Hello and welcome on this mini lecture ! I am going to talk about the different kind of dresses during Marie Antoinette's reign.
This mini lecture comes from a much bigger lecture I made several years ago.
It lasted many hours so I will just cut it into several parts and will try to share it with you on YouTube.
I say "I will try" because it takes time
so if you find this lecture interesting please
share it, like it, comment and tell you friends about it.
Because the more I see it's useful
and the more I will be motivated
to do the other parts of the lecture, and to speak about other periods from other
lectures I already made :
from the "renaissance" until the edwardian period, for men as women.
I have a lot of powerpoint files to share :-)
If I see people like it then I'll do more.
I tried to use simple explanations because I'd like to make some
scientific popularization.
You'll can see that my work is based on fashion prints,
because they show an image and a quite detailled legend,
but some terms and notions are quite different between the 18th century and nowadays.
But some keys to understanding are needed,
and I'll try to give you these keys to see images and read texts.
I try to share a small overwiev of all I read and understand.
Which means that I can mistake (of course) on some points, and that some informations are missing.
All I can assure you is that what I tell you now is what I know right now about the fashion in Paris
for this period, but if I do this video again later then there will be
updates and corrections. It's quite normal because the history of fashion is a subject about which it's possible to learn every day.
Most of it is still to discover :
There are so many research that need to be done... But it's good news because
it means there are much more things to discover.
But before starting, let's agree about some terms, because we speak about "robes" (=gowns)
but what is a "robe" ?
Today, if I show you these two silhouettes and ask which wears a "robe" (=gown)
you will tell me that the "robe" is the one on the left, because it's only in one piece. On the right the lady doesn't
wear a "robe".
But thinking like that is an anachronism. If you are interested in the 18th century then
you need to think that these two ladies wear "robes" (=gowns), because the garments cover them equally.
they both wear a top
called a "corsage" (=bodice) or a "corset" and a "jupe" (=skirt) called too a "jupon" (=petticoat).
The number of parts don't matter : one or two pieces ? It doesn't matter.
When you look at a 18th century costume
the number of pieces that make the outfit is not important : everything used to be done
that's why you have to keep in mind that a "robe" is not always a gown made of one piece, thinking that would be an anachronism.
A dress is made of different parts, the first of them is
the "corps de robe", that I will call "corset" or "corsage" (=bodice) because both terms were used.
This "corps de robe" is a lightly boned bodice :
that's why we call it "corset" and no more a "corps baleinés" (which were
very stiffed bodices, worn under the reign of Louis 14 or Louis 15).
The corset is more supple, comfort is back.
That's what
have to be kept in mind, this "corps de robe" :
It's an archaic term but it's still there by the end of the 18th century, it's only
falling into disuse but it's important for what is following.
After that you have the "bas de robe" (=gown's bottom). It's what is now
called the "jupe" (=skirt), or the "jupon" (=petticoat), so
you can use both terms
without making mistakes.
When I'll talk about a "fourreau" (you will see that it will come very often)
I speak about a "corps de robe" and a "bas de robe", it doesn't matter if these 2 pieces are one single garment or two,
it's irrevelant.
It's just a bodice and a skirt
so, I know
that it will be a problem for many people because when we speak about "fourreaux" people think "dress".
They think of a garment in one single piece, but in fact it's not that notion.
The "fourreau" is an overall shape : "corps de robe" + "bas de robe"
Keep that point in mind
because I'll use the word "fourreau" very often, because it's the basic for the dresses during that period
It will come very often during the lecture.
On the fourreau you have the "manteau de robe" or "veste", depending en its size,
it's an over-gown, something like a bathrobe wrapped, you'll put on the "fourreau",
with different shapes. That's what will give names to the "robes" we are going to see later.
The "manteau" (=coat) is like a coat you put on your clothes. Nowadays you
wear it to go outside when it's cold, but during the 18th century it's not the same :
you wear it when someone can see you,
When you go out but inside the house as well.
