Tuesday, December 31, 2013

Galerie des Modes, 63e Cahier, 6e Figure

1. Hat à la Zinzarra. 2. Morning baigneuse, seen on the side. 3. the same Baigneuse, seen from the back. 4. young Child Dressed in a galant Matelot etc.

"Children ... also have fashions, that their fathers and mother are not vexed to learn; for they are often confused to know how to dress them.

"Little girls almost always follow women's fashions; but little boys, that are dressed in matelots, have particular clothes.

"One sees by the representation of the little boy, that he wears matelot breeches of silk; ... a gilet with wide stripes ...; a long silk jacket ... edged with a piping ... and that this jacket is trimmed with half-sleeves of white batiste at the end of which are attached manchettes.

"His shirt is trimmed with a wide frill or collarette with double flounces.

"His hair, only straight, hangs in curls on his shoulders.

"... He wears little yellow brodequins on his legs ..."

Le Magasin des Modes, 10 July 1787

Monday, December 30, 2013

Galerie des Modes, 63e Cahier, 5e Figure

1. Galant hat. 2. Baigneuse à l'Anglaise. 3. Hat à la Reine d'Amathonte.* The young Child is Dressed in a Fourreau of Gauze with a Scarf whose tassels hang behind her back.

"... The little girl is dressed in a gown of white linen, whose bodice and sleeves are taffeta: this gown is tied with a long and wide belt ...; she wears under this gown an all-white petticoat; she wears on her neck a very puffy menteur kerchief, trimmed with a pinked double flounce; ...her hair hanging à la Conseillère in back ...

"Her shoes are unbleached linen, trimmed with a white ribbon ..."

Le Magasin des Modes, 10 July 1787

* "Queen of Amathus", an ancient royal city of Cyprus, which had a cult of Aphrodite. Possibly a references to Scylla et Glaucus, an opera set in Amathus.

Friday, December 27, 2013

Galerie des Modes, 63e Cahier, 4e Figure

1. Galant hat. 2. Baigneuse à la Voluptueuse. 3. young Girl in a little morning Chemise. 4. a little Gentleman in a Matelot, with a Hat à l'Espagnol.

"If we revisit in our minds all the modifications of Fashions, it will be very easy for us to convince ourselves that Fashion, called so variable, is yet regular in its march, and that it is always put together in the same manner. First is the simple style, or simple forms: then there are decorated, embellished forms; then there are overloaded forms, and, after, the Fashion disappears.

"While the embellishments are still simple, there are those that believe the Fashion will last for a long time (a long time for it); but soon the embellishments are overloaded, there is reason to believe that the Fashion has only a short time to last."

Le Magasin des Modes, 20 October 1787

Thursday, December 26, 2013

Galerie des Modes, 63e Cahier, 3e Figure

The good little Sister walking her little Brother. She is Coiffed with a Hat à la Sicilienne and Dressed in an elegant Fourreau etc. etc.

"Mesdames, admit it: while your children are little enough not to make you ashamed of your age and not to shut down your coquetry, you still lead them into society, in the promenades, in all the frequented places and even, when they are pretty, fine, playful, babbling, you make yourself a glory from showing them off, because your pride enjoys the praises which are accorded to them, and which are naturally reflected on you; (the fathers are so weak:) thus you want them to be dressed elegantly, with taste, in the same fashion; you find that it is thus why at this age they give you honor. So we should only do better to give you fashion for your children.

"You would not lead with pleasure children of a slightly advanced age, mostly because they would no longer have this gaiety, this vivacity, this babble capable of attracting all looks, and of making them transfer to you ..."

Cabinet des Modes, 1786

Tuesday, December 24, 2013

Galerie des Modes, 63e Cahier, 2e Figure

1. Cap à l'Enfant. 2. Hat à la Delphire. 3. Hat à la Italienne. 4. Child Dressed in a Matelot. 5. Little Girl Dressed à l'Espagnolette.

