Fashion plate, 1780s, France.

Portrait of Mary Whitbread Daniel Gardner, 1783

I joined the club, at last! I made my own Ikea Ljusoga robe à l'anglaise! Squeeeee! I waited this moment for almost two years. I purcha...

Fasion of 1780's

Hortense Thayer née Bertrand, by Louis Janmot, circa 1840s. Fashion illustration by Robert Dammy, 1912-13. Estrella Boissevain in fashion shot, by Horst P. Horst, circa 1938. Mannequin articulé, circa 1800. Portrait of a lady as Diana, by Jacob Huysmans, circa 1674. Madeleine comtesse de Montgomery, madame Jean Bonnardel, by Federico Beltrán Masses 1934. Unknown subject, unknown artist, circa 1850s. From the Serbian Royal collection. Portrait of a Young Lady, by Louis Hersent, 1830. Presumed portrait of Clara Wieck Schumann, by Charles-François Phelippes, 1839. (A year before her marriage.) Ragazza con il libro rosso, by Arturo Noci, 1925. Portrait of a Lady, by Konstantin Somov, 1936. Hortense Mancini, by Pierre Mignard, 1671. Lady of the Polignac family, unknown artist, circa 1780s. Though identified as Diane Louise Augustine de Polignac, more likely this is her niece, Aglaé Louise Françoise Gabrielle de Polignac, duchesse de Gramont et Guiche. Ulrike Sophie Herzogin zu Mecklenburg, by Christoph Friedrich Reinhold Lisiewski, 1780. Viscountess Chaplin née the Hon. Gwladys Wilson, by Philip de László, 1915. Unknown, circa 1910-20. Fashion illustration by Armand Vallée, 1914. Contessa Maria Benedetta di San Martino, by Pompeo Batoni, 1785. Françoise Athénaïs de Rochechouart, Marquise de Montespan as Iris, attributed to Louis Ferdinand Elle le jeune, circa 1670s. Diane Gabrielle Damas de Thianges, duchesse de Nevers, unknown artist, circa 1670s. (Niece of the above.) Augusta of Hesse-Kassel, Duchess of Cambridge, with her two elder children, George and Augusta, by Melchior Gommar Tieleman, 1823. María Edwards McClure, Madame Errázuriz, by Sir William Orpen, 1915. Infanta Isabel of Spain, Countess Gurowski, by Carlos Luis de Ribera y Fieve, 1860. A Classical Lady, by John William Godward, 1908. Encarnación Ezcurra, wife of Argentine Dictator Juan Manuel de Rosas, by Fernando García de Molino and Carlos Morel, circa 1835. Retrato de señora, by Fernando García del Molino, circa 1840s-50s. Mrs. John Winthrop, by John Singleton Copley, 1773. Lady Almeria Carpenter, by Sir William Beechey, 1790. Doña Lucia Carranza de Rodríguez Orey, by Charles Henri Pellegrini, 1831. Portrait of Lady on a Divan with Dog, by Julio Vila y Prades, 1905. Portrait of a Lady in a Blue Dress, by Christian Albrect Jensen, 1824. Unknown subject, miniature by François Dumont, circa 1795. "Bluebeard’s Wives", a staged photograph from a children’s play, circa 1900. La Réponse à la lettre, by Jean Augustin Franquelin, 1827. De Gracieuse magazine cover, 1936. (De Gracieuse was a Dutch fashion magazine published from 1862 to 1936.) Infanta Maria Luisa of Spain, by Giuseppe Bonito, circa 1748. Madame de Saint-Maurice, by Joseph-Siffred Duplessis, 1776. Self-portrait, by Sofia Adlersparre, 1840. Doña Ana de Velasco y Téllez-Girón, duquesa de Braganza, by Juan Pantoja de la Cruz, 1603. A Lady in Black, by George Spencer Watson, 1922. "La Russe", by William McGregor Paxton, 1913. Fashion illustration for Worth, by George Barbier, 1921. Portrait of a Young Lady, attributed to Jan Miense Molenaer, 1635. "Club Allegro Fortissimo, Paris" by William Klein, 1990. Princess Ruspoli, duchesse de Gramont, by Philip de László, 1922.

This post focuses on construction of the hat I made to wear with my mint wool 1780s redingote. For the post on construction of the redingote itself, click here. I should begin by noting that I have…

George Romney, 1785/87

This embroidery set is for the HARDCORE embroiderer- someone who wants to tackle a project that will take weeks - nay months - but will result in a truly fabulous product. This set is meant to be sewn on a Brother PR1000e or any other equivalent with a 14"x 7.75" hoop. I have included two other versions, meant for an 11x8 multineedle and 11x8 single needle. This includes about 20+ files, each with anywhere from 1500 to 75,000 stitches. This will give you the files to make: - The full redingote gown - The full redingote petticoat - Basic instructions on aligning the files. Please note that these files are designed to fit together exactly; please print each piece as stated. When hooping the next hoop, please make sure that the last line that you printed is as horizontal as possible on your hoop, and the next file should line up. Due to the incredibly difficult nature of this project, I am happy to offer suggestions but will not be providing lessons on how to make this. Again, this is for the experienced seamstress and embroiderer. If for some reason you need these files edited, please PM me and I may be able to offer that service for a fee. These files are in PES format. Converting with an online converter tends to work very welol, but I do not take responsibility for any damage to the file as you do so. Please note that due to the digital nature of this product, refunds can not be given.