You will not go around with a fourreau, it's an kind under-garment
that can be seen,
but it's not enough to be an outfit. It's important, because
there are a lot of "experts fights" about "fourreaux" and "robes fourreaux".
That's why I have to tell it again : the "robe fourreau" is a dress for young kids,
and it can be found in other countries, like in Italy.
But in France
you can find them too, they are
just worn as the basis of the costume, it's not enough to go out.
That's important.
This "manteau de robes" is in two parts too (but in one piece) : you'll find
the "manteau de robe"'s bodice, the "corps" of the "manteau de robe", for
the top part, and you'll have the "queue de robe" (=gown's tail) at the bottom of the "manteau de robe",
It's too called "jupe de robe" (=gown's skirt). If you keep all these terms in mind then
you will be able to understand easily
all the notions I'll talk about later, it will be simple
to deal with all these kinds of dresses shapes I will talk about in few minutes.
I chose to sort them by the underwear shapes, which kind of shape is under the "robes".
For the start of Marie-Antoinette's reign you will have the "paniers" (=side hoops), after that you'll have the "cul de Paris" (=bum roll)
instead of paniers, and after all these shapes will be removed and petticoats only will be kept.
That evolution in underwear shapes
was quite slow
and didn't change overnight : you could meet in the street, at the same moment,
women wearing "paniers" (=side hoops), "cul de Paris" (=bum roll) or nothing but "jupons" (=petticoat),
Only very rich people change their whole wardrobe fast.
Only few people could follow the fashion.
But if you take a look at the shape of the dress and what is under, you can
have a good idea of what is under and find during which decade
you'll find this dress.
If a dress was worn at the start of M-A's reign you had these "paniers". It's a metallic side hoop
that oversizes the hips.
The front and the back of the dress are flat, all the volumes are on the side.
You'll have to put a "jupon" (=petticoat) on it. It's very important
because if you skip the "jupon" then the metallic hoops can be seen !
It's not very nice
and very often, even during reenactment, we can see the boning of the hoops
under the dress : it can ruin the whole costume !
A "jupon" (=petticoat) is so important, whatever you are wearing under the dress.
About paniers
you have two kinds of paniers : the "grand panier" (=large side hoops) which are wide
This "grand panier" is for important ceremonies
at the king's court, so you'll wear them
for holy days, weddings, receptions for ambassadors, it's
quite a ceremonial gown which is needed on a "grand panier".
You too have the "petit panier" (=small side hoops) which is more practical, and allow
ladies to walk without huge amonts of fabrics on their back,
compared
to the "grand panier".
Then, you have the "cul de Paris" (= bum roll).
It was too called a "tournure" (=bustle). But I will not use that word to avoid
with the late 19th century bustles :
the name is the same
but the costume piece have a different shape, that's why I prefer
using the term "cul de Paris"
It's a big cushion with different shapes, as you can see on this print,
with all these "culs de Paris" hanging on the wall.
Ladies used to wear them to get huge butts, it enlarges the butt.
You'll have few volumes on the hips and much more behind. Many shapes are existing :
small "culs", medium "culs", large "culs".
Everything did exist, and some where covered with a cloth, very similar
to petticoats
and which gives more volumes.
The different shapes are not an evolution,
it depends on personnal tastes,
what kind of "robe" you are going to wear.
Some "robes" match with large rolls, and others with small ones, so
everything depends on what you want to wear.
But it's always worn with an underwear petticoat.
I insist on petticoats because at one moment we are going to take all
the hoops and rolls off, and only the "jupons" (=petticoats) will remain.
This "jupon" can be
quilted, like on this image on the left, or made with horsehair or with denim,
which are quite
a stiff fabrics, or
with a veiIt depends on the kind of dress you are going to wear on it. Do you want volume ? Is this petticoat visible or
is an underwear ? It's up to you.
You decide, depending on the dress itself.
