Fashion in 1750-1775 in colonial European and American countries is characterized by greater abundance, elaboration and clutter in clothing design, which is loved by the artistic trend of Rococo in that period. French and English fashion styles are very different from each other. The French style is defined by an elaborate, colorful and richly decorated court dress, worn by iconic fashion figures such as Marie Antoinette. After reaching their maximum size in the 1750s, the hoop skirt began to decrease in size, but was still worn with the most formal dress, and sometimes replaced with side-hoops, or panniers. Hairstyles are both intricate, with high head decoration in a typical 1770s style. For men, vests and pants in the previous few decades continue to be fashionable. English style is defined by simple practical clothes, made of cheap and durable cloth, serving a relaxed outdoor lifestyle. This lifestyle is also illustrated by differences in portraits. French preferred indoor scenes where they can show their luxury for luxury in clothing and lifestyle. English, on the other hand, is more "egalitarian" in taste, so their portraits tend to portray caregivers in outer scenes and pastoral clothing.
Video 1750-75 in Western fashion
Fashion changes in period
1750s
- Woman: The court dress includes a complex and intricate style influenced by Rococo; skirt hoop; pannier; corset; skirt; permanent; cone-shaped body shape with large hips; "standard body and polite face" with a bit of individuality
- France: Complicated, colorful, decorative, in-depth court dressing
- English: Simple and practical, cheap durable cloth, outdoor lifestyle, outside portrait
- Man: Coat; vest: trousers; great handcuffs; more attention to each piece of lawsuit; wigs for official events; long hair and powder
1760 s
- Woman: new strapless remains cut high in armpits; grand dress de cour dress or "stiff-bodied"; riding habits
- Man: Raincoat; knee length trousers fitted with fitting; full sleeves; Original Macaroni
1770s
- Women: robe ÃÆ' la franÃÆ'§aise or dress sack-back; cloak ÃÆ' l'anglaise or short-bodied dress; Brunswick ; tall hair and headdress
- Man: Vest starts shortening; Macaroni impersonator
Maps 1750-75 in Western fashion
Female mode
Overview
The women's clothing style maintains an emphasis on a narrow and reversed conical body, accomplished with a fixed bone, on a full skirt. The hoop skirts continue to be worn, reaching their largest size in the 1750s, and sometimes replaced by side-circles, also called 'fake hips', or panniers. The court dress has little or no physical comfort with motion restrictions. Full-size hoops skirts prevent sitting and reminding those who wear them to stand before the King. Keeping the right posture standing. Clothes like these can not be washed frequently because of the fabric from which they were made. The enlightenment resulted in a counterattack to the luxurious law that affirmed the stagnant social hierarchy. During the Enlightenment, court clothing remained the same outside of court dresses, the fashions became less luxurious and shifted more toward comfort than on display in sight.
Dress
The usual mode from 1750-1775 is a low-necked dress (usually called in the French robe's robe ), worn over the skirt. Most dresses have an open skirt in front to show the skirt worn underneath. If the gown's corset opens up front, the opening is filled with a decorative stomacher, affixed to the dress above the rope or to the bottom.
The tight arm that has just passed the elbow is trimmed with frills or ruffles, and the bottom of the ruffles is referred to as a sideward in modern terms, from lace or fine linen affixed to the inside of the dress sleeve, or perhaps to a shirt or sleeve shirt. The neck is trimmed with a cloth or ruffle lace, or a neckerchief called fichu can be tucked into a low neck. Women will also occasionally wear a neckerchief or a simple piece of lace, especially on low-cut dresses.
The robe ÃÆ' la franÃÆ'§aise or the sack-back dress features a loose back-back that hangs loosely from the neckline. A fitting corset holds the front of the dress close to the figure.
The robe ÃÆ' l'anglaise or short-bodied dress features a back fold sewn in place to fit the body, and then released into the skirt to be wrapped in various ways.
The Brunswick dress is a German two-part costume consisting of a hip-length jacket with a "split arm" (elongated elbows and long arms, tight forearms) and a hood, worn with matching skirts. It's popular for traveling.
