Jane Austen project – Verity Williams, BA (Hons) Costume

Contents Page

Pg 3 - 5: Fitting Schedules

Pg 6 - 32: Script Breakdown

Pg 33 - 38: Estimated Budget Sheet

Pg 39 - 46: Budget Sheet

Pg 47 - 61: Primary Research

Pg 62 - 70 : Secondary Research

Pg 71 - 117: Costumes for Blandford Museum

Pg 72 - 85: Ellie Schembri’s costume

Pg 86 - 98: Katie Underhay’s costume

Pg 99 - 117: Jess Davies’s costume

Pg 118 - 179: AUB Store Costumes

Pg 119 - 133: Rebecca Rowatt’s costume

Pg 134 - 144: Sophie Sheard’s costume

Pg 145 - 154: Benji Barrows’s costume

Pg 155 - 170: Megan Caley’s costume

Pg 171 - 179: Verity Williams’s costume

Pg 180 - 224 : Process of Making a Spencer Jacket

Pg 225 - 227: List of Figures

Pg 228 : References

Pg 229 - 230: Biography

Pg 231 - 238: Appendix

Fitting Schedules

1st Fitting Times and Days

AUB Costume Store

Name Costume Day/Time

Megan Caley – AUB

Costume Store

Regency Tailcoat, Waistcoat, and Trousers. 10/03/2025 - 11:30

Sophie Sheard – AUB Costume Store

Rebecca Rowart – AUB Costume Store

Verity Williams

Benji Borrows – AUB Costume Store

Chemise, Corset, and Dress, Shaul.

Chemise, Corset, Dress, and Pelisse.

Spencer Jacket

18/03/2025 - 10:30

18/03/2025 - 14:00

18/03/2025 - 14:00

Chemise, Corset, and Dress. 19/03/2025- 14:00

Blandford Museum

Name Costume Day/Time

Ellie Schembri

Jess Davies

Katie Underhay

Chemise, Corset, and Pelisse. 14/03/2025 - 14:00

Chemise, Corset, and Dress. 18/03/2025 - 13:00

Chemise, Corset, and Dress. 19/03/2025 - 11:00

2nd Fitting Times and Days

AUB Costume Store

Name Costume

Megan Caley – AUB Costume Store

Regency Tailcoat, Waistcoat, and Trousers. 09/05/25 – 12:00

Sophie Sheard – AUB Costume Store

Rebecca Rowart – AUB Costume Store

Chemise, Corset, and Dress, Shaul.

19/05/25 - 13:00 – only fitted the sleeve on pictures.

Chemise, Corset, Dress, and Pelisse. 01/05/25 – 15:00

Verity Williams Spencer Jacket 01/05/25 – 15:00

Benji Borrows – AUB Costume Store

Chemise, Corset, and Dress. 16/05/25 – 13:00

Blandford Museum

Name Costume Day/Time

Ellie Schembri

Jess Davies

Katie Underhay

Chemise, Corset, and Pelisse. No second fitting needed.

Chemise, Corset, and Dress. 16/05/25 – 13:00

Chemise, Corset, and Dress. 09/05/25 -13:00

Script Breakdown

Film Script Breakdown

Pride and Prejudice: Written by Deborah Moggach.

Scene/ Section Location Scene Summary

Scene 1 : Day 1

Scene 2 : Day 2

NetherfieldHertfordshire A view Netherfield house and shows servants preparing the house for Mr. Bingley’s arrival.

Longbourn House

Scene 3 : Continuous

Longbourn House

Elizabeth is walking through a field reading a book. We follow her back to the house, where she walks past the library and can overhear Mr. and Mrs Bennet talking about the new resident at Netherfield Park.

Elizabeth then walks into the hallway, as she walks, we can hear a piano. She gets to the door of the library where she sees her sisters listening at the door. Mrs and Mr. Bennet and now talking about how Mr. Bingley could marry one of their daughters since he’s a single rich young man.

Scene 4: CorridorContinuous Longbourn House Mrs Bennet asking Mr. Bennet to visit Mr. Bingley.

Time of Day Characters in Scene Costume Specific Notes Other

// Servants No costume mentioned.

// . Elizabeth Bennet . Mrs Bennet . Mr. Bennet No costume mentioned.

Afternoon . Elizabeth . Mary . Lydia . Kitty . Jane . Mrs Bennet . Mr. Bennet No costume mentioned.

Afternoon . Elizabeth . Mary . Lydia . Kitty . Jane . Mrs Bennet . Mr. Bennet No costume mentioned.

Scene 5 : Continuous Longbour n House

Scene 6 : Continuous Assembly Rooms –Meryton Village

Mr. Bennet lets them know that he’s already called upon Mr. Bingley and lets his daughters know that Mr. Bingley will be at the ball.

Afternoon . Elizabeth . Mary . Lydia . Kitty

. Jane

. Mrs Bennet

. Mr. Bennet

Kitty asks Jane if she can wear her spotted muslin dress to the ball. She will lend Jane her green slippers if so.

Scene 7 : Continuous Longbour n houseBedroom

Elizabeth and Jane are talking at the ball. Mr. Darcy, Mr. Bingley and Miss Bingley all enter the ball. Mr. Darcy and Elizabeth share brief eye contact while he enters. Later Mr. Bingley spots Jane from cross the room and they also share a glace at each together. Elizabeth’s friend Charlotte let her know how they are, and Elizabeth already takes a disliking to Darcy because of his “disagreeable expression”. Sir Williams introduced the Bennet family to Mr. Darcy, Mr. and Miss Bingley. Jane and Mr. Bingley got off to dance, Mr. Darcy refuses to dance with anyone. Later, Mr. Darcy say that Elizabeth is “not handsome enough to tempt” him. This makes Elizabeth dislike Mr. darcy even more.

Jane and Elizabeth talk about Mr. Bingley and how Jane was very happy that he dance with her most of the night. They also talk about Mr. Darcy and how Elizabeth didn’t like him.

Night . Elizabeth . Mary . Lydia . Kitty . Jane

. Mrs Bennet

. Mr. Bennet

. Mr. Darcy

. Mr. Bingley

. Miss Caroline Bingley

. Sir Williams

. Charlotte

Kitty, Lydia, and their mother are fussing over their clothes and hair. Lydia feels like she can’t breathe in her dress. Mr. Bingley, Miss Bingley, and Mr. Darcy are all dressed in the highest fashion.

Night . Jane . Elizabeth

No costume mentioned.

Scene 8 : Day 8 Longbourn HouseBreakfast Room

Mrs Bennet talks about how Mr. Bingley dance with Jane most of the night. Jane gets a letter from Miss Bingley inviting Jane to dine with her. Mrs Bennet wants Jane to travel to Netherfield on horseback.

Scene 9 : Day 9 Countryside Jane riding through the countryside.

Scene 10 : Day 10 Field

Elizabeth walking through the field reading, it starts to rain.

10am . Elizabeth . Mary . Lydia . Kitty . Jane . Mrs Bennet . Mr. Bennet

. Mrs Hill No costume mentioned.

. Jane No costume mentioned.

. Elizabeth No costume mentioned.

Scene 11 : Day 11 Longbourn House

Scene 12 : Day 12 Garden

Mrs Bennet is happy it is starting to rain. // . Mrs Bennet . Mrs Hill . Boy delivering meat No costume mentioned.

Heavily raining. // . Washerwoman No costume mentioned.

Scene 13 : Day 13 Meryton Village People running for cover from the rain.

Scene 14 : Day 14 Longbourn House

. Shopkeepers . Village people No costume mentioned.

. Mrs Bennet . Mr. Bennet . Elizabeth No costume mentioned.

Scene 15 : Day 15 Netherfield Park Jane standing at the door and sneezes. // . Footman . Jane No costume mentioned.

Scene/ Section Location Scene Summary

Scene 16: Day 16 Longbourn House –Drawing Room

Elizabeth reading a letter from Jane, who says she’s ill. Elizabeth decides to walk to Netherfield to see Jane.

Morning . Elizabeth . Mr. Bennet . Mrs Bennet

No costume mentioned.

Scene 17: Day 17 The countryside

Walking through muddy fields.

Morning . Elizabeth No costume mentioned.

Scene 18: Continuous

Day one of Elizabeth at Netherfield

Netherfield –Breakfast room.

Scene 19: Continuous Netherfield Landing

Caroline and Darcy and eating breakfast, Elizabeth arrives to see her sister

Morning . Caroline Bingley . Mr. Darcy . Elizabeth . Footman . Skirt is covered in mud. . Face in flushed.

Breakdown on bottom of the skirt and boot, because she’s walking through mud.

Caroline –“did you see her petticoat? Six inches deep in mud!”

Elizabeth and Mr. Bingley both ask the doctor how Jane is. She has a violent cold but just needs time to get better.

Morning . Elizabeth . Mr. Bingley . Doctor

Scene 20: Day 20 Netherfield –Jane’s bedroom

Scene 21: Day 21 Netherfield –Drawing Room

Elizabeth see Jane in the bedroom. Mr. Bingley comes in and lets Elizabeth know that she can stay until her sister is well.

Bingley paces around in the drawing room worried about Jane. He says that even with Jane’s low connection he’s still interested in her.

Morning . Elizabeth . Jane . Mr. Bingley

No costume mentioned.

// . Caroline Bingley . Mr. Bingley

. Mr. Darcy

No costume mentioned.

No costume mentioned

Scene 22: Day 22

Scene 23: Day 23

LongbournGarden Mrs Bennet talking to Mr. Bennet about how her plan is working and Mr. Bingley is falling for Jane. Then suddenly the officers are arriving.

Meryton Village

Scene 24: Day 24

Day two of Elizabeth of Netherfield

Mrs Bennet, Lydia, and Kitty are running to the village street to see the soldiers.

// . Mrs Bennet . Mr. Bennet . Kitty . Lydia Kitty and Lydia are dress well to impress the officers.

Scene 25: Day 25 Day 4

Scene 26: Day 26 Day 4

Scene 27: Day 27 Day 4

Netherfield –Drawing Room They are all sitting in the drawing room and Mr. Darcy is writing a letter. He believes to be an accomplished women, there are certain skills the woman must have. Elizabeth disagrees, stating that she’s surprised he knows any at all. Elizabeth walks around the room with Caroline Bingley.

Netherfield –Bedroom

Elizabeth wakes up next to Jane.

Countryside Darcy rides through countryside.

Netherfield –Stable Yard

Darcy rides into stables. Puts his head under cold water.

//

. Mrs Bennet . Kitty . Lydia . Shopkeepers

Evening . Caroline Bingley

. Mr. Darcy . Mr. Bingley

. Elizabeth

No costume mention

Handkerchief gets stood on by soldier.

Morning . Elizabeth . Jane

No costume mentioned Note that Elizabeth and Caroline walk around room in costume.

No costume mentioned Characters would be in nightwear.

Morning . Mr. Darcy No costume mentioned

Morning . Mr. Darcy No costume mentioned Note that costume will get wet.

Scene 28: Day 28 –The same Day 4

Scene 29: Day 29

Day 4

Netherfield –Bedroom/Stable Yard

Elizabeth looks out the window and see Darcy. Darcy sees Elizabeth and she looks away to wake up Jane.

Netherfield –Drawing Room

Scene 30: Day 30

Scene 31: Day 31 –the same

Scene 32: Day 32

Mrs. Bennet, Lydia, Kitty, and Mary arriving at Netherfield to see if Jane is better. Lydia asks Mr. Bingley to hold a ball, and he agrees to.

NetherfieldDrive The Bennet’s get in the carriage to go home, Jane is feeling much better. They say goodbye to the Bingley’s and Darcy.

Netherfield –Drive (in carriage)

Mrs. Bennet comments on Darcy’s behaviour in the carriage. Suggesting he has too much pride.

Meryton –Carriage The carriage stops as the Militia march through town.

Morning . Elizabeth . Mr. Darcy . Jane

No costume mentioned

Scene 33: Day 33

Meryton –Carriage

Lydia watches the soldier’s and is excited. She spots Wickham leading the Militia.

Day . Butler . Caroline Bingley

. Mrs. Bennet

. Mr. Bingley

. Mr. Darcy

. Elizabeth . Lydia . Kitty . Mary

Day . Jane . Mr. Bingley

. Elizabeth . Mr. Darcy

. Caroline Bingley . Lydia . Kitty . Mary . Mrs. Bennet

Day . Lydia . Kitty . Mary . Mrs. Bennet . Jane . Elizabeth

Day . Lydia . Kitty . Mary . Mrs. Bennet

. Jane . Elizabeth . Militia

Day . Lydia . Kitty

. Mary

. Mrs. Bennet

. Jane . Elizabeth

. Militia

. Mr. Wickham

No costume mentioned

No costume mentioned

No costume mentioned

No costume mentioned Note lots of soldier's uniform.

No costume mentioned

Scene 34: Day 34

LongbourneHertfordshire

Scene 35: Day 35 Coming through Meryton –Carriage/ Drive in Longbourne

The Bennet girls all go into the house. Mr. Bennet is there with a letter, he tells them that they’ll have an extra person for dinner.

Mr. Collins who’s in the carriage is the guest coming for dinner with the Bennet’s. He’s their cousin and will inherit the estate. Elizabeth talks about him to Charlotte, while they walk to the butchers.

Day . Mrs. Bennet . Elizabeth . Jane . Lydia . Kitty . Mary

. Mr. Bennet

Day . Mr. Collins . Elizabeth . Charlotte

No costume mentioned

Scene 36: Day 36 Longbourne Hallway

Scene 37: Day 37 Netherfield –Dining Room

Mr. Collins enter the house greeting Mr. and Mrs. Bennet. Followed by Jane, Lizzie and Mary. He admires the house that will one day be his.

