Eighteenth-Century French Fashion Plates in Full Color: 64 Engravings from the "Galerie des Modes," 1778-1787
80
Eighteenth-Century French Fashion Plates in Full Color: 64 Engravings from the "Galerie des Modes," 1778-1787
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| ISBN-13: | 9780486163246 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 09/21/2016 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 80 |
| File size: | 75 MB |
| Note: | This product may take a few minutes to download. |
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Eighteenth-Century French Fashion Plates
64 Engravings from the "Galeries des Modes," 1778-1787
By Stella Blum
Dover Publications, Inc.
Copyright © 1982 Dover Publications, Inc.All rights reserved.
ISBN: 978-0-486-16324-6
CHAPTER 1
List of Plates
This list of plates includes a translation or paraphrase of the French captions found on the plate pages, combined with further information found in the original Galerie des Modes publication (usually in the form of contemporary commentary by Guillaume-François-Roger Molé, 1742–1790). (Beginning with the 1784 plates, the original captions and other text become more capricious and much more scanty.) All French terms that appear here in italics are explained in the Glossary. At the end of each entry is given the number of the respective plate in the original edition of the Galerie des Modes (followed in parentheses by its corresponding number in the Emile Lévy reprint; see Bibliographical Note) and the year in which the plate first appeared.
1 Woman wearing a robe à la polonaise of striped taffeta trimmed with gauze; a gauze collar with a bow like those on the dress; hair arranged in three large curls; and a "tambourine hat" of materials that also match elements of the dress. Such was the popularity of this print, with the exposed leg of the woman tying her garter, that hats of this type became known as "beautiful-leg hats." Plate 37 (1 of Lévy edition), 1778.
2 Young lady in a lilac satin robe à la circassienne trimmed with blonde lace and ornamented with spotted ribbons. Her headdress is an elegant "parasol hat" over a tall coiffure with a loosely plaited chignon. Plate 44 (8 of Lévy edition), 1778.
3 Young lady of quality in a grande robe à la française. A necklace of pearls ending in two tassels of gold — matching those on the dress — rests on her neckbow, or parfait-contentement. Her coiffure includes four large curls. Her headgear, an elegant pouf, is called a bonnet à la victoire. Plate 43 (7 of Lévy edition), 1778.
4 A bourgeoise promenading with her daughter. The mother wears a petite robe unie of silk crisscrossed with little flowers; a "straight root" coiffure; and a medium bonnet. The girl wears a dress of burat trimmed with ribbons and featuring a tight-fitting bodice; over the dress is a demitablier, with bavette, of striped gauze; her hat is of straw with matching trim; she carries a walking stick. Plate 45 (9 of Lévy edition), 1778.
5 Kitchen maid whose attire mingles the simplicity of a girl newly arrived in Paris from the provinces — as in her simple skirt and apron — with the beginnings of elegance befitting the metropolis — as in her round "Bastienne cap" with lappets. Her chief upper garment is a casaquin en juste. Plate 47 (11 of Lévy edition), 1778.
6 Woman of a certain ton promenading. Her caraco of taffeta trimmed en pouf has short sleeves ending in manchettes to which sabot sleeves are attached. She wears a braided chignon with a rosette. In her left hand she has an ivory-handled ebony cane; in her right, a tiny dog. Plate 48 (12 of Lévy edition), 1778.
7 Petite-maîtresse, on a promenade at the Palais-Royal, dressed in a delicate lilac grande robe à corps ouvert trimmed with gauze. The natty young abbé wears a black taffeta cape over his pocketless and buttonless soutanelle. The skullcap is his real headgear; the cocked hat is carried under the arm or used for polite gesticulation. Plate 49 (13 of Lévy edition), 1778.
8 Woman in morning déshabillé reclining nonchalantly on a sofa and playing with her dog, offering it a biscuit. Her bodice, a caraco à la polonaise of sky-blue taffeta, has narrow sabot sleeves and fastens at the neck with a rosette serving as the parfait-contentement. Plate 51 (15 of Lévy edition), 1778.
9 An elegant dressmaker delivering her handiwork. She is wearing a taffeta robe trimmed with speckled lawn and an apron of apple-green taffeta. Her headdress includes a medium bonnet à la crête de coq with floating barbes (lappets) over a "Swiss" chignon. She is holding a panier under her arm while her little apprentice carries the rest of the costume being delivered. Plate 61 (25 of Lévy edition), 1778.
