I’ve been interested in working class dress lately. And more specifically 18th century maids costumes. searching the net I’ve found lots of pics of pretty outfits and great pattern mixi…
What was the fashion in the 18th century like? Who were they influenced by and what were the main fashion trends of Marie Antoinette's era?
Recap from the first installment and second installment in this series: Orlando (1992) is based on Virginia Woolf’s 1928 novel Orlando: A Biography. Directed by Sally Potter and starring Tild…
Engageantes are false sleeves worn with women's clothing in the 18th century. They took the form of ruffles or flounces of linen, cotton, or lace, and were often tacked inside the elbow-length sleeves so they could be removed for cleaning. There are some wonderful examples of extant sleeve 'ruffles' or 'flounces' at http://www.larsdatter.com/18c/engageantes.html and there is a Mill Farm Pattern. We see them in portraits from the mid-18th Century, and whilst mostly worn by the upper classes, there are images of them worn around the home. In the portrait below we see the shift showing under the outer sleeve ruffles of a laundress, though this one looks a little too genteel to my eyes. “Laundress” by Henry Robert Morland I found this image showing an elaborate sleeve ruffle - three outer ruffles joined by two inner silk organza ruffles. Joseph Blackburn, 1762 Today I pinned my sleeve flounces into the sleeve to get an idea what they looked like. I have made mine from an extremely sheer light cream silk cotton fabric that goes well with both my colouring and with the cream silk of the gown. I'm hoping that when I add the outer silk flounces that they will support these inner flounces a bit more. Next time I'd like to try using a stiffer silk organza. If you want a pair of engageants just like this I am happy to take orders in my Etsy store. I have plenty of this silk cotton fabric in either white or ivory (pictured).
If you're anything like us, you have probably been really into the moment the color pink is having in fashion this summer, thanks to a certain iconic doll. It's been really fun and inspiring to see people from all different aesthetic groups and fashion spaces
Georgian Rococo hairstyle. Photography: Tim Babiak. Model: Ariel Livingston. male model: Leslie Hethcox. Wigs and makeup: Allison Lowery.
Fasion of 1780's
Some things never change … today the newspapers and magazines are full of Royal & celebrity gossip with images of our royals, aristocrats and celebs in their finery etc. Was it any different i…
Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.
Like everything in fashion, stomachers came in and out of vogue, but during the 18th century they were very much statement pieces especially those made for the wealthier members of society and the …
Best viewed LARGE on Black: bighugelabs.com/onblack.php?id=5832186136&size=large&... The Statue of Apollo at the end of the Long Walk. When Monty Don produced his television series for the BBC, Around the World in 80 Gardens, a few years ago, he chose only two English Gardens - Sissinghurst and Rousham. I had visited Sissinghurst on two of my earlier visits, but I decided I needed to see Rousham on this trip, so I took the 30 minute train trip from crowded, bustling Oxford one cloudy morning and then the easy 15 minute walk from the Heyford station, and was at the entrance to the gardens by 9:45. It was like entering a different world. I got my 5 Pound ticket from a vending machine in the courtyard, and had been wandering around the green landscape for almost an hour before I encountered even one other visitor. According to the Wikipedia entry: "Rousham House is still the home of the Cottrell-Dormer family, who keep the garden and estate so uncommercialised that no book exists to guide the unwitting tourist, and no shop sells postcards or souvenirs. A visit to Rousham today is very similar to one enjoyed by a visitor in the 18th century. The gardens and buildings are superbly maintained but not manicured. The visitor is not made afraid to tread on the grass or to pause for thought on a rustic bench. In such a state a spirit of the 18th century survives at Rousham." For a very well written history of the garden, begun by Charles Bridgman, and refined and completed by William Kent by 1741, here is a link to the entire entry: en.wikipedia.org/wiki/Rousham_House Here is the official link: www.rousham.org/ ....
Aime-moi, aime mon chat (Love me, love my cat) D’après Philippe Mercier, gravure de James McArdell, après 1716 Dans cette chaste gravure, la complicité de la jeune fille avec l’animal se lit dans le parallélisme des regards. Elle le serre dans s...
Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.