They all sit down for dinner. Mr. Collins mentions that he knows Lady Catherine, since she owns an estate near his.

Day . Mr. Collins

. Mrs. Bennet

. Mr. Bennet

. Jane . Elizabeth . Mary

The description of Mr. Collins is that ‘he sits in his black garb’.

No costume mentioned

Scene 38: Day 38

LongbourneCorridor

Scene 39: Day 39 Longbourne –Back Meadow

Mr. Collins takes Mrs. Bennet aside into the hallway. He tells her he’s interested in making Jane his wife. Mrs. Bennet tries to get him interested in Elizabeth instead.

Elizabeth and Jane are walking to the house, when Mr. Collin's tries to approach them. They both runaway before he can catch up to them.

Evening . Mr. Collins . Mrs. Bennet . Mr. Bennet . Jane . Elizabeth . Mary . Lydia . Kitty

The same . Mr. Collins

. Mrs. Bennet

. Mr. Bennet

. Jane . Elizabeth . Mary . Lydia . Kitty

Day . Elizabeth . Jane

No costume mentioned

No costume mentioned

No costume mentioned

Scene/

Location Scene Summary

Scene 40: Day 40

Meryton Village

Scene 41: Day 41

Elizabeth and Jane arrive in the village. Lydia and Kitty are talking to Mr. Wickham because he’d picked up Lydia’ glove. They all decide to look for ribbon together.

Milliner’s Shop In the shop Mr. Wickham and Elizabeth speak to eachother. Lydia wants some money from Elizabeth, but Wickham offers to pay.

Scene 42: Day 42 Milliner’s Shop

Scene 43: Day 43

It’s been about a month

Scene 44: Day 44

Elizabeth quite like Wickham. While walking down the street they see Mr. Bingley and Mr. Darcy. Wickham and Darcy obviously don’t like eachother and Darcy rides off while Bingley is talking to the girls.

The Lucas’ house Everyone is playing cards; Wickham comes over to Elizabeth and they talk about Darcy. Wickham informs her that he’s known Darcy since they were little. The conversation get’s cut off by Mr. Collins and Elizabeth decides to get some air on the balcony.

The Lucas's House in MerytonBalcony

Scene 45: Day 45 Longbourne - Bedrooms

Wickham join’s Elizabeth outside on the balcony. He explains that he doesn’t like Darcy because when Darcy’s father died Wickham was supposed to join the church but darcy took that away from him out of jealously.

Day . Elizabeth . Jane . Lydia . Kitty . Mr. Wickham

Day . Elizabeth . Mr. Wickham . Jane . Lydia . Kitty

Discusses about Lydia’s glove. Glove should be in Lydia’s hand and maybe dirty from being on the floor.

No costume mentioned

Daysame . Elizabeth . Mr. Wickham

. Jane . Lydia . Kitty . Mr. Bingley . Mr. Darcy

Day . Elizabeth . Mr. Wickham

. Jane . Lydia . Kitty . Mary . Charlotte . Sir William . Lady Lucas . Mr. Collins

Night . Elizabeth . Mr. Wickham

No costume mentioned

Lydia and Kitty both say they’ll be getting new dresses for the Netherfield ball. White is the colour they want since it’s the most fashionable this season.

No costume mentioned

The Bennet’s are getting ready for the Netherfield ball. Elizabeth discuses with Jane what Wickham told her about Darcy. The same . Elizabeth . Jane . Lydia . Kitty

Mentions that Kitty and Lydia are both wearing white dresses. Kitty is helping Lydia into her corset.

Scene/

Location Scene Summary

Scene 46: Day 46

NetherfieldHertfordshire

Scene 47: Montage of the ball.

The Bennet’s enter the ball and are greeted by Mr. Bingley. Elizabeth tries to find Wickham, but Jane informs her that he’s not going to come. Elizabeth has a dance with Mr. Collins and after Darcy wants to dance with her. She know that Wickham didn’t show up because of Darcy. Charlotte comments to Elizabeth that Jane needs to make her affections for Bingle more known so he will propose to her.

Elizabeth watches her mother on the dance floor and Lydia with a group of soldiers and is embarrassed. We then see Elizabeth not having fun dancing with Mr. Collins and Darcy looking over at her. At the end of the ball guests are leaving and staff is falling asleep.

Nightsame . Mr. Bingley

. Jane

. Elizabeth

. Mrs. Bennet

. Mr. Bennet

. Mr. Collins

. Mr. Darcy

. Lydia

. Kitty

. Mary

. Charlotte

. Caroline Bingley

. Ballroom

extras

Same night . Elizabeth

. Mrs. Bennet

. Lydia

. Kitty

. Mr. Collins

. Mr. Darcy

. Group of soldiers

. Ballroom

extras

Scene 48: Day Netherfield –Entrance Hall

Scene 49: Day CarriageHertfordshire

The Bennet’s are leaving, and Mrs. Bennet tells Mr. Bingley that he should host more balls. She says he should come to dinner at Longbourne.

The Bennet are in the carriage, everyone asleep apart from Mrs. Bennet. She talks about how there’ll be a wedding held at Netherfield soon.

Early hours of morning

. Mr. Collins

. Mrs. Bennet

. Mr. Bennet

. Jane

. Elizabeth

. Mary

. Kitty

. Lydia

Morning . Mr. Collins

. Mrs. Bennet

. Mr. Bennet

. Jane . Elizabeth

. Mary . Kitty

. Lydia

Most of the women at the ball are dressed in white. The men are either dressed in red officer uniform or dressed in Black and white.

Will next lots of costumes for extras.

No costume mentioned

No costume mentioned

No costume mentioned

Scene 50: Day Longbourne - Breakfast room

Scene 51: Day Longbourne - Library

The Bennet are having breakfast and Mr. Collins asks for a moment alone with Elizabeth. The Bennet’s leave them alone and Mr. Collins proposes to Elizabeth. She declines the offer because she doesn’t love him.

Mrs. Bennet goes to Mr. Bennet and asks him to go convince Elizabeth to marry Mr. Collins.

Morning . Mr. Collins

. Mrs. Bennet . Mr. Bennet

. Jane . Elizabeth . Mary . Kitty . Lydia

No costume mentioned

Scene 52: Day Longbourne - Hallway

Scene 53: Day Longbourne – Drawing Room

Mr. Bennet talks to Elizabeth and tell her she doesn’t have to marry Mr. Collins if she doesn’t want to.

Same day . Mr. Bennet . Mrs. Bennet No costume mentioned

Elizabeth goes into the drawing room and Mrs. Bennet follows her, still annoyed at Elizabeth. Janes reading a letter and has a pale face.

Scene 54: Day NetherfieldCarriage Bingley, Caroline and Dary sit in a carriage driving off.

Same day . Mr. Bennet . Mrs. Bennet . Elizabeth No costume mentioned “Your mother will never see you again if you do not marry Mr. Collins, and I will never see you again if you do.”

Same Day . Jane . Elizabeth . Mary . Kitty . Lydia . Mrs. Bennet No costume mentioned

Scene 55: Day NetherfieldCarriage

Darcy is stern, Caroline has a smirk on her face, and Bingley sits there longingly.

Day . Mr. Bingley

. Mr. Darcy . Caroline Bingley No costume mentioned

Same Day . Mr. Bingley

. Mr. Darcy . Caroline Bingley

No costume mentioned

Scene 56: Night Longbourne - Bedroom

Jane and Elizabeth discuss the letter from Mr. Bingley which says he’s leaving Netherfield. Elizabeth suggests that Jane should go to London and stay with there uncle and aunt. Hopeful she will bump into Bingley.

Night . Elizabeth . Jane No costume mentioned

Scene 57: Day Longbourne – Drive

Scene 58: Day Longbourne – bedroom

Jane is leaving to stay with her Aunt in Bath. Mr. Bennet talks to Elizabeth about Jane leaving and possible marry Mr. Wickham .

Charlotte talks to Lizzie about her engagement to Mr. Collins. Elizabeth first disapproves but realizes Charlotte is happy with the decision.

Scene 59: Day Meryton The soldiers are leaving Meryton for Brighton. Elizabeth looks for Wickham in the crowd and gives him a wave while he leaves.

Scene 60: Day Village post office

Elizabeth receives an invitation to a place she doesn’t want to go to.

Day . Mrs. Bennet . Mr. Bennet . Jane . Elizabeth . Mary . Kitty . Lydia No costume mentioned

Day . Elizabeth . Charlotte No costume mentioned

Scene 61: Day Meryton As Elizabeth leaves the post office everyone has gone, and the village is quiet. Feeling lonely. Elizabeth walks home.

Day . Elizabeth . Kitty . Lydia Officers in red coats.

Day . Postmaster . Elizabeth No costume mentioned

Same day . Elizabeth No costume mentioned

Scene/ Section Location Scene Summary

Scene 62: Day Hunsford Parsonage – Kent

Scene 63: Day Hunsford Parsonage – Kent

Elizabeth visits Charlotte at her new house in Kent. Charlotte and Mr. Collins give Elizabeth a warm welcome.

Elizabeth is shown around the house, and Mr. Collins explains that they dine about twice a week at Rosing’s Park. Charlotte says that Elizabeth is probably tired so they should have some tea.

Day . Mr. Collins . Charlotte . Elizabeth No costume mentioned

Scene 64: Day Hunsford –Charlotte’s Parlour

Scene 65: Day Grounds of Rosings

Elizabeth and Charlotte are alone sitting in the parlor having some tea. Mr. Collins calls for Charlotte because Lady Catherine carriage is arriving. Charlotte asks about Wickham and Elizabeth says she hasn’t heard anything since he’s left. Mr. Collins tell them that they’d been invited for dinner at Rosings that evening.

Elizabeth, Mr. Collins and Charlotte walk across the lawns to the house.

Same Day . Mr. Collins . Charlotte . Elizabeth No costume mentioned

Scene 66: Day RosingsStairway

They walk up a grand stairway, Elizabeth looking at the paintings of ‘visions of hell’ as they walked.

Same Day . Mr. Collins . Charlotte . Elizabeth

Mr. Colins tells Elizabeth to wear her best clothes when they go for dinner the Lady Catherine.

Evening . Mr. Collins . Charlotte . Elizabeth No costume mentioned

Same Evening . Mr. Collins . Charlotte . Elizabeth No costume mentioned

Scene/

Location Scene Summary

Scene 67: Day Rosings –Salon

Scene 68: Day Rosings –Dining room

They greet Lady Catherine and her daughter in the salon. It’s a very grand but hideous room with lots of servants. Lady Catherine is seen as bossy and her daughter sickly. Darcy’s enters with his friend Fitzwilliams; Elizabeth is shocked to see him there. Mr. Collins tell Elizabeth that Darcy is engaged to Lady Catherine’s daughter.

They all sit down for dinner at a very grand table. Lady Catherine asks if Elizabeth or her sisters play the piano or draws and Elizabeth says they don’t. Lady Catherine can’t believe this and doesn’t understand why her and her sisters didn’t have a governess. Also, how all the sisters are out for marriage at the same time.

Same Evening . Mr. Collins . Charlotte . Elizabeth . Lady Catherine . Mr. Darcy . Mr. Fitzwilliam

. Anne de Bourgh

Same Evening . Mr. Collins . Charlotte . Elizabeth . Lady Catherine . Mr. Darcy . Mr. Fitzwilliam

. Anne de Bourgh . Footmen

No costume mentioned Lady Cathrine and her daughter will probably be wearing quite grand clothes to fit with the house.

No costume mentioned

Scene 69: Day Rosings –Drawing room

Scene 70: Day Hunsford –Drawing room

They all sit in the drawing room drinking coffee. Lady Catherine ask Elizabeth to play the piano and she does so reluctantly. Darcy comes over to where she’s playing and so doesn’t Fitzwilliams. Fitzwilliams asks what darcy was like in Hertfordshire and Elizabeth says that darcy was quite rude at the ball. But Darcy explains he finds it hard to introduce himself to new people.

Elizabeth is writing a letter to Jane when Mr. Darcy enters. They talk briefly but when Darcy hears Mr. Collins and Charlotte arrive home, he leaves. Elizabeth sits there confused.

Same Evening . Mr. Collins . Charlotte . Elizabeth . Lady Catherine . Mr. Darcy . Mr. Fitzwilliam

. Anne de Bourgh

No costume mentioned

Day . Mr. Darcy . Elizabeth . Charlotte Charlotte takes off her bonnet.

Scene 71: Day

Hunsford Church After the service, everyone is leaving the church and Elizabeth join Fitzwilliams down the path. He tells Elizabeth that Darcy is a ‘loyal companion’ and that Darcy rescue one of his friend from a not good marriage. Elizabeth realises that he’s talking about Jane and Bingley. She asks if he knows why, and he says it was because of the family.

Scene 72: Day Rosings ParkOutside

Elizabeth walks across the park angry with Darcy. It starts to rain, and she takes shelter in a summer house by the lake. Darcy arrives and tells her he loves her and proposes. Elisabeth confused and hurt declines. Elizabeth brings up her sister and the Wickham situation. Darcy leaves and Elizabeth starts to cry.

Scene 73: Day Hunsford Charlotte runs to Elizabeth when she see her coming in from the rain.

Day . Mr. Collins

. Charlotte

. Elizabeth . Lady Catherine . Mr. Darcy . Mr. Fitzwilliam . Anne de Bourgh . Footmen

No costume mentioned

Scene 74: Day Hunsford –Bedroom

Charlotte helps Elizabeth get dry. Elizabeth tells her that she won’t be coming for dinner at Rosings. Mr. Collins and Charlotte leave and Elizabeth sits on the bed.

Day . Mr. Darcy . Elizabeth Elizabeth gathers her shawl.

