Cabinet des Modes, 16e Cahier, 1ere Figure (part two)

(Because yesterday's post was very long, I decided to cut the bottom section off and post it today.)

July 1, 1786

A manner of dressing to ride a horse, which is surely not less elegant than than that of our drawn Man, is that which consists of wearing well very white Breeches and a Gilet, with Boots matching those that we have described, and a Dragoon green Coat, all plain, with a scarlet lining. There is in this ensemble something that allures us. We require with this outfit a tricorn Hat, furbished à la Suisse. You can say all you like; but we find that these Hats always gave and give to those who wear them, a much more frank, much more proud, and much more decided air than all thee round Hats do.

It is only in wool that these Dragoon green Coats can be made, with a scarlet lining, which must also be of wool. But wool Coats seem to be Coats for riding on horseback in all seasons. It is necessary to confess that only wool Coats clothe perfectly; and it is necessary to be well dressed for riding. Without that, beware the stable air.

But, though the Petite-Maîtresse suffers from it, and some regret that she had to abandon wool, it is necessary, in summer, to take on Coats for this season. Choose those which dress you the best; but take summer Coats, Fashion wills it. One has made them for this year which can compensate somewhat, and which redeem in éclat what they lose in form and contour. Some are made in serpentine, others in gragrame, others in chiné taffeta, and others in silk stuff clouded with a thousand dots.

Serpentine is a light fabric of hair and cotton. It has been imitated in cotton and in bourre de soie;* but these have neither the same éclat, nor the same durability. They have stripes down the length, rather wide, and in two or three colors; with little checks in two or three colors; with violet stripes, and with flame-red stripes.

Gragrame, which is either striped or chiné, is a rather firm worked silk fabric and bourre de soie.* What could be seen as one of the prettiest, has puce stripes or violet stripes; and green stripes, with a little white edge.

(These gragrames are found in the shop of M. Fortin, Merchant Mercer, at the corner of the rue Buffy and rue Mazarine.)

Everyone knows chiné taffeta and thousand-spotted silk fabrics. These latter began to be seen last year, and they must be perpetuated in their composition.

Of these different fabrics, there is only that of silk shaded with a thousand dots, which can be used for full dress coats; the others should be worn for frock coats.

Independently of these diverse types of fabrics, one still wears light cotton cloth of very-mixed colors, nearly of the vermicelli type that was worn two or three years ago. These vermicellis were puce, violet, red, or otherwise; those of today are mixed with black, blue, white, melted together.

One hardly wears, this year, these siamoises** with black and white stripes, black and green stripes, green and red stripes, as were worn in a great quantity last year. They were replaced with the serpentines and by the light cotton cloths.

* Silk made from cocoons that have not been unwound. Something like silk noil?
** A linen or cotton fabric imitating some sort of Siamese cloth

More about → Cabinet des Modes, 16e Cahier, 1ere Figure (part two)

Cabinet des Modes, 16e Cahier, 1ere Figure

July 1, 1786

WE are convinced that if there is a situation where one must more particularly follow Fashion, which is nearly always representative of taste and elegance, it is when one goes to ride a horse. There are such obstacles to avoid when one is riding; we mean there are such riders that one does not want to resemble, so that, in order to prevent the comparison, there is hardly any other means to take than dressing stylishly. However, this is not necessary, if one carries in one's air a grace, a facility which emphasizes the class where one would be tempted to confound us, because of our simple and unceremonious habit.

We may not be reproached for always recommending grace, poise, facility, and the other matching qualities, because it is there that, to speak properly, all Fashions reside. Be sure that they do not change as much because people of taste present themselves in public with dress of a new color, than because they dress with grace and facility, when another color has barely been adopted. Fashions are thus less the fruits of satiety and disgust, as the Poets say, than the children of natural graces. Everyone wants to seize the éclat which shines from these people of taste, everyone believes that the dress they wear gave it to them, and everyone adopts their dress. But they did not know how to take an agreeable composure, and the dress, hardly on the body, no longer allured anymore. Another person of taste may be seen with a dress of another color, she may have composure; her dress will flatter like the previous; one will believe that it will be better, and one adopts it.

