Fabulous costumes!

With less than a week before the opening of the Jane Austen exhibition everything is more or less installed, with only some minor adjustments left to be done. (Although enough to keep us busy!)

I am very impressed by the quality of the costumes. A lot of hand sewn seams and delicate materials on the gowns and the coats are properly tailored. Jenny Beavan and Dinah Collins obviously know their business.

Here are only a few samples for all you Jane Austen-fans out there:

Photo by Regencygentleman

Miss Bingley’s evening frock is suitably grand.

Photo by Regencygentleman

One of Miss Marianne Dashwood’s lovely gowns. (Kate Winslet is petite.)

Photo by Regencygentleman

Another beatifully made gown. This one is hardly seen on screen. Can you guess which one it is?

The Costumes have arrived!

Photo by Regencygentleman

Yesterday these boxes arrived. They are not just any boxes. They contained the legendary costumes that will go on display, carefully packed on top of hatboxes and heavier shoes and boots.

Our textile conservators started to unpack them and I tried not to drool too much, but took a few quick photos. Starting today, they will be steamed if needed and mounted on to mannequins.  I will keep you posted.

Photo by Regencygentleman
Continue reading

A Pair of Habits à la Française, 1811

Last time I wrote about the upcoming Jane Austen exhibition. With less than three weeks to the opening, the Cosprop costumes are arriving tomorrow! It will of course focus on the famous film costumes, but they are supplemented with a handful of extant garments from our collections. The fictional Mr Darcy, Mr Ferrars, and Colonel Brandon are sort of visiting Count Brahe, the real life owner of Skokloster Castle.

There is plenty of remarkable textiles in the Skokloster Castle collections, such as clothing, bed hangings and tapestries. Most of them date back to the seventeenth century when the castle was built, but there are some very fine garments from later eras, and specifically from 1811, so no wonder that we take the opportunity to put them on display this summer.

In 1811 His Excellency Count Magnus Fredrik Brahe was appointed Swedish envoy to the imperial court of Napoleon. Count Brahe was the highest ranking aristocrat in Sweden. He held many honorary titles and a vast fortune was entailed to him. Nonetheless this meant a great expence to him. His entourage included the countess Brahe and his handsome twenty-year old son. The witty Countess Aurora Brahe charmed the French society and Napoleon named her “La Belle Suédoise”.  In Paris the count ordered two formal suits à la Française for the celebration of  the birth of the King of Rome, that is Napleon’s son, Napoleon. The baptism was held in Notre Dame on 9 June 1811. It was a grand affair, and as ambassador Brahe was required to wear court suit. Napoleon had revived the extravagant embroidered silk suits worn at court before the revolution. If the provenance was unknown these could easily have been made twenty years earlier.

From the digital database: Count Brahe´s two court suits seen here with a livery probably worn by his valet to the same occasion.

His Excellency, Count Magnus Fredrik Brahe (1754-1826). Painting by Carl von Breda, Skokloster Castle.

Countess Aurora Wilhelmina Brahe, “La Belle Suédoise”. This miniature portrait was painted by Jean-Baptiste Augustin in Paris, 1811. Private collection.

Protected by white cotton covers, safely tucked away in our textile storage…

…are these stunning suits. This is the one in lavender grosgrain silk. The tailcoat has nine decorative buttons down the front, and three working button holes. Inv no 11930, 11931, 11939. Link to the database here.

View of the rear.

The lavender suit. This is the most formal of the two with elaborate silk embroidery, including cording, silver spangles, and glass sequins.

The embroidery is marvellous!

A closeup of the waistcoat. I discovered just now that some of the sequins have been lost.

Interesting seams over the shoulders. This indicates that pre-embroidered sections were pieced together.

Notice the cord and the button on the collar? This was either to hold a cloak or the ceremonial sword.

Notice how the embroidered flowers are cut in half by the side seams?

Let us take a look at the brown and green suit. Inv no 11945-11947. Link to collections database here. The embroidery is less formal, executed in silk thread only, without the glitter, but nonetheless very decorative.

Interestingly the upper buttonholes on both coat and waistcoat are nonfunctional. Again the condition is remarkable, but the suit was probably only used on that one occasion.