Elizabeth and Darcy cloths are probably quite wet.

. Elizabeth . Charlotte

No costume mentioned Elizabeth costume would be wet coming in from the rain.

Same day . Elizabeth . Charlotte . Mr. Collins Elizabeth has changed out of her wet clothes and is wearing a shawl to keep warm.

Scene 75: Day

HunsfordDrawing room

Elizabeth is reading in the drawing room. She gets up to look at herself in the mirror. As she does this Mr. Darcy walks in. He tells her he only came to leave her a letter to clear things up. When he leaves, she rushes over and opens the letter. He tells her that when his father died Wickham had asked him for money to study law. However, he gambled the money away and demanded for more. Darcy had refused to give him more. Last summer Wickham had convinced Darcy’s sister that they were in love and should elopement. Luckily, Darcy was able to convince her not to.

Scene 76: Day HunsfordOutside See Darcy ride off. Wickham had wanted her inheritance of thirty thousand pounds.

Scene 77: Day HunsfordDrawing room

Scene 78: Day CheapsideCarriage

Charlotte enters the room and asks if Elizabeths alright. Elizabeth shakily says she doesn’t know.

Elizabeth reads the end bit of the letter in the carriage. Darcy’s says they’ll never met again, wishing her happiness.

Day . Elizabeth . Mr. Darcy No costume mentioned

Scene 79 : Day Cheapside –Gardiners House

Scene 80: Day CheapsideSmall back garden of the Gardiners’ house.

Elizabeth arrives at her aunt's house and Mrs. Gardiner tell her that Jane is in the garden.

Elizabeth sits with Jane and can see how sad she is even when she’s trying to hide it. The bennet’s arrive at the house and Kitty’s upset because Lydia was invited to go to Brighton with the Foresters.

Same Day . Mr. Darcy No costume mentioned

Same Day . Elizabeth . Charlotte No costume mentioned

Day . Elizabeth No costume mentioned

Same day . Elizabeth . Mrs. Gardiner Mrs. Gardiner takes Elizabeths coat. Janes doing needle work.

Same Day . Jane . Elizabeth . Kitty . Lydia . Mrs. Bennet . Elizabeth . Mrs. Gardiner

Scene 81: Day The Gardiners’ House

Scene 82: Day Cheapside – Drawing Room

Elizabeth talks to her father about Lydia going to Brighton. She insists that he should prevent her from going. He thinks it’ll be good for her and teach her a lesson.

Elizabeth gets invited to go with her Uncle and Aunt on a journey to the Peak District. Since she need some time away from her family.

Day . Elizabeth . Mr. Bennet

No costume mentioned

Scene 83: Day Cheapside – Bedroom

Same day . Mr. Bennet . Elizabeth . Mrs. Gardiner . Mary

No costume mentioned

Scene 84: Day Derbyshire

Jane and Elizabeth share a bed, and Elizabeth mentions that she saw Mr. Darcy when she was at Rosings. She doesn’t tell Jane what Darcy said about Mr. Bingley. This making her feel alone even though she’s with her sister because she wants to keep what happened a secret.

Elizabeth is walking up at mountain and finds the view beautiful when she reaches the top. Mr. and Mrs. Gardiner smile at her.

Night . Jane . Elizabeth No costume mentioned

Scene 85: Day Lambton Shot of the town Lambton and a look into the window of an inn, seeing Elizabeth, Mr. and Mrs. Gardiner sitting at a table.

Day . Elizabeth . Mr. Gardiner . Mrs. Gardiner

Night . Elizabeth . Mr. Gardiner . Mrs. Gardiner

No costume mentioned

No costume mentioned

Clothes might be a bit dirty from walking. Like hem of skirts.

Scene 86: Day Lambton Mr. and Mrs. Gardiner, and Elizabeth are talking to the couple next to them at dinner. The couple tells them that they should visit Pemberly since its not too far. Elizabeth doesn’t want go to because it’s Mr. Darcys house.

Scene 87: Day InnBedroom

Scene 88: Day Pemberley – in the Carriage.

Elizabeth asks the chambermaid if Mr. Darcy has been seen in town since he lives so close. The maid says that he hasn’t been to town in months since he’s been in London.

Night . Elizabeth . Mr. Gardiner . Mrs. Gardiner . A woman and her husband No costume mentioned

Scene 89: Day Pemberly –The grounds

Scene 90: Day PemberlyInside

Mrs. Gardiner is pleased that Elizabeth changed her mind. They all gasp when they see Pemberly.

They walk through the grounds amazed by how pretty the house and gardens are.

They take a tour around the house by the housekeeper Mrs. Reynolds. They look around the grand rooms, library, and staircases.

Night . Elizabeth . Mrs. Gardiner . Maid No costume mentioned

Scene 91: Day Pemberly –Picture gallery

They get taken to a room with lots of portraits. There’s a portrait of Darcy and Elizabeth stares at him. Mrs. Reynolds says he quite handsome, Elizabeth agrees. Mrs. Reynolds asks Elizabeth if she knows Darcy, she responds with ’only a little’. Mrs. Reynolds says that Darcy is a kind man, and he’ll arrive back tomorrow.

Day . Elizabeth . Mrs. Gardiner . Mr. Gardiner No costume mentioned

Day . Elizabeth . Mrs. Gardiner . Mr. Gardiner No costume mentioned

Day . Elizabeth . Mr. Gardiner . Mrs. Gardiner . Mrs. Reynolds No costume mentioned

Day . Elizabeth . Mr. Gardiner . Mrs. Gardiner . Mrs. Reynolds No costume mentioned

Scene 92: Day PemberlyTerrace

Elizabeth follows the sound of piano music. She looks in through the door and sees Georgina Darcy playing. A man stands over her and when she see him, she hugs him. Elizabeth realised it’s Darcy and runs when he notices her. He catches up with her and she proceeds to tell him what she’s doing at Pemberly. She says goodbye feelings flustered.

Day . Elizabeth

. Georgina Darcy

. Mr. Darcy

No costume mentioned

Scene 93: Day The Inn

Scene 94: Day Pemberley –Library and Drawing room

Elizabeth is coming down the stair for dinner when she see Darcy talking to her aunt and uncle. Darcy leaves and when she arrives at the table her aunt and uncle tell her we’ve been invited to Pemberly for dinner tomorrow. He was Elizabeth to meet his sister.

Elizabeth, her aunt and uncle are taking into the drawing room where Georgina is playing the piano. Elizabeth smile fades a bit when she see Miss. Bingley. Georgina jumps out of her seat when she see Elizabeth to greet her. Miss Bingley and Elizabeth have an awkward conversation, so Darcy changes the conversation.

Night . Elizabeth

. Mr. Darcy

. Mr. Gardiner

. Mrs. Gardiner No costume mentioned

Day . Elizabeth

. Mr. Darcy

. Mr. Gardiner

. Mrs. Gardiner

. Georgina Darcy

. Miss Bingley

No costume mentioned

Scene 95: Day Derbyshire –in the carriage

Scene 96: Day Lambton

Mr. Darcy, takes Elizabeth, her aunt and uncle back to the inn. Elizabeth thanks Darcy for his hostility.

They all get back to the inn and Darcy is to leave when Elizabeth gets a letter. She see it’s from Jane and opens it.

Night . Elizabeth

. Mr. Darcy

. Mr. Gardiner

. Mrs. Gardiner

Night . Mr. Gardiner

. Mrs. Gardiner

. Elizabeth

. Servant

. Mr. Darcy

No costume mentioned

No costume mentioned

Scene 97: Day

The InnParlour

Scene 98: Day

Elizabeth is crying because the news she’s heard from her sister is bad. Lydia had runaway with Mr. Wickham, and no one knows where they’ve gone. Mr. Gardiner says they should leave at once and he will help Elizabeth’s father find Lydia. Darcy leaves them feeling very sorry.

Countryside Shot of the Gardiner’s carriage travelling through the night.

Scene 99: Day Longbourne – Mrs. Bennet’s bedroom.

Scene 100: Day

Elizabeth, Jane, Kitty and Mary sitting with Mrs. Bennet in her bedroom. Mrs. Bennet is really upset saying they’re now all ruined.

London Mr. Bennet is on a street in London asking people if they’d seen Lydia.

Scene 101: Day Barracks –Mess Hall

Scene 102: Day Upstairs at Longbourne.

Mr. Bennet goes into the mess hall and tries to get peoples attention to ask if they’d seen Mr. Wickham.

Night . Mr. Gardiner

. Mrs. Gardiner

. Elizabeth . Servant

. Mr. Darcy

No costume mentioned

Night // No costume mentioned

Day . Mrs. Bennet . Elizabeth . Jane . Kitty . Mary

Day . Mr. Bennet

No costume mentioned

Elizabeth and Jane are outside Mrs. Bennet’s room and hear their mother complain inside.

Night . Mr. Bennet . People drunk in the hall

No costume mentioned

Day . Mrs. Bennet . Elizabeth . Jane

No costume mentioned Need costume for extras in the hall.

No costume mentioned

Scene 103: Day

Longbourne –Downstairs

Elizabeth and Jane walk into the drawing room and Kitty spots their father outside.

Same Day . Elizabeth . Jane . Kitty . Mary

Scene 104: Day

Scene 105: Day

Longbourne –Library Mr. Bennet sits in his chair tired. He’s still not sure where Lydia and Wickham are. He blame himself for this situation.

Day . Elizabeth . Jane . Kitty . Mary . Mr. Bennet

No costume mentioned

London –Boarding House

Scene 106: Day

Longbourne –Garden

A shot of boots climbing up a staircase. The shot then moves to a window where Lydia and Wickham can be seen sitting at by a fire in a cozy lodging eating some food. There’s suddenly a know at the door.

Mr. Bennet receives a letter from Mr. Gardiner (their Uncle). He says he’s found Lydia and Wickham; they should be married if Mr. Bennet agrees to give Wickham 100 pounds a year. Mr. Bennet thinks their uncle must have already give Wickham some money since £100 is not as much as he thought.

Scene 107: Day

Longbourne –Mr. and Mrs. Bennet’s bedroom.

Mrs. Bennet hears about the news and is happy that her daughter is getting married.

Scene 108: Day

Longbourne –Hallway

Lydia and Wickham enter the house. Lydia hugs her mother and Mr. Bennet ‘coldly bows.’ Lydia is smiling excitedly, and Elizabeth tries to ignore Wickham.

Elizabeth takes off his boots.

Day . Lydia . Mr. Wickham . A man's boots are seen Boots climbing upstairs.

Day . Elizabeth . Jane . Kitty . Mary . Mr. Bennet

No costume mentioned

Day . Mr. Bennet . Mrs. Bennet . Elizabeth

No costume mentioned

Day . Lydia . Mr. Wickham . Mr. Bennet

. Mrs. Bennet . Jane . Kitty . Mary . Elizabeth

Lydia tells them she took off her glove in the carriage, so her ring is visible. Might be hold the glove.

Scene/

Location Scene Summary

Scene 109: Day

Longbourne –Dining room

Scene 110: Day

Longbourne –Garden

Scene 111: Day Mayfair –Bingley’s House

Scene 112: Day

Longbourne

Scene 113: Day Meryton Village

They all sit down for dinner. Lydia talks about how they were discovered. She accidentally revealed that Darcy was the one who found them and was at their wedding. But she remembers that Darcy told them not to tell anyone he was there. Wickham says he’s been enlisted in a regiment in north of England so Lydia and him will travel there next week.

When in the garden Wickham talks to Elizabeth and she reveals that she spoken to Darcy’s sister. This makes him understand that she knows the full truth. She tries again to talk to Lydia about why Darcy was at her wedding. Lydia says that darcy paid for the wedding and Wickham’s debts which leaves Elizabeth shocked.

Mr. Darcy is walking through Mayfair and arrives at a house seeming very determined. He goes inside and the camera moves to a window where we see Mr. Bingley. Darcy walks in and explains that he was wrong about Jane Bennet.

Lydia and Wickham are leaving, Mrs. Bennet is crying, and Wickham tell Elizabeth to thank Darcy if they see eachother again.

Day . Lydia . Mr. Wickham

. Mr. Bennet

. Mrs. Bennet . Jane . Kitty . Mary . Elizabeth

Lydia talks about Wickham wearing his blue coat for the wedding.

The Bennet’s are out shopping when Miss Hill comes out of the butchers saying that Mr. Bingley is arriving back to Netherfield. Mrs. Bennet says she doesn’t care after what happened to Jane. Jane says she doesn’t, but Elizabeth knows she does.

Day . Lydia . Mr. Wickham

. Mr. Bennet

. Mrs. Bennet . Jane . Kitty . Mary . Elizabeth

No costume mentioned

Day . Mr. Darcy . Mr. Bingley . Butler No costume mentioned

They are playing croquet in the garden.

Day . Lydia . Mr. Wickham

. Mr. Bennet . Mrs. Bennet . Jane . Kitty . Mary . Elizabeth

Day . Mrs. Bennet . Jane . Kitty . Mary . Elizabeth

. Mrs. Hill

No costume mentioned

No costume mentioned

Scene 114: Day

Scene

Longbourne Mr. Bingley and Mr. Darcy ride towards Longbourne.

115: Day Longbourne – Drawing room

Scene 116: Day Near Longbourne – The lane.

The Bennet’s are busy in there home when Kitty rushes in saying Mr. Bingley is at the door. They realise Mr. Darcy is also with him. They both enter the drawing room and have a brief conversation. Mr. Bingley decides to leave which shocks Mr. Darcy.

Mr. Bingley paces back and forth. Mr. Darcy looking annoyed at him.

