| 1750-1795 In Fashion |
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Fashion in the period 1750-1795 in Europe an and European-influenced countries reached (literal) heights of fantasy and Abundant Ornamentation , especially among the Aristocracy of France , before a long-simmering movement toward simplicity and democratization of dress under the influence of Jean-Jacques Rousseau and the American Revolution led to an entirely new mode and the triumph of British Tailor ing following the French Revolution . WOMEN'S FASHION Overview Fashionable women's clothing styles remained confining and cumbersome for most of the period. The Hoop-skirt s of the 1740s were left behind, but wide Panniers (holding the skirts out at the side) came into style several times, and the aesthetic of a narrow inverted conical corseted torso above full skirts prevailed during most of the period. In the 1780s , panniers finally disappeared, and bustle pads (bum-pads or hip-pads) were worn for a time. By 1790, skirts were still somewhat full, but they were no longer obviously pushed out in any particular direction (though a slight bustle might still be worn). The "pouter-pigeon" front came into style (many layers of cloth pinned over the bodice), but in other respects women's fashions were starting to be simplified by influences from Englishwomen's country outdoors wear (thus the " Redingote " was the French pronunciation of an English "riding coat"), and from Neo-classicism . By 1795, waistlines were somewhat raised, preparing the way for the development of the Empire Silhouette and unabashed neo-classicism of late 1790s fashions. (above) captures the exact transition between the tight bodice and elbow-length, ruffled sleeves of the mid-18th century and the natural waist and long sleeves typical of the 1790s. Gowns The usual fashion of the 1750-1780 was a low-necked Gown (usually called in French a ''robe''), worn over a petticoat. If the bodice of the gown was open in front, the opening was filled in with a decorative Stomacher , pinned to the gown over the laces or to the corset beneath. Tight elbow-length sleeves were trimmed with frills or ruffles, and separate under-ruffles called Engageante s of lace or fine linen were Tacked to the Smock Or Chemise sleeves. The neckline was trimmed with a fabric or lace ruffle, or a neckerchief called a ''fichu'' could be tucked into the low neckline. The ''robe à la française'' featured back pleats hanging loosely from the neckline. A fitted lining or under-bodice held the front of the gown closely to the figure. The ''robe à l'anglaise'' featured back pleats sewn in place to fit closely to the body, and then release into the skirt which would be draped in various ways. The ''caraco'' was a Jacket -like bodice worn with a petticoat, with elbow-length sleeves. By the 1790s, caracos had full-length, tight sleeves. In the 1770s and 1780s, skirts could be cutaway and looped up into poofs à La Polonaise ("as worn by Polish women") over a Petticoat , originally an intentional imitation of simple country styles, hence the older costume historian's term "milkmaid dress". The white cotton chemise dress or ''chemise à la Reine'' (from its adoption by Marie Antoinette was a simple gown of thin white cotton, resembling a ladies' chemise, with a raised waistline sometimes trimmed with a sash. The Redingote was a coat-dress, usually of unadorned or simply trimmed woolen fabric, with full-length, tight sleeves and a broad collar with lapels or revers. Originally riding costume, it was later worn as an overcoat with the light-weight chemise dress. Underwear The Chemise or smock had tight, short or elbow-length sleeves and a low neckline. Drawers were not worn in this period. The long-waisted, heavily boned ''stays'' of the Early 1740s with their narrow back, wide front, and shoulder straps gave way by the 1760s to strapless stays which allowed the shoulders to assume a more natural shape, although a low, tiny waist and wide, full bosom were still desirable. As the relaxed, country fashion took hold in France, stays were replaced by an unboned or lightly boned quilted underbodice (now called for the first time ''un corset'') for all but the most formal court occasions. Panniers or side-hoops remained an essential of court fashion but disappeared everywhere else in favor of a few petticoats. Free-hanging pockets were tied around the waist and were accessed through ''pocket slits'' in the side-seams of the gown or petticoat. Woolen waistcoats were worn over the stays or corset and under the gown for warmth, as were petticoats quilted with wool batting, especially in the cold climates of Northern Europe and America . Shoes Shoes had high, curved heels (the origin of modern "louis heels") and were made of fabric or leather. Hairstyles and headgear The 1770s were notable for extreme Hair styles and Wig s which were built up very high, and often incorporated decorative objects (sometimes symbolic, as in the case of the famous engraving depicting a lady wearing a large ship in her hair with masts and sails — called the "Coëffure à l'Indépendance ou la Triomphe de la liberté" — to celebrate naval victory in the American War Of Independence ). These coiffures were parodied in several famous satirical caricatures of the period. By the 1780s, elaborate hats replaced the former "big hair". Mob Cap s and other "country" styles were worn indoors. Flat, broad-brimmed and low-crowned straw "shepherdess" hats tied on with ribbons were worn with the new rustic styles. Hair was powedered into the early 1780s, but the new country fashion required natural colored hair, often dressed simply in a mass of curls. Style gallery - 1750s-1770s # of Madame De Pompadour wearing a floral gown with matching petticoat. Her sleeves end in flounces worn over lace engageantes. Her stomacher is decorated with a vertical row of ribbon bows. # of Madame De Pompadour shows her petticoat trimmed with flounces