#Etiquette of the Edwardian Era

[inky-duchess]

Etiquette of the Edwardian Era and La Belle Époque: Ball

This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.

Let's throw a ball, my darling. It is the age of elegance and opera gloves. Etiquette during these events was as intregal as the music. So let's delve in and dance the night away.

Preparing to host a Ball

Balls in this period weren't just little get-together with a little music in the corner. These were large productions and required the entire household to pitch in. The ballroom would have to be cleaned, chandeliers would need polishing. Any large halls would need to be cleared of any furniture to accommodate a large crowd. If throwing a ball, you need to set aside more rooms than just the ballroom. You will need a room to store any cloaks, coats and hats (a valet and lady's maid would have charge of this), a room for refreshments and sometimes a room set up for any other entertainment such as cards. The dining room would also be needed for a supper (yes, suppers are expected). A ball requires the best of the best. Musicians would be hired, the kitchens will be slaving all day, butlers will be decanting the best wines and select the finest liquor, and rooms made up for anybody thinking of staying the night. The kitchens will have to prepare light snacks as well as the late supper, so everything must be cooked at exactly the right time and kept in optimum condition until needed. A red carpet would be laid from the front door right down to the pavement with an awning to keep the worst of the weather off. Invites should be sent out a few weeks prior and should attempt not to clash with any other event, you may compete who has the best ball but you should never force guests to snub another to go to your ball. Servants should be prepared for a long night, so they may dine earlier in the day to sustain them. Footmen would wait outside to open carriage doors and direct guests to the door. The butler would have to greet them, announce their arrival (not by order of rank but simply in the order they arrive) in the hall and then toward the coat rooms to relieve themselves of any coats or hats. These balls were very expensive affairs. Between food, drink, entertainment, their clothes, wages and getting their house up the snuff, a host could expect to fork out thousands if not more. Alva Vanderbilt's great costume ball cost her $6 million in today's valuation ($250,000 in her era).

The Hosts on the Night of the Ball

The hosts of the ball should be ready to recieve guests promptly. The lady of the house should be downstairs an least an hour before kickoff to check the work of the servants and provide last minute commands. The hosts would wait in the hall and greet guests. The butler will announce every guest while valets and lady's maids take charge of any coats. After guests have shed their coats, they would then greet the host, usually exchanging a few words and thanking them for the invitation before being escorted into the ballroom. The hosts would usually begin the ball themselves or if there was a guest of honour, they would allow them to open the ball. Dancing is only meant to begin with the invitation of the hosts. If there's music playing, it's not an invitation to dance. Hosts have a duty to ensure everyone is having a good time. They will be expected to dance and ensure people are partnered.

Guests

Guests are expected to arrive in a certain time frame. Balls usually begin quite late into the night, usually around 10pm. It would do no good to arrive too early and ride to arrive midway without a viable reason. There may have been a previous event, such as a theatre engagement or an opera so if you are coming from there and everybody eksevgas arrived on time and you show up late, you had best apologise. Guests must only attend if they have been invited by the hosts. You can't just rock up to a ball and expect to be admitted. If a guests wishes to have a friend who is a stranger attend the ball, they can request for the host to invite them. Guests will arrive by carriage or on foot if they live nearby. If arriving by carriage, one must allow for appropriate space between coaches and room for them to pull out. Also, it is a good idea to remind your driver when to collect you. Guests are always expected to greet the hosts as soon as they can, thank them for the invitation and be courteous at all times. Guests should not comment negatively on anything the hosts have provided such as the food or music, it's better to reserve opinion until another less public event. Guests are encouraged to mingle but strangers must be introduced by a mutual acquaintance or even the host. Wandering off through any section of the house not designated as part of the ball is prohibited as is sneaking off into the gardens. Also if one expects to stay for the night (say you live far away and have travelled to get there) you must have requested it of the host a few days at least before.

Dancing Etiquette

Dancing is one of those things in this era that isn't just a pastime but a ritual. Men asked women for the privilege of a dance, a waltz perhaps. Women would not ask a man. Women would have dance cards where gentlemen could request to partner them for certain dances. If a woman has turned down a gentleman for any reason but has no designated partner for the dance, she must sit that particular dance out. A lady should limit dances with the same partner lest it be a root of scandal: it is not considered terrible to dance two dances with the same partner but questionable if you were to dance with the same partner for multiple dances in a row. It is frowned upon for a lady to reject a dance partner when it is his honour after accepting him earlier. And also highly insulting for a man to spurn a dance partner he has sworn to dance with. It is usually customary for the man to ask whether his partner would like a refreshment, wherein he can escort her to find it. They may chat until the next dance whereupon he must excuse himself with a bow and relieve her of his company so she may dance with her next partner. When supper is announced, the last partner is ecoected to escort his lady into the dining room.

Timeline of a Ball

As stated above, Balls usually start around 10pm (but can be held earlier). Once all the guests have arrived and the hosts enter the ballroom, the dancing can go on. Around 1am there would be a light supper. Small refreshments such as canapés would be available throughout usually offered by footmen stationed around the house. Servants would stay up around the clock to unsure that everything runs smoothly, fetching drinks and later after the ball studying up. Balls would end about 3-4am, whereupon carriages would return to fetch guests and ferry them home. Guests staying would head upstairs. Anybody staying over would be treated to a breakfast in the morning.

Theme

Many balls were themed. Themed balls were usually announced months in advance to allow costumes to be made. A guest should not arrive without having paid attention to the theme as it not only can show poor time management but may be seen as an insult to the host. All guests were expected to adhere to theme where it be a "servant's ball" where they would dress as servants or even a Costume balls are all about extravagance but it's better to rein yourself in (we're side eyeing you, Kate Strong). The grandest costume ball of all time was of course Alva Vanderbilt's grand affair of March 26, 1883. Costume balls were very expensive affairs, with some guests spending up close to thousands of pounds/dollars on their looks. At one ball in 1893, the infamous Bradley-Martin affair, guests spent nearly $400,000 on their costumes - during a particularly bad financial crisis. The overall party cost $10 million.

