitated the small gypsy hat she wore; but such is not now in favour with the English ladies, nor has it been seen in England for some years. T.}
The pelerine-cape is trimmed with a fringe the colour of the cloak, mixed with black, and sometimes the fringe is all black. The collar is of plain velvet, and always of the same colour as the cloak. Wadded pelisses have very long sleeves, with narrow wristbands, and the plaits on the shoulder are fixed down by two or three rows of narrow braiding, placed at equal distances. Under these kind of sleeves, the stiffening is again introduced to puff them out.
Ladies coming out of the Theatre Italien, have been remarked with satin cloaks, lined with plush: they have very large capes, which, according to the present mode, descend below the elbow. On some cloaks are large open sleeves, which hang down on each side, and which are wrapped over the arms at the promenade.
A great number of pelisses have appeared, of changeable gros de Naples; they have two pelerine-capes, and a square falling collar, all surrounded by fringe. The front of the pelisse is ornamented with satin crescents, fastened in the middle by three buttons, which serve to confine the pelisse.
There are some pelisses of gros de Naples, having the two fronts of the skirts trimmed with a broad facing, edged with fringe; the corsage is also faced in the same manner; the sleeves are enormous at the upper part, but very narrow at the lower.
Boas, pelerines, and muffs, are the present order of the day.
A name is always of some importance, therefore we must not omit that given to a new material for cloaks; this is the mectaline, inspired by seeing the costume of the heroic followers of William Tell. It is of a very beautiful and appropriate texture.
A fashionable lady has again been seen at the Tuilleries, wearing pantaloons. These last were rather full; they were of dimity, and descended as low as the heel of the half-boot; they were cut away over the instep, and were fastened under the foot by a strap on each side, with a gold button. It must not be imagined that a riding-habit was worn with them. The lady who had on these pantaloons was habited in a silk dress.
Cloaks are now so much in favour, that a lady of fashion has sometimes four or five in her wardrobe. It is to satisfy such diversity of taste, that has brought into vogue those charming envelopes of merino, and pearl-grey Cachemire, embroidered in shaded green silk. Satin cloaks, which are destined for the morning walk, have large capes of velvet, falling below the elbow, and surrounded by fringe.

OUT-DOOR-COSTUME. – Down the front of pelisses of gros d’hiver, or of Turkish satin, are seen ornaments of satin, which serve as fastenings. On some wadded pelisses, pelerines, trimmed with fringe, are added.
From two o’ clock till four, the crowds at the Tuilleries have been lately immense. There were seen several pelerines of velvet on dresses made of changeable silk. One lady wore a pair of pantaloons, a la Mameluke, the fulness drawn in under an embroidered band round the ancle, edged with narrow tulle. This trimming fell over half-boots of Turkish satin.
Some spencers have appeared in the promenades, a few days since; some were of black velvet over a silk petticoat. Others were of blue or green gros de la Chine, with a white petticoat. One of these had, across the bust, a drapery a la Sevigne.
The pelerines of the new cloaks, whether of kerseymere, or double merino, descend lower than the elbow, and are trimmed with fringe, having an open work head of net. If the cloak is figured, the fringe corresponds in colours with those of the pattern and the ground.
A certain fashionable Duchess has been seen with a pelisse of satin, the colour, Jaune-vapeur, lined with white silk plush; the skirt was not closed down in front, but discovered a pretty muslin petticoat, with bouquets of flowers embroidered over the broad hem. The pelisse was trimmed round with a narrow rouleau of satin; but a double cape was surrounded by tassel-fringe.
Boa tippets arc worn in every style of dress; and the fiancees tied round the throat are of velvet of two different colours; some are one part velvet, the other satin, and are trimmed with narrow blond.
Pelisses of gros de la Chine are trimmed with tufted fringe; they are of changeable colours.
The newest cloaks for ladies are of double Merino, and are generally blue or red. Sometimes they are of nut-brown or lilac, figured with black, generally in Etruscan designs leaving rather a large space between. At the border of the cloak, and that of the pelerine there is, on these spaces, a small palm or a flower.

DRESSES. – Dresses of Alepine or of Chaly, with figures painted on them, are all made with stomachers. They have only a broad hem round the border, at the head of which is placed some fancy ornament.
To preserve a medium between those too tight sleeves, named a l’Amadis, and those very wide ones called a l’Imbecille, the dress-makers have now introduced three or four narrow wristbands, which they place as high as to the middle of the arm, and which fasten down the folds like those which are en berets. In order that these folds may keep in shape, the material of which the dress is made is lined with stiffened gauze; the sleeve then falls in all its amplitude only from the lower part of the elbow, and gives ease to the figure. Ruffles are very general; the most in favour are of fine lawn, edged with Valenciennes of equal fineness.
On crape dresses, feather fringe forms a graceful ornament; some have been remarked of white feathers, tipt with jaune-vapeur, which placed above the hem of crepe-vapeur, formed a charming novelty.
The fringes which are expected to be worn on winter dresses will be so rich and varied in their ornaments that they will be regarded as a new fashion. On dresses of crape or painted gauze, fringes will be placed, of gold, and of silver, with rich heads in bullion. A new kind of sleeve on a dress of white satin, has been remarked; it was short and very full; the fulness divided by a band, so that it seemed to form two beret-sleeves, one above the other; the lower part approached very near to the elbows.
One or two rows of narrow beading, set close together, without any space between, the same as the gros de Naples or sarcenet, and of the same colour, on which they are placed, mark the height of the knee for dress aprons. The colour of them is generally nut-brown, verd-antique, or slate colour: these aprons are worn by young females before the dinner hour.
A new way of trimming dresses consists in a row of triangles, as wide as about three inches; the points are placed upwards. Another kind of trimming in front of a dress, from the sash to the feet, is composed of small pattes; these are fastened one to the other by rosettes of satin or buttons of gold.
Changeable silks increase daily in favour; and satins are often figured in very small spots.
Some ladies wear, round the tucker part of their dresses, a kind of collar-cape ; this is of tulle over a coloured dress; it has four points, and is very narrow in the centre. On each shoulder are two long points. Besides the fringe which heads the broad hems as high as the knee, there is also a fringe round the epaulettes.
The fashionable sleeves for this winter form an interesting and important subject: what have appeared are very graceful; they are half a la Mameluke, and half a l’Amadis: but they are better suited to robes for dress parties than to the dishabille. With a low dress many young females wear a fiancee of black velvet; the two ends of which are drawn through a runner of small diamonds. Morning dresses are of French Cachemire lined with plush; but the most general are of Greek Chaly, with coloured patterns on a light ground.
Dresses made with stomachers, have almost all of them drapery in plaits across the breast, at the upper part of which, and at the base of the waist, they are very much spread out. For morning dresses they have a fringe at the head of the broad hem round the border. There are no ornaments now at the top of the long sleeves; they are merely placed on the corsage which is destined to receive them. At the termination of short sleeves, whether of velvet, satin, or other materials for full dress, are ruffles a la Sevigne: they are of blond, very long at the elbow, and are caught up in front of the arm by a satin bow. The boddice of all gowns are expected to be very long this winter. All the boddice, which are of thick materials, will be spread out very wide in front. There are some beautiful ball-dresses, ornamented with embroidery in coloured silks mingled with silver. White crape is the newest material for this purpose, worked in white silk.

HEAD-DRESSES. – Young females are desirous of adopting the Chinese head-dress in preference to any other; those who are older, will also venture to wear their hair in separate bandeaux on the forehead, but those who wish to preserve their youthful appearance wear those two tufts of curls which are becoming to every face. The hair is often ornamented with bows of ribbon, flowers, feathers, or chains of gold, and strings of pearls. Plats of hair are much in favour; there are sometimes five, seven, and even nine of them; they are large, but almost transparent.
Berets of blond, with the crown in treillage work, formed of satin, are trimmed with Japanese roses, or with a wreath composed of various kinds of small flowers.
Dress hats are of white satin, with blue ribbon, and three blue feathers. Mademoiselle SONTAG has appeared in public in one of these tasteful hats; it was placed very much over the left side, over a silver net. A row of diamonds issuing from the top of the forehead, and which was fixed to one of the ribbons, served to fasten a feather; the other feathers were placed over the brim, and the end of one of them seemed hooked under it.
Nothing can be more charming than the small blond caps now worn in half-dress by ladies eminent for the elegance of their taste. They are of rose-colour or of blue tulle, with trimmings of the same, to the edges of which is sewn Alencon point lace, or that of English manufacture. There are also caps of black tulle, ornamented with white.
Dress hats for the theatre are of pale pink, with white feathers, and a branch of white Dahlias. The brim is ornamented underneath, with blond, in various ways.
The hair is arranged in a bandeau, which comes very low over the temples. A broad braid of hair, platted, forms a diadem on the summit of the head, above which is a comb with a high gallery.
What is most remarkable in the new blond caps, is the caul, on which is placed, at equal distances, rouleaux of satin; when the caul is drawn in, these rouleaux resemble the different marks of a cockle-shell. Another peculiarity is the bow of ribbon, which, instead of being placed over the trimming, is sometimes under it; or, it may rather be said, that the trimming is turned up, and that the bow supports it.
For the theatre and the evening party, small caps of blond, which discover all the plats and puffs of hair behind, are much in vogue ; these caps ought to be placed on by a tasteful hair-dresser. The greater part have long lappets, which float over the shoulders.
An oval beret, of black velvet, has been remarked on the head of a celebrated singer: it was hollowed out on the right side, and adorned with two large roses, placed at each extremity of the right and left side of the brim. A bow of rose-coloured gauze ribbon, with satin stripes, fastened each rose: that on the left side was terminated by two ends, which hung down lower than the sash.
Two ladies have been seen with their hair elegantly dressed, on which was placed in front an auriole, formed of five or six ostrich feathers.
At the Theatre Italien some velvet turbans have appeared, the plaits of which were spread out in front, so as to give them the form of a very graceful beret. A golden serpent wound its folds in various ways among the plaits, and then crossed as a bandeau over the forehead.
Some milliners have invented some small blond caps, named Egyptian caps, and which are very becoming to a French countenance.

JEWELLERY. – Coral is again in high favour; there are many ear-rings of that material in cameo. Some jewellers have made long chains of it, at the end of which is suspended a cross, formed of five coral cameos. The cameos are placed at equal distances, in order to hold together the double rows of chains which form a kind of sautoir.
The rings are of an enormous size. On the greater part of these finger ornaments, are traced hieroglyphics, in gold.
Collars and bracelets of black velvet, buckled or brooched, with splendid gold ornaments, are quite the rage.
Most of the jewellery is very weighty, yet fillagree is much made use of: this has appeared in the ear-rings, and on the sash of a bride, which sash was fastened with a fillagree buckle.