I've been binging Outlander whilst making 18th Century stays and talking to several long-standing costumers on the 18th Century Sewing page on Facebook (who are knowledgeable in this period). Most of my acumen has been the 16th Century and Victorian, so dipping my creative brush into the 18th Century has been an exciting endeavor, as it is actually my favorite era, aside from bustle dresses! *swoon* One of the things I recently learned, as I am planning my OWN 18th Century ensemble - A caraco a la Pierrot and petticoat styled like the picture to the left - is that prints were pricey and more than likely not available to the poorer or working classes. But unlike the 16th Century where the most expensive fabrics were often reserved for sleeves and foreparts and worn under the over skirt, for the 18th Century these pricey chintz prints were worn predominantly as outer garments rather than petticoats and such. Good thing I learned that, because I was mulling over making a print petticoat to go with a solid bodice/jacket! Since the the first season of Outlander, the working class worn by Clair when she first arrived in 1743 Scotland, have become popular. Of course, wool - especially authentic Scottish tartan - is very expensive and can run upwards to $70 or $90 a yard/meter! Crikey! I did find a nice Donegal tweed for $35 a yard, and I am using it for a client's "Lady Broch Turach" ensemble in the coming weeks. If you're concerned with historical accuracy, and your character is part of the working class, you can never go wrong with Linen! But if you're wanting something for the upper middling/merchant or upper class, a polished cotton chintz is a more affordable option as silk brocades will be much more expensive. SAMPLE OF 18TH CENTURY PRINTS: The following examples of print motifs will assist those who wish their fabric to be as Historically Accurate as possible in 21st Century fabrics. Examine the type of prints for each decade and you can find something similar. 1790s Caraco a la Pierrot A nice quality polished cotton chintz can run about $20 + a yard, so those who might not be able to afford 10 to 12 yards, can pair a print Caraco or a Pierrot jacket with a linen or lightweight wool in a solid color. Quilted petticoats were also in vogue. This is a bustled 18th Century Polanaise gown worn over a quilted petticoat, but they were also worn with Caraco Jackets. The caraco and the Pierrot jacket (Pierrot Jackets were predominantly popular 1785 to 1790s) were worn by all different classes. In the 1770s, Dutch Fashion finds the use of mixed prints in vogue. They would mix up to three different prints for the jacket, petticoat, and apron. While you can find this trend in other countries, it was more prevalent in Holland, as that was where many of these cotton chintz prints were produced. COLOR MATCHING: One of the questions I faced whilst planning my ensemble was color palate. As a designer, I'm accustomed to using a color wheel to pair up different colors, rather than using the main color in your fabric and "matching" it with a solid skirt in that same hue. Instead of "matchy-matchy" stretch a little out of your comfort zone and get creative! Pull a secondary color out of your fabric and use that instead. Here are some color combinations to play with! I found this trapunto (Italian for quilted) fabric at JoAnns Fabrics in the home decor section. It makes a great quilted petticoat. I also have this rustic cotton weave. I love it. Pink is one of my long standing favorites, second only to purple. My plan is to make a Caraco jacket out of the pink and cream fabric, but what color do I make the linen skirt? - - I decided on a light aqua blue: https://www.fabric.com/buy/0403740/kaufman-essex-linen-blend-willow I purchased this gorgeous chintz on Ebay (below). I snagged the last two yards, but it is 54 inches wide so that is more than enough for the swallow-tail Pierrot I plan to make. The color most might be tempted to pick would be lilac, but the pale aqua blue above is the color I'm choosing. That way, I can mix and match it with the pink and ivory jacket, as well as pair the chintz with the ivory quilted cream petticoat. Have fun with your fabric and color choices. Pair Stripes with floral prints! A striped petticoat with a floral chintz is a nice look. But don't be afraid of color! Bright colors were common during this time period. Example: Pair a red and white print with a bright apple green! There are plenty of ideas to draw from on Pinterest.
A woman's mantua and petticoat parts, British, 1775-85 of French silk satin tamboured with chenille thread, chenille fringe, 1780-85; altered 1870-1910
Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.
Charles Grignion the Younger (1754-1804): Portrait of a gentleman in van Dyck costume. 18th century.
