Galerie des Modes, 17e Cahier, 6e Figure

-
Pretty Dancer dressed in a pleated Caraco with a low-cut gorgerette of bronze Italian taffeta, with a flowered linen apron matching the trim of the Caraco; the bows and ribbons are pink. (1779)

Winter is the season of pleasures, and dance makes one of the principal amusements of society, over-all for the young people of both sexes.  It can be given more piquancy when it is introduced without preparation and impromptu.  The attractive pleasures are those on which one doesn't wait.  It is that which has happened to the pretty Dancer presented in the Print.  Confined with her mother, decided not to go out, and to isolate herself in front of the fire, because of the rigors of the fresh air, she was dressed in deshabillé, until a brilliant Youth arose and forced her to free herself from the amusements of the season.

Although surprised, she was not less elegant.  Her pleated caraco, or caraco à la Française, is trimmed with a large band of linen, with a matching petticoat trimmed with an ample volant, and over it an apron, also of flowered linen, with trimmed and drawstringed pockets.  Two gold cords of different colors designate the watches.  The basques of the caraco broach over the apron.  Ribbon bow placed on the chest, and serving to support the two hemispheres of tender Love.  Pouf hat with a bandeau, accompanied by a garland of pearls, and crowned with a branch of frivolity.



Comments

Post a Comment

Popular posts from this blog

Pride and Prejudice 1995: The Little Things

-
Image
I did threaten to write about the Ehle/Firth Pride and Prejudice , and since I'm in a writing mood without a topic I decided to make good. Regency adaptations tend to go for an overall accurate look, interpreting age and income within the confines of realistic silhouettes and colors, and so they avoid the scrutiny and reputation that a more obviously artistic and unrealistic production garners. But just as this version of P&P  is not entirely faithful in every respect (e.g. the added Darcy-perspective scenes, the actors nearly all being significantly older than their characters - perhaps the most egregious example being Julia Sawalha in her late twenties playing teenage Lydia), Dinah Hill's costuming is not entirely accurate - mainly in ways that make the period more appealing to modern tastes. The exact date when the story is set is never given; generally, the movie's taken to be set in 1813, when the book was published. I'm not going to go into the full story of
Read more

Pattern Time: 1860s Chemise

-
Image
For my 150th post ( \o/ ), a quick little pattern someone might find useful. When I was working my way through a box a few weeks ago, I came across a chemise that didn't quite want to lay flat.  I took a closer look at it to figure out why, and noticed that it had a unique construction with the sleeves cut in one with the body and gussets inserted in the neckline.  I did a really quick sketch of the cutting layout and measured the important bits, so that when I got home I could draw it up in proportion on graph paper. (nb. I messed up. I've been noticing it for a while, but didn't want to point it out from shame, but I accidentally gave the neckline length as it is when gathered - the horizontal cut should be much longer, to within about four inches of the side seam. Please correct for this when making your own version.)
Read more

A Difficult History: Corsetry and Feminism, Part One

-
Image
Recently, I began following a couple of Tumblr blogs focusing on waist training and daily corset wear. Daily wear is not for me, waist training even less so, but I find it an interesting practice. It is also a controversial one. For example, a recent Huffington Post article, " Corset Queen Penny Brown Loves Getting 'Waisted' ," drew comments which were nearly all extremely negative, as do most articles that bring the practice to mainstream attention. Usually, the mental states of the women who waist-train are called into question, and there are numerous references to feminism as incompatible with corsets. The general idea is that the first wave feminists of the late 19th and early 20th century would be horrified by women today wearing them, and that their assumed reaction is an objective statement on the practice. My feeling is that the subject is complex, and cannot be simply declared feminist or unfeminist. There are far more factors than the average internet comm
Read more