My brand new book Rose’s Dress of Dreams is now out in the world – and I couldn’t be more delighted! I’ve had such a wonderful time working with incredible illustrator Kate Pankhurst and the team at publisher Barrington Stoke on this book for the super-readable Little Gems series.
Like my Sinclair’s Mysteries books, Rose’s Dress of Dreams takes inspiration from real-life history. The story is inspired by Rose Bertin, Marie Antoinette’s dressmaker – who is often described as ‘the world’s first fashion designer’, and the creator of haute couture as we know it today. Here’s a bit more about the book:
Young Rose dreams of sewing stunning dresses for the women of Paris. But when a chance encounter with royalty changes her life, Rose must draw on all her skills to create the most breathtaking dress of them all.
Inspired by the life of Rose Bertin, the woman credited with inventing haute-couture, this is a story to inspire bold girls and boys everywhere.
You can buy a copy now from: Waterstones | The Hive | Amazon
To celebrate the new book’s publication, Barrington Stoke organised a fabulous mini blog tour with special content (including an advance look at some of Kate’s gorgeous illustrations) hosted by an array of lovely bloggers. You can catch up on the tour here:
1) BookLover Jo: Q&A with Kate Pankhurst
2) Minerva Reads: Video reading from the book
3) Space on the Bookshelf: Some of the images that inspired the book
4) Library Mice: A sneak peek at Chapter 5
5) Almost Amazing Grace: Q&A with me (with extra questions from Year 6 at Shakespeare Junior School in Eastleigh)
If you want to read more about the book, then you could check out this piece I wrote about it for the website Female First and also this piece for Foyles in which I explore the historical background to the book – and the story of the real Rose Bertin – in lots more detail (if you love my ‘Behind the Scenes’ blog posts, then this one is for you!)
You can also of course check out my Rose’s Dress of Dreams Pinterest board, which is crammed with gorgeous images that helped inspire the story.
I’m especially thrilled that Rose’s Dress of Dreams has been selected by Children’s Books Ireland to be part of their fabulous Bold Girls project, celebrating the centenary of women’s suffrage in Ireland. Bold Girls is highlighting and reviewing books that feature strong, intelligent, self-possessed female protagonists in children’s books – and their Reading Guide features both Rose’s Dress of Dreams, and the anthology Make More Noise! The reading guide is crammed full of loads of brilliant book recommendations, and also celebrates twenty female Irish authors and illustrators, both emerging and established, who have made an exceptional contribution to the canon of Irish children’s literature. You can download it here – as well as lots of other material such as classroom resources and a beautiful poster.
To celebrate the publication of Rose’s Dress of Dreams, I also wrote this piece for them about why I think Rose is a brilliant example of a ‘bold girl’!
Finally for publication week, Barrington Stoke organised a lovely celebration of Rose at the London Book Fair – complete with a special chocolate cake. Sadly I couldn’t go as I was at home with tonsilitis (feeling very sorry for myself!) but I’m so pleased that everyone was there to wish Rose well – and I’m looking forward to more celebrations very soon!
After my recent Behind the Scenes post all about Edwardian fashion, I’ve been looking forward to writing about one of the most iconic designers of the early 20th century, Paul Poiret – and his influence on The Midnight Peacock.
Born in Paris in 1879, Poiret started out as apprentice to an umbrella-maker and then worked as a dress designer before being hired by Paris couture house Jacques Doucet. His first design for them (a red cape) sold an impressive 400 copies. He went on to work for another famous couture house, the House of Worth, where he pioneered new modern shapes, and simple loose-fitting styles that were suited to a slim, uncorseted figure – and were very different to the fashions that Edwardian ladies typically wore.
These styles were often highly controversial – in fact, when he presented the Russian Princess Bariatsky with one of his kimono-style coats, she exclaimed:
What a horror! When there are low fellows who run after our sledges and annoy us, we have their heads cut off, and we put them in sacks just like that!
