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It was the publication of Mrs. Burnett's story that launched the Fauntleroy craze (1885). The book greatly increased the popularity of the style. The book sold well in Britain and the play was produced in London and other cities, including unauthorized versions. As a result, we begin to see more velvet suits and the classic Fauntleroy styling, including lace and ruffled collars and floppy bows. We beieve that the Fauntroy Craze began in Engand about the same time as in America, perhaps a little later. We do not yet have many dated English images.
One good example is a Liverpool boy in 1887 who had a large lace collar. The boy here probably about 1887-88 has a more modest collar with lace used as only an edging for the collar.
This could reflect prevalence, but we have much smaller English than American archive. We do not yet have any dated Engish images from the mid-1880s. We suspect that they exist, but we can not yet confirm them. We do have some from the late-80s. The Englisj collars and bows were never as large as in America. The Little Lord Fauntleroy suit was the first major American boys' style to cross the Atlantic and have an impact on Europe. The Fauntleroy suit is, however, not entirely an American style. Mrs. Burnett was born in Englsnd. As concerns, the Fauntleroy suit, however, it seems to have been her time in France that was the key fashion influence. But Ms. Burnett did not personally launch a fashion craze. It was nore the illustrations in the book and what mothers did with them. One common difference with American Fauntleroy suits is that the English suits were often done with bloomer knickers rather thn the streight-leg knee pnts we usually see in the United States. We also see a few boys wearing white stockings. A good example is Paul deBrinsky. This is also something you do not see in America.
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