See, as the Fashion of the Dress and attire of our Man has come, ready for riding, figured in the 1ST PLATE. His Coat, with lapels, is Dragoon green. The lining of this Coat is a buras of the same color, or a color near it. The lapels, the pockets, and the sleeves à la Marinière are trimmed with buttons of white pearl. Under his Coat our Man wears a Gilet with gold stripes and wide green stripes.

He wears Breeches of fallow deer skin, light yellow. On his legs are English Boots of a very-glossy black (a) from the shoe to the calf, and a natural yellow from the knee to the bottom of the calf. It is easy to see that this yellow part is the leather of the boot, reversed on top from the knee to the bottom of the calf.

On his heels are two silver or silvered copper spurs, very brilliant. He wears on his head a round Hat à l'Anglaise (b), trimmed, all around the crown, with a very-wide black ribbon and a bow on the left side, made with this ribbon, and attached with a very-long steel buckle, fashionable, worked. His hands are covered with gloves of violet leather, and he holds a long switch (c).

In the gussets of his Breeches are two watches. From one hangs a cord with tassels and trinkets, and the other a cord of braided hair or ribbon, at the end of which is uniquely attached a very-long and very-large key.

We show him with one hand in a pocket of his Coat, and in an attentive attitude, because he is watching to prepare for his horse (d).
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(a) We remember that we have forgotten to say that men's Shoes are still a very-glossy black, whether in full dress, or whether in undress. Several Merchants in Paris sell Oils, Waxes, and Varnishes which give this gloss.

M. Basseras, Master Cobbler, rue du Four, near the Red Cross, sells an elastic Varnish or lettuce Wax, approved by the Academy of Sciences.

M. Hardi, Master Cobbler, rue Grenetat, in Saint Denis, sells chemical Oil.

A Spicer, rue de Baune, in Saint Germain, sells whale White.

(b) This round Hat à l'Anglaise is a folded Hat, which has neither silk edges nor velvet around it, as at other times, and which no longer takes the shape of a boat, but which descends all smoothly, and only has the shape that the head gives it.

(c) There is a practice of carrying very-thin and very-pliant canes, when one does not carry a switch. These canes thus serve two purposes, when getting off a horse. That does not mean that switches are forbidden.


(d) The horse that must be ridden is also subject to Fashion in its harness. Formerly horses' hair was braided on their necks with a red or blue ribbon, matching that used for bows near their ears: their tails were cut, and even the tips of their ears. This hideous shape was close to reappearing some time ago. Today no more ribbon on their necks; their long vagabond hair hangs with liberty. They may rise, they may lower, they may shake their heads with pride, they have all their parure, and their pride no longer seems ridiculous. Their ears can be trained, and mark their sentiments; their long and bushy tail clouds the brilliance that their mane gives them: all foreign ornament that they borrow now, is a rather large bow of red, or yellow, or blue, or violet ribbon, that is applied to the bottom of the croup, at the root of the tail, and two bows similarly placed near the ears.

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Cabinet des Modes, 15e Cahier, 3e Figure

June 15, 1786

PLATE III.

THIS Plate represents a wood Boudoir, painted in grey-white, and decorated with mirrors.

In the most convenient place a rather deep niche is made, at the top of which is attached a drapery of blue Pekin, trimmed with fringe and tassels, and which falls rather low; the outer sides are decorated with draperies, tied at intervals with tassels. Under these draperies are curtains, which are pulled up with tassels.

The bottom of the niche is decorated with a mirror which rises to the ceiling, and which reflects the draperies.

Under the mirror, which descends very low, is a seat with three backrests, that is called a Turquoise. This seat is decorated with a square [cushion?] and two cushions covered with the same fabric as the draperies.

On two sides of the niche is a lyre Chair in rosewood, and whose seat is also covered with the same fabric.