Dressing for a Ball

Dressing as you know from the previous post is a large part of etiquette of this era. The right costume for the right event is paramount if one wants to make the right impression. Newspapers often wrote about who wore what so it was important to dress your best.

Men must wear a suit or tailcoat, always black. A ball is white tie so he must dress accordingly. He would arrive with a top hat which he would surrender to a valet. He would keep his gloves on when dancing.

Ladies are encouraged to wear a gown usually of a subtle colour with with a décolleté that leaves the upper arms snf shoulders bare. A woman's gown was important as it not only helped her stand out.

A sensible woman for goes her heels and wears pumps to dance as she will be on her feet all night.

Tiaras are beautiful but when dancing all night, it's perhaps best to pick the lightest or go for a simpler headpiece such as a feather or a broach. Wearing a heavy tiara all night while dancing will give you a migraine (it's painful).

Also it's better not to over accessorize. You don't want to be mid spin and all your pearls go scattering across the floor or catch a bracelet in your partners' jacket. Minimalism is best.

A woman may even chose to decorate her gown with fresh flowers.

How to Behave at a ball

Gloves are to be worn at all times when dancing. You only remove your handling food or playing cards. White gloves are preferred but light shades can be forgiven. Gloves for women are worn to the elbow, men's to the wrist.

No lady should arrive at a ball without an escort, either an older woman or a family member.

Men who come to the dance and are unwillingly to dance despite being able to should stay away (I'm not kidding, this is in several etiquette books)

Married couples are not expected to dance together but it is not barred.

A man should always be careful of his lady's train and that of any other. Do not stand on them.

Outward PDA is not permitted. A kiss on the hand or kiss on the cheek is permitted, as is a hand tucked into the crook of an arm but one must swing out of people.

Don't hurry onto the dancefloor (even if it is your song)

When a gentleman seats a lady at the table, he must offer her thanks for her favour.

If a lady does refuse to partner a gentleman but then dances that dance with another without prior agreement, the gentleman is expected to restrain himself from confronting her. He is permitted to never offer her a dance again if this happens.

No lady should ever be unaccompanied at any time. They should have a companion or an escort to make sure they are kept in the loop at all times.

If dancing a set, your choices must be made swiftly and wisely.

A gentleman is without saying barred from going into the women's coat room. That's a no no, stay out of there.

If a gentleman wishes to partner a woman he doesn't know, he must have a mutual friend to introduce themselves and if they don't have one, the host would be on hand to introduce them.

When attending a ball, it's better to avoid heavy topics of conversation. It's better to stick to neutral smalltalk. No party is enjoyable with people standing on soap boxes.

When dancing, good posture is not only favourable but stops the body from any undue movements.

Try not to join in when the dance is midway or almost over. Be prompt.

If your partner is missing, you should not replace them. You should sit the dance out.

The hostess is in charge of ensuring that her female guests are provided with a partner if they wish to dance and gave not been asked.

If a man accompanies a woman to the ball, he's expected to dance with her on her first and last dances of the evening.

If one invites a lady to a ball, a carriage must be provided to ferry her.

Popular dances of the era

Waltz: The Waltz is seen by many as a reserved dance nowadays but in this era it struck many as a questionable dance because of how close the couple must get. It is a simple dance, requiring 6 steps all with a "box step". It's an elegant and popular dance of the time. A gentleman or whoever is leading should place their hand on the waist of their partner and their partner should rest their hand upon their shoulder.

Cakewalk: The Cakewalk had it's beginnings with enslaved peoples on American plantations. It was a satire poking fun of white plantation owners, mimicking the way they behaved at their own balls. It was later adopted into white society who did not get the joke. It was a group dance where multiple couples set themselves in a square (men on the inside), stepping and strutting to the music. In some instances, a cake was awarded to the most impressive couple which gives the dance it's name (also because it was a piece of cake to perform). The Cakewalk is seen by many as the seed of many of the jazz dances that would dominate the 20s.

Polka: A Polish dance. It requires 3 swift steps followed by a hop. The music is at is 2/4. The couples circle about the dance floor.

Krakowiak: A Polish dance for multiple couples. The leading male dancer (from the first pair) leads the steps for all the couples, and on approach to the band must tap his geeks and sing an improvised verse to his partner, the rhythm the band must match. The couples break up to form a circle. The leading couple will remain before the band. The couples would then dance around the room during the rest of the tune.

Mazurka: This is a lively dance, with it's beginnings in Polish folk dance. Couples gather in circles. The dance requires music with a forceful accent on its second beat, in time at 3/4 or 3/8. This dance has no set figure, relying on the skills of the couple yo improvise. However there are over 50 different steps.

Redowa: A Czech dance. The dance begins with a closed position, their clasped hands pointing the direction they will dance. A leader (the first couple) will take a slight leap around his partner with their left foot tmfollowed by a gliding step with their right. This foot must be pointed, the left leg slightly bent and the back straight. The next set turns the leader about toward the front line again, their left leg is now forward and straight, the right now bent. The left leg is now meant to tuck beneath the right leg with is extended backwards. Another leap to the right leg finishes the pattern. The next couple, the follower, begins movement on the early beats where the leader makes moves on the second set of beats

Castlewalk: The leader moves forward while their partner goes backward. The partner is guided around the room, the leader's arm around their right side under whilst their lest hand rests on the leaders opposite shoulder. Their other arms are clasped, held aloft. The leader begins on their left foot, their partner on their right. They will move with gliding steps, stepping on each beat of the music. They will dance in a circle, moving about the room with other couples, their circle gradually growing smaller and smaller on three very quick turns.

Quadrille: The Quadrille is an older dance but still very popular in Gilded Age America. It is made up with a series of 4-6 contredanses (country dances). The Quadrille is a group dance, made up of sets. The standard Quadrille is five parts, the Viennese contains six. Each section is danced with a combinations of figures. A combination was a set of steps and movements. Examples would be the ladies chain (chaîne des dames) or the two hand turn (tour de deux mains).

