((This is from wikipedia ))
Women's fashions
Fashionable women's clothing styles shed some of the extravagances of previous decades (so that skirts were neither crinolined as in the 1850s, nor protrudingly bustled in back as in the late 1860s and mid-1880s, nor tight as in the late 1870s), but corseting continued unmitigated, or even slightly increased in severity. Early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years.
The mid-1890s introduced leg o'mutton sleeves, which grew in size each year until they disappeared in about 1906. During the same period of the mid-1890s, skirts took on an A-line silhouette that was almost bell-like. The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the hourglass figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the corset elongated, giving the women a slight S-bend silhouette that would be popular well into the Edwardian era.
Fashionable women's clothing styles shed some of the extravagances of previous decades (so that skirts were neither crinolined as in the 1850s, nor protrudingly bustled in back as in the late 1860s and mid-1880s, nor tight as in the late 1870s), but corseting continued unmitigated, or even slightly increased in severity. Early 1890s dresses consisted of a tight bodice with the skirt gathered at the waist and falling more naturally over the hips and undergarments than in previous years.
The mid-1890s introduced leg o'mutton sleeves, which grew in size each year until they disappeared in about 1906. During the same period of the mid-1890s, skirts took on an A-line silhouette that was almost bell-like. The late 1890s returned to the tighter sleeves often with small puffs or ruffles capping the shoulder but fitted to the wrist. Skirts took on a trumpet shape, fitting more closely over the hip and flaring just above the knee. Corsets in the 1890s helped define the hourglass figure as immortalized by artist Charles Dana Gibson. In the very late 1890s, the corset elongated, giving the women a slight S-bend silhouette that would be popular well into the Edwardian era.
Sportswear and tailored fashions
Changing attitudes about acceptable activities for women also made sportswear popular for women, with such notable examples as the bicycling dress and the tennis dress.
Unfussy, tailored clothes, adapted from the earlier theme of men's tailoring and simplicity of form, were worn for outdoor activities and traveling.
The shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Walking suits featured ankle-length skirts with matching jackets. The notion of "rational dress" for women's health was a widely discussed topic in 1891, which led to the development of sports dress. This included ample skirts with a belted blouse for hockey. In addition, cycling became very popular and led to the development of "cycling costumes", which were shorter skirts or "bloomers" which were Turkish trouser style outfits. By the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have been more commonly worn in Paris than in England or the United States and became quite popular and fashionable. In the United States, bloomers were more intended for exercise than fashion. The rise of American women's college sports in the 1890s created a need for more unencumbered movement than exercise skirts would allow. By the end of the decade, most colleges that admitted women had women's basketball teams, all outfitted in bloomers.
Across the nation's campuses, baggy bloomers were paired with blouses to create the first women's gym uniforms.
The rainy daisy was a style of walking or sports skirt introduced during this decade, allegedly named after Daisy Miller but also named for its practicality in wet weather, as the shorter hemlines did not soak up puddles of water. They were particularly useful for cycling, walking or sporting pursuits as the shorter hems were less likely to catch in the bicycle mechanisms or underfoot, and enabled freer movement. Swimwear was also developed, usually made of navy blue wool with a long tunic over full knickers.
Afternoon dresses typical of the time period had high necks, wasp waists, puffed sleeves and bell-shaped skirts. Evening gowns had a squared decolletage, a wasp-waist cut and skirts with long trains.
Changing attitudes about acceptable activities for women also made sportswear popular for women, with such notable examples as the bicycling dress and the tennis dress.
Unfussy, tailored clothes, adapted from the earlier theme of men's tailoring and simplicity of form, were worn for outdoor activities and traveling.
The shirtwaist, a costume with a bodice or waist tailored like a man's shirt with a high collar, was adopted for informal daywear and became the uniform of working women. Walking suits featured ankle-length skirts with matching jackets. The notion of "rational dress" for women's health was a widely discussed topic in 1891, which led to the development of sports dress. This included ample skirts with a belted blouse for hockey. In addition, cycling became very popular and led to the development of "cycling costumes", which were shorter skirts or "bloomers" which were Turkish trouser style outfits. By the 1890s, women bicyclists increasingly wore bloomers in public and in the company of men as well as other women. Bloomers seem to have been more commonly worn in Paris than in England or the United States and became quite popular and fashionable. In the United States, bloomers were more intended for exercise than fashion. The rise of American women's college sports in the 1890s created a need for more unencumbered movement than exercise skirts would allow. By the end of the decade, most colleges that admitted women had women's basketball teams, all outfitted in bloomers.
Across the nation's campuses, baggy bloomers were paired with blouses to create the first women's gym uniforms.
The rainy daisy was a style of walking or sports skirt introduced during this decade, allegedly named after Daisy Miller but also named for its practicality in wet weather, as the shorter hemlines did not soak up puddles of water. They were particularly useful for cycling, walking or sporting pursuits as the shorter hems were less likely to catch in the bicycle mechanisms or underfoot, and enabled freer movement. Swimwear was also developed, usually made of navy blue wool with a long tunic over full knickers.
