!

..
j •

.
'

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t

4
'.
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\ 1033 MONE'I':.Mme Gaudibert, 1868.

Paris, Musee du Jeu de Paume.
(Photo Flammarion)
1034 ALFRED STEVENS: Autumn Flowers, 1869.
.
1035 L. BONNAT: Madame Pasco, 1875.
Brussels, Musee Roya\ des Beaux-Arts.
(Phot~ Splendid Color) Paris. Louvre. (Photo Flammarion)

I •'

'"'
._\\1
'~

,, .... '
,

C E MONET' Women in a Garden, 1866.

n) 1037 RENOIR. M
Pans, uscc Jeu de· Paume. (Photo FJamrnario
103~ MLAJJ..Ddu
Coloane, Wau;af-Ri:hMme Sisley, 1868.
• artz Museum. (Photo H. Doppelfeld)
 the Tuileries events, ·nor did ~hey arouse, the same d~~ire-for
dis lay in people connected with the Elysee, and even less did
th! stimulate the competiti on that had once existed between
the great creators. --~
French 'Society' between 1870 and 1914 was thrown back:
on its own devices to satisfy its taste for elegance. The Ancien
Regime and the Imperial aristocrac y, the bourgeois ie enriched.
by the economic revival, and the spendthrif t, frivolous der_ni-•
monde that succeeded to the folJies of the Second Empire, all
provided an easy prey for the new lords of elegance, the masters
of Couture and Fashion.
It is in the light of these factors that we can understan d the
role of Parisian Haute Couture during this half century.

THE GREAT MASTER S OF FASHIO N

... I ,.

While under the Second Empire Worth was the inconteste d

master of.fashion , so much so that he has remained the symbol
of the period's elegance, leaving his mark on the sumptuou s
toilettes that were worn almost until his death in 1897, a whole ·1038 J. BERAuo: Evening
party given by the Caillebottes. 1878.
d'Avricourt. (Photo Flammarion)
cons,tellation of couiuriers shared a well-earned renown after Collection Comtesse Balny
the last years of the nineteenth century. 1039 JAMES T1ssor.: Portrait of a Lady, c. 1865.
Their names have come down to us for various reasons, but Paris, Louvre. (Photo· FJammarion)
we shall limit ourselves to mentionin g the few who transforme~
costume between 1890 and-1914.·
Redfern, an English tailor with shops in London and Paris,
deserves the credit for the introductio"n of the women's 'tailored
suit' after 1885; then, in the early years of the twentieth cen- '
tury, of the 'walking suit' whose skirt, reaching just to the
ground, was convenien t for outdoor pursuits; and lastly, the
'tailored coat', inspired by the austere cut of ·men's co~ts. He
also successfully designed theatrical. costumes for celebrated
actresses. 1
Another magfcian made his appearanc e: Jacques D~mc_et,_a
neighbour of Worth, in the same house in Jne rue de_)~ Pat?(
where in 1824 his grandfathe r had opened a 'milliner's s~op.
Doucet was .to reveal himself the most feminine of coutuners,
with a pref~rence for delicate, airy toil..et!es, _in whi,ch _lace. and
pale silk crepes transposed the pa'l~ttes -of his fav<?unt~ eight-
eenth-century painters. He dressed Society women and..,the
demi-monde as well as prominent actresses (plate 1105), and
for many years he alone dressed Rejane, the famous a_ctress of
Madame Sans-Gene and Zaza.
In 1907 Doucet's fashion house acquired a young d_ress de-
signer, Mme Madeleine Yionnet, who was afre~dy experiment-
., ing with the bias cut which was to have a tnumphal _success
after the First World War. From her very first ·collection with
Doucet she appeared as a revolutionary, presenting ~anne-
-quins barefoot and 'in their skin', which meant without corsets.
She set up her own house in 1912, and made her faithful cus-
tomers, Lantelme, Lavalliere and Cecile Sorel, models whose
bias pleats produced an astonishing falling line which revealed
the outline of the body in movement. From 1918 to 1939 she
was to be one o~ the great names of Parisian couture, not only
for ~er accomp!Jshed techniques and her faultless handling of
fabrics, but also because of her inborn sense of how to enh
her client's femininity (plates J_ 087, 1089), and the harmon a~n;~
balance of her creations. Y
In the ~rst ye~rs of the century. fur finally acq~ired the im-
portan~e It has smce kept, after·serving mer.ely as a trimmi,ng
The. disappearance of b~stles an~. baJJoon sleeves made i~
possible to use fur for jackets and coats (plate 1112), innova-
,
l .... .
.,}

391,i

ct
 . -- - l
-.
-:< . ..,\ .'J _:

1040 .JAMES T1
1863. Pa ris , Mu sso n Po rtr ait s in a Pa rk. 1041 CARoLu
(Photo A.rchivessee d.' A.rt Mo de rne . • s-DuRAN: La dy
(P ho to Gi rau do wi th Glove, 1869.
Ph oto gra ph iqu es) Pa ris , Lo uv re.
n) 1042 A. FE UE
Be rli n, St aa tli chRB AC H: In Sp rin g, 1868.
e M us ee n. (P ho
to Dr uc h Oder)
CO ST UM E IN
EU RO PE TO
10 3~ 9. 1043, 10 W AR DS -18 70 tio ns in tro du ce
ted by wo me n's 45. 1049 Th e simp1ified; alm d by Re vi llo n,
pe rfe ct ed . w hi ch he co ns
by the bu st\ e sp fashion at. the mo me nt wh en os t ge om etr ica l sty le ad op - • ta nt ly varied afl
Pa ris fashions rea d thr ou gh Europe._ Sh the cri no lin
In 1909 in on e - . • tl
or t wa ist s an d sme wa s rep lac ed of th e re tu rn s -
all ha ts ref lec t
in ea ch ~: nt ur y to fa vo ur w hi • d
·uP HO LS TE RE R's si nc e th e M id ch ha d occurre
dl e A ge s, su pp
fJ
ST YL E',
1044, 10 4~ 8. 105 AN D TH .E ~lR m us ic an d da nc or
are sometimes ~,a1 Th e pou~ is heavily loa
ST PE IU OD
OF TH E BU e, the- Ea st ag te d th is time
de de d wi th tri mm
ST LE wi th Di ag hi le v' ai n _invaded th
1051) or po\o~a1s of t_wo differen
t ma ing s, go wn s s Ba lle ts Ru ss es e W es te rn Wor
ter ial s. wi th tun
was a sho rt- hv edcs (p\_ate 1046). The_'two-h ics (pl ate s 1044, re ad y br in gi ng . In Pa ris on e •
fashion at the be and\e co lo ur to th e co ut ur ie r wa~ a: 1
gm nin g of thed' su ns ha de (pl ate 1044) P au1 P oi•re ai d of pe
ce ntu ry t, w ho ha d be rs on 0th
h ad• op en gu n as a yo un d •al ity wi in cl 10gh.
ed a sm al l fa sh g es1gner th Wort ,
str ik in g ex pe rim io n ho us e in d
en ts. Ev en be fo 19 04 an d b rke on
co stu m es by Ba re th e Ba lle ts Ru em a th h .
ks t an d Benois. ss
0f
colou rs us ed m . , he ha d re vo lu . • esd wi f eir
w om en . tio ni ze the range
cent. to ne s w ith 's cl ot hi ng , re pl ac . ale
b • h de ep ·vi ol et vi mg P ' ev an es·
d
ng t gr~ens an
d • br an t re d, w ar m or ge ~nt
-: wh o de ni ed ha bl ue s 'w hi ch m ad e everyth1 . st• an • Po
1~ 3- SILVESTR
E LE .OA : Th e
Mi lan . Brera. (M
. -. Ba lle ts Ru ss es ,
vi ng ab so rb ed _n
· th e vi ol en t on g ~g • 0 f the
ire ,
us eu m ph otoPe rro /a, J8 68 .
' no t on ly im ag entahsm_ • but
) al so cr ea te d th e in ed 'cl ot hs of
•· tu rb an a I' or ie nt fire nd
k"
or s ltt s w ith . - al e ho bb le go wn a JO{ }07),
sm al l ho op s, su , s (plate ·cs
~eavy ca pe s co lta na sk irt s, su tUlll ,
ve mptuClU sof
tic ol ou re d fe at re d w ith fri ng es an d ta ss el s, rnul·
he rs an d sh im m er in g co co ck ad e~
fox sto l
es. H"1s id • ea ils of pe ar ls un r white
Rob~s de Pa ul s ar e im m or ta • I ·b 's atbuf e ie s
Po liz ed m n ll aP
ra hn g Le s Chos ire t, w hi ch ap pe ar ed in 1908 e nd 10 . the '"
es ,a
ep ap e w ho fo r de Pa ul Po ire t pr od uc ed in 19 Georges
tw en ty -fi ve l l by •ve
Vogue.
style of Th e Ga ze tte du Bo ye a; s wa s to cr ea te the c~ rs of
. p 01• • n To n wa s ste ep ·t and
re t, m ed in th e spirfi ,,.,tar·
tm . 1:'e bo ld ly th e dr aw in gs of Ge or ge s b' an d
as ke d th e pa in Ba
te r D ufy fo r texr ier . ons and
1
T
also u~vented th til
e fir st co ut ur ie r's pe e de Sig '
Bestde th es e na
b ro ug ht l m es sy m bo ls rfu m e: Rosine.. d others
es s pu . . • of a wh ol e pe
m os t re pr bl ic iz ed bu t no . no .• ns · the
tu o es en ta tiv. ' less im po rta nt 10• novauo
_us gowns, wa e, M m e Pa qu in w ho , bk . W th loved su•rnP·
s th e fir st to th e
qu1ns to th
fi F e ra ce s, al l pr es in k of se nd inor • rnanne·
g severha1 ..,as the
rs t
Lon do re nc h de sig ne r to op en tin g th e sa m e gown. S e
en br an ch es ou y,
n' th e • B tsi de France~ first 1n
•

