Cabinet des Modes, 14e Cahier, 2e Figure

June 1, 1787

PLATE II.

1. A Woman in a Robe à la Turque, of a pearl grey Indian taffeta, edged with a black silk Ribbon. This Woman is in second mourning. On her head, she wears a straw Hat, black, trimmed around the crown with striped black gauze made in diamond points. A pink Ribbon ties the crown. Around are raised at least twelve cock Plumes, flame colored, whose extremities fall back on the crown and on the wings of the Hat. Behind, a large Veil of pinked white gauze is held to the Hat, which descends to the waist.

This Woman wears on her neck a flounced linen Kerchief, tied on the front with a pink Ribbon au Diadême. Her hair, in the back, hangs à la Conseillère, and on each side three large curls fall on her chest. She is represented seated, playing the pianoforte.

2. A Woman also in a Robe à la Turque, of a silk fabric, lemon color. The Corset under the Gown is of a white gros de Tours. Her Kerchief of flounced linen-gauze, fastened on the from with a bow of Rainbow Ribbon. The Gown's Manchettes are also of linen-gauze. She wears on her head a gauze Pouf in the latest taste. The crown of the Pouf is wrapped with a garland of artificial roses. On the right side are attached two large bows of Rainbow Ribbon, in pink and grey, melting together. On the left side rise two Plumes, one of which is pink and one grey; and behind the Pouf falls a large Veil of lilac crêpe.

3. A Woman again in a Robe à la Turque of pink gros de Tours. The tops of the sleeves of the Gown, as well as their cuffs, are white. The Corset and Petticoat are also white. The Gown's Manchettes and the Woman's Kerchief are of white Italian gauze. On the front of her Corset is positioned a bouquet of roses. On her head is mounted a large Pouf of frothy* gauze, trimmed around with a garland of artifiial roses. On the right side is attached a large bow of lilac Ribbon. Behind the Pouf falls to the waist a Veil of Italian gauze, which is split in two, and forms two sort of lappets. The Woman's coiffure, in back, is in floating curls, ending with a large curl, and on each side two large buckles fall on her chest.

4. A Woman dressed in a muslin Gown en chemise. The sleeves of this Gown are fastened on the arms with blue Ribbons. The Woman has tied the body with a Belt of Ribbon of the same color. She wears on her chest a Ruff à la Henri IV. Her head is covered with a simple straw Hat, natural color, bound around au Diadême, and whose crown is trimmed with a lilac garland. Her hair, all over the head, is in large loose curls.

* is perhaps more likely to mean something to do with rocks; the "froth" definition of rocher really only relates to beer

More about → Cabinet des Modes, 14e Cahier, 2e Figure

Cabinet des Modes, 13e Cahier, 1ere Planche

May 15, 1786

FIRST PLATE.

One could advance, without fear of being contradicted, that it is hardly usual today for Women to wear full Dress Gowns, as it is for Men to wear Suits à la Française, with the hat under the arm, and the sword at the side. These Toilettes are no longer made but for pageantry Assemblies, such as the Wedding Assembly, the Bals parés, the great Meals, and others, which are in very little number. This has justified our not having given representations of these Parures often, and of only being applied to giving drawings of current and light Toilettes, as it were. However, as the great Parures are worn sometimes, and it is the times when one can be obliged to wear them several consecutive days, we imagine that we do not prematurely give these figures in the first two Plates of this Book.

In the simple detail that we are going to go into the 1st Plate, one can easily perceive that Women no longer wear the grand Panniers which gave them an immense stature, or these Gowns with trains that trail an ell on the ground; and that, in the grandest Parures, even the Garments are simplified. (we except Court Suits, which never vary, and which can only remind us of the suits of our fathers.) Everything is changed: Women are no longer coiffed en cheveux; they wear Hats or Caps. Their throats and necks are no longer uncovered. More culs postiches; they hardly wear little coudes with pockets to give a certain fullness. All apply themselves today in having a svelte and narrow waist. All that has been saved of the former dress, are the Stays for shrinking the waist, and the full Gown Trimming.

The Gown that the Woman represented in the 1st Plate wears is a Robe à la Turque of blue Pekin. The Petticoat is of the same fabric and in the same color. The Sleeves of the Gown are of white Gros-de-Naples, or another white fabric, to the sabot, which varies, and which is of the same fabric and the same color as the Gown. The Trimming of the Gown is in white crêpe, in the form of bows. In the middle of each bow is a bouquet of artificial roses. The flounce of the Petticoat is also of white crêpe, and it is surmounted by bows matching those trimming the Gown. The Manchettes attached to the Gown Sleeves are of pinked white gauze.