Day . Mr. Darcy . Mr. Bingley

No costume mentioned

Scene 117: Day Longbourne – Drawing room

Scene 118: Day Longbourne - Hallway

Jane is glad she’s seen Mr. Bingley because she thinks it will be less awkward if she see him in public. Jane feels bad for Elizabeth since Mr. Darcy came with Mr. Bingley. Elizabeth admits she’s been blind and is actually in love. Suddenly, Mr. Bingley comes back into the room and asks for a moment alone with Jane.

All the Bennet’s are outside the door listening in apart from Elizabeth. She decides to leave the house and as she does she see Mr. Bingley down on one knee, through the window. Her eye fill with tears.

Day . Mrs. Bennet . Jane . Elizabeth . Kitty . Mary . Mr. Darcy . Mr. Bingley

No costume mentioned The Bennet sisters have sewing needles in their hands.

Day . Mr. Darcy . Mr. Bingley

No costume mentioned

Day . Mrs. Bennet . Jane . Elizabeth . Kitty . Mary . Mr. Bingley

No costume mentioned

Day . Mrs. Bennet . Jane . Elizabeth . Kitty . Mary

. Mr. Bingley . Mr. Bennet

No costume mentioned

Scene/ Section Location Scene Summary

Scene 119: Day Longbourne –Drawing room

Jane says yes to marry Mr. Bingley and Mrs. Bennet rushes through the door excitedly.

Scene 120: Day LongbourneGarden Elizabeth sat under a tree crying.

Day . Mr. Bingley . Jane . Mrs. Bennet No costume mentioned

Scene 121: Day Overlooking LongbourneCountryside

Darcy is looking over at Longbourne.

Day . Elizabeth No costume mentioned

Scene 122: Day LongbourneBedroom

Day . Mr. Darcy No costume mentioned

Scene 123: Day Longbourne –Elizabeth’s bedroom

Mr. and Mrs. Bennet are talking about how Jane and Bingley are a good match. The camera moves to another room with Mary reading a book to Kitty.

Jane is talking about her engagement with Lizzie and is happy. They hear a banging on the door downstair.

Night . Mr. Bennet . Mrs. Bennet No costume mentioned

Night . Elizabeth . Jane No costume mentioned

Day

Longbourne –Downstairs

125: Day Longbourne – Drawing room

The Bennet’s open the door to see Lady Cathrine. She at their house to speak to Elizabeth urgently.

Night . Mr. Bennet

. Mrs. Bennet . Lady Catherine

Lady Cathrine talks to Elizabeth in the drawing room alone. She’s been told that Elizabeth might be engaged to Mr. Darcy. She wants to make sure this is not true, and that Elizabeth will never get married to him. Since he is engaged to her daughter. Elizabeth feels offended, standing up for herself by saying she’s not engaged to him. However, she won’t promise that she’ll never get engaged to Darcy. Lady Catherine leaves annoyed, and Elizabeth runs up to bed telling her family to leave her alone.

Night . Mr. Bennet . Mrs. Bennet

Scene/ Section Location Scene Summary

Scene 129: Day Countryside overlooking Longbourne.

Scene 130: Day Longbourne –Drawing room

Elizabeth sees Mr. Darcy is the distance while walking. They both greet eachother. Elizabeth thanks him for all he’s done for her. Darcy’s surprised that she’s been told his part in the Lydia and Wickham situation. Darcy tells Elizabeth that he still loves her. He knows that his aunt came to see her and wants to see if there’s a possibility that her feels for him might’ve change. She says her feelings have and they both share a kiss.

The Bennet’s are worried about where Elizabeth might have gone to. Through the window is Darcy and Elizabeth walking to the house. Mrs. Bennet is shocked that Darcy is with Elizabeth. Elizabeth says that Darcy wants to speak to her father.

Dawn . Elizabeth . Mr. Darcy No costume mentioned Elizabeth is probably still in the night clothes. Maybe with a coat over.

Dusk . Mrs. Bennet . Jane . Elizabeth . Kitty . Mary . Mr. Darcy . Mr. Bennet No costume mentioned

Scene 131: Day Longbourne –Hallway/Library

Scene 132: Day Longbourne –Garden

Scene

133: Day LongbourneLibrary

Elizabeth is waiting while Mr. Bennet and Darcy and a talk alone. The door opens with Darcy coming out and Lizzie goes straight in looking back at Darcy. Mr. Bennet is shocked that Elizabeth wants to marry Darcy, and she tells the father that she loves him. She continues by telling her father everything he’s done for her.

Darcy is pacing back and forth outside.

Mr. Bennet feels so blind to all the things Darcy has done for the family. He can tell that Elizabeth loves Darcy and give his consent.

Morning . Mr. Bennet . Elizabeth . Mr. Darcy No costume mentioned

Day . Mr. Darcy No costume mentioned

Day . Mr. Bennet . Elizabeth No costume mentioned

Scene/ Section Location Scene Summary Time of Day

Scene 134: Day Pemberly It’s Elizabeth and Mr. Darcy wedding. Everyone is there apart from Wickham and Lydia. Darcy and Elizabeth kiss and walk off into the park. They sit looking at Pemberly from a distance.

Character s in Scene Costume Specific Notes

Night . Mrs. Bennet . Jane . Elizabeth . Kitty . Mary . Mr. Darcy . Mr. Bennet . Mr. Bingley

Other

No costume mentioned Elizabeth will be wearing a wedding dress.

No costume mentioned

Scene 135 // Fade to black. // //

Budget Sheets

Estimated Budget Sheet

Blandford Museum

Costume Store

AUB

Budget Sheet

Blandford Museum

Primary Research

. V&A Museum in London . Blandford Museum in Blandford

. Jane Austen Centre in Bath

. AUB Archive in Uni

Belvedere Palace in Vienna

This is a painting of Count Moritz Christian von Fries and his family. This was painted in 1805 by Francois Gerard (feel the art, n/d). The count is dressed in what seems to be a black tailcoat with a white shirt underneath. Paired with yellow breeches and brown boots. This wife is dressed in a long white regency dress with small puff sleeves and a ruff. She also had an orange shawl draped across her knee.

This was a palace I went to a few years ago in Vienna.

Josef Danhauser, Wine, Women, and Song, 1839

Regency Dress at the V&A Museum

This dress is in the V&A and is from around 1810. It’s a high-waisted gown, made from white muslin with a layer of machine-made tulle or silk net. Manufactured in England and France, tulle was a new fabric.

Embroidery and trim was hand stitched onto the tulle.

This is the undergarments of clothing from around 1820 to 1835. There is a chemise under the corset and worn on top of the corset is a petticoat with shoulder straps. The chemise, corset and petticoat are all made from cotton, the corset is boned with whalebone. There is also a sleeve support which is stuffed with feathers, and a dress sleeve on each arm.

A silk brocade dress worn in 1790 to 1795 with blue and red roses pattern.

A printed cotton dress, dark colour with red flowers around 1810.

Hand woven evening dress, made from muslin, imported over from Bengal by the East India Company. This fabric was popular around the 1820s.

Lady Anne Hamilton, painted around 1815 by James Lonsdale.

This gown was worn around 1805, since dress had dramatically change at the end of the 18th century to the early 19th century. These dresses were simpler and were made from lighter fabrics. The fabric is muslin with cotton thread embroidery, made in India and the dress was made in England. Mary Linwood, painted around 1800 by John Hoppner.

Fashion plate by Miss Pierpoint, popular dinner and ball dress, March 1823.

Maze and Steer waistcoat, made from silk in Britain 1787.

This waistcoat was made from silk which is embroidered. Worn in 1846 and made in England.

A coat made from wool and fastened with steel buttons and a waistcoat made from silk which is embroidered. This garment was known as a court suit, which was worn in 181020.

The shirt is made in England from linen and the waistcoat was made from silk velvet can cotton in France. Worn around 1845-50.

Blandford museum

This spencer jacket was worn around 1810 to 1812 during the Georgian Period. This spencer is made for the winter, since the fabric is heavy woollen cloth. The military style button are along the center front. Also, they travel up each side of the center front, around the sleeve. The cuffs of the jacket match the collar. The sleeves would fall lower than the wrist since it was quite fashionable.

This dress was made from white muslin, worn in 1815. The bodice is high waisted, and the sleeve and bodice are double layered. This dress is completely stitch by hand and is fastened with hand stitched eyelets and hook and bars.

This day dress was worn around 1810 to 1815. It’s made from a peach silk. The sleeves, like the jacket, are long over the hands. The bodice had a deep v neckline and a high waistline. The skirt is sewn into the back with gathers for better movement. In each side seam there are pocket slits. The pocket would’ve have been tied around the lady's waist under her dress when worn.

Jane Austen Centre

Jane Austen’s parents named George Austen and Cassandra Leigh, married in 1764 at Swithin’s in Bath. The couple moved to Hampshire where George became Rector of Deane and took in boarding pupils. On the 16th of December in 1775, Jane Austen was born at Steventon. She was the second daughter and 7th child out of 8 children. Jane and her sister Cassandra Austen attended boarding school in Oxford, Southampton, and Reading.

Jane first starting writing Juvenilia in 1787, which was copied into 3 volumes. The novel ‘Sense and Sensibility’ was originally titled ‘Elinor and Marianne’ when it was first worked on in 1795. ‘First Impressions’ was the first title for the novel later know as ‘Pride and Prejudice’. This novel was completed and offered to the publishers in 1797, however got rejected. Jane had visited her Aunt Leigh-Perrot in Bath which was the first recorded time of her visiting.

In 1798, Northanger Abbey was being written but initially was known as ‘Susan’. She probably finished writing this novel when she was in Bath for 6 weeks in 1799. When George Austen retired in 1801, he moved his wife and daughters to Bath, where they rented 4 Sydney Place.

Jane had a marriage proposal in 1802, she accepted the offer for a day, but the next morning called it off because she didn’t love him. Northanger Abbey was sold, however not printed, to a publisher for £10 in 1803. The Austen's moved to Green Park Buildings in 1804, then onto an apartment in 25 Gay St. for 6 months in 1805 because George Austen had died. In 1809, Mrs. Austen, Jane, and Cassandra moved into Chawton cottage, Hampshire. Only a year later, Sense and Sensibility accepted to be published, t was published anomalously. In 1813 Pride and Prejudice was published and she had completed Mansfield Park. By 1815, she had published Mansfield and Emma, also had started working on Persuasion. In 1817, Jane had started to feel unwell, she’d had started to write Sanditon but stop writing it. She moved to Winchester with her sister and died 18th of July 1817. After she had died her brother named Jane as the author for all six books and it was the first time her name had appeared in print.

A regency empire dress, with a spencer's jacket, a bonnet and a purse. The white dress has a faint pattern and a frill at the bottom of the dress. This dress is heavily gathered in the back with little to no gathering in the front. The jacket is made from, what looks like dark brown velvet and the seams are piped.

This is a doublebreasted tailcoat worn with breeches and a cravat around the neck. Cravats were made from muslin, silk or lawn and were tied in either a knot or bow. This suit looks very similar to the one Megan’s making.

Green evening dress with gold trim. Made from what looks like silk or satin. With small puff sleeves, and a low v shaped neckline.

This is a portrait of Jane Austen based off eye-witness accounts and descriptions made by Jane’s family and friends. This was painted in 2002 by Melissa Dring. Next to this painting in the Jane Austen Centre is a life-sized model, wearing similar clothing to Jane in the painting. The simple day dress with a small printed pattern is worn in both the painting and dressed on the model.

Purple pelisse with a matching-coloured bag. The bonnet’s lining (pair with the outfit), also matched the pelisse.

The pink spencer’s jacket has a matching bag and hat like the pelisse. The jacket and the pelisse both have the same fastenings.

Undergarments

This corset was made for an Elisabeth Bennet doll. It’s a good example of how corset look in the regency period.

Just like in this photo corsets were worn over chemises to support and shape the body. Chemise were a long shirt often made from cotton or linen. The desired silhouette during this period was an upright posture which was usually helped by the corset straps since they’d pull the shoulders back. With rounded hips and a shelf-like bust. Corsets were usually unrestrictive making them comfortable to wear. Short corsets that would come to just below the ribcage were popular.

A simple petticoat which goes under the dress.

Francis Austen and his brother both chose to go into the Royal Navy and Francis was an Admiral in the ranks. Britian had a lot of naval power during this time because of the Napoleonic wars. At 12 both him and his brother enter the Royal Navy Academy in Portsmouth, where they climbed the ranks.

The outfit is a replica of Jane’s brother Francis’s naval uniform of 1805. It took Gini Newton of Chimera Costumes over 100 hours to make.

The shirt is made from linen, with a close fitted cuff and high collar. Finer linen is used for the ruffles by the neck. The neck stock is made from silk taffeta which is pleated onto ‘a stiffened back band.’ The cotton stockings are an original pair from Victorian era. Stockings didn’t change from those made in the early 1800s.

The leather shoes are handmade, and there’s not specific left shoe and right shoe. Instead, as the shoes are being worn more over time, this will create a left shoe and right, which is not like how they’re made today.

‘The undress coat is made from a very fine melton doeskin wool’. This fabric was supplied by the Abimelech Hainsworth company. There’s a chance they supplied the material for Francis’ actual naval uniform since from the early 19th century this company has been supplier uniform material.

Costume from 2007 and behind the scenes photos from 1995 versions of ‘Persuasion’ films.

These polaroid pictures (on the right) were taken of each actors during the 1995 film, so the clothes stayed consistent while filming each scene. Within in film, scenes aren’t usually filmed in order.

Fig 1: Characters Ann Elliot and Captain Wentworth from the 2007 ‘Persuasion’ adaptation.