Children. - "Children in Paris are very pretty until the age of seven to eight years. As they are elevated to the place of a numerous crowd of individuals, they contract early an air of ease; they do not have a vacant air; they are not too astonished at the habits of life, nor the worries of the city; a little air of assurance says that they were born in the capital and already molded in its great movement; they have no dread of what happens around them. Put properly, in general, in a simple and easy manner, they owe the liberty of their dress to the writings of J.-J. Rousseau."

SEBASTIEN MERCIER. Tableau de Paris, 1788

Monday, December 23, 2013

Galerie des Modes, 63e Cahier, 1ere Figure

1. Hat à l'Androsman. 2. Baigneuse à la Warwick* etc. etc.

"Caps and poufs are made of goffered gauze and trimmed with plain, goffered ribbons. This goffering is done with irons, which are furrowed in a thousand rather wide and deep stripes. These irons are heated, and the gauzes and ribbons are heated with them, which thus form a thousand little pleats.

"The most fashionable ribbons today are plain, goffered ribbons. The colors of these ribbons are left to each person's imagination. Pinks, jonquil yellows, violets, and apple greens are however the most generally adopted."

Le Magasin des Modes nouvelles, 20 July 1787

* Possibly derived from the Countess of Warwick, Henrietta Greville (m. 1776)?

Sunday, December 22, 2013

And the Winner Is ...

Eleryth! You have won my copy of Creating Historical Clothes, congratulations! I wish I could give it to everyone who entered, but unfortunately I only have one.

I'll send you a PM on LiveJournal for your address, so I can get it to you.

Friday, December 20, 2013

Galerie des Modes, 62e Cahier, 6e Figure

Lady of quality getting up from bed, taking the fresh air at the Tuileries, busying herself with her work to keep herself from being bored. She is Dressed in a white Gown and a Mantelet of spotted Gauze etc.

Tuileries ... "Art cannot embellish nature of its own charms, and the most precious lack solitary promenades. I confess simply that the effects of a happy distribution of walkways, lawns, flowers, and basins only inspire in me a cold and sterile admiration. What  is sadder than these monotonous beauties! What is more ravishing than these triple rows of charming women who border the beautiful walkway of the Tuileries, in a summer soirée, in the most serene days of autumn and spring! All these groups vary infinitely which break down without ceasing to make up mutually establish between a thousand different circles in a continual circulation of meetings, ideas which increase, develop in passing from one group to another with the members always fluttering from these different societies. The mind is fed, electrified at the same time as the eyes rejoice in the handsomest spectacle that any rendez-vous could offer in any country in the world."

RESTIF DE LA BRETONNE, Tableaux de la bonne compagnie, 1787

Thursday, December 19, 2013

Galerie des Modes, 62e Cahier, 5e Figure

The young Englishwoman wanting to make her fortune in Paris, in taking the French fashions and dreaming of the means of achieving them. She is coiffed in an anglomane Hat surmounted by Plumes over her hair, falling down over the forehead à la Jaquet etc. etc.

"Foreigners must please Paris, for more than one reason. First, they are perfectly welcomed there; one has for the men almost much deference as for the women. The more they come from afar, the more one hastens to satisfy them; the difference of religion or costume is a further merit, and a motive for receiving them well. A Parisian is careful to leave a good opinion of himself in the minds of travelers."

SYLVAIN MARECHAL, Notice on the mores of Paris (Actual dress ...), 1787

Wednesday, December 18, 2013

Don't Forget!

The Creating Historical Clothes giveaway is still open! And it will be until midnight EST on Friday! If you've already entered, consider posting about it somewhere else and entering again!

Galerie des Modes, 62e Cahier, 4e Figure

The beautiful Zulima Dressed in a Robe à la Sultane and Coiffed with a Pouf à la Turque etc. etc.

Furnishings made by Mlle Bertine, modiste to the Queen, for Mme de Versisy.

