1st Lesson - Fashion History

Louise Élisabeth Vigée Le Brun, Portrait of Marie Antoinette of 'Austria, Queen of France (1755-1793), 1783, It portrays Marie Antoinette in an opulent and elegant style, reflecting her status as a fashion icon of the 18th century.

Élisabeth Vigée-Lebrun, Marie Antoinette, ca.1783, National Gallery of Art, Washington, wearing dress that looks like undergarments - scandal.

Rose Bertin (1747 – 1813) was a French fashion designer for Marie Antoinette and is often referred to as the "first fashion designer". She played a significant role in popularizing French fashion and crafting iconic styles for the queen.

Pompeo Batoni, Portrait of a young man in Habit à la française,1760 - 1765, style of the mid-18th century, showcasing the elegance and opulence of the period.

The Singer Chenard, as a Sans-Culotte by Louis Leopold Boilly (1792) is a work depicting a member of the revolutionary working class in France, showcasing an emblematic style that represents the political and social changes of the time.

1801: Joseph Marie Jacquard patents the Jacquard loom, a mechanical loom that utilized punched cards to control the weaving of patterns in textiles, revolutionizing the textile industry.

Napoleon crowned himself emperor with his first wife Joséphine in Notre-Dame de Paris on 2 December 1804 (portrait of Napoleon painted by Gérard in 1805, portrait of Joséphine by Lethière, 1807) This event marked the establishment of the French Empire and signified a shift in power and the importance of imperial imagery in fashion and society.

Suit c. 1825-1830, marked the transition to a more structured silhouette in men's fashion, characterized by tapered trousers and fitted jackets, reflecting the changes in social norms and status.

Robert Dighton, George Bryan “Beau” Brummell (1778 – 1840), 1805, a dandy known for his influence on men's fashion, particularly in popularizing tailored clothing and the modern suit. His style emphasized elegance and personal grooming, setting standards for fashionable men in the era.

Example of Romanticizm - Jean-Auguste-Dominique Ingres, Paolo and Francesca, 1819, Musée des beaux-arts d'Angers, depicts a tumultuous and passionate love story inspired by Dante's "Divine Comedy." This painting exemplifies the romantic emphasis on emotion and idealized beauty in art.

Amelie Munier-Romilly, Portrait of Zinaida Volkonskaya, 1831, a captivating representation of a fashionable woman of the era, showcasing the intricacies of dress and the artistic style of the Romantic period.

Marie Taglioni in “La Sylphide”, 1832, first entire en pointe performance, is a landmark ballet that showcased the use of pointe shoes, epitomizing the Romantic ballet's emphasis on ethereal qualities and the supernatural.

Eugène Delacroix, Liberty Leading the People, 1830, Louvre, in 1830 in France there is the July Revolution. Louis Philippe of Orleans becomes King and he will hold office until the Riots of 1848.

Eugène Delacroix, The woman of Algiers, 1834, Louvre, a pivotal artwork reflecting the Romantic fascination with exoticism and the depiction of women in art.

Louis Hersent, Portrait of Joséphine Louise, Hortense Soult, 1827 - 1828, wearing a tourban, obsession with the middle east, showcasing the Romantic era's interest in Orientalism and elaborate fashion.

Leopold Fertbauer, Portrait of a man, 1830, in smoking suit and tarboosh, reflects the early 19th-century European fascination with exotic attire and the blending of Western and Eastern fashion influences.

Day Dress, c. 1845 EnglandA garment worn by women during the daytime, characterized by its modest style, often made of light fabrics, and typically featuring intricate patterns and decorative elements representative of mid-19th century fashion in England.

Corriere delle Dame, 1844, a fashion magazine that showcased the latest trends and styles for women, reflecting societal values and the evolving role of women in the 19th century.

Petticoat, horsehair, cotton, American or European, 1840s, a woman's undergarment worn beneath a dress, typically consisting of a layered fabric that adds volume and shape to the dress.