[rabbits-of-negative-euphoria]

i have been thinking about “forms” in music, but also “forms” in Greek philosophy (as the disembodied concept of a given thing), and how perhaps that same sense of form survives in our use of the word “formal” when describing clothes and events

[threadsun]

For [The Groom of Gallagher Mansion]: What year and age do you think Elias was murdered at? I know from one of the the dev’s tumblr post that he’s (at least) 25, and from the game summary that he died somewhere around the early 1900’s - BUT my Headcanons are telling me more late 1890’s lmao. So I was curious as to what you thought. Also, just. Elias. Yummy.

So given that he's technically Edwardian and not Victorian, he'd have to have died between 1901 and 1919. However, as we can see from right now, turns of "eras" when applied to monarchs don't actually cause major immediate social shifts. So if he died at the very beginning of the 1900s as I suspect, he would've grown up with late Victorian social etiquettes and expectations and they wouldn't have changed much before his death. Around that time in America, men generally married around age 25 or 26. However, given that he was never expected to inherit as the youngest of many siblings and the fact that they likely never planned for him to marry due to his disability, there's the possibility that he was older when he was set to marry Violet. I'd reckon anywhere from about 25-35? Maybe late 30s at a push? Then again, that depends on how many siblings he had, the age gaps between them all, etc. Because each of his siblings were much more likely to be in that range (26 for men, 22 for women) when they died.

[the-dimitrescu-seamstress]

Christmas in the Castle

(I have been pounding through this drabble since February. Yes, thank you work for sucking my brain dry and only just now giving back my inspiration in the past couple of days. Maybe now I will be able to get the Alcina measurement drabble done too.

Anyways, this was inspired by the art piece done by MARBLENarts, as shown here:

(twitter link)

So, without further ado, Christmas at the Castle.)

~~~~~~~~~~~~~~~~

Christmas inside Castle Dimitrescu was… odd, to say the least. The village didn’t truly celebrate it, at least not in the traditional sense of celebrating the birth of Christ, but rather it was done in conjunction with celebrating Mother Miranda. So, while the villagers gathered in the small church, giving praises and singing hymns to their leader, a more traditional version was being held in the castle that overlooked it. And by traditional, that meant the Edwardian Era.

Natural decorations of Ivy, Yew, Laurel, Holly, and Mistletoe bedecked the bannisters, doors, and hallways, along with ribbons of red, gold, and silver trailing about everywhere. Of course, Daniela had to add her own flare when it came to decorating, with colorful paper chains, lengths of cranberry and popcorn garland, and the more modern addition of metallic tinsel strung about the grand chandelier and suits of armor throughout the castle. One marble bust just off the Main Hall even wore a Santa hat… until Bela removed it.

Then it simply began hopping from statue to armor to animal head each and every brand new day of the season, much to the chagrin of the eldest daughter.

While the majority of the staff was tasked with helping decorate or carry in the tree that the Countess had chosen, Magda had been busy with her own duties. Per usual, the Countess had requested special Christmas attire be made for herself and each of her daughters. Such a request came every year, but thankfully they were never the same. Some year they were simple accessories, other years they were coats or cloaks, blouses, skirts, or any other garment Alcina could picture them wearing. Another minor godsend was that she never asked that they be matching. Each item was to be unique to the wearer.

This year’s gift was gowns.

Yes, Alcina gave her input, specifying what details were to be included and emphasizing that no amount of alterations were to be done, no matter how much the girls begged, pleaded, or threatened. Daniela was to be in green, Bela’s dress would be a ruby red, and Cassandra would wear gold, while the matriarch would be clad in white. Not cream or antiqued white, but actual crisp, clean, snow white, accessorized by a long, brilliantly scarlet draping wrap, and a bit of sparkle from the hip that would accentuate the length of her body.

“Really? Two reds? I know you wish to have their dresses reflect their necklaces, but do you think that will be fair to Bela?” Magda asked, well aware that her question might not be received well. “Why not change it to a rose? It is still a red, but different enough from a scarlet that there would be no competing with one another.” Her wording and tone made it seem nothing more than an off-handed thought, rather than a suggestion or counter-argument. The Countess was quiet for a time, mulling over the idea, something the seamstress knew not to interrupt. Let it all come to a natural conclusion.

Hopefully it would be one that was positive.

Eventually the tall woman agreed that, yes, it would be gauche to have them both wear the same color, even if the number of people viewing said garments would be limited. Magda suspected that, even if she were living alone on a mountaintop, Alcina would still wear proper makeup, have her clothing neatly pressed, and maintain proper etiquette, all because she could. And that etiquette would continue until the end of time.

~~~~~~~~~~

“I’m not going to be a goldfinch for my mother.” The voice those words belonged to was tired and irate, as if the speaker had been finally discovered and dragged out of her hiding spot. And, since the speaker was Cassandra, that had been exactly what had happened.

It had been a week since Magda began her project, and it had been going well for the most part. Measurements, discussion of styles, and mock-ups were followed by the the cutting and sewing of fabrics. At least, all but one. Scraps of rose, white, and green fabrics could be found around the sewing room, but the bolt of gold remained rolled up and untouched.

“I take it that your mother finally coaxed you out of your hiding place?” the seamstress asked the taller brunette, who answered with a small snort and roll of the eye.

“If you mean by ‘coaxed’ that she threatened to lock away every single one of my blades and deny me hunts unless I take my sisters along, then yes, she ‘coaxed’ me out of hiding.” With a sigh, the anti-social shadow that was Cassandra slunk into the room, gloved fingers trailing over various objects and fabrics as she went. Thankfully, no blood trail was left behind. At least there was that simple kindness, Magda thought.

“It’s a simple Christmas gown, Cassandra. Nothing more. You’ll wear it maybe once or twice and that is it. I’ll make sure you are absolutely beautiful in it.”