The silk is woven with small irregular dots. It is currently laid out on a large table.

Could have been made yesterday.

The breeches are green silk velvet.

Buttons and embroidered kneeband. Unexpected use of gold thread and sequins, since there is nothing of the sort on coat and waistcoat. I wonder why?

A glimpse of the inside. This is centre back. A string through one hole on each side of a gusset makes the waist adjustable. The garment is lined with a fine linen, Surprisingly, white linen is used on the waistband.

The white silk satin waiscoat. The collar is about 80 mm high.

These waistcoats came as a “waist shape”, a pre-embroidered length of silk that was cut and assembled by ones tailor. The emboidery was designed “à la disposition” and was easier to carry out on flat silk instead of a garment.

A Waistcoat shape, Victoria & Albert Museum.

Silk intended for a coat. Notice the embroidered circles that would cover the buttons? The Metropolitan Museum.

These suits are a testament to the skilled embroiderers who created such incredible work. Sadly there is no record of receipts or labels so their names are lost to us. They also evoke Napoleonic imperial splendour and aristocratic duties during the early nineteenth century. They will no doubt make a contrast to the no-nonsense Austen gentlemen.

The Jane Austen Exhibition

Photo: Jens Mohr, LSH

We have hectic days at work now with everything that needs to be done before the palace gates open again in May. The conservators are spring cleaning the state apartments, the shop is stocked with new goods, guides are being hired, and countless other things. Perhaps you remember me mentioning some time ago that the summer exhibition is Jane Austen? The focus will be thirty costumes (supplied by Cosprop in London) as seen in Pride and Prejudice (1995), Sense and Sensibility (1995), Persuasion (1995), Emma (1996 and 2009), and Pride & Prejudice (2005). We are also digging out a handful of not too shabby historical costumes from the museum collections.

Photo by Jens Mohr, LSH

Serious drama going on here.

Today is exactly two months before the opening. The press release and pictures were made public a few weeks ago. Here is an excerpt from the English version (not my translation):

Beautiful scenery surrounds the film costumes worn by actors such as Kate Winslet, Hugh Grant and Colin Firth. Costumes for many people forever linked with characters such as Elizabeth Bennet and Mr. Darcy. In the Jane Austen’s world exhibition, these characters open the doors to tales of the lifestyle, dilemmas and fashions during the early 1800s.

Magnificent costumes in a historical setting
The costumes are presented in the castle’s guest suites, furnished with objects from the late 1700s and early 1800s. This is a unique opportunity to experience parts of the castle which are not normally open to the general public. The objects on display include the fantastic bridal gown worn by Marianne Dashwood (played by Kate Winslet) from the film Sense and Sensibility and not least the once soaked shirt worn by Mr. Darcy (played by Colin Firth) in the BBC series of Pride and Prejudice. The historical setting of Skokloster Castle is a perfect stage for the exhibition, which presents a period coloured by magnificent clothing, narrow female spheres and strict etiquette.

Jane Austen – always current
Jane Austen is one of the world’s most read authors, and her almost 200-year old novels are more popular than ever, with new editions, interpretations, dramatisations and film versions of her works being released constantly. In her novels, Austen succeeds in combining an easy style with sharp social criticism concealed beneath emotionally charged intrigue.

‘Jane Austen was a perceptive observer of the strict social patterns that permeated the privileged social class to which she belonged. Austen’s young heroines struggle against and with the limitations of their period. For many women, marriage was the only opportunity way they could support themselves. And just like in her books, women are at the centre of Jane Austen’s world. Marriage as a guarantor of the survival of the family is a theme that also forms part of the history of Skokloster Castle. In the exhibition, you can also follow the “Meanwhile at Skokloster” track, which presents a number of women at Skokloster’, explains Annika Williams, curator of the exhibition at Skokloster Castle.

This summer, Skokloster Castle is offering a range of programme activities related to the exhibition, including themed viewings, lectures, a picnic in the castle grounds, Regency dancing, costume displays, a ball and afternoon teas with guest speakers. All in the true spirit of Jane Austen. Guided tours every day.

