Showing posts with label gown. Show all posts
Showing posts with label gown. Show all posts

Galerie des Modes, 48e Cahier, 4e Figure

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The tender Aspasie* sits with an air of nonchalance following the pleasures that love made her taste, liked to meditate on those that her beauty has right to make her hope: she is coiffed with a hat à la nouvelle Omphale, gown of striped muslin with an elegant border. (1785)

"The New Omphale, a comedy in three acts and in prose mixed with short arias, has been given for the first time at the theater of the Comédie italienne on Thursday, November 22.  The words are by M. de Beauvoir, previously known under the name of M. l'abbé Robineau, attached to the King's Library; we owe him for The Love Seeker and many other masterpieces which were and which will be performed for a long time by the delights of the theater of Nicolet and d'Audinot.**  The music is by Signor Floquet.

"It is the story so well-known from Seneca, titled Camille or the Manner of Escaping the Perfect Love, which has furnished the subject of the New Omphale.  In the story the scene is set in the time of Charlemagne; in the comedy, in the time of Henri IV.

"The motion of the poem is cool and slow, the ending of no effect ... The character of the music has generally been found to be very uniform, but different parts have been noted which are over everything that we have heard up to now by M. Floquet ..."

Correspondance litteraire, December 1782

* A very appropriate name, as Aspasia was known as "the new Omphale".  The original Omphale was a character from the story of Heracles.
* See 46th book, 3rd print: these are famous actors of the time.
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Galerie des Modes, 47e Cahier, 6e Figure

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This English Beauty chilled by the poverty that she meets in Paris, but throwing a proud air, an indifferent regard over the beauties she sees in droves at the Palais Royal, walks with a tone of majesty dressed in a large winter pelisse made of satin trimmed with sable with a long gown with double trims and a long-haired muff. (1785)

"Women coiffed à l'ingénue wear a straw hat whose edge is trimmed with a violet ribbon; the crown is high, à l'anglaise, trimmed with violet gauze; a pearl pin in the front; a bow or cockade on the back, whose ends, about two or three inches long, are hanging; on the hat, on the left side, a cluster of four white plumes, surmounted by a large violet plume, called a follette; on the neck, a cord in the form of a necklace at the end of which hangs a medallion."

Journal général de France, 6 December 1785 (later the Cabinet des Modes)
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Galerie des Modes, 46e Cahier, 6e Figure

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The young indifferent woman, after having carried despair into the heart of her lover, and made him feel her cruelty to the folly of adorers who obsess over moments without ceasing, walks with no inquietude, coiffed à la Cherubin, having a mantelet à la Circassienne, a muslin gown with a gauze apron. (1785)

"Plain satins for gowns. - Violet and grape-green, mixed, glazed; violet and marigold, mixed, glazed; green and marigold, mixed, glazed; grape-green, plain; cashmere, plain.

"Gauzes, of Italy, à la d'Artois, à la crème, anglaise, puffed."

Journal général de France, 6 December 1785 (later the Galerie des Modes)
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Galerie des Modes, 46e Cahier, 4e Figure

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Young Lady, aimless in appearance, having a tender air, in a public promenade, of the signals that announce what reduces her leisures and daily occupations: her coiffure is a hat à la Minerve and a pulled-up taffeta gown. (1785)

" ... In effect, added my father, despite the estimation that I have for Ladies and the fondness that I have for you, I cannot refrain from criticizing their coiffures and yours: it is, in my opinion, entirely disagreeable and the most attractive face in the world would be disgraced by it.  One hardly sees your forehead: your hair offends your eyes and seems to make you squint; your cheeks are shaded and the curls which accompany them render your face square: on the rest I may be wrong; it is necessary that everything be beautiful, since one suffers it without finding to reduce it.