Step back in time and experience the elegance of the 18th century with our LOUISE, 18th-Century Dress in Ocean Blue Linen. This breathtakingly beautiful historical garment is a faithful reproduction of the "English dress" popularly worn in Western Europe and America from 1770-1785. Crafted from high-quality ocean blue linen, this one-piece dress is a testament to the timeless allure of historical fashion. Our LOUISE, 18th-Century Dress Ocean Blue is designed with meticulous attention to detail, featuring eyelets on both sides of the front opening to ensure a perfect fit. The large skirt, a prominent feature of 18th-century fashion, is pleated in the same manner as it was in the era, measuring 37.5 inches (95 cm) long. The ocean blue color not only captures the aesthetic of the period but also adds a modern touch, making this dress perfect for historical reenactments, themed parties, or simply to satiate your love for vintage fashion. This dress is not just a product; it's a meticulously handcrafted piece of history. The quality of the linen used, the thoughtful design, and the skilled craftsmanship that goes into each dress reflects the authenticity and creativity that Atelier Serraspina stands for. With the LOUISE, 18th-Century Dress in Ocean Blue Linen, you're not just wearing a dress; you're wearing a piece of history, lovingly recreated for the modern woman. ☆ FABRICS ☆ LOUISE is made of prewashed medium-weight linen (205gr/m), in a range of colors matching Atelier Serraspina's color palette. — Outer Fabric — · 100% European linen · Medium weight linen - 6.05 oz/yd² / 205 g/m² · Prewashed so it didn't shrink anymore · Mechanically softened so it is very soft and especially pleasant for your skin · Fabric woven according to universally accepted quality requirements which correspond to OEKO-TEX 100 standards — Bodice Lining — · Composition: 100% Cotton · Type of fabric: Raw Cotton · Approximate weight: 155 gr/m² — Sleeve Lining: — · Composition: 100% Cotton · Type of fabric: Poplin · Approximate weight: 110 gr/m² ☆ SIZING ☆ — Finding the Right Size: --- Please refer to the size chart in the photos gallery to select the correct size for your dress. Keep in mind that historical costumes don't follow standard sizing, so getting an accurate fit is important for comfort and effectiveness. — Custom Sizing:---- If your measurements don't align perfectly with the sizes on the chart, we recommend choosing the "custom size" option. Please submit your measurements in the customization field when placing your order. — Important Note: … Made-to-order items cannot be returned. Please make sure you're certain about the size you choose. If unsure, opt for the custom fit option. ☆ CARE INSTRUCTIONS ☆ To care for your costume, we recommend dry cleaning only, ensuring your costume remains in pristine condition for all your historical adventures. ☆ HOW TO DRESS ☆ · After putting on your historical underwear, step into the dress by sliding it over your head. · Allow the back of the dress to hang behind you, and position the front panel against your abdomen (ensuring the waistband covers the lower ribs). · Secure the front panel around your waist with the cotton ties. · Finally, put your arms through the sleeves and arrange the train folds. · To finish, thread the cord through the eyelets from bottom to top and conceal the knot in the neckline. ☆ PROCESSING TIMES ☆ All our garments, including the LOUISE dresses, are handmade in our workshop in Spain. Each piece is crafted with love and care, using the finest materials to ensure excellent quality. These garments are meant to be cherished for years to come. Please note that our items are meticulously handmade, which means it will take some time for us to create them. The typical production time for a LOUISE dress ranges from 6-8 weeks, depending on the current order volume. Keep in mind that the processing time does not include shipping.
Please note that most of the dresses presented here in our Etsy store are just examples of our old work for clients. These are not ready made dresses for sale. We realize only customized dresses and we DON'T HAVE SHORT DEADLINES. Therefore, before you make a purchase, please ask us for details in a private message. If you make a purchase without reading this description - we do not accept cancellation of the transaction. We do not accept returns and resignations from an already ordered dress during sewing or after sending it (does not apply to tailoring corrections), because our dresses are made to measure and based on a design that is created individually for each customer. By clicking "buy it now" - you accept our terms. We accept payment plans discussed individually with each client. We are small fashion house Atelier Saint-Honore and we make all designs individually for each clients. All dresses are sewn for measures. We use traditional haute couture techniques like fine hand made finishes, hand made embroidery and artistique techniques of decorations. We offer the highest quality custom service and the best materials. Please ask in private for more details.