Afternoon dresses typical of the time period had high necks, wasp waists, puffed sleeves and bell-shaped skirts. Evening gowns had a squared decolletage, a wasp-waist cut and skirts with long trains.
Influence of aesthetic dress
The 1890s in both Europe and North America saw growing acceptance of artistic or aesthetic dress as mainstream fashion influenced by the philosophies of John Ruskin and William Morris. This was especially seen in the adoption of the uncorseted tea gown for at-home wear. In the United States during this period, Dress, the Jenness Miller Magazine (1887–1898) , reported that tea gowns were being worn outside the home for the first time in fashionable summer resorts.
The 1890s in both Europe and North America saw growing acceptance of artistic or aesthetic dress as mainstream fashion influenced by the philosophies of John Ruskin and William Morris. This was especially seen in the adoption of the uncorseted tea gown for at-home wear. In the United States during this period, Dress, the Jenness Miller Magazine (1887–1898) , reported that tea gowns were being worn outside the home for the first time in fashionable summer resorts.
Hairstyles and headgear
Hairstyles at the start of the decade were simply a carry-over from the 1880s styles that included curled or frizzled bangs over the forehead as well as hair swept to the top of the head, but after 1892, hairstyles became increasingly influenced by the Gibson Girl. By the mid-1890s, hair had become looser and wavier and bangs gradually faded from high fashion. By the end of the decade, hair was often worn in a large mass with a bun at the top of the head, a style that would be predominant during the first decade of the 20th century.
Hairstyles at the start of the decade were simply a carry-over from the 1880s styles that included curled or frizzled bangs over the forehead as well as hair swept to the top of the head, but after 1892, hairstyles became increasingly influenced by the Gibson Girl. By the mid-1890s, hair had become looser and wavier and bangs gradually faded from high fashion. By the end of the decade, hair was often worn in a large mass with a bun at the top of the head, a style that would be predominant during the first decade of the 20th century.
Shoes
High tab front shoes with a large buckle had made a comeback in the 1870s and were again revived in the 1890s. This popular style of shoe had a few names such as “Cromwell," "Colonial," and "Molière". At this time materials such as suede, leather, lace and metal were used to fashion the shoe and decorate it. Suede was new to the market in 1890 and was available in a few pale shades.
High tab front shoes with a large buckle had made a comeback in the 1870s and were again revived in the 1890s. This popular style of shoe had a few names such as “Cromwell," "Colonial," and "Molière". At this time materials such as suede, leather, lace and metal were used to fashion the shoe and decorate it. Suede was new to the market in 1890 and was available in a few pale shades.
((This is from wikipedia ))
Men's fashion
Early 1890s fashion includes gray coat with covered buttons and matching waistcoat, dark trousers, short turnover shirt collar, and floppy bow tie. The short hair and pointed beard are typical. Portrait of Paul Wayland Bartlett by Pearce, 1890
The overall silhouette of the 1890s was long, lean, and athletic. Hair was generally worn short, often with a pointed beard and generous moustache.
Early 1890s fashion includes gray coat with covered buttons and matching waistcoat, dark trousers, short turnover shirt collar, and floppy bow tie. The short hair and pointed beard are typical. Portrait of Paul Wayland Bartlett by Pearce, 1890
The overall silhouette of the 1890s was long, lean, and athletic. Hair was generally worn short, often with a pointed beard and generous moustache.
Coats, jackets, and trousers
By the 1890s, the sack coat (UK lounge coat) was fast replacing the frock coat for most informal and semi-formal occasions. Three-piece suits ("ditto suits") consisting of a sack coat with matching waistcoat (U.S. vest) and trousers were worn, as were matching coat and waistcoat with contrasting trousers. s Contrasting waistcoats were popular, and could be made with or without collars and lapels. The usual style was single-breasted.
The blazer, a navy blue or brightly colored or striped flannel coat cut like a sack coat with patch pockets and brass buttons, was worn for sports, sailing, and other casual activities.
The Norfolk jacket remained fashionable for shooting and rugged outdoor pursuits. It was made of sturdy tweed or similar fabric and featured paired box pleats over the chest and back, with a fabric belt. Worn with matching breeches (or U.S. knickerbockers), it became the Norfolk suit, suitable for bicycling or golf with knee-length stockings and low shoes, or for hunting with sturdy boots or shoes with leather gaiters.
The cutaway morning coat was still worn for formal day occasions in Europe and major cities elsewhere.
The most formal evening dress remained a dark tail coat and trousers with a dark or light waistcoat. Evening wear was worn with a white bow tie and a shirt with a winged collar.
The less formal dinner jacket or tuxedo, which featured a shawl collar with silk or satin facings, now generally had a single button. Dinner jackets were appropriate formal wear when "dressing for dinner" at home or at a men's club. The dinner jacket was worn with a white shirt and a dark tie.
Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter.
By the 1890s, the sack coat (UK lounge coat) was fast replacing the frock coat for most informal and semi-formal occasions. Three-piece suits ("ditto suits") consisting of a sack coat with matching waistcoat (U.S. vest) and trousers were worn, as were matching coat and waistcoat with contrasting trousers. s Contrasting waistcoats were popular, and could be made with or without collars and lapels. The usual style was single-breasted.