“I’m not going to look beautiful in it. I’ll look like a lemon, and Daniela will laugh at me,” the middle daughter countered, eyeing a pair of shears.

“Well, thankfully it’s gold, not yellow, so at most you’ll look like a gold nugget, not a lemon,” Magda drily commented. In an instant, the distance between the seamstress and Cassandra had closed, with Cassandra’s hand clenched tightly around the other woman’s throat.

“If you weren’t so beloved by my mother, I would see how well that gold fabric soaks up your spilt blood,” she growled before retreating back to her original position in the room. There was a silence that filled the air as Magda rubbed her throat; one of acknowledging mistakes being made and pondering how to fix this problem. Mostly this thinking was on Magda’s part, as Cassandra preferred not to concern herself on the subject of dresses.

“What if… we chose a different color?” Magda offered after a few quiet moments. “One where Daniela couldn’t make fun of you?”

“What, purple? Eggplant. Orange? That’s obvious. Black? Mother wouldn’t allow. Brown? Silver?” she just laughed.

“Blue, Cassandra.” The response was firm, but even toned, with reassurance growing as she spoke. “A nice, soft shade of blue. Not too dark and not too light. You would look elegant, and your sisters would be hard pressed to come up with a way to make fun of you.” Cassandra fidgeted back in forth with the suggestion, her mind worrying at it like a dog with a bone, trying to find any problem with it. There was really no way you could make fun of the color blue. Sure, the sky could be a choice, but that was a vast and wonderful thing. Birds and flowers were too, but bluebells and bluebirds didn’t have a sticking point that other jabs did.

“All right, fine. Blue. That sounds… fine. Anything else? The shape? The look? I don’t want bows or ribbons or girly things. That’s not me.” Ever the stubborn child.

“I know your preferences, Cassandra, and I promise your dress will not be girly. Daniela’s is a green velvet with slink and sex appeal, as she put it. Bela’s is a rose taffeta that will speak of status and royalty, and your mother’s is a white beaded silk that is absolutely full of sophistication and good taste. Yours, though? Yours will be… you. A silk linen, showing the weave and weft of the fabric if you look close enough. Yes, I would like to add some minor frills with lace trims, but no more than what your own necklace and makeup do for you. You will look elegant, but not outrageous.”

“Fine, whatever. Just don’t make me look like an idiot,” she replied, crossing her arms with an exasperated sigh.

~~~~~~~~~~

They worked together over the next few days; designing, measuring, and fitting. It would have gone faster had they kept to normal hours, but Cassandra insisted on having her work done late at night, when most of the household was either asleep or preoccupied with other activities. Did take a toll on Magda? Yes. Which was why, upon learning the intentions of the middle Dimitrescu daughter, she worked quickly to finish the other gowns, allowing her a few more hours of sleep as each one was finished.

Daniela’s came together the quickest, as it was the most simplistic; all thanks to the redhead’s desire to make it sexy and off the shoulder. A bit unorthodox, but the demands were met, and Magda promised that the youngest Dimitrescu daughter would be very sexy, especially if she added black, opera-length gloves to the dark hunter green dress. Yes, the Countess had said no alterations were to be done, but these were simply tweaks, especially compared to Cassandra’s changes.

Bela’s present? Magda’s relationship with her allowed some respite, perhaps even some leisure while creating the garment, as the eldest daughter assisted in small, time-saving ways. Much to Magda’s chagrin, she cut a few of the pattern pieces out while the seamstress was absent retrieving supply deliveries. She even assisted in pinning and preparing them for sewing, but the line was drawn for any further assistance. After all, it wouldn’t be much of a present if the person it was intended for did most of the work. Nonetheless, the help was appreciated.

Alcina’s gown naturally took the longest, if only due to the amount of fabric and how much was needed to be layered one on top of the other. Admittedly, a corner was cut when it came to the bit of sparkle from the hip to the hem. As much as Magda wanted to, the idea of hand-embroidering metallic thread with crystals and beadwork was not going to happen, not when it was such a large surface to cover. Thankfully, her fabric sources had found a roll of white satin beautifully decorated with crystalline roses and snowflakes, the design of which would work perfectly with the silhouette.

~~~~~~~

It was the final days leading up to Christmas, and Magda was finishing hand-sewing the lacework along Cassandra’s neckline, when that very person darkened her doorway once more.

“What if she’s not happy with me not being in yellow?” the tall figure asked, lingering on the threshold, as if unsure she should even have spoken or made an appearance.

“Then I will be the one to suffer the consequences. After all, I am the seamstress. Not you,” Magda answered simply.

“But I was the one who said to make the dress a different color. Why should you be punished?”

“Because I was the one who listened to you rather than your mother. There is a hierarchy in this castle and, unfortunately, you and your sisters are not the Countess. She has final say, which I ignored. But really, I doubt there will be a problem.” At least, she hoped there wouldn’t be a problem.

“Blue isn’t yellow! That is a problem!” Cassandra snarled in a sudden outburst. Magda responded with a sigh and a gentle look towards the brunette.

“No, it isn’t. But they are complimentary colors. Just like red and green. They are opposites, and they work well together. Frankly, I agree that neither yellow or gold would suit you. It would have given you an additional harshness which would have done nothing for you. But had I said anything to that extreme towards your mother, I’d likely be currently in a barrel. So, instead? Your… apprehension gave me a way out, and I went with blue. It is a color that conveys wisdom, peace, and patience… among other things. Your mother expects you to behave one way; the independent daughter, the mighty hunter, the stalwart warrior. So, why not surprise her with a different Cassandra?”

“All sweetness and light?”

“I never said that. But, instead of being the sharp stiletto that stabs everything, how about pretending to be the soft, velvet lined box that holds it?” Magda asked with a simple shrug. “Same thing on the inside, but a different exterior.”

Cassandra stared at the mortal for a long, drawn-out moment, thinking many things. Some were logical, others were violent, and some that would only make sense to the middle child of Countess Alcina Dimitrescu. But nothing really prepared Magda for the words that came out of her mouth next.

