Attire, Accessories & Undergarments
Daily Chronology, Haberdashery & the Invisible Architecture of the Silhouette
Rules of Attire & Daily Chronology
From the Morning Négligé to the Grand Ball Parure
The wardrobe of the polite world between Paris and London was governed by an inexorable chronological law that demanded up to four complete changes of dress a day: from the invariably white, high-necked cotton Négligé of the morning, to the Walking Dress with Spencer and poke bonnet (Capote) for the luncheon, and on to the Demi-Parure with cashmere shawl for the afternoon promenade. With the bell for Dîner and for the whist table, the Parure of heavier silks with a low neckline, Toque, or turban assumed its reign, before in the ballroom the trainless, ankle-length Costume de Bal over a lustrous satin slip for the lady in uncovered hair (en cheveux) and strict Evening Full Dress with knee-breeches (Culotte), white silk stockings, and a swordless cloth tailcoat for the gentleman became mandatory – sharply distinguished from ceremonial court gala attire (Costume de Cour) and the silken Domino of the masquerade ball.
I. The Clockwork of Elegance
II. The White Law of the Morning
III. Poke Bonnet, Spencer and Déjeuner à la Fourchette
IV. Carriage Visits and Afternoon Splendour
V. The Misconception of Tea Time
VI. The Bell for Evening Dress
VII. Candlelight at the Green Gaming Table
VIII. The Architecture of Weightlessness
IX. Before the Throne at Any Hour
X. The Black Silk of Intrigue
XI. The Toilette of Mystery
XII. The Illusion of the Black Opera Cape
Accessories, Jewellery & Haberdashery
Réticule, Cravate, Brisé Fan & the Souvenir d’Amitié
When the slender columnar line of the muslin gown and the skin-tight gentleman's tailcoat no longer tolerated bulging interior pockets, personal effects migrated outward as artful articles of haberdashery: ladies carried the silken Réticule (mockingly termed Ridicule) upon the wrist, draped Indian cashmere shawls over their shoulders, shielded themselves in winter with immense fur muffs, and cooled themselves in the ballroom with diminutive Brisé fans of pierced horn or printed Country Dance fans. Since the paper dance card was not invented until decades later, partners were recorded on the washable ivory leaves of the Souvenir d’Amitié, whilst coloured cameos, red Mediterranean coral, and facet-cut steel gleamed upon the white gown, and the gentleman demonstrated his distinction behind his sculpturally tied white Cravate, the flat Chapeau bras tucked beneath his arm, and the chiming fob seals at his waistband.
I. From the Concealed to the Wrist
II. Warming Sculpture and Classical Drapery
III. Architecture at the Neck and Under the Arm
IV. The Diminished Breeze
V. Ivory Leaves Instead of Paper Booklets
VI. Chiming Seals and Halved Coins
VII. First Aid Against Vapours and Miasmas
VIII. The Choreography of the Promenade
IX. Coloured Relief on a White Ground
X. Tobacco, Sparks and Concealed Steel
Undergarments, Whitework & Foundations
Chemise, Corded Stays, Bodiced Petticoats & Glacé Gloves
Contrary to the modern legend of the uncorseted natural body, the high-waisted gown between 1795 and 1825 rested upon a precise architectural foundation: over the narrowly cut linen or cotton Chemise, short or hip-length stays (Short Stays and Long Stays) with inserted bust gussets elevated the bosom and divided it into two hemispheres by means of a central busk of wood or baleen, whilst dandies likewise resorted to corset belts and calf pads. To prevent any heavy waistband from constricting the ribs, petticoats hung from the shoulders on attached bodices (Bodiced Petticoats), supported by a narrow back roll (Small Pad) beneath the high waistline seam. Visible whitework such as the Chemisette, Fichu, Canezou, and detachable undersleeves transformed the gown throughout the course of the day, whilst cross-elastically knitted clocked stockings and elbow-length white glacé kid gloves were secured via wire springs or narrow drawstrings entirely without modern elastic.
I. The Second Skin of the Era
II. The Architecture of the High Bust
III. The Smoothed Column
IV. Weightlessness from the Shoulders
V. The Secret Sculpture of Antiquity
VI. The Question of Drawers
VII. Hidden Treasures Beneath the Gown
VIII. The Art of Visible Whitework
IX. Knitwork and Wire Springs
X. Glacé Kid, Drawstrings and Venous Congestion
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Shared Photo Album
Share your finest impressions of the ball week with the company
Accommodation & Hotels
Hotel recommendations & exclusive concierge service
Registration & Ticket Sales
Advance ticket sales commence on 15 September