How about that! If you wish to know more, follow this link.

My co-workers are absolutely wonderful and their dedication to Jane Austen and the Regency era is impressive. At times we indulge in a veritable nerd-fest, I am afraid.

The gorgeous promotion photos accompanying today´s post were taken by our photographer, Jens Mohr. It took considerable time to agree on what type of pictures we wanted in terms of style and atmosphere. We definitely wanted to show a strong and confident young lady, one that might take matters in her own hands instead of passively waiting for a suitor.

You cannot see, but the temperature was near freezing in the state appartments back in early February when Elinor and I tried to look our best in Regency finery, or at least tried to stop shaking… They say the camera puts on extra weight, but it certainly does not help when one is wearing a warm sweater under waistcoat and all. (In hindsight I know I should not have worn it.) Of course Elinor, poor thing, was lovely in the summery open robe and sheer linen dress, channelling her inner Lizzie Bennet. She also managed to not attract pneumonia. Or so I believe. I presented the two gowns here.

Photo by Jens Mohr, LSH

Photo by Jens Mohr, LSH

Next time I will write about which gentlemen´s costumes that will go on display in the exhibition.

Oh, and we have released tickets to the Jane Austen ball in August, and the rest of the programmes. It is going to be so much fun! (And hard work.)

Masked ball à la Romaine

Come March and 225 years since the fatal shot in Ballo in Maschera, the masked ball where king Gustaf III was assassinated by plotting aristocrats. To commemorate this event a masked ball set in 1792 is organized in March every year. Despite the grim reason the ball is fun so I really wanted to attend, regardless of heavy workload and fatigue.

With all my sewing going on I really did not need to start a new project and thought I´d reuse something old. But lo and behold, I struck gold at work! Up in the palace attic, stowed away in a dust covered cardboard box, was not only one but half a dozen sapphire blue and gold tunics! They are 1990s replicas of a theatre costume from 1672 that is in our collection. (Link to the database here.)

Half a dozen tunics!

After some quick research I devised a plan. Fancy dress “à la Romaine”, to dress as a Roman god or emperor, was popular during the Renaissance and Baroque, among court dancers and other performers but among monarchs in particular. This I could do without too much effort.

A well known example: Louis XIV as the Sun King. Château de Versailles.

One of the Swedish monarchs: An allusion of a triumphant Charles XI on horse back, painting by J K Ehrenstrahl, 1674. Skokloster Castle.

I now had the tunic. (They were all in – how can I put it- well-worn state. I think i managed to choose the one that was in the best condition.) I used my regular shirt, golden stockings, and opera pumps. White mask and powdered wig from last year and to finish it off I glue-gunned a coronet from metallic paper to support my ostrich feathers. Ét voilá!

The tunic was somewhat soiled but careful ironing did the trick.

A cloak, secured to the shoulders with two brooches, added some drama and it very conveniently hid the safety pins that were necessary to achieve a decent fit. The piece of matching fabric (Acetate? Silk taffeta?) draped well. I found it in a bag filled with odd scraps of fabric.

My opera pumps were temporarily upgraded with a large bow and some trim in metallic paper topped with a glass bead.

The ball was magnificent! The white mask and large ostrich feathers is me trying to see my feet… Photo credit Fernando Orellana.

My 1790s wig from last year and a contraption I made from metallic paper and glass beads, to accommodate my ostrich feathers. (If you, dear readers, say I remind you of a roaring twenties flapper – minus earrings and eyelashes, I will be most seriously displeased. I assure you, this was regarded as super manly.)

There was some operatic entertainment between dances. Here is the dance programme:

Doing my best eighteenth century Roman god (Apollo? Zephyr?) impression.

Later we moved upstairs to enjoy decadently delicious refreshments. Photo credit Fernando Ortellana.

Yours truly was starving by now. Photo credit Fernando Ortellana.

These dames could be Marie Antoinette´s ladies-in-waiting while at Le Petit Trianon.

My Regency chums Ylva and Jacob.

Would you believe it: to my surprise I was awarded a prize for one of the best costumes! It was a jar of locally produced honey. Tasty indeed!