Quilted cotton bodiced petticoat, c. 1845 probably America, a style of petticoat featuring a bodice made from quilted cotton, designed to provide both shape and warmth, reflective of mid-19th century women's undergarments.

Jean Charles Olivier, Portrait of Marie Duplessis, c. 1845, a famous painting depicting a prominent courtesan of Paris, considered a symbol of beauty and romanticism in 19th century France.

Ms. Amelia Bloomer (1818–1894) in 1850. She began publishing the newspaper "The Lily" in 1849. She was an early advocate for women's rights and promoted the adoption of bloomer attire, which consisted of a loose-fitting dress and trousers, challenging traditional women's fashion norms.

Drawing for 'Punch' (a British magazine of humour and satire), 1851, making fun of bloomerism, depicting women in bloomer skirts and critiquing the fashion movement's societal implications.

John Leech, drawings for 'Punch', 1851, making fun of bloomerism, satirizing the women's rights movement and clothing reform.

An interior view of the Crystal Palace during the 'Great Exhibition of the Works of Industry of All Nations' in 1851. The Crystal Palace was situated in Hyde Park in central London. It showcased industry and innovation, featuring numerous exhibits from around the world, highlighting the advancements of the Industrial Revolution.

Some jewels exibited at the 'Great Exhibition of the Works of Industry of All Nations' in 1851: Celtic inspired brooches

The Pre-Raphaelite Movement example: John Everett Millais, Ophelia, 1851-1852,Tate Gallery, London. A major artistic movement that emerged in the mid-19th century, emphasizing a return to the detail and vivid colors of pre-Renaissance art, often depicting romantic and medieval themes.

Printed wool, unknown country, 1840s, with intricate floral designs, showcasing the textile innovations of the time, used in various fashion items.

Singer's machine, 12 August, 1851. First model registered at the patent office reproduced from "Scientific American", 1 November 1851. It revolutionized garment production and allowed for more efficient clothing manufacturing.

1852: Le Bon Marché, the first department store in France was set up in Paris by Aristide and Marguerite Boucicaut It was soon followed by the BHV (1856), the Printemps (1865) and the Samaritaine (1869).

Europe or America, Crinoline 'cage', 1850s, a support structure made of metal hoops and fabric used to give a bell-shaped silhouette to women's dresses.

Satirical comic about crinolins, popularized in the mid-19th century, which criticized the excessive use of crinoline in women's fashion and its impracticality.

Day Dress, c. 1850, England, a women's garment for daytime wear, known for its modesty and often featuring decorative elements indicative of mid-19th century fashions.

Le Bon Ton, October 1858, a monthly fashion magazine that showcased contemporary styles, trends, and etiquette for women in the Victorian era.

Day Dress, c. 1855, England, a women's garment characterized by a fitted bodice and a full skirt, often embellished with trims and made from materials that reflect the refined tastes of the mid-19th century.

Moniteur de la Mode, 1857, showing day dresses, fashion trends, and styles popular among women during the mid-19th century, particularly in France, emphasizing elegance and modernity.

Evening Dress, c. 1855, France, more revealing than a day dress, often featured low necklines and elaborate decorations, suitable for formal events.

Le Moniteur de la Mode, Agoust 1857, showing Evening Dresses, a French fashion magazine that showcased and influenced popular clothing trends and styles, highlighting various garments including evening wear during the mid-19th century.

In 1856, William Henry Perkin made his great accidental discovery: that aniline could be partly transformed into a crude mixture which, when extracted with alcohol, produced a substance with an intense purple colour, the mauveine.

William Henry Perkin was a British chemist who is best known for his discovery of the first synthetic dye, mauveine. This launched the synthetic dye industry and revolutionized the fashion and textile industries.

Abraham Solomon, The Bride, 1856, a painting that exemplifies Victorian era fashion and societal norms, portraying bridal attire and the importance of marriage in 19th-century British culture.

