Silky prints and flamboyant ruffles. Rich colours and frilly lace. Personal tailors hand sewing the latest fashions from Europe. Just a few signs of a privileged life during the Regency period of 1812 in Niagara.
“Everybody thinks the colours were drab or they didn't have a lot of colour, but there actually was quite a lot of colour and print in the fabrics as well,” explains seamstress Linda Hanna of Linda's Early Fashions. “But there was a cost associated with that. As far as colours, if you went into the printed fabrics it was more money. The more colour and elegant fabric you had showed your wealth.”
Fashion has always been prevalent in history. Styles were influenced by Europe and fabrics were shipped in for those who could afford to dress with the elegance of a true fashionista.
“Woman who ran homes and the upper-class were always trying to keep in vogue with what was going on,” Hanna says. “They were interested in fashion and wanted to know what was going on in Europe. When the fashion did arrive here, it was already in vogue over there for a period of time. And the only way it made it here was through the upper-class society.”
Those wanting to wear the latest fashions not only had to pay for fabric to be shipped in, they also had to pay tailors to bring the fabric to life.
“The only way you could have a tailor to create the clothes was if you had money. For the most part all of the clothing was created here once the cloth was brought over. They didn't really have stores where you could go in and buy a dress on display. You bought the cloth and you made it. It was really a different time. The tailors were used for people who could afford to have clothing in style and the type of fabric used really did state what your level was in society,” says Hanna.
“The more lace that is worn on a lady's outfit meant she was on the higher end of society,” says seamstress Beverley Smith, of Outside In Interior Art Design. “It was only the rich men that could have the lace and silks and satins.”
And along with keeping in vogue with the latest European fashions, there were other trends for maintaining one's sense of style.
“Men always had short hair and were clean shaven,” says Hanna. “Pocket watches with a fancy fobe that hooked on to their vests were a big thing. And they wore gloves if they were going to an evening dance.”
And the women?
“Hair was always up and there were a lot of ringlets,” Hanna explains. “Hair could also have flowers, beads or pearls weaved into it. If you were working in the home you would have a cap on, and if you went outside you would always put a straw bonnet over top of your cap…and for jewellery it was something small, like pearls.”
There were a few social faux pas to avoid.
“Women always had to have gloves on and they were not allowed to show their elbows or ankles. During the day she would wear what is called a fichu, which is a triangular scarf that goes around (the shoulders) and tucks into clothing. She would always keep that on unless she was going to an afternoon tea, and then it could be removed,” Hanna says. “In the evening she wouldn't have to wear it at all. It's quite amazing because a woman wasn't allowed to show her elbows or ankles, but she could show everything on top.”
Choice fabrics and brilliant colours made it clear what class a person belonged to, but this doesn't mean commoners were not proud of their clothing.
“Embroidery was very big back then,” explains Smith. “It's what the ladies would do in the evenings and afternoons. They would sit and do a lot of their fancy work, which is hidden because they'd do it along their chemise linings. And riding coats and winter jacket linings would have all this fabulous embroideries.”
Commoners often wore wools and cottons and dyed their fabrics using what was available in the natural environment.
“Most of the fancy fabric would have come in from Europe for the high class,” says Smith. “But commoners wore wool and cottons and even plain muslin dresses with their chemise. They dyed clothing using beets, onions and vegetables. Clothing was also passed down from generation to generation.”
Both Smith and Hanna have been busy creating replica clothing during the past few months. Authentic outfits are in high demand from those wanting to participate in War of 1812 bicentennial events.
“The interest is incredible in Niagara,” says Hanna.
Hanna and Smith use authentic patterns and materials and stay true to the period when making clothing.
“These are not costumes,” Smith says. “These are replica clothing.”

Contact Linda's Early Fashions at 905-770-4743 or email lindasearlyfashions@yahoo.com.
Contact Outside In Interior Art Design at 905-356-3176 or email outsidein4218@yahoo.ca.


Photo captions:
Front:
Women often wore layers of clothing, starting with a chemise. Judith Callender is shown wearing a blue pelisse coat (or riding habit) with a stand-up ruffled collar which is made from navy-beige baby corduroy. It is lined with muslin, has a large shank button front and is trimmed with jute braided trim. It has a matching peplum over-skirt and her belt is black leather with brass embellishments. This outfit would have been worn by commoners.