Quilted petticoats, like on the left, can be seen.
But the one on the right seems to be invisible, it's an underwear.
That's why the word "jupon" (=petticoat) is a deceptive term
as it's not always an underwear,
it can be a skirt.
An other important point : I will often talk
about the "manteaux de robes" but it exists in two versions : long version,
simply called a "manteau de robe", and the short version.
This version is called
"caraco". So, if I speak about a "caraco à la française" it's just a "robe à la française" in short version
and it cas have other names.
But just remember that a "caraco" if a short version of a dress, it's not a gown name. Now let's talk about gowns, at last !
On "paniers" : on the "grande paniers" you can wear a "grand habit"
or a "grande robe". Several terms exist
and they can be synonyms.
What does the "grand habit" stands for ? It's a dress that comes from the
17th century, because it's Louis 14 who fixed this formal gown and it evolved not that much
for almost 100 years. It's made with
a "bas de robe", the skirt, a "queue de robe", the train, and the "corps de robe", a stiff boned bodice.
This time I speak about a "corps baleiné" because it's what you have to wear with
this formal dress.
It's really archaic : only for important event, with a
"corps baleiné",
and it will quickly become out-dated.
This dress is not a french dress.
You can tell me "Hey, how strange : you talk to us about parisian fashion
and you show us a foreign dress !". Well, in fact it's because I too cant to show you real dresses
and not only prints or paintings. The problem is that
we have no more "grands habits" in France, all are gone, that's why I have to use foreigner dresses,
but be sure that if I show them to you then it means they are very close to french dresses.
We are done with the "grand habit".
After that we'll have the "robe à la française" which is one of our blockbusters.
The "robe à la française" is simply
a "manteau de robe" that is put on a "fourreau" and that have a pleats on the back.
Its sleeves are typical too.
On this image you can see how the "robe à la française" will evolve :
To the left, for example, you can see what was worn in the beginning of the reign, to the right, you have
some time later, a shorter skirt and
the material used isn't the same anymore, the tailoring is completely brought up-to-date
but nonetheless, it's still a "robe à la française", because the back is pleated.
For the front of the dress, there are several choices :
The most frequent version is to use a "piece d'estomac" (=stomacher), a
decorated panel, which helps finishing the look and is pinned on the corps baleiné
or on the corset (but with a robe à la française, a corps baleiné is more frequently used). As a matter of fact,
this "pièce d'estomac" is very often worn with a "robe à la française", but not always.
Because the "corps baleiné" or the "corset" can be
decorated, and in this precise case, the "piece d'estomac" is an inseparable part of
the "corps" or the "corset", which enables the wearer to pin the "manteau de robe" to
the "corps" or the "corset" and it's way more easy and quick to settle.
And you will see, gradually
as the times flies,
some "robes à la française" which will be closed by the front
with "compères", i.e two flap-like pieces which are closed with small buttons, or
directly by a strip of staples. Those are really evolutions of the "robe à la française".
Then, there is also "robe à la piémontaise" (piedmontese dress), which is quite unknown and
not as widely used, even at this era
it was a quite exotic garb
that experts likes
in the 18th century fashion. It's in fact a "robe à la française" but the pleat isn't sewn at the back of the dress
so it's almost completely
autonomous : we can reach under the fold so it's
quite fun to see but it wasn't really
that much worn.
Then, you can see what is called a "pet-en-l'air", which is simply the "caraco" (jacket) version
of the "robe à la française", and it looks like what you can see here. It was simply worn with a "jupon" (petticoat)
over which the "pet-en-l'air" was put on.
By the way, on the right one, you can see that, in a funny way,
the pleat isn't always the same as a Watteau pleat (note that while I speak about watteau pleats, I know that it's an anachronism,
but it's
a term that is quite
known by everyone, even people that are not acquainted with costume lingo, so I'm going to use it
even if I know it's an anachronism), so here, the pleat
on the costume on the right, are small knife pleats. In fact,
when you have a "robe à la française" or its "caraco" version
the pleat isn't always the same
We often say "here is a robe à la française's pleat" while showing a very complicated diagram with kilometers of fabric,
and it's often the case, indeed, but not always.