MISCELLANEOUS. – Several fashionable ladies fasten to one of the corners of their pocket-handkerchief, a gold seal, on which is engraven their cypher. This mode dates its origin from the drama of Henry III.
Arm-chairs and elastic sofas, though dearer than those of ordinary kind, have the advantage of never being out of shape.
The oblong carpet at the foot of the bed, now reckoned the most elegant, is the skin of a tiger or of a leopard, not dressed, that is to say, with the head and paws.
Young females, who occupy themselves in painting, make use of a new kind of aqua-tinta, named, on account of its colouring, Oriental painting. Some large butterflies have been seen, some dahlias, and other rare flowers, painted in this manner. The white ground is on Bristol drawing-paper.
The perfumers sell the foot of a levret, set in silver or gold; this is made use of by the Parisian ladies to put on rouge with.* {Known universally in England, near ninety years ago. E.}
Ladies who wish to have their feet well dressed, wear very fine stockings of open work; but, least they should suffer from cold, they have, underneath, very long stockings of flesh-colour, which serve as drawers, and are tied to the waist, like those of children.

From: The World of Fashion and Continental Feuilletons

Back to November 1829

Newest Parisian Fashions for November 1829

This Publication is indebted to Mrs. Bell, removed to No. 3, Cleveland Row, opposite St. James’s Palace, for the designs and the selection of the Fashions, and the Costumes of All Nations, which regularly embellish it. Mrs. Bell’s Magazin de Modes is replete with every fashionable article ; and at which there is a daily and constant succession of novelties in Millinery, Dresses, &c. &c. &c. AND AT MOST MODERATE PRICES. – Mrs. Bell’s Patent Corsets are unrivalled, and very superior to all others; they impart an indescribable grace and elegance to the figure.

Plate the First

The females of this province are famed for the beauty of their countenances, but their shapes have not that fineness so peculiar to the Spanish ladies in general. In their dress they are remarked for the richness of their silken garments; Murcia being famed all over the world for its silks; it abounds so with mulberry-trees, the constant food of the silk-worm, that the silks exported from this province alone, are supposed to be worth two hundred thousand pounds annually.
There is a certain peculiarity in the dress of the Murcian ladies, from the nationality of which they scarce ever entirely deviate. The engraving which we present to our readers this month, may be depended upon as an exact representation of their costume.
It consists of a white petticoat of rich silk, bordered by narrow satin rouleaux; over this is worn a short robe of a bright Andalusian geranium-colour, with three rows round the border of splendid gold lace; that in the centre broader than the other two; at the hips, as if marking out the pockets, is another ornament of gold lace. The corsage is of black velvet, ornamented down each side with gold buttons, and laces over bright geranium silk, the same colour and material as the robe, forming a kind of stomacher, with geranium cordon, which is also open, discovering a portion of white silk, of which an apron is composed, which finishes the skirt of the dress in front, and is bordered with rouleau-stripes, set on two-fold, of geranium. The sleeves are very full, and are of white sarcenet, the same as the apron; they are confined at the wrists by broad black velvet bracelets, fastened by a slide brooch of gold or jewels. The sleeve is surmounted by a bow, and rather long ends of geranium-coloured ribbon. The hair is arranged a la Fantasia, in long curls, rather large, on the left side of the face; the other side is concealed by a very broad long braid plaited, which, after having taken the circle of the head, falls over the right shoulder, and fastened at the upper part of the back of the corsage, is then divided into two plaits, terminated by tassels of hair, formed of tight plaiting in loops; these depend rather lower than the right hip. A plume of black ostrich feathers completes the coiffure. The ear-pendants are en girandoles, and are composed of gold and sapphires. A black velvet collar encircles the neck, just below the throat, in the centre of which is a large sun of gold, with a large valuable pearl. The beautiful little feet of the Spanish ladies, for which they are so justly celebrated, appear to great advantage with this dress: the stockings are of white silk, and the delicate shoe is of celestial blue satin, with the hind quarters of geranium-colour, which colour fastens up the shoe en sandal: pantaloons of geranium sarcenet, made full across the leg, but tight round the ancle, descend just above the sandal- strings.



A dress of lavender-coloured gros de Naples, with a very broad hem round the border, the head slightly vandyked, and finished by chain-work of silk cordon. The body is covered with a canezou spencer of embroidered tulle, with stripes formed of pink satin rouleaux, and the waist encircled by a pink ribbon belt, striped with black in hair-stripes: over the sleeves, which are a l’imbecille, and of the same colour and material as the dress, are frills of very broad white lace, and on each shoulder is also a bow of ribbon with long ends, the same as the belt. Very broad bracelets of gold encircle the wrists, surmounted by a full ruffle of lace, ascending towards the narrow part of the arm. A ruff surrounds the throat, formed of lace and pink satin; and a hat of pink satin is worn with this dress, very much ornamented under the brim with pink satin ribbon and blond, and a full branch of white privet, without foliage, over the right temple. A compact bouquet of flowers is placed in front of the crown; and broad strings of pink satin ribbon, clouded with black, float loose. Half-boots of gros de Naples, the colour of the dress, fringed round the top, and Woodstock gloves, complete this costume.


This dress, which is calculated to receive morning visits of ceremony, and which forms also a genteel home costume for the day, is of sea-green gros de Naples, with a broad hem round the border; falling partly over which is a deep flounce, finished at the edge in points, which are trimmed with a broad fringe, with an elegantly-wrought head, in diamond-work. The body is made high and plain, en fichu, two short points of which are drawn through a belt the same as the dress, fastened in the front with a jasper buckle. The sleeves are a l’imbecille, confined at the wrist by a plain band: double-frilled mancherons surmount the sleeves, of the same material as the dress; and a very full ruff, of several rows of narrow lace, encircles the throat. The head-dress consists of an elegant turban-cap of white crepe-lisse; the folds divided by crossings of white satin ribbon, between which are delicate branches of small field-flowers: very long strings of white striped ribbon float over the shoulders. The slippers are of green satin.

FIG. 1. A turban of white satin, ornamented with blond and pink satin, with white and pink carnations.

FIG. 2. Back-view, In a half-length, of the dress on the centre figure. The stripes on the spencer, the hat, and dress, all of celestial-blue levantine.

Plate the Second

FIG. 1. PROMENADE BONNET, of tourterelle gros de Naples, gathered in the brim en capote: the crown ornamented by bows of ruby-coloured ribbon, edged with green. A light branch of fern is placed on the left side. The brim is ornamented under the right side, with a fan ornament of ruby satin, edged with narrow blond; under the left side are two ring-ornaments of ruby edged with green.
FIG. 2. A back view of the same bonnet of fumee de Londres, trimmed with white and blue striped ribbon, and a fuller branch of fern than that on the tourterelle bonnet.
FIG. 3. A turban of yellow satin, crossed by rouleau-stripes of the same, and crowned by a beautiful plumage of white feathers.
FIG. 4. A crimson velvet turban, ornamented with broad satin ribbon of the same colour, and white feathers.
FIG. 5. A front and side-view of a bonnet for the morning promenade, formed of rows of fluted black satin ribbon, trimmed with grey, or with barbel-blue ribbon, with hair-stripes of black. The lining white satin, with a bandeau of the same ribbon as the trimming, next the hair, and a small bow over each temple.
FIG. 6. A dress-cap of blond, finished next the face by an entwined rouleau of satin, the colour of the damask rose; from thence very broad borders turn back, and reclining against them are branches of small half-opening roses, with their green foliage.
FIG. 7. A back view of the same kind of cap; the ribbon olive-green, striped with black.
FIG. 8. OPERA DRESS. – A dress of white satin, the corsage a yelva, Short full sleeves of blond descend nearly as low as the elbow, where they terminate by a ruffle. Beret of white crape, with two small white feathers, under the right side of the brim: on the left temple reclines a large rosette of white satin, with two very small feathers. One string of pearls, from this ornament, crosses the forehead. The crown of the beret is adorned by a superb plumage of white feathers. The necklace consists of three rows of large pearls, and the ear-pendants are of pear-pearls.
FIG. 9. BALL DRESS. – A petticoat of tulle over white satin, or of a very pale blush-rose colour. Italian corsage of etherial-blue satin, with short full sleeves of white satin. The hair elegantly and simply arranged in light curls and bows, with a full-blown Provence rose, and three gold Glawina pins placed on the right side. A bandeau of gold, with a cameo in the centre, obliquely crosses the top of the forehead. The bracelets differ from each other: that on the left arm is very broad, and is of back velvet, fastened with a cameo, and is secured doubly by a slide-brooch of gold. The left bracelet is much narower, and is formed of jet and gold. The ear-pendants are gold, and a gold chain ornaments the neck.

Plate the Third



A pelisse of Spanish-fly green gros de Naples, fastened down the front of the skirt with papillon rosettes of the same: the body made plain, with lappels turning back, and discovering a fine chemisette of lawn or cambric, laid in plaits, fastened with small ruby buttons: a triple French ruff encircles the throat, under which is tied a fiancee of brocaded silk. The sleeves are a l’Imbecille, with double ruffles, separated by a bracelet of gold and scarlet enamel. A lavender-coloured bonnet of gros de Naples is tastefully ornamented beneath and above the brim with green ribbon striped with white; over the left side depend ends from a rosette, which are finished by a broad rich fringe.
N.B. A half-length figure presents a back view of this dress; the pelisse and hat both of lavender-colour.


A pelisse of cream-coloured gros de Naples over a petticoat of the same; the petticoat discovered by the pelisse being folded back, in partial points down the front of the skirt; and under each of these points from whence they appear, are small bows of ribbon, without ends, the colour of the pelisse; the points are finished at the edge by a rouleau-binding. The body is made quite plain, and fitting tight to the shape; a narrow collar turns back from the throat, which is encircled by a triple ruff of tulle. The sleeves are a la Donna Maria, and the fulness at the narrow part confined by the loop which ascends from the wrist to the bend of the arm, where a small rosette terminates the puckering. A tight wristband-cuff finishes the sleeve next the hand. A Cachemire scarf, the colour of the red orange, is worn with this pelisse; the border is in various colours at the ends on a white gauze, and the fringe, the colour of the scarf, are admirable. The bonnet is of autumnal-green gros de Naples, ornamented with puffings of the same, and ribbon of a similar colour, striped with Modena-red, in rich brocade. The half-boots are of cream-coloured kid.


FIG. 1. – Back and front view of a head-dress in hair, arranged in bows and curls, with strings of pearls, scarlet poppies, and blue-bells; both field-flowers.
FIG. 2. – Centre figures between the coiffeure above described, representing a back and front view of an elegant turban-cap of tulle and blond, intermingled with loops of celestial-blue ribbon, striped with black; on the hair, next the face, are ears of ripe Indian corn. This turban-cap is for the evening party, and is worn with a Palmyrene dress, made low, and trimmed round the bust with a double falling tucker of rich blond; a broader blond forms a mancheron over the sleeves a la Psyche. The sleeves are a l’Amadis, quite tight to the bend of the arm, and only full as they approach the elbow, and finish at the shoulder.

