Archives | Fashion History Timeline

guipure lace

17th century, 18th century, 19th century, G, L, term definition

Guipure lace is a type of continuous bobbin lace made without a mesh ground; its motifs are connected by bridges or plaits.

1875-1878 – Raimundo de Madrazo y Garreta, Masqueraders

1870-1879, 19th century, artwork analysis

Raimundo Madrazo often played with historical dress and aesthetics in his paintings. Masqueraders offers a luxurious look at late 1870s fancy dress, and later paintings of the woman’s costume give insight into the change in fashion.

1818-1907 – Elizabeth Keckley

1860-1869, 19th century, BIPOC, designer profile

Elizabeth Keckley, a remarkably successful dressmaker, built her career upon exacting technical standards, graceful clean lines, and an understanding of Parisian fashionable trends. She is well known for her work for the political elite of Washington DC, particularly for Mary Todd Lincoln. Keckley was one of the first African American women to publish a book and was an impassioned activist who created a relief organization for newly freed enslaved persons.

1690-1699

1690-1699, 17th century, decade overview

The 1690s silhouette for women was extremely vertical and linear with the long-trained mantua being amplified by the towering fontange lace headdress. The more modest jacket-style mantua bodices are often attributed to the influence of Madame de Maintenon, the secret wife of King Louis XIV. Men’s coats gained fuller skirts and their wigs were now two-peaked and, by the end of the century, powdered gray or white.

1680-1689

1680-1689, 17th century, decade overview

In the 1680s, the bustled and trained mantua became the dominant dress for women, often in dark silk brocades. Men continued to wear the justaucorps, which was now slightly shaped at the waist, with a lace cravat and curly full-bottomed wig.

1750 – Stephen Slaughter, Two Women Gathering Fruit

1740-1749, 1750-1759, 18th century, artwork analysis, BIPOC

This painting of two 18th-century gentlewomen features fashionable trends in portraiture and clothing, including Orientalism, pastoralism, and masculine-inspired dress.

1981 – David and Elizabeth Emanuel, Princess Diana’s Wedding Dress

1980-1989, 20th century, garment analysis

Princess Diana’s wedding dress, made by the Emanuel Salon, combines historical inspirations and a fairytale look with strict royal tradition. Its influence on the bridal world can still be seen today.

1670-1679

1670-1679, 17th century, decade overview

1670s womenswear saw the advent of the looped-up overskirt along with a growing enthusiasm for brocade fabrics. Men of the period uniformly adopted the long collarless coat (known as a justaucorps) and full curly wigs became the dominant hairstyle.

1643 – J. Beckx, Portrait of Diego Bemba

1640-1649, 17th century, artwork analysis, BIPOC

Diego Bemba’s 1643 portrait, along with those of Pedro Sunda and Miguel de Castro, represents an early example of cultural exchange in which African ambassadors donning European costume in order to project a carefully curated image of cultural capital.

1898-1981 – Ann Lowe

1950-1959, 1960-1969, 20th century, BIPOC, designer profile

No longer “society’s best kept secret” as the Saturday Evening Post called her, Ann Lowe is recognized as a pioneering African American couturier. Her pieces are preserved in renowned museum collections including the Smithsonian, the Metropolitan Museum of Art, and The Museum at FIT.

Month: Last updated Aug 12, 2020 | Published on Jul 30, 2020

guipure lace

1875-1878 – Raimundo de Madrazo y Garreta, Masqueraders

1818-1907 – Elizabeth Keckley

1690-1699

1680-1689

1750 – Stephen Slaughter, Two Women Gathering Fruit

1981 – David and Elizabeth Emanuel, Princess Diana’s Wedding Dress

1670-1679

1643 – J. Beckx, Portrait of Diego Bemba

1898-1981 – Ann Lowe

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