n in ue no s Ai
cd 1t her
0 .
. ener ge tic • . re s an d M ad n"d •
,. M as tin g re no wnla di es , en do we d wi. th 1m . • cable tas te ear••.., ·
in co ut ur e. Th pec ' b"'
J

392 , .
. . . se :~ • in tro du ce d th e
sitwity m th.cir
e Ca llo t Sisters, directed '
m od e fo r tames
ha nd lin g of diffe , an
wed great
I• •
"jf-1 rent types O t cs~o~h- Jeanne
 • _ - - r - T ' - ! ,·

. .....
.~~•f '•' ._ -
- -
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I I

,_

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•
.. •_-r: ., .. . .
~,~.·--. ,,; ;., ,. ·: /' •.~,.. -->-::.. • :--

1046 JAMES TISSOT: Young 1047 GIRAUD: Godmother's Garden,·:..,

1044 Couple in a Garden. 1871.
Paris, Bibliotheque Nation ale,
(Photo Flammarion)
1045 MAXW ELL ARMFIE LD: Faustina, c. 1875.
,
Woman, c. 1875. Oxford, J876. Paris,.Bibliotheque-Nationale,
Paris, Musee d'Art Moder ne. Ashmolean Museum (Photo Flammarion)
(Photo Archives Photog raphiqu es)

for her small

Lanvin aband oned millinery to make dresses
to Haute Coutu re, where she
daughter, which rapidly led her
person al style in the luxuri ous decora tion of her
showed a very
textile s, insets and ·em-
creations: brocades, gold and silver
(plate 1102). She used a new range of colour s1 very
broideries
different from Poiret's.
st
In millinery, Caroline Rebou x showed herself ,the greate
the Secon d Empir e to· the pre-
artist in three generations, from
demonstrated
sent. Others, such as Virot (plate 1070) or Lewis,
tunate ly the bads an epheme-
endless resour:ces of taste. Unfor
• • • • • It

creatio n; very few model s have come down to us. - • 1. •

ral
trends-in the
. From our distance in time, we can trace two
new orien-
years before 1914. On the one hand, there was the t
showe d itself in vibran t tones and bold contrasts.
talism which
narrow , soft tubes and crowned
It sheathed women's bodies in I •
red hair with turban s and aigrett es; full-pl eated capes
lacque
ette of.these
wrapped women in the evening. The sinuous silhou
elongated creatures seemed to move in a perpetual
tango, like ' .
of a movin g line. : • • .: •· ·
the symbol
. the ,Art
Other designers used consummate skill to renew • 'L
. . '

clinging,
Nouveau of the 1900 period. Textiles were ·soft and
, '.

lace. This . ',. i

adorned with brilliant embroideries and transparent ' . :.
,·1
by boldness,
style remained the favourite of women frightened
• '
. . .' t ' .·,
they did not
who were happier to accept new fashions when ~~;.~·J,·,
' .
.
break with the past.. • •· I

their
These two tendencies existed side by. side, and despite
for those who knew them they stil1 remain the
opposition,
,..
symbol of the elegance of a lost world..
. )

I •

WOM EN'S COST UME ,

~uring the forty-five years between the end of the

S •d E
First World War the devel . econ m-
pire and the women ~s
h three sta'g opmen t of
costume went throug es. . . ,. ..
FROM 1868 TO 1885
f ••.·' • • • •
After 1870, to foJJow early fluctuatf
onJdo fashJ~n wo~ld entail
a year-by-year chronicle which wou
, be as weansome as
 -
.
• r .·, ; •
I
••

'

