Tuesday, April 29, 2014

Cabinet des Modés, 24e Cahier, 3e Figure

November 1, 1786

PLATE III.

TWO women's Busts.

The first, dressed in a Sky blue caraco, and her hair done in very-large curls, wears a natural-colored straw hat, lined with a pink satin with wide black stripes, and edged with a black ribbon.

The crown of her hat is very-large, and made with a pink gauze with little black stripes. It is tied at the bottom with a wide violet ribbon with green stripes, which forms two large bows, one on the front and the other on the back. On this, the ends of the ribbons fall very-low.

This woman wears gold earrings à la Plaquette, and on her neck a kerchief en chemise of gauze.

Now chapeaux-bonnettes are no longer worn but for those made in gauze striped in two colors: yellow and black, pink and black, black and blue, green and lilac, white and blue, white and pink, white and green, etc. ...

The second Woman, dressed in a pink caraco, her hair done in curls, of which one very-large one falls on her chest, wears a hat made with frames, which support the white gauze, for which it is made. This hat is lined in the front with pink taffeta with wide waved green stripes. It is edged all around with a black silk ribbon. A wide ribbon, Sky blue on one side and scaled on the other, belts the crown of the hat, and pulls it up on the right side, forming a gance.* A garland of artificial flowers is intertwined with this ribbon. On the left side of the hat are raised two large plumes, one pink and white, one blue and red, and a thick aigrette composed of long black cock's feathers.

This Woman also wears gold earrings à la Plaquette; and on her neck a kerchief en chemise of gauze, trimmed with two collars.

* I've defined gance before as just a cord, but it's specifically the cord used to hold up the sides of a tricorn or hat à l'Androsmane.

Monday, April 28, 2014

Cabinet des Modés, 24e Cahier, 2e Figure

November 1, 1786
Which is the young man who, seeing a woman who has a nice roundness behind, has not run immediately ahead to see her face? Which of us all is not seduced by the elegant roundness of a young woman, or even a young man whom one has only seen from the back? It is thus more important that we would have thought first to represent a woman who must be seen from behind; were it only to see if her dress made a good effect.

One cannot deny that the redingote that the Woman represented in PLATE II wears perfectly fits her shape, and hangs agreeably to her heels. All is fine, all is wide, all is smooth as a whole. The bust is very svelte. The arms are well rounded, very supple; nothing is constrained, nothing is narrow, nothing is strangled.

The redigote, with two collars and sleeves à la Marinière, is of water green cloth, spotted with a darker green.

The buttons applied on the pockets, sleeves, fronts, and hips, are gilded copper, all plain.

The Woman wears on her neck a full kerchief of gauze, puffed very-high in the front.

Her hair is done all in curls, of which two fall on her chest. In the back, her hair, hanging à la Conseillière, is tied, below the level of the neck, with a large pin à la Cagliostro, chased and engraved in points.

On her head is a felt-hat (1), canary's tail color, trimmed, around the edges, with an épais and long hair of natural beaver, forming a plumet, and around the crown, two wide pink ribbons, composing together behind a very-large bow, whose ends fall very-low.

She holds in her hand a little cane, or badine, trimmed with a black silk cord, at the end of which hang two tassels.

The redingotes that women wear together in very-great quantity are of Dragoon green cloth, with large gilded buttons.

(1) This felt-hat is drawn from the Workshop of M. DONNET, Merchant Hatmaker, rue Saint Honoré, near that of l'Echelle; he is the author of this new mode, and furnishes the best made and best conditioned.

Friday, April 25, 2014

Patterns: Chapman Historical Museum

A little while ago I reported to you that I'd posted thousands of Victorian and early 20th century photographs at the Chapman, where I was working. And they are lovely sources, especially since I gradually added more and more portraits, plus a batch of pattern envelopes from the 1900s and 1910s. Just try out the random image page!

But here is something even more exciting.

Ready?