"My lover stood aside to let my father leave and added further on this beautiful critique.  He told me obligingly that he only found me pretty, and that the new fashion made all the other women ugly; that they rather resembled lapdogs whose front hair falls over their eyes; that their hats must be used as parasols to protect them from the sun; that in seeing their hair hanging to the belts of their skirts, he would have taken them for young Lawyers; finally, that among the Ladies he had seen one en chemise who went without a doubt to bed in place of attending the wedding ..."

Journal général de France (later les Affiches de Nantes), 18 July 1786
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Galerie des Modes, 39e Cahier (bis 2), 5e Figure

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Lady in solitary daydream, with Muslin Gown and Petticoat trimmed with striped Blonde, spotted Gauze Mantelet, large Kerchief of plain Blonde, coiffed with a Bastienne surmounted with a Plumed Hat, watching, over her Fan, the Object of her reflections. (1784)

"Never have women dressed themselves with such simplicity.  No more rich gowns, no more trim on the gowns, no more three-row manchettes.  A straw hat with a ribbon, a plain handkerchief on the neck, an apron at home: no more curls, hérisson,* these follies of coiffure, no more cul-de-Paris,** gores, no more flounces ..."

The little Tableau de Paris, 1783


* This has come up frequently, but I never translate it.  Hérisson translates to "hedgehog", and it's used in reference to the very constructed, tall hairstyles of the 1770s - not the teased puffs of the 1780s.

** Probably bum rolls/hip pads.

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Galerie des Modes, 34e Cahier bis, 3e Figure

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Robe à l'Anglaise, rétroussé to give ease in dancing. (1782)

"In 1768, in its December issue, the Courrier de la Mode recommended as particularly favorable for balls, "English dress", with fitted sleeves, sabot cuffs trimmed with gauze, with a gauze apron without a bib* and bows on the shoes: such is still the costume of our dancer who has simply replaced the 'little English hat trimmed with flowers with a postilion**' with a tuft of plumes, an aigrette, and a bouquet."

* Bibbed aprons being mainly a Continental style.
** I believe this means a turned-up brim in the back.
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Galerie des Modes, 34e Cahier bis, 2e Figure

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I don't entirely understand this section, nor the next - the 34th, 38th, and 39th books are listed as having second versions that fit in, date-wise, after the 40th.  But as they are here, I will still show them.  (Except the ones which I can't find anywhere, such as the first in this section.)


Full robe a la Sultane, closed in the front of the bodice and pulled up in drapery on the side with bows and tassels; it has mancherons* like the Circassiennes; it differs from the ordinary robe a la sultane, which is open in front and without mancherons* like a Polonaise, the petticoat is coupé, the Coiffure is a turban. (1782)


"There was a very appreciated gown trimming in the winter, of fur bands.  But outside of cloaks and mantelets (see plates 25, 59, 70, for example), they could hardly be applied on the surface of court gowns (plate 46).  The preference was for marten, black fox; squirrel, beaver; ermine had as much success, and in 1768, for the half-mourning imposed for the death of the queen, the Courrier de la Mode taught that one used ermine skins 'colored with large and small stripes and in other patterns for different tastes'."


*Technically, the text says "manchon", which is a muff, so I believe this is a typo.

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Galerie des Modes, 40e Cahier, 2e Figure

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Robe à l'Anglaise trimmed with brocaded Gauze; the trimming is flat, edged with a Gauze frill. (1782)

The transition from the grand, hooped gowns of the reign of Louis XV to the supple and fitted owns which marked the end of the reign of Louis XVI is grasped very exactly.  This evolution was begun over a long period of time and around 1768, the editor of Courrier de la Mode could write:

"Women have succeeded from the grand paniers to simple elbows[?]*, have renounced multiple flounces; the tight gown trimmed with straight parements showing the elegance of their waist; all the too-awkward ornaments ...

"In general, there is in the manner of dressing today something more picturesque and less stiff than in that of other times; we make each day some steps toward beautiful simplicity.  No true taste in the parure without this noble simplicity and without an analogy between a parure and the part of the body to which it is destined."

