“For about two years now, I have been dressing like this all the time.”
Golf Ensemble 1893 The Kyoto Costume Institute
“Fashionable” hairstyles for women began their vertical climb in the late 1760s, and with them rose the ire of social critics, writes Paul K. Editorials appearing in London periodicals immediately decried the large headdresses that English ladies were all too eager to copy from their French counterparts. Chronicling the rise and fall of the fashion … Continue reading "Ridiculous Hair – 18th Century Skyscrapers"
Would Marie Antoinette be comfortable in modern day-to-day situations? I'm a French, Montreal-based photographer, and when my friend Marie-Astrid Berry approached me with her idea to create an anachronistic series mixing day-to-day situations with an 18th century character, I was immediately drawn to the project. In one chilly afternoon, we went from her place to the grocery store, the metro station, the fast food restaurant, etc. creating new situations for our Marie-Antoinette, taking spontaneous advantage of our environnement (the car at the gas station belonged to a total stranger who was too intrigued and amused by the situation not to let us use it for the shoot).
So, I originally titled this post “My, what an enormous muff you have”, a la Little Red Riding Hood, because apparently I’m on a children’s story theme this week. Then Mr D pointed out that my title was perhaps a little more risque than I usually aim for with my blog. After blinking at him in confusion for a very long moment, comprehension finally dawned. Ohhhhhh…. I know I keep him around for something! Anyway, I’ve been looking at late 18th and early 19th century fashion plates, and, thanks to my love of muffs, I’ve noticed all the absolutely enormous muffs that were in fashion in the Regency period. I mean, look at this: Her head would fit in the hand hole! And if you thought that one was bad, look at this one: Forget keeping her hands warm, if she gets cold enough she could climb into this thing wholesale, and keep warm like a little post-Revolutionary space rebel. How did she even carry it? It would weigh half her body weight! Things got …
For this post, I am focusing mainly on the Mid to Late Victorian Era (1855-1901). However, there are tricks for all eras and I will be covering them soon! Corsets are an essential part of almost an…
Miss Thorpe, however, being four years older than Miss Morland, and at least four years better informed, had a very decided advantage in discussing such points; she could compare the balls of Bath with those of Tunbridge, its fashions with the fashions of London; could rectify the opinions of her new friend in many art
When fashion mavens say that such-and-such is to die for, they don’t literally mean it. However, some clothing fads have actually killed their wearers now and then. You are no doubt familiar with foot binding in China, a practice that only started to die out around a hundred years ago. But have you ever heard of muslin disease? It’s not a bug, but it make some women in France unable to fight off common diseases.In the late 18th and early 19th centuries, it was all the rage for women to dampen...
The fichu was a shawl-like piece of fabric worn over the shoulders and the neckline of a woman's dress. The two flaps of the fabric crossed at the breast of the bodice and was fastened at the lower part of the back. It was quite common either to have a fichu made of lace or decorated it with brooches. The style became especially popular in the 1770-80's France but originated in England. Also, it was a popular style among elderly ladies of the court. As always a few portraits of lovely ladies demonstrating the fashion: Countess Spencer