In 1903, Poiret established his own couture house where he focused on bold new styles including the hobble skirt, the cloche hat, the ‘lampshade’ tunic, and most daring of all the ‘harem pants’. His designs made use of strong shapes and lines, innovative draping techniques and a rich colour palette. He particularly disliked the pale pastel colours of his day, which he describes in his autobiography as:
…nuances of nymph’s thigh, lilacs, swooning mauves, tender blue hortensias, niles, maizes, straws, all that was soft, washed-out and insipid… I threw into this sheepcote a few rough wolves: reds, greens, violets, royal blues, that made all the rest sing aloud… There were orange and lemon crêpe de Chines, which they would not have dared to imagine… the morbid mauves were hunted out of existence.
Poiret took inspiration from Leon Bakst’s designs for the Ballets Russes as well as objects he saw in museums, and the latest modern art movements. He worked with a number of artists, who drew fashion illustrations or created textile prints for him – including Raoul Dufy and Erté. He also collaborated with art photographer Edward Steichen to create what is now considered to be the first ever modern fashion photography shoot. His work was enormously influential, and continues to inspire designers today. (The rich colours, lush fur trimmings and sumptuous embellished velvets of A/W 2017 are definitely very Poiret!)
But as well as being known for the artistry of his designs, Poiret was also a highly innovative marketeer. He gained a reputation for his theatrical flair for promotion, creating opulent and eye-catching window displays – some of which were inspired by the seasons. He wrote:
When it snowed, I called up all the faëry of winter by white cloths and tulles and muslins intermingled with dead branches, and I dressed the passing moment with an appositeness that ravished all who walked by in the street.
Poiret was also one of the first fashion designers to branch out into other areas such as interior design and perfume. In 1911, he unveiled a line of fragrances named ‘Parfums de Rosine’ after his eldest daughter.
Parfums de Rosine
He really pushed the boat out for the launch of his first fragrance, throwing a sensational party at his luxurious home in Paris, entitled ‘La Mille et Deuxième Nuit’ (the Thousand and Second Night). 300 guests attended the event, which he described as ‘an unforgettable fete’. His gardens were lit with lanterns and filled with tropical birds and monkeys: there were storytellers, dancers, ‘mysterious and sinful drinks’ served in ‘crystal ewers’ and Poiret himself appeared as the reigning ‘sultan’ of the evening, gifting his guests with bottles of his perfume ‘Nuit Persane’.
If you’ve read The Midnight Peacock, you won’t be surprised to learn that Paul Poiret was an important point of inspiration for the character of French fashion designer César Chevalier who appears in the book and teams up with Mr Sinclair for a lavish New Year’s Eve Ball to launch his new Maison Chevalier fragrance ‘The Midnight Peacock’. The Midnight Peacock Ball itself of course also takes some inspiration from Poiret and his lavish parties. The scented fan invitation which appears at the start of the book also takes its cue from Poiret, who used scented fans like this one to advertise his ‘Parfums de Rosine’.
The clothes that Sophie and Lil and the guests at the Midnight Peacock Ball wear are also very much inspired by Poiret’s designs – and I think he’d definitely approve of the rich purple cover! Take a look at the Midnight Peacock Pinterest board for lots more visual inspirations for the book.
If you’d like to read more about Paul Poiret, his autobiography The King of Fashion published by the V&A is full of entertaining snippets, whether he’s describing a black cloak as expressing ‘all the sadness of a romantic dénouement, all the bitterness of a fourth act’ or describing a fellow couturier as ‘pinning on ribbons with enchanted hands, modelling and draping and cutting out, with the great scissors he produced from his pocket, in a fire of inspiration, satins, taffetas, tulles and muslins…the joy and excitement that fill a true creator of fashion.’
The pictures in this post all come via my trusty Edwardiana Pinterest board (click on an image for the source) where you can also find lots more pictures of Edwardian fashion
Find out more about The Midnight Peacock | Buy now from Waterstones | The Hive | Amazon
Check out my other ‘Behind the Scenes’ posts exploring the historical background of the Sinclair’s Mysteries
*Don’t forget! You have until 18 December to enter my Midnight Peacock competition to win a signed book and a box of festive goodies. Sign up to my newsletter here to enter – or find out more*
Regular readers will know that my Behind the Scenes series explores some of the background to my Sinclair’s Mysteries books. I’ve written about everything from the real-life Edwardian department stores that inspired my fictional Sinclair’s, to 1900s gentlemen’s clubs, to the lives of Edwardian servants.