The Woman has her throat covered with a gauze Kerchief, fastened in the front with a bow of Rainbow Ribbon. She wears on her hands Gloves of white leather, and she holds in her right hand a Fan, that she allows to fall negligently.

Her head is covered with a Chapeau-Bonnette, in large pleats, tied around with a Rainbow Ribbon, which is surmounted with a garland of artificial roses. The Ribbon forms a large bow in the back, and holds attached a Veil in white crêpe, which falls almost to the waist.

Above the Chapeau-Bonnette rises an aigrette made of six large plumes, of which two are pink, two blue, one white, and one green.

The Woman's hair is in light curls over the whole front of her head. Her hair is pulled up behind in a flat chignon, and two large curls on each side of it fall on the chest. Her Shoes are a blue matching that of the Gown, and are flounced with a Rainbow Ribbon.

More about → Cabinet des Modes, 13e Cahier, 1ere Planche

Cabinet des Modes, 5e Cahier, 1ere Planche

January 15, 1786

 FIRST PLATE.

Woman in Robe à la Turque.

In the Orient, where one enjoys a sweet climate, pure air, a cloudless sky, men wear long garments, which have fullness and nobility. An almost continual winter, a bitter and dry cold, permit the same practice in some Inhabitants of the North, like the Poles and the Russians, who once displayed an oriental luxury. In the temperate Zones to the contrary, where the atmosphere is nearly always humid, the City cobbles covered with mud, the men, to protect them from impropriety, wear short and narrow coats; but women are above the inconveniences of the climate and the intemperacy of the seasons. Frenchwomen, principally in the capital, which is the center of taste, know how to imitate and appropriate even the Costumes of all the Nations. The robes Françaises have been succeeded by the Polonaises, the Polonaises by the Lévites, the Lévites by the robes à l'Anglaise and à la Turque.  In this latter fashion a pretty woman, whether in a Show or in the Seats, wins triumphs surer and more agreeable than those of a Georgian or Circassian woman in the Harems of Constantinople.  Even the Sultana was jealous of her elegance, her grace, and the homages that were made to her.

Description of the Coiffure and Dress of the Woman represented in the first Plate.

Hat of nakara satin (a type of dark red verging on the poppy), with a high crown, trimmed with lilac ribbon bows edged with white. Around the crown of the Hat is a ribbon of the same color. It is surmounted by a tuft of white plumes; an aigrette in the middle.

Linen kerchief, trimmed.

The bow which ties the kerchief is of lilac ribbon.

The Corset and Petticoat are of white satin spotted with soft lilac flowers, and green leaves embroidered in silk.

The ribbons which form the Flounce at the bottom of the Petticoat are nakara, as are the cuffs on the Corset.

Gown of nakara satin, edged with a white ribbon. The linen is a light white satin, trimmed with a garland of lilac flowers.

The trimming of the Gown is, to match, a garland of lilac flowers and green leaves. It is four to five inches wide at the bottom, and diminishes while climbing, to the waist.

For the grande parure, Robes à la Turque are also made, of velvets of different colors, lined with satin; the petticoat of satin in a contrasting color.

Ribbons.

The new ones are lilac edged with white.

Nakara, with retreating points, black, white, violet, soft sulfur, and dark green.

More about → Cabinet des Modes, 5e Cahier, 1ere Planche

Galerie des Modes, 50e Cahier, 1ere Figure

The young Eglé crying over the absence of her lover: she is dressed in a robe à la Turque* with gauze sleeves which are rétroussée with ribbons, she is coiffed en cheveux with poppies.

1. The Hat which crowns the whole is of gauze and relieved by laurels, called à la Victoire.**  2. Hat à la Calprenede.†  3. Pouf à l'Oriflame.‡(1786)

"As the flat chignons are worn very low, and it is impossible that all hair be equally long to be caught into the comb which holds them up, some time ago a sort of ligament of bronze iron was invented that is attached inside the chignon, around the middle, and which keeps the hair firmly embraced. Chignons are seen no more detached, to fall in scattered wisps on the neck, and to present to the eye a disagreeable mat."