I enjoyed this 2007 adaption of Persuasion, since I love all the costumes and plot of the film. This brown dress, spencer’s jacket, and hat was interesting to see in person compared to seeing it on screen. I thought it was beautiful sewn, and the fabrics work well together.

This original costume is from the 2007 Adrian Shergold’s Persuasion film. The brown dress with the jacket and hat, was worn by Sally Hawkins, who played Ann Elliot.

AUB Costume Archive

This is a front and back view of an 1860s dinner bodice. There is cord going across the stomacher and knitted lace going around the front stomacher all the way to the back panel. The fabric is silk which is taupe coloured. The sleeves are missing however the type was presumed to be small and round. There is a high possibility that the cord decoration was sewn on later.

This empire line bodice is thought to have been made from a different garment. Worn in the evenings, this bodice was popular in 1800. It’s made from a striped cream silk and mounted onto cotton. The bodices back fastening is cotton tape, tied at the neck. The side and front seams are top stitched together, but the back seam is piped with grey silk.

This is a front and back view of a day dress from 1834. The dress is made from Indian muslin which is very delicate. The white fabric has printed burgundy Fuchsias with other brown and turquoise patterns.

This dress is rare since it’s been kept in good condition and these types of dresses from this the early 19th century is hard to come by.

This is a cream and green striped caraco jacket, worn in the 1790s. The jacket is back with a layer of natural linen and doesn’t seem to be boned. There has been a lot of alterations since the stitching is neat in some places and not so good in others. The sleeves are three quarter length and square cut. On the cuffs is 4inch dept knife pleated frills. The fastenings for this jacket is hook and eye. Placed on the tabs of the cut away front, which go across the breasts.

Pride and Prejudice 1995 Series

This series is one of my favourite Jane Austen novel adaptations since I love the characters and costumes portrayed. This adaptation is a miniseries, therefore has more time to develop the plot and characters. This regency romance series stars Colin Firth as Mr. Darcy and Jennifer Ehle as Elisabeth Bennet.

I find the costumes it this series useful for my research because there’s a beautiful variety women's and men's wear worn throughout the show. Also, one of the costumes I’m supervising is based off the costume Mr. Darcy wears, especially this adaptation. He wears a tailcoat, trousers, waistcoat, and linen or cotton shirt, with a cravat.

Fig 2: Picture of Mr. Darcy and Elisabeth Bennet.

Fig 3: The Bennet girls on a walk wearing day dresses.

Fig 4: Grey Spencer worn in this adaptation of Pride and Prejudice.

Fig 5: Day dress worn by Elisabeth Bennet.

Secondary Research

What was worn before the Regency Period.

The French Revolution which took place in 1789 and had a huge impacted in the shift from the Rococo to the neoclassical style. The neoclassical style was inspired by Roman and Greek art, ‘characterized by simplicity, symmetry, and clean lines’. The Rococo style was very extravagant, worn before the Revolution which was popular with Louis XVI and Marie-Antoinette. The lavish style of their courts and how they dressed was unpopular with the French public, because of the poverty society was faced with (Fashion Law Journal, 2023).

In 1770s was when the neoclassical style started to emerge and could be seen in paintings. Marie Antoinette wore the Chemise a la Reine dress in the 1780s, this was quite controversial because the dress resembled undergarments. The portrait shows the Queen wearing a white muslin dress and a straw hat with a blue feather and bow. Many women worn similar dresses because of the styles gain in popularity. Marie Antoinette was not the first or last to wear the Chemise a la Reine. The Queen would wear the chemise dress and a straw hat with her friends when travelling to the Hameau de la Reine. Where they would pretend to be country folk (Englander, 2020).

During the French Revolution the Neoclassical dress worn my more people since if individuals were seen wearing the Rococo style they could get guillotined. The styles were away of seeing what side people were on in the Revolution. The neoclassical style was away of going against the monarchy, meaning leaving the Rococo style in the past. This meant that fashion in the 1790s had a very big shift (Fashion Law Journal, 2023).

The Rococo style shown in womenswear, was a bodice which created a narrow waist and a rounded chest. Also, wide hips emphasised by the big skirts. Some fashion trends for this style was the Robe a la francaise and the Robe a l’anglaise. The Robe a la francaise was loose-fitting, with pleats at the back of the pannier skirts to fall elegantly. The Robe a l’anglaise was a newer style in the 18th century to the French gowns, which was a skirt without a pannier, with a high waistline and fitted bodice. Popular colours were pastel, and fabrics most worn were silks, and lace with possibly floral patterns. Ruffles were popular for decoration on dresses and could be seen on the neckline, skirts, and sleeves (Fashion Law Journal, 2023).

Fig 7: Marie Antoinette wearing a Chemise a la Reine dress.

Fig 6: The Rococo style dress, very decorative and big.

Fig 8: The Robe a la fancaise and the robe a l’anglaise.

Regency Period Womenswear

Regency era was in the Georgian period, born from the Parliament’s Regency Act of 1811. This act meant that King George III’s eldest son could rule instead of his father, since he wasn’t fit to rule. George’s son became the Prince of Wales, also know as Prince Regent. Once King George III had died, his son then became King George IV, until 1830 when he died. The longer Regency period spans from 1795 to 1837, meaning a lot of styles changed during this time (Wentworth Woodhouse, n/d).

Dress styles worn Between 1795 to 1805

The fashion between 1795 to 1805 was the most inspired by the Grecian styles and is still transitioning out of the 18th century. The dress are similar to the Chemise a la Reine, worn before by Marie Antionette (Franklin, 2020). These dresses were becoming more revealing with a soft and light silhouette, which makes this era quite romantic. One very noticeable difference between the early and middle 18th century dresses and the regency dresses were the waistlines. The waistlines began to rise to about the middle of the rib cage by 1805 and carry on until the waistlines were at bust level. This new fashion style was very much established by the start of the 1800s (Byrde,1979,3pg).

Linen and cotton were mass produced for dresses during this time. Patterns would be printed onto the fabric using metal rollers, which meant there was a decrease in materials being imported from India. Fabrics became more affordable, giving the working and middle class more opportunities to buy dresses. Also, cotton and linen could be easily washing, unlike silk, which meant the hygiene standards were better (Cunnington, 1960, 18pg).

Gowns during this time were becoming more revealing because of the sheer muslin and fitted silhouettes. Muslin was a popular fabric used for dresses, especially evening dress and cotton was worn more during the day. The skirts would be gathered around the front and back, with the bodices usually closed with a draw string to helped create the gathered effect. Over time the gathers were only at the back of dresses (Cunnington’s, 1959, 353pg). Drawstrings were the popular fastening, but buttons were also used for dresses (Cunnington, 30pg, 1960). Sleeves would either be long or elbow length. Evening wear necklines tented to be much lower than daywear necklines. (Cunnington’s, 353pg, 1959). Often worn around the neckline for day dresses was a kerchief, fishu, high cut tucker, or chemisette. The shape of the neckline would either be rounded, v-shape, or crossover (Cunnington’s, 1959, 360pg).

The skirt of these dresses would fall to the ground or have a long train. Sometime the petticoat would be slightly exposed underneath (Cunnington, 353pg, 1959). White was a very fashionable colour for Regency dress, since it resembles the Grecian statues, that inspired the styles of dress (Cunnington, 1960, 16pg). These gown were often trimmed with colours around the hem line, worn on top of colour petticoat or under colourful short gowns or tunics. The primary colours were quite fashionable during this period (Cunnington, 14pg, 1960).

Fig 9: Early regency dress, soft silhouettes.

Fig 10: Evening gown with long trains.

Fig 11: White dress, with coloured skirt revealed underneath.

Between 1789 to 1799 fashion was very much changing around the time of the revolution. Some women and men took the new style to the extreme. They would wear exaggerated previous English fashion. The women of this time were called ‘Merveilleuses’ and the men were called ‘Incroyables’. The Merveilleuses wore the neoclassical style, however, the extreme versions since the dress were quite sheer muslins and linens, worn without chemises (Jane Austen’s World, 2011). These women would also wear pink body suits under the dress to ‘create the illusion of nudity’. Since light fabrics dresses were being worn with weather getting colder, women were becoming sick with pneumonia. In some cases, the women would die, and it became known as the muslin disease. This happened to women in Europe, mainly in the winter of 1803 in France. There is a myth that women would wet the dresses so the fabric would cling to their body, however there’s no accurate evidence to back this (Mugrabi, 2019).

Round gown was the most common dress. This dresses bodice was attached to the skirt, with the front panel of the bodice opening and closing like a flap. The worn the woman would step into the dress, the sleeves would be pulled on. The inner part of the bodice would then be tied around the waistline for security. The front part of the bodice would be pulled up and secured in place with pins and ties would go around the waist (Franklin, 2020). In 1804, dresses began to be fastened at the center back of the bodice with buttons and these dresses were referred to as frocks. The center back fastening was really fashion by 1810 (Davidson, 2019, 26pg).

Tunic dresses were worn for evening wear at the start of the 19th century. These dresses often hung loose from the shoulders and would drawn in by the waist. There would be an under-dress which sometimes had a train .The sleeves were puffed and short. This type of dress disappeared after 1812 (Cunnington, 1960,12pg).

This style started at the beginning of the regency era and disappeared around the 1820s. English court dress was determined by the reigning monarch or his queen and when appearing at court these styles had to be worn. High-waisted dress with large hoops with sit just below the bust which creates an interesting shape (Nunn, 1984, 115pg).

Fig 12: The Merveilleuses, women wearing sheer white fabric.

Fig 13: The round gown.

Fig 14: Tunic dresses, hang loose and drawn in at waist.

The pelisse was worn for outerwear over a dress; this garment would either just have the armhole or the sleeve. Many materials were used to make this garment, such as muslin, velvet, satin, twilled cotton, cashmere, shot silk, and kerseymere. It was different from a coat since there were no lapels. The fastenings were usually buttons going down the front either all the way, just at bust level or even no buttons at all. When the pelisse was worn in the first 10 years of the regency period, the length was generally quite short or three-quarter length. However, the last part of the period the pelisse went down to the ankles (Cunnington, 1960,34pg).

Another garment worn outdoors was the spencer jacket. The jacket was made for regency dress since the waistlines had risen so high, this meant the jacket had become quite short, so it could sit at the waistline. However, before 1804, the spencer would sit below the waistline. This jacket was usually worn in the summer while the pelisse was kept for the winter. Most spencers were fastened up to the neck, or some had an open Vshape either with or without a high collar (Cunnington, 1960,37pg). Spencer jacket were usually quite colourful since it was popular to wear them with white dresses. (Bradfield, 1968, 108pg). The materials used were either muslin, silk, velvet, kerseymere, lace, cloth, or satin. When the waistlines drop back down to the waist the garment disappeared (Cunnington, 1960,37pg).

The last two garment which were also popular for outdoor used was a shawl and a clock. The shawl was usually quite small about 9 square feet, however larger shawls could also be worn (Cunnington’s, 1959, 361pg). Usually, shawls were made from light silks and wools. Indian shawls were popular in the early 19th century, made from cashmere. Shawls were oblong and imported from the east. However, square shawls became fashionable in 1809. Shawls started to be made by ‘Paisley and Edinburgh in Scotland’ which is a textiles center (Byrde, 1979, 6pg). ‘Large silk scarves with coloured borders and brocaded ends’ became more popular in the later regency period (Cunnington’s, 1959, 364pg).

These new silhouettes meant that there wasn’t enough room for pockets under the dresses, like what woman had beneath their dress during the 18th century. Reticules were small drawstring bags, that became popular since women could carry their things in the bag. They were generally made of silk and were 3-d polygon shaped, with tassel and embroidery (Franklin, 2020).

Fig 16: A beige pelisse worn over dresses.

Fig 17: Light yellow spencer’s jacket.

Fig 18: Long cream shawl, draped over a white dress.

Fig 19: A reticules, decorated with embroidery and tassels.

Dress styles worn Between 1806 to 1817

This phrase of the Regency era is the most known, since it’s seen the most in regency dramas. The skirts have become narrower and the bust higher with shorter sleeves. By 1810 hook and eyes of flattened copper were introduced to be used fastenings, while some dresses continued to be fastened with buttons or strings (Cunnington’s, 1959, 353pg). The frock which fastened at the back had become more popular than the round gown which had nearly disappeared by 1810. Popular neckline were the V-shaped or the square, and the puffed sleeves were worn. Evening dresses would have either long or short sleeves (Franklin, 2020).

White plain muslin dress for the evening was very much in fashion. These dresses could have embroidered hems, necklines, and sleeves, with the high waistlines and shirt sleeves. Hems would also be created to trim, the colour gold was favoured. Colours which were also popular for dresses were yellows, pinks, blues, greens, and greys (Bradfield, 1968, 93pg). By the 1810s ‘dainty spot, sprig, or check patterns’ were fashionable which continued until the 1820s (Bradfield, 1968, 95pg). For the winter heavier velvets and wools were worn for more warmth (Thomas, 2001). At the back of the high waistline a small padded roll was worn between 1806 and 1820. This was to prevent the skirt from slipping down to the natural waistline (Nunn, 1984, 113pg). The long trains which were popular had started to disappear around 1807 (Franklin, 2020).

These trains were fully gone by 1815, and hemlines had risen above floor length (Franklin 2020). Also, by 1815 the fullness had completely gone to the back with tight gathering, the front then became more fitted at the front and hips (Cunnington, 1960, 32pg). By 1817 the waistline reached the highest point it could go before going over bust level but was lowered quickly after. (Thomas, 2001). One of the reason the bust became so high was because when the pace treaty with France happened in 1814. British people were amazed by the fashion and soon followed the wider skirt and the very high waistlines. In 1818 was when the fashion plates started to lower the waistline (Thomas, 2001).

Fig 20: Back of the dress with lots of gathers at the waist.