Plate the Fourth

This costume, which representation of was unavoidably detained by the engraver, has been by mistake denominated a walking dress; it consists of an Indian taffety, delicately painted in lozenge diamonds, in outline. A broad hem surrounds the border, and next the shoe are two rouleaux, one straight, the other scalloped; these are divided by a very narrow rouleau of blue satin. On the broad hem, which ascends nearly as high as the knee, are ornaments en scie, placed rather wide apart, surmounted by a row of ornaments representing strawberry leaves, and finished like the jagged edges of the Florence-like ornaments, with scarlet and green satin; some ladies prefer blue; either is equally fashionable. The body is made plain and low, and has a drawn tucker of blond across the bust. Beneath this tucker is a cape-collar, forming one large scalop in front of the bust; and cleft in points on each shoulder, where they form mancherons over sleeves a la Mameluke, of white blond; these are confined at the wrist by a narrow cuff of white satin, above which is a coronet bracelet of gold. The collar-capes are trimmed round with narrow blond, and rouleaux of scarlet satin. The head-dress is a turban of white crepe-lisse, the folds interspersed with bows of blue or green satin ribbon; with strings of the same, floating loose. The ear-pendants and necklace are of pearls.


A habit of bright emerald green; the body ornamented with rows of small black buttons, set very close together. The sleeves are full at the top, but sit almost tight to the narrower part of the arm. The collar is like that on a man’s coat, and is of black velvet; over that of the chemisette is worn a black satin stock, surrounding which, next the face, is a narrow full frill of cambric lace, or fine clear lawn. The hat is of black beaver, with a light green veil. The half-boots are of black kid, and over them are pantaloons, exactly like those worn by gentlemen, and fastening under the foot, like theirs, by a strap. The gloves are of doeskin.



Dress of white satin, made low, with drawn tucker of broad blond. The hair arranged in front a la Madonna: on the summit of the head are three long puffs of hair; in front of which is a tiara of gold and large pearls.
FIG. 1. Beret of pink satin; on the right side, beneath the brim, an ornament of tulle, edged with blond, forming a large rosette, on which are branches of heath, and a few ends of pink satin ribbon. Under the brim, on the left side, is a small white ostrich feather. Pink esprits, and white plumage, are elegantly dispersed over the crown.
FIG. 2. Back view of the same coiffeure.
FIG. 3. Back view of a dress-hat of etherial blue, or of emerald-green satin, ornamented with white ribbon and white feathers.
FIG. 4. (At the base of the plate) – A beret of ruby-coloured gros de Naples velvet, with marabouts and white ostrich feathers, intermingled beneath the brim, and taking a spiral direction towards the crown. A few small feathers fastened together, fall over the left side of the brim.


The empire of Fashion is a most despotic government; she rules over the wisest at her pleasure; nor does she heed, in her various caprices, how ridiculous she may make her subjects appear: let it be marked, however, at the same time, how great is her power! Like a skilful magician, she can transform, by a touch of her wand, what seems almost ugly, at a first glance, into what is beautiful, for she has the fascinating art of rendering it really so; particularly when her two High Priestesses, Good Taste, and Elegant Fancy, lend their aid in attiring the modern belle.
Nothing is reckoned now more appropriate for fire-side costume or for the morning walk, than a dress of fine Merino, made nearly as high as the throat, of a slate- colour: these dresses are made very plain and simple tight to the shape, and fitting close to the bust; but at the back the body is finished slightly en gerbe. A broad hem surrounds the border of the skirt, headed by a narrow fancy rouleau of the same material as the dress. The sleeves are a l’Amadis, with the gauntlet-cuff very deep, and finished by one conspicuous point on the outside of the arm. Some of these comfortable winter-dresses, when a very superior quality, have been seen trimmed with Cachemire, and are truly and strikingly elegant. A favorite dress for friendly evening parties and dinners, is of a bright geranium-coloured gros de Naples, with two deep flounces, pointed, and set on in festoons: the corsage is a Yelva, and forming also, by means of Italian net drapery, the same colour as the dress, and bound with satin, fichu-robings. The sleeves are in the Amadis form, but not very wide at the top: a gauntlet cuff finishes them at the wrist. Many dresses are made square in the back, and are pointed in front; all dresses which are low are very much cut away from the shoulders, discovering also much of the back and bust: when the sleeves are short, they are short indeed, leaving the arm almost bare. The fringes used in trimming dresses are beginning to increase in favor; we have been astonished at finding this very elegant accessory so tardy in its progress. Satin dresses, in the Bavarian-robe style, are much admired for evening parties; the false petticoat is of velvet the same colour as the satin, and is finished down the front with small butterflies of fillagree gold, with their wings expanded. A most lovely dress has lately been completed by Mrs. BELL, for a young lady possessed of high hereditary talents; it is of white satin, covered over with fine lace. Gros de Naples, as a very appropriate demi-saison article, is much worn in evening dress. But few ball-dresses have come under our inspection; they are of white tulle or coloured crape; the former worn over white, the latter over a satin slip, the same colour as the crape.
Cloaks form, at present, the most favorite out-door envelope: some are superb; one of violet-coloured satin we found extremely beautiful; it was lined throughout with white gros de Naples, and trimmed all round with unspotted ermine, of the most dazzling whiteness; the pelerine cape was also made of this costly material. Another cloak, very similar to this, is of puce-coloured gros de Naples, lined with white, and the ermine, which trims it, is spotted in the usual manner. Cloaks of gros de Naples, made very plain, and only conspicuous, when of black or dark shades, by being lined with some striking colour, are very generally worn at the morning promenade. We have seen a pelisse made of the new material gros de Chine; the ground was of a French white, and the stripes were of rich shades, from bright red to black ; it was made with a very large pelerine cape, turning back like that on a man’s great- coat; the sleeves were quite in the jigot style: as the lady on whom we saw this envelope was one of high fashion, lately arrived from Paris, we may guess from whence this fashion originated; though it had a peculiar appearance, it was very becoming, and well fitted to the open carriage, as the material itself is warm, and the pelisse well wadded throughout.
A very beautiful new bonnet is of figured satin of a bright rose-colour; the pattern in zig-zag stripes ; it is trimmed with ribbons of black and rose-colour, with a feather- fringe of the same shades. A black velvet autumnal bonnet is ornamented with green, and a long branch of green foliage with delicate flowers of the same verdant tint, is exquisitely wrought; it crosses the crown obliquely, and recline partly over the brim. A bonnet of Spanish-brown satin is trimmed with satin ribbon, the colour Oiseau de Paradis, and disposed in long loops; black Heron’s feathers complete the ornaments on this tasteful bonnet. A second bonnet of velvet is of plaid, the tints dark green and red, forming the checquers on a black ground; it is very elegantly trimmed with ornaments of the same material, relieved by satin ribbon, corresponding in colours to the plaid velvet. A favorite material for carriage hats, especially for paying bridal visits, is white satin, beautifully figured en coquilles. Another bonnet for the carriage is of figured blue satin; the design, a running pattern of ivy-leaves: the bonnet is trimmed with gauze ribbon, white, with a white satin stripe in the centre, and edged with a delicate brocade stripe of black and yellow. Roses, of a fancy kind, full blown, half green, half yellow, and made of feathers, tastefully dispersed, complete the ornaments.
The colours most in request are scarlet, cornflower-blue, yellow, autumnal-green, and violet-colour.


HATS AND BONNETS. – Bonnets of satin are ornamented with gauze ribbons, and have a demi-veil of blond. Some bonnets of open straw are lined with green, and ornamented with figured ribbon of green gauze. When flowers are placed on chip or crape hats, they are generally formed into a half-wreath, which is fastened on one side by two or three bows of ribbon, and the other side reclines on the brim. Crape hats are generally of steam colour, and are ornamented with green branches; several bonnets of white gros de Naples, are finished by bindings of lilac satin, with which material they are also lined. At the Bois de Boulogne was seen a charming hat of leghorn, adorned with a bouquet of small feathers of various colours, The gauze ribbons were of Scotch plaid. Hats of dark blue and dark green gros de Naples, and those of brown, are trimmed with very striking ribbons as to colour and contrast to the hat, such as white on green, rose-colour on blue, and yellow on brown.
Bonnets of white satin are ornamented at the edge of the brim with a demi-veil of blond, and are seen in carriages on the heads of some of the first ladies of fashion. Some very pretty hats of English green satin, lined with white and ornamented with white Dahlias, have also been much admired; hats of white satin are often lined with rose-colour, and over the hat fell branches of roses in full bloom, and a deep blond is placed at the edge of the brim; this hat is much in use for morning visits.
In ornamenting hats are often seen flowers, grouped together in bouquets; these are called bouquets a la Princesse: they are round, and almost compact. Two of these bouquets form the trimming; one is placed in the centre of the crown, in front, the other under the brim, on the left side .
Straw bonnets a l’Anglaise, lined with cherry-colour, and ribbons of the same hue, form the favourite head- covering at the Tuilleries.
Almost all the new hats, whether of satin, gros de Naples, or figured velvet, have broad stripes of rose-colour, blue, white, yellow and lilac; all on the same material. Such stripes are also seen of figured gauze, which are used for bonnets and berets. On some satin hats the figures are in damask, of a zig-zag pattern. With the striped hats are generally worn one or two branches of cocks’ feathers of various colours; these branches are in the form of large tulips placed one above the other.
Bonnets for the carriages and those worn at the sitting of the institute, are of bright blue or rose-colour. White hats, also, with weeping-willow feathers, of white and violet-colour. One plume was remarked, for having in the centre of its arch, a small, round tuft of white feathers, tipt with violet-colour. The ribbons were white, spotted with violet. A hat of Leghorn was ornamented by a long branch of the Jericho-rose. Among the flowers Joy and Clematis seemed much in favour.
Hats of satin, the colour Chrysoprate (a light green), are lined with black satin, and ornamented with tassel-fringe-feathers, of green and black. Hats of blue, watered gros de Naples have also black linings and blue and black feathers fastened together.
Hats of plain pluche de soie, are trimmed with ribbons having broad stripes, purple on white, or green on violet; some hats of black satin are lined with ponceau satin striped with black en musique. Some fashionists now place a ruche under the brim of a hat, instead of over it. Many bonnets have appeared of white satin with broad blue stripes; they are trimmed with light blue ribbon, on which is brocaded small wreaths of flowers in white.