 

 

Drop-front Dress and Spencer

Last time I presented a number of GOWNS I have been making at work for our staff. I have written about it before, but it is a gift to be able to mix work and pleasure. Costuming is something I normally do for my own amusement, but now I have again moved out from my comfort zone over to the proffessional arena.

While exploring the shift-dress I also started on a couple of other garments. First, a drop-front gown, also known as bib-front, stomacher-front or apron-front, with a short spencer:

image

20170107_135730

I used every scrap of the same teal and gold sari that became an open robe.

The formidable Janet Arnold provided me with the pattern, the “Salisbury Museum” day dress, ca. 18oo.

image

I omitted the double sleeve, but otherwise I used the pattern more or less without alterations. The original dress was constructed in a manner that was was quite common at the time: the lining was assembled first and then the outer fabric was sewn on top of it, neatly sealing all seams between the layers. I decided to use this technique. I machine stitched the lining, but hand-stitched the outer fabric. It was fun and it came together rather quickly.

20170107_135649

The bodice. The green cotton is pinned closed, and covered by the bib. (I am aware of the mis-matching greens, but I found a perfect lenght of the pea-green cotton in our stash. Of course they are never seen together.) The neck is finished with strip of the cotton, cut on the bias.

Pinning sari fabric to the lining . Then it was trimmed, edges folded in and whip-stitched along the edges.

image

Inside view of the folded down bib. Nearly finished. The shoulders need to be covered with the sari-fabric and the skirt seams are only pinned. The tucker or fichu is of course optional. A chemisette could be nice too.

The skirt front fastens around the waist with ribbons, then the bib is turned up and pinned in place.

I pleated the fabric on the bib, something I regret, it took ages to keep the vertical stripes aligned…

image

The woven pattern works well with the design, giving a rich effect, don´t you think? Caroline Bingley could wear this…

When I got bored with all this gauzy sari-fabric I turned my attention to some tailoring using a rich, dark green broadcloth. There was just enough for a spencer, like the one seen on Elizabeth Bennet:

image

Jennifer Ehle as Lizzie Bennet, Pride and Prejudice, 1995.

image

Again I used the same bodice pattern, but altered the front and drafted a collar.

Working on the standing collar. Pad-stitching interlining to broadcloth.

Then I folded the seam allowance to the inside, securing it with small but loose stitches. The green linen lining went on top of this.

But first I steamed the collar and allowed it cool on the ironing board.

A peek of the inside: green linen lining. I used yellow glazed cotton to line the sleeves.

On the dress form. I think the spencer was designed for a smaller bust…

I added some fullness to the sleeves. It does not show, but there are a couple of tucks below the bust, and some sturdy interlining along the front edges.

The standing collar.

A view of the back. Now I was reminded of the pins that still keep the skirt in place…

Photo by Regencygentleman

And finally a full shot of the dress and spencer.

 

Busy days

I thought I´d remedy my irregular posting by sharing a handful (!) of garments I´ve made lately. No, they are not for me. (If you came to this blog hoping for breeches and tailcoats do not bother to read the following.) I detoured from my usual gentlemen´s tailoring and have spent many hours (mainly at work, but I confess, one or two weekends at home while watching The Crown) on something quite different: various ladies garments. These ladies, who are yet to be recruited, are female members of our educational staff, and they need to be dressed in Regency fashions for the Jane Austen film costume exhibition this summer. The storage is bursting with 17th century garments, but nothing later, so I had to start from scratch.

Now, how do you sew Regency costumes for people you’ve not met? The magic words are the Shift Dress or Round Gown. It is the perfect type of dress that can easily be adjusted with drawstrings, as long as the back and shoulders have a fairly good fit.

Emerging in the years leading up to La Revolution Française the informal muslin dress offered a relief from the very formal court gowns of the era. This type of gown was all the rage in the 1790s and actually became the quintessential Regency dress. They were often in white or pale muslins, but it was not unusual with printed cottons and colourful silks. The silhoutte became slimmer after 1805 or so, but variations of the round gown were in use well into the 1810s, thus covering most of the Regency era. Read more about the shift dress and its different terminology here.

image

Inspiration: a 1790s chemise dress. The waistline is slightly raised. Notice how her son is wearing a similar style? Madame Seriziat, by Jacques-Louis David, 1795, Musée du Louvre.

image

Inspiration: Silk (?) chemise gowns now with the high empire waist. Portrait des demoiselles Flamand, by François Dumont, l’Aîné, Musée du Louvre.