,. 1'
• • '·
. .
di ffi cu l(t o comp_. . • od es o~ er la. pp ed·, th e ec on om ic
1\e . Ce rta m
co nd iti on, s res'ul . f m th emFr an
. •• • p ss ia n W
ar co m bi. ne d
- • ' •
tmg r9 co - ru woME.N s F_!'-·s- RI ON TO W AR DS 18 80
wi th ~ ~ew rl\idd . h. h s~ ~e de d . t becomes lo we
l.e c\~ SS re st ra t~ th e wi ld ye ar s lO 5••0.• 10 56 . Th e wa1s r-t he bu stl e di sa
of th e tm ~r ia \ t; i~he H au te Co the gown i•s· comnlicated with
dr ap er y •
pp ea rs. the foot
of
pe n? d. A:1°tl;;~ ut ur e go wn s •
\a un ch ~ 't?YW n~rivances·ap pe oM
orth, m ge m ou ar ed , de sig ne d FA SH IP N -FR :1 88 6T 01 89 0' •.
to enable :women w st \es w ith lit ati on ha
tle ex pe ns e, fo t-052 . Oyerl~ade
to
it:Was a costly un fo ll? w n~ bu -y \. gown.rthat to r also- is s1mp dd de~o~eather s dis8.I>peated fro m costume
or ·ru r bo as ler
- d~' de rta ki ng t ok fo ur te en costume of this t>e h~ e ., 3:n . id .a discreet eles; the hat
ya r s.o• f C19:,\h an d wa s co ns tru ete d- . ri sa , co m pl ex a m an ne nod gance to
th at it was only
•>
C
·r
bl i
we ar a e 1 1"t ca nt e·f ro in th e ha,nd s of
r
d •
•maker-, • . a go o
.• Toe ~own ,swept ba '
• >•
ck wa rd s, wh ic~. •• h • es s
was suddenly dr follo
aw n ov~r. bu st\ \ye~ t e pn nc
~~;h reached its fulle
st de ve lo pm en t
e, a b_?"n~d ha lf-
ca ge
· • 1885 '·plate iri th ~ --~·rly 18
ag am m ' 1058) Al m os t at 70s an d
rea-ppearance ·or th e
polonaises•, a re• . : • sa mf eLtill }e we e th e
th e outer gown tmmscence 9 . 1 • XVse I t \e.
completely sh ow ou rs sY ,
a longer or sh or ed th ~ un de ts~ irt
ter tra in at th e ba an d forll_led
ruchings or pa ss ck , edg~d wi th
em en t~ es de pe ?\ ea
·fashfon. was to nd in g on th e tim te d f n\\~,
.\~ t over te n ye e, fo r th is
co ns l~ ed of tun ar s (p la te '\0 59 ).
ics dr ap ed 'at th Ot he r m od el s
hi nd (p lat ,}954 e sides an d fo rm in
7 ).' Aprons, whi~ g bu stl es be - 1049 THEODOR
were ad de d" o these ,already h we re als o dr ap ed , ~ d sc ar ve Be rli n. Na tio naRu do lf Hi rth . in his St ud ~. 7
AL T:
ov er lo ad ed form s l GalleTY. (P ho 18
th e extravaganc
es of fu rn itu re s,, wh ich ec ho ed i'oso GERVEX: Portr to W . Stemkop00•
gl.6mmeratioii of up ho lst er y, evok ait of M
fasnionahle draw ing_ th e ~on- me Valtesse de- la
. full-mnged cu .ing-room~ cre Paris. Lo uv re . (P ho to FlB1 gne. 1~ 8\
rtains, bu tto ne d
_ _DJ.!~~g f:, • r chairs,.bi be lo ts an -mmed wi th am ma no n
fif \ee n . d pl an
'CCS-"3.nd rucning ye ar sJ hi s accut]ulat~on of clo ts. "
•• ., • ._ - • Be tw ee n 18 70
s -w th , -p} an d 18 85 w e st
• m ~~ in cs . abou eighed do wn y,,omen's.'silh.ouette.,e~ts;-floun- be rs of ac ce ss or ie s: e th e ap pe ar an ce
of va st nw n-
ndlil_ i~ judicio s. Fa sh io n trimmi,ngs fic hu s an d Berth
a ~e.;., totlette-out ~s advice on .h ow
:-t o ·p ro du ce , wi th in fin ite ly a_,.co lla rs w er
e in de pe nd en t
.. tp e f<i;sµions , /two s\j.ght1y tir tra va ria bl e'
o_f the~day in~comb ed go wn s:y .N i~ ns fo rm th e fla t fo rm s, en ab lin g
ini'!).g \e sp ec tin g bo di ce of an y wo m en to
•~ i~ t•w as a ~ s .. Belts· ~e ve lo pe go w n at lit tle
pl ain w,ith s(;jpe tn e l)laterials. The·under.: d wi de en ds ex pe ns e.
.stuffs were plai':1 d;.polonaise or tti pl ac in g_ bustle&,• pa rti , kn ot te d lo w on th e hi ps
, th ni9;
wc5rn i1 matched e under'skiq -..yas- da rk er ; if sp .if bo th p~ogress1ve an~ r~i
I -
cu la rly af te r
were any, were tHe tu ni c tti!'flming., an_d its sli
a encer was ly di sa pp ea re d
to
18 75 , w he n th
gi ve a sl im sil e cag_e ,tse
ma4,e in th e t4;hic ev es ; if th er e s~ irt s, pl ea ts·an d flo un ho ue tte . Bu t do
. Th is over-loa clo th , a-nd so on ~hese str ai gh t, ce s ha d sti ll no uble
<ied style co rr~ : se m i-p rin ce ss t di sa pp ea re Q
~umpiuo~~_inhe po nd ed ~to th e go w ns a ho bb le an d g~ve
rite~ fr o~ 'th e pr taste~ fo r th e rp 9u \~ ed . ~he bu'S1; d lin e. Bod~ces
be_ ·r~gmz,e<:\_ - ec tig ht _draperies
d~ ·fo t .compleJ eding peri,;,_d.,:but -, it" m us t re ac hi ng ··almost to '-t w er e w ou nd ro
un d th e hipS,
-swt'ed ~v.en less he kn ee s; a pl
th e .m~re ~ctive,. ely su it .al r women, an q it (sweeper) ta ile d ea te d pett_icoat
~~\:of '?0~\· Alon less op ul en t life on th e· gr ou nd or balayeuse
g~~~ !tie f th at- wa s th e • lf ther e we w ith a ~s tli ng
.J
V\Stt.s, ¥le se go wn 5: ke re an y-_lo gic sp un d.
ct\on Qf°the J:oou.tings an'tl go
J
e gfa~ual~mtrodu pt for _wns .w ou in fa sh io n, w e sh
1'8~7·•. J:his was W ld d' •ld no w be co m e lig h. ter ou ld co nc lu de
initial\y~·a 'sh or t' stume af t ~':1 th at th e he ap s- tb at
a tr;un! th en a ·sk sk isa •
. ,.
Th_i_s l -irt- an q polonaise irt, th~t.is, a sk irt w ith o: : tfie bustle pp ea r an d pe rm it ea se •in m of drapef'Y
. 16rmu a, .wu1c . h , of re
fitt d • \., ap pe ar ed , larg'er th an ov em en t. • -188 3
~n rally ap pe ar ten ma
I!·
de in on~ ev er Th e re du Bu t in
a d mi•tted for ~r• . d atu
rap s afl d mo rn . ed •in, varied fo rm.p·1ece.• _e -w it" sh ell s .of•
ho rs e!. .h ai r an d ce d cage wh
as
in g visits, _but- ne , s ski _rt ou t ho riz on ta lly •
sti ffe ne d ga uz e,
~oori w ~r or i:n ' wa s be hi nd th e ..,;ais holuu ...1:.- t e
ve
co.ntroversr, •bu ournmg. It was a subject 9f arg r fo r af ter - ga m ed un pr ec ed en te d t an d th e dr ap _,g fs
t no ne ur oe fit ha d to fu lln es s. ed po ~
ye ar s, . • •.• :.. theless gained
gr ou nd over fif an d . . b a uow ed fo r • ab ou t ; ya rd of
ex tra m at en a
l
W~ inl.¾st f\0_~e tli teen 2nuatt!on th is er ec'tio n. , w ·
1 of · th e bo di ce · back~ or hi ch co ul d fo h co n·
the. c1rtumsianee e strict r~_gulation of CQsturne .., ea s or 'b ut t be a tu ni c dr aprm e. •pe
s ac er t\ .. • ed in _P'de·
clo th es , clo th es a~ d th e tim e of da y: m or ni ng ~ording •to pe nd ~n t .of t1 . Y wm gs •. H ow ev er th e tru -
fo cl o f m at en a\ fi le re st of th e go wn e po u f was 1n·ct
fo rm al dinners, r m fo rm al or ceremontal, visits ot ht s, da . • d co '
ist in g nf ·a r-u ffl d w1 th
in
ch oi ce of• gown fo rm al evenings, balls, th ea tre pr iv ate
, its material an
,
pa rti
J
es · th e
this wa
Th h
. xe
s sh t at thto bth e- u" de rs \d rt.
e ac k to al lo w
• ns
If th e go - e
wn ha d a potonai 5e'
·
cl oa k we re all su d neckline, th e Or \ .. at s of th e po d ou
bj ha t an th es uf to sp1;.ea t.
on e·c ou ld no t de ect fo ~\most rit ua l prescriptiaos d co~t or ce diRneu ou x.• ar e l e la st tw en ty ye ar s th e m as ter f Viro
pa rt wi th ou t ap , fro m wh ich pi ec es oh pre·t
,, So m e textiles pe ar in g lacking for s: ie no ds ; ess_ ea sy to ch ar ac te riz •
e th an th • of t e
su in ed uc ati on . th:ey we re in ut
fu r an d lace, an ch as sa tin , an d some triipming ar s th ey -grew m e - bibi s -= or _atos e st row;
d jewels an d ca s, 'including pe bu rch edeonyeto "'" in he ig ht le a na r were
m itt ed fo r yo un sh m er e shawls we . P u i th e he
bu t in ge ne ra l theY
r~ no t ad:. kntotat ldi •
' Fi na lly af te r g girls. ttle l1_at w ith ribad . Th e cl os ed bo nn et ~a d d'isa ppeare d•
, 1871
· , 'a ne w wo we se e at te m pt s at special co stu th e cee t un de p th h' bo- ns fro m th e ba ck of th e ne od
to un ng , rd : ta rta n sk irt m es for CQnsid~r e c m wa s gr ea ck da of
s and ta rta n sto ck s, bo tly in vo t·l
1 th e en
ca p in gs . In 1888 a • lk. an d •ch
di ce emisette, ed to tl•e ~i (p~ates 1050, 1053.). Fo r ·m gu e un ·t was
. . as t e fu ll- dr es ar rie d
., . was m en tio ~e dpa 5 a no ve lty for tra ve l, co m pomseg su it tr1t~eur ) ni ng •or•in ro
wa •(
th un d' ha t • hs ha t (ch ap ea u pa re ). Thw~ me n ~ppos-
f . is :,v
. or th y at te m pt d o( a , wi . ash rn
pleated tu ni c. s at simplifying ~k,rt an d bu t never fo ; co un try , adtm a1rly wi de bn.m , wo rn 1n t e or·
ta bl e clqthes, bura1.sew ' un co m fo r- f
ro . . m, atu re
itt ed as fo rm al
_w ear
g girls
t isolated. • f m we an ng th wo
f m en · th e la tte r
fo r ~o::Uraged
• • ac e an d ea rs unem , or fe ar 'of ca tc hi we re ev en dis • the
co ve re d. ng co ld fro m leaving
394 . .
 · .
1051 J, B. Co1wr: Woman /11 Blue, 1874, 1052 FANTIN-LATOUR: Sonia, 1890. r Dale Collection.
l'ariN, Louvre. Cl'hoto Flammarion) Washin1ton, D.C., National Gallery of Art, Cheste
(Museum photo)

