1787 – Adélaïde Labille-Guiard, Madame Adélaïde
A complex portrait of Louis XV’s daughter Marie-Adélaïde clinging to the old regime of France through fashion and decor just before the revolution.
A complex portrait of Louis XV’s daughter Marie-Adélaïde clinging to the old regime of France through fashion and decor just before the revolution.
A banyan is a loose-fitted informal robe or gown worn by men in the late 17th to the early 19th centuries.
The self-portrait of Adélaïde Labille-Guiard alongside two of her students, Marie Gabrielle Capet and Marie Carreaux de Rosemond, shows the influence of the Rococo and Neoclassical styles in the late 18th century.
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A tupu is a long pin used to secure a garment worn across the shoulders. It was typically worn by Andean women in South America.
In the 1780s the styles from the previous decade continued to be popularized, emphasizing more casual clothing in both womenswear and menswear. At the same time, fashion publications were becoming a vital part of spreading trends and fashion news.
1770s fashion simplified the earlier decades styles for both womenswear and menswear, leading to new fashions that exemplified the ‘casual’ aesthetic that had taken hold.
The 1760s mark the last decade during which the robe à la française dominated women’s wardrobes since it was first introduced in the 1720s. In the last three decades of the eighteenth century, other, more informal styles became fashionable for daywear and the robe à la française was increasingly worn for evening. For men, the distinction between the subdued informality of Englishmen’s dress and the colorful formality of Continental styles (particularly those of France and Italy) remained pronounced, although this would change in the following decades in favor of the former. The narrowing of the coat that began around 1750 continued in this decade and a low standing collar that would increase in height until the end of the century appeared in the middle years.
The mid-eighteenth century marked the height of rococo influence on women’s dress; colorful floral-patterned silk gowns and matching petticoats with three-dimensional trimmings, often applied in serpentine bands, were shown to advantage over wide panniers. During this and the following three decades, the marchande de modes, or milliner, who supplied and artfully arranged these delicate decorations became increasingly important in the creation of a fashionable gown. The coats of men’s three-piece suits became slimmer, losing the extreme side fullness of the 1730s and 1740s, and the waistcoat shortened to mid-thigh. Although wool was favored for daywear, especially among Englishmen, silks and velvets that might be embellished with embroidery or metallic galloon or lace were still obligatory for formal wear.
OVERVIEW Rococo fashion was all the rage in the 1740s along with the robe à la française worn as the primary gown for both formal and informal occasions. At the same...
In the 1730s the silhouette of both womenswear and menswear emphasized shape. At the same time, social events captured by famed artists allowed for the wealthy to display their sense of style and affluence.
Quillwork is a method of textile ornamentation among some North American Indian groups that employs the quills of porcupines, often flattened or dyed, to be used as a decorative embellishment.
In a late 18th-century painting organized by skin tone, Agostino Brunias has depicted a range of colonial Dominican fashions from the wealthy elite to the poorest people whom they enslaved.