OUT-DOOR COSTUME. – Nothing can be more troublesome to walk with, than those dresses with a demi-train, called Amazones; therefore the fashionable Parisian lady, when she has to make a visit in the country, rides on horseback, in a dress of the usual walking length. Her pantaloons are made quite plain; her half-boots either brown or black.
Some ladies have their pelisses made with a cape, like that of a man’s coat; it is very large and is pointed at the ends. The corsages of the pelisse fit tight to the shape, but have various kinds of ornaments across the bust. It is expected that Brandenburghs will be very general this winter on pelisses.
Several pelisses are in preparation of Cachemire; they are of light colours, with a border of about three fingers’ breadth over the broad hem, and the same bordering round a double pelerine cape. The sleeves are narrow at the lower part of the arm, and terminate at the wrist by a double embroidered cuff. These pelisses are lined with white gros de Naples, and are worn open in front of the skirt; some ladies of fashion belonging to the higher classes wear petticoats of white gros de Naples under coloured silk pelisses, and even under deshabille pelisses of muslin.
The first wadded wrapping pelisses which have appeared, have a broad hem at the border, and one narrower down each side in front: at the head of the hem is placed a very narrow bias fold, finished on each side by a narrow binding. Two or three bias folds, of a similar kind placed at about a finger’s breadth from each other, terminate the end of the sleeves and fasten the plaits together, which give an elegant finish to this kind of pelisse when in silk; from the wristband ascend five bias folds as high as to the middle of the arm; the sleeves are visibly much narrower at the lower part of the arm.
Gowns, when adopted for promenade dresses, are of stuff, or other materials of fine wool; the corsage is entirely covered with a pelerine of four points; those which fall over the shoulders form epaulettes to the sleeves.
The sleeves are excessively wide at the top, but are made tight to the arm from the elbow to the wrist. Pelerines worn with ladies’ mantles are of black, blue, or green satin; they descend very low and are ornamented with a fringe.
At the races at the Champ de Mars, several ladies were seen in satin pelisses; and riding-habits disputed the palm of hardihood and lightness with groups of horsemen; they wore pantaloons of white, black boots, and black cravats. Some had collars the same as those of the gentlemen. A narrow quilling was placed over the black cravat next the face. The chemisettes were of plaited lawn, and one was seen with a frill.
All the new cloaks have enormous capes, coming below the elbow; these capes are trimmed with fringe. On several cloaks are seen full sleeves; these are open at the inside of the arm, and fall behind like the Polish sleeves.

DRESSES. Above the fringes which ornament dresses of gros de Naples, are often seen bouquets of flowers, embroidered in silk. With a petticoat of coloured gros de Naples is worn a muslin canezou spencer, laid in very small plaits, for home costume. Some of these spencers are, however, laid in plaits of a finger’s breadth, placed at equal distances from each other. These plaits form a kind of fan on the front of the bust, and on the back, and are placed in bias on the sleeves. Some dresses of white organdy have, above the hem, three or four rows of large spots, embroidered in different shades of green. Muslin dresses, with very narrow stripes, are of a clear kind, and are of steam-colour; they are ornamented above the hem, and next the feet, with a narrow Mechlin lace, set on full. A square pelerine of the same material is worn with these dresses, edged round with narrow Mechlin lace.
Long sleeves have the tops formed en Basile, – it was not long ago that they were made quite flat; to render them so, the dress-makers placed lower, every day, the plaits at the back part. Some canezous have been seen, with the sleeves having two rows of these points formed into a band, in the place where the epaulette was made to descend.
In the work-rooms of the most celebrated dress-makers, they are now occupied with the manner of cutting the sleeves. For dresses of winter materials, it is in contemplation to have them very narrow at the small part of the arm; gauzes, and other light stuffs, will continue to be made with large sleeves like those now worn. On velvet or satin they are still very wide, from the shoulder to the elbow, where they fall en Amadis, which composes the rest of the sleeve to the wristband. The fashion of plain boddices continues.
With deshabille dresses, especially those of silk and stuff, it is customary to wear a pelerine of the same, trimmed round with a broad frill-trimming; the corsage is plain, and the skirt, instead of being gathered full round the waist, is laid in large plaits. Muslin dresses are embroidered in feather-stitch, in very large bouquets; they are worn at friendly evening parties, and are bordered by one broad flounce, set on in festoons. In each scalop of the flounce, formed by the festoon, is a bouquet, corresponding with those worked on the dress. Where the flounce separates, are seen seven or eight rouleaux of white gros de Naples, and the same ornaments surmount the flounce. The sleeves are short, and en berets. The body is trimmed with a beautiful Mechlin lace.
Dresses of white organdy, and of muslin, with those of Cachemire, are prevalent at the theatre, as are chintzes. Several ladies have appeared at the Tuilleries, in dresses of silk and stuff, called gros de Chine. They are made very short.
Gold and silver fringes will be worn with dresses of crape; and a fringe of white beads is in preparation, to be placed on a dress of cherry-coloured velvet. Tunic robes, also, of crape, gauze, and other light materials, are expected to be much in vogue for evening dresses.
The name of papillon is given to the three rosettes, with very short ends, of satin, which are placed, instead of gold buttons, to fasten the sleeve together, where it has been cut open. The new trimmings for dresses, whether for the promenade, for dancing assemblies, or for dress evening parties, are composed of a resemblance of the yew tree, which ascends its pointed head from the hem next the feet, to the knees; similar points, but smaller in proportion, descend from where the dress is cut away round the neck, over the bust, the back, and the shoulders. These lengthened triangles, sometimes straight, sometimes reversed, are formed of large puffs, and are adopted, either as narrow flounces with two heads, or double ruches, pinked, whether formed of two strips, or of bands appliquee.
There are some new materials for dresses, named Allambras, Pactolines, and Japonnaises; these beautiful tissues are thought to form a fine relief to the jewellery worn with them. The King of Siam is also another new and original material for dresses, which takes its name from its pattern, which, it is said, has been copied from that on the King of Siam’s mantle. To correspond with this dignified style of fashion, it is requisite that the winter tissues should be rather grave, and imposing in their appearance; the fine Lyonese velvet, and a beautiful texture, in which is interwoven gold or silver, and the silk often painted in flowers of various colours, in flowers, branches, and a multiplicity of other designs. Tunics, embroidered or painted, forming the most beautiful dresses for balls and evening parties; Ispahan velvet, and robes of Cachemire, bordered with variegated palm leaves.
Among a select number of new silks, is the Meletaline, half silk, half worsted, for half-dress; Barazinkoff Egyptian, Merino Egyptian, spotted chaly, Dauphiness-poplin, and toile de Bombay.
The sleeves named Imbecilles, a la Basile, a la Religeuse, a la Turque, in a word, all those wide sleeves which have been worn for these six months past, are decreasing in size daily, and seem likely to be soon abolished. The Amadis sleeve, worn at present, fits close to the smaller part of the arm, from the elbow to the wrist; the upper part of the sleeve, however, is very capacious, and cuts quite as much into the silk, as when the sleeve was of equal width; the top of the present sleeve being of the same piece with the Amadis. The blond, crape, and slight materials of which long sleeves are made, to wear with coloured dresses, yet preserve the fashion of being equally wide from the shoulder to the wrist.
Figured stuffs are much in request; they are made with stomachers, or plaited drapery across the bust, with an ornament at the head of the broad hem on the border of the skirt.
At some evening parties have been seen pelisse-robes of white crape, embroidered at the border in white silk. The sleeves a l’Amadis, fastened from the bend of the arm to the wrist, by a row of buttons, forming a finish to a
quilling of narrow blond, which appeared as if falling over the opening. The corsage fitted close, and was confined round the throat by a narrow binding, covered by two rows of a large gold chain. The sash consisted of a broad white ribbon, tied in front. On the head was worn a large beret, made very simple, ornamented by puffs of ribbon; though some ladies, in this delicate costume, wear their hair only crossed over with a chain a la Chevaliere.
Morning dresses are often of red, green or blue, figured over in a running pattern; they are made square in the back with a stomacher in front. Some dresses of gros de Naples have the sleeves laid in large plaits, from the shoulder to the elbow. A wristband confines these sleeves at their termination; the rest of the sleeve sits close.
Some ladies of fashion have wrapping dresses, made of stuff, and large enough to be worn over another gown in home costume, of a smarter kind.
At the Concert d’Emulation, two dresses were remarked, one of slate-coloured gros de Naples, the other of figured Merino, of a violet-colour; both these dresses had sleeves a la Donna Maria, very tight at the smaller part of the arm. The flounce of this dress, as well as the square pelerine worn with it, were plaited.

HEAD-DRESSES. In the last head-dresses which were introduced for dress-balls and public spectacles, chains a la Chevaliere were very prevalent, they crossed the forehead, the bows, and the curls of the hair: young persons continue to have their hair arranged either in the English or the Chinese style.
At several dress-parties have been seen blond caps, ornamented on the right side, with three long white feathers.
Berets of silk, striped in yellow and black, or in gauze of royal-blue and gold, are ornamented with two tails of the bird of paradise, one on each side.
At the first performance of a new piece, lately represented at the Opera-buffa, the greater part of the ladies, who wore their hair, had alternate puffs of hair and ribbon: in front were a few corkscrew ringlets, a l’Anglaise. Some blond caps were ornamented in front with a diadem of flowers. On other caps were flowers which formed on each side a half-circle, over which fell a trimming of blond.
Dress-hats are of white gros de Naples, with the crown extremely low, and are ornamented with white willow feathers.
At the theatres, head-dresses in hair are without any ornament: but dress-caps are very much in favour. The stiffness and formality of the corkscrew ringlets make them always appear like false hair.
At evening dress-parties, where any ornaments are added to the hair, flowers are the favourite accessories. A plait of hair is formed of ten branches, which, placed on the summit of the head, appears like a basket. From thence ascend very light puffs of hair, almost transparent, where bows and flowers with long stalks are fixed.
Caps of black blond are a novelty ; they are ornamented with white embroidery.

JEWELLERY. Chains a la Chevaliere are often seen ornamenting the hair, at evening dress parties.
The ear-rings of the last new fashion are either of gold or of various coloured gems; they are so extremely heavy, that a lady who implicitly follows this fashion.to its height, never wears them except till she has deferred putting them in her ears to the last moment, when she is going to the theatre or to a full dress evening party: they are even obliged to have a tiny piece of silk concealed behind the lap of the ear; an artifice revived from our great grandmothers, who were accustomed to wear large girandole ear-pendants.

MISCELLANEOUS. Under-stockings, of fine and almost transparent Scotch thread; many ladies of fashion wear a pair of rose-coloured hose.
Gloves are fastened at the wrists by a double button, either of gold or jewels.
In general the Parisian females are not remarkable for the fulness of their busts, but they are well made about the ancles. The fashion of wearing their dresses so very short, explains itself, in a city where we find every female making the adornment of her legs and feet an important study. As for the vogue of open and low-made corsages, that is, indeed, surprising.
Almost all the reticules have a silk net on them. This belongs to a fringe which trims the opening, and a false pocket, hollowed out in a strap, like the semicircles over a pistol-case of a cavalry officer.
Shower-baths are beginning to be very fashionable; and, as every thing which bears the stamp of novelty must be extolled, it is asserted that they act in a much more favourable maaner than immersion in water, which often causes a languor that is never felt after the shower-bath.
Since the commodious size of the Palais Royal has been restored, and that every arcade is better lighted, ladies now go in the evening to make their purchases, as is usual at the time of the New-year’s gifts.
A charming invention, the result of which will become the production of one of the prettiest ornaments of the chimney-piece and the boudoir, has just taken place amongst the attributes of taste and fashion, and offers even to the ladies an employment as diversified as it is amusing. It consists of a new process of taking off on wood every kind of drawing by a most simple method: by dipping, for one instant, in pure, clear water, an engraving, a plain or coloured lithography, and then stretching it out over a thin sheet of white wood, such as holly, sycamore, or of the linden-tree, and, in a second after, taking it carefully off, the paper being yet moist, will retain the engraving, or the lithographic design. It is astonishing to see, re-produced, and deposed on the wood, every feature, shade, and line to the very smallest lineament of the design in question, and with going over, with a pencil, the surface of the sheet of wood, a very pretty screen may be produced, or a box to contain gloves or needle-work, a writing-desk, or an ele- gant and useful basket. By this process may, also, be avoided those inconveniences attending the tediousness of painting on wood; and the portraits of a family may be perpetuated without confiding them to the engraver or the lithographer.
The shoes are square-toed, and without rosettes. Black half-boots are becoming very general. Slippers of Cachemire are still reckoned truly elegant. Some shoes of brown kid, highly glazed, have been remarked at the Tuilleries; the hind quarters are cut very low.
Among the silk stockings that women of fashion wear with chintz dresses, or those of gros de Chine, are white with very large ribs, alternately close, and of open-work.
Several ladies, who dance at the Ranelagh balls, have taken the trouble to write on their cards the country dances they have performed. It is now so many trophies attached to the Psyche mirror in their bed-chamber.

