![]() Tied with pink silk ribbons matching those at her elbows, the lappets are en suite with her double engageantes, or sleeve ruffles. Her black silk lace “ necklace ” is caught with oval-shaped diamond brooches and a floral-and-pearl ornament, called a pompon, and a small lace cap with long lappets decorate her delicately powdered hair. Gathered bands of lace are stitched to her stomacher and bands of metallic bobbin lace almost cover the pleats of her bodice front and embellish the edges of her wing sleeve cuffs. Madame de Jullienne, who holds a knotting shuttle, wears an ivory silk satin robe à la française whose plainness sets off her rich accessories (Figs. Men ’ s coats retained the fullness of the previous decade with prominent sleeve cuffs and flared skirts, and the already established contrast between English understatement and French luxury is evident in contemporary portraiture.Ĭharles Antoine Coypel ’ s 1743 pastel portrait of François de Jullienne and his wife, Marie Elisabeth de S é r é de Rieux, conveys the grace and elegance associated with male and female clothing during this decade (Fig. ![]() Hoops, or paniers, were at their widest in this decade, especially when worn at court in England. The most notable change in the gown from its introduction around 1720 was the tighter-fitting bodice that was cut separately from the skirt, oval sleeve ruffles that replaced the wing cuffs of the previous decades, and the addition of applied decoration, often in the form self-fabric, silk flowers, and delicate passementerie that was stitched down the center-front opening and across the front of the petticoat. The robe à la française with its characteristic back pleats falling from shoulders to hem was worn throughout Europe, as both formal and informal dress. ![]() The middle decades of the eighteenth century constitute what dress historian Aileen Ribeiro characterizes as “ the triumph of the rococo” (Ribeiro 121).
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