The court gown, grand habit de cour dress or "stiff-bodied", retains the 1670s style. It features a neckline, a low oval showing off the shoulders, and a heavy rope-capped bodice in the back, unlike the front opening robe. The elbow-length arm is covered with a lace-up layer, echoing the entire arm of the camisole used in the original style.
The short short front shirt or lightweight cotton nightgown was the morning wear at home, worn with a skirt. Over time, nightwear became the clothing for the staples of British and American women's working-class street clothes.
As in previous periods, traditional driving habits consisted of specially designed jackets such as men's suits, worn with high-necked shirts, vests, skirts, and hats. Alternatively, the front fake jacket and vest may be made as a single outfit, and then in that period, a simpler jacket and petticoat (without vest) may be worn.
Underwear
The shift, chemise (in France), or smock, has a low neckline and full elbow-length at the beginning of the period and becomes narrower as the century progresses. Drawers are not used in this period.
The long-waisted, heavy boned of the early 1740s with its narrow back, broad front, and shoulder straps gave way by the 1760s to remain without the still-cut ropes in the armpit, to encourage women standing with his shoulders slightly backward, fashionable posture. The fashionable form is a slightly conical body, with large hips. Her waist is not too small. Stay tied with fitting, but comfortable. They offer support for weight lifting, and middle and poor middle-class women can work comfortably in it.
Free suspended pouches are attached at the waist and accessed via a pocket gap on the sides of a dress or skirt.
Woolen vest or lined waist skirt worn over clothing and under dress for warmth, as well as wool-coated skirts, especially in cold climates of Northern Europe and America. In the 1770s it continued to be produced so they would end up higher in the female body. Phillip Vicker complains: '' For late imports Stays are said to be now the most fashionable in London, produced up so high that we could have a rare view on all Ladies Snowy Bosoms... ''
Shoes
Shoes have high curved heels (originally from modern "louis shoes") and made of fabric or leather, with separate shoe buckles. It is a shiny metal, usually in silver (sometimes with metal cut into fake stones in Parisian style), or with stone paste, though there are other types.
Hairstyles and headgear
In the 1770s extreme hairstyles and wigs had become fashionable. The women wore their hair high over their heads, in large clumps. To make high hair high, horse hair rolls, crane, or wool is used to raise the front of hair. The front of the hair is then permed, or arranged in curls and arranged horizontally in the head. The women often set hair on the back in one node. In addition, wigs and wigs are used to add hair height. Pomatum is a stick used by women to tighten their hair. Pomatum is also used to hold powder, which women put on their hair. Pomatum is made of many ingredients including lard, fat, or a mixture of bovine marrow and oil.
Style Gallery - 1750-1775
- The self-portrait of Anna Bacherini Piattoli uses Brunswick.
- 1755 portrait of Madame de Pompadour wearing floral dress with matching skirt. Her sleeves ended with a fold worn over lace. Stomachernya decorated with vertical ribbon bow line.
- 1759 portrait of Madame de Pompadour shows her skirt trimmed with folds to match her dress. She wore a small lace around her neck.
- Elisabeth Freudenrich wears a dress trimmed with silk ribbons. Her hair was dressed high and two curls framed her neck, 1760.
- Lady Susan Fox-Strangways dress is worn with a wide-screen accessory, 1761.
- Queen Charlotte wore an elaborate neck ruffle with a large diamond brooch with her court dress. Her figure shows full round breasts and a small waist that was created by a still narrow, 1761.
- In the American colony Ny. John Murray wore a simple dress with a sleeve, 1763.
- Madam. Benjamin Pickman, the wife of a wealthy merchant Salem, Massachusetts, wore a blue silk dress with a robe. He's carrying an umbrella, 1763.
- Madam. Epes Sargent II wore a dark blue horse race and carried a furry hats, Massachusetts, 1764.
- Marie Antoinette at age 15 uses horse riding with striped striped vest. Her hair was tied back and she was wearing a tricorn hat, France, 1771.
- Mrs. John Winthrop from Boston, Massachusetts, in a fashionable outfit in 1773. Her indoor cap was trimmed with ribbed and dotted ribbons, and her dress was trimmed with a cape of ruched cloth (strips of cloth) on both sides). Fichu's lace filled her neck.