The Bed à la Turque and the Boudoir Decoration are drawn from the Shop of M. Bouché, Merchant Upholsterer, at the gold Eagle, rue de la Verrerie. His Furniture Shop is well-known in Paris; but he has some fabrics of the most beautiful Manufactures, which do not merit less than being known as that. One finds there the richest and best made objects. There are some which compose almost a dozen pieces.
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Two bizarre tastes have been struggling with the reigning Fashion for centuries: one is the taste for squared buttons for Men's Coats and Hats; and the other is the taste for Tufts of Ribbons in place of garter Buckles. But these always reappearing tastes are always repelled, and we do not believe that we should ever announce them as reigning Fashions. That for Ribbons is already relegated to men who wear boots. This taste for Boots is a third one which is beginning to be reborn since the more than fifteen years that it passed, and we do not believe that it will have more luck than the first two.

There is a Fashion which is strongly taking today: it is that of wearing on Hats, on the left side, a steel Buckle as long as the crown of the Hat, and which holds a large bow of black ribbon of the same length.
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Today Ribbons are subject to such variation, that it is good for Women to have a Furnisher who procures the newest ones for them.  M. Morlière, Merchant of Ribbons, residing in the rue St. Honoré, near that of l'Echelle, has in his Shop all the most modern and the most brilliant. One will find in his shop Ribbons à la Cagliostro (pink ground and green edge, with pyramids on the ground, which go from the bottom to the top); au Diadême Arc-en-Ciel (pink, green, white, and purple: the purple stripe in the middle is wide, and cut with three white zig-zags); au Laurier with a pink ground, and Au Laurier Arc-en-Ciel (white ground, blue stripe, clouded, and purple stripes, with laurel leaves), all Made in Paris. He holds a Store of them for wholesale and retail. He offers to send samples to those who will make him the honor of asking him for them. He also has a Store of Ribbons, Made in Lyons, plain and striped; Kerchiefs and Gauzes of Lyons, Crêpes in all colors, and other Silks.
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Our Women now care no longer for competing with Men for size, as we believe that they tended to at other times. They concede them this advantage today, so that that one could say they are very indifferent, up to a certain point. They have abandoned these Shoes with raised heels, which raised them nearly two inches. Who wouldn't think that they acquired a solidity that was lost at other times? We don't want to make an epigram here: we only want to say that they are no longer exposed to spinning as they had been, carried on weak heels, so narrowed at the bottom, that they seemed to be balancing. The heels of their Shoes are hardly higher, nor narrower than those of Men, proportionally. They can henceforth walk quickly, walk firmly, walk boldly; they no longer fear catching their heels in the smallest hole or in the smallest cracks between paving stones, making a false step, giving themselves sprains, and even twisting a foot. Why must it be that they had to wait so long to feel this advantage, which they are actually in possession of? If ever a Fashion had a useful goal, it must be this one. One could call that the only reason it was born, without joining with caprice. God forbid that this Fashion had the lightness and inconstancy of all the others! and that all the centuries could come to feel a good of which it seems that nobody, before us, had had the least idea!

It is not in the feet only that Women approach Men's dress. For some days, we have seen at the Palais Royal an elegant Petite-Maîtresse, superb, dressed in a Redingote and a different-colored Gilet, like Men's, with a Cravat at the neck in place of a Handkerchief, to replace the Corset and the Gown. We do not doubt that Fashion would take soon, if three or four Women adopted this dress. Whether for novelty, for elegance, for grace, or for taste, we freely confess that this new manner of dressing pleased us infinitely. Still some time, and surely we will announce it to our Subscribers as the current Fashion.

More about → Cabinet des Modes, 15e Cahier, 3e Figure

Cabinet es Modes, 15e Cahier, 2e Figure

June 15, 1786

PLATE II.

A Daybed à la Turque, to put in a little Apartment.

This Bed is only three feet wide, and six feet long; it is very-slightly elevated, and it is scarcely above the ground. The seat is trimmed with a well furnished mattress and two cushions. Above is raised, more than eight feet high, a canopy cap, which can be adapted in two manners: 1st, in placing two iron beams, attached to the back of the backrest, and which holds the cap; 2nd, in attaching the cap to the wall. The cap is crowned with a basket of plumes or sculpture.