From: The World of Fashion and Continental Feuilletons

Onward to December 1829

Back to October 1829

Newest London and Parisian Fashions for October 1829

This Publication is indebted to Mrs. Bell, removed to No. 3, Cleveland Row, opposite St. James’s Palace, for the designs and the selection of the Fashions, and the Costumes of All Nations, which regularly embellish it. Mrs. Bell’s Magazin de Modes is replete with every fashionable article ; and at which there is a daily and constant succession of novelties in Millinery, Dresses, &c. &c. &c. AND AT MOST MODERATE PRICES. – Mrs. Bell’s Patent Corsets are unrivalled, and very superior to all others; they impart an indescribable grace and elegance to the figure.

First Plate

This graceful figure has the face turned towards the mark she is taking aim at, and the bow in the left hand is in a perpendicular position, and held out strait towards the mark. The arrow is brought well to the ear, and not the eye, on the left side of the bow under the string; the forefinger of the left hand passes over it; by the other hand the nock is placed in the string at the proper place, with the cock-feather uppermost; when this is done, the forefinger of the left hand is removed and placed round the bow; while the left hand is raising the bow, the right should be drawing the string with two or three fingers only, and not the thumb; as soon as it reaches the head it should be let loose, for fear of its breaking.
We refer our readers to the elegant position represented in an engraving: to attain this requires particular attention; for nothing is more ridiculous than bad positions in archery.
The dress is a Kendal, or Forrester’s-green gros de Naples, with two flounces scalloped, and pinked at the edges: each flounce headed by an elegant wreath of oak-leaves in raised embroidery, or in embossed foliage of green satin. The body is made tight to fit the shape, with the bust very beautifully embroidered or ornamented to correspond with the heading of the flounces. The sleeves are long, and nearly fitting the arm, with a full Maneberon sleeve at the top, slashed in the Spanish fashion, and slashes filled in by white satin.
The Bowman’s cuff of rose-colour and green finishes the sleeve at the wrist. And the dress, which is made high, has a falling collar at the throat of rich point lace. Round the waist is the Archer’s belt, to which is attached the spare arrows. This is of rose-coloured Morocco and fine Woodstock leather. On the opposite side of the waist are two splendid tassels, as ornaments of Kendal-green. The Toxopholite hat, buttoned up in front with a gold loop, is of black or purple velvet, crowned with white plumage sometimes, intermingled with green feathers. The half-boots are of Kendal-green kid.

MORNING DRESSES. – (Centre Figure.)

A pelisse of gros de Naples, the colour, that of lilac shot with white. It fastens down the front with a narrow rouleau and a broad bias fold. The body is made slightly en gerbe, and is surmounted next the throat by a triple French ruff, formed of Parras lace. The sleeves are a l’Imbecille, confined at the wrists by an embroidered cuff of tulle, surmounted by a full ruffle of broad lace. The cap is of broad blond, turned back from the face, and the hair confined across the forehead by a net-bandeau of pink satin. Under the border of the cap, and lying on the hair, is placed, on the right side, a bouquet of flowers, consisting of a large full-blown Provence rose and branches of fern: over the left temple is a small bouquet, formed of the pink flowers named Venus’s Fly-trap, with their green foliage.


A dress of striped muslin; the stripes tourterelle, with a delicate pattern of colours at one edge, on a buff ground. Two flounces of clear muslin form the border on the skirt: these are pointed a la Vandyck, and are bordered by a broad strip of the same material as the dress. The sleeves are a l’Imbecille, and are confined at the wrist by a plain narrow cuff The bonnet is of night-shade purple, ornamented with puffs of broad ribbon, the half of which is of that colour, the other half of olive-green, figured over in a running pattern of black. In front of the right side of the crown is a large puff of night-shade purple gros de Naples, of which material the bonnet is made. A scarf shawl of richly-embroidered muslin is worn with this dress, and drawn, at the top of the bust, through a puffing of ribbon of tourterelle-colour. The shoes are of black corded gros de Naples, tied en sandales.


A tunic and petticoat of fine cambric or jaconot muslin. The border of the petticoat next the feet, and the two sides of the tunic in front, worked in small open diamonds, and terminated by a narrow lace at ths edges. Six small tucks surmount this trimming, forming a border round the skirt, both of the tunic and petticoat. The body is embroidered in the same diamond work as that which forms the border next the shoe, and finished by fichu-robings, edged with narrow lace, from whence commence the falling sides of the tunic. A bow of rose coloured ribbon, with a delicate pattern in penciling, ornaments each shoulder, and a sash of the same kind of ribbon encircles the waist. The bonnet is of Leghorn, in the cottage shape, lined with rose-coloured satin. Pantaloons, the same as the dress, draw tight over each ancle; and the half-boots are of kid of mignionette-leaf green.

Plate the Second


MORNING DRESS (Centre Figure.)

A dress of elegantly .printed muslin, the ground a pale tourterelle; with pencil stripes of delicate foliage, in black. A trimming of a very novel kind surrounds the border of the skirt, consisting of very broad striped muslin, white and pink; the stripes parted by a Greek pattern, in pencil: the flounce is finished next the feet in points which take a bias direction towards the left foot; these points are also edged by a Greek pattern, and above them is seen a most delicate pattern of flowers pencilled in outline. The head of the flounce is finished a la Grecque. The sleeves are a la Mameluke, and are confined at the wrists by broad bracelets of gold, studded and fastened by turquoise-stones. A beautiful Canezou Pelerine, of fine India muslin, conceals the body of the dress, and has two short ends brought under the sash, which is of tourterelle coloured ribbon, brocaded with black in a Greek pattern. The Canezou is trimmed round with a double trimming of muslin edged with fine narrow lace, and headed by a broad, fluted, trimming, formed of the same materials; a triple ruff of lace encircles the throat. The bonnet is of tourterelle-coloured gros de Naples, trimmed under the brim with points of ribbon, half pink, half white; the white painted with light green foliage; other trimmings adorn the crown of the bonnet, of the same material as the bonnet itself, interspersed by puffs of ribbon, the same as the points under the brim; strings of which ribbon tie the bonnet down under the chin on the right side. The shoes are of touterelle-kid, tied en sandales.


A dress of a very superior kind of sarsenet, named Chaly de Perse. A broad hem surrounds the border, headed by foliage ornaments of the same colour and material, which represent large leaves lying in bias over each other, and each edged round with fringe: a rich cordon of silk surmounts these ornaments. The body is made plain, and fitting tight to the shape, with sleeves a l’Amadis; the gauntlet cuff coming nearly as high as to the elbow. At the wrists are antique points of white satin, edged with narrow blond. From the back depends a double pelerine, the same as the dress, both bordered by fringe: it is left quite open in front, and the ends which are short, are past through a belt of white watered ribbon, fastened in front with a rich gold buckle. The colour of this unique and novel dress is a bright Aurora. The dress hat worn with it is of fine, white chip, ornamented both beneath and above the brim, with branches of vine leaves and white flowers; strings of white ribbon, the half painted in spots of different colours float over the shoulders. The shoes are of pea-green satin, and the stockings of silk, the same colour.


A dress of white Organdy, with a broad hem in bias round the border, finished by languettes, alternately folded down, and placed erect; under these at the head of the hem, and on each languette is worked a beautiful pattern in embroidery; and above the whole, embroidered on the skirt of the dress, are detached bouquets of flowers; the body is in the Circassian drapery style; and the sleeves a l’imbecile, opened down the front of the arm, and closed again by buttons of gold; very broad bracelets confine the sleeves at the wrist, of white and gold enamel, fastened by an agate set in gold. Above the bracelets are embroidered languettes, corresponding with those on the skirt, a bow of embroidered Organdy is placed on each shoulder, the hat is of a deep and bright rose colour, in crape, and is trimmed with blond under the brim, with a rosette of rose-coloured ribbon over the right temple; the crown is ornamented also with bows of rose ribbon, and white blond, with two beautiful esprit feathers , the ear-pendants are of wrought gold, and a most splendid necklace of differently coloured jewels encircles the neck. The shoes are white satin, tied en sandales.


FIG. 1. – Back view of the hat on the figure of the first dinner dress.
FIG. 2. – Back view of the hat in the second dinner dress ; this hat is of white crape.

Plate the Third

A dress of buff-coloured muslin, with a narrow flounce of white muslin next the feet, over this is a broad flounce ornament cut in deep square notches, the inside of which, notches are jagged en sue. This is also of white muslin, and it is bound round, and surmounted by green satin rouleau binding. The corsage is made high, up to the throat, and down each side of the bust is a triple ornament of white muslin, fluted, which forms a kind of fichu robing down each side, while it gracefully marks out the contours; the waist is encircled by a belt of the same colour and material as the dress, fastened on one side with a lozenge- shaped buckle of gold. A triple ruff of lace encircles the throat; the sleeves are a l’imbecile, and are confined at the wrists by narrow bracelets of white and gold enamel; the hat is of white gros de Naples, ornamented with puffings of the same, and white Gueldre roses. Under the brim are points of ribbon, terminated by small rosettes, consisting of one loop and one end. The hat ties under the chin with a mentonniere of blond, and strings of broad white ribbon, brocaded, float over the shoulders. The half-boots worn with this dress are Nankeen.

BACK VIEW (in half-length) OF A WALKING DRESS.

A dress of amber-coloured poplin, made partially low; a broad hem surrounds the border of the skirt, headed by three narrow rouleaux of Modena-red satin; the body is ornamented at the back and front, with pointed lappels, finished at the edge by Modena-red rouleau binding. The sleeves are a l’imbecile, and terminate at the wrist by a tight cuff of embroidered muslin, surmounted by a lace ruffle; a fichu of white satin is worn under this dress, surmounted by a very full ruff of blond, and under this is an alliance of blue and white. The hat is of Leghorn, trimmed with straw-coloured brocaded ribbon, and crowned by straw-coloured plumage.