I had very little time to search for a variety of fabrics, but I think I managed to find some decent striped and printed cottons, suitable for day dresses. The castle interiors are quite grand, though, so they can´t be too plain. I constructed the pattern from scratch with great help from Janet Arnold and Cassidy Percoco, and endless research online.

What about male staff? Of course there are men among them, but that is another post.

20170110_143721

One of the striped gowns, dolled up with some bows. I was still trying out the design and have changed it since, the cotton tape gathers at the side and is tucked in the side opening.

_jm_4411

White chemise gown in striped linen. Our photographer took this picture as reference. I snatched it from him, because his camera is better. (Obviously.) Photo by Jens Mohr.

vit-linne-4

Very sheer linen. (Closeup of one of the unlined sleeves.)

vit-linne-8

It will probably need a fichu…

vit-linne-7

The fitted back. I hope it will look better when ironed.

20161206_144808

Blue striped cotton. I decided it was better looking with a softer contrast so I turned the fabric inside out.

20161213_124328

Playing with the sleeves and adding a longer sash. The round gown/chemise dress tend to have rather few embellishments, and if there is something it is often found on the sleeves.

20161214_184003

We had a historically themed christmas party, and my co-worker E., right, used the blue striped dress, with a fichu and a turban. L., the elegant lady to the left, is one of those talented people who can throw together an outfit in no time and look just perfect. (The party was in the Royal Armoury, at the Royal Palace. Yay!)

randig-rosa-2

The dress above got a twin, this time in pink. To avoid unnecessary bulk I made the front of this one narrower, about 40″ or 100 cm. (The mannequin is a smaller size so there is still a lot of fabric.)

randig-rosa-1

randig-gul-1

Wheat-coloured stripes.

randig-gul-5

I am afraid I stuffed the mannequin too generously.

randig-gul-3

randig-gul-6

After these gowns I got bored. Now I know how to make them properly. They were often worn with an open robe, so I decided to try my luck. First, a rather grand one, made from a semi-old sari that has been in our stash for ages. It is a sheer mystery-material with gold thread woven to create a grid pattern. The golden border is perfect along the front edges. The front consists of two lengths, pleated and sewn to the back piece at the shoulders. The pleats are also stitched to a waistband. The back skirt is pleated and sewn to a separate smooth back piece.

open-robe-gron-2

Green open robe. (I am aware that the grid pattern isn´t aligned, but historically they didn´t seem to bother with that particular detail.)

open-robe-gron-1

Green open robe. My fingers were freezing so it was difficult to take sharp photographs.

20170202_142610

The front is gathered to the small back. The edges are not finished.

open-robe-gron-5

Different mannequin with better fit.

Then I made a pink one, in a modified version. It has three quarter length sleeves and the front is gathered with drawstrings, so that the size can be adjusted to the potential person(s) wearing it. The lovely printed cotton is manufactured by Duran textiles.

open-robe-6

Seen here over the white linen chemise.

open-robe-8

open-robe-7

open-robe-10

open-robe-3

I am rahter pleased with how the back turned out.

open-robe-4

Terrific print!

Conclusion: sewing for imaginary people is difficult (What if nothing fits?!) but sewing this type of ladies garments is so much quicker than endless tailoring and pad stitching. I am now being creative with one or two new gowns, and they will be completely different!

Happy Christmas

Dear all,

T’is the season to be jolly! Or is it? I never comment on politics, but I have to say 2016 saw a world in turmoil. How did that happen? On a personal level I cannot complain, 2016 turned out to be rather terrific. One week before Christmas, for example, I had the opportunity to see this gorgeous carriage up close. The painted decor does feel appropriate for this time of year, don´t you think?

