Circassian robe. Scotch bonnet. Regency April 1794.

The Age of Undress by Amelia Rauser.

Dress in the Age of Jane Austen by Hilary Davidson.

Jane Austen at Home by Lucy Worsley 

Regency, Georgian, fashion history, costume,Heideloff,

The Gallery of Fashion April 1794.

England Morning Dresses. Circassian robe. Scotch bonnet.

FIG. III. Circassian robe

THE HEAD-DRESS consists of three yards of white satin, formed into a bandeau, turned up behind, and mixed in easy folds with the curls; the end turned round on the right side, trimmed with a deep net-headed white silk fringe, falling to the bottom of the waist; the folds crossed with two strings of pearls, in three parts. One purple and two white feathers placed in the bandeau on the left side. The hair, light frizzed, thrown into easy curls, falling over the bandeau.

The chignon in an easy plait, turned up over the bandeau, and the end turned back in one large curl. Three side curls falling lightly on the neck. Long earrings of pearls. One string of pearls and one chain of gold round the neck. The petticoat of white Satin, embroidered in colours. A Circassian robe, of purple and orange-striped satin; the train cut in bias and rounded.

The corset of white satin, with long sleeves of the same, tied round the wrist with two purple ribands. The short sleeves of the robe, and the robe itself trimmed with fur. The handkerchief of Italian gauze. The sash of purple, and orange net-work, passed under the robe behind, and tied in one bow on the left side; the two ends half a yard long. A white down muff, drawn with orange ribands. Shoes of purple satin, with spring heels.


A Scotch bonnet of garnet-coloured satin, the ends trimmed with a gold fringe. and the bonnet with blue fox fur; a heron feather of gold on the left side. The hair lightly frizzed in easy curls; the side- curls; frizzed together, and drawn into six light curls.

Note:  Echarpe Ecossaise. Neoclassical costume Broderies à Roues.

The flair behind hanging down in ringlets. Chemise of clear-worked muslin, trimmed round the neck with a broad lace, and flounced with white fringe; long close sleeves, equally trimmed with lace, and tied with garnet-coloured riband over them loose sleeves, coming from the shoulder down to the elbow, drawn at the bottom, and tied just above the elbow with a small riband, and again in the middle of the sleeve; these short and loose sleeves fall so that nothing of the ribands are seen.

The sash of a broad garnet-coloured riband, tied behind in a small bow, the ends as long as the chemise. A gold chain round the neck, and another over the shoulder, with a large gold medallion, falling as low as the sash. Gold earrings. Green satin shoes, with garnet colored roses.

Source: The Gallery of Fashion Vol. 1. April 1794 to March 1795. Published by Nikolaus von Heideloff, London. 


Support and Seduction: The History of Corsets and Bras (Abradale Books) by Beatrice Fontanel.

Thoughout the ages, women's breasts have been subjected to the endless whims of fashion. From the ancient Greeks to Mae West and Madonna, this light-hearted book charts the changing shapes of female beauty. The elegant and amusing images - including fashion drawings, paintings, photographs, and film stills - illustrate the often surprising history of the garments women have worn for support - and seduction.

The Age of Undress by Amelia Rauser.

Dress in the Age of Jane Austen by Hilary Davidson.

Jane Austen at Home by Lucy Worsley 

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