The blazer, a navy blue or brightly colored or striped flannel coat cut like a sack coat with patch pockets and brass buttons, was worn for sports, sailing, and other casual activities.
The Norfolk jacket remained fashionable for shooting and rugged outdoor pursuits. It was made of sturdy tweed or similar fabric and featured paired box pleats over the chest and back, with a fabric belt. Worn with matching breeches (or U.S. knickerbockers), it became the Norfolk suit, suitable for bicycling or golf with knee-length stockings and low shoes, or for hunting with sturdy boots or shoes with leather gaiters.
The cutaway morning coat was still worn for formal day occasions in Europe and major cities elsewhere.
The most formal evening dress remained a dark tail coat and trousers with a dark or light waistcoat. Evening wear was worn with a white bow tie and a shirt with a winged collar.
The less formal dinner jacket or tuxedo, which featured a shawl collar with silk or satin facings, now generally had a single button. Dinner jackets were appropriate formal wear when "dressing for dinner" at home or at a men's club. The dinner jacket was worn with a white shirt and a dark tie.
Knee-length topcoats, often with contrasting velvet or fur collars, and calf-length overcoats were worn in winter.
Shirts and neckties
Shirt collars were turned over or pressed into "wings", and became taller through the decade. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions.
The usual necktie was a four-in-hand or an Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin, but the 1890s also saw the return of the bow tie (in various proportions) for day dress.
Shirt collars were turned over or pressed into "wings", and became taller through the decade. Dress shirts had stiff fronts, sometimes decorated with shirt studs and buttoned up the back. Striped shirts were popular for informal occasions.
The usual necktie was a four-in-hand or an Ascot tie, made up as a neckband with wide wings attached and worn with a stickpin, but the 1890s also saw the return of the bow tie (in various proportions) for day dress.
Accessories
As earlier in the century, top hats remained a requirement for upper class formal wear; bowlers and soft felt hats in a variety of shapes were worn for more casual occasions, and flat straw boaters were worn for yachting and at the seashore.
As earlier in the century, top hats remained a requirement for upper class formal wear; bowlers and soft felt hats in a variety of shapes were worn for more casual occasions, and flat straw boaters were worn for yachting and at the seashore.
There is not much Entertainment in the 1800's. In fact almost none for the 'working class'.
These are the common ones during that time outside the Church functions.
These are the common ones during that time outside the Church functions.
Entertianment
Bicycles were in invented in 1817 and are quite common now and often used as the means in getting to work.
Circuses came around about once a year to the bigger towns.
Dances polka, schottische, two-step, and the waltz were the common and well known dances.
Dolls were made of wood, cloth, glazed porcelain, McLoughlin Brothers paper dolls and wind up dolls were the ones of 1800's
Horseback Riding
The Well to Do Society were able to ride daily while others it was a rare treat.
Music halls began to be very popular.
Needlework were very common for young ladies and ranged from embroidery, crochet, tatting, knitting and other forms of sewing.
Reading was now fashionable for the ladies. Jane Eyre, Godey's Lady's Book (monthly magazine), etiquette books, how to books and some romance books were read by upper class ladies.
Skating was considered a form of good exercise as well as entertainment.
Theaters were popular during this time.
Visiting the seaside was an acceptable thing to do.
Bicycles were in invented in 1817 and are quite common now and often used as the means in getting to work.
Circuses came around about once a year to the bigger towns.
Dances polka, schottische, two-step, and the waltz were the common and well known dances.
Dolls were made of wood, cloth, glazed porcelain, McLoughlin Brothers paper dolls and wind up dolls were the ones of 1800's
Horseback Riding
The Well to Do Society were able to ride daily while others it was a rare treat.
Music halls began to be very popular.
Needlework were very common for young ladies and ranged from embroidery, crochet, tatting, knitting and other forms of sewing.
Reading was now fashionable for the ladies. Jane Eyre, Godey's Lady's Book (monthly magazine), etiquette books, how to books and some romance books were read by upper class ladies.
Skating was considered a form of good exercise as well as entertainment.
Theaters were popular during this time.
Visiting the seaside was an acceptable thing to do.
The Secret Language of the Victorian Era
The Silent Languages of a Lady
By Lady Rosewoode Cara DeForrst
Contents
By Lady Rosewoode Cara DeForrst
Contents
I. The World Today
II. The Parasol
III. The Hanky or Gloves
IV. The Fan
V. The Lady’s Clutch
I. The World Today
The Victorian Era ushered in a time of proper etiquette among the upper class in England during Queen Victoria’s reign (1837-1901). We at Second Chance Academy will follow the many rules and customs, there were expected behaviors that prohibited outright flirtations, questions, or conversations between others.
Not every form of communication with the fan was intended to encourage or continue a relationship. The fan’s secret language might also be used to discourage or kindly reject a potential suitor, or communicate the absolute offensive nature of a young man toward a young woman.