10 A pretty woman in a caraco à la polonaise trimmed with gaze à bouquets, the sabot sleeves trimmed with two rows of fluting and the neckpiece of goffered netting. Her chapeau à l'égyptienne tops a coiffure au chien couchant. She is holding an ebony parasol à canne. Plate 64 (28 of Lévy edition), 1778.
11 Young lady with a coiffure à la Dauphine wearing a robe à la Reine trimmed au nouveau désiré and decorated with tassels. It was created by P.-N. Sarrazin, clothing designer to the King's brothers and director of the Salon des Costumes du Colisée. Plate 75 (39 of Lévy edition), 1778.
12 Young bourgeoise having her hair dressed in the "straight root" style. She is in a coquettishly drawn-up peignoir and a petticoat of soft yellow gauze. She holds a little book, "The Art of Love," merely for form's sake. The hairdresser is wearing an appropriate wig, a red waistcoat, black breeches and gray silk stockings. His powder puff is of swansdown. Plate 67 (31 of Lévy edition), 1778.
13 Marie-Antoinette, Queen of France, in the grand habit de cour. The robe and petticoats are of cerise satin, matched by the hair ribbon. The costume is adorned with a flounce and bands of fine lace. Diamonds, pearls, ribbons and tassels give it additional luxe. Plate 80 (44 of Lévy edition), 1778.
14 The Comtesse d'Artois (wife of one of the King's younger brothers who was eventually to reign as Charles X) in the robe de cour worn over the grand panier. This robe is of gros de Naples trimmed with lace and an interlacing of ribbons and bows, some ending in tassels. Plate 84 (48 of Lévy edition), 1778.
15 Tailor-designer fitting a lady into a fashionable whalebone corset. He is wearing a hazel coat with a black velvet collar and gold buttons and buttonholes. His waistcoat is of cerise tricot with gold braid, his trousers of black velvet and his stockings of gray silk. The young woman has a simple skirt and white stockings. Her corset is covered with yellow-died batiste. Plate 85 (49 of Lévy edition), 1778.
16 Woman in a caraco à la française of pleated taffeta in a gorge de pigeon color, with a falbala, sabot sleeves and other trimmings en pouf of very sheer gauze. The hat, also en pouf, is a chapeau à l'italienne. Plate 88 (51 of Lévy edition), 1778.
17 Robe à la levantine trimmed with ermine. The skirt and soubreveste are called "l'Assyrienne." The bodice has narrow Amadis sleeves. The headdress is in "Créole" style, including a coiffure au chien couchant. The costume was created by Sarrazin (see no. 11). Plate 97 (59 of Lévy edition), 1779.
18 Young lady in a pelisse of satin padded with wool down, worn over a polonaise and skirt of rose-colored taffeta striped in blue. She is coiffed in a round half-bonnet à la laitière with a rose-colored serre-tête. Fashionable bourgeois morning wear in winter. Plate 102 (60 of Lévy edition), 1779.
19 Fraque à coqueluchon of red silk plush with a gold filigree hook instead of buttons in front, faced with black silk plush; the sleeves have black cuffs. The tricot of the waistcoat is chiné. The breeches are of red calamanco; the stockings are ribbed; the hat is plush. Plate 99 (63 of Lévy edition), 1779.
20 The pretty young lady dancing (not a professional performer) is dressed in a pleated caraco of reddish brown Italian taffeta. Her apron is of linon à fleurs. Her hat, en pouf with a bandeau and garland of pearls, is crowned with a branch de frivolité. Various elements of the trimmings — bowknots, rosettes, bandeau — are rose-colored. Plate 100 (64 of Lévy edition), 1779.
21 This lady of quality is wearing a robe of rose taffeta trimmed with puckered blonde lace and garlands of flowers interspersed with gathered ribbons; the train is borne by a blackamoor. Her coiffure en pouf is ornamented with plumes and flowers interlaced with ribbons and banded with a string of pearls ending in a tassel. The boy is wearing a blue coat trimmed with silver galoon over a fire-colored short vest also bound with silver. His bonnet à la moresque is ornamented with pearls and plumes. His silver neckband and the front plate of his bonnet bear the lady's coat of arms. Plate 109 (68 of Lévy edition), 1778.