“You’re doing my hair and make-up to match my dress and your idea. If you’re going to change something, why not go all the way, little tailor?”

~~~~~~~

A few evenings later, the seamstress stood in a side doorway of the Main Hall, watching the decorating of the immense tree alongside a rotating number of maids who paused in their chores to take in the tableau. Daniela sat on the floor, her velvet gown pooling about her as she held a large bag of ornaments in her lap, while a garland of tinsel draped over her shoulders and around her arms.

She must not have been able to find the Santa hat, so the tinsel had to do.

Beside her, Bela acted in a nonchalant and innocent manner, giving no indication as to the fate of the poor little hat. She demurely taking each bauble that was handed to her and examining it as if it were some long lost treasure worth more than the glass it was crafted from. Bedecked in her rose colored dress, she looked practically angelic.

The blonde girl would then hand the chosen bauble to her mother, whose figure towered even more so than normal, due to the fact that she stood on what had to have been the most sturdy chair in the entire village, in order to reach the highest point on the gargantuan tree that was already festooned with lights and color. The scarlet wrap still trailed on the floor despite the added height of its owner, but it framed the Countess and her gown beautiful, to the point that the seamstress wondered just exactly how she would outdo herself next year.

The was a soft sound from the staircase, and Magda looked up to spy Cassandra descending, hiding something behind her back. The girl look almost human and innocent, what with the clean face devoid of blood, the softening make-up, and a hair style that painted her in a completely different light. Gentle innocence, perhaps?

Daniela was the first to notice, pointing at her older sister with a wry little smile, as if to say ‘you’re not matching, you’re in trouble’. Whether or not she was, Magda knew it was time to take her leave when she noticed two things. One was the manner in which the Countess’ eye slid from her precise decorating work to Cassandra’s unexpected appearance and then to the seamstress lingering in the doorway. It wasn’t anger, but rather assessing or appraising… with just the slightest hint of displeasure from having her orders ignored. The look from the woman’s golden eyes would have been enough to send anyone away, even if the second item of notice was the present Cassandra held behind her back.

Despite being gift wrapped, the gift was still decidedly head shaped.

Well, I could only do so much, Magda thought as she gave the Countess a slight bow and took her leave.

It was hours later, well after the quartet had finished decorating and exchanging their own presents, that Magda heard the telltale sound of heavy footsteps approaching. The staff would celebrate their own festivities with the family tomorrow, so it wasn’t as if she was being sought out to join in on the frivolities.

Magda had expected there to be comments made, which was why she was still dressed and idly puttering around her workspace.

She simply had no idea what the comments would be about.

A knock at the door, followed by it opening and the sound of shifting fabric marked the Countess’ entrance.

“Magdalena.” The slight, balanced edge to that single word was also expected, to which the seamstress quietly stood and politely nodded her head in greeting, hands clasped behind her back. “I thought I had been clear in my instructions regarding these gifts. No alterations. And yet, tonight, I saw one rather glaring change. My middle child in blue. I would have thought she had forced your hand, ruining what you had originally sewn, but now I see the golden fabric tucked away on your shelf, seemingly untouched. Changing tones and shades or altering cuts is one thing. But this?” Alcina’s anger was barely hidden by her elegant words.

“Cassandra requested I use a different color, Countess,” Magda explained, her gaze held downward, afraid to look her in the eye.

“And you obeyed her rather than myself? Do you have any idea what you have done?” A thin slice of worry turned to fear inside Magda as Alcina approached her with calculated, measured steps.

“I am sorry, Countess,” she replied softly, waiting to be struck, either by the hand or the claws.

In the end, it was neither.

“She looked like how she was when she first arrived.” The anger in Alcina’s voice was gone, and the words came out unexpectedly soft. Surprised, Magda looked up to find a mix of sadness, longing, and gratefulness in those strange eyes. “I thought I had lost that when she was reborn. I had expected to have the same young woman who was brought before me; quiet and gentle, crying and begging to be sent home, promising much and pleading even more. She needed a mother, and I thought I could provide that to her.” A shuddering exhale escaped her lips in a brief moment of vulnerability. “Instead, I was gifted Cassandra… someone who is more like myself than I would care to admit.”

Magda simply stood there; unsure about how to take in this information. She had been vaguely aware of how the trio had come about, through rumors and tidbits of information, but this was news of a different sort. Of course, she wouldn’t breathe a word of this outside these four walls, but even so… she had never heard Alcina be so changed. So motherly.

“I’ve seen that girl… that first girl… on occasion. It’s rare, but tonight? She was there. Both her and Cassandra.”

“So, you are pleased?” Magda asked hesitantly.

“It was a gift I never thought to enjoy again, and likely will never be able to replicate. Blue was the right decision, Magda. Thank you.” The last words were a whisper as that softness faded away. “But, in the future? Should you or my daughters wish to change my ideas or machinations? Don’t. Not behind my back. Come to me if they try such tactics again. Your work is excellent, as always, but do not test my ability to forgive disobedience. I doubt such a miracle will happen twice.”

“Of course, Countess. Thank you for the compliment.” A simple bow from the seamstress signaled the end of the conversation. Evening pleasantries were exchanged, and once the Countess had exited down the hall, only then did Magda relax and let go of the tension she held. Perhaps a nightcap was in order to calm whatever nerves she still had before settling down for the proverbial ‘long winter’s nap’.

At least now Magda had a year to recover.

[writer-somewhat]

This is an index of the many, many guides created by the Fountain Of Knowledge also widely known as @inky-duchess. However I decided to organize and revise to share, after seeing one ask about whether or not there was a compilation.

Also, I had to breakdown the list over multiple posts due to Tumblr's constraints, so I have added a handy list with each part.

Table of Contents

Part One Part Two ⬅ You Are Here Part Three

Character Creation

Appearance - Character Traits - Unlikeable Characters

Clothing & Accessories