Fig 21: White decorated dress, with low neckline.

Fig 22: Small printed pattern dress.

Fig 23: Very high waistline white dresses.

Dress styles worn Between 1818 to 1829

The memory of the war was within fashion was fading and the classical style was becoming more romantic (Cunnington’s, 1959, 383pg). The waistline was dropping an inch every year until the waistline was back to the natural level in 1825 (Thomas, 2001).

After 1820, when the slim waist was becoming popular again, women were wearing corsets (Thomas, 2001). These corset would later be laced up very tightly by the end of the 1820s. Some bodices had a high neck, with either a ’small turn-down collar or frill, or half high’ and this was secured by a ‘bodice a l’enfant’, which is a specific drawstring (Cunnington’s, 1959, 383pg). Necklines could also be open with chemisette filling the space within the neck. There was plain dared style and draped with pleats/folds style bodices. Trim on bodices would usually be sewn downwards so it would emphasise the waistline (Franklin, 2020). Fastened at the back of the bodice with hook and eyes (Bradfield, 1968, 129pg). Some bodices nearly fell off the shoulder and weren’t boned, so the bodice was kept up by the tight fit (Cunnington’s, 1959, 389pg).

By the 1820s, skirts were shorter, and trains had largely disappeared. The gathering at the back of the waist and been move evenly around (Bradfield, 1968, 129pg). Dressmakers were starting to cutting more triangular pattern pieces, meaning there was less of a bulk of fabric around the waistline. There was more fabric around the hem creating a bell-shaped gown (Davidson, 2019, 26pg). Dress in the age of Jane Austen. During 1820 to 1824, the hem of dresses were usually padded with cotton-wool and trim around the hem could travel up to as far as knee level (Cunnington’s, 1959, 386pg).

By 1825, sleeves were long with a full and gathered head (Bradfield, 1968, 129pg). There were different types of sleeves, such as the ‘Demi-gigot’, which was full at the head, narrow at the wrist and tight at the wrist, usually would fall lower than the wrist. The ‘Marie sleeve’, a fairly full sleeve with ribbon bands constricting the sleeve in intervals. Also, the gigot which is full and gradually decreases in fullness below the elbow and tight at the wrist. The once slim-fitting regency frock embraces the transition into the wild fashions of the 1830s (Cunnington’s, 1959, 385pg).

Fig 24: Purple dress, decorated with frill and has a ruff.

Fig 25: Blue and cream lower neckline dress with big sleeves.

Fig 26: Gold evening dress.

Undergarments

Under the dresses the chemise and stockings were worn, with a petticoat and corset worn over the chemise (Cunnington, 1960, 20pg). The colour white was used for underclothes to show purity and bodily cleanliness. The use of white undergarments meant that the woman didn’t have exert herself and was part of a class which didn’t have to work (Cunnington, 1960, 17pg).

Chemises were usually made from linen; some women would make chemises at home instead of going out to buy them (Cunnington, 1960, 5pg). This garment was basically an undershirt, and the purpose was to protect the dress from getting dirty since most dresses were rarely washed (Boyle, 2014). It would also protect the wear from getting pinched or squeezed by the corset, keeping them comfortable. The chemise was usually loose fitting and knee length with sleeve gussets by the armpits and a neckline with a drawstring (Fabric and Fiction, 2018).

Corsets were worn through the whole of the 19th century. The corset was boned more lightly compared to the end of the 18th century (Cunnington, 1960, 20pg). Corset although popular in the 19th century wasn’t favour in the 1790s decade because of the fashion revolution (Boyle, 2014). There were new styles of corsets which were shorter to fit with the higher waistline (Boyle, 2014). Bust gussets were important because they helped separate the breast, the corset would also have tabs at the end to help stop the wear from getting stab by a bone (Fabric and Friction, 2018). The eyelets in for corsets were buttonhole stitched since otherwise it was easy of eyelets to rip. Metal eyelets only became popular in 1828 (Joanna, 2023). Busks worn at the end of the regency period going into Victorian. These were made of wood or metal were sometimes inserted down the center front of corsets to offer extra support. The straps of these corset would have sat at the edge of the shoulder since dress would have very open necklines (V&A, n/d).

Women’s drawers were cut like men’s, but legs weren’t sewn to the crotch and first became popular in 1806 (Nunn, 1984 117pg). Princess Charlotte was mentioned wearing drawers in 1811. The Glenbervie journals quotes ‘She was sitting with her legs stretched out, after dinner, and showed her drawers, which, it seems, she and most young women now wear.’ (Davidson, 2019,153pg). Pantaloons were straight-legged drawers, introduced in 1820, also lace and trim was used for decoration on pantaloons. In the 1820s the garment was seen under shorter skirts. In 1840 this garment started to disappear, however still seen worn by children until 1850. (Nunn, 1984 117pg).

The petticoat was worn for modesty, especially if the dress was made from muslin since this fabric is quite transparent. Before the start of the 1800s more then one petticoat could have been worn to make the skirt fuller. Since the skirt at this time were narrow, one was only needed (Franklin, 2020). Petticoats would be fastened at the waistline with sometimes straps to keep the petticoat from fall down. This was especially useful for when the waistline were as high as just under the bust (Boyle, 2014).

Fig 27: Early regency white chemise.

Fig 28: Shorter regency corset.

Fig 29: A white regency petticoat.

Regency Period Menswear

The tailcoat was first being worn as a more comfortable and fashionable frock coat. At the end of the 18th century, the long frock coat skirts were cut away for practicality (Gentleman’s Gazette, 2018). By about 1800, tailcoats were popular and could be either single or double breasted. The coats are cut square at the waistline in the front but slopes down at the back falling to the knee. The back of the coat was ‘divided by a deep vent’ into two panels. Both panels resembled a tail given the coat the name tailcoat (Cunnington, 1960, 55pg). This coat mainly had two tails for comfort when riding horses. Tailcoats were also first called, ‘coattails’ or ’swallowtail-coat’. Then became part of the evening and day wear (Gentleman’s Gazette, 2018). For evening wear the colours of these coats were usually brown, dark green, or dark blue. Black became very popular towards the end of the decade (Cunnington, 1960, 61pg). The collar would be standing high at first, however it became lower and deeper with a notch shaped like an M at the lapel. The sleeve of the coat sit at the wrist of slightly lower, having a small amount of fullness by the head of the sleeve and tapered going traveling down to the wrist. One button on the coat cuff was sometimes left open to reveal the shirt cuff (Nunn, 1984, 107pg). In each tail of the coat there is a concealed pocket in the main seam.

Men’s waistcoats in the 1790s opened in the front and had an angle skirt. Throughout this decade, the skirts started to rise and eventually waistcoats sat just below the waistline (Davidson, 2019, 28pg). At the start of the 19th century some waistcoat were left open at the top and ‘were turned back over the lapels of the coat’ (Nunn, 1984, 107pg). Waistcoats were either single or double-breasted, however evening wear favoured single breasted. White or black was usually the standard colour for waistcoats, but in the 1820s a variety of colours were being worn. Some had embroidery, such as little floral patterns, and silk and satin fabric were used (Gentleman’s Gazette, 2018). Underneath the waist was worn a white linen shirt and sometimes a cravats was worn around the neck. These were often made at home by female relative (Boyle, 2002).

By 1802 breeches were replacing pantaloons, which were a bit longer coming down to the mid-calf or even a little lower. Breeches were being worn with hessian leather boots popular from the 1790s (Ribeiro and Cumming, 1989, 162pg). The waist of breeches was high, and braces would’ve been worn to hold them up. The back of the breeches usually were full so it wouldn’t be too tight when riding (Boyle, 2002).

Fig 30: The back of a men’s dark blue tailcoat.

Fig 31: Single breasted pattern waistcoat.

Fig 32: Men’s cream stripped breeches

Costumes for Blandford Museum

Costume 1: Ellie Schembri Making:

• Chemise • Corset • Petticoat

• Pelisse

This is a pelisse with green silk padding. The date of this dress is around 1818-23.

Inside and close up pictures

Pictures of Ellie’s Model

Measurement Form

Fitting Photos

Chemise front, side, and back

Corset front, side, and back.

Pelisse front, side, and back.

Fitting notes

Chemise: Re-do sleeve armhole.

Corset: Cut and sewing cotton tape to each side of the breast guest.

The back is good.

Pelisse: No notes.

Linning for pelisse could maybe be in pink and will need about 6m.

After fitting pictures

Final photos

Pelisses front, side and back.

Undergarments

Ellie’s Make Breakdown

Project Jane Austen Project

Costume For Blanford Museum Costume.

Costume 2: Katie Underhay

Making:

Chemise

Corset

Petticoat

Dress

Light pink evening gown, with small puffed sleeves.

Close up pictures

Pictures of Katie’s Model

Measurement Sheet

Fitting Photos

Undergarments front, back, and side.

Fitting Notes

- Complete finishings on corset

- Shorten chemise sleeve length

- Hem bottom of chemise

- Bodice needs to be mounted and boned before next fitting

- Gathering on the waist is good, finish with a waistband, hook and eye and poppers.

Second Fitting Photos

Fitting Notes

- CB needs to be let out 2 inches - Make armhole deeper as pinned - Let the side out 1 inch on each side - Re-cut the back panel - Skirt is too long take up as pinned - The pleats need to start where the first dart is - Inner sleeve head gathers slightly into armhole - Shorten inner sleeve by 1 inch - Bring out neckline to the edge of the SA – pipe the neckline - Put another panel in the back 30 inch wide.

Third Fitting Photos

Final Photos

Undergarments

Dress front, back, and side.

Katie’s Make Breakdown

Costume 3: Jess Davies Making:

Chemise

Corset

Petticoat

Dress

This dress has a high waisted bodice, with the front panel opening sideways. The dress has a small train, and the skirt has gathering at the front, wide pleats at the side, and cartridge pleats at the back.

Close up Pictures

Digitally Printing Fabric

For this fabric we decided to digitally print the pattern onto cotton. We thought of this idea because it would be hard to find fabric with an identical pattern.

I send the colours we’d selected to Erin Batten our technician, since she was going to design the pattern which was being printed. We decided to print a 1 metre fabric sample to make to we were happy with the pattern and colour. If necessary, changes could then be made before printing on 8 metres of cotton.

When I first went to the printing room to have an induction, I picked what type of fabric would be used for the dress. My lecturer and I decided that cotton would be the best fabric choice for the dress. The cotton fabric available was affordable and appropriate for the period the dress was worn in. We choose what coloured dyes we wanted for the pattern. The dyes were printed out onto the fabric because the colour of the dye would differ depending on the type of fabric.

The fabric sample was hand washed and put through a washing machine to get rid of any excess dye.

This sample fabric was left out to dry and ironed before being shown to my lecture.

When showing my lecturer and Jess (the maker), we decided to go for the lightest background shade which is the bottom one. With the flower pattern colours of the middle sample. This was then told to Erin, and she was able to merge the them together. The final chosen colours with the pattern is below.

Close up of pattern samples

Final chosen colours.

Once the cotton was printed on, I then had to wash the main fabric to get the dye out. This time I had to do it in the dye room since there was lots of fabric to wash, and I needed a big enough sink. I washed the fabric the same way I washed the sample.

Washing the fabric and what I used.

Freshly printed fabric

After, the fabric need to go in the washing machine on a spin. Taking it out of the washing machine, it could be hung pull to dry. Once it was dry it needed to be iron and then was ready for the maker. I enjoyed help to print this fabric since I felt I learnt a lot about print on fabric in the process.

Pictures of Jess’s Model

Measurement Form

Fitting Photos

Chemise front, side, and back.

Corset front, side, and back.

Petticoat front, side, and back.

Dress front, side, and back.

Fitting Notes:

. Corset – Lengthen strap by 1 inch.

. Petticoat – Shorten straps as pinned.

. Dress – Adapt bodice pattern as drawn on toile.

. Shorten skirt by 3 inches.

Second Fitting Photos

Undergarments

The dress front, back, and side.

Final Photos

The dress

The Undergarments

and Petticoat fabric.

Jess’s Make Breakdown

AUB Store Costumes

Costume 1: Rebecca Rowatt Making:

• Chemise

• Corset

• Petticoat

• Dress

• Pelisse Size: 14

Fig 33: Fashion plate in 1797, of a white dress and purple pelisse.

Pictures of Rebecca’s Model

Measurement Form

First Fitting Photos

Undergarments

Petticoat and dress

Pelisse front, side, and back.

Fitting Notes

. Chemise – Change sleeve, since fabric should be the same.

. Corset – Straighten side seam line. Put extra bones in (see drawn lines).

. Petticoat – Looks good.

. Dress – Armholes too tight. Cut into armhole and take in top. New CB seam (right on edge).

. Pelisse – 2 inches bigger and 1 inch longer on sleeve.

Second Fitting Photos

Undergarments

Fitting Notes

. Petticoat - Add pleats to pinned amount

. Dress – Make armhole bigger. Try to ease in the head of armhole. Take sleeves in, 1cm under the arm.

Pelisse notes: Slip stitch around the hem and and center front.

Final Photos

Dress front, back, and side.

Pelisse front, back, and side.

Undergarments

pelisse.

Pelisse fabric lining. Viscose diagonal twill lining – bottle colour

pelisse.

Costume 2: Sophie Sheard Making:

• Chemise

• Corset

• Petticoat

• Dress

• Light Jacket Size 12

Fig 34: White and pink evening dress in 1801.

Pictures of Sophie’s Model

Measurement

Fitting Photos

Undergarments

Dress front, side, and back

Jacket front, side, and back

Fitting Notes

. Corset – Straps lengthened 2.5cm.

. Skirt – Take off waistband.

