Fashion in the 1700-1750 period in European and European countries was affected by the widening silhouette for men and women following a tall and narrow appearance in the 1680s and 90s. Wigs are still important for men who have substance, and are often white; natural hair powder to achieve fashionable look.
Differences are made in this period between the complete garments that are worn in the courts and for official events, and detach clothes or everyday clothing, during the day. When decades went on, fewer opportunities were called for complete dressing, all of which disappeared at the end of this century.
Video 1700-50 in Western fashion
Mode wanita
Gaun dan gaun
In the early decades of the new century, formal attire consisted of rigid-spiced mantua. Closed (or "round") skirts, sometimes worn with aprons, are replaced with mantua skirts wrapped open from previous periods. This formal style then gives way to a more relaxed mode.
The dress of robe ÃÆ' la franÃÆ'§aise or the sacks are looser and the changes are welcomed by women who wear corsets. With the crease that flows from the shoulder at first is a naked fashion. At the most informal, this dress does not fit the front and back and is called sacque . With a more relaxed style comes the shift from heavy fabrics, such as satin and velvet, to Indian cotton, silk and damask. Also, this dress is often made in lighter pastel shades that give it a warm, elegant and childlike appearance. Then, for formal attire, the front is attached to the body by a tightly enclosed underbodice, while the back falls in the folds of a loose box called "Watteau folds" of their appearance in Antoine Watteau's paintings.
The less formal robe à l'llaise , the close-bodied dress or the "pajamas" also has a back cover, but the folds are stitched to fit the corset for the body to the waist.
Either dress can be closed in front ("round dress") or open to reveal matching skirt or contrast.
The open front body can be filled with a decorative stomacher, and towards the end of the period, a lace or linen veil called fichu can be used to fill the lower neck.
The bell-shaped or trumpet arms, and caught in the elbows to show the shifted sleeves sewn or tied lace (camisole) underneath. Arms become narrower as time passes, with frills at the elbow, and elaborate separate ruffles called engageantes affixed to the shift arm, in a way that will survive into the 1770s.
The neckline on the dress becomes more open as time passes allowing for a larger view of the neck ornament. The thick lace ribbon is often sewn to the neckline of the dress with ribbons, flowers, and/or jewelry adorn the lace. Jewelry such as pearls, ribbons, or lace trimmings tied high in the neck. Finally, another great element of the 18th-century women's garment becomes the addition of a tied neck strap, a separate part of the rest of the dress. This ornament was popularized around 1730.
Underwear
The fixed or corsets from the early 18th century are long-waisted and cut with narrow backs, wide fronts, and shoulder straps; the most fashionable still pulls the shoulders back until the shoulderbone is almost touched. The resulting silhouette, with its shoulder thrown backwards, a very high posture and chest full and full, is characteristic of this period and nothing else.
The skirt is worn over a small circle and vaulted in the 1730s and early 1740s, which was transferred for official dress of the palace by hoops or side panniers which then widened to three sides to either side in the French court of Marie Antoinette.
The shift (chemise) or shirt has a full arm at the start of the period and tight, elbow-length arms in the 1740s as the dress sleeve narrows.
Some women wear drawers (panties) in England. For example, as early as 1676 Hillard's inventory had "three pairs of women's drawers". In fact, they were not common in English or New England supplies during the 17th and 18th centuries. Clothing Through American History: The British Colonial Era, by Kathleen A. Staples, Madelyn C. Shaw page 245
Woolen vest worn over the corset and under the dress for warmth, as well as wool-coated skirts.
Free suspended pouches are attached at the waist and accessed via a pocket gap in a dress or skirt.
Loose dresses, sometimes with front cover wrapped or surplice, are worn over shifts (camisole), skirts and remains (corsets) to wear at home, and it is fashionable to have a person's portrait painted using this mode.
Outerwear
Horse riding consists of a fitting coat, thigh or knee height similar to that worn by a man, usually with a matching skirt. The women wore masculine-inspired shirts and tricorne hats for horse riding and hunting.