g;z.44 ;4 U ;
5
 - -··----.;.-_----- ~:.:. =.;:;
---"'•
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1053 Juus DAvm: At the Races, 1884. 1054

Collection F. Boucher. Tunic dress. c. 1884. 1055 Evening gown, c. 1885. 1056 RE:--OI R: Dance in tht
(Photo Collection Sirot) (Photo Collection Sirot)
(Photo Flammarion) Count ry, 1883. Leningrad•. n)
Museum. (Photo Flammano

Caps, which·were still to be seen as neg/ige

head-dresses for
morning outings, and were de rigueur at
home and even for
informal evenings, becam e the prero gativ
e of·old people to-
wards 1875, and partic ularly after 1880.
The colou rs in vogue for gown s, skirts and tartan
s were much
more vivid than those befor e 1868: lightn
ing blue, deep red,
apple green, lapis lazuli, cardi nal's purpl e,
peacock green ao d
mandarine, thoug h there were calme r years
in which colours
were 'mute d, recalling old tapes tries'.
High boots with tassels share d the favou r of
elegant wo~ :
with short cloth boots with paten t toecaps.
Manufacturers to
to launch embr oider ed red or yellow boots
. Shoes were wo~
on1Y at home or for balls. A capri ce led to
the appea~cemId n
1879 of stockings 'finely stripe d in peaco ck
blue and go e
yellow'.

FROM 1885 TO 1900

Even before the pouf began to
lose its volume, t he ve rticallY
kirt•
pleated skirt began in 1885 to comp ete with
. . the draped 5 ce
The tailored suit' ' soon know•
n simply as ta1/leu . • fran •
1057 SEURA T: La Grande Jane, 1886. ' r in all
Chicago, The Walker Art Gallery, (Photo Girauu was formed of a very ·
tight jacke t-bod ice or Jacke 'th
on) t, wi . s1T1the
basques forming a postilion at the back, and
a double ~ktrt\ngs
upper part of which was slightly caugh t up.
The only tn~;. •in
THE SECON D PERIO D OF THE were saddle-stitching in contr asting colours
BUSTL E or flat brat •
1053-5, 1057-8 The silhouette is still a word, riding costu me but with short er skirts
gives a strange appearance to women's heavy and the exagi:c . t ·db . ,. .' nder
figures
in two colours of material. The waist, squeez. Gowns arc a~! c US le
t We may wond er 1f this was not the fi rst appearance,severe u
·
natural place, and sleeves be11in to develop intoed into corsets a~s ~a~e the influence of English tailors like Redfern, th
of e rnor~ was 10
the leg-of-mutt' is •hn Its
on s ape ly cut tailored suit which was invented in Lo nd
HISTO RICAL REMIN ISCEN CES ~" an ularitY
return to Paris short ly after, to meet with
1059-61 Historical reminiscence growing poP
we find dahteenth-century allusiosnsappear periodically in fash . h (plate 1081 ).
•on· ere . down- We
The variety of outer garm ents is impossible
WOME N'S SILHO UETTE BETW EEN to pin rm par·
1895 AND 1904 must not attach too much importance to names·the te
1062-5 The bustle has disappeared, but the .· the same:
curved line; the skirt, flat at the waist, spreadcorset impose~ a si dessus often refers to all varieties; at other urnes_,
1 ,, Visires
the around; hiah standing collars holu the heads out like a bell t~ uouJ, forms are lumped toget
her under the ut e 1• I ,ianti e. e
constantly biaaer. The exaaaeration of the leg-of- erect. and hats be:ar s eat vogu
came and went with the years · but aroun d I 880 th
clilfcrent material from the rest of the dress (plates mutton sleeve 1 ~ grunist ances
1062, 1071) diu ~ ~ was for the cashm ere shawl worn, d' g to c1rc .
last: the fullness became less and moved down
1065) towards the wrist (plat0 '
accor tn . "'agaz1nes
square, pointed, peplum style or as a scarf • fashionhn'"1cres an d
e
constantly proffered advice on the buyin • of cas
g
the types of drape ry they permitted.
396
 , ,
., ..
1:- ...... - ~ - .z:...,,,,:-·

