Explore Louisiana Art & Science Museum's 492 photos on Flickr!

I have good reason to be grateful to Edward Linley Sambourne. My original post about his street photography (Street Style 1906) has been the most popular single item on this blog and has brought in…

Dorothy Quincy, by John Singleton Copley, c. 1772.

Cloak, 1700s.

Belgian Lace Fichu The Metropolitan Museum of Art

Jacques Doucet (1853–1929) was a French fashion designer and art collector. He is known for his elegant dresses, made with flimsy translucent materials in superimposing pastel colors. His clothes w…

In my last post I counted down everything I made through out the year, and now I will do the same for the challenges of the HSF14, to see if I managed to stick to the plan. (sorry for the repeats) …

London and Paris Fashions, May 1799 The sleeveless sort of spencer thingie was known, as mentioned in previous posts, by such names as the "body" and the "corset", and "sleeveless spencer". I start to see it popping up in 1796 and by the end of the decade it's pretty common in fashion plates. In looking for documentation to go along with the sample Metropolitan spencer, I'd been all over Gallery of Fashion, hoping to find information on what sorts of garments were worn beneath, in words, not just plates. I wanted to make sure that my wearing this sort of thing over a dress was done. It was discouraging to find that Gallery of Fashion, in 1796 anyhow, the date of my inspiration example, called for these items to be worn with petticoats and "sleeves". So it is for my inspiration garment, anyhow, and for other examples I reviewed. Was this saying that the sleeves were actually attached to the body, and worn with a petticoat? Usually Gallery of Fashion tells us when a plate depicts a round gown (bodice+skirt together) or a robe+petticoat. Yet was this a new combination of clever little pieces? Or just imprecise wording naming the piece parts of the ensemble without attempting to tell what was attached to what. I do not know. However, another subscription magazine, The Fashions of London and Paris, of which the Japanese Bunka Gakuen library has a copy, comes to our aid. It tends to tell us when items are dresses and when something else...expect in the cases of Parisian fashion, when often they give plates sans text. Ah well, something is better than nothing. In May of 1799, in a page describing the latest in Paris headdresses (see illustration above), here is as much of the original description as applies: Paris dresses. Fig. 1. [not included here, since it only describes the headdress] Fig. 2. Velvet toque, (cap) trimmed with lace, worked in gold. -- This is an imitation of the costume of a Venetian actress. Among the elegantes who brought it out, it is always worn with the Swiss, or half corset, of which the most common are white satin, trimmed with deep red velvet. Fig. 3. [not included here, since it only describes the headdress] Fig. 4. [not included here, since it only describes the headdress] ... General Observations Relative to the Paris Dresses...White is the prevailing color, the finest Indian muslins plain embroidered obtain the preference with those rich females denominated elegantes over all other manufactures. The Espindor, which ladies of the above-mentioned class have lately shewn such partiality for, is a kind of spencer; of a deep color, not turned back, and with short sleeves; it is crossed in before, and edged with narrow slips of lace in gold and silver". Note figures 3 and 4 are wearing little overgarments as well. From this image and description we learn that there were a variety of little garments (no surprise) and that they could have fanciful names (again no surprise). There is no image of the Espindor, but, remember the German crossed front, short-sleeved, pink spencer? Mmmm?  Plate 10. Luxus und der Moden. April 1796. Below, for August 1799, the description of figure 2, "...jacket and train of white muslin". Under General Observations, "The Jacket described in no. 2, is generally worn..." No mention of anything under the jacket. I think this one is like the 18th century jacket, worn with a petticoat. I have never been certain what distinguishes a jacket from a spencer in contemporary texts. Danske dragter: moden 1790-1840 by E. Anderson, says that a feature of the spencer was that it was cut straight off at the waist, rather than allowed to have tails like the 18th century jacket. (p. 230.) Merriam-Webster defines the spencer as a "short, waist-length jacket". However, many museums, the Metropolitan Museum of Art included, include tailed specimens under the name "spencer". I wonder if jackets were worn, as they had been in the 18th century, with nothing under them (unless as riding dress), while spencers usually had dresses under them? If anyone is sure, please let me know. London and Paris Fashions, August 1799. In December 1799 after describing quite a number of dresses and their accessories in full, they write under General Observations: Silk pelices are more prevalent than ever. Habits are much worn in the morning. Black velvet spencers or corsets; plain black velvet cloaks, and black velvet handkerchiefs, are general favorites... Then, in the January number, they illustrate a Paris fashion (dated December 1799 because it could take a bit for the fashions to cross the channel), and they write: Paris Figure (from the Costume Parisien) Pointed turban, ornamented with an aigrette, or plume, and a myrtle garland. Spencer without sleeves, of purple satin or velvet, trimmed round with silver, and clasped in front. Scarlet shawl. Silver necklace and earrings. London and Paris Fashions, December 1799 (but appearing in the January1800 number) Image Bunka Gakuen Library. So here we have a variety of interesting evidence, including the sleeveless spencer, so named, over a dress, described in print...we don't know if this is a full dress ensemble although given the fan, and the style of headdress, it's at least afternoon dress. This small set of examples is a start and probably enough for me, who am not attempting to build a persona per se, but a costume.

