The Ornamented Being
Ornamented: -verb: Adorn; beautify
Be·ing: -noun: Fulfillment of possibilities; essential completeness
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… I’ve discovered instagram.
*runs away*
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1. Corps, Alsace, vers 1770-1780
2. Paniers à charnières, France, vers 1775-1780
LAD
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“Robe à la française, manteau de robe, jupe et pièce d’estomac France, vers 1775”
LAD
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Georgian 18K Pearl Montgolfier Balloon Pendant Locket - late 18th century
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I just figured out what my soul is worth! 1 pair of aqua 18th century silk shoes protected by coral pattens.
Image @Wall Street Journal
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1720s-1730s
The V&A says: Pattens were worn to lift the shoe out of the dirt and damp. Being somewhat heavy and clumsy, they were mainly used by working-class or country women.
These pattens, however, have pointed toes to fit a fashionable woman’s shoe and a depression at the back where a small heel could sit. The shoe would have been fastened into the patten by means of ribbon-laced latchets. All this, and the fact that the latchets are covered in velvet, suggests that the patterns were worn by someone of considerable wealth.
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Fair warning tomorrow is random day. I will be between continents a few thousands miles in the air so why not?
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http://www.threadsoffeeling.com/
This is such a moving presentation. Each tiny wisp of fabric represents a baby left at The Foundling House In London. As the slideshow progresses, you become lost in the swatches of fabric and the thoughts of each baby that wore them. Their mothers or families left them with a piece of fabric to identify them, sometimes to be reclaimed but often times not.“When mothers left babies at London’s Foundling Hospital in the mid-eighteenth century, the Hospital often retained a small token as a means of identification, usually a piece of fabric. These swatches of fabric now form Britain’s largest collection of everyday textiles from the eighteenth century. They include the whole range of fabrics worn by ordinary women, along with ribbons, embroidery and even some baby clothes. Beautiful and poignant, each scrap of material reflects the life of an infant child and that of its absent parent. The enthralling stories the fabrics tell about textiles, fashion, women’s skills, infant clothing and maternal emotion are the material of Threads of Feeling.”
Burnley and Trowbridge sells this wonderful book at their online storehttp://www.burnleyandtrowbridge.com/threadsoffeelingthelondonfoundlinghospitalstextiletokens1740-1770.aspx -
![KCI:
Dress (“robe à la française”)
c. 1760-England
Material: Yellow silk taffeta (lustring), matching trim; double-flounced pagoda sleeves; matching petticoat.
A typical 18th century women’s dress, “robe à la française”. The color has a golden shine, resonating with the glossy brilliance of the crisp silk.In early Christian culture, yellow was seen as the color of heretics, and held in contempt until medieval times. In China, yellow was the color of the Emperor, a color so noble that commoners were forbidden its use. The 18th century vogue for “chinoiserie” amongst Europeans resulted in new interest in yellow, leading it to become a fashionable color.As shown on this dress, a fichu (triangular shawl) was draped over the shoulders, loosely covering the open area, and was inserted under the stomacher. This style is similar to the fashion that appears in the painting, “Madame d’Epinay”, by Jean-Etienne Liotard ([1702–1789]1769, Musees d’art et d’histoire de Geneve).](http://24.media.tumblr.com/tumblr_m3cogsDnNX1qegasto1_500.jpg)
KCI:
Dress (“robe à la française”)
c. 1760-England
Material: Yellow silk taffeta (lustring), matching trim; double-flounced pagoda sleeves; matching petticoat.
A typical 18th century women’s dress, “robe à la française”. The color has a golden shine, resonating with the glossy brilliance of the crisp silk.
In early Christian culture, yellow was seen as the color of heretics, and held in contempt until medieval times. In China, yellow was the color of the Emperor, a color so noble that commoners were forbidden its use. The 18th century vogue for “chinoiserie” amongst Europeans resulted in new interest in yellow, leading it to become a fashionable color.
As shown on this dress, a fichu (triangular shawl) was draped over the shoulders, loosely covering the open area, and was inserted under the stomacher. This style is similar to the fashion that appears in the painting, “Madame d’Epinay”, by Jean-Etienne Liotard ([1702–1789]1769, Musees d’art et d’histoire de Geneve). -
KCI:
Dress (“robe à la française”)
c. 1760-England
Material: Off-white Spitalfields silk brocade of gold, silver, and polychrome threads with plant pattern; trimmed with gold lace and silver gauze; matching stomacher and petticoat.
This dress, made from the gorgeous silk brocade on a white background made in Spitalfields, had come down from a Scottish castle. Three kinds of gold threads and 11 colors silk threads weaved floral pattern, on the background of curving floral pattern by white silk tread and striped pattern by silver thread, and the entire textile has shot the glittering of gold and silver. Not only the picturesque design of this textile, but also the ground design showing the complex of techniques, this textile shows height of technique of Spitalfields silk in the mid-18th century.
At Spitalfields in the East End of London, the silk industry was developed around 1700. During the mid-1800s, the high quality of Spitalfields’ designs and fabrics rivalled the well-renowned textiles of Lyon, France. Queen Charlotte (1744–1818), wife of English King George III, willingly wore the dress of Spitalfields silk fabrics to encourage it.
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Court Dress or Mantua 1770, French, Made of silk and lace
MFA
“Pink silk brocaded with reds, browns, greens, and white in floral sprays and multi-width silver stripes. Overdress: open coat-style front bodice; square back neckline; front panels trimmed with silver galloon and silk flowers; sack (Watteau) back; elbow length fitted sleeves with double asymmetrical ruffles trimmed same as front; wide panier accomodating skirt with slits at hipline. Petticoat: U-shape waistline; trimmed with deep swags of silver net with silk flowers and gilt details; drawstrings at waist. White silk partial linings.”
![KCI:
Dress (“robe à la française”)
c. 1760-England
Material: Yellow silk taffeta (lustring), matching trim; double-flounced pagoda sleeves; matching petticoat.
A typical 18th century women’s dress, “robe à la française”. The color has a golden shine, resonating with the glossy brilliance of the crisp silk.In early Christian culture, yellow was seen as the color of heretics, and held in contempt until medieval times. In China, yellow was the color of the Emperor, a color so noble that commoners were forbidden its use. The 18th century vogue for “chinoiserie” amongst Europeans resulted in new interest in yellow, leading it to become a fashionable color.As shown on this dress, a fichu (triangular shawl) was draped over the shoulders, loosely covering the open area, and was inserted under the stomacher. This style is similar to the fashion that appears in the painting, “Madame d’Epinay”, by Jean-Etienne Liotard ([1702–1789]1769, Musees d’art et d’histoire de Geneve).](http://www.kci.or.jp/archives/digital_archives/photos/15_xl_AC05761.jpg)