"1786, 15 December. - A pouf bordered with a Turban of white satin, a blonde lace of great height over it, a panache of two flat plumes on the side, a gauze kerchief behind. ... 96 livres.

"A great gauze kerchief of an ell [of fabric]. ... 15 -

"Total ... 111 livres."

Dossiers Bertin (Doucet Library)

Tuesday, December 17, 2013

Galerie des Modes, 62e Cahier, 3e Figure

The amiable Suzette Dressed in a Caraco à la Huntress of Love. She is thinking about a rende-vous with her dear Philinte.

"Our Ladies having adopted caracos almost exclusively for all sorts of dress, it was a relative necessity for them to apply themselves to varying them, to embellishing them, to deprive them of this great simple, this great plain, which in the long run finishes by displeasing, regardless of her elegance and taste, precisely because it does not vary, and because it wounds the laws of Fashion; also in order to guard the relative decencies, have they varied, embellish caracos; also have they laden them with embroidery: this is a bad one, because they have hastened the end of it. One only knows how to disagree with the variation, the embellishment, the overloading that they have brought to them, not be a perfect taste, and that it would be maybe impossible to imagine anything more agreeable to the eye."

Le Magasin des Modes, 20 November 1787

Monday, December 16, 2013

Galerie des Modes, 62e Cahier, 2e Figure

The amiable Culinette, adjusting her Hat à la Tarare,* She is waiting for her dear Aleindor for a rendez-vous, etc.

Pouf à la Tarare. "This pouf is made with two bands and a puff. The inner band is made of a wide green satin ribbon, forming a large bow in the back. The outer band is made of white crêpe, on the front of which is a tuft of crêpe like a bow. The puff is of the same white crêpe and it is separated from the outer band by a garland of roses. On the left side of the pouf are five large white plumes, at the feet of which is fixed a bouquet of roses, and, on the right side, is an aigrette of rooster plumes, green and white."

La Magasin des Modes, 30 November 1787

* Tarare is an opera by Salieri which premiered in 1787. The character of Tarare is a virtuous soldier

Saturday, December 14, 2013

Plans for 2014

I always make too many plans - but compared to my past output, what I've done this year is so outstanding that it makes me think I can decide which pieces I need to build a basic and versatile wardrobe, based on the events I've gone to this year (which is, again, an astounding amount compared to how many I attended in previous years, mainly thanks to Julie).

Detail of bodice I sketched at FIT, that sparked my love for the style
- My muslin gown makes me happy enough that I don't feel the need to replace it yet. However, I do feel most comfortable at this point with the 18th century methods of construction and my ability to get a good fit for that sort of bodice, so if I do make the jump from cotton to silk it's likely going to be for a 1780 pleated-back and closed-front gown based on one I've patterned, with plenty of pinked trim. (Must buy pinking shears.)

- What surprises me when I think of it, for some reason, is that Victorian events have been the most frequent this year. And yet, my Victorian wardrobe is sorely lacking. Probably the best place to start would be with remaking my early Victorian bodice so that it is narrower and a little bit longer. I do have some extra fabric, and I'm pretty sure it's still being produced and sold, so that shouldn't be a problem. I'd also like to make sure I have a center front seam, and to pipe the seams, at least the main ones and the armscyes.

Also from FIT; Clara and I dressed it!
- In addition, I'd like to make a second, slightly later bodice with more fitted sleeves. Just because. It won't necessarily look like the above, but the sleeves will probably be similar. Why? Because I get more bodice practice without having to make, or, more importantly, buy the fabric for another skirt.

- To round out my Victorianism, I'd like to also have an 1890s outfit, but I'm not really sure what it should be. My fitting skills are still quite low, which is unfortunate as the 1890s are a very fussy decade, so perhaps it will be a shirtwaist and skirt, or a lingerie dress. Yes, that sounds about my speed.