Eventually this "flirtatious behaviour" by females became a socially acceptable way of communicating with members of the opposite sex. Many a young Victorian woman was taught "this language" in finishing schools or by their chaperon.
By the late 1800s, parasols were commonly carried by fashionable women and regularly used to signal a woman’s intentions towards a man. Numerous books were also written that combined flirting tips with standardized parasol signals.
Here then are just some of the fashion accessory "meanings" used by Victorian women and their fans, handkerchiefs, gloves, parasols and clutches.
The Victorian Era ushered in a time of proper etiquette among the upper class in England during Queen Victoria’s reign (1837-1901). We at Second Chance Academy will follow the many rules and customs, there were expected behaviors that prohibited outright flirtations, questions, or conversations between others.
Not every form of communication with the fan was intended to encourage or continue a relationship. The fan’s secret language might also be used to discourage or kindly reject a potential suitor, or communicate the absolute offensive nature of a young man toward a young woman.
Eventually this "flirtatious behaviour" by females became a socially acceptable way of communicating with members of the opposite sex. Many a young Victorian woman was taught "this language" in finishing schools or by their chaperon.
By the late 1800s, parasols were commonly carried by fashionable women and regularly used to signal a woman’s intentions towards a man. Numerous books were also written that combined flirting tips with standardized parasol signals.
One Matron wrote:
Women are armed with fans as men with swords, and sometimes do more execution with them. To the end therefore that ladies may be entire mistresses of the weapon which they bear, I have erected an academy for the training up of young women in the Exercise of the Fan, according to the most fashionable airs and motions that are now practiced at court. The ladies who carry fans under me are drawn up twice a-day in my great hall, where they are instructed in the use of their arms, and exercised by the following words of command:
Handle your Fans,
Unfurl your Fans,
Discharge your Fans,
Ground your Fans,
Recover your Fans,
Flutter your Fans,
By the right observation of these few plain words of command, a woman of a tolerable genius, who will apply herself diligently to her exercise for the space of but one half year, shall be able to give her fan all the graces that can possibly enter into that little modish machine.
But to the end that my readers may form to themselves a right notion of this Exercise, I beg leave to explain it to them in all its Parts.
Each one is explained as follows:
Handle your Fans:
When my female regiment is drawn up in array, with everyone her weapon in her hand, upon my giving the word to handle their fans, each of them shakes her fan at me with a smile, then gives her right-hand woman a tap upon the shoulder, then presses her lips with the extremity of her fan, then lets her arms fall in an easy motion, and stands in a readiness to receive the next word of command. All this is done with a close fan, and is generally learned in the first week.
Unfurl your Fan:
The next motion is that of unfurling the Fan, in which are comprehended several little flirts and vibrations, as also gradual and deliberate openings, with many voluntary failings asunder in the fan itself, that are seldom learned under a month's practice. This part of the Exercise pleases the Spectators more than any other, as it discovers on a sudden an infinite number of Cupids, altars, birds, beasts, rainbows, and the like agreeable figures, that display themselves to view, whilst every one in the regiment holds a picture in her hand.
Discharge your Fan:
Upon my giving the word to discharge their Fans, they give one general crack that may be heard at a considerable distance when the wind sits fair. This is one of the most difficult parts of the Exercise; but I have several ladies with me, who at their first entrance could not give a pop loud enough to be heard at the further end of a room, who can now discharge a fan in such a manner, that it shall make a report like a pocket-pistol. I have likewise taken care (in order to hinder young women from letting off their fans in wrong places or unsuitable occasions) to shew upon what subject the crack of a fan may come in properly: I have likewise invented a fan, with which a girl of sixteen, by the help of a little wind which is inclosed about one of the largest sticks, can make as loud a crack as a woman of fifty with an ordinary fan.
Ground your Fans:
When the fans are thus discharged, the word of command in course is to ground their Fans. This teaches a lady to quit her fan gracefully when she throws it aside in order to take up a pack of cards, adjust a curl of hair, replace a falling pin, or apply her self to any other matter of importance. This part of the Exercise, as it only consists in tossing a fan with an air upon a long table (which stands by for that purpose) may be learned in two days time as well as in a twelvemonth.
Recover your Fan
When my female regiment is thus disarmed, I generally let them walk about the room for some time; when on a sudden (like ladies that look upon their watches after a long visit) they all of them hasten to their arms, catch them up in a hurry, and place themselves in their proper stations upon my calling out Recover your Fans. This part of the Exercise is not difficult, provided a woman applies her thoughts to it.
Flutter your Fans:
The Fluttering of the Fan is the last, and indeed the master-piece of the whole Exercise; but if a lady does not misspend her time, she may make herself mistress of it in three months. I generally lay aside the dog-days and the hot time of the summer for the teaching this part of the Exercise; for as soon as ever I pronounce Flutter your Fans, the place is fill'd with so many zephyrs and gentle breezes as are very refreshing in that season of the year, tho' they might be dangerous to ladies of a tender constitution in any other.