The year is 1790. Two years ago, King George III of England suffered another episode of madness. Last year, the House of Commons passed a bill allowing the Prince of Wales to rule England as his father's regent, but before the regency could take place, the king recovered. General George Washington was elected President of the United States in 1789, and this year passed the Residence Act of 1790, commissioning the construction of a city that would be the headquarters for all American government. England is at war with France, and France is at war with itself. The 1790's were characterized by many radical changes, and fashion was no exception. In fact, it's difficult to talk about the decade as a whole because clothing from the beginning of the decade differs so greatly from clothing around the turn of the century. Aah, pretty. Source Also pretty. Source So how did we get from natural waists, tight corsets, and colored silks to pastels, muslins, and loose-fitting empire waist gowns? Zipzipinkspot.blogspot.com has an AMAZING two part blog post on the transition from 1780's fashion to the early Regency. It turns me into a green-eyed monster of jealousy. In a happy way. It's swell. One thing I found in my 1790's research this week was the fichu (rhymes with 'tissue'), a triangular piece of gauze, netting, or lace pinned onto or tucked into a bodice for modesty during the day. I've seen them around in different Jane Austen adaptations educational films on the period, but I never knew what it was called. This and the lighter muslins and linens (in comparison to the heavier, brightly colored silks of the 1770's and 80's) appear to be some of the only things that stay the same from the beginning of the 1790's to the end. An early decade example of a fichu. Source. Source One thing that particularly interested me while researching this period was watching the waistline slowly creep up and bodices loosen as the decade went on. Two good examples of this are in the adaptations of Sense and Sensibility and Mansfield Park. Admittedly, the 2007 Mansfield Park is a little all over the place in terms of costumes (Fanny wears some mid and early decade waistlines, Mary Crawford's getups look like they're from the late Regency, the clothes worn by the Mrs. Norris and Lady Bertram look like they're from the 1780's, and the costumes for the play look like they're from the 1770's, leaving me with the question, "What is this madness?"), but Fanny is a good example of waistlines that are much lower than what we'll see later on in the Regency. She looks a little squinty here. Source In Sense and Sensibility, the waistlines are closer to truly empire, but more structured and tailored than we'll see later. Elinor and Mama Dashwood are both good examples in this image. Source. Marianne, with a gathered neckline that Zipzip explains in detail. Source. Skirts also changed, becoming more narrow as the decade wore on, and the train was becoming more and more common. Beautiful train. Source. By the end of the decade, waistlines were high, sleeves were short, and hair was worn looser and curly. The hair powder that was so popular in court fashion in the 1770's and 80's was now completely out of style, and a new era of natural hair and loose clothing was ushered in. After the turn of the century, the skirt would narrow still more, and hairstyles would become more polished and tight, conforming to the inspiration of Greek statues. That's what we'll be looking at next week, when I study the years 1800-1810. And I'll probably use more Jane Austen images. Don't say I didn't warn you.