Costumes Parisiens, Journal des Dames et des Modes, 1814; NYPL 801887
- And, last but not least, a decent Regency gown. I have the one I made for my qualifying paper (technically pre-Regency) and the one I made for Tulipfest (too big, too nightgowny), and I'd like to just start over and make something decent. However, this will probably wait until I've taken some Regency patterns for After the Fashion II: 1800-1849, as I find it easier to sew once I've really thoroughly investigated extant pieces.

And that will be sooner than you may have expected! In 2014, I'm going to start patterning for the next book. I'm probably going to be doing just about everything I can get my hands on, but I was wondering - is there anything in particular that any dear readers have seen in paintings, fashion plates, museums, etc. and wished they had a pattern for? Would you like to see variations on early 1840s evening dress sleeves? Different types of late Regency hem treatments? Wool vs. silk spencers? Please let me know!

And don't forget about the Creating Historical Clothes giveaway, open until midnight (EST) on Friday, December 20!

Friday, December 13, 2013

Day Dress, ca. 1840

I have had this dress in the works for a very long time. One time when I was in Walmart for ... buttons, I think, I came across this gold/brown quilting cotton with a very small leaf and floral print for $2 or $3/yard. I bought several yards of it, and set it aside until I had a reason to make an early Victorian dress.

Finally, after four or five years with not many Victorian events, I decided just to start it and wait for something to turn up. And something did! The Empire State Costumers decided to go to the Troy Victorian Stroll again (last year I went in mufti as I needed to leave fairly soon to attend Linda Baumgarten's talk on quilts at the Albany Institute), and I finished it ... a little too quickly, and there are problems, but as I always do things wrong the first time I'm just sort of glad I have the rough draft out of the way and can redo the bodice.

The leaders of the ESC trimming a tree.
Early Victorian is officially my favorite period, because it's the only one with a hairstyle that I can do. Literally the only one.

I started out with the sleeves, leaving them unlined as the originals I've seen have a very thin printed fabric with a sturdy lining, and this fabric stands up fairly well on its own. (There's an in-progress picture somewhere but I can't seem to find it.) You can't see in these photos, but the upper arm is pleated down and held with two rows of chain stitches in green DMC cotton. The bottom of the sleeve should be partially done in the same way, but due to time constraints I just pleated them into the cuff and resolved to come back later. (See example.)

When I finally gave in and decided to just make the dress already, with a pattern I'd taken at the Albany Institute, it was going to be quick and dirty. So I did the whole skirt on the machine, with some shoddy piecing and even a little "darning" near the hem, although I did also cartridge pleat it to the waistband and eventually hem it by hand. The bodice I did entirely by hand, because I didn't really start it until I moved into a place where I couldn't set up my machine. But I really think I'm faster when hand-sewing, for the most part, anyway, and very few seams really need the strength of a lock-stitch. But despite my historical authenticity, it ended up 2" too big, as do literally all of my rough drafts. Why is that?

That is a Tiffany window behind us, as they're proud to tell you.
You can see that I made a little drawstring bag to carry my phone, etc. around in. In addition to that, I've got on a grey wool Banana Republic cape I got secondhand for $60, my tan leather gloves, Fugawee Annas, and a relatively accurate bonnet of my own making. (It has issues but is a pretty color.) Overall, I was not as prettily turned out as I have been at other times, but I did feel very Victorian!

White Muslin Gown, ca. 1780

Should have asked Mom to stand up to take the picture ...
This is the first 18th century gown I've made since taking those many patterns for my book, and I think it's a great improvement over the blue linen one I made a few years ago. (The stays underneath are much better as well.)

I based this gown on the one pictured below, an anglaise with back pleats, a closed front, rounded skirt edges, and loops inside to pull it up (which I haven't put in yet but plan to eventually). It's also based in part on all the quotes about muslin gowns and silk coats, although this coat is linen.