The edge of the cap is decorated with a double drapery, trimmed with fringe and tassels.

To the cap are attached the curtains, which come to half-hide under a sedentary drapery, attached to the wall, made of the same fabric, and lined with a light white taffeta. These curtains are pulled up, and tied to the iron beams. If the cap is attached to the wall, the curtains must be pulled up with the hands which hold it to the wall.

The curtains are decorated with adapted fringe. The flat band or the base on which the seat is held, is trimmed all around with a drapery, decorated with fringe, which nearly touches the ground.

The fabric of which the curtains and draperies are made is a Sky blue Pekin.

The wood of the Bed and the cap is decorated with a light carving.

These Beds are also made in Indienne, in Perse, or in any other fabric; they are made or decorated with fringe and tassels, or more simply, without tassels or fringe.

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Cabinet des Modes, 15e Cahier, 1ere Figure

June 15, 1786

 A Woman, at her toilette, always has need of someone she can consult in order to know if this Coiffure, this Cap, this Hat, this Gown suits her well, and if she can wear it to advantage in the Promenades or other public places: why should we not be her Counsel, and why would she not read in our Books the advice that she asks for? Zulmé shines today in her muslin Caraco, quite simple, quite plain; and you, Zélis, would like to shine the same? No richness in her Dress, no loaded ornaments, taste alone made them fresh; and you would like to grasp this taste, this manner, which has seduced you? Listen, Zélis. Zulmé owes less of her éclat to her dress and coiffure, than to her air, where reigned an amiable liberty, a soft abandon, and an interesting facility. She is never seen sometimes bending, sometimes stiff, and sometimes inclining to the right or left, to give herself an air of the Petite-Maîtresse: no, her walk was frank, without affectation; she never contradicts nature, she never is studied. Born with these graces, infinitely set apart from nearly all your Sex, she never offended them, she never suffocated them under all the simpering which a Woman who has not a just and proportional mind overloads herself. Do not fool yourself; one must have some mind and a rather good one to have taste. An idiot will wear an elegant coat, he will wear a Fashionable coat, he will be well-covered; but it will be strongly perceived that he lacks taste in it. He will be affected, he will be stiff, he will be mannered. His coat or his hair will seem to determine all his steps. One will see in his walk that he fears being de-powdered, and, if he sits, that he fears crumpling his coat. He will not even laugh, in case he should lose the composure he has adopted.

Zélis, be close, be assured in your walk. Dare to raise your head, and one may discover in your face this beautiful confidence, this noble pride, which belongs to all to be made for feeling and thinking. Would you fear walking around and examined by all your fellows? May they impose on you, may they make you blush, or may they take off your free assurance? You are never impudent, you are never insolent; you only rely on yourself: I promise you their approbation forever. If, from this composure, your character can stand out, be convinced that you will compel the approbation of the same few who would have been able to marvel at it.


It is true that Zulmé was dressed in a Caraco and a Petticoat of striped muslin, very white, very fresh, elegantly flounced; that the Petticoat and pink Corset underneath, which nuance it and ground it, so to speak, with the white, spread into all her air a sweet freshness and an agreeable vivacity; but to be dressed thus is the least difficult thing. I ask you about poise. You can as easily as she put on your head a straw Hat, naturally colored, wrapped with a garland of artificial roses, surmounted by four plumes (three white and one pink), and to which is attached behind a large Veil of white gauze falling to the waist. You can wear a bouquet of roses on the front of your corset, coif yourself with a large tapet and three curls on each side, of which one lands on the chest; but, one more time, on poise: there is all the magic of Zulmé.

It is, however, necessary to agree that Zulmé had to avoid a defect to which nearly all women are culpable today, which is of loading the head with a pound of white powder, instead of only wearing a light tint on the coiffure, and still weakening this tint with another as light of blonde or red powder. Zulmé had felt that white powder caked and thickened her features. If the Woman is blonde, this powder horribly fades the face; if she is brunette, it darkens her. Never, no never, is it necessary to powder it to white, unless you want to seem misshapen. Zélis, follow these counsels well.