Over the past couple of weeks, after doing all of the important photographs and some significant objects, like Civil War amputation kits, I convinced my supervisors that dresses would be a great addition to the website. There are some wedding dresses with good provenance, and others that have an owner attached but no event, and others with no provenance but I thought were great examples. But there really wasn't a good place to dress a mannequin and take a picture. So I devised a solution: I'd take a picture of just the bodice, lying flat, and then draw up a pattern, which would give much of the information that a fully-dressed mannequin would, without the hassle of wondering, for example, "am I just reading the shape of the skirt panels that way because of the hoop they dressed it over?" And with the added bonus that the links will likely get shared far and wide, farther and wider than word would have spread for just the photos, which is good for the museum. To which end, by the way, I would really appreciate it if any pinning were to be done from the museum's site rather than Scribd, where I uploaded the PDFs of the patterns with descriptions/instruction - thank you in advance!
sample of pattern from 1983.31.1a-b
Now, you can see them all if you search from the main page for "dress", "ensemble", "drawers", or "slipper" among only the objects, but I'm also going to do entries here for each one, just sort of ... rambling on about the garment - how I dated it, something that was tricky, the provenance, that sort of thing. Cabinet des Modes is almost finished; I've started translating a very short publication on the dress of different levels of pre-Revolutionary French society, and I'll be posting that every Monday and Friday, and then these on Wednesdays.

You may have noticed that I said "was working". Today was my last day (as I calculated Wednesday evening), and now I am back to applying for jobs. However, this episode has made me very confident about what I can do for other small museums, and I'm planning to offer my services around, as well as my typing fingers to apply for grants to fund said services.

Cabinet des Modés, 24e Cahier, 1ere Figure

November 1, 1786
ADVICE

To renew a Subscription, which ends with this Issue.

The reception that the Public gave to the Cabinet des Modes and the desire that we have of perfecting it engage us, as we change the title to give it a more extensive form and to enrich it with new material. The title of this Journal will be henceforth thus:

MAGASIN DES MODES NOUVELLES, FRANCOISES ET ANGLOISES

A Nation with which we have made more than once an exchange of opinions, customs, and fashions is zealous to profit from our Enterprise, in publishing in English a Journal, titled: The fashionable Magasine or Magasin des Modes Angloises. Flattered by this imitation, we will turn it to the profit of Messrs. the Subscribers and the Public, in enjoying all the objects that will be in the English Journal. But here is another precious resource for our Journal: a skillful Designer, maintained at great expense in London, is charged with not letting us ignore any new Fashions which would have escaped the English Journalist. By this means, le Magasin des Modes Françoises et Angloises will contain everything in the English Fashions that is most agreeable and most useful; and in joining them with our own money, this Journal will acquire a degree of perfection which can only add to its interest and its success.

All that is relative to Garments, to Outfits, and the Parure of the two Sexes; to Furniture, Embellishments, and Home Decoration, to the taste and form of Carriages, to all the Works of Jewelry and Silversmithing, etc. will always form the essential base of this Journal. Sometimes the origin of a Fashion will be given there, when this origin is curious and interesting; but always abstemious on Anecdotes, it will be kept principally on the painting of the FRENCH AND ENGLISH FASHIONS which will be represented and described in this Magazine, with a fidelity which will be its premier merit.

This Journal will henceforth be split in four parts or epochs relative to the seasons; for, each Season has its Fashion and its Costume. General instruction will be given at the beginning of each Season which it is appropriate to; the different revolutions that Fashion undergoes will be developed, in browsing the circle of each Season.

The abundance of material obliges us to add a third again to the number of our Issues. Instead of twenty-four per year, there will be henceforth thirty-six. Each Issue will always be composed of eight pages in octavo of Discourse, and three Plates in intaglio, illuminated. An Issue will appear every ten days, to commence on the next 20th of November.

The price of thirty-six Issues will be 30 livres for Paris and the Provinces, prepaid by the Post, in the whole Kingdom. This increase in price, necessary for the material and number of Plates that are being added, is not even in proportion to the increase in the Journal; and if you really want to compare this price to that of other Journals, and consider how expensive the Illumination and Engraving are, you will be stunned at how low it is.

The Design, the Engraving, and the Illumination will be treated with a more particular care than in the past; we have made for this reason a choice of new very-intelligent Artists. In a word, nothing will be forgotten to give this Journal all the perfection of which it is capable.

We pray Messrs. the Subscribed to renew their Subscriptions as soon as possible, by sending money and a letter, in order to experience no delay in sending the Issues, and to have the time to print their address, that they will greatly want to send in a very-legible letter.