Jewels Tiaras Part 1 - Tiaras Part 2 - Jewellery Beauty Hair - Cosmetics & Makeup Men Headwear - Fashion - Clothes - Uniforms Women Headdresses Part 1 - Headdresses Part 2 - Headwear - Gowns General Dressing Your Monarch - The Suit - Footwear - Peasant Clothes Clothes By Era Regency Fashion - Renaissance Gowns - Victorian Fashion - Edwardian Fashion Clothes By Culture Middle Eastern - Celt - Native American/Indigenous - African Traditional - Asian Traditional - Russian Court Gowns

Writing People

Kings - Queens - Princes - Princesses - Male Consorts Heirs & Spares - Mistresses - Bastards - Ladies In Waiting Ambassadors - Wards & Fostering - Servants - Royal Guards

Court and Courtiers

Surviving Fun & Games Male Court Positions Part 2 Female Court Positions Monarch's Council What Nobles Do

Big Happy(?) Family

Writing a Royal Family Part 2 Ottoman Harem Great Houses (19th-20th Century) Russian Nobility Medieval Household

Etiquette

Courting - How To Dress - Balls - Tea - A Day At Court - Court Etiquette

A Day In The Life Of...

Royalty - Queens - Princesses - Noble Ladies - Courtiers

How to be Social

Tis The Season Debutante Ball Balls Hosting a Society Dinner Food & Drink Letters & Correspondence Going Hunting Gestures

Court Archetypes

The Good King The Bad King The Good Queen The Bad Queen The Princess The Prince The Male Mistress The Advisor The Mentor The Pretender The Dynasty The Dethroned Royals The Courtiers Ladies-In-Waiting

[marzipanandminutiae]

If you were born in like 19th century England, do you think you would’ve been really into contemporary fashion, or would you have looked back at Georgian & Baroque? Do you think your love of regency/Victorian/Edwardian fashion more rooted in historical interest or aesthetic? Or do you think it’s too intertwined to parse?

I've thought about this a fair bit, actually. Whether, serious concerns like bigotry and inferior medicine aside, I'd actually make a Good Victorian. I'm not at all sure I would, even allowing for things like Humans Aren't Etiquette Manual Writers and People Have Always Been People. For one thing, until ragtime, a lot of the popular music was rancid IMO. There are only so many music-hall songs one can take, and only so many minor-key classical pieces or murder ballads to salve the pain.

But I digress.

In terms of fashion, I think I'd be able to find more things I like than I do now- but I'd still be looking backward somewhat. Even as a modern person pining for Victorian gowns, a lot of my favorite 19th century styles are revival movements: standing lace collars that whisper "Elizabethan," for example, or the 18th century influences of the 1870s-early 80s. Or Renaissance-esque puffed and slashed sleeves, or Etruscan Revival earrings. And of course, Gothic Revival has my entire heart in many ways. So I suspect I'd be quite artistic in my approach to dress back then, while still sticking to the basic silhouette of the times.

And good god, would I haaaaate having to update things to keep pace with the vaguely current Look. I'm very much a "find what I like and stick to it" sort of person in terms of aesthetic, and I like to wear and wear my clothing until it utterly gives out- in its original form, to be clear. For my own sanity, I'd be the happiest in a position where my support either didn't depend on respectability or where a bit of eccentricity in dress was allowed for.

So basically I'd have to either be born wealthy enough to never worry about money, or...I don't know. Marry a very rich gay man who runs in Artistic circles and doesn't need me to represent his business/law firm/whatever at parties.

I suspect, unfortunately, that I'd be somewhat curmudgeonly about fashion back then just as I am now (albeit less so). And this, friends, is the lesser micro-level reason I don't indulge in "born in the wrong era" talk.

[stickthisbig]

This is the second FUCKING time in two weeks I have gotten business correspondence from supposed grown-ass people where people with feminine names (me and other people) were referred to as "Mrs. (First name)"

NO. WRONG. DID YOU LEARN YOUR BUSINESS ETIQUETTE IN THE EDWARDIAN ERA, BECAUSE I'M PRETTY SURE IT WAS ALSO WRONG THEN

[ladytemeraire]

Someone explain to me why there are so many Regency period romance dramas when the later Victorian and Edwardian eras are right there with just as many rules of etiquette and social status and fancy dances and resultant yearning and far better and more interesting clothing styles

[junowyear3]

11.05.22

Glen’s Group Discussion

Points on my work:

Architectural- Architecture as a focus. Modern depicted of historical structures. Specific location

Sculptural / modeling. Digital sculpting

Structural

Futuristic element

Virtual Reality + Digital Reality (imagery that exists in real recreated/ simulated in an online space) + Alternate Reality 

Commercial aspect

Element of surrealism + Concept of Fantasy + ‘Escapism’ (Comfortable space for the viewer)

Highly rendered (yet also incomplete in aspects) + Fragmented visuals

Gaming

Storytelling + Worldbuilding + an Ecosystem

Fast paced videography, sense of flying (teleporting too?)

My notes taken:

Point on commercialism - Capitalism - this is super interesting, do I want to create a world fully engaged in fantasy? No rules? No limits? Utopia? This space exists in virtual reality OR do I want my world to have a sense of structure, with rules and etiquette (like how Xi Li made her world, with societal ranks and roles)

Love the comment of an ecosystem. Although I’ve always been more inclined to urban spaces over rural or natural spaces, this idea of an ecosystem which is thriving and luscious is lovely, if I learn to animate my models this feeling of an ecosystem will be more achievable (same applies to an urban environment, there’s a bustling and humming in those environments too)

This idea of fragmented visuals I love, this describes the glitches and inconsistencies of virtual spaces, now I can intentionally create more of this

Had a good discussion with Glen after this regarding the problematic aspects of using this East Asian architecture in my work, this was super helpful and I want to be more careful from now on

Edward Said’s theory on Postcolonialism- this is something I want to educated myself on in general- talking about the ‘false image of the Orient or the East that has been fabricated by western explorers, poets, novelists, philosophers, political theorists, economists, and imperial administrators since Napoleon's occupation of Egypt in 1798.’

Appropriation- finding a balance 

My addition of the East Asian architecture was reading as exotic and as ‘the other’ since it was in the context of a virtual ‘other’ world

Look at Sci-Fi architecture

Look at the architecture in the film ‘Dune’, specifically the earlier one in 1984

Look at different forms and time periods of architecture- Edwardian architecture is a Neo-Baroque architectural style that was popular in the British Empire during the Edwardian era (1901–1910).