22 Young woman in a polonaise of blue and white linen with a vermicelli print; it is trimmed with flat borders of white linen painted in many colors ("country" style). She is carrying a "Chinese"-style parasol. Plate 114 (73 of Lévy edition), 1778.
23 Redingote en Backmann or à coqueluchon. The simplicity and comfort of this grand négligé won it an infinite number of devotees. Plate 117 (76 of Lévy edition), 1779.
24 Young horsewoman in a male-style fraque à bavaroise and a skirt. Her hat is black with plumes of the same color. Plate 121 (80 of Lévy edition), 1779.
25 New robe called "Longchamps" after the fashionable promenade where it was first worn. The skirt is held up with nœuds d'amour and tassels, and trimmed with paillettes; the ornamental sash is of lévite style. The upper robe is of speckled gauze. Costume created by Sarrazin (see nos. 11 and 17). The engraving errs in showing the additional gauze skirt as being beneath the principal petticoat instead of being over it. Plate 122 (81 of Lévy edition), 1779.
26 Déshabillé of white taffeta with a border of China-rose taffeta. Mantelet au lever de l'aurore of taffeta trimmed with gaze de fantaisie. Headdress: bonnet négligé and coiffure au chien couchant trimmed with a dotted ribbon. Shoes of rose with green rosettes. The lady is looking at a repeater watch while impatiently awaiting her visitor. Plate 138 (93 of Lévy edition), 1779.
27 Young woman wearing a polonaise à deux fins of gauze striped in silver on rose taffeta; matching skirt. Her English-style hat, called a chapeau à la turque, is trimmed with gauze and flowers. Plate 123 (82 of Lévy edition), 1779.
28 Young woman making a collection for charity, as shown by the purse and the bouquet. She wears a robe de cour of pékin, of the color called prune de Monsieur, trimmed with ribbons and garlands of flowers. Her diamond earrings hark back to an earlier fashion trend. Her escort's habit de demigala is of gros de Naples embroidered with paillettes of many colors; "hedgehog" hairdo; hat to be carried only; red heels. His sword should have been ornamented with a bow by the artist. Plate 157 (112 of Lévy edition), 1779.
29 A vêtement a la Créole like those worn by French ladies in the West Indies. A comfortable, mildly fitted grand robe of mousseline with Amadis sleeves and a loose neckline like that of a chemise, it opens down the front and is attached on top with a pin, a ribbon like that on the lévite serving as a belt. Over it is a sleeveless caraco à coqueluchon. The hat is a chapeau à la Grenade. The original commentary suggests that this was a ball costume. Plate 161 (116 of Lévy edition), 1779.
30 A lévite with the very short sleeves that the lévite has in common with the robe à la circassienne; here the sleeves match the skirt in color. At the waist is a ribbon in lieu of a sash. The lady is wearing a fashionable black hat. The monkey, too, is a fashionable pet; this one is reaching for a pomegranate. Plate 164 (119 of Lévy edition), 1780.
31 This completely round mantle, the manteau à l'italienne or à la cavalière, was originally worn in France during the reign of Louis XIV, and saw many variations. It became popular again in the winter of 1779, being used chiefly by the military as street wear. The wide, bordered collar was called "Czar"-style after those worn by Peter the Great when in Paris. Iron-gray chiné silk stockings. Plate 171 (126 of Lévy edition), 1780.
32 Three-quarter view of a robe à la turque or à la musulmane. Similar to the robe à la circassienne in the funnel-shaped sleeves, and to the lévite in the turn-down collar and other elements, this gown created a furore when first worn at the Palais-Royal in July of 1779. Plate 175 (130 of Lévy edition), 1780.
33 Back view of a robe à la turque showing the fully extended train. It is clearly seen how the ribbon trim accents the segments. Plate 176 (131 of Lévy edition), 1780.
34 Gentleman in a robe de chambre of painted linen, padded and lined with taffeta, with pagoda sleeves (funnel-shaped, with lining and inner sleeve showing). The collar of the shirt is wide and turned down above the cravat — a new fashion. The whole outfit shows a medium degree of déshabillé, since the man's hair is carefully dressed but his feet are merely in slippers. Plate 185 (140 of Lévy edition), 1780.
