Monday, April 21, 2014

Cabinet des Modes, 22e Cahier, 3e Figure

October 1, 1786


1. A Woman dressed in a pink caraco. Her neck is covered with a gauze kerchief en chemise, with two large ordinary collars. Her hair is done all in curls, and she wears on her head a pouf à la Chinoise, of linen-gauze. This pouf is wrapped with a diadême* with a black and nakara ground. It is trimmed with artificial chinese flowers, in the middle of which glow yellow pistils. These flowers form a garland fastened on the left side. The pouf is furthermore decorated with an apple green ribbon, with fluffy, lilac selvages. Behind the pouf hangs a thick puff of white linen-gauze.

 2. A Woman in a lilac caraco. On her neck a full kerchief of gauze en chemise, with two large ordinary collars. Her hair is done all in large curls from the middle of the tapet. her head is covered with a toquet à la Virginie. The ruffles of the touquet are in white english gauze, and the crown is in pink gauze.

The crown is separated from the ruffles by a green and lilac diadême.* A large bow of green ribbon is applied on the right side, and comes to be lost in the back. Behind the toquet hangs a wide veil of white gauze.

* a ribbon au diadême
The only new hat, other than the felt hats, that we have seen in the promenades is a chapeau-bonnette of gauze, with black and yellow stripes, of a sulfurous yellow. This gauze produces a very-pretty effect, when it is pleated (1).

The caps made of black gauze, that we have announced, are worn today in a very great quantity.

(1) The coiffures are by M. Depain, and the caps from the Shop of Mlle Roussaud.
If our Subscribers are given the pain of examining all their Issues, they will see that we have made all it has given us possible by perfecting this Work; to take overall the four most recent, where the designs and illuminations are as fashionable as they can be. Ancient Designers, ancient Illuminations; we have changed all. One had to see that we would be very-docile to remonstrances, and that we would be ourselves the first to reproach our faults. Those which will have some observations for bettering the Cabinet des Modes may communicate them to us; all our desire is that nothing be lacking from it, and that no-one has any serious reproaches to make of us.

In inspecting the Issues, one will see also that we have overall applied ourselves to giving the fashions for dress, because we are convinced that these which more excite curiosity. One is more jealous of appearing in public in fashionable clothing, than in having furniture, jewelry that is fashionable. However we have not neglected furnishings, coaches, rings, pieces of silverwork; and we would have given them more frequently, if fashion had changed for them as quickly as for clothing. But you know that these fashions do not change every day, because furniture is not carried on oneself to be shown in public, like a new coat, which nearly everyone wants to parade in. One may look at armchairs, beds, pendulum clocks, etc. such as we have described; they have still not changed.

One more time, great variety is found in dress; and we are certain that this is only for dress, which always appears to advantage, when one wants it to. Also we have partnered with someone of great taste, who will habitually go in the promenades, to the spectacles, who has the tact to seize new fashions, even the novelties which are still not fashion, and which could become it, to describe them and to paint them. We flatter ourselves to have never shown an elegant gown, a well-cut, well-made coat, that he had not seen, and announced it. This is without a doubt the best thing about our Work.

M. Granché invites Fans to come see the new precious objects in his Shop at the Petit-Dunkerque. Soon we will give a detail of the principal ones.

Thursday, April 17, 2014

Cabinet des Modes, 22e Cahier, 2e Figure

October 1, 1786


A young Man in a Dragoon green frock coat, decorated with apple green silk embroidery. This fashion appeared some time ago; but as it had experienced the fate of gold embroidery, which it had succeeded, and which two months had seen born and die, we have not announced it, having other, more marked fashions to describe. Today it is resumed more strongly than ever, we hasten to make known, for fear that, if its second reign is not longer than the first, we are not reproached for for not having indicated it. We say, if its second reign is not longer than the first, because we have observed at all times that plain coats, very fresh, very cut, please further than all the embroidered, burdened coats, which are richer than they are elegant. In examining an embroidered coat, one feels confusion, an entanglement which displeases the eye, and fatigue. If it is not absolutely that which made embroidery be abandoned, it is that those who have believed it distinguished a rich coat, saw it soon disputed by anyone who wants, because anyone can buy, for a good price, an embroidered coat from a Frippier;* and that once on the body, nobody asks if it was bought all made, or if you had it made.

The young Man wears under his coat a gilet of canary's tail colored silk, embroidered in green silk.