Автор - ЯННА_КОТ . Это цитата этого сообщения GALANTE SZENE Henry Guillaume Schlesinger - 1814 -1893 Das Konzert - Carl Schweninger Galante Gesellschaft Im Schlosspark - Carl Schweninger Karneval - Carl Schweninger Florentine Poet Alexandre Cabanel (18231889) Artist circa 1880 A.…
Much of what we think we know about poachers and poaching in the past derives from the 19th-century. That was when the conflict between the poacher and the game-loving landowner reached its peak, w…
Possibly one of the most iconic images of a woman of the Georgian era wearing a riding habit has to be that of Lady Seymour Worsley. So, with that in mind, we thought we would take a look at this f…
I adore vintage fashions and am especially intrigued by those items not usually seen in old fashion plates such as undergarments. I was thrilled to come across an interesting fashion plate from the 1770 - 1780's showing quite a bit of the ladies stocking and the ribbon garter she is about to use to anchor her legwear back in place. Naturally I wanted to have a bit of fun with the image, so I created this fun scene showing her trying to entice her escort in a peek. "Trying not to Peek" by EKDuncan using vintage 18th century fashion plates A bit about 18th Century Stockings Since undergarments aka "unmentionables" were not freely discussed or shown in print for polite society there seems to be a bit of speculation about where a lady would "tie" her stockings. Stocking length of a few inches above the knee seems to be the general concensus on the correct length for a ladies stocking; it is the point of where the garter was placed that seems to be in question. It is widely believed that women used a buckled garter of some type, or a ribbon to tie their stockings off, just below the knee or possibly just above knee. My guess is a lady would "tie off" at the place that was the most comfortable and that which had the least amount of risk for letting the stocking fall about her feet as she moved about. Anchoring just below the knee was a benefit since the calf is generally the larger part of the lower leg and by tying off the stocking just below the knee; the fleshy part of the calf would assist in keeping the stocking from dropping below that point. Anchoring above the knee would require a tighter tying off of the stocking so it would not easily drop or slide below the knee; however if a stocking was not well "fitted" to your leg this method would have had a greater chance of falling out of place. My vote would be for placing my garter below the knee; since this would allow the best chance that my stockings would not drop to the ground as I walked or moved about. Risque images and paintings of the time generally show a ladies stocking being tied off just above the knee or slightly higher. It is possible that artists did this for the titillation factor of showing more leg rather than to depict the historically accurate placement of a ladies stocking garter. Elastic and spandax type materials did not exist at this time. Knit stockings relaxed and stretched as you moved around causing them to shift which is why garters were required. Without the advantage of elasticized garters like those decoratively worn in weddings today; the 18th century garter was usually a tied piece of ribbon or a buckling strap made from leather or decorated cloth. Note - It was not till laterer in Victorian times that ladies stockings covered higher into the thigh area due to the garters extending down from the corset itself rather than encircling a ladies leg. Attaching stockings to a garter belt would be the most modern version us 21st century ladies would be familiar with; but this was not the case prior to Victorian times - just in case you were wondering. Here are a few artistic images showing a ladies stockings and garters from the 18th century. Jean-Honoré Fragonard - The Swing 1767 We get a glimpse of ladies stocking, tied off with a ribbon just above the knee. This is actually a very provocative painting for the period. Notice where the gent is sitting and just imagine what kind of view he has. (remember during this period in time women did not wear undies, bloomers, pantaloons... I think you get the picture. - grins) Francois Boucher-La Toilette - Garter 1742 In the above painting we see a lady tying off her stocking above the knee with a ribbon. Notice she does this in a double wrap style around her leg. Here again this is an artist interpretation of a lady at her toilette. She is dressing for the day since she still wears a bed jacket and I don't know about you but I don't think I'd put my shoes on before tying up my stockings. I have to assume a bit of the titillation factor was the point of this piece considering the provocative placement of her legs and that she already has her heels on. Close up of the Stockings and shoes from the above painting "La Toilette" by Francois Boucher My previous post "Showing a Bit of Ankle" has several fashion plates where the hemline on the dresses are at or above the ankle. Due to this fashion trend of shorter skirts; stockings and shoes became a