Selfportrait, 1793, Muzeum Narodowe w W-wie / National Museum in Warsaw Marcello Bacciarelli to jeden z tych malarzy, którego dzieła są znane o wiele bardziej niż jego nazwisko. Portrecista polskiej arystokracji, nadworny malarz Stanisława Augusta Poniatowskiego ma zapewnione miejsce w każdej publikacji dotyczącej czasów okołorozbiorowych. Bacciarelli Marcello, despite his Italian descet, is a painter best known in Poland. He was court painter of king Stanisław August Poniatowski and portreyed polish aristocracy. Portrait of Izabella z Poniatowskich Branicka, c. 1757, Muzeum Narodowe we Wrocławiu / National Museum in Wrocław Portrait of Apolonia Poniatowska nee Ustrzycka and her son Stanisław as Flora and Amor, 1757, Muzeum w Wilanowie / Museum at Wilanów (uwielbiam to połączenie gładkiej sukienki z girlandami kolorowych kwiatów / a perfect match of plain, white dress and colorful flowers <3) Stanisław i Konstancja Poniatowscy, 1766-1771, Muzeum Narodowe w Poznaniu / National Museum in Poznan Urodzony w roku 1731 Bacciarelli pierwsze kroki w malarstwie stawiał w swoim rodzinnym mieście - Rzymie. Od roku 1750 karierę rozwijał w Dreźnie, gdzie sporządzał rysunki arcydzieł z Galerii Królewskiej, działał na dworze Augusta III, malował portrety, nawiązywał znajomości, a także ożenił się z swoją uczennicą, Fryderyką Richter, która zasłynęła później jako miniaturzystka. W roku 1763 artysta został doceniony i wyjechał na dwór cesarzowej Marii Teresy, gdzie portretował cesarską rodzinę. Bacciarelli was born in 1731 in Rome and there he took his first steps in painting. In 1750 he moved to Dresden, where he was employed by king Augustus III. In 1763 artist was appreciated and he developed his career on the court of the Empress Maria Theresa in Vienna, where he made portraits of the imperial family. Portrait of Anna Szaniawska née Scypion, Muzeum Narodowe w W-wie / National Museum in Warsaw W międzyczasie Bacciarelli tworzył portrety na zamówienie rodziny Poniatowskich, co w roku 1764 zaowocowało propozycją objęcia posady nadwornego malarza Stanisława Augusta. Propozycja oczywiście została przyjęta i dwa lata później (najpierw artysta musiał wywiązać się ze swych zobowiązań na dworze Marii Teresy) Bacciarelli zamieszkał w Warszawie, gdzie już bez reszty mógł poświęcić się służbie polskiemu królowi. Co ujęło króla w Bacciarellim? Oczywiście musiał sprawdzić się jako rodzinny portrecista, ale nie mniejsze znaczenie miało jego pochodzenie - Stanisław August zakochany był we Włoszech i włoskiej kulturze. Ich relacje ponoć układały się bardzo dobrze, a Poniatowski, który z większą biegłością poruszał się po świecie kultury i sztuki niż polityki, z pewnością był wymagającym, ale też i świadomym pracodawcą. In the meantime, Bacciarelli was creating portraits on request of Poniatowski family, which resulted in offer a job as the court painter of king Stanisław August Poniatowski. The proposal was accepted and two years later Bacciarelli settled in Warsaw. Why did the king chose him? Of course he proved his skills as a family portrait painter, but no less important was his origin - Stanisław was in love with Italy and Italian culture. Relationship between king and painter were very good. Stanisław August Poniatowski z klepsydrą/with an hourglass, 1793, Muzeum Narodowe w W-wie/ National Museum in Warsaw Countess Konstancja Tyszkiewicz, née Poniatowska, c. 1775 Portrait of Izabela Lubomirska, Błękitna Markiza / The Blue Marquise 1770s (czy tylko mi się wydaje, że coś tu nie gra pomiędzy talią a biustem? / don't you think there is something wrong between waist and breast?) Jako nadworny malarz Bacciarelli zajmował się oczywiście nie tylko portretowaniem władcy (a stworzył ok. 30 takich portretów). Zaprojektował też malarski wystrój sal reprezentacyjnych na Zamku Królewskim w Warszawie, Zamku Ujazdowskim i w Łazienkach. Program ikonograficzny miał być utrzymany w duchu patriotyzmu - powstały wtedy 22 obrazy przedstawiające polskich władców, personifikacje cnót właściwych dobrym monarchom, a także przedstawienia ważnych wydarzeń historycznych. Sprowadzał ponadto dzieła sztuki, sprawował pieczę nad królewskimi zbiorami sztuk i założył szkołę malarską - Malarnię. Portret królowej Jadwigi Andegaweńskiej, Portrait of Queen Jadwiga Anjou, 1768-1771, Zamek Królewski w W-wie / Royal Castle in Warsaw As court painter Bacciarelli obviously dealt not only with portraying the ruler (and created c. 30 portraits). He also designed a painting decor of reception halls at the Royal Castle in Warsaw and Ujazdów Castle. The iconographic program was done in the spirit of patriotism - there were 22 pictures of Polish