Le Courrier de la Mode, April 1768

* Probably a figurative term for pocket hoops.
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Muslin Gowns and Silk Coats

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I was looking for ruffles in eighteenth century fiction (as you do) when I came across one reference to a white muslin gown with a lilac petticoat in the Lady's Magazine for 1780.

"A Series of Letters: Miss Wallis to Miss Greville", p. 143
Generally, in these periodicals, muslin is white and anything colored is silk.  I went looking for more references to fitted gowns (ie, not chemise gowns) of white muslin with or without contrasting petticoats - the muslin and silk combination is the most interesting to me and what I'd personally like to replicate at some point, but because white muslin is so often considered to have been introduced with the chemise gown, I also just wanted to look for more references to the gowns themselves.  But things will also get tangenty - think of this as a collection of interesting quotes that could lead to further research (or maybe clicks with something else you've read elsewhere, or inspires you in some way) rather than one of my "my goodness, I've discovered something" posts.




"Letter X: Miss Tasty to Miss Betsy Evergreen", The Lady's Magazine, 1780, p. 340

"Amantor and Emma", The Lady's Magazine, 1780, p. 292
Note: "tied up" rather than "en polonaise".

"The Dress of the Month: Ladies' Dress", The European Magazine, 1784, p. 400
Is "plain back" possibly the period term for the "quarter-back gown"?  How do these drawing strings work?

"Dress for Ranelagh", ibid.
"Dress for Ranelagh", ibid.

The Vicar of Bray, 1771, p. 35
The Weekly Miscellany, 1776, p. 88
This story recounts a visit to a "young man of family and fortune, lately married to a young lady reckoned a beauty" - is it about the Duke and Duchess of Devonshire?  The wife's sister, who is present during the visit, is about the right age to be Henrietta.  It's said that there is a "striking difference in [the husband and wife's] dispositions" and the general flavor of the anecdote is that this is an unhappy marriage with a husband who can act fondly towards his wife but does not seriously care for her feelings.  (Also note that later on the lady's said to be wearing a white satin petticoat with that elegant muslin gown.)

"The Matron", The Lady's Magazine, 1775, p. 691
And two rather earlier extracts:
Henrietta, 1761, p. 7
"Fine white Long Lawns for Gowns", J. Forster's advertisement, The London Chronicle for 1757, p. 624
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Galerie des Modes, 28e Cahier, 6e Figure

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Dress à l'Insurgente: this gown is a robe à l'Anglaise with pagoda sleeves, which usage has been adopted by the Anglo-American women: it is pulled up as our robes à la Vestale were pulled up in the last CenturyThe petticoat is trimmed with a band in the same color of the lining of the gown, edged with blonde lace and serving as a head for the gauze flounce: around the neckline of the gown a very fine scarf is attached, held in front by a ribbon bow, and which will recross itself finally at the bottom of the waist in the back, the ends of the scarf hanging and fluttering with enough grace when one walks.  The hat is of velvet, lined with white taffeta, trimmed with bands, plumes, and ribbon. (1780)

ROBE A L'INSURGENTE,* the points of the front pulled up and forming revers of a different color.  Flounced petticoat, trimmed on the head of the flounce with a band matching the revers of the Gown.  Sleeves in flared pagodes, held up with bows.  Amadis sleeves with turned-back parements, in the form of boots, trimmed at the head; scarf placed en palatine, uniting at the middle of the bodice, with a bow matching those of the pagodes, forming a necklace, being thrown back on the hips, and falling in back.

Hat à la Mariniere, of the form described in the caption placed below the Print.

* This probably refers to the American Revolution.


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Galerie des Modes, 23e Cahier, 3e Figure

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Robe à l'Anglaise, trained, of taffeta trimmed with gauze in poufs; hat of Italian gauze edged with plumes; below the ribbon is an aigrette and an héron of black plumes. (1779)

ROBE A L'ANGLAISE.  Amiable Youth with slender waist, see here what makes her shine.  Women who mutter against the Polonaises because they leave the train-bearers idle, do not complain any more; the Robe à l'Anglaise satisfies all.  It unites graces, majesty, magnificence, and simplicity at the same time: such that it is, it never ceased to be beautiful.

