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, 11e Cahier, 1ere Planche

15 April 1786

Women's Coiffure has been, in all times, subject to revolutions, even in the times of the Greeks and Romans. Fashions changed then as now. In nineteen years, in the reign of Marcus Aurelius, his wife appeared with three hundred different coiffures: each one of these Fashion had its origin. Did they join taste to this variety? We ignore that. What is for certain, is that those of our ancestors, which succeeded each other with as much rapidity as ours, lacked this grace, of this freshness and this softness, which makes the charm of almost all those of our Ladies. In the reign of François I, women were coiffed with a high sugarloaf cap: in the following reign, they wore little hats with a feather; in that of Henri IV, they had little caps with an aigrette: under Louis XIII, nearly the same coiffure: in the beautiful age of Louis XIV, coiffure became an art; this art was perfected under Louis XV, and one could say that it is perfect in the reign of Louis XVI. Our Marchandes des Modes will shame past and future ages, which will necessarily degenerate, because such is the type of that which has become perfection.


The Cap which the young Person represented in the FIRST PLATE wears, is of a simple but graceful type. It is of striped linen-gauze, trimmed with a pearl garland. A tuft of matching gauze falls behind in the shape of lappets. It is surmounted by three plumes; one black, one green, and another pink.

This young Person is dressed in a Robe en chemise of muslin, scalloped at the bottom, and edged with a black ribbon. Under this transparent Gown, she wears a Petticoat and a Corset of pink taffeta. The Gown is tightened by a Belt of a wide black velvet

Her neck is covered with a full Kerchief of linen-gauze. In her ears, hang gold Rings, with a Pear-shaped jewel at the end. Her hair is in a raised Tapet in the front, and in the back is pulled up in a flat Chignon. They are accompanied by three Curls on each side, one of which is attached to the tapet, and the other two hang on the chest.

She holds in her hand a Rose, that she carries to her nose to smell.

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Cabinet des Modes, 9e Cahier, 1ere Planche

March 15, 1786

WE believe that the majority of our Subscribers would not be entirely indifferent, to learning what could give rise to this or that Fashion that we announce to them. We commit ourselves very willingly to publishing it, when we can do it without indiscretion. But very-often a Fashion only was birthed in the imagination of a Woman of taste, and who makes it with art. This Woman wants to give the ton, she wants people to be vexed that she has given it; but her circumspection revolts at our naming her as the author. Thus it is only permitted for us to describe this Fashion.
---
Last Thursday, the brilliant Céphise* conquered at the Théatre Française, in a Parure where art shamed richness. All eyes left the scene for a moment to turn towards her. Women, a little jealous, examine, in going out, in the vestibule, the elegant toilette that had been able to fix all eyes. They could not avoid admiring it; they agreed that it had merit; and the next day, they are shown, for the most part, in the same Outfit.

On a proud head, and that a bright eye, animated by an interior satisfaction, rendered still more brilliant, if it were possible, Céphise wore a Casque à la Bellone.** It was pushed over the eyes. (See the Ist Plate.)

The brim of the Casque was of yellow satin streaked with black spots, and edged with a narrow black Ribbon. The Crown, rather high and puffy, was of blue satin. It was wrapped with a wide nakara ribbon, with a black selvage. This Ribbon formed a large bow in the back, and held wide lappets of Italian gauze, shaped and pinked, which hung to below the belt. On the Crown were placed five plumes; two large nakara ones, two green, and one black in the middle.

Céphise allowed her hair to float behind her à la Conseillère, and on each side a large curl, which fell on her chest.

Céphise was still joyous of the sparkle that the Gown gave her. In effect, this Gown en chemise of white Foulard, with lemon spots, and edged entirely with a black ribbon, contrasted rather well with the Casque à la Bellone, diversified with such resplendent colors. It was tightened by a wide black belt, forming a bow in the back.

Finally, Céphise's chest was covered with a large Kerchief of white gauze. She wore on her hands a large Muff of Angora goat, wolf-colored; and on her feet were Shoes of nakara satin, edged with a frill of black Ribbon.

Before passing to a different subject, we must advise our Subscribers, that the Robes à la Turque are still in Fashion, and that they even are currentlyworn in the grandest Parures. We will give a new one in the Spring, when the Fabrics and Trimmings of this season have appeared.

* "Céphise" was used as a name for a woman in a Galeries des Modes fashion plate. It's possible that that was meant to refer to this actress, and that the other names used for the subjects of other plates refer to other actresses, and that the outfits in those are what they wore onstage.