Subscribe in Paris, at the shop of BUISSON, Bookshop, Hôtel de Mesgrigny, rue des Poitevins, no. 13.
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On All Saints' Day all the winter coats are put on, as we said in the preceding Issue; and satin will be the attire for women, as it has been since time immemorial. Plain, violet or dark green, seem to us to have dominated; but  a very-great quantity of satin gowns, with green and violet stripes, are made; and these vie greatly with the two others. However these latter annihilate the fashion of the first, of which they are composed; they only go together on the same row, and they allow free choice. All three can even be worn successively by the Ladies who confine themselves to only one gown.

It is necessary to admit that dark green and violet united on the same fabric, shade into each other rather well, and flatter the eye agreeably. It is impossible for them not to well suit the figure, and not to relieve perfectly the colors in them.

This effect is very-delicate in the Lady that we have represented in the IST PLATE, and who received much splendor for her gown. Look: her gown is made à la Turque; she is in a satin with violet and green stripes. The sleeves and the corset under the gown are of a canary's tail colored satin.

The petticoat is a plain white satin, scalloped at the bottom.

The gown sleeves are trimmed with manchettes in two rows, trimmed with blonde.

The Lady wears on her neck a kerchief of white satin, trimmed with blonde, and which is fastened in front with a gold pin, on the head of which is represented a little medallion.

Her shoes are of a satin matching that of the gown, flounced, decorated with a bow, of a ribbon with two wide violet and green stripes.

Her hair is done all in curls, of which two large ones are detached and hang over her chest. Her hair in the back is pulled up in a chignon, falling very low on the back.

Her arms are bound with bracelets, with medallions surrounded by diamonds.

On her head is positioned a cap à la Turque. The lower part of this cap forms a sort of wide bandeau, made of blue crêpe, and decorated on top with a beautiful blonde. The upper part, mounted very-high, is in English gauze, with little objects or with little designs. This upper part is very-puffed in the back, and the ends of the gauze which makes it up fall very-low in points also in the back. Two blue plumes with flame-colored points and a bouquet of artificial flowers decorate the left side.

This cap, already adopted by a very-great number of our Ladies, is the composition of Mlle ROUSSAUD, whose taste our Subscribers can judge by the number of caps that we have announced to be her invention. Her address is still at the corner of the rue de la Théâtre Française.

Mlle Roussaud has and makes just as pretty caps à la Randan, which have some resemblance to these, and of which we will give the genre and origin in the next Issue.
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It would not be at all stunning that this new form of cap, which sets off the face so well and gives it much soul and liberty, made disappear for a time all the hats of plain straw, the chapeau-bonnettes, which smash it and extinguish all its vivacity.

If the hats equally suit all women, if they seem all the same, we would guard ourselves well from critiquing them, and from censuring their usage; but, truly, there are little for whom they go. First, all the women of a little stature must be forbidden them, because, fixing the gaze precisely at such a height, they appear even smaller. Then, if tall women are not perfectly pretty, if they do not have a good eye which stands out, in gleaming from under the hat, they must be forbidden from them also, because they will appear ugly, the whole ensemble of the face not being developed, and beauty, which was not perceived, neither erasing nor modifying an ugliness which meets the eyes.

We do not believe that this must be a great loss to the women that leave off these plain straw hats, or the chapeaux-bonnettes, in order to come back to hats trimmed with plumes, which are placed in such a fashion as to allow the whole face to be seen, and lengthen the size; and to the large mounted caps, of which it seemed that women did not know all the advantage and all the elegance.

Thursday, April 24, 2014

Cabinet des Modes, 23e Cahier, 3e Figure

October 15, 1786

 PLATE III.

"OUR fathers transmitted to us, through familiarity with their habits, their coiffures, their offensive and defensive ARMS, and other ornaments that they loved during their lives: we would well know how to recognize this sort of benefaction, by giving the same to our descendants." If the illustrious Philosopher, Labruyère, whose approval we have reported on several times, and which we will probably report again, made this discourse, and printed it in his time, there is the greatest injustice on the part of our sour Censors, to treat our Work as futile and foolish.

This Plate represents an Epée-guard in gold. The coquille is decorated with four medallions of blue enamel, two above and two below, whose middles are in a little circle in another gold-colored enamel, and whose circumference is trimmed with two rows of pearls. The coquille is further decorated, by the medallions, with rosettes in green gold. The pommel and circle of the Guard are equally decorated with medallions and matching rosettes. The whole Guard is cut in diamond facets, overall where there are no medallions surrounded with pearls.