I must add, before finishing, that the Caraco can only make a morning toilette, when it is still too early to dress, and when one wants to go out, and walk around before noon; or for the evening toilette, when one has passed all day at home, and when at seven or eight o'clock one wants to take the air, or appear in public. (See 1ST PLATE.)

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Cabinet des Modes, 14e Cahier, 3e Figure

June 1, 1787

 PLATE III.

WE have drawn in this Plate a silver Oille* Pot, that could also be called a Soupière. This Oille Pot has two handles, decorated on each side with large parsley leaves.

Its Cover is surmounted with an artichoke whose leaves spread rather far over the Cover.

This Piece of silverwork is taken from the Workshop of M. Bouty, Merchant Silversmith, rue S. Eloi.

* A type of ragout with beans and meat.

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The four Coiffures that we give here, have been designed in the Shop of Mlle. Roussaud, Mde. de Modes, rue du Thèâtre François.

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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

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Cabinet des Modes, 14e Cahier, 1ere Planche

June 1, 1786

If someone complains of the great variety of Fashions, of the great rapidity with which they succeed each other, and of the expense that they seem required to entail, because there is not time to wear its coats, and it is necessary to replace them all of a sudden with others; he may expect, and he may do what Novelty (1) prescribes to this old Baron, who is all astonished that at the end of forty years his coats are already out of fashion, and that at Court they laughed in his face because of his grotesque dress; he will see that soon the coat he wears today, and that he believed passé, will be of a reigning Fashion, and that he will not be required to spend as much as he thought. Coats with piped linings, which seemed never to be brought back, are at present Fashionable, and of the most recent and most followed Fashion.


It is yet necessary to observe that one does not wear, as at other times, all sorts of linings indifferently under all sorts of coats. Each coat color has a lining color that goes with it, and which it is necessary to make sure to use, if one doesn't want to spread this discordance and confusion of colors in coats, which they rejected in earlier times the current Fashion with a type of hatred and contempt. HERE ARE THE LAWS THAT MUST BE FOLLOWED. With all coat colors, use a white lining, with piping, and you will be perfectly fashionable. Your coat, if it is puce, brown, chestnut, Monsieur's prune, violet, carmelite, use a pale yellow lining, and only that. Avoid the dark green, the Sky blue, and the pink which were previously used; these colors do not ally well, and please the eye, which must always flatter. I see on you a King's blue coat, with a scarlet lining: well, very-well. Time, which changes everything and destroys everything, still has never touched these two colors together; proves unequivocally that they go together perfectly. Whether the blue is over the scarlet, under it, it is not important. There is now a manner of wearing these coats, that we rather love; it is to wear them all matching, without braid, without yellow or gilded buttons; in a word, with matching buttons. In this case, it is better for the blue cloth to be on top.

You can put dark green under a King's blue, scarlet under a Dragoon green, lilac under a water green, straw under an American grey, but after that, under all the other colors, we only see white which can agree, if there is not yet the matching lining. What other, in effect, would you put with grey-white, with yellow, with lilac, with chamois, with slate grey, with ice blue, and other colors?

Though we have said that a white lining can be used with all colors, it would be unjust to believe that we permitted it under black, worn, finally, with as much freedom as the others. There is only a black lining which goes with a black frock coat. Wear in the vest, breeches, and stockings any colors that please you, under the black frock coat; but the black lining always be under the black coat.

(1) In the Comedy of Legrand.

See the young Man we have drawn in the 1ST PLATE; he is covered with a Coat of scarlet colored cloth, with a lining of white silk with piping.* We will advise you to most often put white under scarlet. While blue accompanies it rather well, it doesn't give this sweetness to the eye, this mellowness, this ability to match that white gives it. It contrasts better; but it perhaps doesn't go absolutely as well. It is a nuance that the taste of each person must seize according to what agrees with them.