Albany Institute of History and Art 1961.26.1a-b
The original has a matching petticoat, but the one I wore to the Battle of Saratoga re-enactment is old, from the Old Stone Fort fiasco/ensemble. I really need to repleat it and replace the waistband, but somehow that never seems very important until I put it on and realize it's too big.

What I've Learned

- When scaling up an 18th century pattern, don't widen all the pieces in equal proportion. The back pieces barely need to be enlarged. Just because the dress form's shoulders are enormous doesn't mean that I need the straps to be out that far. (But once I fiddled a bit, I ended up with one strap in the exact right place and the other only out a bit too far, which is a huge improvement on my previous efforts - it's hard for me to get rid of preconceptions about where shoulder seams are supposed to go.)

Way too wide.
- Allotting enough fabric for the pleats is very important, otherwise you end up with these tiny, tiny little pleats.

- I always have this weird thing about setting in 18th century sleeves, where I want them to be really pleated at the top. This is silly and I know it's silly because I've taken enough patterns to know that you don't need that! After taking out the pleats, I put it back on and tugged the sleeves up to fit more snugly. I could have actually cut them a little bit smaller.

No! When laid flat on a table, the sleeves should want to be out at right angles.
Anyway, there are all sorts of little problems (the waist was WAY too low at first, and I raised it wherever I could, but there's only so much you can do with this style of back), but I'm very happy with how this turned out. Can't wait until next summer's 18th century events with the ladies to take it out again!

Galerie des Modes, 62e Cahier, 1ere Figure

Young Nymph provoking pleasure. She is Dressed in a Caraco à l'Amazone and Coiffed with a Sunflower Hat etc. etc.

"Advice. A shop for women's clothes was just established at no. 28 rue Salle-au-Conte, under the direction of a very-skilled master seamstress. Gowns of diverse types will be found there, caracos, and all sorts of feminine garments of the newest taste. One distinguishes, among other objects, gowns à la Czarine, caracos Zélandois, riding habits à la Muscovite, gowns à la demi-négligente, ball caracos à la Hollandoise, and all sorts of other gowns.*

"This establishment will be very useful to women of taste, both in the capital and the provinces. It is under the direction of distinguished artists. This store is open every day from eight o'clock in the morning to eight o'clock at night. We are eager to satisfy the demands that are made promptly and punctually."

Le Magasin des Modes, 10 February 1788

* Technically, Catherine the Great was Empress of Russia at this time, but she was unofficially referred to as a tsaritsa; Zeeland is a province of the Netherlands

Thursday, December 12, 2013

Galerie des Modes, 61e Cahier, 6e Figure

 The sulky Alviane Dressed in a Redingote à l'Amazone and Coiffed with a morning Hat.

Buttons. "Over the last two years, buttons have experienced very rapid and well-marked vicissitudes; it is useless to recall them all now: but, only speaking of those with paintings, one must say that all types of paintings have successively been on them; first historical subjects, then bas reliefs, soon after faces, again soon after landscapes, and today architecture.

"The most beautiful monuments of France are painted on buttons, and especially the most beautiful ones of Paris.

"We have seen them, made by a young artist of much taste. All the most beautiful pieces of Parisian architecture, like the Louvre, the Saint-Denis gate, the Corn Exchange,* the School of Surgery, etc. etc. are represented on them with all possible perfection. He has been working for a year and has made a very great quantity of them ...

"The buttons have only been for sale since his Majesty had the goodness to acquire a garniture des mains of them from the creator himself."

Le Magasin des Modes, 20 April 1788

* a large market; a long blog post on the subject here

Wednesday, December 11, 2013

Review and Giveaway: Creating Historical Clothes, by Elizabeth Friendship

(Anova Books Group, 2013; 242 pages)

To win a copy of Creating Historical Clothes: Pattern Cutting from Tudor to Victorian times, just comment below! For a more chances, post about this giveaway on your blog, Tumblr, Twitter, or Facebook, and share the link in a new comment! You can enter to win through Friday, December 20th; winner will be drawn on Saturday.

