Silk is for Seduction eBook deal for $1.99

Going into the New Year we’ve got a very nice deal.

From 27 December through 7 February, Silk is for Seduction, Kindle edition, will be $1.99. Because eBook retailers tend to match the Kindle prices, it’s reasonable to assume that Nook, Apple Books, and others will offer a similar deal at some point.

Meanwhile, if you haven’t read my Dressmakers series, this can be your introduction. It’s the first of what became a four-book trilogy (I know).

Inspiration for Marcelline’s “dust” dress.

Three slightly French modistes come to London, determined to become the Beau Monde’s premier dressmakers. There’s scandal, intrigue, and cutthroat competition. There are some persistent gentlemen determined to be irresistible. And there are the wild, exuberant fashions of the 1830s—including hairstyles—that make the 1980s look prim.

Queen Victoria's Stormy Wedding Day as Inspiration

Sometimes inspiration comes from weather.

Henry Thomas Alken, "Some Do and Some Don't: It is All a Notion:" Getting Home (between 1820 and 1821), courtesy Yale Center for British Art, Paul Mellon Collection

On 10 February 1840, Queen Victoria married Prince Albert of Saxe-Coburg and Gotha. The rotten weather on the previous day stuck in my mind. I pictured a soaking wet, deeply angry (and hurt) nobleman, banging on the door of a house. And so began “The Jilting of Lord Rothwick,” one of two short stories in my Royally Ever After collection. Among other things, the contemporary descriptions taught me that royal wedding frenzy, and the media’s eagerness to report all minutiae relating thereto, is by no means a modern development.

From The Mirror of Literature, Amusement, and Instruction, Volume 35, 1840 (the magazine’s detailed account of the wedding begins here on page 113):

“The weather during the preceding night was more boisterous than any we have experienced during the winter. It ‘blew great guns’ from ten o’clock until sunrise when—

The dawn was overcast, the morning lower’d,

And heavily in clouds brought on the day,

The great, th’important day,

on which were to be celebrated the nuptials of our maiden Sovereign and Prince Albert of Saxe Coburg.

It continued to rain almost without intermission until noon, when the weather partially cleared up and continued fine, but threatening during the remainder of the day.”all

Yes, multitudes turned out for the big day.

“All ranks of the people in the metropolis, and for many miles around, began to rise before the appearance of the dawn, some to prepare to take their stations in the progress of the approaching great ceremony ... Notwithstanding the discouraging weather, the streets were crowded at an early hour with thousands, coming from every point of the compass, and making the best of their way, with emulous and unceremonious haste, to St. James's Park, as one common centre. ... About ten o'clock St. James's Park was completely filled with a vast, miscellaneous, curious multitude, not a tithe of whom, unfortunately, could see even the carriage of the Queen when it did at length pass.”

As the above fashion plates make clear, Queen Victoria was not, as many believe, the first bride to wear a white wedding dress. But she was apparently the first royal to wear white, like other brides, instead of silver, and she left off the ceremonial robes befitting a monarch. Still, she did start a fashion for BIG royal weddings. Previously, these had been relatively private affairs. But then, hers was a big deal—the first wedding of a reigning queen since Queen Mary in 1554.

The wedding cake was a big deal, too. This page offers closeups of the details, including the curious Roman attire described below.

“If taste of design only equal what appears to be intended for the actual dimensions, it will beat any bride-cake ever seen.”

5. THE ROYAL WEDDING CAKE. —A select few have been gratified with a sight of the royal wedding cake at the apartments of the confectionary in St. James's palace, but it is described as consisting of the most exquisite compounds of all the rich things with which the most expensive cakes can be composed, mingled and mixed together into delightful harmony by the most elaborate science of the confectioner. This royal cake weighs nearly 300 lb. weight. It is three yards in circumference, and about fourteen inches in depth or thickness. It is covered with sugar of the purest white; on the top is seen the figure of Britannia in the act of blessing the illustrious bride and bridegroom, who are dressed somewhat incongruously in the costume of ancient Rome. These figures are not quite a foot in height; at the feet of his serene highness is the effigy of a dog, said to denote fidelity; and at the feet of the queen is a pair of turtle doves, denoting the felicities of the marriage state. A cupid is writing in a volume expanded on his knees the date of the day of the marriage, and various other cupids are sporting and enjoying themselves as such interesting little individuals generally do. These little figures are well modelled. On the top of the cake are numerous bouquets of white flowers tied with true lovers' knots of white satin riband, intended for presents to the guests at the nuptial breakfast. This elegant emblem of the felicities of marriage will be placed on the breakfast table of the queen at Buckingham palace at the breakfast which is to succeed the ceremonies in the chapel royal.”—Annual Register 1840 (its description of the wedding begins on the following page).

Illustrations: Franz Xaver Winterhalter, Queen Victoria, in her wedding dress and veil from 1840, painted in 1847 as an anniversary gift for her husband, Prince Albert. Original painting owned by the Royal Collection. Source of photograph unknown.

The Marriage of Queen Victoria, 10 February 1840, painted by George Hayter 1840-1842. Royal Collection RCIN 407165, via Wikipedia.

Wedding invitation, from tiaras and trianon. And in case you were wondering: The photographs posted on the tiaras and trianon page were not taken at the wedding, but at a re-creation some years later.

Clicking on the image will enlarge it. Clicking on the caption will take you to the source, where you can learn more and enlarge images as needed.

Dressing and Undressing My Characters

A funny thing has happened in terms of my historical setting.

From the last Carsington book (Last Night’s Scandal) on, I’ve been setting my stories in the 1830s, when clothes looked very, very different from those we associate with the Regency era and Pride and Prejudice. Below are a few fashion plates displaying the vertical style of the Regency.

Many people find 1830s styles ridiculous, even hideous, but I love them because they are so flamboyant and inventive and over-the-top. I especially love this era’s fashion because it’s so complicated to put on and take off, which makes for interesting intimate scenes between hero and heroine.

Mainly we see historical dress in fashion plates, where it does look cartoonish, as fashion plates tend to do. Then as now, the images are stylized. For instance, the pelerines and canazous look like stiff white capes jutting out over the dresses’ enormous sleeves. The images below are from the Los Angeles Public Library Casey Fashion Plates collection.

We can get a better sense of the clothing in portraits, like this one. But in portraits, people are posed. The fabric may drape beautifully, but everything is frozen.

Images in museums show the clothing on mannequins, often headless. Sometimes there’s no mannequin, only the dress. Rarely do we see an entire ensemble.

Margaret Sarah Carpenter, Portrait of Harriet Brudenell, Countess Howe

So imagine my excitement recently to discover, thanks to author Susan Holloway Scott, that a group of historical dressmakers and re-enactors have turned their dressmaking skills to recreating 1830s fashions. I can tell you it’s already made a difference in how I’ve handled the most recent occasion of the hero getting his hands on the heroine.

In case you were curious about 1830s corsets, here’s a video.

This blog post deals with making and adorning an 1830s dress.

A group of talented dressmakers invade the Dickens Fair in 1830s fashions.

Let’s not forget headwear.

And this 1833 dress is from about time of my Difficult Dukes series.