His breeches are of drap de soie, also canary's tail color.

His stockings are silk, with white and apple-green stripes.

His shoe buckles are silver, oval, with four flat rings on top, and fastened with little bars. His garter buckles are also silver, in a long oval.

In his watch-pockets, in the front, he carries two watches. From one hangs a simple black cord, with a very-large key; from the other a gold chain, decorated with charms.

Around his neck, wrapped, three times, a full cravat of muslin, whose two ends come to form a little knot in front.

The manchettes and the jabot of his shirt are of plain batiste, with flat hems.

His hair is done with a single large curl on each side, which decorates the face. This practice, very-old, has come back today; but the greatest number are still done with four large curls on each side, of which three are below and one is above. The hair of our Man is braided behind à la Panurge.

On his head is a hat à la Jockei, with a deep crown, trimmed around with two wide black ribbons, which pass through a long buckle, and form a large bow in it.

He holds his right hand supported on his jet cane; and his left hand on his hip.

Young men begin to wear a gold and green gance around their jockei hats, which pass on the left side in a little copper buckle.

* a second-hand clothes dealer

Wednesday, April 16, 2014

Cabinet des Modes, 22e Cahier, 1ere Figure

October 1, 1786
Fashion, whose Detractors have called it light, inconstant, flighty, frivolous, is however fixed in its principles; and we believe, in truth, that it is an injustice to treat it so, irrevocably, with such callousness. We see it as constant in seizing all remarkable events, in appropriating them to itself, in recording them in its annals, in ETERNIZING them in memory. What great event, what great feats of our Warriors, of even our Magistrates has it published? If d'Estang, d'Orvilliers have won, did it not announce that? did it not want Ladies to dress their heads with symbols in memory of their triumphs, and entering thus through the top of their bodies, doesn't the memory sink deeply into their hearts? Did it not impart the success of Figaro to the whole of Europe? Under how many forms did it not reproduce Janot? Did not M. Cagliostro, more famous for his trial than for his false immortality, see Fashion make his existence known in one and the other hemisphere? The girl Salmon, so celebrated for the extraordinary misfortunes which have assailed her for a long time with such fierceness, also sees Fashion today spill its innocence into the two Worlds. May this glory dry the always renewing source of her tears!

Caracos à l'Innocence reconnu or à la Cauchoise, will teach for a thousand years that in 1786, an unhappy Cook named Marie-Françoise-Victoire Salmon, who was seen twice led to the stake to be burned as guilty of the most execrable poisoning, and who, twice, was snatched from the hands of her executioners through the vigorous and steadfast virtue of M. Cauchois, her Lawyer, was finally declared innocent by the Parlement of Paris. These caracos alone sufficed to perpetuate the glory of this girl, of her Lawyer, and for the illustrious Company which absolved her. We flatter ourselves that we will not be refused the admission that the Cabinet des Modes can become useful, even to Historians. But this is only for the current times, which it will record, that we want it to be an interesting subject, and not for research into antiquity; as we defended ourselves from doing in the preceding Issue.

A Woman in a caraco à l'Innocence reconnue, or à la Cauchoise. This caraco is of lilac Pekin; it is trimmed with two collars, revers, and cuffs of apple green Pekin. The revers are trimmed with large buttons of white mother-of-pearl. The caraco buttons in the front with four large matching buttons, which are applied on the front pieces, which, half-cut, are attached under the caraco and the lapels, and form a sort of stomacher.

Under the caraco, the Woman wears a little corset, or gilet, if one likes, of white Pekin.

Her petticoat is of apple green Pekin; it is trimmed with a volant of matching fabric, with a reversed head.

On her neck is an ample fichu en chemise of linen-gauze, with two collars, of which the top one is made like the collars of men's frock coats.

Her head is covered with a felt-hat of canary's tail color, trimmed all around the brim with an épais and a long black plume, which breaks into a thousand points of flame-colored plumes. The deep crown of this hat is trimmed in the front with a sort of aigrette of pink ribbons, with white selvages. Around the form it is trimmed up to the top with matching ribbons.

The Woman's hair is done all in large curls, of which three fall to hang on her chest. Behind, her hair is tied, with a pin à la Cagliostro, in a large cadogan, curled and falling back at the end.

From her ears hang rings à la Plaquette.

She wears pink shoes, flounced with black ribbon.