more noticeable fashion accessory. More care was taken with these items since they were easily viewed due to the shorter skirts and considerably more money was spent in acquiring these items. Generally a lady would have worn white stockings or those in a color that matched her ensemble. Pastels such as pink and powder blue were very much in favor. William Hogarth - A Rake's Progress - The Rose Tavern a brothel in Covent Gardens This is a part of the painting showing one of the "working girls" with her skirts pulled back showing her garter and stockings. These show stockings tied off above the knee as well as a bit of exposed thigh to tease the viewer. (If you are wondering about the "patches" on her face - patches were commonly used during this time period for a bit of fun and to add beauty marks. They were also frequently used to disguise marks on a person caused by "the pox" aka syphilis - which was a very common STD in the 18th - 19th century, especially for prostitutes. It was also one of the top killers of men at the time.) On a brighter note - Notice the decoration on her stockings these are referred to as "clocks" and were an expensive addition to have on your stockings. These probably cost her dearly and so she continues to wear them even-though they have holes and tears in them. Mid 18th century Stockings with "clocks", Shoes and French Buckles - Bata Shoe Museum Toronto Here is an example of actual stockings with fancy clocks as well as shoes and buckles from close to the time of Marie Antoinette. Notice the slightly "fitted" look of them in the calf area. This should have helped to keep the upper portion of these stockings from slipping below the the calf. I'm trying to spot evidence of where they would have tied off but I'm seeing the possibility in the areas both above the knee and below; however there seems to be a significant amount of creasing on the stocking tucked under the top one. Those bunched up creases just above the calf area could be from garter placement below the knee; but your guess is as good as mine if that is the case. *********** Now for the images I used to create my ArtScene "Trying Not to Peek" "Trying not to Peek" by EKDuncan using vintage 18th century fashion plates I used two french fashion plates from the late 18th Century to create my scene. Late 18th Century French Fashion Plate (I flipped and slightly altered this image to use in my scene) Striped stockings were a high fashion accessory for men at this time this fashion plate displays a gentleman all decked out in the latest without crossing the boundaries into being a "Peacock". Back in the times of Marie Antoinette a man of extreme fashion would have been called a "Macaroni" the equivalent in the Regency would have been a "Dandy". For the most part in either time period a man who was refereed to as a "Peacock of Fashion" was also having his masculinity placed into question, so there was a fine line between being a man of fashion and being a peacock. French Fashion Plate showing a lady about to tie her stockings in place with a ribbon This is the original late 18th century fashion plate I started with to create the lady in my "Take a Peek" scene. I removed her background and then created a variety of color options to play with. Here are several png colorized versions I created using the above image. (Notice the stocking color changes to match each outfit) png version of the original fashion plate EKD Periwinkle Version EKD Rose Version EKD Green Version - used in the scene EKD - Purple Version EKD - Blue Version with Green Feathers EKD - Grey Version with Purple Feathers I hope you have enjoyed my take on stockings during this time period as well as this great image that shows quite a bit of leg for a fashion plate of its day. I'll be back a little later on with more great French Fashion plates from the time of Marie Antoinette. Till then...
This listing is for a crystal cluster slide with ribbon necklace. When added to a ribbon, it gives it a bolo tie effect but for the 17th or 18th century. The ribbon is adjustable to fit anyone and it simulates the detail from Infanta Maria Luisa de Borbon, gran duquesa de Toscana by Anton Rafael Mengs, circa 1770 (first photo). Remove the pendant, leave the crystal, and wear it as a choker. I have many examples of how this was done on my Pinterest page (https://www.pinterest.com/kkwalte/18th-century-ribbon-ruffle-and-lace-necklaces/). The crystal clusters measure a little over 1/2 inch, the red and peridot are smaller at 3/8 inch. The charms are different and they comes in a kit ready for you to put together. Each kit is listed in the drop down, and the photo should correspond to it. When in doubt, just ask. If you are interested in something that I have sold out, please convo me as I may be able to make another. I also offer these with just the crystal and ribbon - for those who have their own pendant, charm, or locket to hang from it. The drop down will show it as "ribbon only."
Spring has sprung at the Château—the roses are in bloom and it’s time to begin decorating with local flea market finds.