35 Young woman wearing a modified caraco à la polonaise of linen with vermicelli pattern bordered with a narrow band. The matching skirt has a wide border with garlands of flowers on white. The cat is meant to be an Angora, a very fashionable pet that was temporarily ousting toy poodles from favor. Plate 177 (132 of Lévy edition), 1780.
36 A young governess helping a very young boy to walk. He is dressed in a little sailor suit but is still wearing a head protector — the bourrelet — and leading straps. Plate 188 (143 of Lévy edition), 1780.
37 Lady dressed in a very elegant grand domino of taffeta on her way to a masked ball. Convenient because it can be worn over even informal apparel, the domino is suitable for the new type of ball at which people no longer dance but merely enjoy the spectacle incognito. The felt hat worn over the less highly piled coiffure is one of the signs of the times; here its use in a ball costume is still something of a novelty. Plate 252 (170 of Lévy edition), 1783.
38 Lady in the role of sincere and faithful friend wearing an "Anglo-American" robe and skirt with borders of a different fabric; tight-fitting sleeves. The neckline is a gorge à la Gabrielle d'Estrées. Plate 254 (172 of Lévy edition), 1784.
39 Chemise à la Reine with attached sleeves and a neckline trimmed with a ruff. The hat à la Marlborough is decorated with a wide ribbon striped in black. Plate 260 (178 of Lévy edition), 1784.
40 Outfit for harvest season: chemise in "Floricourt" style and chapeau à la Cérès. Plate 275 (192 of Lévy edition), 1784.
41 Young, carefree girl toying with her fan as she enjoys the fragrance of the rose at her bosom. She is wearing a light robe and a chapeau à la Charlotte over a bonnet deminégligé. Plate 272 (189 of Lévy edition), 1784.
42 Horsewoman discreetly approaching the arbor where she is to meet her lover. She is wearing a costume au grand Figaro. Plate 277 (194 of Lévy edition), 1784.
43 This sensitive virtuosa, wearing a robe à l'anglaise bordered à la Marlborough and a "half-balloon" hat, is playing a solo but waiting to be joined for a charming duet. Plate 280 (197 of Lévy edition), 1784.
44 A lady so constant that she avoids company. Over her triple-collared robe à l'anglaise she wears an apron of decorated mousseline; her hat is a chapeau à la Basile. Carrying her "lion" dog, she looks into the distance for an object even dearer to her heart. Plate 281 (198 of Lévy edition), 1784.
45 The brilliant Lise, piqued at her lover's infidelity, is preparing a vengeful scheme to get him back. Her robe à l'anglaise is trimmed à la Figaro and she wears a "caravan" hat. Plate 283 (200 of Lévy edition), 1785.
46 Young, elegant Suzanne with her reply to the note she has received from her dear Figaro. She wears a caraco trimmed with mousseline and a skirt with three mousseline ruffles and a dotted flounce around the hem. Her headdress is a "globe" cap. Plate 285 (202 of Lévy edition), 1785.
47 As sparkling as Venus, beautiful Dorine ponders the ardent love message she has received. She wears a robe à la Marlborough and a chapeau à la Charlotte. Plate 286 (203 of Lévy edition), 1785.
48 An amorous "nymph" of majestic bearing calmly running the risks to which her sex is exposed at the Palais-Royal. Her "Chinese"-style dress has an overskirt pulled up through the pocket slits to reveal her striped petticoat, which matches the bodice. On her head is a bonnet à la Richard. Plate 293 (210 of Lévy edition), 1785.
49 A young beauty, whose sadness proclaims how deeply she has been hurt by her false lover, vows to be more cautious in bestowing her heart. She is wearing a redingote du matin with a fourreau of gauze and a striped sash. Her headdress is in "Nicolet" style. Plate 291 (208 of Lévy edition), 1785.
(Continues...)
Excerpted from Eighteenth-Century French Fashion Plates by Stella Blum. Copyright © 1982 Dover Publications, Inc.. Excerpted by permission of Dover Publications, Inc..
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Table of Contents
Contents
Bibliographical Note,Introduction,
List of Plates,
glossary,
Plates,