A dress of primrose coloured taffety, with a broad flounce of blond, of a very rich pattern round the border; this is headed by a much narrower flounce, which is surmounted by a cordon of primrose silk; the body is a l’enfant, with a narrow cape of white satin, pointed in front; this is trimmed with narrow blond. The sleeves are short and en beret. A dress hat of white chip has a bow under the brim, on the right side of lilac and white ribbon sewn together, strings of which float over the shoulders; an elegant wreath of flowers falls over the edge of the brim on the right side, which is elevated, and this wreath consists of vine-leaves and their tendrils, with a few small bunches of the purple grape, relieved by yellow roses; on the left side, above the brim, is a bouquet formed of a yellow rose, a bunch of purple grapes, and a few vine leaves.


Fig. 1. – A cap for demi-parure of broad blond, triple borders of which turn back, and a beautiful group of flowers, in a half wreath, is placed next the hair; the flowers consist of full blown roses and trefoil.
FIG. 2. – A back view of the same cap.
Fig. 3. – A back view of a dress hat of white chip, the same as that on the figure representing an evening dress. This hat is, however, trimmed with pink and white ribbon, and the wreath is formed of that elegant little rose, called “Rose of Paradise,” or the cinnamon-rose, which forms half wreaths, as it blooms on its drooping branches.

[We have procured at considerable trouble and expense the following Coiffures, which are descriptive of the Fourth Plate. We trust they will please our readers. This will be followed by others equally novel and interesting.]

Plate the Fourth


Fig 9
HEAD-DRESS, No. 1. – Coiffure chez soi; or, HOME COSTUME.

This head-dress is composed of two bows, a comb and a braid of five plaits. The bows, or loops, are placed on the right and left of the head; the first, opposite to the right ear, is placed on where it fastens, the convex part leaning over the right temple; the second is placed over the ring which it forms, and is opposite the left eye, towards which its convex part is turned. The first of the loops is behind the comb, and the second in front; the braid commences behind the loop on the left, and rises to the summit of the head, fixing itself under the loop on the right: the comb is fixed over where the hair is collected together. The hair in front is arranged in two loops and in curls. The loops, reclining on what supports them, are lengthened on each side of the forehead, presenting a convex portion; they are then brought towards the ear. The hair, which is curled, though above this species of bandeau, seems to come from the interior.
REMARKS ON THE ABOVE HEAD-DRESS. – A lady, when at home, should always have her hair arranged in a very simple manner, but neatly, so that there may be no stray hairs separated from the others; a little oil antique, will take off the dryness and cause them to adhere to each other. Hair which does not keep together is attended with serious inconvenience, especially at table. The bows behind should be equally craped, or frizzed, and the curls having also been frizzed should be fastened by a short comb not above three inches in length, the teeth being introduced into the other hair.

Fig 10
HEAD-DRESS, No. 2. – Coiffure a la Grecque; or, GRECIAN HEAD-DRESS.

This head-dress, which is generally adopted at concerts, is composed of one loop, a braid, and a twisted cord surrounded by pearls; the bow or loop is placed where the hair is braided; the superior part is detached from it, and is very much elevated; then comes the twisted cord, which surrounds the head-dress inclining towards the left side. The braid forms a half circle on the right side, and in the interior of the cord. From the interior of the head-dress issue points of hair, falling in corkscrew ringlets.
REMARKS. – Although the above head-dress is simple, it is, nevertheless, pretty; the hair should be first tied with a piece of cordon, and very tightly that not one hair may escape. Should that happen, a lady would have the mortification of finding the head-dress fall of itself. The points of the hair both behind and in front should be put in papers and pinched with hot irons; when the papillotes are cold, they should be taken out, and divided in three portions. Then take that in the centre, and after having frizzed it, make a loop where the hair is tied together: it should not be fastened with pins, but by the ends of the cordon, which are left, then fasten it in the same place where the pin would have past. For a tall person this loop should be less elevated than for one of only a middle size.
The tresses of five plats, should be divided into five branches; and when they have received the preparation of a little creme d’Alibour, or, Huile Antique, two should be taken in the right hand and three in the left, separating them with the latter and the second fingers of each hand: then must be taken the extremity of the right; the thumb and the first finger of the left hand, will receive it to augment the number on the left side, and it will be then easy to make the braid of four plats.

Fig 6
HEAD-DRESS, No. 3. Coiffure de Bal ; or, BALL HEAD- DRESS, WITH FLOWERS.

This consists of three loops and a braid of five plats: the first loop is placed where it fastens, just above the right eye, the convex part turned towards the lachrymal corner; the second, at a small distance from the first, reposes entirely on the ring it makes, opposite to the line of the nose, its convexity looking towards the left eye; the third loop, which is the highest, is placed beneath the helmet part of the head. The braid commences at the interstice between the first and the second loop; to its point of departure it rises in a half circle, and, presenting its flat part to the right eye, it fixes itself at the back of the comb. This head-dress should be ornamented with flowers tastefully disposed.
This is a simple coiffure, but it is for full dress, yet should only be rendered brilliant by freshness and grace; no diamonds, no precious stones, no ornaments of value; flowers only should relieve the colour of the hair, and they should adorn it but sparingly.*

*All colours are not adapted equally to all complexions; they may not accord with the colour of the skin, or the shade of the hair. A brown woman should give the preference to those ornaments which communicate to her features an appearance of gentleness. Disparity of colours will give to the prettiest face a hard-featured appearance, which is sufficient to destroy every charm. An angelic countenance, with fair hair, should wear rose-coloured ribbons, and flowers of a delicate tint.
If the complexion is ruddy, green may be resorted to. Very small stalks, and jagged leaves; produce the best effect.

Fig 8

This head-dress is composed of four loops, and a tress of seven branches; the first of the loops is opposite to the right eye, bending and inclining towards the temple on that side; the second corresponds to the line of the nose, and its convexity turns towards the interior corner of the left eye; the third appears above this, placed straight over the helmet part, it turns its convexity towards the left, and discovers in front a part of its interior; at length the fourth is opposite the exterior corner of the left eye, and presents its convexity to the temple on the same side. The tress placed on the right, marks out behind the loops a kind of half-circle. The flat part of this tress is in front of the loops. A wreath, bent in the form of an S reclining, is the ornament on this head-dress; after having passed under the tuft on the right, it comes out above that on the left, and terminates at the helmet.
A wreath ought never to be put on straight: too much symmetry is the enemy of elegance; it is the acme of good taste for a wreath to be placed on one side; in the head-dress above described, it inclines towards the right; it is bent in the form of an S reclining, in this manner. Place it over the front, and before the bows; on the right side it will fall over the forehead, a short distance from the eye-brow. On the left, the wreath will mark out a kind of arch above the cluster of hair corresponding with the eye. If it is sufficiently long, the wreath may be fixed with pins behind the twisted hair.
When the throat is well turned, it should be displayed to advantage: a pretty throat has such attractions, and its perfections are always distinguished, for they are very rare.
It is one of the first qualifications required in a hair-dresser to set off the throat as much as possible: if it is too long he should dress the hair below the nape of the neck; if the contrary, he should draw it up as tight as possible.
There are some persons who preserve some short curls which they separate from the long hair, to ornament the neck; this fashion seldom has a good effect; we should never advise the adoption of it, unless where the hair curled naturally, and that there was an absolute necessity of resorting to this mode. Sometimes they bring forward curls of hair which have been suffered to grow, in order to form behind each ear a corkscrew ringlet, which, falling over the throat, diminishes its natural length.
But all those trifling methods are in very bad taste. Beautiful throats would be less rare, if parents would be more sparing of blisters, setons, and all those outward applications now so much resorted to for the most trifling maladies, and which all children are subject to. How often, to cure a young girl of an eruption which was not likely to leave any traces of it, or a weakness in the eyes of no kind of consequence, or other trifling indispositions of the same nature, has a young creature been tormented by having a blister put on her throat, which, after having caused her a hundred times more pain than that illness they were trying to cure, left a scar and discolouration on her skin, which could never be effaced, and which would be a cruel mortification to her when arrived at an age when she wished to charm.

Fig 5

This head-dress is composed of ornamental combs, feathers, and five loops of hair; the first loop corresponding with the right eye, the second with the interior corner of the same eye, the third is placed behind at the right of the summit of the head, the fourth opposite the interior corner of the left eye, and the fifth opposite the exterior corner of the same eye, presenting to the temple, on that side, its convex part.
The comb is fixed at the anterior part of the head, before the loops, on the right side, the left being elevated.
The feathers, six in number, are placed as follows: the first to the left of the second loop, the tip falling forwards; the second between the first and the second loop, the tip falling in the same manner; the third before the right corner of the comb; the fourth between the first and the third puffs, or loops; this is the longest feather, and waves down as low as the shoulder; the fifth is placed opposite the left side of the comb, between the second and fourth loop; this feather is equally long, and overshadows the third and fourth loops; the tip reclines over behind towards the right; the sixth feather is placed between the third and fourth loops, the tip turning over in front.
The comb worn with this head-dress cannot be too richly ornamented, since it is the principal ornament.


This charming head-dress is composed of three puffs or loops of hair, three aigrettes, lappets, and an ornamental comb; the gallery of this comb is composed of an assemblage of pearls forming bouquets of flowers. The first of the loops of hair inclines slightly towards the right, and is placed opposite to the exterior corner of the right eye, its convexity inclining to the temple on the same side: it is of a moderate height; the second, the upper part of which reclines towards the left, is placed right on the summit; it is more elevated than the two others; then comes the third, opposite to the exterior corner of the left eye, to which its convex part presents itself; this is lower than that placed on the summit; it is, however, higher than the first.
The aigrettes are placed in the following manner: the first over the right temple, at the lower part of the loop; the second on the left side and at the summit of the second loop; it is placed upright; the third, placed on the left of the last loop, takes its direction towards the left side of the head, in passing over the second loop.
The lappets are formed into puffs mingled amongst those of the hair, one between the first and second, a second behind that, and a third behind the aigrette, which is placed on the left of the second loop of hair.
The comb, placed before the first and second loops, inclines towards the right, its corner on that side being opposite to the first loop, its centre before the second, its left corner behind the third, and this corner is elevated; the opposite corner is quite close to the head.

Fig 2

This head-dress is composed of four loops of hair, a bird-of-paradise, a diamond comb, and blond lappets. The first of the loops placed over the right temple, its convexity being in face of the exterior corner of the eye on the same side; the second placed opposite to the interior corner of the left eye, and rather inclining to the same side; the third placed straight, is seen behind the last-mentioned, shewing in the profile the foundation of each; at length, the fourth is placed opposite to the exterior corner of the left eye, to which it inclines; in this manner the first of the loops is the most elevated in front, and is tightly bent towards the left side; the third, which is straight and erect, is, however, the most predominant. The loop in the centre is less voluminous than the others, and easily discovers that which is behind.
The bird-of-paradise, placed opposite the right eye, and in front of the loop on the same side, looks over the right temple; its tail passes between the second and third loop, and forms the plumage above the interstice of the third to the fourth, terminating on the left. On the right of the principal loop, on the summit of the head, is perceived, on the twisted hair, a puff made of the lappets, the rest of the lappets float behind; the comb is placed before the right loop, beneath the bird, which is seen above the gallery; it inclines to the right, so that the extremity of the gallery on this side should be seen at the distance of an inch from the head ; the other extremity is elevated about as high as the second loop of hair.

