What they wear in "My Inconvenient Duke"

Margaret Sarah Carpenter, Portrait of Lady Harriet Georgiana Brudenell (1799-1836), married Richard William Penn Curzon-Howe, 2nd Viscount Curzon (later 1st Earl Howe) in 1820. Portrait date 1834.

I’ll be the first to admit that 1830s women’s fashions are baffling and not necessarily attractive to 21st century eyes. But for a writer, they offer solid gold material. The male characters marvel at what the women are wearing, although these men are mainly preoccupied with a strategy for getting the lady out of the clothing. And if a man gets lucky, and gets to test his strategy, the process makes for fun, because there are so many layers, and one must deal with tapes and buttons and hooks and eyes. Oh, and those sleeve puffs, too.

As I’ve mentioned more than once, I also like the way women made themselves so big with these ensembles—not simply the big sleeves and swelling skirts, but also their hair and their headwear. The 1700s had big hair, and so did the 1980s, but the knots and rolls and swirls of the 1830s are something else altogether. It’s amazing what they could do without our blow dryers and gels and pastes and lacquers. Instead, it’s pomatum (aka pomade, and made of grease of some kind and natural scents) and pins and various hairpieces. There’s nothing shy and retiring about these fashions. And none of the “less is more” way of thinking. It’s “more is more.” And I find it fascinating and stimulating.

Of course, when you read, you’ll picture the clothing in a way that’s appealing to you—and that’s as it should be. Reading let us use our imagination.

Even when I write descriptions, I usually keep details to a minimum. This is partly not to slow down the story but also to allow readers to make the mental image they want. For instance, in Chapter 2 of My Inconvenient Duke, Lady Alice wears “a redingote of deep onyx.” That’s it. Not that I’ve been able to discover where that came from. After searching my numerous books and the images on my hard drive, I’ve begun to suspect that I made it up or created one dress from a couple of fashion descriptions.

But a redingote is, basically, a close-fitting (from the waist up) dress that fastens all the way down the front, like a coat. And the color onyx is not mysterious, unlike so many other fashionable color names one encounters.

In the gallery below you’ll see most of the clothing mentioned in the book. Many of the images will be slightly distorted. This is because I photographed them from my copy of the 1832-33 The World of Fashion, in which the monthly magazine is bound. It’s very old, very thick, and I don’t have the right (i.e., expensive) kind of scanner for this kind of work.

Location, location: Scenes from Ten Things I Hate About the Duke

In a previous post, I showed you the Green Man Inn as it was. It’s still there, not quite the same, but easy to recognize.

Litchfield House aka deGriffith House, is the building on the left with the trees on the balcony.

Also still in existence is the house I turned into deGriffith House. Currently known as Litchfield House, No. 15 St. James’s Square, it stands in a corner of the square next to the London Library. You can see some interiors here.

You can read more about the house here at Patrick Baty’s blog.

St. James’s Square in 1812, image from Ackermann’s Repository.

St. James’s Square looked very different in the time of my story.

“In the centre is a large circular sheet of water, six or seven feet deep, from the middle of which rises a fine equestrian statue of William III. Erected here within these few years.” Thomas Allen, History & Antiquities of London, Westminster, Southwark ... Vol 4 (1829).

Apparently, the pool was still there in the 1839 edition.

Another, much later writer has this to say about the pool: “The basin of water was not even then removed, and is still remembered by many persons now living, the stagnant slimy pool having only been finally drained within the last fifty years, after one of our periodical panics of cholera, when the existing garden was laid out and planted with trees.” Arthur Irwin Dasent, The History of St. James's Square and the Foundation of the West End of London: With a Glimpse of Whitehall in the Reign of Charles the Second. (1895)

Images L-R:

Furnival's Inn, Holborn was demolished in the 1890s.

Lord Grosvenor's Gallery, Park Lane - Shepherd, Metropolitan Improvements (1828)—Grosvenor House was my model for Ashmont House. It was demolished sometime about 1926-27. A hotel now stands on the spot.

The Hanover Square Rooms, where the fancy fair takes place in my story, was demolished in 1900.

The Adelphi (the image dates to when it was the Sans Pareil) theater, which has been renovated and rebuilt and enlarged over the years, remains in active use.

Charles Cotton’s Fishing House, photo by Neil Gibbs 2 August 2006. Attribution Neil Gibbs

And this is the Fishing House, which I moved from Derbyshire to Surrey for story purposes. You can see other images here at Derbyshire Life.