Rick Meloen
Rick Meloen wears clothing which would have likely been worn by a lawyer or even a minister during the Regency period. “Looking at the way he is dressed it is definite he is upper-class,” Hanna says. “His walking stick and his tie are the best quality. He is a man of money.”

Regency
This is a woman of privilege in the Regency period. The classes were distinguished by the style of clothing, the quality of material and attention to detail. “This shawl signifies she is someone with money because of the materials,” says Linda Hanna. “She is heading to a ball and by the way she is dressed it is clear she is not a working woman. Working women of 1812 would be in short gowns and chemises and petticoats; not in finer material such as this.”

Lyle
Lyle Williams wears an outfit that would have been tailored for an upper-class man during the Regency period. “This outfit would not be worn by the working class. Looking at the clothing and the types of materials it is made with, it is definitely not something a common farmer would have,” says Hanna. “He is someone with money. Likely a lawyer or doctor. Possibly someone owning his own business as well.”

Gail
The outfit and bonnet Gail Woodruff wears is made from elegant fabrics and would be worn while entertaining in the evening. “This is definitely an upper-class lady dressed for an evening ball or evening outing,” says Linda Hanna. “She had means for money and perhaps ran a household.”

Kenneth
Kenneth Gansel is wearing clothing representative of a privileged man during the Regency period. Men who ran their own businesses would be able to afford the detailed tapestry on his vest and style of coat. “This would only be an outfit that an upper-class man would be able to afford. This would be a successful business man, perhaps owning his own business or possibly a lawyer,” says Hanna.

Brian
Brian Merritt's outfit depicts what an upper-class civilian would wear in the Regency period. A gentleman who wore tails would be someone who ran a business and had money. “An outfit like this could only be worn by somebody of upper-class status,” says designer Linda Hanna. “This outfit requires more material and nicer material as well, so it could only be afforded by an upper-class person.”

Thomas
Thomas Martin is wearing trade wool leggings decorated with silk ribbon and a wool sleeved weskit. He has a neck knife and shoulder pouch, which is decorated with brain tanned deerskin and dyed porcupine quills. He also wears silver earrings and nose ring and has a hair roach which is decorated with deer hair and porcupine quills and he has silk ribbon and silver and white swan down in his ears. His powder horn has a wampum strap. Peter Martin (middle) is dressed as an officer with the 41st regiment. Bill Mertens is wearing the standard native dress. He has braintan leggings, a British tunic, a linen trade shirt and wool stroud. He also has on trade silver earrings and nose ring. His hair roach is made out of deer tail and porcupine quills and he has a porcupine quill neck knife. He has a spike tomahawk and carries a Long Land Brown Bess rifle.

Richard
The clothing worn by Richard Merritt would have been typical of a privileged man during the Regency period. His top hat adds to the look of his outfit, and because he was a man with money, all of his clothing would have been created by tailors using only the finest materials imported from Europe.

Sandra
The embroidery and details on the pelisse worn by Sandra DeYoung signify this was an outfit worn by a fashionable high-class woman during the Regency period. Outfits such as this were worn by ladies running a homestead, for example, because they had money to spend on clothing and wanted to stay in fashion.

Secord
This costume was created for the Laura Secord play entitled Run For Freedom as part of the Dispatches 2012 programming commemorating the bicentennial celebrations of the War of 1812 and 200 years of peace. Secord, a Canadian heroine of the War of 1812 is known for warning British forces of an impending American attack that led to the British Battle of Beaverdams victory. This Regency costume was created by wardrobe mistress Pam Mundy and is modeled by Karly Cowell. It is made from 100 per cent cotton weave and in colours appropriate to the natural dyes of the time. It is in the high-waisted ‘Empire Style', which was in vogue from approximately 1790 - 1820. This apron-front version was popular because of its practicality. It opened at the front, had an adjustable supporting under-bodice and a gathered front, which made it ideal for everyday wear, particularly among nursing mothers and pregnant women.
Information on Secord outfit provided by Dean Tedesco and with cooperation with CAn (Community Artists niagara).