She holds her fan in her right hand; and in her left, fallen behind, she holds her handkerchief.
Felt-hats, trimmed all around with small black plumes, with colored points, are in the newest fashion, and are adopted by many women. The colors of the little plumes are not still very varied. The only colors which are worn, are black, with flame colored points, on canary's tail hats; black, with blue points, on black hats; black, with yellow points, on blue hats; and black, with pink points, on green hats. There is no doubt that the color of the little plumes will shortly be varied, and that the points will be shaded with the little plume.

Hats are still trimmed with four to five plumes, attached on the left side. But in this case the aigrette of ribbons is not put on the front; only the crown is wrapped with two wide ribbons, which are made into two bows, one in front and on in the back. From the back bow the ends of the ribbons hang very-low.

Tuesday, April 15, 2014

Cabinet des Modes, 21e Cahier, 3e Figure

September 15, 1786


A crystal Sugar bowl, mounted in silver, set on a platter of the same metal, held on four animal feet, and having a handle on each side. This Sugar bowl is in the shape of a slightly rounded vase; it has two handles; it is decorated with garlands of flowers, tied with tassels. On the four sides are represented four amphibious men's faces.

The cover is also decorated with flower garlands, tied similarly with cords and tassels; and it is surmounted with a bunch of raspberries, from the bottom of which spread a certain quantity of leaves.

This Sugar bowl, of an exquisite taste, is drawn from the workshop of M. Bouty, Merchant Silversmith, rue Saint Eloi, near the Palace, in Paris.

Monday, April 14, 2014

Cabinet des Modes, 21e Cahier, 2e Figure

September 15, 1786


ALREADY the pale and somber Autumn has torn away the light coats which befit the summer, and bring forth those of a denser, stronger, softer fabric more fitted to protect from the fury of the frosts. Oh what! the insatiable weather has devoured the  days of our pleasures! no more promenades in the woods! no more merry plains! In an instant, we, sad Stay-at-homes, must wait, in an eternal and tiring repose, for days when, free and liberated from painful ties, we could frolic, play, skip in the somber forests, or in the fields rich with a thousand different flowers! Those few who remain, seize it, enjoy it.

The coats which seem to be in fashion this autumn, are coats in puce wool. The Man drawn in this Plate wears one of this color. The lining of his coat is a matching color. To all the edges is attached a little white ribbon, forming the piping. This is a fashion which was not known in the remotest times, when only the lining furnished the piping. It is a modern refinement which presages the pipings' disappearance. When there is nothing else to attach the ribbon to, piping will be done soon; and already we are there. But so that our Votaries are not frightened; suitably colored linings will hold on for a long time, if however they are not made to clash in a grotesque manner. For you know that it is only a ridiculous overload which eclipses on the field a fashion which promised a long reign. When piping has finished, one will abandon them to contain the whole lining inside the coat. We refer you to the fourteenth Issue, in order to know how to match linings with fabrics.

The buttons on our Man's coat are mother-of-pearl, with a gold circle engraved in the middle.

He wears under his coat a pink moire gilet, with violet stripes.

His breeches are of Cashmere cloth, canary's tail color. They cling perfectly to his thighs, which they hold very tightly.

His silk stockings are striped blue and white.

His shoe buckles are a perfect oval; those of his garters are rectangles.

In his pockets, on either side, are two watches. From one hangs a simple black cord, with a large gold key; from the other a gold chain, with some gold charms.

His hands are covered with chamois gloves, yellow, light. One of his hands is supported on a rather strong bamboo cane, trimmed with a black silk cord, with tassels.

His hair is curled in a large grecque, with four large curls on each side. In the back it is braided à la Panurge.

His hat à l'Androsmane is set on a pedestal, on which he supports himself, to dream deeply.
Today a prodigious quantity of large buttons for men's or women's coats are made, and medium ones for vests, gilets, breeches, etc. which are painted, and which represent little landscapes, or nymphs, or loves, or spirits, etc, and are placed under glass. You will surely not require us to give to each of our Subscribers at least eight to ten landscape paintings; it suffices that we announce them.

