André Derain painted his old friend Lucien Gilbert in the wild, eccentric colors and style of Fauvism. The colors may be unconventional; the sitter is not. Derain presents Gilbert, a future architect, as a proper young professional: stylish but conservative.
Despite the limited visibility of the garments, the figures within Henry Lerolle’s The Organ Rehearsal can be seen as a fashionable group of churchgoers to 1885 standards, complete with hats with plumes, round skirts, and somber suiting.
The floral embroidered blue silk gown designed in the early 1880s had the design elements of tiered pleats, a bustle, chenille fringe and multiple embellishments which incorporated many different fashions of the time.
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.
This light pinky peach dress covered in ruched bows and with full crinoline-supported skirt epitomizes the early 1860s ball gown. With delicate detailing and a simple color palette this garment is sophisticated yet effortless–perfectly in line with the fashions of the day.
A style of dress popular in the 1770s-80s, with a bodice cut all in one and often with the skirts looped up. The polonaise also came back into fashion during the 1870s.
Berthe Morisot’s portrait of teenager Marguerite Carré features a light pink ruffled day dress paired with black velvet and lace accessories, embodying the fashionable trends of 1870s Paris.
A justaucorps is a long-sleeved, knee-length coat worn by men after 1666 and throughout the 18th century.
During the 1870s, women’s clothing became increasingly complex, colorful, and restrictive, while menswear was marked by an industrious sobriety.
A decorative ladder of bows descending down the stomacher of a dress. Worn during the late 17th and 18th centuries. Sometimes spelled eschelle.
A dress fashionable in the 1780s, constructed out of muslin with a straight cut gathered with a sash or drawstring.
Jean-Marc Nattier, an acclaimed 18th-century portraitist, was known for his mythological style, painting women in imagined costume that was only loosely based on fashionable trends, as is true in his 1750/60 Portrait of a Woman.
The Fez and the Ottoman Path to Modernity
1869 – Red Silk Dress
katazome (stencil printing)
1905 – André Derain, Lucien Gilbert
Inès Gâches-Sarraute and the Straight-Front Corset