When outdoors, the women also wear long robes, often coated with feathers for warmth.
Fabrics and colors
In the early years of this period, black and dark silk veils, grim colors became fashionable in French courts for adult women, under the influence of Madame de Maintenon. Younger women wear bright or bright colors, but a preference for solid colored silk with minimal ornaments.
Gradually, trimmed in lace and fabric applied to a cloak (ruched, assembled or folded strips) are replaced with a plain style. Ribbands, belts, and roses became popular, as were thickly patterned fabrics. Silk and belly dresses are often embroidered intricately with floral and botanical motifs, showing great attention to detail and care for accurate depictions of nature. A mid-century style for striped fabrics has distinct lines of direction on the trim and body of the dress.
Chintz, Indian cotton fabrics with block-print imaging on a white base, is very fashionable. The ban on their imports to protect the silk, linen and wool industries did not diminish their will. Silk and wool inherited has a colorful flower pattern similar to the bright base color. A mixture of wool and silk or wool and linen (linsey-woolsey) is very popular. Until the 1730s, low-quality European textiles could not match the elaborate fashionable designs of Indian calicoes. Europe is capable of producing high quality petit teas (colors that fade with light and washing), but they can not produce large teints (permanent colors that are resistant to light and wear).
Footwear and accessories
The shoes from the previous period with curved heels, square feet, and ties on the backs gave way in the second decade of the 18th century to shoes with heels, high curved. Backless mules are worn indoors and out (but not on the road). The toes are now pointing. This shoe style will remain popular until the next period. Shoes at the time had a lot of decorations, some even including metal-wrapped yarns.
Women, especially in France, start wearing b bononniÃÆ'¨¨¨ <<<<< or, or a small bouquet of fresh flowers in a "chest bottle." About four inches long, these glass bottles or cans are small enough to tuck silently into the chest or hair, but also large enough to hold water for the flowers to not wither.
Makeup
An 18th century toilette begins with a heavy white foundation made of white tin, egg white, and various other substances. It is coated with white powder (usually potato or rice powder), rouge, and deep red or cherry lip color.
Jas men, also known as habits, are made of three parts: justaucorps, jackets, and pants. In the early 18th century, the jacket continued to have full skirts. Fabrics for men especially silk, velvet, and brocade, with wool used for middle class and for sport costume.
Footwear
At the beginning of the 18th century, men's shoes still had square toes, but the heels were not that high. From 1720-1730, heels became smaller, and shoes became more comfortable, no longer containing foot blocks. Shoes from the first half of the century often contained a clasp of a buckle usually attached to a stone.
Accessories
Upper people often wear sticks as part of their clothes, suspending them with a loop from one of their vest buttons to allow their hands to hold a tobacco box or handkerchief properly. The wand is less functional and more for the sake of fashion.
Hairstyles and headgear
Wigs in various styles are worn for various occasions and by different age groups.
Large wigs separated from the 1690s remained popular from 1700 to about 1720. During that time various colors were worn, but white became more popular and curls became tighter. Then, long wigs or natural hairs are worn long, brushed back from the forehead and beaten or tied back to the nape of the neck with black bands. From about 1720, a wig bag collects back hair in a black silk bag. The black band attached to the bag was carried forward and tied with a bow in a style called "solitaire".
The wide-brimmed hat with edges appears on three sides to be the tricorn worn throughout the era. They are an important element for "dominoes", stylish costumes for undercover balls, which are becoming an increasingly popular entertainment mode. The "domino" style consists of masks, long robes, and tricorne hats, all usually made of dark colors.
Style Gallery
1700s-1720s
- Sir Isaac Newton in old age, 1709-12. He wore banyan with a patterned layer. Notice the T-shaped pieces, without stitching the shoulders.
- Louis XIV is wearing a big fairy, justacorps, and stockings on top of his underwear.
- A German prince shows his rigid handcuffs, embroidered in gold, like the middle of his coat, stockings on his panties.
- The rear view of layer 1721 shows the center of the back and the pleated sides placed on the sides of the seams. The man wore square shoes and swung a tricorne under his arm.