- The side view of the 1774 skirt shows the folds of robe and ribbon ribbons.
French Mode
- Men's fashion
- The 3-piece human cat has a coat, vest and trousers from pieces, silk velvet that is not cut and hollow, France, c. 1755. Vest button fits with coat button, but smaller. Los Angeles County Museum of Art, M.2007.211.947a-c.
- Portrait of George Frideric Handel in a dark red coat with a thick hand end worn over a long gold brocade vest or a vest. Her dress has a full sleeve assembled on the wrist with ruffles, 1756.
- A double breasted necked man's, an at-home gown or an informal coat, made in Dutch silk China, 1750-60. Los Angeles County Museum of Art, M.2007.211.797.
- The 1761 lawsuit has a dark blue coat and vest with fine embroidery at the edges, deep cuffs, and pocket folds. Hair is tied back but not powdered. The vest reaches until mid-thigh.
- M. Gilbert DesVoisins, Country Adviser in the Ordinary wears a shirt with front ruffles and fine lace wrists. 1761
- Informal country dress 1760-62. The long coat rimless coat is a skirt .
- The Comte d'Angiviller wore a red coat with a coat of fur on a flowered white satin vest with gold or embroidery. His shirt has a lace on the front. French fashion emphasizes rich fabrics over cut and sew, c. 1763.
- The portrait of Lord Wodehouse wore a dark blue coat, vest and pants, 1764.
- Nathaniel Sparhawk of Maine wearing a rose velvet suit with a collarless coat, 1764.
- David Hume is dressed in a reddish-coated gown and a matching vest trimmed with gold ribbon. His shirt sleeves were collected into wrist bracelets with small folds (visible to his left hand) and had a fine tuft, 1766.
- John Gray, the third son of the Earl of Stamford, wore a brown coat and vest over a linen shirt, 1766.
- Denis Diderot wore silk silk on his vest and shirt. The shirt is tied with buttons and buttonhole in the neck, the detail is usually hidden by stock, 1767.
- Samuel Adams wore a plain coat with a wide reversal, a small collar stand, deep cuffs, and a large pocket cover. His shirt has a small sleeve ruffles and is worn with narrow stock, 1772.
- The cost of a young girl in 1754.
- Boys' clothes, c. 1755-60
- Young Irish girls wearing tight, boned corsets, embroidered aprons, 1762.
- Prince and Princess von Mecklenberg wear a standard miniature adult costume for the upscale boys, 1764.
- American boys wear a pink satin skirt on top of colorful vests and a collared shirt with wrists, 1765.
- An American girl in 1767 wore a pink satin back dress on top of a work suit and black shoes with low heels.
- Russian youth in court clothes, with hair powder and miniature sword, c. 1770.
- The man's suit from the early 1770s was worn with a collared shirt and a floppy bow around the neck.
- Arnold, Janet: Fashion Pattern 2: British Woman Dresses and Their Construction C.1860-1940 , Wace 1966, Macmillan 1972. Revised metrics edition, 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 Reveal: 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
- de Marly, Diana: Work Clothing: History of Workwear , Batsford (England), 1986; Holmes & amp; Meier (USA), 1987. ISBNÃ, 0-8419-1111-8
- 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: The Art of Dress: Fashion in England and France 1750-1820 , Yale Press University, 1995, ISBNÃ, 0-300-06287-7
- Ribeiro, Aileen: Dressed in the XVIII European century 1715-1789 , Yale Press University, 2002, ISBN 0-300-09151-6
- Rothstein, Natalie (editor): A Lady of Fashion: Barbara Johnson's Album of Styles and Fabrics , Norton, 1987, ISBNÃ, 0-500-01419-1
- Steele, Valerie: The Corset: A Cultural History . Yale University Press, 2001, ISBNÃ, 0-300-09953-3
- Style, John: People's Clothing: Everyday Dresses in Eighteenth Century England , New Haven, Yale Press University, 2007, ISBN 978-0-300-12119-3
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- The 18th century European dress at the Metropolitan Art Museum
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Overview
During that period, men continued to wear coats, vests and panties from previous periods. However, the changes look good on the fabric used as well as pieces of this outfit. More attention is given to each part of the lawsuit, and each element undergoes a style change. Under the new enthusiasm for outdoor sports and country pursuits, intricate embroidered silk and characteristic velvet "full dress" or formal attire at the beginning of this century gradually gave way to carefully chosen woolen clothes "clothing" for all occasions except those most formal. This more casual style reflects the dominating image of "indifference." The goal is to look as fashionable as possible with a seemingly small effort. This becomes the new and dominant mode of thinking.