A lot of dressmakers did as they could, so some of them made them higgledy-piggledy, so there was people
who used easier ways
and some of them failed terribly.
There is even dresses whose pleats are not double or which are knife-pleated, like the dress on the right.
Then, here comes a dress that is quite forgotten in the costume history in France
and it's a shame because it's very pretty : it's the famous "robe ajustée" (= fitted dress)
which is in fact quite close to the "robe à la français".
They have the same front, so you can see here that it's worn either with a "pièce d'estomac",
or, as it's an open dress, on a decorated and trimmed "corps baleiné".
So we can't know as long as we don't remove the dress if it has been worn over a decorated "corps" or a "pièce d'estomac".
So you can see that the front is very very close to the "robe à la française"'s,
but the back is very different, because it's a fitted dress
so there isn't all the pleats that you can see on a "robe à la française"
but everything else is almost the same. Here is for the "robe ajustée"
which needs to be discussed more about, because as I said, it's not a well-known dress, sadly.
This "robe ajustée" will become
the "casaquin", which is worn over a small "panier" or a false rump
and it's going to give you this kind of
garment, you can see that it's simply a "manteau de robe"
that is quite short, because it's the "caraco" version of the "robe ajustée" which is worn here for example with a
"pièce d'estomac".
Here you have another "casaquin" with a matching petticoat
and which is also worn over a "pièce d'estomac" pinned
over a "corps" or a "corset", or directly over the trimmed "corps" or "corset" ("garni", as we said in this era)
Here is for the "casaquin". Then I'll show you the "anglaise", which is
the heir of the "robe ajustée". The "anglaise" is going to be worn over
a "small pannier"
or
on a cul (="bum roll) or over a petticoat. Why can it be worn over so much different support ? Because
actually the "anglaise" has been worn during a very long time.
Why did it lasts so much ? Because its full name is "fourreau à l'anglaise", even if we rarely say
its entire name. So as indicated by its name, it's a fourreau dress, which means it can be a base
for costumes
by adding a "manteau" over it. So the "robe à l'anglaise" or "fourreau à l'anglaise" is simply a "fourreau" that can
be opened and closed on the front of the bodice.
As you can see on this picture, here it's worn with a contrasting petticoat and the "manteau de robe" is closed on the front.
Here you can see a really pretty "anglaise" back and you can see how it looks like a "robe ajustée" (fitted dress)
and here, you have a dress front, that is clearly pinned. Why do I talk about
pinning ? Simply because there are "compères" here : it's this lacing
over the eyelet strips that are sewn over the lining (see the red arrows)
that allows to close the dress on the front by tightening the "compères"
Then you will tuck the
edges of the dress (see blue arrows) to close
the dress corsage
that you're going to pin.
It's way more tidy than if you use clips, which were also used, even if it's less common.
Using clips is risky, because
it can pull too much on the fabric
and it will spread apart the edges of the corsage, so you'll have to add a lot of trim (or a fichu) to hide it.
And what is inconvenient with clips, is that if your weight change,
then you'll have to replace the clips or make another dress, and if you don't have that much
money,
it's much more interesting to
modify the dress' waist with a lacing system.
That's why I mentioned the "compères".
Those are things that we often forget when we
reconstruct costumes, and that's a shame because most of the "fourreaux à l'anglaise" we know have those compères
but they've been removed, and that why most of the dresses that are shown don't have them anymore
in museums or private collections, but they were there nonetheless.
Here you have specific cases, ie I put pictures of "fourreaux à
l'anglaise" et là c'est quelque chose qui est très intéressant si vous vous rappelez ce que je vous ai dit au début :
the number of pieces doesn't matter, and here, you have some "fourreaux à l'anglaise"
made as a single dress.