Carl Theodor von Piloty e Franz Adam, Portrait of Empress Elizabeth of Austria (riding a horse), 1853, wearing a riding jacket reminiscent of a military uniform.

Napoleon III (Carlo Luigi Napoleone) Bonaparte Emperor of the French people. Elected on December 10, 1848, the President of the Republic made a coup in 1851 and restored the Empire (Second Empire) in 1852 and married in 1853 with Eugenia de Montijo.

F. X. Winterhalter, The Empress Eugénie and her maids of honour, 1855, reminiscent of Marie Antoinete gowns, showcasing luxurious fabrics, intricate detailing, and the opulent fashion of the Second Empire period.

Virginia Oldoini, Countess of Castiglione, with the Queen of Hearts costume worn in 1857, known for her striking beauty and influential fashion sense. She became a muse for many artists and was a prominent figure in Parisian society.

Franz Xaver Winterhalter, The Empress Eugénie de Montijo dressed as the Queen Marie Antoinette, 1854 (preparatory photograph for the painting).

Jean Baptiste Fortuné de Fournier, The bedroom of the Empress Eugenie, Château de Saint-Cloud, 1855, featuring elaborate furnishings, luxurious textiles, and a reflection of the opulence characteristic of Second Empire decor. Again reminiscent of M. A.

Charles Frederick Worth (1825 -1895), the father of haute couture, known for his innovative designs and established the first fashion house in Paris, influencing the fashion industry significantly.

Eugénie and the Prince Imperiale, 1862 VS Worth and Bobergh, Dress, 1862 - 1865 — showcases the similarity between royal fashion and leading couture, highlighting Worth's impact on the evolution of style during this era.

C. F. Worth, Drawings, 1860s, demonstrated his visionary approach to fashion illustration, setting the standard for future designers and showcasing the intricacies of his haute couture creations.

Crinoline, c.1865, Unknown Country, made from steel hoops and cotton fabric, widely used in women's fashion to create a bell-shaped silhouette, allowing for fuller skirts and enhancing the shape of dresses.

Evening Dress, c.1866, France, no sleeves and lower neckline, often adorned with lace and ornamentation, reflecting the luxurious style of the period.

Empress Eugenia during an excursion on the Mer de glace, an Alpine glacier. Drawing by Janet-Lange, published in the Illustration, journal universel, Paris, 1860

Summer ensemble consisting of bolero, skirt, belt, c. 1867, with a skirt that can be pulled up for hiking, similar to what Empress Eugenia wore.

Franz Xaver Winterhalter, Portrait of the Empress Elisabeth of Austria, 1865

Luchino Visconti, “Il Gattopardo”, ( “The Leopard“), 1963, a film known for its beautiful costumes and depiction of changing social structures in 19th century Sicily.

Beachwear, October 1865, Le Follet, a fashion magazine that showcased seaside fashion trends for women, highlighting light fabrics and playful styles, inspired by navy uniform.

Bathing suits, Godey’s Lady’s Book, 1864, USA, reminiscent of the bloomer style

Fashion drawing and scheme for the arrangement of printed decorations on a fabric to create the same dress as the drawing (fabric "a disposition"), 1867, a significant development in textile design that influenced garment creation.

The American magazine Harper's Bazar, as a weekly, was first published on November 2, 1867 (here the cover of the first issue) and became a monthly in 1901. From 1912 it was published by the American publisher William Randolph Hearst. It was titled Harper's Bazar until 1929, when the second "a" was added.

Le Follet, 1868, a French fashion magazine that showcased the latest styles and trends in women's clothing, serving as an influential reference for dressmakers and consumers.

Engraving after Moreau le Jeune c. 1776, a notable example of fashion illustration that captured contemporary styles and societal trends.