Coats
The mantle skirts narrowed from the styles overgrown the previous period. The vest extended to mid-thigh into the 1770s and then began to shorten. Vests can be made with or without arms.
As in the previous period, loose, T-shaped, cotton or linen called banyan was worn at home as a kind of change over shirts, vests, and pants. People who are intellectually or philosophically bent are dressed in banyan, with their own hair or soft hats rather than wigs.
A wide-collar coat called a skirt coat, derived from a traditional working-class coat, used for hunting and other country activities in England and America.
Shirt and stock
Full sleeves, gathered on the wrist and dropped shoulders. Complete outfits have tassels or fine lace, while uncluttered shirts end up in ordinary wrist bands.
Pants, shoes, and stockings
Knee length trousers fitted with fitting and has a falling front opening.
Low heeled leather shoes tied with buckles worn with silk or wool stockings. Boots are used for horseback riding. The buckle is either polished metal, usually in silver (sometimes with metal cut into fake stones in the Parisian style), or with a stone paste, though there are other types. These buckles are often quite large and one of the largest collections in the world can be seen at Kenwood House.
Hairstyles and headgear
Wigs are used for formal occasions, or their hair is long and powdered, brushed back from the forehead and beaten (tied backwards on the neck of the neck) with black bands. Wigs are generally now short, but long wigs continue to be popular with older generations. Wig is made with lots of white powder.
The wide-brimmed hat appears on three sides called the "spiked hat" (called tricorns in later eras) used in the middle ages.
Macaroni
Macaroni trends grew from the traditions of those who participated in the Grand Tour. An elite man in the 18th century will travel abroad throughout Europe, namely Italy, to expand their cultural depths. These people adopted foreign modes and tastes and brought them back to England where they interpreted further. The original macaroni of the 1760s is characterized by elaborate clothing consisting of shorts and tight, large wigs, fine shoes and small hats. Since the general population of British men becomes exposed to the fancy appeal of the macaroni trend, they begin to adopt and emulate the trends they see. In the 1770s, anyone could perform as if they themselves had been on the Grand Tour based solely on their outward appearance.
Macaroni and the next copycat were criticized for being gender-prone and feminine. Frequently, the fashion trend of macaroni is the subject of caricatures and satirical pamphlets. Their big costumes like wigs and short coats, in contrast to the masculine British outfit of the day, were mocked for their frivolity and said to threaten the stability of gender differences, damaging the nation's reputation. Questions about jokes and inauthenticity also participate because by dressing as macaroni, one claims the status and means of an elite who goes to the Grand Tour.
Although many scoff at macaroni because of their eccentric external features, some celebrate for their commitment to a demonstration of personal identity. The idea of ​​a unique character became an important concept that spanned many types of media including books and prints as Britain wanted to distinguish itself from France.
Style Gallery 1750-1775
Children mode
For most of this period, the clothing worn by older and middle-aged children older than toddlers continues to resemble the clothes worn by adults, with the exception that girls wear corsets and back skirts that rattle harder than open robes. Boys wear dresses until they are broken.
Working class attire
The working-class people in 18th-century England and the United States often wore the same clothes as fashionable people - men's shirts, vests, coats and pants, and shifts, skirts, and dresses or jackets for women - but they have fewer clothes and what they have is made of cheaper and stronger fabrics. Working class males also wear short jackets, and some (especially sailors) wear trousers instead of trousers. Smock-skirt is a regional style for men, especially shepherds. Village women wear short, hooded robes, most often red. Both sexes wear a handkerchief or neckerchiefs.
Men feel hats worn with flat edges rather than cocked or popped. Men and women wear shoes with shoe buckles (when they can afford it). Men working with horses wear boots.
Note
References
External links
Source of the article : Wikipedia
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