200 Years of Fashion II

18TH CENTURY

Although extravagant men’s wardrobes were prominent in the seventeeth century, those of the eighteents century became more subtle and refined. The seventeeth century menb’s jacket, the justaucorps, was replaced in the second half of the eighteenth century by the habit (coat), which was worn with a waistcoat and knee-breeches. 

The fabric with the water blotting pattern was called chine la branche in French. Just as the Japanese hogushi-weaving ( a type of kasuri technique), the pattern was printed onto the warp prior to weaving. In Europe, the chine technique  was extremely difficult, so the large chine patterns were produced only in France. The patterns were mainly apllied on thin fabrics such as silk taffeta. Light patel coloring and fluffy texture are charestic of chine.During the mid eighteen century, it was fashinoble to use chie for high priced summer clothing. Since Madame de Pompadour strongly preferred wearing dresses of chine, it was often called “Pompadaur Taffeta”.  

Extravagant silk made in Lyons were inseparable from rococo fashion. Silk fabric production in Lyons became technically advanced through the support of the French government. Due to this development, the fabric designs included a wide variety of garland, ribbon and lace patterns, all of which used diverse styles of fine curving lines and decorative elements. Lyons silk became one of the most highly regarded commodities in Europe. Although quilted skirts were often seen in eighteen-century fashion, a dress quilted all over such as below is rare and extremely precious.

The vogue of stripe spread through all the social classes starting in the 1770s. In the Magasin des Modes, a fashion magazine that was published in the 1780s just prior to the French Revolution, both men’s and women’s fashions with vertical stripes of two colors frequently appeared. The trend of the stripe in the fashion continued during the French Revolutionary period.

Functional elements of clothing appeared in mid eighteen century women’s fashion. In this dress, the comperes were connected to the front opening of the robe with either hooks or buttons., so the stomacher was no longer necessary. The comperes are simpler and more practical than the stomacher, which had to be pinned to the dress each time.

Flounces, fly fringe, artificial flowers, ribbons and chenille are essential ornaments for rococo fashion. This dress is adorned with delicate fly fringe, chenille, and bouilonne filled with cotton to give more of a three-dimensional look. Although the decorations are excessive, they perfectly harmonize with each other, and represent the most sophisticated and delicate sprit of the rococo style.

The popularity of Anglomania led everyday costumes to be simple during the last half of theeighteen century. In contrast, women’s court fashion at the time presented an exaggerated with a bodice tightly fitted by corset, and a wide skirt expanded on each side by a pannier. Representing the extreme beauty of artificiality, the widely expanded dress and high coiffures remained as court costume until the Revolution.

The typical eighteen century French suit, the habit a la française, consisted of a coat, a waistcoat, and breeches. It also included a pair of silk stockings,  a jabot, a linen or cotton shirt with decorative cuffs, and cravat. Men’s suit transformed to a more functional style in the last of the eighteenth century.

Overall the coat became tight fitting, the length of the waistcoat became short, the weistcoat’s were removed, and the hem was cut horizontally. Yet the brilliant colors, exquisite embroideries, elaborate lace for jabots and cuffs, and decorative buttons still remained important elements for dressing a gentleman in the rococo style.

In the eighteenth century, the elegance of embroidery appeared in men’s fashion. In particular, the coat and the waistcoat were impressively embroidered with polychrome silk threads, gold and silver threads, sequins and artificial jewels. Many embroidery workshops were located in Paris at that time, and Diderot described such a workshop in his Encyclopedia. At the workshop, the customer would select the already embroidered fabric, and the fabric was then cut and sewn to fit. This method of tailoring was called a la disposition. Many decorative buttons adorned eighteenth century men’s suits. Skillfully crafted artistic buttons made of porcelain, embroidery, metalwork and glass were stylish elements of men’s fashion.