Look at contemporary architecture- and the plans of architecture that isn’t logistically do-able. They aren’t designed to be built, so the restriction of functionality and practicability doesn’t apply to them, this allows a lot more opportunities with the creative aspect of the designs. !!!

Contemporary architecture rethinking structural form from the 1950s Brutalist architecture- characterised by their massive, monolithic and 'blocky' appearance with a rigid geometric style and large-scale use of poured concrete.

Zaha Hadid architect- fluid form architecture. I have the perfect tool in my 3D modelling program that could recreate forms like this.

Homework is to look at loads of different styles of architecture

[inky-duchess]

Etiquette of the Edwardian Era and La Belle Époque: Courting

This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.

I get asked a lot about courting, what's acceptable or what's off limits and how one may woo a prospective spouse. So let's explore how to win the hand and heart.

Meeting (not so cute?)

Firstly, it is really difficult to have a meet cute in the Edwardian era. Women and men are kept separate for most of the day, only really getting to meet at designated events: A dinner, a ball, a social event. Meeting in the park is a cute idea but a gentleman can't just approach a lady (or another gentleman) without being introduced by a third party, either a senior party or a mutual friend. However, an introduction at a ball is sort of like Cinderella's get up, it ceases to matter when the ball is over. Your gentleman must not approach a lady after that ball, he must be reintroduced. Once an introduction has been made, he can speak with her.

An Interest

When an introduction has gone satisfactory, a gentleman must make the first move by calling to her parents'/guardian's home and making a formal request to begin courting. Her parents/guardians must consent, usually leading to a short brief interview of the gentleman's family, his connections, his wealth (though in not so vulgar terms, they may inquire where he lives which is an indicator). The woman's opinion did matter, she could give her reasons for accepting or turning down the offer. When the interest is approved, the gentleman can start offering invitations.

Three's Company

Of course, just because the parents agree, doesn't mean the couple gets to be alone. The young lady will be accompanied by a chaperone either a lady's maid, a governess, her mother or another female relative. While the couple is together, the chaperone will always be a few steps behind or have them in sight. She's there to ensure that nothing more than a conversation happens. This is not only for her young lady's reputation but also to save the man from any claims of impropriety. The chaperone also serves as a sort of spy, gauging whether this relationship is worth pursuing.

Activities & Tokens

A gentleman may invite a lady out to lots of different activities. He can invite her for a promenade at a local park or gardens, out the theatre, visit her at home, invite her to galleries, to balls or to be his companion at sporting events such as the races, tennis matches or boat races. When visiting in the house, the gentleman would be expected to speak with all the family, be polite and courteous. This is how the family guages his suitably. The gentleman must provide transportation and funds for any excursion. Gifts are to be refined as well. Expensive gifts are considered vulgar and will likely be turned down. Small gifts such as flowers, books, cakes are acceptable. Gifts aren't as important as the time spent together.

Rules of Engagement

There are certain unspoken rules surrounding courtship that every gentlemen must follow for a successful courtship:

A gentleman should always pay attention to his lady, and not exclude her or cast her off for others

A gentleman never smokes in front of his lady nor forget to remove his hat.

A gentleman must always offer to refresh his lady on an excursion

A gentleman must defend his lady from any offense be it an insult or a scene unfit for her eyes or within an argument. Throwing in an apology for any offense can add a cherry on top.

However if she's the one giving offense, without any reason, the gentleman must seek to create peace, apologising on her behalf.

When walking, a lady will be placed in the inside of the pavement.

A gentleman should never spend above his means to impress his lady. Staying within his means is not only smart but a show of restraint and a glimpse of what life ought to be if they marry.

A gentleman should always offer his assistance when a lady is exiting a carriage or going up a flight of steps or carrying anything heavy.

If a man accompanies a woman to a ball, he's expected to dance with her on her first and last dances of the evening.

A gentleman must always make his intentions known and not string a lady along with no intention of marriage. He must never joke about his intentions or lead her on.

Marriage

Courtship usually promises marriage which is why a gentleman or lady should not enter into courtship unless they would consider marriage. Courtship may last a few months or a few weeks and while it is going on, both sides should consider whether marriage would be a viable option of either of them. Parents/guardians would be consulted, the gentleman must make his intentions known to her father or nearest male relative before approaching the lady and popping the question. A courtship that doesn't end in marriage is seen as a failure and may damage the reputation of both parties, leading people to wonder what happened and who is to blame. For example is a perfectly eligible gentleman will not marry a perfectly eligible lady or she turns down his offer, people will usually leap to the conclusion that there is something lacking.

LGBTQIA+ Courting

Gay people have always been here. They have courted and they have loved. Whilst it was illegal in this time in many parts of the world, love did prevail. (fun fact: lesbianism wasn't illegal because nobody wanted to explain what it was to Queen Victoria). The good thing to know is that courting whilst gay was likely easier in this period. Whilst there were restrictions and rules for straight couples and chaperones haunted their every step, none of this would happen if two people of the same gender stepped out together. Two gentleman going to the opera together or dining at a restaurant or attending a ball together (dancing in public was unlikely) or two ladies promenading in the park or attending a concert would not be examined like a courting couple. They would have more freedom to move around but of course, with legal impediments PDA was kept a minium. Whilst they wouldn't be allowed to marry legally, there was little stopping couples from moving in together. Nobody would say much about two spinsters sharing a home or two bachelors crashing together

[yesterdaysprint]

Willmar Tribune, Minnesota, August 18, 1909

[the-modern-edwardian]

