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
The beginning of the project can be found here and on The Mended Soul but as a small recap the original design is by Jean-Baptiste Martin entitled Paysanne Galante (1722). It is a depiction of a costume from a ballet. I would also like to take the opportunity to point out that I started this project researching dance and theatre costumes of the 18th century which explains why the skirt is so short. At The Mended Soul I will be posting a more in-depth explanation but for now I will merely say that it is a nod to La Camargo who shortened her skirts so that the movement of her feet would be seen from stage.
I sought to put my dissertation and research into practice in the studio and I plotted this year in detail. My first costume was a Fancy Dress costume worn by Alexandra, Princess of Wales to the Devonshire House Ball in 1897 for the exhibition at Buckingham Palace. This costume satisfied my need for a highly decorated historical costume that could be displayed in a museum as a reproduction of an original unable to be displayed. It also related directly to my dissertation as I mentioned the House Ball in detail.
As my final piece I choose this particular design because it is the complete opposite of everything I am. I am very fond of historical costuming (I will have my BA in a month on this subject). That said I don’t normally gravitate to theatre. It’s not that I disdain this type of costume, it is simply that it’s something I have never shown interest in publicly simply because I wanted this costume to (pardon the phrase) shock and awe. Paysanne explores the transitional period from 18th century Masquerade into 19th century Fancy Dress which was the basis of my dissertation. By doing both of these costume I have not only showed that I can tie my research to practice but I can take two very different time periods and translate those into costumes that are harmonious and show a wide range of skills.
From the shocked response of my peers that I had chosen something so theatrical and different from everything I stand for I would say it worked very well. The common theme of yesterday’s commentary was a very dazed expression of 'It's so PINK … so many roses! Frills! Lyze?! It's a theatre costume!!!' It has been very hard to not contradict everyone the past year who explained that I would not be interested in something because it was so theatrical. I would say that while showing such a disinterest was very hard to maintain at times it was so throughly enjoyable due to the various expressions of utter disbelief present in the faces of those who know me.
This costume has been a work of utter adoration. I feel that I have poured my soul out in ways that I have never done before. Everything that I am, everything that I have worked for the past three years to become has accumulated in this costume. I feel that with each stitch I attached a tiny piece of my psyche and that I have transferred my being onto the fabric.
This costume represents who I am, The Ornamented Being. I am experiencing an illogical sense of nervousness, calm, and bravery in the face of worry of the unknown. I have hopes for tomorrow’s outcome. I am confident in myself but I am still scared. My exam is tomorrow and I only ask that you please think kindly of me as I prepare for the future.
I promise after tomorrow I will return to you with a renewed sense of vigour and excitement.