. Bodice – See center back as pinned. Make armholes bigger and alter where snipped. Take strap in at CB about 1cm as pinned.

Sleeve – Have the dress sleeve fitted tightly for next fitting. The jacket sleeve is good.

. Jacket – Marked with pen where armholes have been snipped. Make the sleeve bigger for new armhole (add 2 inches to head and an inch to center front seam). Change neckline as marked. Cut can spread center back.

Final Fitting Photos

Dress front, back, and side pictures.

Jacket and undergarments.

For chemise and Petticoat fabric.

Sophie’s Make Breakdown

For chemise, corset, petticoat, and dress.

Costume 3: Benji Burrows Making:

Chemise

Corset

Petticoat

Dress Size: 12

Fig 35: Pink evening dress.

Pictures of Benji’s Model

Measurement Form

First Fitting Photos

Undergarments

Dress front, back and side

Fitting Notes

Corset: Once it has more bones will stretch, overall lovely.

Chemise: It’s good.

Petticoat: Let out the waistband.

Top skirt: Nice shape and pleats are even. Make sure the pleats go completely on top of eachother.

Bodice: Make a new back panel, needs at least 2.5 inches more on the back.

Sleeve: Too small at the head of the sleeve.

Second Fitting Photos

Before fitting

After fitting

The current state of the dress

Dress front, side, and back

and Petticoat fabric.

Benji’s Make Breakdown

Costume 4: Megan Caley

Shirt

Size: 38” Chest

Fig 36: Mr. Darcy from 1995’s Pride and Prejudice miniseries.

Pictures of Megan’s Model

Measurement Form

Fitting Photos

Shirt from AUB Costume Store for this fitting.

Waistcoat before fitting.

Tailcoat before fitting

Tailcoat after fitting

Close up of collar and neckline of waistcoat, also full look after fittings.

Waistcoat after fitting.

Close up picture of tailcoat after fitting.

Fitting Notes

Waistcoat: Neckline too high, marked new line. 4cm step for collar. Waistcoat can be slight shorter around 1.5”. Tailcoat: Armhole too small. Let out at CB. Front of coat needs to be 1.5” shorter. Fits well at the front. Undo side seam to make armhole bigger. Make coat slightly longer (1.5cm) at the bottom. Sleeve: Needs to be 4cm bigger. Circumference of sleeve needs to be bigger than armhole. Cuff slightly flared. Sleeve might have to be taken slightly in.

Fitting with Model

Waistcoat front, back, and side.

Tailcoat front, back, and side.

Second Fitting with Model

Tailcoat on mannequin and model.

Back view and sleeve pictures of tailcoat.

Sleeve of shirt check and side and front view of breeches.

Final Photos

Front, side, and back view of tailcoat, waistcoat, shirt, breeches.

Shirt and breeches picture, close up on waistcoat and tailcoat.

Megan’s Make Breakdown

Project Jane Austen Project

Main fabric for tailcoat.

Tailcoat lining Red polyester lining

Tacked to chest of coat. Also used for waistcoat.

Tacked to shoulders and chest. Also used for waistcoat.

to chest of coat.

Used on edges of tailcoat. Tailoring Linen (cut on straight of grain)

Haberdashery

Put into the head of the sleeve. Shoulder pads AUB Haberdashery

Used for specific parts of the coat and breeches.

To go in the front of the tailcoat.

Used for tacking jacket.

Buttons didn’t arrive in time due to a miscommunication with postage. But still be sewn on at a later date.

Buttons for waistcoat. Sliver buttons Jones Buttons 10 buttons, only 8 were used.

Buttons for tailcoat. Covered buttons

Costume

5: Verity Williams Making: • A Spencer Jacket Size: 14

Same model as Rebecca. Jacket being worn over her dress.

Fig 37: Red/pink spencer’s jacket.

Fitting Photos

Jacket front, side, and back view with the cape.

After fitting photos

Fitting notes

-Jacket’s CF needs to be moved forward, see as pinned.

- Armhole needs to be made bigger, follow where fabrics been cut.

- Neckline should be moved up at the back, see where pinned.

- The CB of the cape should come to more of a point.

Second Fitting Photos

No notes of this fitting. Checking sleeve length and to see how the jacket looked on.

Final Photos

Jacket front and side

The lining and back of the jacket

Professional photos

Verity’s Make Breakdown

Project Jane Austen Project

for lining. Viscose diagonal twill lining - bottle

Process of making a Spencer Jacket

Technical Drawing

Technical drawing of spencer jacket, front and back.

Step by step on making a spencer’s jacket.

First a spencer's jacket pattern was found in one of the pattern drafting bookings. Using the pattern the jacket was then drafted on the stand. Long strips of calico were cut and ironed. There was a front, back, and side piece of calico which was pinned to the mannequin.

The calico pieces were pinned together to create the shape. A dart was made in the front panel, where there was excess fabric.

The neckline, armhole, and waistline were then drawn on with pencil. It’s important to look at the design so you can create a similar shape.

Once the neckline, waistline, and armhole had been drawn, the excesses fabric was cut away. All the seams had to be mark so be pattern could be seen, when the calico is taken off the mannequin.

The jacket was then ready for the cape to be drafted on top.

The cape only needed two piece of calico, one for the back and one for the front. A dart (like the jacket) was put in the front of the cape to give it some shape. The neckline, and edge of the cape was drawn and the seams the marked. The fabric was cut down and ready for the collar to be drafted.

Using a piece of calico and looking at the design the collar was drawn. The bias line was marked too.

The sleeve was patterned drafted and cut out of calico. On the sleeve was marked the cuff and gathering. A gathering stitch was sewn at the sleeve head and then the side seam was sewn together.

The calico sleeve was pinned onto the drafted calico jacket. This was to see if it fitted correct and if any adjustments should be made.

Taking patterns off the stand.

The drafted jacket pattern could then be taken off the stand. Each pattern piece was ironed to take out any creases.

The calico pieces were laid out on pattern paper, traced around and cut out. Each pattern was label it wouldn’t be confusing as to what each piece was for. Also, the straight of grain was drawn on.

The pattern pieces were adjusted to the model’s size to make sure the jacket would fit correctly.

The pattern pieces were cut out of cotton, and seam allowance was added. A tracing wheel was used to make sure the pieces were marked on all side.

The velvet fabric was ironed, ready for the top fabric pieces to be cut out. When iron the velvet it was important to use a velvet board, otherwise the velvet might’ve gotten crushed. The cotton pieces were pinned to the velvet and cut around. The cotton was mark tacked to the velvet so the fabric would stay together.

The pieces were sewn together on stitch 5 for the fitting. The darts on the jacket and the cape were sewn together first. Then each piece on the jacket and cape was sewn together. When sewing make sure to pin each piece together accurately.

This is pictures of the jacket ready for the fitting without cape on top.

The sleeve pattern was redrafted by making the head of the sleeve bigger. The new drafted pattern was then cut out with seam allowance of the velvet fabric. This sleeve was sewn together and gathered, ready for the fitting.

Photos of jacket after the fitting, with the sleeve, cape, and collar pinned on.

After the fitting, the jacket was taken apart so that the new adjustments from the fitting could be drawn on. For example, the armhole had to be bigger, and the neckline and center front had to be moved over.

Once the adjustments on the pieces were made, the jacket could be sewn together again. It was decided that the seams would be piped with red fabric. The piping cord was sewn in-between long strips of the fabric and then the piped fabric was sewn into the seams of the jacket.

All the seams were piped apart from the jacket shoulder seams since they won’t be seen under the cape.

Hair canvas was herringboned stitched onto the center front of the jacket and the cape. A new pattern piece was drawn for the front jacket pattern. This was because the hair canvas was only getting stitched to half of the front piece.

For the cape, the hair canvas was sewn onto the whole of the front panel. The canvases were sewn on before the shoulder seams were sewn together.

The edges of the canvas was covered with long strips of stayflex, cut on the bias. This was ironed onto the cape and the jacket.

The collar pattern was cut out of cotton and then cut out of the velvet fabric. The collar was given an inch seam allowance just incase it needed to be made bigger.

The collar canvas was cut out leaving an inch on the side and the curve. The final size of the collar was then decided, and the was checked by making sure it fitted around the neckline of the jacket. The seam allowance was then cut off.

The collar canvas was sewn onto the top fabric by sewing down the break line. Some of the top and bottom of the collar was herringbone stitched to the top fabric to keep it in place. The collar was then ready to be pad stitched. When sewing on the collar there are four sections. The sections are below and above the break line and two pointed ends.

New patterns of the jacket were drafted so the lining could be cut out. The new patterns were the alterations from the fitting. The lining was cut out with seam allowance and the patterns were sewn together just like the top fabric of the jacket. The only different was the back panel was cut out into two piece. This was so a vent out be put in the back to create more space in the lining.

Once all the pieces of lining were sewn together; it was checked to make sure the lining fits into the jacket properly. The seam allowance could be cut down and pressed open. This was also done for the jackets seam allowance too.

The cape’s lining was attached first, and this was done by bagging out the cape. The center front was left open so when the wrong sides were sewn together the jacket could be turned through. When pinning it was important to make sure the lines match up accurately for a good outcome.

Before turning the cape through, the seam allowance needed to be cut down. Especially the pointed edges since the smaller the seam allowance more of the point can be pulled through, making it more defined. The cape was then ironed, and the center front was pinned closed.

The cape was mark tacked to the jacket around the center front and neckline. The bottom of the jacket was turned up and herringboned stitched. The center front edge of the cape and jacket was also turned inwards at the bottom and herringboned stitched down.

When the pad stitching was done, the herringbone stitching was unpicked. The pad stitched undercollar was ready for the top part of the collar to be sewn on. It was pinned on right sides together and then tacked down the center front.

Around the edges of the collar were tacked diagonally, this was to create more room within the top collar compared to the under part. The collar was sewn and bagged out, leaving the bottom of the collar open. Same as the cape, the seam allowance needed to be cut down to create the wanted shape. Pinning the finished collar to the jacket to make sure everything sat right. This now gave a clear picture of how the collar would look sewn to the jacket.

The collar was mark tacked to the jacket so that it would be easier when sewing it down. Only the under collar was sewn to the jacket. It was important that the collar sat evenly on each side of the jacket so that the jacket would be symmetrical. The seam allowance (apart from the under collars) was cut down once sewn, so that there wouldn’t be any bulkiness at the bottom of the collar. The under collars seam allowance was folded over the rest of the cut down seam allowance and herringbone stitched down.

The lining for the jacket was pinned inside, ensure that the side, shoulder, and dart seams matched up as good as possible. Putting the jacket on the mannequin the inside out help because it was a way of making sure the lining sat correctly. Once happy with where the pins were placed the lining was slip stitched down around the bottom, center front and neckline of the jacket.

The bottom of the top collar was folded over the lining and pinned in place. Again, this was done on a mannequin and once happy slip stitched down.

The sleeve lining was sewn together and gathered by the head of the sleeve, similar how the top fabric sleeve was sewn together. The armholes were mark tacked. This was so the design lines could be seen clearly and so that the lining and jacket were attached. The seam allowances were cut down to make putting the sleeve in easier.

The cuff of the sleeve was turned up to where it was intended to sit on the model. The cuff was cut down to an inch and herringbone stitched down. The sleeve lining was fitted into the sleeve, ensuring that the side seams lay flat and match up.

The head of the sleeve and the side seams were mark tacked so the lining wouldn’t move around. The cuff of the lining was folded up, leaving around 1cm of the top fabric cuff showing. This lining was slip stitched down. The gathering for the lining and top fabric would was adjusted to fit the armhole.

The sleeves were pinned into the armhole and when happy with the placement of the sleeve, they could be tacked in. Only the top fabric of the sleeve is getting sewn into the armhole. It’s important to tack the sleeves so that the placement of the sleeve doesn’t move when sewing. After sewing the seam allowance should be cut down, making sure to not cut into the sleeve lining.

The sleeve lining was pulled up and folded over the cut seam allowance. Pinned into place making sure it sits correctly. The sleeve head lining was slip stitched down.

The mark tacking was taken out of the jacket using tweezers and scissors. The end of the collar was slip stitched down. The decoration could then be started on the jacket.

10 Dorset buttons were made, two for each side of the cuff and three for each side of the center front. The lining on the cape was back stitched down on the edges so it wouldn’t be visible for the outside of the jacket. The gold hook and eye fastenings were sewn onto the jacket.

The pom pom trim was too pink so it was decided that the trim would be dyed. While dying the trim that Dorset buttons were sewn on.

Once the trim had dried it was pinned into the jacket and slip stitched on. The trim was sewn onto the cape and the collar. When the trim was finished the jacket was ready for final photos.

List of Figures

References

Biography

List of Figures

Fig 1: Pg 58 - Characters Ann Elliot and Captain Wentworth from the 2007 ‘Persuasion’ adaptation. Available at: https://en.notrecinema.com/communaute/v1_detail_film.php3?lefilm=376577 Accessed: 20/03/2025.

Fig 2: Pg 61- Picture of Mr. Darcy and Elisabeth Bennet. Available at: https://regencygentleman.wordpress.com/tag/pride-and-prejudice/ Accessed: 04/04/2025.