1730s-1740s
- Joseph Leeson of Ireland, then the 1st Earl of Milltown, wore a narrow-sleeved blue coat lined with red vest and red pants. He wears high tricorne riding boots, 1730s.
- Male playing cards wear tricorne. The long brown wig (or maybe the hair) is tied with a black ribbon. His plain coat has a deep fingertip.
- The Dutchman in 1736 wore a collarless gray coat with a deep end and a long waistcoat, both of which were lined with a sky-blue color, with the same pants. His black shoe has a square buckle.
- The British man of 1738 wore a wide-waisted formal coat with lace applied over a hip contrasted with a long waistcoat and red pants. The coat is lined red. Shoes with elaborate buckles and white stockings complete the ensemble.
- Vest (Garthwaite/Lekeux) (1747) of silk brocades knitted for shaping, design by Anna Maria Garthwaite, Costume Institute collection, Metropolitan Museum of Art.
- American William Bowdoin, 1748, wears a gold-embroidered vest underneath a dark coat lined with white.
- The portrait of Georg Friedrich HÃÆ'¤ndel wears a mulberry-colored coat trimmed with embroidered ribbons and fastened with buttons and loops over patterned motifs (barely visible under the coat) and a white shirt with ruffles, 1749.
- Human silk coat with wide cuff, 1745-50, in a white floral pattern like lace on chocolate, France. Los Angeles County Museum of Art, M.2007.211.795.
Maps 1700-50 in Western fashion
Children mode
Toddlers of boys and girls wear low-necked dresses. Leading the strings - a narrow cloth rope attached to the dress on the shoulder - serves as a kind of rope to keep the child from being too far away or falling as they learn to walk.
Older children of toddlers continue to wear clothing that in many ways is only a smaller version of adult clothing. Although it is often said that children wear miniature adult versions, this is something of a myth. Girls wearing a binding gown back, trimmed much simpler than women. The skirt of a girl's dress is not divided on the front, as is usually the woman. The girls do not wear jackets or bedgown. Boys wear shirts, trousers, vests and coats that men can do, but often wear open necks, and they are paired and trimmed apart from men, and boys often go without hats. For several decades of the 18th century, boys' shirts and coats had different collars and sleeves than male cuffs. Even if the size is unclear, it is usually possible to tell children's clothing from adults.
Satirising mode
Joseph Addison in 1711 devoted the The Spectator problem in satirical mode, noting how the state mode lags behind them in London. "As I continue my journey, I observe that the skirt grows fewer and fewer, and about three miles from London is so out of fashion, that a woman may walk in it without any discomfort" and so on.
Note
References
- Arnold, Janet: Dress Pattern 2: British Women's Dresses and Their Construction c. 1860-1940 , Wace 1966, Macmillan 1972. Revised edition of metrics, Drama Books 1977. ISBNÃ, 0-89676-027-8
- Ashelford, Jane: The Art of Dress: Clothing and Society 1500-1914 , Abrams, 1996. ISBNÃ, 0-8109-6317-5
- Baumgarten, Linda: What Clothing Reveals: The Language of Apparel in Colonial and Federal America , Yale Press University, 2002. ISBNÃ, 0-300-09580-5
- Black, J. Anderson, and Madge Garland: Fashion History , Morrow, 1975. ISBNÃ, 0-688-02893-4
- Cunnington, C.Willett and Phillis Emily Cunnington: English Costume Handbook in the Eighteenth Century . London: Faber, 1972.
- Payne, Blanche: History of Costumes from Ancient Egypt to the Twentieth Century , Harper & amp; Row, 1965. There is no ISBN for this edition; ASIN B0006BMNFS
- Ribeiro, Aileen: Dressed in the XVIII European century 1715-1789 , Yale Press University, 2002, ISBN 0-300-09151-6
External links
- "Introduction to 18th century fashion". Fashion, Jewelry & amp; Accessories . Museum of Victoria and Albert . Retrieved 2007-12-09 .
Source of the article : Wikipedia
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