The elegance of the waist being the principle charm of these Gowns, they have declared war on mantelets with large hoods, flared points, and are only in agreement with round mantelets, such as that in the Print, with contis, or simply with bouillonné or trimmed fichus.


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Painting Costume Analysis: Pamela Series, Part Five

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V: Pamela Leaves Mr. B's House in Bedfordshire, Joseph Highmore, 1743-4; Fitzwilliam Museum M.Add.7

Finally, finally, Pamela's starts and stops and Mr. B's waylayings result in Pamela climbing into his coach to be driven home.  But Letter XXXII begins with Pamela bewailing her fate, before taking a step back to the time when she thought she was being taken back to her parents.
The long-hoped-for Thursday morning came, when I was to set out ... They all would have made me little presents, as tokens of their love; but I would not take any thing from the lower servants, to be sure.  But Mr. Longman would have me accept of several yard of Holland, and a silver-snuff-box, and a gold ring, which he desired me to keep for his sake; ...
And when Mrs. Jervis told me with a sad heart, the chariot was ready with four horses to it, I was just upon sinking into the ground, though I wanted to be with you.
... But Harry carried my own bundle, my third bundle, as I was used to call it, to the coach ... I looked up when I got to the chariot, and I saw my master at the window, in his gown; ...



Pamela is still dressed in her sad-colored wool gown, although this time you can see the front of it - which looks to me like it's laced over the ends of her muslin kerchief.  And this time it does show her "black silk necklace", too.  The hat she previously carried by its strings is no securely tied down and has a nice curve to it.  While she looks pretty nice, she's still subtly out of place in this carriage.

Robin Coachman is entirely covered by a greatcoat.  Blue was a cheap color, the dye deriving from the common woad plant; it was a common color for servants' livery for this reason.  I would describe his collar and cuffs as drab, a color with several definitions that agree it's a kind of light brown.  He is also wearing a lightly powdered wig, brown leather gloves, and a cocked black hat with gold braid around the edges.

The servants in the background are hard to make out, but the women in front can be seen.  She is dressed much like Pamela, in a plain gown possibly fastened over a kerchief.  Her cap covers her hair much more fully, though, and she may also be wearing a apron.

Mr. B can just be made out at the window, in the same cap he wore when he surprised Pamela in bed, and a reddish-brown morning gown/wrapping gown.
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Galerie des Modes, 13e Cahier, 4e Figure

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Robe à l'Anglaise of apple-green Pekin, the trim of plain gauze with a garland of flowers, a pouf cap of Italian gauze bordered with flowers, the parfait Contentement Pink, the Shoes Pink, and the rosette white. (1778)

Robe à l'Anglaise: the true robes à l'Anglaise have little knife pleats in the back, held at the waist and descending almost to the ground: thus the ladies in England wear them.  But in France, the little pleats of these gowns have been removed and been given more width in the tail; on the front they took a more graceful form, and would be better called "fitted-cut" gowns rather than robes à l'Anglaise.


It is one of these changed gowns which the print offers.  The trim, in a band of box-pleated gaze de fantaisie, serves to act as a head for a flower garland, stripped of stems and leaves: the openings of the pockets and the sabot cuffs have a matching trim.

Petticoat with a large volant, having for a head a band matching the trim of the gown; a second band, resembling the former, is places above the volant.

Tasseled watch cord is positioned on the left side; contentement covers the top of the compere and unites the two sides of the gown.

Coiffure à la mignarde:* braided chignon, two straight curls, the whole surmounted by a pouf of gaze d'Italie with a double papillon, surrounded by a flower garland matching those of the trim.

Rosettes on the shoes, bracelets, necklace, fan: all show a coquette who has neglected nothing to complete her parure and make it agreeable.  She profits for a moment that she finds herself alone, to consider if a negligent air would not be preferable to a too-uniform appearance.