I’m going to try to keep up a regular blogging schedule again This week’s dress is a floral bedecked pink frock that’s an excellent example of transitional styles in the last quarter of the 18th century, and is also an illustration of British colonialism in that period. Rate how it looks, but think about the circumstances that made it possible. Last Week and-then-some: a mid 1860s dress in green Good: green. Bad: mis-matched green (quite possibly not the dress’s fault: the tabs may have been a perfect match to begin with). Good: silhouette. Maybe: Those tabs. The dress would be too boring without them, but you couldn’t really call them good. Bad: No trim on the back of the dress The Total: 7 out of 10 It was a dress to be OK with, but not to love. This week: a 1780s dress in Indian chintz I think this 1780s Anglaise (more on that later) is such an interesting dress, because it shows how cuts and definitions of different types of garments blend and become hazy …

Used to be that it didn’t cost me $50,000 to go to college but you know what things change

Parasol with wooden sticks and silk cover, England, ca. 1775-1785

This dress is the first off the list of 2017 historical sewing projects. Hooray for crossing items off lists, I love that feeling! (if you’d like to, you can check out the full-ish list here)…

A woman's gown and petticoat,1780s, English; white cotton block printed with stylised floral motifs, English, 1780s

Dress 1780s The Museum of Fine Arts, Boston

Fashion plate, 1780's

Inspired by all the 1780s sewing and research I did for the Scroop Angelica gown, this week's Rate the Dress pick is a 1780s dress that showcases the inventiveness and playfulness of 1780s fashion, even within the framework of a very formal dress.

1770's - 1780's Hair Fashion "How long had her hair been dressed? Three weeks. 'Dont that lay you under the necessity of dressing your hair every evening?' 'Oh Lord, Sir, a head properly made up, with pins, paste & pomatum, will keep a month very well.'" ~Arthur Murphy, The Old Maid (1756)…

Woman's overdress of hand-painted and dyed cotton, Coromandel Coast, ca. 1760-1770

A monstrous frog-like creature nibbling at the breast of a corpse; a claustrophobic encounter between two women who embrace under the eyes of a shadowy watcher; a raving sorceress surging forward, bent on destruction

1770's - 1780's Hair Fashion "How long had her hair been dressed? Three weeks. 'Dont that lay you under the necessity of dressing your hair every evening?' 'Oh Lord, Sir, a head properly made up, with pins, paste & pomatum, will keep a month very well.'" ~Arthur Murphy, The Old Maid (1756)…

Caraco is a term describing a jacket which became popular in the middle of the 18th century. The jacket was recognisable by being either fitted at the waist or having a sack-back (in the style of a robe à la Francaise). When the latter was the case it would often reach as far down as the wearer's thighs. This was known as a caraco à la Francaise and as the name indicates it was particularly popular in France in the 1720's-40's. This - rather dark photo - shows how long the caraco could be at the back Another version of the caraco was the caraco à la Polonaise which became popular in the 1770's-1780's. Like the French version it took its name from the type of gown which it looked like. The caraco would be tight-fitted around the waist but would flare up at the back. It was different from the caraco à la Polonaise by having a bodice where the lower part curved toward the back. Here is the opposite of the one above - looser and with hardly any "tail" Usually, the caraco was worn over a petticoat and was considered an informal article of clothing. The sleeves were either full-length or three-quarters length but were always tightly fitted. This is one type of clothing which was not exclusive to the upper classes since middle class and lower class women were also wearing it - although with less rich materials. As it happens this particular style worked its way up in society since it was common among the lower classes before the aristocracy noted an opportunity for a new trend. Dutch version of a caraco from the second half of the 18th century In France the caraco would often be open at the front displaying a beautiful bodice while the English preferred to have the jacket sewn completely together. Some caracos were attached to a hood; these were known as a caraco à coqueluchon. A caraco could be made to match the petticoat underneath but others preferred to have a contrasting colour or pattern. A caraco with a matching stomacher Over the years the caraco went through an evolution. In the 1740's it was basically a gown which had been cut off at hip-length but forty years later it was tightly fitted at the waist and flared loosely at the wearer's back. The 1780's caraco were not stiffened by whalebone and only a somewhat loose corset was required to wear it. This is quite possibly why Marie Antoinette was fond of it since she detested wearing the tight-laced corsets demanded by French fashion. Caraco à la Polonaise, 1780 Caraco à la Francaise with a hood! 1790 Mariana Victoria of Spain wearing a caraco displaying an elaborate bodice Lady Mary Fox following the English tradition of having a closed caraco