kings, personifications of virtues typical for good monarchs, and presentation of important historical events. He also was buying works of art for king, took custody of the royal collections, and founded a school for painters. Portrait of Anna Teofila Potocka, c 1780 (gdybym miała wybrać którąś z tych sukien, wybrałabym tę / if I had to choose one of these dresses it would be this one) Portrait of Anna Charlotta Dorothea Biron, Princess of Courland, c. 1795, Pałac na Wodzie / Palace on the Water Bacciarelli nie był malarzem rewolucyjnym i odkrywczym, był raczej solidny rzemieślnik realizujący konkretne zamówienia. Będąc reprezentantem późnego baroku, a później rokoka i klasycyzmu malował zgodnie z duchem tamtych epok - miękki światłocień, lekkość, subtelna kolorystyka i delikatna idealizacja. Szlachcianka / Noblewomen, after 1800 Bacciarelli wasn't a revolutionary painter, was rather solid craftsman. As a representative of the late baroque, rococo and classicism he created in the spirit of those periods - soft chiaroscuro, lightness, subtle colors and delicate idealization. Wszystkie zdjęcia pochodzą z wikipedii
Caitriona Balfe as Claire Fraser in Outlander season two. x
Empire fashions: 1790-1800
As I talked about in Tuesday 4th December's post on Ruby Streatfeild, researching the peerage is a damn sight easier than some friendless seamstress, no offence to friendless seamstresses obviously. Also as I mentioned with Ruby, she was related by marriage to today's lady, Lady Florence Beatrice Anson. Florence Beatrice Anson, c.1864 Lady Florence Beatrice Anson came into the world on 12 August 1860, eldest daughter of the Earl of Lichfield, Thomas George Anson. There were a great number of Anson children born between 1856 and 1877 at the family seat of Shugborough Hall... Shugborough Hall, and very nice too The Anson family split their time between their little place in Staffordshire (above) and the very well appointed Dover Street in London. Of course, when in London, they moved in their society circles which included the family of 3rd Earl Somers. He had married Virginia Pattle, so the inevitable happened... Florence Anson (1866) Julia Margaret Cameron I read that Isabel Somers-Cocks, daughter of Earl Somers was very sheltered and not allowed much society with other children. She appears to have gone infrequently out to events with Florence Anson and the pair are often listed together at royal occasions during the season. Aged six, Florence and her brothers Claude and possibly Frederick or Henry posed for Mrs Cameron. Cameron found Florence very inspirational and I have to admit for a child of six, little Florence seems far older with her large, soulful eyes and delicate face. I wondered if the photographs were taken in London or Freshwater but the following seems to decide the matter... Days at Freshwater (1870) Julia Margaret Cameron I'm taking this to be literally Freshwater, and the Anson children (Claude, aged 6, on the left, ten year old Florence and 13 year old George on the right) are the epitome of the elegant beauty of the place. Cameron used Florence to represent nameless ideals of feminine beauty as the little girl grew towards teenagehood. Florence Anson (1870) Julia Margaret Cameron She has a delightfully mournful expression, seemingly without trying, and her downcast, sad eyes manage to look innocent and haunted at the same time. They are arguably the pinnacle of Cameron's child portraits, with ten year old Florence echoing the poses and expressions that May Prinsep or Mary Hillier would also perform. Florence Anson (1868-9) Julia Margaret Cameron As Florence grew older, she attended many society events, including attending court events which is probably how she ended up as bridesmaid to Queen Victoria's youngest son, Prince Leopold when he married Princess Helena of Waldeck-Pyrmont in 1881. Bridesmaid portrait, published in the commemorative Illustrated London News Prince Leopold was the youngest son of Queen Victoria, and held very close by his protective mother due to his haemophilia, but despite the search to find him a bride that his mother approved of, he finally married a fellow royal from a European family, at