Fig 3

This head-dress is composed of five loops: the first placed opposite to the right eye, turns its convex part towards the temple on the same side; the second, placed over its two extremities, and inclining towards the right side, presents to the ear on that side one of its edges, turning towards the interior corner of the right eye the part which is puffed out; the third, inclining to the right, is placed the same, on its extremities, and discovers its edge in the same manner as the left temple; the fourth, placed above and behind this, presents its convexity to the interior corner of the left eye, discovering, on each side of the head the two edges; and, at length, the second, leaning on one of its edges, displays the superior part of the ring, which it forms in the direction of the left ear.
REMARKS, &c. The ostrich feathers should be seven in number: the first, fixed behind the second puff or loop of hair, falls, undulating, on the right side, and passing in front of the upper part of the first loop; the second, placed above, inclines equally towards the right; a third, more elevated, ascends from the upper part of the head; the fourth, placed before the fifth puff, slightly inclines to the left, the same as the sixth, which is placed behind; lastly, the seventh, is placed at the beginning of the fifth loop, and, passing over the left temple, accompanies the tresses of hair on that side. The lappets form a puff behind the feathers, which ornament the summit of the coiffure, and float over the shoulders. A kind of plate diadem (called by the French une plaque) either of gold or jewels, or both, is placed in front, at the distance of the stripe equal with the line of the nose. Among the curls in front are scattered a few pearls and flowers.

Fig 1
HEAD-DRESS, No. 9. – Coiffure de Mariee, OR BRIDAL HEAD-DRESS.

This coiffure, which is one the most distinguished, is composed of three loops, ornamented with orange-blossoms, a veil, and a platted braid of three branches, inclining over the right eye, and laid flat across over the forehead, so as to form a bandeau. The first puff of hair is placed opposite the right ear, its convex part turning to the eye on the same side. A second, higher than the first, predominates over the head-dress, and is placed on the summit of the head, corresponding to the line of the nose, towards which feature it turns its convex part. The third is above the left ear, where it leans over the ring it designates. It is from this loop that the transverse plat seems to come, which, passed into the interior of the curls on the right side, is concealed under the first loop on this side. A white rose, with four buds, is fixed above the first loop; above the curls, between the first and second loop, are seen several sprigs of orange-blossoms, full blown, with some branches of the same flower, in bud. These are scattered among the curls on the left. Two full blown blossoms escape, and lye on the forehead, or above the platted bandeau.
To place the veil on, it is taken by the richest corner, and folded, attaching it to four inches from its extremity; it is then fastened by a pin, and by the help of a thread before the first loop of hair; then take again the border on, the right side, and fold it at the distance of six inches. As it is impossible to tie the veil; and it is indispensably requisite to make use of a pin, it must be white, and rather long. The folded part of the veil must be placed behind the first puff of hair, making it form a cavity, where it may enter, as in a niche; the veil will be seen on the right of the puff, and somewhat above it: the remainder, passing over the left shoulder, will cover the chest, the corner falling over the figure; the flowers will be placed as mentioned in the description of this head-dress.

Fig 7

HEAD-DRESS, No. 10. – Coiffure en Turban, OR TURBAN HEAD-DRESS.
Turbans are not in universal use; yet they are not wanting in dignity nor elegance. A skilful hand knows how to give to them the most graceful form, and it cannot be denied but what the turban is, of all head-dresses, the one which most contributes to give majesty to the countenance; therefore, they are not suitable to young persons, who, when they appear attired only with modest simplicity, are certainly the most attractive.
A turban, to do honour to the person who forms it, and to the charms which it crowns, ought to harmonize with the turn of the face, the complexion of which, and the character, should be the guides of the person who composes this head-dress, in the choice of colours proper to be adopted. The shape of the turban should be made ingeniously to combine with that of the visage, and as the chief fault in this kind of coiffure is its monotony, every resource imagination has in store should be resorted to, to vary the turns, the manner of folding, and the display of fancy; for a turban is not subject to any settled rules, taste and invention may modulate it in a thousand different ways: we will content ourselves in pointing out one singly, which always produces a good effect; it is one which is parti-coloured ; for instance, ponceau, and bird-of-paradise, those two colours, with a row of pearls and a crescent, form an excellent combination. The pearls coming from behind the left ear, brought above the turban over the forehead, opposite the interior corner of the right eye, ending in a point directly opposite to where they commenced, there they should be fixed. The crescent should be placed directly in the line of the nose.


The Autumn of this year has borne so strong a similitude to Winter, that many a warm envelope has been dragged from its recess where it had been laid up with care, to be brought out for awhile, before the fashions for Winter had actually taken place. Though dress balls have not been many, yet we are credibly informed that private dances are got up with great spirit among the families now at their country recesses; all that relates to fashion, and fashionable, amusements seem to breathe of Winter.
The chief novelty in female attire is to be found in the bonnets; we are astonished to hear some ladies declare they are at a loss what bonnets to adopt; let such take the trouble of applying to Mrs. BELL, who has prepared for the demi-saison some of the most appropriate and charming head-coverings imaginable.
The colours of the new bonnets are all brighter and more conspicuous than those adapted to the summer months; one we greatly admired was of figured satin, of a light etherial-blue; it is trimmed with ribbon to correspond, and a splendid white plumage of tassel feathers, waves gracefully over one side, en saule pleureuse; this bonnet is peculiarly fitted for the carriage, and for paying morning visits. There is another bonnet of the same satin, with the crown en biseau: that is, higher on one side than on the other; it is ornamented with bows of blue gauze ribbon, edged on one side with white satin stripes, on the other with one narrow stripe of amber, on which is a delicate running pattern in brocade, of brown foliage; the bows are placed, one on the right side of the crown’s summit, the other at its base, on the opposite side, and one at the edge of the brim. A wreath of blue and white flowers finish the ornaments, and a demi-veil of superb white blond, depends over the face, from the edge of the brim, to which it is attached. A transparent carriage-bonnet is also well worthy of admiration: it is composed entirely of fluted blond; the top of the crown is elegantly finished with blond, en fers de Cheval; between the interstices of which, are parti-coloured, fancy-roses, full blown, of apricot-colour, and emerald-green. White gauze ribbon, with satin stripes, float loose. For the dress promenade, is a very beautiful satin bonnet of Pomona-green, it is trimmed with green and white satin ribbons, sewn together, and a long branch of the everlasting pea, in full flower, droops over the left side.
Among the new head-dresses is a beautiful turban-cap of tulle, folded in bias, with long loop-strings of bright geranium sewn together. A full-blown yellow rose is placed over the right temple, and on the opposite side is a white rose. At the back of the caul, on the left side, is a full-blown damask-rose. Young ladies at this season of the year, wear but little ornament on their tresses, which are, however, arranged with the greatest care and elegance: at some evening parties, where a certain style of parure is required, and at dress-balls, a wreath of foliage, or of flowers, in detached bouquets, are added. Jewellery in the hair, and ornamental combs, are not likely to prevail till the latter end of October. Turban and berets cannot be expected, at this time of the year, to offer any thing new; a few toques, of rich gauze, have appeared at some dress- parties in the country; the plumage was white, short, and most tastefully disposed; it was of a light and beautiful kind, but not marabout. Dress hats are, as in general at the Summer and Autumnal recesses, the head-dress most in favour with matronly belles; of those now most admired are of white crape, with superb white Ostrich feathers.
Among the most attractive novelties in the dresses, is one of cherry-coloured gros de Naples, with a broad bias hem at the border of the skirt; this is headed by a broad fringe: the body is made low, a la Suisse, and the lacing of ribbon at the stomacher finishes by a bow, to the ends of which depend silver tags. The sleeves are short, of the same material as the dress; and over them are sleeves a la Seduisantes, of rich white blond. The same kind of fringe which ornaments the hem at the border of the dress surrounds the base of the corsage, rendering it in the true Swiss style: and an ornament of fringe falls over the back
of the tucker part of the body, but does not surround the front of the bust; coming no farther from the back, on each shoulder, than to the hollow of the arm. Dresses of slate-coloured gros de Naples are in high estimation for half-dress; these are also trimmed .with fringe over a broad hem; a pelerine, the same as the dress, is worn with them, according to the time of day, or style of dress, and this is surrounded by fringe. Printed muslins and chintzes continue to be worn in home costume, but white dresses yet prevail at the dejeune. Figured gauze, both white and coloured, is a favourite material for full dresses; they have little novelty in their make; a ruche of tulle, or two narrow flounces of white blond, fall over the head of the broad hem, which generally finishes the border.
The newest article in out-door costume is a very handsome and comfortable Venetian cloak of fine Merino; a most judicious, as well as an elegant envelope for ladies who take country excursions in an open carriage, during these cutting winds we have lately experienced; this cloak will also be found extremely serviceable on coming from an evening, or late dinner-party. The colour is a fine shade of slate, and it is beautifully relieved by being trimmed all round with broad black velvet. Over the shoulders, forming a large kind of cape, is a pointed mantelet-pelerine, which graceful appendage adds to the warmth of this covering, while it presents a real ornament; this is also trimmed round by black velvet, and its long points fall partly in front, and partly over the shoulders, like the Persian drapery sleeve. The cloak is lined throughout with white Levantine, and a rich silk cordon of black, with tassels, fastens it round the waist. The pelisses this summer were much worn unclosed down the front of the skirt, discovering a petticoat of richly embroidered muslin or cambric underneath. There is nothing yet novel in the style of those pelisses which fasten down; mantles, it is expected, will be very general, during the latter end of October; some have already been adopted; they are all made with capes, though there is great utility in the hood, especially for young ladies who wear no head-dress but their own hair; they can then, when seated in their carriage, at returning from a late party on a cold night, shield their Heads from the generally pernicious effects of nocturnal air, by drawing the silken or satin hood over their tresses. Cachemere shawls are, at present, in universal request. On mild days, a canezou spencer of embroidered muslin, or a pelerine trimmed with broad lace, and splendidly embroidered, with only a fiancee tippet of coloured silk, is thought a sufficient additional covering. We have seen on a lady of distinction a pelisse of gros des Indes, which appeared entirely new; it fastened down one side with a full ruche of the same colour and material; she was accompanied by a lady in a pelisse of dove-coloured satin, made with broad bias folds, en tunique.
The colours most admired are slate, etherial-blue, Pomona-green, cherry, amber, pink, and the yellow of the young Canary-bird.