But one thing I haven’t yet written about is Edwardian fashion – which is rather surprising, given what an important role fashion plays in the series! And it’s also one of my favourite areas to research. So without further ado, let’s plunge into the wonderful world of Edwardian style…
From a contemporary vantage point, the fashions of the Edwardian era were incredibly elaborate. Ladies of fashion decked themselves out in ornate gowns, requiring an array of undergarments beneath. Typically these would include ‘combinations’ (a kind of vest and knee-length bloomers all-in-one), a corset or stays, and in some cases, silk pads on the hips to help create an exaggerated body-shape. Over this would be worn a lace-trimmed camisole, silk stockings and petticoats, and then finally the gown itself – often decorated with lace, embroidery, ruffles, frills and flounces.
The typical Edwardian lady, with ruffled gown and S-shaped sillhouette
Being an Edwardian lady required constant outfit changes (‘a large fraction of our time was spent in changing our clothes’ said Cynthia Asquith). There were different styles for every possible occasion – day dresses, evening dresses, walking dresses, riding habits, ball gowns, the fashionable new ‘tea gowns’ which were supposed to be worn whilst lounging in the boudoir enjoying afternoon tea, and many more. There were also a huge variety of accessories; as well as enormous wide-brimmed hats decorated with feathers, bows and artificial flowers, these would include gloves, parasols, jewels, fans, handbags and a range of outerwear – mantles, jackets, boleros, pelisses, and furs.
‘Calling or afternoon gowns’
Paris was very much the fashion capital and wearing a Paris gown was considered the height of elegance. Wealthy London ladies might make special trips to Paris to have their fashionable dresses made by a top modiste. Alternatively, they might visit the grand salon of a British couturier (like the fictional Henrietta Beauville, who appears in The Midnight Peacock) to select their made-to-order gowns and have them fitted. However, new ‘ready-to-wear’ clothing was also becoming available, meaning that for the first time, people could buy their clothing off the rack in a shop (as most of us do today) rather than going to a dressmaker, or making it themselves at home. Even the very wealthy, who continued to have their clothes made for them by fashionable dressmakers, would visit grand department stores like Sinclair’s to purchase blouses, hats, stockings, or even the occasional dress. ‘A day’s shopping in Town’ became a very popular entertainment and ladies would enjoy shopping for items like scent-bottles, dressing-jackets trimmed with swansdown, chemises, and boudoir caps.
At first glance, Edwardian fashions may seem as elaborate as their Victorian predecessors – but in fact, from the 1890s onwards, it was beginning to go through a significant change. Silhouettes were shifting away from full skirts and bustles towards a slimmer silhouette – firstly the swan-like S-shape that was so popular in the 1900s, then the narrow ‘hobble skirt’ of the 1910s. What’s more, simple tailored suits (known as ‘tailor-mades’) were becoming popular for women, reflecting the changes to women’s lives. The so-called ‘New Woman’ of the period needed more practical clothing for work, study and an active lifestyle. In particular the vogue for cycling meant that adventurous young women began to experiment with wearing bloomers or knickerbockers. Motoring also required practical clothes such as tailored skirts and leather topcoats which would act as a protection from the weather.
An example of some of the new tailored styles
Styles also began to move away from the pastel, feminine ensembles of the turn-of-the-century. From 1909 onwards, the Ballet Russes had a huge influence on fashion, setting a trend for bolder colours and new less structured, more flowing shapes. Empire lines, draped skirts, kimono sleeves, cloaks and turbans became popular. Some young women even wore pantaloons – though at first these styles were considered very daring and controverisal! The French designer Paul Poiret had a particularly important influence on this style. In The Midnight Peacock, these new styles are very much in evidence at Mr Sinclair’s New Year’s Eve Ball.
Some of Poiret’s gowns, featuring flowing shapes and vivid, jewel colours
In this way, it’s clear that the styles of the 1900s and 1910s were beginning to pave the way for the bold flapper fashions which would soon follow in the 1920s.
The pictures in this post all come via my trusty Edwardiana Pinterest board (click the image for the source) where you can also find lots more pictures of Edwardian fashions. Stay tuned for some more fashion-themed posts to follow soon!
Check out my other ‘Behind the Scenes’ posts exploring the historical background of the Sinclair’s Mysteries