to match her gown. She wears a small lace ruff around her neck. # of Boston, Massachusetts, in the fashionable dress of 1773. Her indoor cap is trimmed with striped and dotted ribbons, and her gown is trimmed with ''robings'' of ruched fabric (strips of fabric gathered on two sides). A lace fichu fills in her neckline. # wears a red Riding Habit with military details on the cutaway coat and a buff waistcoat, 1776. # remained a requirement of court fashion for the most formal state occasions. Marie Antoinette, 1779. Style gallery - 1780-89 # wear transitional styles, 1780-81. Their hair is powdered and dressed high, but their white caracos, like shorter gowns ''á la polonaise'', have long tight sleeves. #, 1783. She wears a sheer, striped sash and a broad-brimmed hat. Her sleeves are poufed, probably with drawstrings. # shows a ''caraco'' and petticoat, worn with a wide-brimmed summer hat of straw with elaborate trimmings. #, 1787, wears a chemise dress with plain sleeves and a narrow sash. She wears her hair down in a mass of curls under her straw hat. # wear colorful gowns in the new style, one blue and one striped, with sashes and high-necked chemises beneath. The Marquise de Rouge wears a scarf or kerchief wrapped into a turban. Style gallery - 1790-95 > # or riding coat of ca. 1790. This lady wears a mannish top hat for riding and carries her riding crop. # of Rose Adélaïde Ducreux with harp. # illustration of woman playing with an early form of Yo-yo (or "bandalore") shows slight bust draping, which in more extreme form became the "pouter pigeon" look. # (father of George ), showing both male and female middle-class English styles of the early 1790s. # wears a sashed gown with a high-necked, frilled chemise beneath, a turban on her head, and a newly fashionable scarlet Shawl . 1793. MEN'S FASHION Overview Throughout the period, men continued to wear the Coat , Waistcoat and Breeches of the Previous Period . What changed significantly was the fabric. Under new enthusiasms for outdoor sports and country pursuits, the elaborately Embroider ed silks and velvets characteristic of "full dress" or formal attire earlier in the century gradually gave way to carefully Tailor ed woolen "undress" garments for all occasions except the most formal. In Boston and Philadelphia in the decades around the American Revolution , the adoption of plain undress styles was a concious reaction to the excesses of European court dress; Benjamin Franklin caused a sensation by appearing at the French court in his own hair (rather than a wig) and the plain costume of Quaker Philadelphia. Coats The skirts of the coat narrowed from the gored styles of the previous period, and toward the 1780s began to be cutaway in a curve from the front waist. Waistcoats extended to mid-thigh to the 1770s, and gradually shortened until they were waist-length and cut straight across. As in the previous period, a loose, T-shaped silk, cotton or linen gown called a Banyan was worn at home as a sort of dressing gown over the shirt, waistcoat, and breeches. Men of an intellectual or philosophical bent were painted wearing banyans, with their own hair or a soft cap rather than a wig. A coat with a wide collar called a Frock , derived from a traditional working-class coat, was worn for hunting and other country pursuits in both Britain and America. Shirt and stock Shirt sleeves were full, gathered at the wrist and dropped shoulder. Full-dress shirts had ruffles of fine fabric or lace, while undress shirts ended in plain wrist bands. A small turnover Collar returned to fashion, worn with the stock. The Cravat reappeared at the end of the period. Breeches, shoes, and stockings As coats became cutaway, more attention was paid to the cut and fit of the breeches. Breeches fitted snugly and hand a fall-front opening. Low-heeled leather Shoe s fastened with Buckle s, and were worn with silk or woolen Stockings . Boots were worn for riding. Hairstyles and headgear Wig s were worn for formal occasions, or the hair was worn long and powdered, brushed back from the forehead and ''clubbed'' (tied back at the nape of the neck) with a black ribbon. Wide-brimmed Hat s turned up on three sides called Tricorne s were worn in mid-century. Later, these hats were turned up front and back or on the sides to form Bicorne s. Toward the end of the period a tall, slightly conical hat with a narrower brim became fashionable (this would evolve into the Top Hat in the next period). Style gallery # features a dark blue coat and waistcoat with fine embroidery on the edges, deep cuffs, and pocket flaps. Hair is tied back but not powdered. The waistcoat reaches to mid-thigh. # of 1760-62. The long collared coat without cuffs is a ''frock''. #'s coat and waistcoat are trimmed with narrow gold braid, and his shirt has a small turnover collar. 1765. # wears a deep green banyan and a turban-like cap. 1767. # wears a plain coat with wide revers, a small stand-up collar, deep cuffs, and large pocket flaps. His shirt has small sleeve ruffles and is worn with a narrow stock. 1772. #'s shirt has full sleeves with gathers at shoulder and cuff, plain wristbands, and a small turnover collar. # suit of matching coat, waistcoat and breeches. The waistcoat is hip length. CHILDREN'S STYLES During most of this period, the clothes worn by middle- and upper-class children older than toddlers (especially by girls) continued to be uncomfortable-looking miniature copies of the clothes worn by adults (see the illustration of the 1778 young French girl below). However, towards the end of the period, there was a change to styles that were more practical for children's play — Skeleton Suit s for boys, and loose ankle-length skirts for girls. CONTEMPORARY SUMMARIES OF 18TH CENTURY FASHION CHANGE These two images provide 1790s views of the development of fashion during the 18th-century (click on images for more information): REFERENCE
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