* a mignarde is a sweet, delicate person
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Galerie des Modes, 12e Cahier, 3e Figure

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THE DELIGHTS OF THE BOIS DE BOULOGNE.  Gown of solid-colored taffeta in a soft color, trimmed with the same material.  The suit has a yellowish ground, dotted, with white vest and breeches. (1778)

Open and low-cut petite robe, leaving the compere uncovered, topped with a parfait contentement; trim matching the stuff of the dress in ruched bands; volant slightly raised, with a head caught in bouillons; gauze kerchief, untucked to let the two "children of love" take the fresh air.

Négligée coiffure, in chien couchant, with two curls; the brush is in the coque; pouf cap of Italian gauze; solid papillon, separated with a flower garland.  A large ribbon in a bow, with two hanging points, occupies the back of the coiffure.

The other Figure represents a young man in beverlet, with coupé collar; the ground is yellowish stuff, with large black and white spots; vest with open bavaroises,* leaving the top of the jabot visible; drop-front breeches, matching the material of the vest; a cord on each thigh.

Jacquet** hat, furred on the outside, with a gold cord around it coming in the front and ending with an oval button.  Two finger curls, in the style of Clerval.

This young man holds over his arm the mantelet with flared points of his amiable company, and toys with her Chinese paper fan; on the other arm one perceives the end of a cane or a stick with a Manheim golden apple, with a hair cord ending in tassels.

Shoes à la d'Artois with large square buckles, covering the coup-de-pied entirely.

* lapels
 ** possibly relating to a backgammon-like game


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Painting Costume Analysis: Pamela Series, Part Two

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II: Pamela and Mr. B in the Summerhouse, Joseph Highmore, 1743-4; Fitzwilliam Museum M.Add.6

After the first letter, Mr. B began to make presents to Pamela of his late mother's clothes.  As the kind housekeeper, Mrs. Jervis (who is "a gentlewoman born, though she has had misfortunes"), told her that she was so pretty any future wife of Mr. B would never allow her to stay in the household, Pamela expected that she would leave to work for his sister, Lady Davers.  Unfortunately, one day while Pamela was sewing in the summer-house Mr. B approached and told her he wanted her to stay, then began to try to seduce/rape her.  She is pictured here resisting his advances.




In this scene, Pamela is wearing some of the clothes Mr. B gave her, rather than her mourning.  Her mantua is a very pale pink silk taffeta, and her petticoat white; not only are they of expensive material, their light color would make them even finer, since they would require more laundering.  At the same time, because they're plain taffeta (rather than satin, damask, or brocade) and she's not wearing jewelry, she isn't transgressing too far above her station.  Once again, her dress is accompanied by ruffles on her shift sleeves, a long linen apron, and a fashionable cap, this time with a pale blue ribbon.  It looks as though her kerchief is falling over her left shoulder, or has been pulled out of the neckline of her gown or untied.


Mr. B is dressed much more formally in this picture.  (He is said in a later scene to be buying a "birth-day suit" to wear to court - although that takes place later than this, it's possible that artistic license put that suit here.)  His brown coat and grey satin waistcoat are heavily trimmed with a wide gold lace; the coat, like the dark blue one, has the buttons and buttonholes arranged in pairs on each side.  Bright red silk breeches, white silk hose, black shoes with square buckles.  A similar suit can be seen on Col. Strode in Hogarth's The Strode Family, although the colonel lacks Mr. B's gold-trimmed black tricorn hat.


On a chair at the side of the action is Pamela's sewing, which looks to be a shift; she describes herself as working upon his linen, and the fine linen of the family, and am, besides, about flowering him a waistcoat".  Her tools have spilled to the floor, but they are difficult to make out (the Fitzwilliam Museum doesn't have a great zoom function).  The three small objects might be wound thread, but I am not sure what the long, thin one is.

Through the window, one can see a working woman, probably a servant.  She is wearing a straw hat tied over a cap larger than Pamela's, and a kerchief over a brownish-grey gown.
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