The Coat of the young Man is trimmed with large white buttons in mother-of-pearl. The ends of the sleeves are open à la Marinière, and two matching buttons hold them closed a little above on the sides. Four other buttons, also matching, are attached to the bottom of the flaps of the pockets. The collar of the Coat is of the same cloth, and is no longer diversified as it was some time ago.

The young Man wears under his Coat a Gilet of Gros de Tours, water green ground, with gold stripes, and trimmed with little white buttons

His Breeches are of a Cashmere cloth, of a pale lemon color; his silk Stockings are white. We have observed that only white Stockings properly accompany  these Breeches, and that blue, grey, mixed Stockings contrast too strongly. His silver shoe Buckles are ovals with cut angles.

His head is covered with a Hat à l'Androsmane, which hides a long grecque protruding a little in the back. On each side he wears four curls, three below and one on top, and behind a long queue, well tied down to the end of the hair. He holds a Bamboo Cane in his hand, and he is represented going down by degree.

* Over the course of the next however many issues, I've come to the conclusion that a "piped lining" means that there is a piping, possibly even one with no cord running through it, only where the lining and wool meet, not on the seams of the lining itself.
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NEW GILETS.

For about eight days, the Wool and Silk Merchants of the Palais Royal, have put on sale and are selling in very-great quantities Gilets of a new taste, and which are very capable of pleasing with their rich elegance.

Some are of dark puce drap de soie,* loaded with embroideries and paintings representing quadrupeds, birds, and reptiles. More than two hundred animals are embroidered or painted on the same Gilet. These same embroideries or paintings are made on Gilets with a somber yellow ground, a very dark green ground, a slate grey ground, a dark Sky blue ground, and other dark grounds.

Other Gilets have wide violet and yellow stripes on a moiré stuff, wide white and green stripes also on a moiré stuff, large red and yellow stripes, wide stripes varied in the Rainbow style, always on a moiré fabric.

Others are made in red, white, yellow, and green Ribbons, melting into each other.

Others are of violet, blue, green, slate grey silk cloth, and are covered with embroideries representing wife and tall marine plants, tree branches, sheaves of corn falling on the sides, and scattering while falling; cascades, pyramids, and other designs.

Others still, and these are the most rich, are in white peau de soie, or in white gros de Tours, or in white taffeta, and are covered with embroideries in gold and silk of diverse colors, representing trees which take the bottom of the Gilet, and rise up to the top, spreading their branches very far and very wide; there are also Gilets of flaming taffeta, charged with dense flames.

Other Gilets, no less rich than these last, are of peau de soie, and are charged with embroideries in diverse colors, representing hamlets, farms, and countryside, where the Laborers who cultivate are. This should not be taken as a pleasantry. We never want to lead our Subscribers in error. Nearly all our Gilets come from the Industry of Lyon. We are forced to avow that they have singularly flattered our eyes.

* Literally, "cloth of silk"; I have found a definition in a modern dictionary that says it is simply silk fabric, but drap is almost exclusively reserved for wool ("cloth" being wool is very common in contemporary English as well), and an older definition describes various types of drap de soie being twill-woven silk/wool fabrics.

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We have seen in the shop of Mme Mignot, Merchant Jeweler at the Palais Royal, new Purses for silver, made of wide ribbons of diverse colors, all sewn together. This variety can please, and this Lady has assured us that she had already sold a great quantity. She also sells watch Cords of a new taste, which are only made of silk Cords, where hangs, on each, a large watch key, in silver or gold. No charms are attached. The key is alone. These Cords were invented to avoid the noise that two cords full of charms make.

More about → Cabinet des Modes, 14e Cahier, 1ere Planche

Cabinet des Modes, 13e Cahier, 3e Planche

May 15, 1786

PLATE III.

AS we propose to give the different Pieces of silverwork which are put on Tables for Meals, we have shown in this 3rd Plate an End of Table in silver. Ordinarily one puts divided Pepper and Salt Cellars in the middle of Tables, and at the ends united Pepper and Salt Cellars, which are called Ends of Table. These are two little fashionably worked silver Pots, in which are two crystal vases, one for salt, and the other for pepper. These two Pots are united by a silver table, which serves as a base of an obelisk, also fashionably worked, and surmounted by a globe.