courtroyale: “What a beautiful photograph! It really takes you to a cold, foggy 18th century morning… ”
January blues for @tayloropolis and #georgianjanuary today. A blue dress dating to c1805, printed cotton with an entwined geometric repeat. During a period often associated with white muslin, a strong colour is somehow surprising @colonialwmsburg #fashionhistory
I grew a bit tired of reading about the 18th century and took a little break into the 17th instead. It is one of my favourite periods, and I think it is a pity that it isn't better loved. This is meant as an overview over makeup and hairstyles, which means that there are things I don't mention. The focus is on European upper class ladies, the gentlemen will get their own post. I have chosen paintings that are good examples, but also from known beauties, to give a sense of what kind of looks that were popular. Click on the links under each picture to see the whole painting. Black and rowling is her eye, Double chinn’d and forehead high: Lips she has, all Rubie red Cheeks like Creame Enclaritéd: And a nose that is the grace And Procenium of her face. /Robert Herrick Detail from a portrait of Anna Margareta von Haugwitz, by Anselm van Hulle, 1649. Anna Margareta, an impoverished German noblewoman embodies the 17th century beauty ideal well. With nothing but her looks she didn't have much of a prospect, until she met and wed Count Carl Gustaf Wrangel, the richest man in Sweden. A mutual love match and a very happy marriage. The ideal beauty of the 17th century should have a fair, round or oval face with a well-proportioned nose. A high forehead and a small double chin. Dimples in chin and cheek . The eyes should be large and dark, the mouth quite small, but with full lips, the lower one should be fuller than the upper. The teeth should be white and clean and in equal size. The hair could be any colour, but brunettes seem to have been very popular, but regardless of colour it should be long, thick, curly and cleanly kept. Pale skin was considered attractive and upper class ladies took care not to be sun-burned. Makeup was also used to make the skin appear as fair as possible. Corson makes a distinction between enamelled and powdered ladies where the first category painted themselves with thick layers of makeup, which gave the skin a slight sheen. Powdered ladies had a more matte skin-tone and probably a more natural look. A late 17th century recommendation was to rub the face with poppy seed oil and then use a white powder made of calcinated bone. There were also pink and flesh-coloured powders, which perhaps didn’t look natural, but indicates that a dead white face wasn’t always wanted. White paint could be made of talk or pearl powder, with is quite harmless, and Bismuth could be used as well. But the number one white pigment was Ceruse, made of lead, which is very harmful, and mercury which is possibly even worse. There are, for example, a recipe were equal parts of lead white and mercury chloride ( also a white powder) are mixed with lemon juice and rose water to whiten the face. As both pigments are extremely poisonous, it can hardly have been a good idea to use that! Detail from a portrait of Lady Anne Pope by Robert Peake, 1615 Heavy and shiny white makeup. The shone is quite similar to Bismuth. When studying portraits from the period, those from the first two decades seems to have the thickest layers of white makeup, none, or very faint rouge and lip colour and the eyebrows are left in their natural state. As the century progresses the white makeup looks less heavily applied and rouge came into more use. It is usually sparingly applied, aiming for a quite natural looks, though the mouth is often very red. A bit bizarre, but not harmful, unless one was allergic to shellfish, was rouge made from boiled crabs. Vermillion, red pigment derived from mercury was common, but there were safer alternatives as well. Tinctures coloured with sandalwood, brazil wood, carnation, cloves, or cardamoms would provide a safe rouge. Cochineal were also used, which meant that rouge could be found in both warm and cold red tones. For ladies not belonging to the upper classes, cheaper rouge pigmented with ochre were available, which they evidently used quite liberally. Detail from a portrait of Alathea Talbot Countess of Arundel by Cornelius Janssen van Ceulen, 1619 White makeup and cheeks and lips very delicately shaded with rouge. The eyebrows seems unpainted. Eyebrows are kept groomed and though there are recipes for blackening them, they usually look quite natural on portraits. There also seem to have been some use of eye shadow. There are portraits were eyes seems to be shaded with brown or grey and Bulwer rages against the fashion of “painting circles around the eyes” in the mid-17th century. He also mentions tawny as one of the colours used in facial makeup, which is a yellow brown shade which seems more suitable for eye shadow than anything