Cloak 1790s Augusta Auctions

Step back in time with our Dark Green Linen Revolutionary War Era Reproduction dress. This set includes an overdress and skirt, perfect for history buffs and as gifts for reenactors. Step into the elegance of the 18th century with our CHARLOTTE Overdress in Dark Green Linen, a meticulous reproduction of the popular fashion trends of 1770-1785 in Europe and America. Perfect for themed events, reenactments or theatre, our overdress is a must-have for your historical wardrobe. Crafted from prewashed, medium-weight linen featuring a square neckline, metal eyelets, pre-shaped elbow sleeves with delicate black lace trim, and synthetic whalebones for structure, our overdress captures the authentic style of the 18th century. The wide train, pleated in an authentic 18th-century style, adds a stunning silhouette. Optional sage green and dark green linen skirts are available to complement the overdress. Atelier Serraspina's commitment to craftsmanship and authenticity is evident in every detail of the CHARLOTTE overdress. More than just a costume, it's a wearable piece of history that exudes elegance. Embrace the past with grace and style, leaving a lasting impression on history. ☆ OVERDRESS ☆ Introducing the CHARLOTTE overdress, a stunning 18th-century costume that combines a fitted bodice with a wide, pleated open skirt. Crafted with a generous volume of fabric, this outfit exudes elegance. You have the flexibility to purchase the overdress alone or to pair it with a skirt. The linen bodice is fully lined with raw cotton and cotton poplin for the sleeves. It features a square neckline that closes at the front with eyelets and delicate lace ribbon trims on the preformed elbow sleeves. Synthetic whalebones are meticulously placed on the back and both sides of the front opening, providing structure and elegance. The overdress is completed with a wide, 37.5-inch pleated train, adding a dramatic flair to the ensemble. ☆ SKIRT ☆ The HELOISE linen petticoat is a beautifully designed historical garment consisting of two fabric panels (3 for sizes X1, X2, X3) joined at the sides with an open upper end. This clever opening allows for easy wearing of the skirt. The pleating of the panels follows the elegant 18th-century style. The front pleats cascade from the central box towards the sides, while the back pleats converge in the middle of the back. For added shape and emphasized waistline, the photos show the petticoat worn over a bustle pad. ☆ SIZING ☆ Finding the Right Size: Please refer to the size chart in the photo 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 with the sizes on the chart, we recommend choosing the "custom size" option. Please add your measurements to the customisation field. 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. ☆ FABRICS ☆ Charlotte is made of prewashed medium-weight linen (205gr/m), in a range of colors matching Atelier Serraspina's color palette. You can therefore combine your Charlotte open dress with any linen or tartan skirts from the shop. Outer Fabric and Skirt: · 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 Sleeves Lining: · Composition: 100% Cotton · Type of fabric: Poplin · Approximate weight: 110 gr/m² ☆ HOW TO DRESS ☆ The Charlotte outfit is to be put on as follows: The petticoat: Put on your petticoat by the head.Once put on, the petticoat is tied in the following way: you start by tying the ties of the back panel, making a knot on the front; then you adjust the front panel like an apron, with a double turn around the waist. The overdress: Just slip your arms through the sleeves of the dress mantua that you'll tie at the front, passing a cord through the eyelets on either side of the opening.In the presentation photos, the dress is worn over a bum pad which adds volume to the hips and emphases the thinness of the waist. ☆ CARE INSTRUCTIONS ☆ We kindly recommend dry cleaning only. ☆ PROCESSING TIMES ☆ All our garments, including the Charlotte Overdress, 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 an 18th-Century Overdress & Skirt ranges from 4-6 weeks, depending on the current order volume. Keep in mind that the processing time does not include shipping.

Date: ca. 1770. Culture: French. Medium: silk. Credit Line: Purchase, Irene Lewisohn Bequest, 1961. Accession Number: C.I.61.34a, b. ...

This price include tops＋skirts＋panniers hoop＋2 small rose brooch.We have three sizes to choose Due to the weight of the skirt support, only orders within the United States will be given a skirt support Dress Size: S: Bust 34.3-36.3 inches, Waist 26.5-28.5 inches, Shoulder 14-14.5 inches M: Bust 36.2-38.2 inches, Waist 29.5-31.5 inches, Shoulder 15 inches L: Bust 38.2-40.2 inches, Waist 31.5-33.5 inches, Shoulder 15.4-15.9 inches XL: Bust 42.1-44.1 inches, Waist 35.5-37.5 inches, Shoulder 16.4-16.9 inches If you need special sizes, you can also contact me directly.Special customization requires an additional custom fee of $ 50 Dress can be worn as a Venice Carnival costume, Mardi Gras costume, ball dress, halloween costume, marie antoinette cosplay, marie antoinette reenactments, Palace of Versailles events, Bastille day events, waltz dress, and more. Dress is made from a very rich looking pink brocade with Rococo embellishments around the neckline and sleeves, and underskirt petticoat. This listing is for the overskirt, the underskirt and the panniers cage frame 3 separate peices. Dress in the pictures shown in the rose pink. Dress gown costume can be constructed in blue, candy pink, or ivory, and many other colors. I have custom constructed the Rococo trim from a heavy weight wide satin ribbon, and scalloped white scrolling laces. Luscious looking cabbage roses accenting the Rococo trims. These custom built trims add the confectionary dessert appeal that was a favorite theme during the Rococo period. Processing time is around a 4-5 weeks + shipping

It’s been a long time since i’ve had a post devoted to finished photos of a costume! But this weekend I got two costumes photographed, and last month I got two other projects photograph…