Windsor Castle. A royal portraitist was engaged to paint an image of the event... The Marriage of the Duke of Albany 22nd April 1882 (1885) Sir James Dromgole Florence is one of the beautiful girls in attendance, but the painting took a long time to complete, so long that sadly it became a memorial to the prince who died only two years into the marriage. He slipped and fell while in Cannes for his health and hit his head. He died of a cerebral haemorrhage the next day. It's that moustache again! Florence was married in August of 1885, having become engaged in February of the year before. Her husband was Captain Henry Streatfeild, son of Colonel Streatfeild of Chiddingstone. Ruby Streatfeild was one of her bridesmaids, being sister of the groom. The wedding party contained most of the artistocrats of England with more Viscounts, Duchesses and Honorables than you could shake a stick at. They went on honeymoon to Bowood House in Wiltshire, where my mate Lisa had her wedding reception and very nice it was too. As Bowood House is the seat of the Marquis of Lansdowne, the couple obviously knew the family and there is a photo of Florence with the Marchioness of Lansdowne, who was her friend... Marchioness of Lansdowne and Florence Impossibly small waists aside, Florence had a pretty normal life, which I'm sure is a relief to all of you. Her husband was a captain in the Grenadier Guards (which he had joined from Eton in 1876), moving all the way up the ranks until he became Colonel by 1911, when the couple are listed as living at Hoath House, Chiddingstone, Kent. Their son, Henry Sidney John Streatfeild was born in Ottowa in 1886 while his father was working there. Hoath House, and very nice too. Henry kept getting honours, such as the Royal Victorian Order (member 4th class, 1902), Groom in waiting to the king, as well as being ADC to the Governor General of Canada, the Viceroy of India and the Lord Lieutenant of Ireland and saw active service in the Boer War. In the First War World, Henry was taken out of retirement and became a staff officer for the duration. Before his death in 1938, he sold the family village of Chiddingstone to the National Trust, which seems about right. His son, Henry, inherited the family wealth, but Florence, then in her 80s, was not doing so well. Holloway Sanatorium, Virginia Water, Surrey In the 1939 census, Florence is a patient at Holloway Sanatorium, a private mental hospital. She died on 25 September 1946, and although the mentions of her last year are very discreet, her place of death is registered to 'Virginia Water' so it is possible that she was still at Holloway. Florence was buried beside her husband in the family plot at Chiddingstone, not far from fellow artist's model and sister-in-law Ruby Colville (nee Streatfeild). It's a small world, especially in the world of upper class Victorian ladies. See you tomorrow.
Edwardian girls not only fascinated by their clothing, many of them also had a pure beauty as angels. Check out these lovely vintage photos to see the beauty of
With our upcoming trip to Sweden in September, we decided to dig a little into the Sweden’s fashion history as it relates to the late 19th Century and we found some interesting fashion plates…
her body
In 'Consumptive Chic: A History of Beauty, Fashion, and Disease,' Carolyn A. Day investigates how the fatal symptoms of tuberculosis became entwined with feminine ideals in the late 18th and early 19th centuries.
My good friend Jacob Appelbaum was recently invited to Paris to shoot photos of a 18th century bordello party. Here's his amazing gallery of over 400
Bustles added bulk to the rear of Victorians' skirts. Other 1870s fashions featured narrow skirts, tight bodices, and much ornamentation. These styles persisted through the 1880s. Let's learn more about women's fashions during this era.
Portrait of Princess Mathilde of Bavaria, ca late 1890's The "1910" in the bottom corner is the year a book of her poetry was published. She died in 1906.
For the second challenge of the Historical Sew Monthly, “Blue”, I decided to knit a blue Sontag, or shawl. Actually, I decided to knit a blue sontag, then realized it fit perfectly into…