else. Detail from a portrait of Mary Bankes, Lady Jenkinson by Peter Lely Her eyes seems to be shaded with brownish shade. Experiments with a matte taupe eyeshadow gives a very similar look. For ladies not wanting to paint, there were a number of washes aimed for giving the skin an even a lustrous looks. Some contained talc or ceruse, which would help whiten the face without making it look painted. Regardless if makeup were used or not, the advice for facial care was to wash the face with warm water and a wash ball (soap mixed with herbs and spices), dry it use a wash of some kind like bran water and rub in some pomatum. A beauty regime quite close to modern standards. A lady who steered clear of lead and mercury could probably have a quite nice skin with such habits. The fashion of patches became huge during the 17th century and ladies could wear many of them at once, all over the face. The black patches were made from satin, taffeta and, for a cheaper alternative, paper, and were gummed to make sure they stuck. At the end of the century, they were used more sparingly, but they were still very popular. Detail from an engraving Femme de Qualité en Habit d'Hyver by Nichollas Arnault, 1672-1686 Perfumes were very popular, most of them quite heavy with musk, ambergris and civet. As a comparison, today a perfume has one, or possibly two, of those ingredients (synthetics today) acting as base notes, which grounds the perfume and makes it long-lasting, but very little is used as to not make it too over-whelming. In the 17th century you could find perfumes which solely contained these three very overpowering scents in equal amounts. There were also perfumed made of ox dung which to my modern nose seems rather disgusting. Perfumes could be similarly made to modern ones, but they could also be found as powder, oils, and hard pomades, wax mixed essential oil. One recipes in Plocacosmos, for example, contains wax and oil of musk and cinnamon. Gloves were usually scented and powder could be sewn into small bags for scenting linens or kept in clothes. Detail from an engraving English Lady in Winter Costume by Wenceslaus Hollar, 1644 To protect the skin from wind and sun, a lady could wear a mask for protection. Dental medical care was practically non-existent, so even if the ideal was a full mouth of white teeth, it must have been an ideal that few possessed. There were various recipes for dentifrice powders and though some contained abrasive powders like pumice stone, not all of them were and shows that there were an interest in at least trying to keep the teeth nice. The fashion for hair powder took the first wobbly steps in the 17th century and provided an easy way to change the colour of the hair, but it doesn’t seem to have been universally used. Hair in portraits are often depicted as glossy, something that powder effectively remove. There were also various recipes for hair dye, promising tresses in gold, white as silver, yellow, red, black and green! I wonder who wanted green hair. To keep the curls in place Gummi Arabicum of egg-white were used. The first two decades or so, the popular hairstyle was rather high, the hair were brushed over a padded form to form a kind of halo around the face. It was smooth and often decorated at the highest point. Originally quite high at the top, it gradually became more rounded around the face. Setail from a portrait of Catherine Henriette de de Balzac d'Entragues by an unknown artist, 1600 Aged around ten, the princess is dressed and styled as an adult. Detail from a portrait of Elizabeth Stuart, Princess of England, Scotlan and Ireland by an unknown artist, ca. 1606 Newly wed at the age of 17, the former princess' hair is several shades darker than when she was ten. Detail from a portrait of Elizabeth Stuart, wife of Frederick V, Elector Palatine by an unknown artist, 1613 This lady wears a shiny white makeup and more rouge than usual in this period. Detail from a portrait of an unknown lady by Marcus Gheeraerts the younger, 1615-1618 The Swedish queen is quite pale, but doesn't seem to be using either rouge or lip paint. Maria Eleonora of Brandenburg, Queen consort to Gustaf II Adolf of Sweden by an unknown artist, 1619 This fashion doll from around 1600 gives a glimpse of how it may have looked from other angles. More pictures of the doll can be found here. Around 1620 the big hair disappears and during a transitional period hair gets flatter and looks quite short around the face. Detail from Three young girls by a follower of William Larkin, ca. 1620 Detail from a portrait of Anne of Austria, Queen of France by Pedro Pablo Rubens, 1622 Eventually a style develops that with some variations remains fashionable for the next 50 years. The hair on the top of the head and the back is drawn into a knot, while the hair on the sides is hanging down, either frizzed or curled. During the 1630's a short fringe, or curls over the forehad, were popular. Details from a portraits