There is an infinite variety of motions to be made use of in the Flutter of a Fan. There is the angry flutter, the modest flutter, the timorous flutter, the confused flutter, the merry flutter, and the amorous flutter. Not to be tedious, there is scarce any emotion in the mind which does not produce a suitable agitation in the fan; insomuch, that if I only see the fan of a disciplin'd lady, I know very well whether she laughs, frowns, or blushes. I have seen a fan so very angry, that it would have been dangerous for the absent lover who provoked it to have come within the wind of it; and at other times so very languishing, that I have been glad for the lady's sake the lover was at a sufficient distance from it. I need not add, that a fan is either a prude or coquet according to the nature of the person who bears it. To conclude my letter, I must acquaint on that I have from my own observations compiled a little treatise for the use of my scholars, entitled The Passions of the Fan; which I will communicate to you, if you think it may be of use to the public.
Women are armed with fans as men with swords, and sometimes do more execution with them. To the end therefore that ladies may be entire mistresses of the weapon which they bear, I have erected an academy for the training up of young women in the Exercise of the Fan, according to the most fashionable airs and motions that are now practiced at court. The ladies who carry fans under me are drawn up twice a-day in my great hall, where they are instructed in the use of their arms, and exercised by the following words of command:
Handle your Fans,
Unfurl your Fans,
Discharge your Fans,
Ground your Fans,
Recover your Fans,
Flutter your Fans,
By the right observation of these few plain words of command, a woman of a tolerable genius, who will apply herself diligently to her exercise for the space of but one half year, shall be able to give her fan all the graces that can possibly enter into that little modish machine.
But to the end that my readers may form to themselves a right notion of this Exercise, I beg leave to explain it to them in all its Parts.
Each one is explained as follows:
Handle your Fans:
When my female regiment is drawn up in array, with everyone her weapon in her hand, upon my giving the word to handle their fans, each of them shakes her fan at me with a smile, then gives her right-hand woman a tap upon the shoulder, then presses her lips with the extremity of her fan, then lets her arms fall in an easy motion, and stands in a readiness to receive the next word of command. All this is done with a close fan, and is generally learned in the first week.
Unfurl your Fan:
The next motion is that of unfurling the Fan, in which are comprehended several little flirts and vibrations, as also gradual and deliberate openings, with many voluntary failings asunder in the fan itself, that are seldom learned under a month's practice. This part of the Exercise pleases the Spectators more than any other, as it discovers on a sudden an infinite number of Cupids, altars, birds, beasts, rainbows, and the like agreeable figures, that display themselves to view, whilst every one in the regiment holds a picture in her hand.
Discharge your Fan:
Upon my giving the word to discharge their Fans, they give one general crack that may be heard at a considerable distance when the wind sits fair. This is one of the most difficult parts of the Exercise; but I have several ladies with me, who at their first entrance could not give a pop loud enough to be heard at the further end of a room, who can now discharge a fan in such a manner, that it shall make a report like a pocket-pistol. I have likewise taken care (in order to hinder young women from letting off their fans in wrong places or unsuitable occasions) to shew upon what subject the crack of a fan may come in properly: I have likewise invented a fan, with which a girl of sixteen, by the help of a little wind which is inclosed about one of the largest sticks, can make as loud a crack as a woman of fifty with an ordinary fan.
Ground your Fans:
When the fans are thus discharged, the word of command in course is to ground their Fans. This teaches a lady to quit her fan gracefully when she throws it aside in order to take up a pack of cards, adjust a curl of hair, replace a falling pin, or apply her self to any other matter of importance. This part of the Exercise, as it only consists in tossing a fan with an air upon a long table (which stands by for that purpose) may be learned in two days time as well as in a twelvemonth.
Recover your Fan
When my female regiment is thus disarmed, I generally let them walk about the room for some time; when on a sudden (like ladies that look upon their watches after a long visit) they all of them hasten to their arms, catch them up in a hurry, and place themselves in their proper stations upon my calling out Recover your Fans. This part of the Exercise is not difficult, provided a woman applies her thoughts to it.
Flutter your Fans:
The Fluttering of the Fan is the last, and indeed the master-piece of the whole Exercise; but if a lady does not misspend her time, she may make herself mistress of it in three months. I generally lay aside the dog-days and the hot time of the summer for the teaching this part of the Exercise; for as soon as ever I pronounce Flutter your Fans, the place is fill'd with so many zephyrs and gentle breezes as are very refreshing in that season of the year, tho' they might be dangerous to ladies of a tender constitution in any other.
There is an infinite variety of motions to be made use of in the Flutter of a Fan. There is the angry flutter, the modest flutter, the timorous flutter, the confused flutter, the merry flutter, and the amorous flutter. Not to be tedious, there is scarce any emotion in the mind which does not produce a suitable agitation in the fan; insomuch, that if I only see the fan of a disciplin'd lady, I know very well whether she laughs, frowns, or blushes. I have seen a fan so very angry, that it would have been dangerous for the absent lover who provoked it to have come within the wind of it; and at other times so very languishing, that I have been glad for the lady's sake the lover was at a sufficient distance from it. I need not add, that a fan is either a prude or coquet according to the nature of the person who bears it. To conclude my letter, I must acquaint on that I have from my own observations compiled a little treatise for the use of my scholars, entitled The Passions of the Fan; which I will communicate to you, if you think it may be of use to the public.