Le Magasin des Modes, July 15, 1786

* It's very interesting that there's nothing much to tie this to the turque as it was originally conceptualized in the 1770s.  I speculate that perhaps the term came to mean what we now call a "zone front".

** As far as I can tell, no specific victory was being celebrated.  The name is simply due to the laurels.

† Probably a reference to Gauthier de Costes, seigneur de la Calprenède (ca. 1610-1663).  The Van Dycking and plumes are often used as references to the seventeenth century.

‡ It was difficult to find the meaning of "Oriflame" as the term is now the name of a cosmetics company, but the Oriflamme was the red medieval banner of St. Denis.

More about → Galerie des Modes, 50e Cahier, 1ere Figure

Galerie des Modes, 43e Cahier, 3e Figure

The amiable Constance holding the leash of a Lion-Dog and dreaming on that which her heart loves.  Her gown is à la Turque and her hat is à la Montgolfier, positioned on a baigneuse and belted with a ribbon fastened with an English buckle and with a panache. (1784)

Trimming of a Robe turque made by Mlle Bertin, marchande des modes to the Queen, for Mme de Bercheny.

"1785, March 24. - The trim of a Gourgouran robe turque, the fronts trimmed with a pleated strip of gauze with a scalloped bastard blonde lace, a garland of blue and white daisies on the head of the flounce, the white taffeta petticoat covered with a beautiful rich gauze in large pleats, edged at the bottom with a blonde fond d'Angleterre lace, the parements of the gown pleated with a little bordered net, the edges of the gown in bastard blonde lace. 360 livres.

Dossier Bertin, Doucet Library.

More about → Galerie des Modes, 43e Cahier, 3e Figure

Galerie des Modes, 30e Cahier, 1ere & 2e Figures

Robe à la Turque, the same explained in the twenty-seventh Book p. 159; it is here shown in profile or three-quarter view. (1780)

This Gown, called à la Turque, is the same which was described in the twenty-seventh Book, p. 159; it is seen here in all its length, the tail training. (1780)

The Turquoise, or Robe à la Musulmane.  We have pledged, in describing the fashions of the twenty-fourth Book, to give the view of this pretty dress.  It is that which is found executed in the first two Prints of this Book.

In bringing together these three Prints, it is easy to understand the whole an the graces of this dress, whose noble and graceful simplicity one never tires of admiring.

It owes its elegance in part to a seam taken in the front, and intended to give play and elasticity to the strongest fabric.  It is that which forms in back the fifth nervure, covered by ribbons which one sees in the present Print.

More about → Galerie des Modes, 30e Cahier, 1ere & 2e Figures

Galerie des Modes, 27e Cahier, 3e Figure

Robe à la Turque or type of Circassienne, but different than the others; it has a collar like a Lévite, and a very large white scarf knotted at the waist: the petticoat is coupé: no trimming.  This gown, which we will show in profile and from the back, attracted all the eyes of the Public, when it was seen for the first time at the Palais Royal in the month of last July 1779. (1779)

Robe à la Turque, called the Turquoise.  It was in the beautiful path of the Palais-Royal that this Gown was seen for the first time, thus is it shown in the Print.  The young Beauty who was dressed in it held all gazes, and the Public, always intrusive when presented with something new that pleases it, having, so to speak, enclosed her in a circle with a diameter that shrank without ceasing, would have suffocated her if the Swiss Guards had not hastened to her aid, and had not given her the facility to escape from this so-dangerous acclaim.

It is a type of dolman that is fitted in front, without pleats and very narrow, with a folded-back collar holding to the Gown, and funnel-shaped sleeves.  The underbodice is separated from the petticoat, and pleated like the fourreaux à l'Anglaise.*

Draped belt, knotted on the side, around the hip, and allowing the waist to be seen in all its lightness.

Amadis sleeves matching the petticoat, the parement à la cavaliere, matching the Gown.  Kerchief knotted en cravate, hair en tapé, with a hat en champignon.**

We will have occasion to show this pretty Gown in the first two Prints of the thirtieth Book. 
  
* Chatty footnote: I've been trying to figure out what exactly is meant by "fourreau" and how back fitting-pleats were described for a while, because I'm not 100% sure that they're always the same thing.  In this case, though, it does kind of sound like the underbodice is fitted with sewn-down pleats in back.
** en tapé relates to flattened, dried fruit; en champignon is "mushroom-style"

More about → Galerie des Modes, 27e Cahier, 3e Figure