Here's something I have you might like! I got it at a free table at the library and not only is it beautiful to look at but I was surprised to see the inside listing the name of Charles Dana Gibson's wife. That's when I knew I should share it, even if it's not fully Edwardian.

[vintagereveries]

Edwardian Cooking and Kitchen Advertisements, Advice, and "How to"s from 1917

This entry is part 7 of 7 in the series The Modern Priscilla - April 1917

Here are some misc scans – it appears to be the cooking and kitchen section of the April 1917 issue of The Modern Priscilla… being a terrible cook and uninterested in cooking, I didn’t bother to read any of these articles, and barely looked at the vintage ads for Quaker Oats, Boss Ovens, and Cocoa. It looks like this includes an article on how to restore old furniture, how to select household silverware, planning meals for a family, and how to set the Edwardian bride’s luncheon table.

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Edwardian Cooking and Kitchen Advertisements, Advice, and “How to”s from 1917 was originally published on VintageReveries - Vintage Fashion and Ephemera Blog

[rosalyn51]

Downton Abbey: The Exhibition Has Arrived, and I Gawked Like a Peasant

Or "gawped," as Carson would say.

In the sixth season of Downton Abbey, the Crawleys reluctantly agree to open up their home to the public as a fundraiser, and must contend with gawking villagers who are appropriately stunned by the opulence of the house. And that is exactly how I felt during my time at a press preview for Downton Abbey: The Exhibition, which is now in Atlanta through winter of 2022. After being greeted by a video introduction from Carson (with “that’s Mr. Carson to you” energy), visitors can walk through display rooms as well as set recreations at one’s own pace in this self-guided tour (there is an audio tour available for an additional cost, although it is not narrated by cast members).

The Tour: That wonderful opulence begins at once, as wooden doors magically open into a large display room that showcases the characters alongside history from the Edwardian era and props from the show (which are really fun to inspect). There are many, many small treasures here, including drawers to open and listening stations to learn more about the time in which Downton is set (roughly 1912-1926). Hand sanitizing stations are numerous but discreet, so you can feel safe as you paw at the gems. (Of note: masking is required).

At the back of the Great Hall, visitors can fill out a digital questionnaire to see if they would be “fit for service” (I could have been a cook, evidently; another journalist was rejected on the spot), before moving on the servants’ quarters. This was personally my favorite part of the walkthrough; from Carson’s cozy pantry, to the kitchen and the Servants Hall, my future career as a cook really started to make sense. These rooms are completely built out like the real sets, and have the feeling of being in the actual house. (Something I learned: The kitchen and a few others areas featured in the series are not actually in the real Highclere Castle, and were built just for TV.) Some of the furniture featured was used in the show, but most of it was picked out by the show’s prop master to mirror what was used in filming. I wouldn’t have known the difference anyway, because there are so many wonderfully crafted visual and auditory touches that really make these rooms pop, including a boiling copper pot and the clanging silverware of a busy kitchen.

Separating the servants’ area from that of the family is another video room with projections across three of the walls that play scenes from the show charting the history of the house. Dabbling from the business of the estate to its use in the war to what comes next is a nice transition back to the rich red carpet that adorns the first and last parts of the exhibition (although it is very dark, I almost tripped over a bench at one point while being drawn in by the Dowager’s display).

There are two interesting sets to admire here, including the Dining Hall (complete with a video etiquette lesson from Mr. Carson) and Mary’s bedroom. In between are over 50 official costumes from the show, mostly worn by Lady Mary, Lady Edith, and the Countess of Grantham (although some of the men and the servants’ adornments are featured), and they are stunning. The details are exquisite to see up close, as are the accessories displayed throughout. It all made me feel very poor, as is befitting my station.

The tour ends with a final video room that has a tonally dissonant montage of all of the deaths in the series, before switching gears to some of the funnier and lighter moments. Both served to remind me of the ups and downs of Downton’s storytelling; the richness of the setting and the costuming and the excellence of the cast sometimes being let down by the more absurd plots. But The Exhibition is, on the whole, a celebration of the best of Downton, and everything that made me fall in love with it and remain a fan through it all. It’s a loving homage to a beautiful show, and a recommended stop to experience a little of Downton’s magic stateside.

The Cost: Tickets are priced from $36, and children 14 and under (accompanied by an adult) receive free admission. Beginning Saturday, September 25th, the exhibition will open daily between 10am and 6pm (last entry at 4:30pm); tickets and more information are available at downtonexhibition.com

My note: Admittedly the ticket price is a bit steep, although in line with similar exhibitions in Atlanta—and with much easier parking. There is also money to be spent in the gift shop, including a “What Is a Weekend?” mug that I had to have.

#MyATL

*Downton Abbey Exhibition opens in my hometown Atlanta today (September 25, 2021)! Downton Abbey movie sequel ‘Downton Abbey: A New Era’ in theaters March 18, 2022. 🎩💃💕

[marzipanandminutiae]

As far as the periods you know best go, was there a meaningful difference between what a fully adult but young and unmarried woman would wear versus what a middle-age, happily settled woman would wear?

The periods I know best being, roughly, the Victorian and Edwardian eras? Let me see (with the caveat that this like a 70-year span and I'm being extremely general here).

Well, you do read a lot of talk about debutantes wearing pastels or white, and very light, airy, simple gowns. And some etiquette manuals held that married ladies ought to be more sedate and conservative in their dress. Certainly an attitude prevailed that slavishly following fads was silly but somewhat understandable for young misses, but entirely beneath the dignity of their mothers and aunts.

However, in practice, I've seen dark and severely-cut dresses that belonged to young unmarried women and pastel confections worn by middle-aged wives and mothers. And everyone would have been expected to stay within 5 years or so of the current silhouette to be Respectably Dressed(TM). So it seems to have been the sort of thing where there were cultural expectations, but they were quite often ignored.

Hope that helps!

[ladylabsinthe]

Movie Theatre Etiquette