1770s Fashion

17TH CENTURY

Functional clothing influenced by Anglomania came into French women’s fashion in the 1770s. The retrousse dans les poches was a style popular for walking in the countryside and enjoying the open air. In this new style, the skirt was pulled out from side pockets of the dress and draped on the back. This style derived from the work clothes and town wear of ordinary women. Later, the style was transformed into the robe a la polonaise, with the skirt held up by cords. The robe a la polonaise came to popularity in the 1770s. The skirt was held up by looped cords and divide into three panels of full drapes over the underskirt. It is said that the term robe ala polonaise derived from the first partition of Poland into three countries Austria, Prussia, and Russia.

Blue and white Spitalfields damask with flower and stripe pattern, sabot sleeves, compare front, petticoat of quilted silk satin, fichu and apron of muslin whitework.

Dress (robe a la polonaise) C.1780 French

Pink and white striped cotton brocade with Jouy floral print, self-fabric shirring borders, matching petticoat, hooded shawl of linen with pleated trim.

Following the trend toward simple clothing, women’s costumes became less ornate (except for court fashion) in the 1770s. Flowing pleats from the center to back of a dress was called the robe a anglaise. The dress consists of a front closing robe and a skirt attached to the back of the bodice, without a pannier.

Jumps and Petticoat Mid -18th century English

The method for carrying personal items has changed in accordance with the shape of the dress. Bag shaped pocket were appropriate for layered rococo garments, and the pockets were worn separately over the petticoat. However, the reticule, a small handbag, replaced pockets when a new style of dress became fashionable from the end of the 18th century.

During the 18th century, the fichu was worn loosely covering the bodice, and was made out of white thin muslin, or linen with white embroidery. In the 1780s, the fichu became larger, and as shown in the plate, the method of crossing it at the front and trying it at the back became a popular style.

Jumps indicates a soft bodice without boning, which was worn either under a corset or without a corset. The jumps were worn with a jacket and petticoat as an indoor garment.

Jumps of off-white quilted linen with plant pattern, tied in front with silk taffeta ribbons, petticoats of silk satin quilted in scalloped and floral motif, apron of silk taffeta with floral embroidery, stockings of silk knit in geometric pattern.

Caraco (pet-en-I ‘air) of pink striped silk taffeta, comperes, braid trimming, sobot cuffs with bouilonne(French, C.1775) ,petticoat of green silk taffeta appliqued with embroidered chinoiserie flowers, birds and insects (English C1720), shoes of linen with crewel work, high heels.

The Japanese kimono imported by the Dutch East India Company, had been adopted by European men as an indoor gown. Since the number of imported Japanese kimono gowns was not enough, oriental gowns made out of indenne (Indian chintz) appeared to supply the demand. These were called Japonsche rocken (Japanese indoor wear) in Holland, robes de chambre d’indienne (Indien chintz indoor gowns) in France, and banyans (Indian merchant) in England. Because of their exotic features and rarity, these gowns became symbols of status and wealth. At home, men wore them over a shirt and breeches, with a cap instead of a wig. They were also apparently worn when entertaining close friends at home and for morning walks.

Painted plain silks originated in Chida, they were imported into Europe, and later reproduced in Europe. One of the Chinese painted silks was depicted in portrait of Madame de Pompadour.

Indienne, a painted or printed cotton fabric made in India, had been well known in 17th century Europe, however, there was a ban on importing or producing indienne due to its extreme popularity among the Europeans. When the ban was removed in 1759, the printing industry in England and the French Alsace region immediately grew. Printed cotton fabrics became popular not only for interior decoration but also for clothing, since their exotic and refined polychrome patterns wee appealing. They were called indienne (literally from India), or toile peinte (hand painted cloth) in France, and chintz (derived from chint a Hindi term for gaudily painted cotton) in England.

White cotton chintz with polychrome Indian floral print, comperes front with lacing, border of printed fabric at center front, hem, and cuffs.

Along with Jouy, a town near Versailles and London, Mulhouse developed into a major center of the printing industry in 18th century Europe. Beginning with Indian European printing factories achieved technical developments such as the invention pf the copper-roller printing system, which made possible the mass production of printed fabrics. In this cape indienne type floral patterns were printed on a dark brown color called ramoneur (the chimney sweeper), which was the fashionable color at that time.