This Epée is drawn from the shop of Signore Granché, where the following objects are found:
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Watch chains, in gold, with beads, cut in facets, in steel, and several Jewels of the same work.

Silver épées, inlaid with gold, with enamel medallions.

Idem, in steel, with broken arms, with tassels, imitating a dragon. The blade can be divided.

 New Swordbelts and steel beads, on ribbon.

Silver buckles, mixed with gold and steel, making the greatest effect, and several other new models in gold and silver sequins, folded back, imitating embroidery.

Arrows, Daggers, Epées, Keys in gold, enameled, to fasten Ladies' kerchiefs.

Watch cords, Necklaces, Bracelets in coral and steel.

Idem, in American seeds, and pearls, and others in enameled beads of diverse colors.

M. Granché holds simple Salt cellars, Bouts de table, Mustard pots, Compote dishes, in the same taste as the Oil pot announced in the Eighth number.

Large Rings à l'enfantement, in stones engraved à talisman, and others imitating onyx.
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Though we will only be in autumn, ah! good God, how ugly it is in our climate! Everyone knows that in this season, from All Saint's Day, winter coats, muffs, pelisses, furs, velvets, satins, plushes, every unhappy result which must defend you from rains, winds, storms, snows, frost and ice; we must notify our Subscribers of garments which promise to reign, and which at present flaunt their luxurious triumph. For dress suits, we only see, for men, puce rateen, with a large white button, with stones; or dark green or puce satin, embroidered.

For women, we only see dark green, or violet, or plain steel grey satin.

For undress suits for men, there is only puce or black cloth, from which you remove all the piping.

For women, only cloth, that they wear in redingotes and matching petticoats, in long jackets and matching petticoats. See, for the colors, the note in the twenty-first Issue.

Under the déshabillés, men will wear satin gilets, or embroidered little velvet.

The prettiest gilets are decorated with embroidery representing, on some, on each buttonhole, a lion, a tiger, or another animal; on others, on the surface, large flowers, trees, which extend their branches; on others, especially on the pockets, thatched houses, hamlets, towns; on still others, wheat ears, sprigs, from which some grains are detached, and fall on the side.

Many gilets are of raz velvet, with wide plush stripes, of different colors, and wear on each buttonhole a rather long, falling fringe.

Many others are of white satin, embroidered in gold, and wear also, on each buttonhole, fringe, or even gold tassels, falling.

All our Subscribers know best to send, to have these gilets, or others of the best taste, only to M. JUBIN, Merchant of Silk stuff, at the Palais Royal, under arcades 1 and 2, at the three Mandarins, near the Théâtre des Variétés. He is known for his exact probity, and the extreme fairness of his prices, by which he moderates his gains more than any other Merchant. It is praise that we owe him. He will make all the furnishings and all the dispatches that will be sent to him in silk stuff, in painted and white linen, in mourning stuff, in coat velvet, etc.

Wednesday, April 23, 2014

Cabinet des Modes, 23e Cahier, 2e Figure

October 15, 1786

PLATE II.

TWO women's Busts.

The first, dressed in a pink caraco, has her hair done with brought-back hair, covered with a large baigneuse, with wide pleats, trimmed with a very-wide green ribbon, forming a very-wide bow on the front.

The second, dressed in a gown of apple green Pekin, has her hair done all in large curls, of which four, placed in a two rows, hang on each side of her chest. On the curls is applied a pouf à la Virginie, in sulfur-colored gauze with violet stripes. This pouf is trimmed with a very-wide pink ribbon with a black selvage, forming a large bow in front, and a large bow in the back. This ribbon is entwined with a garland of artificial flowers, heliotrope, rose, and lilac, shaded. On the left of the pouf rise three large plumes, green mixed with pink, pink mixed with green, and black mixed with blue.

This Woman has her neck covered with a kerchief of English gauze, brocaded.
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These two Busts lack, on the front of the kerchiefs, for fastening, pins with heads representing large symbolic letters, or hearts, or arrows, or plumes, etc.