1060 • C. GIRON: Mlle de Clomesnil, 1885. 1061 JOHN SINGER SARGENT : Mrs
1058 BERAUD: At the Eiffel •
J. 1059 MADRAZ O: The Marquesa de White. c. 1883. ·Washing ton, Corcoran
1 1889. Paris. Musee des Arts Manzane do, 1875. Berne, Kunstmu seum ..(Museum photo) GalJery of Art.
Toll'tr,
Decoratifs. (Photo Flammar ion) Madrid, Prado. (Photo Mas) (Photo Archives Photogra phiQues)

After 1891 the silhouet te was totally transfor med. While the
·-. - ..
. - .:,
.
:~..\: ! , :· '\...
,,

habit of support ing the skirt at the waist on a small cushion

.,.
or strapontin persiste d, gowns became much simpler and full-
I .... ' •

-~·
ness moved from the skirt to the sleeves. These puffed·o ut pro.-
• "ft
:''1 I
..
gressively and in 1895 ·were as volumin ous as they had been .
at the beginnin g of the reign of Louis Philippe (plate 1079).
Successively called 'leg-of- mutton' , then 'balloon ' sleeves, they ) ...
r•.

were often in a differen t stuff or ·colour from the rest of the·

. . . ,__
,,- ,...) -. .
gown. They brought with them the vogue for shoulde r-fitting
;

. -.
col/ets, types of cape,. cut in varying ways, -short and full with
standing collars, the only garmen t that could be worn over .
.. . •
·,-~~r
J', ,.., ...

these. exagger ated sleeves. ·From 1897 on these sleeves were

...
- .,:,, '

replaced by small bouffan t sleeves for evening gowns and long, • ... .
semi-gigot sleeves in town dress. •
We also note the return to older styles, long jackets in 'Di-
rectoire style', 'Medici s' standing collars, and even a 'Henri II
col/et with Watteau pleat'. • •
These fashions continu ed with innumer able variatio ns until ,,,._,..,~
1898 when the bell skirt, loaded with flounces, lawn ruffles and ... ----_ -:.· . _,. -.•
4• • ·,~. -~- -. . ,•.: ::
lace frills and other trimmin gs, was worn with a 'wasp waist'
•• ··~_"'!..,. ••~ ; ! _ . -

1063 Winier styles, 1896.

achieved through wearing boned corsets. Sleeves were tight, 1062 Fashion figure, 1895.
Collectio n Union Francaise des •
Pari~. BibliotheQue Nationale ,
with only a slight puff at the top, and bodices had high collars Cabmet des Estampes . Oa 20 Arts du Costume
fitting-r ound the throat. Hats grew larger and were covered 1064 Figure of fashion, 1899. 1065 Garden-p arty dress. 1904.
with feathers, flowers and ribbon rosettes, but women also Paris, Bibliothe que Nationale Paris. Bibliothe que National e.
wore more restraine d toques turned up at one side. Shoes
were Cabinet des Estampes . Oa 20' (Photos Flammar ion)
long and pointed; towards 1890 we see the first experiments
,----
j
1 -
,.,..I . . . .: • . . • .., '
with coloured leather, for women at first, then for men. -'
~-·.
•

Some coats with three tiered collars revived pe/erines from

}-:I,
'f ,,,
the Romant.ic period; simpler models with only one cape collar ~· ,1
we~e worn as ~porting costume by elegant women who drove
' ,·.l. "'-I-••"! ''
: •. :•·A
their own carnages. Soon these women were to climb aboard
the fir~t _moto_r c~rs, with vast dust coats in neutral tones and ''-'""'~•·-~
-~, :r
hats h1dmg gigantic goggles, worn under long veils designed
as m~ch to _hold the hats in place as to protect the face from
the wmd raised by the new contrapt ions. .
Ther~ were e~orts to simplify town dress; towards 1886 the
~rst tallored suits, importe d from England, brought a strict
Jme th~t at first di~pleased women by its austerity ; but French
I
1
I coutune rs were quick to adapt it to the tastes of a clientele that
 -
. ..
. .
1066 Sporting Woman (detail),
1883. Paris, Bibliotheque .
Nationale. CabiAet des Estampes,
oa 20~ (Photo Flammarion)
io67 Juus,L EFEB VRE: Yvonne
(detail), 1901. Paris, Mobilier
National.- (Phot o Archives
Photograohiques) •

,
I

•I

'. ' >•:;.

• --- ?. ;,· _,.I .,f

1068 'f. DUBUFE: Mesdemoiselles

':~:~ ,.--..,
't

1069 L. l30NN AT: Mme Pascal
Dubuf e (detail), 1884. Private ~•_(detail), 1905. Pau, Museum.
Collection. (Photo Archives •
• (Photo Archives
Photographi'ques)
Photographiq ues)
• 1070 Hat.o f white lace trimm ed with
pink 1071 LtENZ O: Senora
ostrich feathers by VtROT for Mlle Cleo 1895. Madr id. Museo
de Merode, 1904. Colle ction Union
de Arte Mode rna.
Franc aise des Arts du Costu me (Phot o Mas)

-~

)073 JoHN SINGE R SARGE NT: Mme Gaute

rtau. 1884. New York, Metro polita n M -
(Muse um photo ) , useum .

1072 L. BONNA T: M~ Caht11 cl' Anvtr s

1891._ Bayonoe, Musec Bonna t. (Photo
t\rch1vcs Photoira1>hiQues) •

1074 Dress in
bead-e mbroi dered yellow
tulle, worn by Queen Alexa ndra. 1907.
New York. Metro oolita n Museu m.
(Muse um photo)

398
( •• f
i-
 1075 MONET: In the Conservatory, 1879.
Berlin, Staatliche Museen.
(Museum photo)

i
r
I076 RENOIR: Woman in Blue, 1877.
The Reader's Dieest, Pleasantville, N.Y.

1077 JoHN SINGER SARGENT: Mme Edouard Pai/Itron, 1879.

Collection Mme Henry Bouraet-Pailleron. (Photo Flammarion)
 ~-<i~:t~-
,

;·
' .

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l
J
., I

I
'
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t'
I
r
r !1
tI
\\ •• ·t

..
. .., .
j ..