I was pleasantly surprised to be sent and asked to review this book. (That's by way of being my disclaimer.) Giving my opinion is one of my favorite pastimes, so I was happy to oblige.

Elizabeth Friendship is a serious professional costume designer, and developed her methods of pattern drafting on the job. She imparts these methods to the reader with painstakingly detailed diagrams and instructions. The basic idea is to create a bodice block that fits you, which she then describes how to alter for period-correct seam placement, shaping, etc.

The whole book is divided into five chapters - one for the basic blocks, and four for the 16th through 19th centuries. Chapter one consists of patterns for the bodice, a straight sleeve, a fitted sleeve, a two-piece sleeve, basic skirt, and basic trousers, all of which could be used to create modern clothing. The historical chapters are replete with full-color reproductions of fashion plates and portraits, as well as accurate information about the changes in fashion during that century and numerous patterns with instructions. For example, to pull from everyone's favorite era, the 18th century chapter contains:

  • Corset 1730-1740
  • Basic 18th-century [fitted] bodice pattern
  • Basic pattern for sack-back gowns and jackets
  • Robings
  • Stomachers
  • Sleeves c.1700-1755
  • Bodices c.1770-1785
  • Sleeve with elbow dart
  • Cuffs
  • Two-piece sleeve and cuffs
  • Mid-century hoop petticoats
  • Panniers c.1770
  • 18th-century skirts
The one caveat I have as to accuracy is that the 18th century armscyes are placed a little far out on the shoulder. But 18th century sleeves are difficult to relate to modern blank patterns, I think, so it's very understandable.

Overall, my feeling is that this book would best benefit a costumer who is very familiar and comfortable with modern sewing techniques. If you frequently use commercial patterns and alter them for more accuracy and a better fit, then you might get a lot of use out of (and save money with) the basic block patterns and instructions for alteration in Creating Historical Clothes.

Galerie des Modes, 61e Cahier, 5e Figure

Young Officer in a Zebra Coat, calling someone to give an account of his services.

"The zebra of the king's cabinet has become the model of the current fashion; all fabrics are striped, coats, gilets, resemble the skin of the handsome onager. Men, young and old, are in stripes from head to toe: the stockings are also striped."

SEBASTIEN MERCIER, Tableau de Paris, 1787

Tuesday, December 10, 2013

Galerie des Modes, 61e Cahier, 4e Figure

 The young Zuma in a Redingote closed with Buttons à l'Anglaise and in a Cap à la Courvil.

"When you see a fashion begin to overburden itself, you can say: its end approaches, and in a little while it will be destroyed. As we must not stop variety in fabrics, in colors, in the distribution of these colors, in their mixing, to satisfy our taste, from the instant that this variety can no longer be felt over such fabric, such color, the mixture of these colors, their assortment, it is indispensably necessary that one changes fabric or color. However, this variety can no longer be felt as soon as the fashion of such fabric, or such a color increased as far as it could. For example, the fashion of stripes, passing from narrow to wide, whether it admitted the medium degree, or whether that was omitted, can no longer increase, because after the widest there are no more. However, not being able to increase, and to satisfy this insatiable need that we have for variety, and being, as I said, overloaded, it must perish and disappear."

Le Magasin des Modes, 30 September 1787

Monday, December 9, 2013

Galerie des Modes, 61e Cahier, 3e Figure

 Young Lady in a Winter Redingote and a Hat à la Genlis.*

"In the current times, when the majority of minds are much less carried by the idea of pleasures, and when people hardly take any other leisures than reciprocating visits, our ladies dress more in robes parées or demi-négligés, than in caracos, jackets, or pierrots. These latter garments being more dedicated to balls or promenades."

Le Magasin des Modes, 20 February 1788

* Probably Stéphanie Félicité du Crest de Saint-Aubin, Comtesse de Genlis (1746–1830), a well-educated courtier and writer.