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The Woman's Chapeau-Bonnette, and the Trimming for the Gown, are the composition of Mlle Roussand, Marchande de Modes, rue de Théâtre François.

More about → Cabinet des Modes, 13e Cahier, 3e Planche

Cabinet des Modes, 13e Cahier, 2e Planche

PLATE II.

THE COAT and Vest of the Man shown in this plate, are of a spring velvet, with a lemon ground, green stripes, and lilac spots. The Buttons which trim the Coat and Vest, are enameled and spotted with a color matching the ground of the Coat, and they are edged with false white stones. His Breeches are of black silk cloth, and they hold his thighs very tightly (1); they seem pasted on. The Buckle which fastens his garters are a little ring of silver in long-squares. His silk Stockings are white. His Shoes have red heels, (that are not believed to be the Fashion for everyone), and his shoe Buckles are perfect ovals, such as were shown in the previous Book. The Man carries under his arm a Hat with a white plume, and at his wrists are lace Manchettes.

To give him more poise, we have put his left hand in his Vest, and his right hand in the pocket of his Coat. If only a Man has ease and liberty in his walk, one cannot deny that this attitude is agreeable.

(1) It is the Fashion today to wear breeches that are very tight, very narrow, and very stuck to the leg. Too-bad for those who are badly formed. This Fashion is very different from that which consisted of wearing them very wide at the top and in the middle, which were called sugarloaf Breeches. Knock knees, and even deformed thighs, were not seen; everyone could seem well-formed. But with the present Breeches ... it doesn't matter, it is Fashion. Regarding Breeches, here is a Spanish Anecdote, which must not poorly figure here.

THE EMPIRE OF FASHION.

To reign over Frivolity,
Fashion was born of Novelty;
And the more Fashion was ridiculed,
The more Fashion was believed and circulated!

In Spain, one said, I ignore in which year,
The Feasts that a Royal Wedding birthed*,
The fine flower of Elegance,
That is to say, the Courtiers
Wanting to report on his dress
In spreading more gilding
Than his doublet consisted of,
To the body too narrowly joined;
From the counsels of a frivolous head,
Tripled, one fine day, the fullness of their Breeches,

If this new luxury surprised,
And if the Court, like the City, laughed at it,
The case will surprise no-one.
But what still less astonishes me,
Is that in a few days the eye made itself;
And that insomuch Fashion took it,
That soon in the whole of Spain,
There was no son of a good mother,
Who, broken to this new taste,
In this type of barrel,
Did not want to lodge his bottom.

The Court, however, soon after,
Opening their eyes to this effervescence,
By the most severe Ordinance
Proscribed the ridiculous excess of it.

But the evil was done; and when abuse begins,
If one doesn't warn of its effects,
It is always destroyed later than one thinks
And the rigor of the Edict,
And the penalties and sentences,
On the proud and vain souls
Of the Courtiers, and especially in Madrid,
Only obtained a light credit.

And the grotesque figure of the barrel,
In the home of the Noble and Townsman,
The fullest farthingale,
Already, surpassed the measure;
When, by chance, a certain Don
Of the least imposing mien,
Caught in contravention,
Furnished material for the following scene:

To the home of the Corrégidor** driving,
The grave Magistrate said to him:
Can it be, Seigneur, that at your age,
(Which is not that of a child!)
Instructed that the King forbids it,
You can get up in such an equipage?