~l~·
;t .... .... ....,,, .. ,
\ /
1078 GIOVANNI BOLOINI; Mme ·-
A 1079 J. BERAUo: Pla~e de la Co11 1080 R. CASAS: Se1iorita
l:,1 11f
Charles Max. 1896, . . c. 1895, Paris:-.Musee Carnava\~t. ~orde, Bures, c. 1900. Rarce\ona.
1081 English tailored suit. 189~
. r1e 1c:°at~:1
Paris. Musee d' Art Moderne. •(Photo Bu\loz) . Album. Paris, Bibliotheque N3:t}
,,I lj I 1 (Museum 1>hoto) Musco de Arte Moderna . des Estampcs. Ob 100. (~hoto ~n~~arion>
I I (Photo Mas) a
I"lj
·i:;1 FROM 1900 TO 1914 :·
After 1900' the silhouette beca
HATS ,
tI .. • :, • • . d
1066-70 Hats around 1900 are large • .
me imp erce • fter an
and fe'athers; this was the fashionab and generally laden with flowers
lighter· the waist was progressively ptib ly so and Em·
'. i I, in •France as amazone.~. or as weep le l)Criod for osrrich feathers, known , less accentuated,
pire and Directoire styles were• laun .
I by a further str~n? minutely gummers when each strand was lengthened ched yet ~ga•i:hic The tram
• 11
ed on_ h fitted
disappeared followed •by-the coll
closely over 'the hips, spread out at
1\ '. ar. The skirt, ( late
the foot n1 e flowii
EVENING. GOWNS
l, 1011.:3 .Although ball gowns dd
,.
er p
r fashion. their silhouette becomes slimmnot exact ly• follo w the gene ral line of 1065
•
). The tailored suit (plate 1095) was ·now umversad wom
·t ma e ~ts
I
and deep; a train normally comple,ies er and 9~01letes extremely wid~ a"-
the gown . . .. . in .town dress .and, after 1902, the ·
walking sui 1 .,
1' •. h timid
\
• •.•
., • ' •• ' •
P eara nce • this last mod el was a grea t
'

adva
• t

nce ~ t e
,,
SUR>:YIVING BALL OOW NS 0
I -:<·
1074 Bead embroidery.is a characteris
::, '' I·
.:. · · attempt in' the previous period, for • t ly Just reached
tic trimmjpg of.the fashion~ of.the the skir on
ground or even stopped_ a. couple of • h s short of 1·t• Ber
I II beginnin~ of th~ twentieth century:
it was. later ~o be,even_ more widel the •
I IiI used • ·' ' • ·• ·' '
y,
• ·· dices had.very high collars,. and sleeves at first flare
me e d t at the j
I I TOW N DRESS • . , .
·'
. , ;
• •
wrist, then tightened. Their fullness
moved d0 .wn r caught
ofuom the l
Ij I\ I 1075_.(:, 1079-81 Town dress beco
mes simple; with the in)roducti of
(
shou lder to the elbow, then to the wns • t, where 1t was
the.tailored suit,'mannish in·cut,
I II Shirtwaistcr bodices.with )\igh colla in plain material. with a'leatheron belt; in. The new line of the body, obtained by
f mpletelY
: I who are beginning to lea(i a more rs are pract ical garm ents for women, new cut, corsets O _a ~oafeature
I actjve life • was vertical in front and very cu_rved
t
I

!I MEN'S COST.UM£ .. •, •
' ..
which caricaturists promptly satirized beht~ ~ity.
with some_ ~rwere held
\

l
1082-4- Men's costume took on The high hairstyles still carried larg
I
I an austerity which only the e bats whtc b-covefS•
'I necktie sometimes relieved. The, top hat was currently worn cravat or up by barrettes masked behind with
,\ . The generally restrained town dres b
flowered com 'ly laden
e heavt
with trimmings for more formal occa s eca~ h.10g embroid·
sions: ~utc jiqued vel·
• J ery
• ,,tace, waistcoats with Byzantin . e decoration, app all used
vet flowers and passementenes and h' s were .
. ,.. .
.i
according to the caprice of fashion,
ru~ mg
whic h
ed with 111·
appreciated jts comfort and convenie . chang .
nce. However, skirts re- creasing rapidity. , d of broa dclo th
mained long, and the coquettish gestl •. Sho rt or long cloaks were most often ma ,
}re of the Parisienne who e it was far
held hers up for walking (plate 1078 but fur was gaining ground every year beca use
flounces of her petticoat (plate 1095
), sometimes rcvea_ling the
er worked than before, ~nd no lon_g, 'ghed down! he
), r~mained a symbol of bett • er wet furs incJudtnS
this period, in which constraint beca s1lhouctte, and also because the use Of~m ~
me elegance, . enab '
h:d
In fine weather, the ensemble was com moleskin Hudson otter and S.b • beaver, mo .
plete d with a feath er purses •to' I enan
. sable an d cn11t·
boa .(pl~tc 1079). , indulge in the luxury dem•e d them m
. Round hats, with all the new shap ·11 f
es to which they lent chI a. • d under• the 111 • fluence 0
themselves brought a new accessory, Tow ards 1910 the S-line disappeare ' d'sap""arance O f the
the hal-pin, which was i·ne
indispensable to hold them on the care • gmg
styles. fully constructed hair- couturiers who were bnn • abOut the I r
. d the strai•ght 1of
. cors et. The re was a return .to Iug • h w:us ts an
. .
Shoes, which varied considerably, , . 5 1108); 1he roothich
still iccludcd low-cut inspired by the First Empire (pl~tesb 110
\