Saturday, December 7, 2013

The Fourreau

When people are discussing eighteenth-century gown styles, the fourreau does not rank alongside the polonaise and turque; in fact, it never seems to come up at all.

The main, traditional meaning of fourreau was for a child's dress. In Garsault's L'Art de la Lingere, infants are described as wearing various pieces of the layette until they reach three, at which point the girls are put into shifts and jacquettes, while boys wear the fourreau until they're breeched at four or five. However, in Galerie des Modes, the caption-writer is consistent in describing the young fourreau-wearers as girls. (It's possible that this is not contradictory - Garsault was published in 1761, and a shift in word- or dress-usage may have occurred over the following two decades.)

32e Cahier, 5e Figure, 1780
The fourreau depicted on children in Galerie des Modes is the typical children's gown of the eighteenth century: back-closing, but otherwise very similar to women's gowns. The fashion plates show that these fourreaux could be made à l'anglaise, worn retroussée à la polonaise - echoing fashions in gowns.

This sort of echoing existed in the adult woman's fourreau as well. The Cabinet des Modes reported that "gowns and fourreaux à l'Anglaise, à la Turque, à la Janseniste, à la Circassienne, are still in fashion.  When a Lady is in a green fourreauà la levite ...

The adult version of the fourreau appears in the fashion plates in 1784, around the same time as the chemise gown, and the plates seem to show that - like the child's fourreau and the chemise - it has a closed skirt.

39e Cahier (bis 2), 3e Figure, 1784
The fourreau could be full or fitted, but in either case it looks to have not just been a "round gown" with a closed skirt, but a back-closing garment like the one worn by children. There is no back view in a fashion plate to examine, but it seems most likely that it would fasten with hooks and eyes or pins, rather than lacing.

So far, I haven't been able to determine how late the fourreaux were worn - 1790 is the latest I've come across the term at the moment - but they seem to be generally part of the pre-Neoclassical Anglomania period. To my knowledge, there are no extant fourreaux in collections online, which would suggest that they were less common outside of the pages of fashion magazines. However, many portraits of the 1790s show very plain gowns that could possibly be fourreaux.

(As of this point, I haven't translated much of Cabinet des Modes or Journal de la Mode et du Gout, and given their time of publication it seems very likely that the fourreau will come up in more fashion plates and descriptions. This page may be updated later!)

Friday, December 6, 2013

Galerie des Modes, 61e Cahier, 2e Figure

The tranquil Egle dreaming of the inclination of her heart. She is Dressed in a Fourreau à l'Enfant and Coiffed à la Flore.

" ... The courtesans in the realm give the tone and are copied at will by other women, of some condition that they could be. Lais* going out to an orgy perceives that a disheveled air suits her hair: in consequence, she will show herself the next day in public with her hair in disorder; and the day after, bourgeoises and bankers' wives, patricians and ladies of the highest trimmings, let their hair fall below their belts; and the modest beauty, in order not to stand out, will be obliged to adopt the appearance of a bacchante ..."

SYLVAIN MARECHAL, Notice on the mores of Paris (Actual costumes of all the known people), 1787

* Lais of Corinth, a hetaera in Ancient Greece

Thursday, December 5, 2013

Galerie des Modes, 61e Cahier, 1ere Figure

The young Elvire playing with her cat. She is Dressed in a galant Pierrot and Coiffed with a Hat à la d'Hericort.

" ... We have asked ourselves a million times why a beautiful woman always had a pleasing air; why being used to seeing her never renders us indifferent; why the more we see her the more we find her beautiful: all that our fecund imaginations could find, was that a beautiful woman has the gift of always seeming novel. If at our house other Frenchman, people, God knows him, lightly enough, the new man only has the gift of charming, it is necessary that a beautiful woman, who always charms us, has the gift of seeming always novel. We believe that that is an argument in form!

"We give the means of seeming always to have a new éclat; that slightly nears giving the means of seeming ..."

Le Magasin des Modes, 20 May 1787