Example of the Aesthetic movement: Jane Morris, posed by Rossetti, photograph by John Parsons, 1865. Originating in the late 1800s, the Aesthetic movement emphasized beauty and 'art for art's sake,' influencing all aspects of life and craftsmanship, with notable figures including William Morris and Oscar Wilde, and flourishing through industrial processes and department stores like Liberty.

Dante Gabriel Rossetti, The Lady of the Flame, 1870, Manchester City Art Galleries, a significant painting exemplifying the Pre-Raphaelite style, showcasing themes of beauty and myth through detailed floral motifs and vibrant colors.

Frederick Hollyer,The families of William Morris and Edward Burne-Jones and their families at The Grange, Burne-Jones's home, 1874, a notable work capturing the relationships and artistic collaborations among key figures of the Pre-Raphaelite Brotherhood and the Aesthetic movement.

William Morris (1834 - 1896), a key figure in the Arts and Crafts Movement, known for his contributions to design, textiles, and literature, advocating for craftsmanship and aesthetic quality in everyday objects.

The cabinet was designed by Philip Webb for the stand of Morris, Marshall, Faulkner & Co. at the London International Exhibition of 1862, showcasing the ideals of the Arts and Crafts Movement with its emphasis on handcrafted detail and functional beauty.

William Morris created "Arts and Crafts Movement" in 1886; on the left his printed fabric "Shakeshead" from 1876 and on the right his printed “Jasmine“ fabric from 1872, demonstrating his innovative approach to design and textile production.

Napoleon III at the Battle of Sedan, which marked a significant defeat for France during the Franco-Prussian War in 1870, leading to his capture and the fall of the Second Empire. From these events the Third French Republic was born.

Maison Worth, Gown with a double corsage, 1872, a landmark in French fashion, combining elegance with the revolutionary design shift of the time, illustrating the transition from Victorian styles to more modern silhouettes.

Crinolette, c. 1870s, a structured undergarment used to support the shape of women's skirts, popularizing an exaggerated bell silhouette in fashion during the period.

Bustle, Corset, Chemise, and Drawers, c. 1870s -1880s, garments that were essential in shaping women's fashion, creating an hourglass figure and emphasizing the curves of the body.

Dinner Dress, Label N. Rodrigues, late 1870s, Paris, with an extravagant bustle, showing the cul de paris trend

J. Tissot, Too Early, 1873, a painting that depicts a fashionable woman dressed in the latest 1870s style, showcasing the importance of attire in social status during that era.

Queen Victoria in a photo by Alexander Bassano, 1882, a significant image capturing the influence of Victoria's fashion on the Victorian era, reflecting her role as a style icon and the ideals of femininity during her reign.

Mourning ensemble, 1870-1872, a fashion trend characterized by specific clothing worn by those grieving, reflecting social norms and expectations of mourning dress in the Victorian era.

The work of Claude Monet 'Impression, Sunrise' (1872, Musée Marmottan Monet) was exhibited in 1874 at the studio of the photographer Nadar on the occasion of the first exhibition of the «Anonymous society of artists, painters, sculptors, engravers» of which apart from Monet, Pierre- Auguste Renoir, Camille Pissarro, Alfred Sisley, Edgar Degas and Paul Cézanne gave birth to the term 'Impressionism'.

Revue De La Mode, Summer Dresses,1873, a publication that showcased contemporary fashion trends, promoting styles and designs for women's summer wear.

La Mode Illustrée, 1877, evening dresses, a fashion magazine that highlighted the latest trends in evening wear for women, featuring illustrations of dresses with skirts without a crinolin and in general less volume.

Le Moniteur de la Mode, 1878, white lace evening dress, no volume in the skirt, long trail, crafted from delicate lace with intricate detailing, representing a shift towards lighter fabrics and more streamlined silhouettes in evening wear.

Reception Dress (Princesse), c. 1880, white lace evening dress, no volume in the skirt, long trail, very similar to the fashion drawing in Le Moniteur de la Mode, 1878