pumps ~or evening wear, lacing shoe a ~traight band :seod

s for summer and high the gown might even. be ca~ght 1\ \ob ble skirt', ~l~~uct1e
laced or buttoned boots for walking barely permitted walkmg: this wast s
or winter. . all thc eh se thin tube 51
j for cartoonists, more because t e
400
 y with his Daughter, Mme
1083 S11111111ers11it, 1875. Gravuresde 1084 MARC EL BASCHET: Franrisque Sarce um. (Museum photo)
1082 Fur-lined pe/isse. 1872. Ado/phf' Brisson, 1893. Versailles, Muse
Paris, BibliotheQue Nationale Modes. Paris, Bibliothcque Nationale,
Cabinet des Estampes, Oa 19.' • Cabinet des Estampcs, Oa 19.
(Photo Flammarion) (Photo Flammarion)
or mohair, which
summer, and the outer petticoat, of silk
crowned with extra-
were topped with vast flat-brimmed hats, could be enliv ened with tiers of floun ces, pleats, ruchings or
, or weepers (pleureuses) when the oversl<lrt
vagant ostrich feathers or amazones ribbons. This oater petticoat was revealed
d was leng then ed by added strands. The the elega nce of the toilette.
in which each stran was caught up, and thus emphasized
g for these walking
weigh-in at Longchamps provided the settin ed a circu mfer ence of six or seven yards' and
ss In 1907 it reach
disar med critics. 'Des- arance of the
e elega nce none thele of taffet a. The appe
mushrooms whos used fifteen or sixteen yards
cut was so ad-
ttes, their and its replacement
pite the exaggerations of these toile hobble skirt kd to its
and their trim-
sudd en disap peara nce
so caref ully studi ed
mirable, their colo urs were by the linen or crepe de chine slip.
forced to pay
us that one is period of long skirts
mings and accessories so harm onio We should not imagine that 'during this
artis ts who creat ed them . little thoug ht of; fashi on maga zines indicated
homage to the stockings were
everyday life; simpler matched the
Naturally these creations were not for times the stock ing
new trends each year: some
skirts and pleats or
of the end of the nine-
garments had discreet slits at the foot gown, some times the shoes , whic h towa rds
freed om of movement er. Sometimes the
gussets at the seam s to give wom en teenth century were made of coloured leath r of the gown,
the colou
embroidery of the stocking recalled
without changing the overall line. • ono' bodices (~late 11_09),
This period also produced the 'kim ings with lace inserts
otherwise openwork .stockings or stock
body, which brought lepoint. It is impossib-
with sleeves cut in the same piece as the were worn, made of Valenciennes or need
for shor t sleev es, and, at th~ same ti_me, t~e dis-
the detai ls of the elabo rate styles that were then
the vogue le to go into
pat1ble with the
rs whic h were mcom luxur y objec ts, and, except for
appearance of high colla current. Silk stockings were still
• often worn . After 1910 openwork
supple line of these new forms. changed evening dress , lisle
much less than outer
was most
ings, decorated
In thirty years underwear had g way to plain stock
ry stockings disappeared, givin
it had become more
clothing. During the nineteenth centu
only with 'clocks' at the sides.
embr oidery and lac_e,
of finer mate rials, been dimmed by
elegant with the use
ually ; Among consi~erat~ons whose urgency has
only towa rds 1880 did
but forms changed only very grad
time, m a way of life that has become history,
short th_e passa~e of
sleev es; the Second
the undervest Jose the traces of its with fashion c_reators whose name
by zouav e pan- s fade slow ly into the past,
h panta lettes were succe eded nt until the
Empire ·calf-lengt costume remained
in 1890 by devo
sabot ted to wom an's ador nme
repla ced in turn
taloons gathered at the knees, onali sm the masc-
with wide , roun ded legs deco early twentieth century. The claims offuncti
rated with deep pleated
pantaloons es and the full impa ct ~f econom-
flounces trimmed with lace. They were ~linization of women's cloth
even made in pink
ed -with black . ics were for the morrow.
batiste trimm tant experiment
Towards 1900, to avoid bulk under tight In 1914, through varying modes and cons
-fitting skirts, com-
or petticoat-pan- costu me that coun ted at the time~
binaisons (underski rts), chem ise-p antal woman'~ costume- the only
oons
et, were intro duced. that can be expre ssed in· one of the' new
taloons, known as jupons cache-cors had attained a style
up the renunciation
uced fast colou rs so that
terms of the time: line. This one word sums
After 1900 progress in dyes prod
ning of textiles
. the softe
colou red linge rie could be prod uced of full volumes and the new freedom,
concerned. After all, femi ninity . In the early
J Fancy sti_ll reigned where ·petticoats were and the bo~d colours_, and abov e
to promise
a toum ure or hustle petticoat, n to a new !if e, whic h seem ed
890 the ~~irt no J~nger needed stages_of this adaptatio
days we woul d call a skirt en could not foresee the
nor the v1s1bJe pettic oat that nowa more md_ependence and activity, wom
rgarment. It took tw~ illusion that they were
and t~e petticoat bec~me a true unde changes m s!ore:_ they still lived in the
forms. the under-petticoa t, which was fairly short made of
free, a?d their t01lettes, rich or simple,
helped them fulfil their
percale or bazeen for
wool or mate/asse for winter, or of centuries-old role of pleasing.

401
 ·,.. ·- •' :· .'. •-·~ ~,./ MEN'S c~s!UME • .
· · · ·. · ,• • .-~:..••. · • •/. ., . · . ~l f men's costume had been fixed smce the be-
woMEN's uN'oia.6,4.aMENT S •
•
-~ . g the waist'sJfow ·un:-
• .- The-~ssentia s. teenth century· only the details evolved, and
Sh t • r~ts tightly compre:)sm . · f the cen:. • •ng of the n me ' .
1085-7,J089--90 or ~~tllan those.~rn at the be~m~mtgho reach of _jtnnI , • 'bl to study fluctuations except through pictures.
detclothes far mqte orna h trimmings w1thm e-. I it is not poss1 e . h
tury· machine-made lace brought sue th •nstep (plate 1090)-were a so , . • f h
. • rments that appeared 1n t e course o t e cen-
, d St kings embroidered over e I f tresses were The few new ga
everyb~ dy.1 oc D-'..habilles originally designed or ac . . ' ,. ly the culmination of a general tendency towards
a stud1e e ega~c~.. c:., • • • .. • . tury were on .
also worn in-da.1b' hfe.(plate lOS?) . .· ·. :} . · : 1·fi· ti'on of clothes.
• •. · • • , · ., . the s1mp 1 ca
FASH.It>),IS OF·THE 'BELLE tPOQUE PERIOD
· h•h
, h.- ·'r'the early •
teristics of the fas mns- 0
The1·acket became more freq_uently worn after 1870 and the
1088, 1094, 111_2 ,._one oft .e c ~rac fthecorset, whicl{softened . • • •• •
~he:s1l-. '.· '/.. J·acket waistcoat and trousers 1n • h •
twentieth century ,s the mod1ficat1on o . f p l Poiret and the • SUI
t _e same rnatenal -
At'the same tirne, under the '.. • h h . t •11 "d
• . ·came· 1·nto favour·after
houet ,...
""'.
. . 1· • influence o. ~u
ostume an exotic impac •. t Fur coats 1875, t oug I was stl not cons1 ered
. •
Ballets Rilssts:,..dch''co ?:urs gave C 'despread over the preceding fifteen- correct f~rmal wear. the tail coat and, above all, the frock coat
which had been becoming more wi k d rk
years, were.still a great luxury: fi_ne furs were 'Y0 r e. 1 e_cloth, and. •took• '·,• were the •only styles • ' · •d · ··
admitted for aytur~e v1s1ts ·
or ceremomes.
a variety of form~:-~plate 1112? ·~ . • ': • · . •There ·were rules gover_ning their cut and t:naterials: according
cH1L"oR~N's cosTuM~ • . ; . ~-- :_. . • {J·.: :. ·: • -;·. • •. _·' r: • to the year, they might be Jui/ dress or halffull dress depending
1091 '3 The sailor suit in its,·vanous versions, is ·one.of tM m~st 'Y1de h Th h Id
hr •adult ••. :en the1t Ieng~ . . e same e . good for o ver_coat S . 1ong, f 11
spr~d stylesJor childr:n. Otl'fer--~ashi6ns_ ~c always influenced .
styles .and are complicated and t1ght-fiftmg. In England the.faslJ. 10.n f?r.: shapes were correct for travelhng and motoring
tarta~s. :whicn began in the Victorian period, clad many small boys· ·m . • coats, while
. •h d . b h t d
Scottish dress with Gleogarry bon·nets:,Littl~·boys_~verywlrere ~ore.frocks. elegant coats a to e s or er an more fitt ed , except, of
until'.tbey were at Ieast ·fiye years old '. -·, ' ,., .l •. course, for the f ur-]ined pelisses ~orn in winter or in even_ings
(plate 1082).
Apparently it was in 1880, at Monte Carlo, that the dif!ner
(\\\ ! ''
jacket first appeared, introduced by gamblers who found it
\.\ I'
1085 TOULOUSE-LAUTREC: A Passing Conquest, 1896. tiring to wear tail coats all evening. Until the death of Edward
Toulouse, Musee des Augustios..(Photo J. Dieuzaide)
Vil (1910) it was not admitted in public, but was worn mainly
I in the ~ountry in gatherings of men. The tail coat was still
comptils·ory wear for evening parties or the theatre. ·•
I
I ~n?er tfie fofluence of a more a~tive way ~f life and English
customs, th_e -~~shio_n for sporting clothes developed gradual1y
a~ter:1879, spread~ng through France with the invention of the
b1cyc!~ and i~creasingly a_fter the turn of the century. .
·pu~mg this-late Victorian period, country life led to the
adoption of _tweeds. Tweed trousers were decorated with wide
~~:f 1down· the si~e seams~- ~hile the j~~ket could be single or
e-breast
t rousers- The ed, and. was made· of the same cloth as the
Norfi0 /k j • k •
w 1 :' • . ac et was popularized by the Prine~ of
aUes,. who-w,ore..1t for sho.oting in Norfolk •
otil 1914 the to h · • • ·• h
distinguished a P_ at remamed the -elegant model, wh~c
had • certain class ·of wearer· the bowler hat which
appeared at the · d r ' · · IIY
considered .. f •. °
en the Second Empire, was m1t1a
never on ce:n or~al; the~ admitted for everyday wear, but
made 1· t demomal occasions. In 1885, the first soft felts ~ere
, n en ed for m
. ornmgs or travel; but they were. r1ttIe
worn unn h •
bobters i~ t early twentieth century. In summer, straw
men, an' d a vt arh1ed forms
teb . . and colours, were worn by almost all
Panama h
I
egmnmg of the twentieth century, soft straw
. The capa::~re worn for travelling.
ing class h~ad ose ~hapes varied considerably, became th~ work:
because of ·t gear In the second half of the nineteenth century
1
anq• sportfn swcomtort it
J
• was then adopted
generally or travel
w·h. . _g ear.
• lle 1t 1s imp0881'b • s
undergone b , le to go into all the details of the change
s
the beginnin Y ~en 0stume at the end of the nineteenth ao
8 d
tion the i g Q the twentieth century we should at least me?·
1894: 'a mmportance a t tached to accessories. '
For example' in
his hat w:nthaway from home should never be separated fr?rn
th , e er on a • •
e dinner h visit,· out to dinner or at a ball• ounngt
balls on h· e 1eav~s it on his seat in the drawing-room and, a
day he sh~:l~artner's seat duri~g dances.' And: 'During the
ring on th . never wear more than one watch-chain, odne
e ring fin
&er and cuff-links• and shirt-stu ds that
0
not attract th . 0r
chams • in the e attentio. • •
n, s1m1larly •
with the tie-pm.• No pins. g-
room~ 'and evening • Men could take their canes m
th ' · tO drawin
Id be
402 e Opera' but it was best that. they ~hoU
..
 $ ,. 1.

