Fans in the Age of Jane Austen

1 February 2026, by Vidita Gupta

In this week's blog post, Costume Society member Vidita Gupta gives us an insight into Georgian fans through the lens of The Fan Museum's current exhibition 'Fans in the Age of Jane Austen'.

When one thinks of Jane Austen, often the image conjured (courtesy of popular culture) is of charming candlelit parlour rooms, polite flirtations on the dance floor, anecdotes from around the world, and neatly dressed families navigating polite society. Though not inaccurate, this is a fraction of what was going on in Austen’s immediate surroundings. This is a period of rapid change, with impacts that have had a lasting effect on society's physical and social structures.

Marked by a global Revolutionary period, from the French Revolution and the Peninsular Wars to the American War of Independence and the Haitian Revolution, Jane Austen would have lived through times of unprecedented and accelerated transformations. She would have experienced Britain’s turbulent entry into the modern age through industrialised textile manufacturing, the use of steam power in industry and railways, scientific experiments and discoveries, and extensive philosophical discourse exploring human conditions, society, and the self.

These social, political, and economic developments had a considerable impact on dress and fans. The Regency period redefined clothing norms, transforming from the ornate fashions of the old regime to seemingly simple, high-waisted white dresses for women. This evolution in fashion demanded a corresponding change in the accessories. One can visualise the shift by contrasting the elaborate pre-Regency fan, intricately crafted from luxurious materials such as ivory and tortoiseshell, with its Regency-era successor. The slimmer dresses necessitated smaller, more understated fans, often crafted from cost-effective materials such as fruitwoods and horn rather than the once-preferred tortoiseshell or ivory. Some of these fans were imported from East Asia into England, highlighting global influences on design. This comparative snapshot of fans perfectly illustrates the period's shift towards simplicity and practicality in both materials and design.

Through the exhibition Fans in the Age of Jane Austen, we explore the world Austen would have inhabited through hand fans. The exhibition opens with an introductory case that contextualises the period by drawing parallels between milestones in Jane Austen's life and significant events of the time.

The exhibition explores the theme of love, one of the most evident and widely discussed in Austen’s works, in which female characters often face the choice between love and securing a financially stable future and societal status. Through these considerations, we are confronted with the emerging ideals of courtship and the notion that marriage can be based on mutual affection. Assemblies and balls offered opportunities for courtship, where dance fans (fans with dance instructions printed on them) played a significant role. Additionally, illustrations of types of lovers, depictions of men and women being publicly affectionate, and the use of Eros in the background are commonly found among fans of this period, reflecting changing ideals of love.

 

 

 

 

 

 

 

 

As much as socialising was part of people’s lives, Austen would have lived in an intensely domestic environment. There was an emphasis and romanticisation of everyday life. Home and the hearth became central to people’s activities. People lived in hamlets, villages and provincial towns and would often “take the waters” at Bath, visit coastal towns like Brighton and go shopping in London. Yet, there was a longing for the countryside, as seen through fans, to such an extent that the English landscape, complete with grottoes, sham ruins, and lakes, was artificially created. For the upper classes, their country homes were places for relaxation, hunting, fishing and shooting, as well as for throwing dinner parties.

The other overtly experienced transformation was in fashion. At the time of Austen’s birth, French sartorial norms ruled fashion, but by 1800 the stiffly boned corsets, hooped underskirts, and ornate silks were replaced by slim, plain cotton dresses with a waistline beneath the bust, while trousers replaced knee breeches. By the late 1790s, these smaller, slimmer silhouettes were accompanied by small, aesthetically pleasing fans. In the late 18th century, fans shifted from being owned by the elite to being an essential fashion accessory for all classes. With the advent of printed fans and the use of local materials, such as fruitwoods for sticks, fans were produced on a larger scale. These fans often depicted contemporary life, with printed literature, fashion plates, botanical drawings, music sheets, and portraits adapted to the fan leaf design.

Political themes and slogans were also widely depicted on cheap printed fans, especially in countries undergoing revolutions. For most of Austen’s life, England was a country at war. Her brothers, Charles and Francis, served in the armed forces, spending time at the North American Stations and making voyages to the East Indies and China. Wars often created national heroes, and the leading military figures of the time were Lord Nelson and the Duke of Wellington. These figures and military victories were usually captured in fan-printed or painted form. Under Napoleon, smaller silk fans, often decorated with spangles, became popular. These fans were known for their delicate, gauzy texture that shimmered softly in the light, adding an extra touch of elegance and luxury to their appearance. The ongoing conflicts disrupted trade routes, prompting manufacturers to use locally available materials. Yet, some French products, such as fans, sticks, and guards, still found their way into the British market.

 

 

 

 

 

Nevertheless, this movement of people around the world enabled many to explore the world outside England for the first time. Access to the international markets became easier. Products from the Americas and Asia became available to a broader segment of British society as trade grew rapidly, with ships arriving from Boston, Kolkata, and Guangzhou (Canton). Among other things, there was a huge demand for small ivory brisé fans, mass-produced in China. At the same time, cotton fabrics from India served the simpler Regency fashion. This society relied on material things as markers of social connection, gentility, and respectability.

 

 

 

 

These social connections were not just a result of expanding global trade but also part of society’s need to understand and cherish the world around them. In other words, the local sphere was connected to global production, consumption and practices. The world was experienced through games, theatres, and art, as well as through socialising in Bath and London. This was also a period of exploration and experimentation, as seen in fans depicting the first balloon flights of 1783, physics experiments, scientific botanical drawings, and the design and techniques used in fanmaking.

Some had a chance to explore further afield on the Grand Tour, collecting and bringing back souvenir fans from across countries. Mount Vesuvius erupted on several occasions throughout the 18th century, making it a must-see destination on the Grand Tour, and the eruptions became a popular subject in art, literature, and science, to the extent that many were depicted on souvenir fans. Visiting the magnificent British stately homes allowed those who couldn’t travel glimpses of the world. These estates were social hubs, hosting a variety of celebrations, gatherings, and parties, often offering a much-needed retreat from the hustle and bustle of cities. These fans demonstrate global contexts and complex cultural trade networks.

Thus, the exhibition Fans in the Age of Jane Austen presents fans that not only illustrate social transformations but also offer insight into domestic life and leisure activities in England, experiences Jane Austen might have had, and the influences on her writings. In turn, these tellings of Regency England have been reinforced by multiple adaptations of Austen’s novels through their exploration of Austen’s witty observations of love, class and female agency that continue to influence modern romance and feminist thought.

This is Jane Austen’s world through fans!

The exhibition is on show at The Fan Museum, Greenwich, until 21st March 2026. 

Vidita regularly visits exhibitions, reviews for which - such as DIVA at the V&A - you can catch up with on our blog.