Now in size layers. This is not a printed pattern. This is a digital download. You will receive a link immediately upon ordering sent to the email used to order. You will receive several files in letter size: How to print, front and back cover, the sewing instructions, and the pattern tiled in color. You will also receive 3 A0 size files: The entire pattern in colored solid lines, the entire pattern in black and white dashed lines in size layers, and one A0 page with just the pads separated out in black and white dashed lines with size layers. This means you can print just the size(s) you want. The A0 size pages are meant to be sent to a copy shop to be printed full size, or they can be tiled for printing on a home printer by using the "poster" option in Adobe Acrobat. Here is a link to the Adobe Acrobat help page about the poster option: https://helpx.adobe.com/acrobat/kb/print-posters-banners-acrobat-reader.html Laughing Moon Mercantile 180—Bum Pad or Split Rump with Optional Half Petticoat c. 1780s. This pattern is an interpretation of drawings of split rumps in the 1780s. The bum pads are separate from each other. The top pad piece is larger than the bottom pad piece and is pleated to fit the bottom pad piece at the top. The are flaps at the leading edge of the pads going around from the side of the body toward the front to prevent the petticoat worn over it from falling in and under the bum pads. These flaps can be cut off if desired or slightly padded for extra hip curve. The pattern comes in sizes from 2XS-4XL (6-36) but the size chosen can be for a smaller or larger silhouette regardless of size designation. The stuffing for the pads can be period material such as cork, feathers, flax tow, cotton wool, wool roving, or even rags or millet. Modern stuffing can be polyfill. The attached half petticoat is optional. Pleating diagrams are provided or the maker can use their own pleating method. The ties can be twill tape, ribbons, or extra wide double fold bias tape. Fabric: Cotton or Linen for period or modern blends for modern or easy care. Ticking can be used if feathers are used for stuffing. Stuffing: Feathers, flax tow, cotton wool, wool roving, or modern polyfill. Ties: Length is total waist length plus 40 inches approximately or 1 package of extra wide double fold bias tape. For more images of this pad see the Pinterest page https://www.pinterest.com/LaughingMoonMer/180-split-rump-or-bum-pad/