It is a phaeton, or a curricle, an elegant carriage for the sporty and perhaps even adventurous gentleman driver. (Remember Willoughby and Miss Marianne in Sense and Sensibility, 1996? Or Sir Percy and Jane Seymour in Scarlet Pimpernel, 1982?) This particular carriage was used by the De Geer family in the 1790´s, and is now in the stable building in Leufstad, once their country seat with ironworks two hours north of Stockholm. This type of vehicle was very light, drawn by a single horse, and could go fast, just for fun. There is a seat in the rear for a groom or footman, though, so the gentleman (and his company) was not completely unattended. (On a side note: feeding a horse cost £30 a year, more than dressing the groom in his liveries and feeding him…)

Behold the phaeton! It is really elegant, isn´t it?

The snow is gone now, but this heavenly view greeted me when arriving at work one or two weeks ago.

Regencygentleman aka Mr Tigercrona

Let us pretend I wore Regency attire all the time. Tally ho!

 

Announcements

Baroque grandeur has replaced my usual Empire elegance. At least professionally. This autumn I moved on to a new position as curator at Skokloster castle, a magnificent baroque palace one hour from Stockholm. It is in fact the largest private house ever built in Sweden. That is the reason why there has been very little time for blogging. But wait, there is more.

Skokloster Castle was built 1654-1676.

I reached for my non-existing smelling salts when my new colleagues informed me on the second day that next summer we will show Costumes From The Jane Austen Adaptations! About five and twenty costumes will be shipped over from Cosprop in London! The ballroom-sized guest rooms were refurbished in the neoclassical style in the early nineteenth century and make the perfect setting for some of the famous costumes from Pride and Prejudice 1995, Sense and Sensibility 1996, Emma 1996, Pride & Prejudice 2005, and I think even Persuasion 2008. Yes, Darcy´s shirt is included and Marianne Dashwoods wedding gown. But so is at least one of Mrs Bennet’s frocks. How about that!  Of course I will write more about this as things move ahead. Now is your chance make a wish list if you need more information or certain closeups of specific garments.

This is what I do for a living. Sometimes life is good.

Photo by Regencygentleman aka mr Tigercrona

Greetings from my “office”.

Now the palace is practically a baroque-era time capsule. It is one of the largest and best preserved private palaces in Europe, along the likes of Blenheim Palace and Chatsworth. Unlike them, Skokloster is no longer a residence. It was sold to the nation in 1967, and has been a museum since.

Photo by Regencygentleman

The exterior was rather old fashioned in the 1650s, but perhaps Count Wrangel did not want to seem too nouveau riche.

image

The King´s hall. The ceilings are incredible. A stucco dragon holds the chandelier between her teeth. The chandelier is hanging in its original place at least since 1672, which makes it the oldest known chandelier still in its original position. Photo courtesy of Skokloster castle.

image

The Count Wrangel´s state bedroom. The bed hangings are in silk taffeta with silver spangles. The Wrangels were international jet set, and were given diplomatic gifts by people like Louis XIV and hired one of the Bachs as court musician.

image

The Armoury. View of one of sveral rooms filled with armour, shooting guns, swords, and curious objects from the new world. The chest to the right holds unique garments and tools from Native Americans in Delaware, shipped over to Sweden in the 1660s. Everything still in place according to inventories from 1690-1700. Photo courtesy of Skokloster castle.

image

The unfinished banquet hall. The Wrangels ran out of cash and the political climate became harsh towards the high-ranking nobility in the 1670s. The only surviving building site, complete with tools and machinery, since the seventeenth century.

image

The Yellow Bedroom, used by one of the last private owners. (Seen on the desk alongside a signed photograph of Emperor, then Crown Prince, Akihito, who stayed at the castle in 1954.

The Library.

Enough boasting. Over to some costume talk!

Photo by Regencygentleman aka mr Tigercrona

Meet the new hobbit! Trying on garments used by our education officers. This particular servant´s attire is terrific, but seriously, if I am ever invited to a Lord of the Rings party, I´d borrow this and only add pointed ears and hairy feet…

Our selfie-spot, a baroque banquet.

20161102_160207

Eleven year-old Vilmer posing at the table wearing a 165os doublet I quickly threw together .