of Amalia van Solms by Gerrit van Honthorst, 1630's Detail from a portrait of Amalia de Solms-Braunfels, by Anthony van Dyck, 1632 Detail from a portrait of Anne Sophia, Countess of Carnarvon by Anthony van Dyck, 1633-1635 Detail from a portrait of Elisabeth of Bohemia, Princess Palatine by an unknown artist, 1636 During the 1640-50's the hair is often parted round the crown of the head and the front hair is parted in the middle and curled. Detail from a portrait of Elisabeth of Bohemia, Princess Palatine by Gerrit van Honthorst, early 1640's Detail from a portrait of Elizabeth Stuart wife of Frederick V, Elector Palatine by Gerrit van Honthorst, 1650 At 54 the Winter Queen is still quite beautiful. Not considered a beauty, Queen Kristina seem to have had a beautiful hair. Detail from a portrait of Kristina, Queen of Sweden by David Beck, ca. 1650 Detail from a portrait of Mary Stuart Princess of Orange and Countess of Nassau as the wife of Prince William II by Bartholomeus van der Helst, 1652 Detail from a portrait of Maria Eufrosyne and her husband Count Magnus Gabriel de la Gardie by Hendrik Münnichhoven, 1653 The portrait is rife with symbolics meanings. Maria Eufrosyne, first cousin of Queen Kristina is standing one step higher than her husband to show his lowlier birth, but he is stepping one step before her to show his superiority as man and husband. And if her loose gown wasn't enough to indicate pregnancy, she is also holding a bean pod in her hand. The arrangement of curls grow more complicated. Detail from a portrait of Jeanne Parmentier by Bartholomeus van der Helst, 1656 Detail from a portrait of Princess Henrietta Anne of England by Jan Mytens, 1665 When the curls got wider around the face, it sometimes had to rely on wire to keep the shape. Detail from a portrait of Adriana Jacobusdr Hinlopen by Lodewijk van der Helst, 1667 Around 1670 the hurluberlu, or hurly-burly, becomes popular. Dense curls were clustered over the ears, sometimes with longer curls hanging down from them. Detail from a portrait of Suzanna Doublet-Huygens by Caspar Netscher, 1667-1669 Detail from a miniature, possibly of Frances Jennings by Richard Gibson, 1672-1675 Detail from a portrait of Hortense Mancini, duchesse Mazarin as Aphrodite by Jacob Ferdinand Voet, ca. 1675 Detail from a portrait of Anna Caffarelli Minuttiba by Jacob Ferdinand Voet, 1675 There were also a hairstyle were the curls were kept more close to the head around the head and flat on the sides, with a large, low chignon at the back. Hedvig Eleonora of Holstein-Gottorp, Queen consort of Karl XI of Sweden by David von Kraft, before 1682 Mary of Modena, Queen consort of James II of England, Scotland and Ireland by William Wissig, 1685 In the 1680’s the hairstyles started to become higher again, with or without the fontange, a layered starched and wired linen structure, to achieve even higher heights. Detail of a portrait of Electress Anna Maria Luisa de'Medici by Jan Frans van Douven,1690's Detail from a portrait of Madame de Noailles by Hyacinthe Rigaud,1692 Detail from an engraving Costume a la Francaise,1693 Then, of course, there was the Spanish influence, doing its own thing, both when it came to fashion and hairstyling. Detail of a portrait of Maria of Austria, Queen of Hungary by Frans Luycks, 1635 Detail from a portrait of The Infanta Maria Theresa, daughter of Philip IV of Spain by Diego Velazquez, 1651 Detail from a portrait of Catherine of Braganze by Dirk Stoop, 1660-1661 Detail from a painting of Marie Louise of Orleans, Queen of Spain by Jose Garcia Hidalgo, ca. 1682 Sources Corson, Richard, Fashions In Makeup, 1972 Fashion Encyclopaedia Kipar, Nicole, Female Hairstyles Pointer, Sally, The Artifice of Beauty, 2005 Salmon, William, Polygraphice: Or the Arts of Drawing, Engraving, Etching, Limming, Painting, Washing, Varnishing, Gilding, Colouring, Dying, Beautifying and Perfuming : in Seven Books. 1685 Wecker, Johann Jacob, http://books.google.se/books/about/Polygraphice.html?id=h_sC9X95PT0CEighteen books of the secrets of art and nature: being the summe and substance of natural philosophy, methodology digested, 1661 http://books.google.se/books/about/Eighteen_books_of_the_secrets_of_art_and.html?id=nDYVAAAAQAAJ Read more The 17th century women’s guide tolooking good Beauty in the 17th century Courtly beauty secrets from the 17thcentury Evils of Artifice Sweet HoneyWater, perfume recipe from the 17th century Engraving Fille de Marchand, estant à Sa Toilette by Nicholas arnoult, 1687
Rococo Baroque Marie Antoinette Ball Dresses 18th Century Renaissance Historical Period Victorian Dress Gown For Women Condition: Brand New Color: As Picture Material: Satins And Lace Silhouette: Ball Gown Sleeve Length: Full Sleeve Dresses Length:Floor-Length Neckline: Square-Collar Decoration: Lace Style: Vintage
Mantua and petticoat of white brocaded silk, F, 1735-1740, British; probably Spitalfields 1733-1734
Highway robbery is all the rage on TV.
