I cannot believe that tomorrow I will see this painting. There are so many old friends waiting for me at the Alte Pinakothek in Munich and strangers I’ve never met.
Being a flight attendant means I’m privy to secrets that people don’t normally share. Desires and dreams, things they want to see or things they are too afraid to see. A lot of things happen when you are 36,000 feet in the air and sometimes people just want to talk. Something I talk to people a lot about are their bucket lists. Places they want to travel, mountains to climb. I have one of those also but the best conversations are the ones where strangers talk about their separate bucket list for art. Things you have to see with your own eyes.
Which is why tomorrow is so exciting for me. I can cross off entire sections. I spent my entire childhood studying these masterpieces and it’s no longer enough to only see them captured in a book. I have to stand before them and on those rare occasions I have to stand and cry before them. Sometimes I have to whisper thank you to them for seeing me through those dark teenage times, for guiding me, giving me strength, and for teaching me that beauty absolutely lies in the eye of the beholder.
Comédie-Française: Robe de style XVIIIe siècle en brocard marron à motifs fleurs, rose et or, dentelle ocre. Manches en lingerie et dentelle écrue. Pièce de corsage garnie de bijoux or et strass.
I think it’s fascinating to see how Swedish Court Gowns have changed over the centuries. The silhouettes are different but the sleeves are always the same.
1780’s Queen (consort of Sweden) Sophia Magdalena, wife of king Gustav III, by Niclas Lafrensen. She is wearing a formal court costume.
1812 La princesse Desideria de Suède Miniature par Nicolas Jacques aka Desiree, in Swedish court dress
Court Gown (with Train) with Evening and Day Bodices of Wilhelmina von Hallwyl, Léon Sacré, W W. Ullberg & Comp.: 1865, Swedish, silk velvet, Chantilly lace.
Jeanne Lanvin, Dress Made for the Swedish Court, 1926.
Casaca (jacket), skirt, and same Casaca laid flat, 1740, Spain. metal, cotton, linen, silk, paper. polychrome and gilded silver. Casaca is hip-length, open in front and side pleats that start from a button covered in the same fabric. The sleeve, three quarter with triangular back. The jacket, along with the petticoat (skirt) was a common dress among the Spanish female population of the first half of the eighteenth century. Museo del Traje.
Museo Del Traje
Vestido a la inglesa (Vaquero)
Vestido de seda amarilla labrada en dos tonos. Largo con escote redondo se cierra por la espalda. Mangas cortas muy estrechas y en la bocamanga encaje de lino a la aguja. El perímetro del escote y bocamangas están decorados con una cinta de seda verde tableada. La misma cinta decora todo el delantero dispuesta en él a modo de peto. Neoclasicismo 1780 (ca) INVENTARIO: MT00567 Este vestido que, a diferencia de la bata, estaba ceñido en la espalda siguiendo la moda del vestido a la inglesa, en España fue conocido como vaquero hecho a la inglesa. Este vaquero de niña es muy similar al que lleva Maria Teresa de Borbón niña en el retrato que Francisco de Goya realizó en 1784.
Disclaimer, I don’t speak Spanish, Castilian or otherwise and confess to having used Google Translate. Mea Maxima Culpa.
Yellow silk dress styled two tone. Round neckline Long closes in the back. Very narrow and short sleeves in linen lace cuff to the needle. The perimeter of the neckline and cuffs are decorated with a pleated green silk ribbon. The same ribbon decorates the entire front disposed therein as a breastplate. Neoclassicism 1780 (approx) INVENTORY: MT00567 This dress, unlike the gown was belted in the back following the fashion of the English dress in Spain was known as the English vaquero. This cowboy girl (GOOGLE WHAT THE HECK? COWBOY?) is very similar to what Maria Teresa de Borbon takes girl in the portrait Francisco de Goya painted in 1784.
I finally got around to posting about The Dress like a Georgian Day Picnic last month at St. James’ Park, please click through to The Mended Soul for a step-by-step on making this gown.
That is some of the best pattern matching I have ever seen.
Robe à la française
Inventory Number(s): AC11075 2004-2AB
Interesting story behind this gown courtesy of KCI: A gown made from a stunning textile featuring multi-colored bouquets and fur patterns elaborately interwoven into the ground textile canelé. This textile with its complex weave pattern also features a variety of different threads including chenille, silk floss and twisted yarn for motifs. It shows of the outstanding skills made in Lyons, famed in the height of quality and design.
This garment was worn by Madame Oberkampf, whose husband established the modern printing industry in Jouy-en-Josas in the suburbs of Paris, when she had an audience with Queen Marie Antoinette in 1775.
Late 1900’s autochromes
My mind cannot comprehend the thought of playing dress up in a real 18th century gown.
Interesting to see the lining made of such a good fabric considering the lining was never seen and this was normally considered a waste of money and materials. Also, that is the most perfect pattern matching I have ever seen on a sack back.
Bunka Gakuen Costume Museum