Fig 3: Pg 61 - The Bennet girls on a walk wearing day dresses. Available at: https://www.douxreviews.com/2013/02/pride-prejudice-episode-1.html Accessed: 22/04/25

Fig 4: Pg 61 - Grey Spencer worn in this adaptation of Pride and Prejudice. Available at: https://regencygentleman.wordpress.com/tag/pride-and-prejudice/ Accessed: 22/04/2025

Fig 5: Pg 61 - Day dress worn by Elisabeth Bennet. Available at: https://regencygentleman.wordpress.com/tag/pride-and-prejudice/ Accessed: 22/04/25

Fig 6: Pg 63 - The Rococo style dress, very decorative and big. Available at: https://blog.fabrics-store.com/2020/09/01/marie -antoinette -rococo-queen/ Accessed: 24/03/25

Fig 7: Pg 63 - Marie Antoinette wearing a Chemise a la Reine dress. Available at: https://www.metmuseum.org/art/collection/search/656930 Accessed: 24/03/25

Fig 8: Pg 63 - The Robe a la fancaise and the robe a l’anglaise. Available at: https://www.pudlestonmakes.com/post/robe-%C3%A0-l-fran%C3%A7aise-v-l-anglaise Accessed: 24/03/25

Fig 9: Pg 64 - Early regency dress, soft silhouettes. Available at: https://www.fashionera.com/fashion-history/regency/regency-fashion Accessed: 02/04/25

Fig 10: Pg 64 - Evening gown with long trains. Available at: https://uk.pinterest.com/pin/843650942730117055/ Accessed: 02/04/25

Fig 11: Pg 64 - White dress, with coloured skirt revealed underneath. Available at: https://janeausten.co.uk/blogs/uncategorized/regency-petticoats Accessed: 02/04/25

Fig 12: Pg 65 - The Merveilleuses, women wearing sheer white fabric. Available at: https://www.minniemuse.com/articles/musings/galliano-muslin-disease Accessed: 07/04/25

Fig 13: Pg 65 - The round gown. Available at: https://fashionhistory.fitnyc.edu/18001809/ Accessed: 07/04/25

Fig 14: Pg 65 - Tunic dresses, hang loose and drawn in at waist. Available at: https://thecozydrawingroom.com/2018/08/20/sleeveless -gowns/ Accessed: 07/04/25

Fig 15: Pg 65 - Regency court dresses. Available at: https://candicehern.com/regencyworld/court-dresses-overview/ Accessed: 08/04/25

Fig 16: Pg 66 - A beige pelisse worn over dresses. Available at: https://www.metmuseum.org/art/collection/search/159181 Accessed: 05/05/25

Fig 17: Pg 66 - Light yellow spencer’s jacket. Available at: https://recollections.biz/blog/want-a-regency-inspired-fall-try-a-spencer-jacket/ Accessed: 05/05/25

Fig 18: Pg 66 - Long cream shawl, draped over a white dress. Available at: https://inlovewithregencyera.tumblr.com/post/735634676069416960/regency-eraaccessories-part-1 Accessed: 05/05/25

Fig 19: Pg 66 - A reticules, decorated with embroidery and tassels. Available at: https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/accessories/reticule Accessed: 10/05/25

Fig 20: Pg 67 - Back of the dress with lots of gathers at the waist. Available at: https://historicalsewing.com/regency-gown-closures Accessed: 16/05/25

Fig 21: Pg 67 - White decorated dress, with low neckline. Available at: https://mx.pinterest.com/pin/264164334380774713/ Accessed: 16/05/25

Fig 22: Pg 67 - Small printed pattern dress. Available at: https://historicalsewing.com/regency-gown-closures Accessed: 16/05/25

Fig 23: Pg 67 - Very high waistline white dresses. Available at: https://at.pinterest.com/pin/101682904065062913/ Accessed: 16/05/25

Fig 24: Pg 68 - Purple dress, decorated with frill and has a ruff. Available at: https://www.fashion-era.com/fashion-history/regency/regency-fashion Accessed: 01/06/25

Fig 25: Pg 68 - Blue and cream lower neckline dress with big sleeves. Available at: https://fashionhistory.fitnyc.edu/1820-1829/ Accessed: 01/06/25

Fig 26: Pg 68 - Gold evening dress. Available at: https://mx.pinterest.com/pin/529102656199726268/ Accessed: 01/06/25

Fig 27: Pg 69 - Early regency white chemise. Available at: https://teainateacup.wordpress.com/tag/regency-chemise/ Accessed: 19/05/25

Fig 28: Pg 69 - Shorter regency corset. Available at: https://fabricnfiction.wordpress.com/tag/regency-undergarments/ Accessed: 19/06/25

Fig 29: Pg 69 - A white regency petticoat. Available at: https://janeausten.co.uk/blogs/uncategorized/regency-petticoats?srsltid= Accessed: 19/06/25

Fig 30: The back of a men’s dark blue tailcoat. Available at: https://www.meisterdrucke.ie/fine-art-prints/Carle-Vernet/1405845/French-dandy-intailcoat-with-narrow-waist,-Paris.html Accessed: 29/05/25

Fig 31: Single breasted pattern waistcoat. Available at: https://www.metmuseum.org/art/collection/search/90805 Accessed: 29/05/25

Fig 32: Men’s cream stripped breeches. Available at: https://janeaustensworld.com/2013/06/21/regency-fashion-mens-breechespantaloons-and-trousers/ Accessed: 29/05/25

Fig 33: Pg 119 - Fashion plate in 1797, of a white dress and purple pelisse. https://uk.pinterest.com/pin/1797-fashion-plate 113715959324545627/ Accessed: 06/02/25

Fig 34: Pg 134 - White and pink evening dress in 1801. Available at: https://collections.lacma.org/node/252558 Accessed: 06/02/25

Fig 35: Pg 145 - Pink evening dress. Available at: https://www.blissbennet.com/ackermanns-repository-fashion-prints/ Accessed: 06/02/25

Fig 36: Pg 155 - Mr. Darcy from 1995’s Pride and Prejudice miniseries. Available at: https://uk.pinterest.com/pin/mr-darcy 619667229960791220/ Accessed: 06/02/25

Fig 37: Pg 171 - Red/pink spencer’s jacket. Available at: https://www.stephaniesmart.net/2018/11/28/hats-caps-and-bonnets Accessed: 06/02/25

Fig 38: Pg 234 -The character Millie from Thoroughly Modern Millie. Available at: https://www.flickr.com/photos/truusbobjantoo/53045977677 Accessed: 20/02/25

References

Bradfield, N. (1968). Costume in Detail. 1730 – 1930. 3rd ed. Great Britain: Harrap Books Limited.

Byrde, P. (1979). A Frivolous Distinction: Fashion and Needlework in the Works of Jane Austen. Bristol: Bath City Council.

Cunnington, C.W. and Cunnington, P. (1959). Handbook of English Costume in the 19th Century. Great Britain: Faber and Faber Limited.

Davidson, H. (2019). Dress in the Age of Jane Austen: Regency Fashion. London: Yale University Press.

Fashion Law Journal. (2023). Fashion Revolution: Unveiling The Glamour And Elegance Of 18th Century Fashion. Available from: https://fashionlawjournal.com/fashion-revolution-unveiling-the-glamour-andelegance-of-18th-century-fashion/ [Accessed: 24/03 /25].

Gentleman’s Gazette. (2018). Regency Evolution (1800-30s) – Colourful Tailcoat and Cravat. Available at: https://www.gentlemansgazette.com/tuxedo-black-tie-guide/black-tietuxedo-history/regency-evolution-tailcoat-cravat/ [Accessed: 29/05/25].

Jane Austen’s World. (2011). ‘Merveilleuses’. Available from: https://janeaustensworld.com/tag/merveilleuses/ [Accessed: 07/04/25].

Bibliography

Boyle, L. (2002). Regency Dress for Gentlemen. Available at: https://janeausten.co.uk/blogs/mens-fashion/cravats-tail-coats-breeches?srsltid [Accessed: 29/05/25].

Boyle, L. (2011). Corsets and Drawers: A Look at Regency Underwear. Available at: https://janeausten.co.uk/blogs/womens-regency-fashion-articles/corsets-anddrawers-a-look-at-regency-underwear?srsltid= [Accessed: 19/05/25].

Boyle, L. (2014). An Examination of Regency Petticoats. Available at: https://janeausten.co.uk/blogs/uncategorized/regency-petticoats?srsltid= [Accessed: 19/05/25].

Bradfield, N. (1968). Costume in Detail. 1730 – 1930. 3rd ed. Great Britain: Harrap Books Limited.

Byrde, P. (1979). A Frivolous Distinction: Fashion and Needlework in the Works of Jane Austen. Bristol: Bath City Council.

Cunnington, C.W. (1960). English Women’s Clothing in the Nineteenth Century. Great Britain: Faber and Faber Limited.

Cunnington, C.W. and Cunnington, P. (1959). Handbook of English Costume in the 19th Century. Great Britain: Faber and Faber Limited.

Davidson, H. (2019). Dress in the Age of Jane Austen: Regency Fashion. London: Yale University Press.

Englander, D. (2020). 1783 – Elisabeth Louise Vigee le Brun, Marie Antoinette in a Chemise Dress. Available from: https://fashionhistory.fitnyc.edu/1783-vigee-le-brunantoinette-chemise/ [Accessed: 24/03/25].

Fabric and Fiction. (2018). Leveling Up Your Regency Look. Available: https://fabricnfiction.wordpress.com/tag/regency-undergarments/ [Accessed: 04/05 /25].

Fashion Law Journal. (2023). Fashion Revolution: Unveiling The Glamour And Elegance Of 18th Century Fashion. Available from: https://fashionlawjournal.com/fashionrevolution-unveiling-the-glamour-and-elegance-of-18th-century-fashion/ [Accessed: 24/03 /25].

Feel the art. (n/d). Count Moritz Christian von Fries and his family. Available at: https://app.fta.art/artwork/b00fca9187956c6f44e2fe0e5dd80de23f07850e [Accessed: 17/05/25].

Franklin, H. (2020). Fashion History Timeline: 1800-1809. Available from: https://fashionhistory.fitnyc.edu/1800-1809/ [Accessed: 01/04/25].

Franklin, H. (2020). Fashion History Timeline: 1810-1819. Available from: https://fashionhistory.fitnyc.edu/1810-1819/ [Accessed: 03/04/25].

Franklin, H. (2020). Fashion History Timeline: 1820-1829. Available at: https://fashionhistory.fitnyc.edu/1820-1829/ [Accessed: 08/04/25].

Gentleman’s Gazette. (2018). Regency Evolution (1800-30s) – Colourful Tailcoat and Cravat. Available at: https://www.gentlemansgazette.com/tuxedo-black-tie-guide/black-tietuxedo-history/regency-evolution-tailcoat-cravat/ [Accessed: 29/05/25].

Jane Austen’s World. (2011). ‘Merveilleuses’. Available from: https://janeaustensworld.com/tag/merveilleuses/ [Accessed: 07/04/25].

Joanna. (2023). Underwear: what was worn under Regency gowns? Available at: https://libertabooks.com/costume/underwear-what-was-worn-underregency-gowns/ [Accessed: 19/05/25].

Mugrabi, C. (2019). Galliano’s Muslin Disease. Available from: https://www.minniemuse.com/articles/musings/galliano-muslin-disease [Accessed: 07/04/25].

Nunn, J. (1984). Fashion in Costume 1200-2000. 2nd ed. London: The Herbert Press.

Peacock, H. (1986). Costume 1066 – 1990s. Great Britain: Thames and Hudson.

Ribeiro, A. and Cumming, V. (1989). The Visual History of Costume. London: B.T. Batsford Ltd

Thomas, P.W. (2001). Regency Fashion History 1800-1825: Beautiful Pictures Empire Lime Dresses. Available at: https://www.fashion-era.com/fashionhistory/regency/regency-fashion [Accessed: 03/04/25].

V&A. (n/d). Corsets, crinolines and bustles: fashionable Victorian underwear. Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustlesfashionable-victorian-underwear#:~:text=Corsets%20were%20usually% [Accessed: 19/05/25].

Wentworth Woodhouse. (n/d). A Walk Through The Regency Era. Available from: https://wentworthwoodhouse.org.uk/discovery/a-walk-through-the-regency-era/ [Accessed: 01/05/25].

Appendix

Tickets/Leaflets

CPD Hours

Supervisor Workshop –Rebecca Pride: Talk about supervision and fitting etiquette. 14:00 to 17:00 – 3 Hours 13/02/2025

Supervisor Workshop – Helen Ford: Buying clothes from Clobber 14:00 to 17:00 – 3 Hours 20/02/2025

Supervisor Workshop – John Lindlar – Showing John our costumes, having a talk with him.

Supervisor Workshop

In this workshop we went to a vintage shop, where we had to find an outfit for a character. We were given a budget of £20 which was the budget of the outfit. We could find things in the vintage shop, but we could also look back in the costume store in uni. I decided to pick the character Millie from Thoroughly Modern Millie. I was able to find a dress which quite resembled the dress she wears in the film. The film was set in the 1920 and this dress looks like it’s more for the 60s. However, I thought it still represented the character well. I bought a necklace to go with the dress. I also found a bag which I didn’t buy, but I thought would also look quite nice with the dress.

Fig 36: The character Millie from Thoroughly Modern Millie.

Costume Sourced

We display are costumes on a mannequin for the next workshop. I found some shoes and a hat to pair with my outfit. John Lindlar, a designer, became in and had a talk with us. He look at our characters and we discuss them as a group. He like my outfit and really liked the dress, but didn’t like the hat and thought it would look better without it. I thought it was interesting to see a designer's point of view on the costumes.

Budget Sheet for Supervisor Workshop

Make breakdown for Supervisor Workshop

I went to Elliot road and helped organise the costume store. I first organised the hat shelf making sure that all the correct coloured hats go together. Then labelled some of the boxes which were going to have specific costumes in it. I also had to move the wigs and put them into one of the boxes. I enjoyed helping in the store.

I help out with alteration for The Visit. I cut and sewed this sliver fabric onto the shoulder and the head of the sleeve of a jacket.

I helped dress for the day of dance show and I had to sew this jewelry onto some of the costumes.