Friday, April 11, 2014

Cabinet des Modes, 21e Cahier, 1ere Figure

September 15, 1786
WE represented in the sixteenth Issue a man ready to ride a horse; we would have perhaps had to represent immediately, in the seventeenth, a Lady equally ready to ride; and in coming back today what we gave in this seventeenth, we see that we would have the same, because it was never as important to paint the two women in robes à la Turque, very different, it is true, in taste, but similar in form, that to bring order to our Issues. It is a fault, we confess, and maybe it will not be the last that we commit. Our good faith makes us pardon it. But what is good with us, is that when we feel our wrongs, we rush to repair them. One doesn't believe that we resemble these people who hasten to confess in advance their faults, when they perceive that they are going to be reproached, in order not to be forced to correct them, and in order that their ingenuity becomes them favorably.

It would be necessary to read all the archives of the world, always going back to the first, to see where the practice of women riding horses began. It seems as ancient as men doing it. We will not give below any mark of erudition, because we would have to go back to the most remote eras to fix its origin, some Scholars, who have assured us that we should make our Journal a very-instructive work, very-important on all its subjects (what we do not admit, and what the People for which it is most particularly define, did not admit either) (it is not today that it has been advanced that erudition was fastidious, and a little bit distasteful in its pedantry); some Scholars, said we, found to add still to their discoveries; perhaps they would even make us a crime of not having said everything that there was to say. It is necessary to listen to these Messieurs speak, who are very-respectable without a doubt, but who wanted to find again their character and their humor everywhere.

Our obligation must be limited to saying here how our Ladies dress today for riding: the same as, in all the other Issues, it can and must be limited to setting down the current Fashion. One feels that if sometime we are going to throw ourselves across antiquity, it is only to avoid the barrenness of a simple detail. We take pleasure in decorating as far as it is in us this detail, which, also, could never fill only the space of eight pages; hush! we tell you here the secret of all Journalists. But it is not necessary that one extends our duties. What an error to subject Fashion and her Trustees to fixed rules! to give them progress positioned on reason! On caprice, on delirium, if possible, on the same folly, the necessary details guarded.: there are their laws. Which of our Votaries believed that, for having opened large books a little, the Encyclopedia, for example, where is found everything that one must say of the old customs, the Scholars have done us the honor of approving our discoveries, of applauding us for plans that we would seem to want to follow, of giving us advice on the manner of executing our plans, and of offering even to direct us? And therefore a book of Fashions would become a thing of reason, against its nature! therefore we would have tricked the purpose which we would have the air of tendering, which one should believe that we should tender, and which, in essence, we should have promised to tender! No, no. We will always see our principal object, but we will always guard the soul of our work: the liberty of accidentel (1) and relative ornaments. If we should listen to Scholars; Moralists, Philosophers, Economists could come. And there is a Journal, ON FASHIONS, very profound, very heavy. Admit that if something foreign could enter this Work, it would be, at most, light Poetry, or pleasant Anecdotes, or facetious and decent Stories, which wouldn't be twenty lines long. But science, but erudition! never, perhaps, would one bring together two so contrary things.

(1) Quae accedunt, which comes, which approaches, which agrees with instead, to the object.

The Lady represented in the Ist PLATE is ready to ride. She is dressed in a coat (a) of puce Pekin, with three collars, with slightly long basques, and with sleeves à la Marinière. The fronts of the coat , the pockets and sleeves à la Marinière, are trimmed with little flat buttons of white ivory. There are ten of them on each side of the fronts, three on the sleeves, and five on each pocket.

Under this long coat, she wears a little gilet of apple green Pekin, crossed, turned down on each side on her chest, and trimmed with two rows of little buttons matching those on the coat.

Her petticoat is a stuff matching that of the gilet. It is edged on the bottom with a wide pink ribbon.

On her neck, wrapped, twice, a wide cravat of white linen-gauze, which comes to form a large bow on the front, and whose two ends falling on the chest, form the man's jabot that they replace.

Her head is covered with a felt-hat of wool (b), canary's tail color, trimmed around with two wide pink ribbons, which form a large rosette on the left side. From the middle of this rosette, beneath, rise four large green and white plumes, which play and fall back in floating.

Her hair is styled all in large curls in the front (c), and tied in back in a large cadogan, in the manner of men. One can fasten it in a large cadogan, the end curled in falling, as we have said in the previous Issues.

Her hands are covered with gloves of yellow leather. In the right she holds her whip, and in the left she encloses in a little gusset, made in the waist of her petticoat, her gold watch, from which hangs a simple cord (d), with a large gold key at the end of the cord.

Her shoes are of pink leather, with large flat heels, and covered in front with a large bow, made with a wide apple green ribbon.