** Bellona, a warrior goddess depicted in a helmet

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Cabinet des Modes, 7e Cahier, 1ere Planche

February 15, 1786

(Note. Letters sent, whether to the Bookstore, or the Editor of this Work, must be franked. Those which are not will not be opened.)

FIRST PLATE.

It represents a Woman en négligé, in a new Robe en chemise.

Pouf cap, of Italian gauze, trimmed with a bow of Canary's tail ribbon.

Chemise with two collars, and large flounce of soft lilac Indian taffeta.

Manchettes of linen.

The chemise is closed in front, with a bow of Canary's tail ribbon.

Shoes of Canary's tail satin, trimmed with a large frill of black ribbon, around three fingers wide.

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Galerie des Modes, 55e Cahier, 5e Figure

Grand Chemise of plain Linen, trimmed with the same Linen in a volant with lowered têtes, the Collar matching: the Manchettes in small Lace trimmed with Linen with turned-up têtes, the Sleeves held with a pink Ribbon and the Belt of the same. (1787)

Earrings. - "The vast hats in all colors have made way for the coiffures au Coeur de Lion, à la Harpie.  But Women's enormous earrings which fall onto their shoulders, in the manner of the Kaffirs,* still have not ceded place to a more ridiculous fashion."

NOUGARET, The Anecdotes of the Day, 1787

* Now a racial slur in South Africa, but originally a neutral term for various African cultures. 

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Galerie des Modes, 53e Cahier, 5e Figure

Young Lady dressed in a morning chemise gown and coiffed with a hat à la Calonne,* over her hair in hanging curls à la Conseillère.** (1787)

" ... The woman's hair is curled only on the toupet, which is covered, to two inches from the head, by the cap.  At the bottom of the toupet descend two large curls which hang on the breast.  Behind, her hair hangs à la Conseillère.  All her hair is of its natural color, and has no powder at all."

Le Magasin des Modes, November 20, 1786

* Charles Alexandre de Calonne (1734-1802), Controller-General of France from 1783 to 1787.  He was initially very popular when he proposed extensive financial reforms, but was later unfairly blamed for the crown's debt and dismissed.
** "counselor", which may refer to Calonne as well - compare to his portrait

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Galerie des Modes, 45e Cahier, 5e Figure

The proud Aglaé outraged to the bottom of her soul at the apparent infidelity of her lover, indicating it to him by overwhelming him with reproaches, the time and the place of a mysterious rendez-vous: she is dressed in a chemise à la Jesus, having an elegant hat à la Française, and plumes above it with a ribbon à l'inoculation. (1785)

Here is how in her statement Miss Le Guay d'Oliva* detailed the toilette she wore, when, as she claimed, she was made to look like Marie-Antoinette, at the beginning of August 1784, around the time of the famous affair of the Necklace:

"The lady de La Motte, the pretended countess of Valois, busied herself with my toilette; it was she herself who wanted to dress me; it was she herself who dressed me.  I was put in a white gown of spotted linen.  It was, as far as I an remember, a robe à l'enfant, or a Gaule, a type of dress that is designated most often by the name of chemise, and it was wanted that I be coiffed in a demi-cap."

* The prostitute who was paid by the de la Mottes to pretend to be the queen in the gardens of Versailles in order to continue the deception of Cardinal Rohan.  Despite her profession and part in the affair, she was looked on sympathetically by the public and escaped with no punishment.

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Galerie des Modes, 45e Cahier, 2e Figure

The Beauty in the uncertainty of sitting waits with impatience for her lover while walking; she is wearing a Caravan hat, a chemise à la Reine, trimmed, with a streaked belt tied in a lover's knot. (1785)

On Marie-Antoinette's toilette. - "At noon she dressed for the whole day.  She slept laced in corsets with flaps of ribbon and sleeves trimmed with lace, and wore a grand kerchief.

"After her bath, a very big and very long chemise was passed to her, open entirely and trimmed with lace, more of a bedgown of white taffeta.

"In the first part of her reign, the Queen loved to put on a little rouge, but several years before her death, she had renounced this practice.

"In summer, she often wore white percale gowns, a gauze kerchief, and a straw hat."

MADAME DE CAMPAN, Memoirs.

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Galerie des Modes, 43e Cahier, 5e Figure

The Flower of the Harvesters walking to contemplate the Summer products without considering anything else: she is in a chemise à la Floricourt,* and coiffed with a hat à la Ceres.** (1784)

Trimming made by Mlle Bertin for the Baronne de Benkendorff.