Here then are just some of the fashion accessory "meanings" used by Victorian women and their fans, handkerchiefs, gloves, parasols and clutches.
The Language of the Parasol
1. Swinging it to and fro by the handle on the left side – I am engaged
2. Tapping the chin gently — I am in love with another.
3. Swinging it to and fro by the handle on the right side – I am married
4. Letting it rest on the right cheek – Yes
5. Letting it rest on the left cheek – No
6. Carrying it elevated in left hand — Desiring acquaintance.
7. Carrying it over the right shoulder — You can speak to me.
8. Closing it up – I wish to speak to you
9. Dropping it – I love you
10. With handle to the lips — Kiss me.
11. Closing it up — I wish to speak with you, love.
12. End of tips to the lips — Do you love me?
13. Dropping it — I love you.
14. Folding it up — Get rid of your company.
15. Putting it away — No more at present.
16. Carrying it elevated in right hand – You are too willing
17. Carrying it closed in left hand – Meet on the first crossing
18. Carrying it closed in right hand by the side – Follow me
19. Carrying it over the right shoulder – You can speak to me
20. Striking it on the hand — I am much displeased.
21. Twirling it around — Be careful! We are watched.
22. Carrying it over the left shoulder – You are too cruel
23. Carrying it closed in the left hand — Meet on the first crossing.
24. Carrying it closed in the right hand by the side — Follow me.
1. Swinging it to and fro by the handle on the left side – I am engaged
2. Tapping the chin gently — I am in love with another.
3. Swinging it to and fro by the handle on the right side – I am married
4. Letting it rest on the right cheek – Yes
5. Letting it rest on the left cheek – No
6. Carrying it elevated in left hand — Desiring acquaintance.
7. Carrying it over the right shoulder — You can speak to me.
8. Closing it up – I wish to speak to you
9. Dropping it – I love you
10. With handle to the lips — Kiss me.
11. Closing it up — I wish to speak with you, love.
12. End of tips to the lips — Do you love me?
13. Dropping it — I love you.
14. Folding it up — Get rid of your company.
15. Putting it away — No more at present.
16. Carrying it elevated in right hand – You are too willing
17. Carrying it closed in left hand – Meet on the first crossing
18. Carrying it closed in right hand by the side – Follow me
19. Carrying it over the right shoulder – You can speak to me
20. Striking it on the hand — I am much displeased.
21. Twirling it around — Be careful! We are watched.
22. Carrying it over the left shoulder – You are too cruel
23. Carrying it closed in the left hand — Meet on the first crossing.
24. Carrying it closed in the right hand by the side — Follow me.
Handkerchief or Gloves
1. To hold it opened, covering the mouth. I am single.
2. Winding it around her forefinger: "I am engaged to be married."
3. Winding it around the third finger of her left hand: " I am married."
4. To hold it on the right cheek.Yes.
5. To hold it on the left cheek. No.
6. To let slide it on the eyes. Go away, please.
7. Drawing her handkerchief across her lips - "Let's flirt with each other"
8. Twirling it in both hands: "I am not interested. Get lost."
9. To throw it. I hate you.
10. Twisting her handkerchief in her left hand: "Go away. I'm not interested in you."
11. Placing her fan against her left ear: "I wish to be rid of you."
12. To hold it in the left ear. I want you to leave me alone.
13. To let slide it on the forehead. You have changed.
14. Folding her handkerchief carefully;"I wish to speak with you"
15. Twirling it in her left hand: "Let's set a time to meet"
16. To hold it closed. Do you love me?
17. Resting it on her heart: "My love for you is breaking my heart."
18. Drawing her handkerchief across her cheek or fanning herself quickly while
looking at the "object of her affection": "I love you so much"
19. To move it with the right hand. I love another.
20. To let slide it on the cheek. I want you.
21. To change it to the right hand. You are imprudent.
22. Twisting her handkerchief in her right hand: "I am thinking of you."
23. Fanning herself swiftly with her left hand: "Don't you dare flirt with that
woman!"
24. To move it with the left hand. They are watching us.
25. Drawing her handkerchief across her forehead; twirling her fan in her left hand:
"Careful. We are being watched."