(a) Since the 8th of this month, when autumnal coats were put on, our Ladies frequently dress in jackets and petticoats of scarlet, violet, King's blue, Dragoon green, Sky blue, American grey, and other dark colored wool.

(b) Today felt-hats are made of wool, very-light, dyed different colors. The most fashionable are of canary's tail yellow, Sky blue, and apple green. They are of a very-large width, and have seven-inch-wide brims. The crown is trimmed equally all around, with two wide colored ribbons. which are tied to make a large bow on the left side. With the canary's tail yellow hat, violet ribbons are worn; with apple green, pink ribbons; with Sky blue, white ribbons. Below the bow, three or four large colored plumes are attached

A very-great assortment of Felt-hats are found in the shop of M. Donnet, Merchant Hatmaker of Paris, rue Saint Honoré, next to that of l'Echelle, which has already sold a great quantity to our ladies, that seem very-well. These Felt-hats are worn in the autumn and next winter.

(c) Our Ladies hardly have any other manner of curling their hair, than in large curls in the front.

(d) They have also taken since a little while ago, for the morning and for riding, simple cords, with a large single key.

When they wear them in the morning, they hold their watches in a little pocket inside their belts, that they tie over their gowns. The watch cord, very-long, falls back over the belt.
Several women were seen on the promenade with caracos whose bodices were white; and the collars, the basques, and the saboted sleeves were puce, pink, violet, black, yellow, green, or lilac.
If at all times women had been in the habit of riding, recently our Ladies have adopted that of going in a cabriolet without an Outrider. They go alone, they in pairs, but not with men. They drive themselves; they are only followed by a Jockey or Manservant, who cries to the passersby to move back. You see how much they anticipate all men's manners today!

Thursday, April 10, 2014

Cabinet des Modes, 20e Cahier, 3e Figure

September 1, 1786

THERE is no doubt that one wants to learn, at least once, how our Ladies dress at Court, and if, in their full parure, they vary their gowns; if they are subjected to the vicissitudes of Fashion. At first glance on the Lady shown in the IIIrd Plate, on will see that the petticoat is of one color, and the bodice is of another. Formerly the bodice, the petticoat, and the mantua were matching; immense hoops were worn as well; today medium ones are worn. Of the rest no difference between the current and former practices is seen. However one does not make the trimming of the petticoat or sleeves bouillonné, as they were made before. The trimmings are flat, and only form a simple flounce.

This Lady is dressed in a bodice of pink taffeta, to which is attached a very-long train of the same taffeta.

Her petticoat is an apple green taffeta. It is very-wide, worn on each side over rather wide hoops. The stomacher, under the bodice, is made of pink ribbons, tied in bows. The cuffs of the sleeves and the bottom of the petticoat are trimmed with white gauze.

Her manchettes are in two rows, in gauze or blonde lace, with wide pleats.

Her mantelet is also of white gauze, trimmed with a matching gauze, with wide pleats.

Her shoes are pink, flounced with a green ribbon.

Her hands are covered with gloves of white leather.

She holds in her left hand a fan, and with the right she arranges her mantelet.

Her hair is a wide tapet, decorated on each side with three curls which start at the top, and descend, while dividing, to the bottom. A fourth curl falls, in hanging on each side, on her chest.

Her hair is surmounted by a pouf of white gauze, trimmed with pearls which rise and fall in a serpentine manner, and with a large gauze bow, whose ends hang behind. On the right side are attached three large plumes à la Folette, of which two are pink and white, and the third green and white.

In her ears hang earrings à la Plaquette, in gold.
We have given some details on the Rings which women wear; we have reported the Research of M. Bourignon, de Saintes on their origin, and their periods, and we have said how we think that the practice came to us. Here is some Research on Earrings, that M. Bourignon, de Saintes also sent us.

"Earrings (inaures) had different names taken from their forms and material. Those which were green were called callaica; those which were made in beads, statagmium. The élenchus were a loop with the shape of a pear. Earrings were made in gold, in silver, and even in copper. Precious stones were encased in gold to increase their value in labor, and in the richness of the material. These jewels, with bracelets, made up part of the wedding presents. However virgins had permission to wear them, and the young men in only one of their ears.

"It is known that Antonia, wife of Drusus, was not contented with herself wearing magnificent earrings, but put similar ones on a lamprey, with which she made her delights.

"Earrings are the ornament of Goddesses on statues and antique medals, as seen on the medals of Syracuse and Palermo, and on several other Roman Families."
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