"1783, August 4. - A grand robe en chemise of spotted linen batiste, a trimming along the fronts in stylish linen edged with a row of lace, two rows of pleated ruffles around the collar and two at the bottom of the sleeves, the whole edged with lace, a petticoat of English lilac taffeta, covered with a chemise of linen, with a trimming at the bottom edged on two sides with a row of lace, lilac ribbons along the front pieces of the gown and in all the drawstring channels. 220 livres.

Dossiers Bertin, Doucet Library

* The Memoirs of Floricourt, by Jean Gaspard Dubois-Fontanelle, was originally published in the early 1780s.  The story focused on "the wild and ungovernable impulses of youth", frequently those in monasteries.
** The Roman goddess of the harvest.

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Galerie des Modes, 41e Cahier bis, 4e Figure

Chemise à la Reine seen from the back.  This Woman has a fichu-mantelet over her shoulders, she is coiffed in a flat hat surmounted by a plume, the hair en négligé and with two cadogans, the belt is of black velvet. (1784)

Lévites.  "One can predict the downfall of an empire, but who can divine which cap, which ornament women will wear next year?  Who can predict the metamorphoses of fashion?  Ah! who said it, that these majestic gowns, whose folds touched the cobbles of Jerusalem, and which belong specially to the tribe consecrated to the custody of the Arch, entered women's dress, and that the elegant ladies and the petites maîtresses of Paris wore in imitation of the antique and respectable design?"

Sébastien MERCIER, Tableau de Paris, 1783

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Galerie des Modes, 41e Cahier (bis), 3e Figure

Chemise à la Reine open at the bottom like a Lévite, Elegant evening coiffure covered with a large, pulled-down straw Hat. (1784)

"The taste for the parure in which the queen was dressed during the first years of her reign had been replaced by a love of simplicity worn even to an impolitic degree, the splendor and magnificence of the throne being almost to a certain degree separated in France from the interests of the Nation.

"Except on the days of the very great assemblies in court, such as January first, February second (devoted to the procession of the order of the Saint-Esprit), and the feasts of Easter, of Pentecost, and Christmas, the queen no longer wore gowns of percale or white Florentine taffeta.  Her coiffure was confined to a hat: the simplest were preferred and diamonds were only taken out of their caskets for the parures which belonged to the days that I indicated."

Mme CAMPAN, Memoirs

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Galerie des Modes, 41e Cahier bis, 2e Figure

Chemise à la Reine with bound sleeves, the neckline trimmed with a frill, Marlborough Hat wrapped with a wide ribbon striped in black and color. (1784)

"Chemises" belonged to the category of simple and comfortable dress which was in vogue from about 1781 overall due to Marie Antoinette.

At the time, one said that an upper-body garment was made en chemise when "the beginning of the sleeves ended in two pieces which were added" (Dictionary of the abbé Jaubert, 1778).  One frequently finds in the notes of Mlle Bertin mentions such as "a piece en chemise of Italian gauze", "a fichu-chemise* of Italian gauze", etc.  On the date of the appearance of the "chemises à la reine", Bachaumont fixes it for us in writing about the portraits of the Queen and Madame, by Vigée-Lebrun, shown in 1783: "The two princesses are en chemise, a costume invented recently for women."

And he added, "Many people have found it inappropriate that these august personages are offered to the public in a garment reserved for the interior of their palace."

BACHAUMONT, Secret Memoirs, account of the Salon, August 1783

* chemisette

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Galerie des Modes, 41e Cahier (bis), 1ere Figure

Négligé of a young Lady of quality, her gown is a type of chemise of thin silk stuff, round gauze cap, frilled kerchief and apron of muslin.  The child is dressed in a frock coat over his matelot. (1784)

"In the tenderest infancy, one inculcates, so to speak, women's love for vanity and lightness!  Everyone contributes to this: the papa, the mama, the nursemaid, and family friends; the dancing master who educates the young girl has precedence over the reading master, who must inspire in her the fear of God and love of her future duties.  The marchande des modes and the seamstress are beings whose importance she will evaluate before hearing of the existence of the shape which nourishes her and of the weaver who dresses her ...

"We deign to regard with reflection these marionettes that are seen in our promenades, to prelude with silliness the errors of the rest of their lives.  The little gentleman, in a cloth suit, and the little lady, coiffed in the manner of the great ladies, copying, under the auspices of a stupid nursemaid, the originals that they will be one day.  All the grimaces and the affectation of the petit maître are gathered together in the little gentleman.  He is applauded, caressed, admired in proportion to the contortions he makes.  The little lady receives a compliment for each simper which she advises herself to make and if her precocious address give her some power over the little husband, it augurs, with a stupid surprise, the interesting role that she will play in Society."

Sébastien MERCIER, Tableau de Paris, 1783

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