I love vintage fashion plates; however I have a special fondness for those that are in something other than the traditional frontal view. Previously I've shown many that exhibit the "back side" of the garment or the character is in motion such as pulling up one's stockings. Occasionally, I come across a fashion plate where the figure is sitting down and comes with a complete set of accompanying furnishings. Sadly many of the vintage fashion plates I have that show a seated figure only shows part of the furniture; which limits how that image can be used in a new digital scene. Today I get to showcase a piece of digital art using one of the rarer "furniture intact" seated, fashion plate images along; with a nice variety of French fashion plates from the years 1784-1787. These plates recap many of the styles I've previously posted about as well as one new one "The Pierrot"; and then at the end of the post I have a lovely assortment of PNG for the "Tea Lady". Enjoy! "Taking Time for Tea" - using an altered French fashion plate lady from 1784 It is so much fun to create digitally when using a furniture intact, fashion image; and I've created a "Tea Time" vignette using one such French fashion plate from the 1780's. The original version of this image had her in a very lovely pink ensemble; however I choose to use one of my color adaptations for my finished scene. This spring green gown gave the final scene a peaceful appearance as it coordinated so well with the greenery seen through the windows. French Fashion Plates from 1783-1787 1783 Grand Domino French Fashion Plate from the 1912 re printed edition of Galleria des Modes French fashion plates known as the Galleria des Modes collection have been printed and re-printed several times over their history. There are even black and white uncolored versions of these plates. The above fashion plate #170 is from a 1912 reprinted version of the original plate where the below plate 252 is an earlier printing from the 1700's showing the original color scheme. To find out more about duplicate versions see my post on fashion plates with different looks 1783 Grand Domino French Fashion plate from Galleria des Modes Personally I prefer this older version when comparing the two but it is interesting to see how much the colors on the fashion plate were altered in the later 1912 rendition. Considering it is unusual to come across a fashion plate of a Domino; I wanted to show both versions here. Another "Domino" can be seen HERE (she is the seated lady in yellow). A Domino was a large hooded cloak worn with an eye masque. This allowed a person's identity to remain private and were often worn to masquerades or any place a lady would not wish to be recognized. 1783 Grand Robe a la Francoise - French Fashion Plate In the style of "Robe à la Française" or Sack-Back dress. (Francaise = French version with the wide Pannier hoops and the long draped back) This particular fashion plate states it is "Grand" so this would be a more elaborate version of this style For more on 18th century fashion styles - click HERE 1784 Robe a l'Anglaise - French Fashion Plate This dress is in the style of "Robe à l'Anglaise" (Anglaise = English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) The a l'Anglaise style was rarely worn with pannier hoops; however I believe this fashion plate may be an exception to that rule based on how wide it is. For more information on this and other late 18th century styles click HERE 1784 Robe a l'Anglaise - French Fashion Plate (Back and side view) This dress is in the style of "Robe à l'Anglaise" as seen from the side and back. (Anglaise = English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) I like this fashion plate since we get to see the garment from the back and we get the added interest of the model holding her dog. How cute is that? 1785 Walking Dress and Siberian Sheepskin Muff - French Fashion Plate - 1912 version This is another example of two fashion plates printed at different times. The above plate is a 1912 reprint version from Galleria des modes and the below plate is a much earlier 1700 version of the same. 1785 Walking Dress and Siberian Sheepskin Muff - French Fashion Plate - Original It's just fun to compare different versions of the same fashion plate when available. Once again, I believe I like this older version of this Galleria des Modes fashion plate. This style also depicts a shorter hemline with a bit of ankles showing. Another of my posts with other shorter skirts can be seen HERE and my post on Stockings can be seen HERE 1786 Robe a l'Anglaise - French Fashion Plate with an extremely low bodice Yes, your eyes do not deceive you; this lady's "charms" are on display with this gown. Many fashionable women of this time period wore dresses that exposed a great deal of their breasts up to and including their nipples. Some women even had their portraits painted wearing such attire. If you find this style "titillating" I have a whole post dedicated to them - HERE 1786 1786 Robe a l'Anglaise - French Fashion Plate (back view) I thought this plate was interesting in that we see a dress from the back but in a seated position and since the furniture piece appears in its entirety this image would be a good candidate for becoming a PNG to use in a scene. 1786 French Fashion Plate I choose to show this plate since I loved the funky shoes she is wearing. It's a bit of an odd outfit as if dutch girl meets peasant Irish lass; however I believe she is wearing a "caraco". Caraco - A bodice style with the look of a fitted jacket that has a peplum skirting effect to it. Visit - American Duchess blog HERE to see a few examples of this style and if you notice one of them is so low a ladies breasts would have been exposed, as some like to do during this time. (this blog is also a great place to visit and see all the historical costume posts) 1787 Pierrot French Fashion Plate - back view The Pierrot style has a shaped bodice/jacket with a flared peplum or ruffled "tail". This style of jacket became popular in the 1780's and 1790's. I loved the whimsy of this garment and since it is a back view that was just a bonus for me. 1787 Pierrot French Fashion Plate - front and side view Another look at the Pierrot style from the front with a cat and dog bonus. An example of this style can be seen at the Met - HERE The Dreamstress has a nice article on the Pierrot at her blog that can be seen HERE Her blog looks quite interesting and I look forward to "browsing around" it when I get the chance. 1784 Robe a l'Anglaise - French Fashion Plate (front/side seated view) Robe a l'Anglaise - (English/American version with a bustle rather than pannier hoops and a draped back that begins at the lower "v" portion on the back of the bodice where the skirt begins ) For more information on this style click HERE ********** This "Tea Time Lady" is the image I used to create the PNG for my artpiece at the beginning of the post. I've created her in several color combinations for your crafting pleasure. Tea Lady PNGs PNG in the original color scheme Lilac Version Periwinkle Version Green Version - used in artpiece Aqua Version Gold Version Rose Version It must have been something to sit around in a pretty frock enjoying a cup of tea. For a lady of quality "Tea Time" was an event unlike today where we grab a cup on the run. How much more relaxing and enjoyable not to mention elegant was having tea years ago. I wonder what she might be thinking about as she enjoys her tea? I know it's not about the state of the economy or finding a job. Maybe she is trying to figure out what new fashion fun Marie Antoinette will be up to next. What to you think she is contemplating over her perfect brew? "Taking Time for Tea" - using an altered French fashion plate lady from 1784 I used my altered "green" version of the pretty lady for this Photoshop created scene. The background was created by inserting a few interesting photos. (a wall of windows in an old house showing a wooded lot and another photo of an oriental carpet). I liked the reflection that was in the "window photo" I used; and by adjusting the opacity just right in Photoshop I was able to get the dappled sunlight to appear on the carpet. This was a really fun project for me and I love the way it came out. *********** I've got a high tech project using some of my "framed scenes" coming up next time; so I hope you'll drop back by and see what I've been up too. I get to enjoy the results every day and I hope some of you will be able to enjoy using them too. till next time...

Woman's gown of ivory satin brocaded in coloured silks, 1745-50 and altered 1780s, British, silk designed by Anna Maria Garthwaite, woven in Spitalfields, 1744