Following the Fashion~

An article, "WOMEN'S DRESS" from a book entitled "Old Times: a Picture of Social Life at the End of the Eighteenth Century", by John Ashton, 1885.


I've copied the article in it's entirety. The line drawings are from the book, I've taken the liberty of including the actual Gillray and Cruikshank images when I could find them rather than the author's line drawings...I've also thrown in a few illustrations from other publications that I thought illustrated the text well. 


A good read, with lots of snippets from newspapers and magazines of the day.

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

Indoor Costumes, 1788

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

"The Ladies have no particular dress for the morning, but huddle away to the bathing place, in close caps, and gipsey bonnets, so that they look like a set of wandering fortune-tellers, who have just had the opportunity of pillaging the contents of a frippery warehouse, with which they had bedecked themselves in haste.


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

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

"A Cotillion", 1788

Fashions for 1788

That ladies copied the eccentricities of male attire, and made them their own, we have proof in this cutting from the Morning Post, I5th January 1789 :—

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

The Duchess of York

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

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

"The fashion of dressing, at present, is to appear prominent, and the stays are made accordingly. This is holding out a wish to be thought in a thriving way, even without the authority of the Arches Court of Canterbury—something in the French way—a philosophical desire to be conspicuously great with Mischief, without any regard to law or reason. The idea was at first sent forward by a few dropsical Ladies."—(Times, March 25, 1793.)

"The Wapping Land-ladies are all at the very pinnacle of the fashion. Nature has given them prominences which far outpicture the false mountains at the West end of the town. It is not only the fashion of appearing six months gone, that prevails with the ladies—but that of not having any waists, so that, even with their prominences, they may be called—No-body." (Times, April 15, 1793.)

"Six Stages of Mending a Face", Rowlandson

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


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


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


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


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


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


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

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

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

With very low bodices, and very high waists, came very scanty clothing, with an absence of petticoat, a fashion which left very little of the form to the imagination. I do not say that our English Belles went to the extent of some of their French sisters, of having their muslin dresses put on damp—and holding them tight to their figures till they dried—so as absolutely to mould them to their form, or that they ever discarded stockings, and went to balls with bare feet, and only wearing sandals, having on but the lightest of classical clothing—but their clothes were of the scantiest, and we shall find that, as year succeeded year, this fashion developed, if one can call diminution of clothing, development. Men made fun of it, vide the following from the Times, I2th August, 1794:—"Amongst prudent papas, the favourite toast at this time is 'The present fashion of our wives and daughters,' viz. No Waste."

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

SHEPHERDS, I HAVE LOST MY WAIST.                             


"Shep-herds, I have lost my waist, Have you seen my bo - - dy
Sac-ri-ficed to mo-dern taste, I'm quite a hod - dy dod - - dy.


Tisgone,andl have not a nook For cheesecake, tart, or jel - ly.

Never shall I see it more,

   Till, common sense returning, 

My body to my legs restore, 

  Then I shall cease from mourning, 

Folly and fashion do prevail 

  To such extremes among the fair, 

A woman's only top and tail, 

The body's banish'd God knows where!'

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

Gillray~ "Following the Fashion", image source, wiki

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

note~ the author appears to be referencing the two women in this one picture~

"Leaving off Powder"... Gillray

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

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

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

"Corsettes about six inches long, and a slight buffon tucker of two inches high, are now the only defensive paraphernalia of our fashionable Belles, between the necklace and the apronstrings.— (Times, June 24, 1795.)

"The annual City Assemblies, from the glowing colours which decorate the belles, may be now fairly styled red-hot balls."—(Times, Dec. 29, 1795.)

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

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

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

"The maroon fever has been succeeded by a very odd kind of light-headedness, which the physicians call the ptereo mania, or feather folly."

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

"We saw a feather in Drury Lane Theatre, yesterday evening, that cost ten guineas. We should have thought the whole goose not worth the money."—(Times, Jan. 6, 1796.)

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

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

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

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

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

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

"Ladt Godiva's Rout", Gillray

"Lady Godiva's Rout, or Peeping Tom spying out Pope Joan," is by Gillray, I2th March 1796, and is a scathing satire on the extremely decollete'e, and diaphonous, dresses of the time. The fair one, whose uncovered bosom so attracts the candle snuffer, is intended to represent Lady Georgiana Gordon, afterwards Duchess of Bedford.

"High Change in Bond Street", Gillray

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

"At the late Fandango Ball in Dublin, a certain Lady of Fashion appeared in the following very whimsical dress:—Flesh coloured pantaloons, over which was a gauze petticoat, tucked up at each side in drapery, so that both thighs could be seen; the binding of the petticoat was tied round the neck, and her arms were through the pocket holes. Her head dress was a man's pearl coloured stocking, the foot hanging down at the back of the head like a lappet, and in the heel of the stocking was stuck a large diamond pin, the tout ensemble not less novel, than ludicrous.1'—(Times, May 26, 1796.)