HATS AND BONNETS. – Several straw hats, and those of other materials, are seen ornamented with five or six dahlias, placed at the base of the crown. Hats which have the brim plaited like a fan, have the crown very low on the left side, and the right side of the brim is slightly turned up. Five white feathers form a diadem: the bow of ribbon which fastens them is fringed at the ends with feathered fringe. Bonnets of blue, lilac, or white corded silk, are ornamented by plats of straw and two bouquets of field-flowers, one placed on the right, on the summit of the crown, the other at the edge of the brim, on the left side. The ribbons which fasten these bouquets are edged with plats of straw. Bonnets of rose-coloured or blue crape have puckered crowns, and the brims laid in large flutings; they are not lined: at the base of the crown is a bouquet of jessamine and wild honeysuckles; the brim is bordered by a very deep blond.
Round the crown of a hat of straw and rose-coloured silk, has been seen a few sprigs of the Spanish apple-blossom, mingled with puffs of rose-coloured gauze. On the right side, under the brim, a double rosette of yellow and rose gauze, upheld a branch of apple-blossoms. A hat of yellow satin, trimmed with several rosettes, under the brim, has before the front of the crown two branches of geranium. A white poppy sometimes forms the sole ornament on a hat of white gros de Naples, lined with rose-colour, and bound with that colour.
The caul and the brim of a bonnet of blue gros de Naples is puckered and bouillones over stiffenings of straw concealed under the silk. A demi-yeil of blond is placed at the edge: the ornaments consist of bows of gauze ribbon.
The autumn of this year is so winter-like, that bonnets of satin have already appeared. On the hats are alternate puffs of striped ribbons, the stripes the same colour as the ribbon; iron-grey, for example, on slate-colour. The brims of the bonnets are very long in front. After having incircled the crown, a broad ribbon is crossed in an X, and the ends serve for strings.
Hats of gros de Naples, and thoso of coloured crape, have all on the summit of the crown, at the right or the left, a long branch of flowers inclining towards the brim: on the opposite side are rosettes of ribbon of gauze, bordered with figured satin.
A great number of hats have, instead of gauze ribbons for the bows, rosettes made of satin ribbon, even on satin bonnets: some of these bonnets are bordered by black blond. When three feathers are placed on a hat in a vertical direction, it is said they are a l’Anglaise, in allusion to the crest of the Prince of Wales. Some hats of gros de Naples, or of white crape, are trimmed round the top and base of the crown with blond, and between each of these trimmings is a branch of white bind-weed, put on in a serpentine direction.
Some bonnets have been seen of gros de Naples, made in the English style, which have taken place of those in straw, worn some months ago. Their colour is pearl-grey, lined with rose or cherry-colour. The strings are fastened or each side, and tie over the crown, which is surrounded by a ribbon of the same colour, with a bow on one side. Some ladies of fashion place on their Leghorn hats a plume composed of peacock’s feathers, which forms a half-circle round the hat, and falls over the left side of the brim. Several hats of bright green gros de Naples have white bindings on the right side is a bow of six loops, with one single end. This end of ribbon ascends over the crown and then descends to the left to the edge of the brim, where it terminates under a rosette. Some bonnets a l’Anglaise have appeared of white gros de Naples, bound with ponceau.

OUT-DOOR COSTUME. – Pelisses of gros des Indes or of gros de Naples, which are named prisms, on account of the effects caused by their being of changeable colours, are very fashionable. They are fastened down the front by rosettes formed of four points of the same material as the pelisse, bound with a narrow rouleau. In the centre of these rosettes is a small Griffin’s claw of gold. Over some of these pelisses is worn a pelerine, with a very broad fringe. A blond ruff round the throat is reckoned much more elegant than a collar. Instead of a fiancee tied en cravate round the throat, below the ruff, a very broad ribbon is preferred, the ends cut in bias and fringed. It is tied under the chin without forming any bow.
The morning pelisses are of dark-coloured muslin, with a running pattern of small white flowers. Some muslin and Organdy pelisses have very wide, open sleeves, all the way down withinside the arm they are closed at separate distances by a double button of gold. The belt, the cuffs, and the ruff round the neck, are also fastened by gold buttons.
Pelisses a la maitresse, are of jaconot muslin, the ground of a light blue, pink, chamois-colour; they have under them a petticoat of cambric, and a fichu with a double falling collar: one is plaited in a great many small plaits, the other is fluted.
The pelerines are charming: some of muslin are embroidered all over in feather-stitch, as is also a very broad frill border, at the edge of which is a fine narrow lace. Two pelisses have appeared of white jaconot, with very broad sashes; the pelisses were trimmed all round with a double frill trimming of muslin, festooned and embroidered. This trimming was sewn at the border of the hem, next the shoe.
Pelerines of muslin, plaited en musique, have sometimes five small plaits placed at equal distances, and tacked down by a needle and thread, which makes it easy to sew to them the narrow lace or edging which trims them, and can by this means remain stationary.
On pelisses of gros de Naples, in the place of ruffs, we generally now see narrow collars of embroidered tulle, trimmed with narrow lace, which are tied in front. Those collars of gros de Naples named fiancees, have now changed their title to alliance; they are plain or embroidered, according to fancy, and are always of two different colours.

DRESSES. – The newest dresses for the morning walk are of jaconot muslin, the ground a Turkish red, or green, figured over with white flowers with black stalks, and edged round with black, which marks out the shape of the petals. With these dresses a white canezou of muslin is worn.
Materials of fine woollen tissue, figured over with blue-bells or daisies, are often seen at dress parties. The flowers are embroidered in silk or worsted. White barege, also with flowers interwoven in the stuff, are much in request. The flower is generally a pink, a ranunculus, or a violet.
A wreath of oak-leaves in velvet, placed as high as the knee, is the favorite trimming on ball dresses.
We are assured that several dresses have been made of the horse-hair material named Crinoline. Fashion is frequently giving new epithets, but in this we cannot help seeing the revival of mohair; however, it is preferable to the fragoletta, which they have not scrupled to call a certain kind of muslin of one particular pattern.
One of the prettiest materials that is now worn is the chaly Grec, and painted gros de Naples is much in favor with ladies of distinction. A petticoat of this kind, with a canezou of Indian muslin, embroidered in stripes, is a costume which is universally admired.
At dancing assemblies dresses are seen of India muslin, the borders of which are ornamented with gold; and as high as the knees is an embroidered wreath of flowers in gold and silver. The same kind of work adorns the mancherons and the tucker part of the bust. The sleeves are open from the shoulder to the wrist, where they are bordered by gold lace, and fastened by one single button of gold.
A dress of rose-coloured Organdy, ornamented as high as the knee with a fringe in knotted silk, is reckoned very elegant; a similar fringe is placed over the hem at the edge of the dress, and falls over the petticoat beneath, which is of glazed cambric-muslin, with a narrow lace at the border. Dresses of Organdy, the colour of the marshmallow-blossom are also seen. Above the hem they are embroidered in crewel in green vine-leaves; the clusters of grapes which are intermingled, are worked in white worsted.
The embroidery with which the wide sleeves are adorned, is often a work of perfection; the flowers are grouped in a manner which would do honour to the finest picture.
A dress of muslin was seen at a concert lately; the ground was white, and the pattern, that which is now known by the appellation of fragoletta (small red strawberries with green leaves) a twisted ornament of three colours, red, white, and green, marks out the edge of the broad hem at the knee.
Among the royal mantles destined to the Queen of Spain, is one of velvet, round which is embroidered wheat- sheaves of gold and pearls. The fringe is also of gold and pearls, ornamented by a beautifully wrought head of the some costly materials.
One of the newest and prettiest dresses for the ball-room, is of crape, or white Organdy, with green foliage formed of crape gauffree, and placed in a wreath over a broad hem.
The sleeves are now beginning to decrease in width; and it is expected they will be much narrower on dresses made of Winter materials. The cuffs have three points, edged with narrow Mecklin-lace, which are directed towards the arm.
A lady was seen at the last ball at Ranelagh in a dress of white muslin with short sleeves. Her sash was fastened with a beautiful brooch of topazes: two of the best dancers wore dresses of rose-coloured crape. One white dress was remarked with a corsage of lemon-colour, having a point, a Yelva: it had long sleeves of tulle.
Ruffs are often made of stiffened muslin; they are double, and laid in full plaits.
The fiancees which tie round the throat are of gauze ribbons cut in bias.
Amongst the ornaments placed over the broad hems of dresses of gros de Naples, one has been remarked of a letting-in kind, formed by a treillage in passementerio: it is open, and separates the hem from the skirt. The belt, the cuffs of the sleeves, and the tucker part round the bust are finished in the same manner. On dresses of white jaconot, the hem is sometimes covered with embroidery in feather-stitch; above the hem, is a trimming of muslin about a hand’s breadth, embroidered and festooned: the same kind of trimming is placed at the edge of the hem, next the feet.

HEAD-DRESSES. – Several ladies, and even those who are very young, wear false ringlets, which they name Anglaises; these fall below the ears: the damp of the evenings proves the utility of this adoption, as they do not become out of curl like the natural hair.
The dress caps are so large, and the ribbons which trim them so broad, that to keep them in shape, they are supported by three rows of wired ribbon; this stiffening is concealed by a wreath of flowers. At the back of these blond caps is a bow of gauze ribbon, from whence depend two ends which hang down like lappets.
The hair is much elevated on the summit of the head; it is composed of two bands of hair on the forehead, and a bow of three puffs towards the summit. A wreath formed of ears of corn, blue-bells and wild scarlet poppies, with a small sheaf of barley, complete the head-dress.
At the last ball at Ranelagh, a young lady with ebon tresses, had them separated in two bands, which were almost transparent. At that part where the skin of the head is no longer discovered, that is to say, at the summit, were three puffs, or loops of hair, one above the other, and in front of these puffs were four dahlias placed in an oblique direction. Some ladies wear garden-daisies in their hair; others the laurel-rose, which is so disposed as to resemble the arched tail of the bird-of-paradise. Many have their hair adorned with flowers on long stalks, which form an aigrette.

JEWELLERY. The favourite ear-pendants and neck- laces are now of rubies or garnets.
The key of gold, which a lady now suspends to her neck-chain, contains a pencil.
The ear-pendants are remarkably long; every drop is composed of four bells, which seem enclosed in each other, as they fall one over the other; the head of the second, as it descends, being suspended to the clapper of that above it, and so of the rest.
Those ramifications of coral, named native coral, are much in favour again. At a late elegant dancing-assembly was seen a belt of this kind; some of these specimens are of bright red, and are mingled with either silver or gold.

MISCELLANEOUS. – The new material in horse-hair, named crinoline, is much used for the lining of reticules, baskets, and sometimes for deshabille hats in the country.
The half-boots are made with heels.
Several invitation cards have appeared worded as follows: “There will be a violin and a fire.”
Among the clear muslins there is one which bears the name of a new romance, Fragolletta. Green foliage, mingled with red fruit, wood-strawberries, run over a ground of white, or of some very light colour.
A fashionable purse is of silk net, black and ponceau, brown and green, or white and blue; the strings are of the same two colours, with tassels.
Some hosiers sell stockings for females which have a fringe above the ancle, to mark out the figure of a half- boot.
Paper for hanging apartments with is figured in imitation of those materials which are gauffree, and those of damask.
The new work-baskets are of white wood, in open-work; and to preserve in them the smallest objects in safety, they are lined throughout with sarcenet.
Silk stockings are now dyed flesh-colour. White silk half-boots, with a fringe at the top, round the small of the leg, are worn at balls.
The new gloves have two button-holes at the wrists, with two buttons, as large as a sixpence each.

From: The World of Fashion and Continental Feuilletons

Onwards to November 1829

Back to September 1829