26. Waving it over her right shoulder: "Follow me"
27. Twirling her handkerchief in her right hand: "I will meet you."
28. Holding her handkerchief in opposite corners in both hands: "Wait for me."
29. Waving it over her left shoulder: "Farewell until we meet again."
30. Drawing her handkerchief or fan across her eyes: "I am sorry."
1. To hold it opened, covering the mouth. I am single.
2. Winding it around her forefinger: "I am engaged to be married."
3. Winding it around the third finger of her left hand: " I am married."
4. To hold it on the right cheek.Yes.
5. To hold it on the left cheek. No.
6. To let slide it on the eyes. Go away, please.
7. Drawing her handkerchief across her lips - "Let's flirt with each other"
8. Twirling it in both hands: "I am not interested. Get lost."
9. To throw it. I hate you.
10. Twisting her handkerchief in her left hand: "Go away. I'm not interested in you."
11. Placing her fan against her left ear: "I wish to be rid of you."
12. To hold it in the left ear. I want you to leave me alone.
13. To let slide it on the forehead. You have changed.
14. Folding her handkerchief carefully;"I wish to speak with you"
15. Twirling it in her left hand: "Let's set a time to meet"
16. To hold it closed. Do you love me?
17. Resting it on her heart: "My love for you is breaking my heart."
18. Drawing her handkerchief across her cheek or fanning herself quickly while
looking at the "object of her affection": "I love you so much"
19. To move it with the right hand. I love another.
20. To let slide it on the cheek. I want you.
21. To change it to the right hand. You are imprudent.
22. Twisting her handkerchief in her right hand: "I am thinking of you."
23. Fanning herself swiftly with her left hand: "Don't you dare flirt with that
woman!"
24. To move it with the left hand. They are watching us.
25. Drawing her handkerchief across her forehead; twirling her fan in her left hand:
"Careful. We are being watched."