On those two pictures, this is made of a single dress.
So there is a dress bottom and a dress top, a "corps de robe" (= dress body), but those two parts make
an anglaise done with a single piece.
Another thing to know about "robes à l'anglaise" : we can also roll up the back of the bottom's dress
as shown with the red arrows,
which makes a "robe à l'anglaise
retroussée" (rolled up) or a "robe
retroussée à la polonaise".
So it's not at all a "robe à la polonaise", and we musn't mix them up.
It's simply an "anglaise" rolled up to make it look like a "polonaise".
Then you have another nuance,
what we call "front zone" today, but the term didn't exist at the time :
It's a dress cut to give the impression that it's open on the stomach,
and it shows the
bust of the wearer.
As a matter of fact it's not the case at all, it's a trompe-l'oeil, that is to say, it's simply a "robe à l'anglaise" like all the other ones, excepted that
we made small ruches on the sides of the dress to fake an
opening and fake open "manteau de robe", but it's truly a "robe à l'anglaise",
the same as I showed earlier.
I talked about "robes à l'anglaise", I'm going to show you
the "caraco" version of it : it's simply a short "robe à l'anglaise", as we can have different kinds of length.
To the right, a very pretty "caraco" is pictured
and you can see the compères on the left,
that are present on the short version as well as on the longer ones, we really see them well here, though,
they are those two rows of eyelet tape that we can lace, and we just have to fold up the
edges and pin them and here we are, nice finition.
And as I said before, it's more convenient than clips, even if those are also
possible if you wish to reproduce the dresses of this era
Then we will have
the "robe à la polonaise", which are always worn over a cul (=bum roll)
because it hasn't been worn for a very long time : only a few years. So this famous "robe à la polonaise",
what are its characteristics ? Well, it's a very short dress, which
allows to see
the shoes, ankles and the calves' bottom. It can be variable in length
and it's more a city dress, because the cities were quite dirty at the time
and so you could avoid dirtying your hem. It's quite funny to see that it's inspired by the dresses worn by
sheperdess
which are more pastoral dresses, worn in the country
but the parisian fashion made this a city dress ! So, the "robe à la polonaise", what are its characteristic features ?
As you can see it on the right picture
it's a "battante" dress : if you look at the "manteau de robe", it's the red-pink part
to the right
it's tied on the breast and isn't adjusted
on the sides, so it spreads. It's why we call it "battante", it's not
fitted on the "fourreau, which is the white part. And then again
the "fourreau" can be in one or two parts,
both have existed and we can't really see which one it is
on the picture we're looking at.
So we have a white "fourreau" and a "manteau de robe à la polonaise" in pink on this picture.
The "polonaises" often have "manches sabot" ("sabot sleeves"), which "encase" the elbow
and then
anyway, what's really important is that it's a "robe battante" :
which spreads on the "Cul de Paris" (bum roll) so your back isn't tailored at all
the dress isn't fitted, that why when I talked about bathrobes earlier
I wasn't that far from the reality. That's true, that it's kind of shocking for our modern taste
because we don't find this really aesthetic,
but then, we have to stop anachronisms here : our tastes aren't those they had in the past.
What's important is not to mix up
the "robe à la polonaise" with the "anglaise".
On the central image, you have a true "robe à la polonaise", without seams
on the waist, the back pieces are cut in a single piece lenghtwise
while on the "anglaise" (on the right) you can see a seam
between the bottom part and the corsage, that's the major
difference betweeen the polonaise and the anglaise, and
you can seee that the anglais is much more fitted than the polonaise which is "battante"
those two gowns are still "retroussées à la polonaise". This term
could mean that it's because the dress forms three parts on the dress' skirt :
le back part is "la queue" ("the tail") and the two side parts
which are rolled up on are called "les ailes" ("the wings")
There is a story that tells that it's because Poland had been split in three parts
which could explain the name given to those dresses
because they are also divided in three parts. We aren't sure about the accuracy of this story
but it seems that it was a fake history,
invented in the 19th century.