 "Whalebone- Veils are worn by all the fashionable dames at Weymouth. This invention is evidently borrowed from the head of a one horse chaise."—(Times, August 27, 1796.)

"High heels are once more the rage; there is, however, no scarcity of flats. During the reign of the flat sole, the Ladies make more faux-pas than ever, so that we need entertain no apprehensions for them, if they chuse to get upon stilts. What with high heels and high feathers, the better half of many an honest man is just one third part of herself."—(Times, August 27, 1796.)

"Fashion would be its own murderer, if it were to be constant and permanent. The last year's dress seems to abdicate entirely; even the waist is walking down towards the hip; and three straps, with buckles in front, have abridged so much of the usurpation of the petticoat . One cannot see so many Ladies of high ton with the straps over the bosom, without thinking how much better they might have been employed over the shoulders."—(Times, Aug. 27, 1796.)

"Before the waist is quite again in fashion, and while the thing exists (which will soon be incredible), we set down the measurement of a petticoat in the summer of 1796, which for a middling-sized woman is five foot and an inch."—(Times, Nov. 4, 1796.)

"It would not be easily believed by our Great Grandmothers, that their lovely daughters cannot make their appearance without a dozen combs in their heads, and as many false curls and cushions. The victory over black pins is complete."—(Times, May 30, 1797.)

"Horse Hair has risen near 50 per cent, since Wigs have become so much the rage."—(Times, April 27, 1798.)

"The women at Paris are every day divesting themselves of some of the customary articles of dress, and the rage for nudity is so great, that it is apprehended, even by the Parisian Journalists, they will shortly have the effrontery to present themselves to the public eye in a state of pure nature. One of them appeared a few days since in the Champs Elysdes, in a simple robe of spotted black gauze, and shewed so much that little was left to guess. The spectators were struck with indignation at this flagrant violation of decorum, and she was compelled to make a shameful and precipitate retreat."— (Times, June 18, 1798.)

An Artist has advertised that he makes up worn out Umbrellas into fashionable Gypsey Bonnets. The transition is so easy, that he is scarce to be praised for the invention.

"The Gypsey Bonnet is commonly worn by the Lancashire Witches."—(Times, July 7, 1798.)

"We are very happy to see the waists of our fair. country women walking downwards by degrees towards the hip. But, as we are a little acquainted with the laws of increasing velocity in fashionable gravitation, we venture to express, thus early in their descent, a hope that they will stop there."—(Times, April 15, 1799.)

"Straw in the head-dress, according to the laws and immemorial customs of the stage, denotes the unsoundness of the brain it covers. Several of those useful and respectable young men, who make the campaign of Bond Street, have thought proper to invest their temples with the sacred symbols, and wear straw hats to give notice of their light-headedness."— (Times, July 4, 1799.)

The Censor could also be severe on the harmless "Reticule."

"In the present age of political innovation, it is curious to observe the great veneration for antiquity which prevails in all our dresses and fashions. Queen Elizabeth's ruffs decorate our blooming belles; and our beaux are puckered and stuffed on the shoulders d la Richard the Third. But what is still more remarkable, is the total abjuration of the female pocket. Those heavy appendages are no more worn at present than keys at the girdles. Every fashionable fair carries her purse in her workbag. Her money and her industry lie cheek by jowl: and her gambling gains lie snug by her housewife. Her handkerchiefs, her toothpick case, her watch, and her keys, if she has any, are the constant concomitants of her visits; and while no part of the symmetry of her shape is altered or concealed by the old-fashioned panniers, she has the pleasure of laying everything that belongs to her upon the table wherever she goes."—(Times, Nov. 9, 1799.)

"A dashing Lady of Fashion, inconvenienced by the new custom of carrying a bag with her handkerchief smelling-bottle, purse, &c., &c., went to a large party the other evening, attended by a Page, who was employed to present the articles as they might be wanted. The Page was well qualified to go through the fatigues of office, being well-made, active, and just one and twenty. Should the example be imitated, Pages will probably be more in request than waiting-women."— (Times, Def. 7, 1799.)

"If the present fashion of nudity continues its career, the Milliners must give way to the Carvers, and the most elegant fig-leaves will be all the mode.

"The fashion of false bosoms has at least this utility, that it compels our fashionable fair to wear something."—(Times, Dec. n, 1799.)

With which most pungent criticism, we will take our leave of lady's dress.

Cruikshank, 1799