26. Waving it over her right shoulder: "Follow me"
27. Twirling her handkerchief in her right hand: "I will meet you."
28. Holding her handkerchief in opposite corners in both hands: "Wait for me."
29. Waving it over her left shoulder: "Farewell until we meet again."
30. Drawing her handkerchief or fan across her eyes: "I am sorry."
The Fan
1. Fanning slowly: “I am married.”
2. Fanning quickly. “I am engaged.”
3. If she holds the fan in her left hand in front of her face, “I am desirous of your acquaintance.”
4. To open the hand fan with the left hand. Come and talk to me.
5. Carrying the fan in her left hand, indicates, “Come and talk to me”.
6. To touch the edge of the hand fan with the fingers. I want to talk to you.
7. By touching her finger to the tip of the fan she would be gesturing, “I wish to speak to you.”
8. Dropping the fan: “We will be friends.”
9. To leave it hanging. We will continue being friends.
10. Dropping it on the floor: "Let's meet"
11. A closed fan touching her right eye, “When may I be allowed to see you?”
12. A partially open fan showing the number of fan-sticks indicated the hour at which she agreed to meet her suitor.
13. Carrying in front of you — No more at present.
14. Letting the fan rest on the right cheek: “Yes.”
15. Letting the fan rest on the left cheek: “No.”
16. To semiclose it in the right and on the left. I cant.
17. Fan opened wide: “Wait for me.”
18. Fan held over left ear: “I wish to get rid of you.”
19. Resting the fan on her lips: “I don’t trust you.”
20. To let slide it on the eyes. Go away, please.
21. To hold it in the left ear. I want you to leave me alone.
22. Opening and closing the fan rapidly: “You are cruel”
23. Drawing the fan through the hand: “I hate you!”
24. Twirling the fan in the right hand: “I love another.”
25. Resting the fan on the heart. “My love for you is breaking my heart.”
26. The fan placed near the heart: “You have won my love.”
27. Hiding the eyes behind an open fan: “I love you.”
28. Drawing the fan across the cheek: “I love you.”
29. Drawing the fan across her cheek or hiding her eyes behind an open fan, “I love you!”
30. Presenting the fan shut, “Do you love me?”
31. Hitting her hand’s palm: “Love me.”
32. To let slide it on the cheek. I want you.
33. Half-opened fan pressed to the lips: “You may kiss me.”
34. Putting the fan handle to the lips: “Kiss me.”
35. Dropping the fan: “I belong to you.”
36. Shutting a fully opened fan slowly, “I promise to marry you.”
37. Fan in her right hand in front of her face, “Follow me.”
38. Waving it over her right shoulder: "Follow me"
39. Hitting any object: “I’m impatient.”
40. Half-opening the fan over the face: “We are being watched.”
41. Twirling the fan in the left hand: “We are being watched.”
42. To move it with the left hand. They are watching us.
43. Covering the left ear with an open fan: “Do not betray our secret.”
44. Drawing the fan across the eyes, “I am sorry.”
45. Hands clasped together holding an open fan: “Forgive me.”
46. Hands clasped together holding an open fan, “Forgive me.”
47. Passing the fan from hand to hand: “I see that you are looking at another woman.”
48. Fanning herself swiftly with her left hand: "Don't you dare flirt with that woman!"
49. Quickly and impetuously closing the fan: “I’m jealous.”
50. Drawing the fan across the forehead, “You have changed.”
51. Carrying the open fan in the right hand, “You are too willing.”
52. Threatening movements with a closed fan “Don’t be so imprudent.”
53. To let slide it on the forehead. You have changed.
54. Placing the fan behind the head, “Do not forget me.”
55. To strike it, closed, on the left hand. Write me.
56. Waving it over her left shoulder: "Farewell until we meet again."
1. Fanning slowly: “I am married.”
2. Fanning quickly. “I am engaged.”
3. If she holds the fan in her left hand in front of her face, “I am desirous of your acquaintance.”
4. To open the hand fan with the left hand. Come and talk to me.
5. Carrying the fan in her left hand, indicates, “Come and talk to me”.
6. To touch the edge of the hand fan with the fingers. I want to talk to you.
7. By touching her finger to the tip of the fan she would be gesturing, “I wish to speak to you.”
8. Dropping the fan: “We will be friends.”
9. To leave it hanging. We will continue being friends.
10. Dropping it on the floor: "Let's meet"
11. A closed fan touching her right eye, “When may I be allowed to see you?”
12. A partially open fan showing the number of fan-sticks indicated the hour at which she agreed to meet her suitor.
13. Carrying in front of you — No more at present.
14. Letting the fan rest on the right cheek: “Yes.”
15. Letting the fan rest on the left cheek: “No.”
16. To semiclose it in the right and on the left. I cant.
17. Fan opened wide: “Wait for me.”
18. Fan held over left ear: “I wish to get rid of you.”
19. Resting the fan on her lips: “I don’t trust you.”
20. To let slide it on the eyes. Go away, please.
21. To hold it in the left ear. I want you to leave me alone.
22. Opening and closing the fan rapidly: “You are cruel”
23. Drawing the fan through the hand: “I hate you!”
24. Twirling the fan in the right hand: “I love another.”
25. Resting the fan on the heart. “My love for you is breaking my heart.”
26. The fan placed near the heart: “You have won my love.”
27. Hiding the eyes behind an open fan: “I love you.”
28. Drawing the fan across the cheek: “I love you.”
29. Drawing the fan across her cheek or hiding her eyes behind an open fan, “I love you!”
30. Presenting the fan shut, “Do you love me?”
31. Hitting her hand’s palm: “Love me.”
32. To let slide it on the cheek. I want you.
33. Half-opened fan pressed to the lips: “You may kiss me.”
34. Putting the fan handle to the lips: “Kiss me.”
35. Dropping the fan: “I belong to you.”
36. Shutting a fully opened fan slowly, “I promise to marry you.”
37. Fan in her right hand in front of her face, “Follow me.”
38. Waving it over her right shoulder: "Follow me"
39. Hitting any object: “I’m impatient.”
40. Half-opening the fan over the face: “We are being watched.”
41. Twirling the fan in the left hand: “We are being watched.”
42. To move it with the left hand. They are watching us.
43. Covering the left ear with an open fan: “Do not betray our secret.”
44. Drawing the fan across the eyes, “I am sorry.”
45. Hands clasped together holding an open fan: “Forgive me.”
46. Hands clasped together holding an open fan, “Forgive me.”
47. Passing the fan from hand to hand: “I see that you are looking at another woman.”
48. Fanning herself swiftly with her left hand: "Don't you dare flirt with that woman!"
49. Quickly and impetuously closing the fan: “I’m jealous.”
50. Drawing the fan across the forehead, “You have changed.”
51. Carrying the open fan in the right hand, “You are too willing.”
52. Threatening movements with a closed fan “Don’t be so imprudent.”
53. To let slide it on the forehead. You have changed.
54. Placing the fan behind the head, “Do not forget me.”
55. To strike it, closed, on the left hand. Write me.
56. Waving it over her left shoulder: "Farewell until we meet again."
( This is my own addtion to make it more personal)
The married lady carries a clutch as a sign of independence of men. While she realizes that there is just so much that she is allowed to do in today’s Society, she still has some Independence. She can survive an evening or outing with a man giving her everything that she might need or want.
The same goes for the unmarried lady except that she is Independent of her mother and father. She is able to speak silently and flirt cautiously with young men who are wanting her attentions or seeking attentions of other females in the vicinity.
This chapter tells the young miss how to organize her clutch in such a way that she may find what she wants with ease. It will include the ever so necessary items to be carried in the clutch.
The married lady carries a clutch as a sign of independence of men. While she realizes that there is just so much that she is allowed to do in today’s Society, she still has some Independence. She can survive an evening or outing with a man giving her everything that she might need or want.
The same goes for the unmarried lady except that she is Independent of her mother and father. She is able to speak silently and flirt cautiously with young men who are wanting her attentions or seeking attentions of other females in the vicinity.
This chapter tells the young miss how to organize her clutch in such a way that she may find what she wants with ease. It will include the ever so necessary items to be carried in the clutch.
The Clutch
The compartments are divided by a twist latch. The first compartment- the one away from the finger holes - is for your Fan and/ or Gloves.
The second compartment is divided in half.
Money- 2 coin purses- one for pennies and few silver and the second one is for all silver.
Scents, smelling salts, lip gloss, powder, mint leaves, pin tin and a sewing kit are lined up in the second half. If a lady is crafty enough, she could place elastic inside the compartment to hold each item in place Perhaps even make an insert for that side.
The compartments are divided by a twist latch. The first compartment- the one away from the finger holes - is for your Fan and/ or Gloves.
The second compartment is divided in half.
Money- 2 coin purses- one for pennies and few silver and the second one is for all silver.
Scents, smelling salts, lip gloss, powder, mint leaves, pin tin and a sewing kit are lined up in the second half. If a lady is crafty enough, she could place elastic inside the compartment to hold each item in place Perhaps even make an insert for that side.