I'm still searching for sources explaining the name of this dress.
On the right, what you can see isn't a "polonaise", of course.
Since we talked about the "polonaise", let's see the "caraco à la polonaise", with all the features
of the polonaise
excepted the fact that it's not rolled up, because the dress is too short to make it, but otherwise it's a "robe
battante" : you can see that it's neither fitted nor adjusted on the "fourreau". You also have three-quarter sleeves and it's closed on the breast.
The "polonaise" is a late 1770s dress,
and here is the "circassienne"
which was worn from the beginning of the 1780s and was very popular
around 1785.
So the "circassienne" is worn over a long-sleeved "fourreau",
as you can see here.
The "fourreau" is the yellow part.
The "manteau de robe à la circassienne" is the blue part, and we see those pretty little trumpet sleeves
and we can see that the dress meet up at breast-level
But sometimes, it isn't joined at this point, because we have found dresses where the fabric meets up near the navel.
So the place on the torso where the edges of the "manteau de robe" meet doesn't matter.
Several variations are possible, but the important feature is that there is only one point
where the two flaps are joined and those particular trumpet sleeves.
About the back
it looks a lot like a "robe à la polonaise", at the difference that it's less "battante", much more adjusted than a "polonaise"
so the back is quite fitted but it's still rolled up like a "polonaise".
There you can see the "caraco" version of the "robe à la circassienne"
what's interesting is that
we can't see the trumpet sleeves
which I talked about, so they might be hidden
under the decorations.
Then you have a dress called the "robe à la Lévite"
When I talked about bathrobes, you're going to see that it's clearly in
this kind of loose "manteau de robe", because the "robe à la Lévite" is a "fourreau", over which
we have a "manteau de robe"
which is draped and closed
on the front, either by a row of fasteners
which can be made from haberdashery, or clips or it can be pinned
and it can also be
simply
closed on a single point, like the "polonaise", at breast-level or like some "circassiennes", near the navel.
Here are some pictures of
"Lévites" dresses which are closed over the whole bust, but it's not always like that.
But the Lévites always have those lapels that you can see on the bottom sleeves
made with a contrasting fabric on the left,
on the right they are a little less noticeable because the decoration
acts as a lapel. And then you have the "rabats de col" (=collar flaps) on the left picture
which are also contrasting and which we could confuse with a "chemise" (=shift) collar
So this small white collar on the right
can be in fact the lapel.
Another Lévite feature : it has this
belt
which enables to tighten the dress on the waist, which is pretty important.
I've never seen a "Lévite" without its belt.
It can be worn over a petticoat
without any structure, so it looks more loose
and you can see that it's not really attractive for our modern tastes.
When I was talking about bathrobes
We're not that far with the "Lévite"
The next dress is the "robe à la turque" also known as "robe à la sultane" : for a while I believed that it was
two different dresses, although sources shows that they are incredibly similar
and I never found anything which differentiates them.
So it looks like a mix between
a "circasienne" and a "lévite", which is completly normal, because the "robe à la sultane",
"circasienne" or "lévite", are all inspired by Middle or Far-Eastern fashion.
So we find this kind of "manteau de robe" that we see here
in blue, over a long-sleeved "fourreau".
There are short sleeves, with a small trumpet effect, but not as significant as the "circasienne"
And we have the following features :
the belt, like on the "lévites"
but the big différences are that
the "manteau de robe" is never rolled up
and the two front sides of the "manteau de robe" are not joined : we can see the "corps de robe",
the "fourreau" is shown. By the way, what's funny here on this plate is that it looks like
this dress is made in a single piece, ie that everything is sewn together, even the belt.