Tuesday, April 22, 2014

Cabinet des Modes, 23e Cahier, 1ere Figure

October 15, 1786

MESDAMES, admit it; while your children are rather little, in order not to make you honest about your age, and not to shut down your coquetry, you take them with you in society, in the promenades, in all the frequented places: and even, when they are pretty, fine, playful, babbling, you glory in showing them off, because your self-esteem loves the praise accorded to them, which necessarily comes back to you; (the fathers truly have this weakness) thus you want them to be elegantly dressed, with taste, in the same fashion; you find that at this age they bring you honor. We therefore only would know best what to do to give you fashion for your children.

You would not lead with pleasure children of an age already a little advanced, mainly because they would not longer have this gaiety, this vivacity, this babble capable of attracting all eyes, and of bringing them back to you. Why is this same child, who at four and five years was pretty, bright, bubbly, active, playful, friendly, at seven or eight years ugly, somber, timid, worried, motionless, stupid, boring? and why does this one who was somber, timid, weepy, immobile in childhood become, in adolescence, bright, bold, playful, witty? Would it be, the first, because in growing he acquires these forces, becomes less worried, less restless, more self-contained; that his soul and his body are put, so to speak, in equilibrium? or would it be because, thrown into the hands of strangers, hardly seeing the faces of his parents who emboldened him, who animated him, with which he was familiar; seeing other faces who laugh less at him, who often only show him severity, who submit to him, make themselves masters, and are lost to their pride; he is plunged all at once into a state of stupor, which, only diminishing with time, has not recovered the gaiety that he could no longer guard, but descended into timidity, to the fear which was necessary to him, and was care taken to maintain him during this progression? See when he plays, when he romps again sometimes in front of his parents, who, with all imaginable address, would not know how to bring back this first gaiety, but the fear of a master still stifles him: see him; his manners are gauche, his laugh is inane, his joy is artificial, and his composure is embarrassed.

If he is fortunately born, he will take back with force and boldness all the advantages that nature had divested him of, when at last he has overcome the bonds which bruised his body and seared his soul, and he will become a good subject and a useful man in society; yet if he is placed advantageously, and if he does not want to revenge himself, by abandoning himself to all his passions, on the constraint under which he was made to groan for so long, and against which his indignant soul revolted against in secret a thousand times.

If, on the contrary, he is not fortunately born, he will have made a habit of fear and submission, he would no longer have thought with genius and liberty, he will have obeyed all the impressions which will have been suggested to him, and he will become a null and passive man, when he is rendered to himself. Parents, make sure to free your children from the hard and fierce schoolmasters, such as we would be able to cite a large number of. They are the Preceptors who give them the social life.

It can be seen by that why there is no more than a small number of thinking and acting men in society, and why there are millions of man-machines, powered and moving.

We will not give why the second, timid, weepy, unmoving in his childhood, becomes so playful, so witty, so friendly in his adolescence: the extent of our Issue and its nature does not suffer a long philosophical dissertation; but we believe it possible to dare to say that we do not remember having seen this latter question proposed and resolved in Locke, in Helvetius, and in the illustrious author of Emile himself.* We counsel all parents, happy enough to children like these, to observe them, follow them, humor them, cherish them, and worship them.

The fashion for children of both sexes is to wear men's redingotes, in wool, with two collars, and with sleeves à la Marinière, as can be seen in the Ist PLATE. The little Boy wears a violet one over the coat of his matelot, made of silk, canary's tail color; and the little Girl wears one of Sky blue, over a little pink corset, and a white muslin petticoat, which covers one of blue Pekin. Both have hair cut à la Jockei, which falls freely; both wear a felt hat, either black or a varied color, with plumes, or without plumes, with ribbons wrapping it, and bows in the back and front, or without ribbons and bows; both have shoes with bows on top; both have colerettes, or cravats; both have a belt; or both do not wear them.

* John Locke (1632-1704), "Father of Classical Liberalism"; Claude Adrien Helvétius (1715-1771), writer of De l'esprit; Jean-Jacques Rousseau (1712-1778), writer of (among many other things) Emile, a novel that treats on children's education

Monday, April 21, 2014

Cabinet des Modes, 22e Cahier, 3e Figure

October 1, 1786

PLATE III.

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
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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.
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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

PLATE II.

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.
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FIRST PLATE.

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.
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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

PLATE III.


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

PLATE II.

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.
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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.
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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.
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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!