Can you believe it, I “inherited” a stash with bolts of linen and broadcloth! So I decided to sew a 1630-40s doublet for kids to try on in our family room. It was a fun and easy project, but I made sure to thoroughly starch the collar and cuffs with corn starch.

A grey satin had to be made into a 1660s bodice and petticoat. I used Janet Arnold´s pattern. This has taken me a little longer to finish.

image

When visiting another version of a Jane Austen costume exhibit in July.

The Empire days of 2016

August and September were hectic months (in a good way!) so there was no time to blog, but – take my word – I wanted to. I even had to decline an organised outing (in Regency attire) to watch the new film Love and Friendship. Besides the official photographs from the festival are stuck somewhere, and I was not taking that many pictures. For this post I was able to rely on friends who generously allowed me to use their photos!

Back in November last year I was invited to join the organising group. I did not have to think twice before accepting, as I thought it would be great fun. (And a perfect excuse to meet with a terrific group of people on a regular basis. Who would say no to that?)

We only made a few minor changes, so the programme was similar to last year. This year´s theme was Love. (What else?) So the music was particularily romantic, and the dance programme included many particularily romantic dances such as The Duke of Kent´s Waltz. The Empire days started with a dance-class on Thursday evening. I was occupied elsewhere, but I believe it was useful for those who needed to practise their dancing skills. I am by no means an expert, so various clips on youtube came in handy.

Friday was ball night. As one of the organisers I was early at the venue for preparations. One of my assignments was to set up a small exhibition in the parlour. I have blogged about it before, so I will not go into details, but the atmosphere in the historical manor house, Kristinehof, is unique.

image

The ball started with a glass of bubbly in the courtyard.

image

A Wedding breakfast in the parlour. Anders wrote most of the texts for those who wanted to learn more about courtship, wedding, and married life in the early nineteenth century.

image

My contribution was to set the table for a wedding reception. This era saw the rise in popularity for intimate but elegant wedding ceremonies, often at home, with a few select guests mingling over tea, cake, wine, and sweets. We served bisquits, candied rose-petals and lilacs on East-Indian porcelain. An imported pineapple was extravagant.

image

An ouverture before the first dance. Eager dancers listening to lovely tunes from the orchestra in the ball room.

image

The orchestra and Mrs Löfgren, our Dance Master. Photo courtesy of Ulrika Rosander.

image

Quadrille!

image

Our photographer, Miss Lillemor. Photo courtesy of Ulrika Rosander.

image

There was dinner and desserts! Photo courtesy of Olof Rosengren.

image

Saturday was picknick-day. We met up in the Haga-park, one of the royal gardens. There was no fixed time. People could chose to stay throughout the day or only drop by. I needed a sleep in and had to rest my tired feet, so I was what could be described as “fashionably late”. It was the first outing for my new pantaloons and the striped waistcoat.

image

The Echo Temple (1790) is perfect for dancing.

image

Picknick and mingle on the lawn. Photo courtesy of Jenny Björkquist.

image

Miss Annelie and the crocquet cart. Photo courtesy of Jenny Björkquist.

image

There were many of us on the lawn in front of the Royal pavilion. Photo courtesy of Keit Svensson.

Photo courtesy of Jenny Björkquist.

The centre of events: dancing in The Echo Temple. One of the few full length views of my new pantaloons and waistcoat. (The pantaloons look baggy, but i assure you they were not.) Photo courtesy of Jenny Björkquist.

image

And Vilhelm brought his harpsicord. (The rustic one in his collection.)

image

The August night was dark but warm…

image

… but it was nevertheless nice with a cup of tea. It is always nice with a cup of tea…

IMG_6483-0
Rain was pouring down on Sunday, so we moved the second picknick to our friends house.

image

After lunch we cleared the dining room to make room for some more dancing.

image

image

Photo courtesy Paula Krumlinde.

I hope everyone had a wonderful weekend, I certainly had! This year I took time to actually engage in conversation – there were so many nice people to talk to. It is always interesting to discuss Jane Austen and share costume ideas, but of course there is much more beyond those obvious topics.

This post was not so much about costuming and sewing projects. There is more to come in that department later this year…