It's in fact closed like an anglaise, we can see on this plate that there is a fastener on the front
So either it's indeed made from a single dress where everything is sewn, or we have a "fourreau à l'anglaise"
worn under a "manteau de robe" with a belt.
We also have later versions
of the "robes à la turque", as we can see on the right plate
here, we cannot really see because the lady is shown on her side
but the two edges of the "manteau de robe" aren't closed and really let us see
the "corps de robe", which is yellow with three-quarter sleeves.
It's more than possible that the fourreau is still a single-part one, here, even if its quite
contrasting and it's also possible that all the dress is made in one part.
And we are done with the "robe à la turque".
Now, let's see a dress that is really
a symbol of Marie-Antoinette's reign : it's the "robe en gaulle", also called
"robe chemise", "chemise à la reine" or
fourreau créole. A lot of names exists for it.
I choosed to call it "robe en gaulle" to avoid mixing it up with
the "chemise" (=shift), which is another part of the costume worn under the dress as an undergarment.
So that's why I'll be calling it a "gaulle", even if the term is rarely used
during this period. The "robe en gaulle" is
most of the time made of cotton (or silk, sometimes). So it's an ivory or white dress,
especially at the beginning of its use,
it's recognizable by its ruffles around the collar and its slightly "ballon" sleeves.
You have to known that, even if this description is the typical "robe chemise", there are differents kinds of "robes chemises".
We could speak about it in another video by the way.
because there is a lot to say about it.
Anyway it's made from a very light fabric, and it's worn over a "fourreau"
What's interesting about the left picture here, is that the "fourreau" is made from a contrasting color,
yellow, which is seen through the transparent fabric. But this dress
itself is called a fourreau, because
it embraces the body, and is fitted around
the torso of the person, and goes down until the floor : that's why you're going to
find it under other dress types, for example under a "Lévite". We can wear a "robe chemise"
because it's a "fourreau", like a "fourreau à l'anglaise",
or a corsage and jupe, under these other "manteaux de robes".
But what makes it so special are those casings, on the front, which is one of the major features of the "robe chemise",
with the thin fabric.
Thoses casings are used to close the dress around the waist, and you will also have a belt, always made from a fabric of contrastive colour,
even if it'll disapear as the waistline goes up at the end of M-A's reign.
In the same time, you'll also see dresses made with vivid colours,
which is pretty interesting because it's really the early stages that lead to "Empire" fashion (ndlT : "Empire" in France, "Regency" in GB)
Because it's this draped silhouette, reminding of Antique fashion
with a high waist-line.
The petticoats are going to be less numerous, which will make the dresses going flat,
and, to schematize, you're going to end up with
the regency dresses, with classical antiquity-inspired lines. It's really interesting, I think,
to see the link between the differents kind of dresses through time, we can see a real
phylogeny between
those dresses. Now let's see another really famous kind of dress, the "redingote"
which comes from the english phrase
"riding coat", which is a coat used for riding horses and when it crossed the Channel
the French are going to pronounce it with their french accent : "redingote".
It has different features,
it's worn over a petticoat
and
probably over a corset
which helps to have this particular form. Over the corset comes the manteau de robe, this "redingote",
which really looks like a coat, with its quite modern attributes
which makes it looks quite androgynous, because the "redingote" was more a menswear coat
with its collar and sleeves lapels, which can be contrasting like
on the left picture or made in the same color than the dress, like on the right picture. However
one of the characteristics which is very important, with the lapels, is the presence of buttons.
No buttons, no "redingotes" : buttons were linked with masculine fashion before,
and women never wore them on their dresses, so we can see an apparition of menswear elements on the silhouettes.
We will see buttons, which helps to make the silhouette looks more androgynous for the period.
It's a quite particular silhoutte, very easy to spot
and then, who says "redingote" says
"caraco", so
the short version. It's called a "veste à revers" (=jacket with lapels) and it's simply
a redingote without
the "jupe de robe" (dress bottom)
so
there you only have the corsage of the "redingote", which makes the "veste à revers". The lapels are found on the sleeves
and collar, with the big buttons. On the right one
there are also "basques" (flaps), which are really short because it's a "caraco" version
and a lot of buttons.