Seigneur, responds the Delinquent,
It is that under this accoutrement,
For me a very-useful practice,
I wear and hide surely
All that, generally,
Composes my little legacy.
-- Seigneur, truce from badinage;
It is bad to take your moment.
Be afraid ... -- To appease your resentment,
Deign at least to listen to me: and, do not laugh,
I am going, through these effects, to justify my say ...
The King knows my name, my talents, my success
In time of war, as in time of peace;
And that in more of a great adventure,
I never contradict a source so pure.
But by the game, love, and trials,
You see in me, I swear to you,
The most wretched of all your subjects;
So wretched, Seigneur, that in this dress,
For which an old Jew gave me a loan
On the titles of my birth,
Until the King recompenses
His Servitor, that a cursed Treasurer,
Very politely, each day spurned,
I owe all my subsistence;
So wretched, at last, that the cold attic,
Of which misfortune has made my residence,
The lock not closing.
To take shelter from the pillage of
All that my cage contained,
My guitar, and even my cloth,
My Breeches, without embarrassment,
Lodge today all this baggage ...
And if this tale seems fabulous to you,
I offer instantly to convince your eyes.
-- What, Seigneur? -- Yes, Seigneur: yes, all, all my baggage;
In a word, all that comes out of it,
Agrees with the Treasurer,
Leaves me again to my habit.
Seigneur, said, in laughing, the grave Magistrate,
Of an adventure as pleasant,
As to all interested regards,
Permit that, from tomorrow,
I share with the Sovereign,
Whose bounty is second to justice,
And who soon, I'm certain,
Of fate, in your opinion, will confine caprice?
-- My refusal prevented nothing,
Seigneur ... and I feel that, perhaps,
If the story can amuse the Master,
The Servitor could find it well.
It suffices for the Reader to learn,
That the good King, surprised to hear
A story as singular,
Called this Knight;
And enchanted with his farcical humor,
In having laughed to the sparkles,
To attach to his person,
Made him quit his attic;
And that, thanks without a doubt to this jest,
The Monarch, in his Estates,
Had soon the pleasure to see the agony,
Without fatiguing the Magistrates,
The great Breeches-lover.

* That of the Infante, later Philip IV.
** The Lieutenant of Police.

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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.

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Cabinet des Modes, 12e Cahier, 3e Planche

May 1, 1786

PLATE III.

WE say nothing of the rapidity with which shoe Buckles for men have succeeded each other, and of the infinite quantity which reigns together. Women could reproach Men for changing them as they change their caps and hats. But this rapid and successive variety produces an advantage for commerce which prevents all reproach.

We have drawn four of them in this Plate, which are of the latest taste and latest model. They are made more round, more squared, with eight sides, in a perfect oval, as wide as it is long.


The first is made in Love knots. One part is cut in facets and diamond points, and the other part is in pearls. The Buckle is two and three quarter inches wide.

The second has two rows, cut in faceted diamonds. The row above is in very-large diamonds, and the inside is in medium sized ones. It is two and three quarter inches wide.

The third is in rosettes cut in diamond points, separated from each other by three large round pearls. It is two and a half inches wide.

The fourth has four rows cut in facets and diamond points. These rows are narrow, separated with a line around, and joined together with eight little bars placed a certain distance from each other. It is three inches wide.

These Buckles have been drawn from the Shop of M. Grancher, at the Little Dunkirk, who has a complete Assortment, in all types and in the newest taste. The great volume he makes of them renews each day in his shop.

---

It is a received Fashion today in the homes of our Journalists, to propose Questions to their Subscribers, so that they can exercise their minds. We propose some of our own, to follow this Fashion. But as we want to save them all sorts of work, and as we desire that they serve only to exercise the minds of others, we send them Responses with the Questions, so that they surely decide, to avoid all equivocation.

Question. How many things does one require for a woman to be perfect? Answer. Thirty.

Q. What are they? A. Three black, three white, three red, three long, three short, three wide, three fat, three nimble, three narrow, and three little.

Q. What are the three black? A. The hair, the eyebrows, and the eyelashes.

Q. The three white? A. The skin, the teeth, and the hands.

Q. The three red? A. The lips, the cheeks, and the nails.

Q. The three long? A. The body, the hair, and the hands.

Q. The three short? A. The teeth, the ears, and the feet.

Q. The three wide? A. The chest, the forehead, and the space between the eyebrows.

Q. The three fat? A. The arms, the thigh, and the bulk of the leg.

Q. The three nimble? A. The fingers, the hair, and the lips.

Q. The three narrow? A. The mouth, the nostrils, and the waist.

Q. And the three little? A. The teeth, the nose, and the head.

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