That's all you have to remember about the short version of the redingote.
The last kind of dress is going to be the "pierrot"
It looks like a veste à revers, but there is no lapel.
Worn over a petticoat, or a cul and a petticoat,
it's inspired by
the "caraco d'anglaise", so it's closer to the "anglaise" than to the "veste à revers".
The "pierrot" gives you that
small corsage with "basques" (flaps) that spike outward and make the wearer looking like a
sparrow, with its tail
which spikes outward.
During the 18th century, in France, a sparrow was called a "pierrot" : it gives its name to the jacket.
Here you can see two different types of "pierrots" : on the right, the jacket is
sewn on the corsage
so it's a trompe l'oeil, the dark part is a single piece of costume.
And it's closed on the front like an "anglaise". There is a
lacing system on "compères" and the edges are folded down and probably
pinned, so we have a nice fitted corsage.
On the right, the "pierrot" is the red part. The white part
is the "fourreau", so we have a petticoat and a
corsage (or corset) with long sleeves because what we see here aren't the arms of the lady
but the sleeves of the "fourreau", so the pierrot is only the red part. And to adjust it
on the "corps de robe" and to ensure that the "pierrot" doesn't become a "battante" jacket,
we tightened it with a belt and there are some
châtelaines which are hanging
and are heavy enough to weigh down the pierrot and avoid it curling upward on the front
So here on the right, you have a back view of a pierrot, without collar lapels
but you have this small "tail" that curls upwards and is typical of the "pierrot".
And here we have seen all the main kind of dresses under Marie-Antoinette's reign
So I hope it's clearer for you.
I tried to show the dresses in a chronological order, first with the paniers, then
with the "cul de Paris" (bum roll) and finally everything worn over simple petticoats.
Because, as I said at the beginning of the lecture,
those three structures have been worn one after another. And with all this, you
should have a better insight of the different kind of dresses.
Don't hesitate to ask questions, if some things aren't clear. I'll try to answer as much as I can.
It's quite difficult if I cannot show anything and only write about it, but I'll try to help you the best I can.
A lot of other kinds of dresses exists, but I focused on those which were the most common
and
I think I didn't miss a lot of them
during my lecture, even if we could show a lot more
other types : "robe à la chinois", "à la musulmane", "à la versaillaise", etc.
They weren't worn for a long time in history
and that's why I didn't talk about them in this video, to avoid it being way too long !
But here we are, I think it gives you a glimpse of what existed.
Thank you very much for following me !
And if you liked the video
don't hesitate to follow me, to give a thumb up or a thumb down
if you didn't like it and if you're a well-trained hater, go ahead and rage on.
But well, the thumb up is way nicer :-)
Otherwise, there is of course the facebook page
of Temps d'élégance", so please, feel free to like it
if it's not already done. And then, there is the blog "Temps d'élégance", that you can find easily on google
or in the links under the video.
I don't think I'll write a complete article on the different kind of dresses because as you can see this video is already quite long,
I would have a lot of things to say about it, but still
there would be enough to fill an entire book about it.
Why not, anyway ? But it's not in my agenda now.
Maybe I'll write several articles about those dresses,
but there is already a lot of things on the blog, so don't hesitate to subscribe !
And of course, thank you very much to the people who support me
on "Tipeee" : you can give me tips,
whatever you want, it's not an obligation, starting from 1 euro/month, it's not
much for you, but it helps me creating content and
I don't have to slave for
paying my rent, and it helps me finding time
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of my researches, like on this video.
If you're already supporting me
then, thousand thanks for you !
I don't talk about Tipers much, but you have my sincere thanks for
your support, it really warms my heart!
Until then, take care and see you soon if you liked it, for maybe another small talk. Goodbye !
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