T
1

• I
•
I...

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•

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,

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·•.1~•
# -

• _,.
I

• ·
'ilil ,,t;
1087 Mlle Lantelme in a negligee designed by MADELEINE \_--1-088 ABEL FAIVRE: Woman with a Fan.
1086 VIDAL: Young Girl in Corsets,
Y!ONNET, 1906. 1901. Limoux, Museum.
c. 1880. (Museum photo)
(Photo Archives PhotographiQues) (Photo Collection Union Franc;aise des Arts du Costume)

.
:• /';)t
•
1089 Mlle La_ntelme. in a. peiiinoir by MADELEINE VJONNET, 1908. 1090 MANET: Nana, 1877. Hambura Kunsthalle
(Photo Collect1on Union Francaise des Arts du Costume) (Photo Kleinhcmpel) ' •
 -~~~ :·;T,
~...
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•

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'I I o •,;t , • .. , , •
t
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•i :.•~:-f .:'
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•

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~·· ~. 1•.•• \.'" " •• , '-~-:\..:· .; .-<'--' t:--.; ::-~ 4•. 1t<•\.,;~- • 'malacca canes wi
-1• ,- • • .,\ ~- ' "th .si lve ro ren am ell
. ed kn ob s'. 4 fo rth eth
-
... •..
.· ..
• • 1•
- ·~ • .
.. ' , ,
r
._ •'.\_• ••• , .., . ' ~
or sm a 11 ev en ing .,parties, pe arl grey l f ea •-
- ''"" I' t 1 .:., \.. ·i ··• - ..1·•·, . • . • g ov es ; or balls, Whu~
• - ~, 4--•!"' ( '\-. .f ,• h'
glo ve s w \Ch d·a·ncers mu st no t ta k ff ' ite
•• Blilll!ll-.:a •'·\'/~A-';~~·,. I
eo .
In 18 we see t~e . • .
....., -:: :;· - . " ht 95 ne w fash10? fo r 1ronm
i
• -ea ser-leg. It wa g a crease down
\_:. I • i.. c s elegant.\~ tu rn up
' ~·-~ ;'- but onrou
ly in the morning, wh . . b th
. e troh'user bottoms
• \ ... eth er ~t e ra m or_~ m~.' T_his was,
a British innovation
, ~nd Fr_enchmen ~h
(.' turn up your tro _o c~.p1_ed 1_t said ~Y
users In Pa n~ becaus ou
'fh e pleat at the· tro ~ It IS ramm~ m Lo
user waist w_as mt ndon.'
Larsen. ro du ce d m 1911-2
by

•,. .-, t
. I
. ..
CH IL DR EN 'S CL
O TH IN G
Towards the secon
d thi rd of th e nin
1091 Sat1or suit ' the first mention of ete en th century we
for small girl. 1897.• ch ild ren 's styles in find
These mainly conc fashion magazines.
• -.
(Photo Collection
Union Francaise • • ' ern clothes fo r bo
.:.
\
tailors were beginnin ys , fo r whom specia
list
t,;· ~' -~-

des Arts du Costume) g to devise models.

- '.~
' .... •
.~. l ~-•,.;, ;,-.·~~--- •

Un til the age of five

J .:

...- ~ix , little boys still wore ple ate or

at seven or eight, the d sk irt s att ac he d to
y we nt int o jac ke ts the bodice;
buttoned at the kn an d semi-tight breech
1092 -small boy's tart ee. Th en ca me th es
London, Col\ection Mran suit. Late nineteenth century. co stu me for smaller children e fashion for Scott
ish
~:- s Doris Langley Moore
,-~.. . (Photo F. Fonteyn) bro
thers wore 'well-cut jac (p lat e 1092), while
.. their·elder
breeches'. ke ts fitting to the wa
ist, with Louis XV
.-~ Little. girls no· lon
g~r. wore· sc ale mo
clothes. A~ound 18 dels of. their mothe
80~ very ·small ·girls ~'
kpo~n in·-~ra_nce as wore a .black gown
an anglaise: a so rt
·o~e!~a_plec1;te-~false of sack dress falling
sk irt ; a very wide,
_abov.e the· ~nee, on low be lt cut this alm
ly a o~t
•A li~tle. later the· frock couple of inches abov~ the skirt hem.
0
~se~~~h~p~~-at·the wa
, wh ich ~a s still straight, assum
ist ov er a na rro w. ed a ?~
,fohape re~~ined in fas belt. This straight
hion un til th e first
c_entury u nder the.na years of the twentieth
me of robe al'americ
{ H~weve~, ~o_wards ai~e. ·
1883-6, at 'th e pe rio
• es,_ l~ttl~ ~•~ls ~e re fo d ~f prominent ?ust-
·which·- r a time loa de d with
·~ . f _gave t hem ' . similar contrivances,
pou s and polo • a particularly ungraceful .
silhouette; t!'etr•
~f women's clona thes.
ises were at lea st les -
s exaggerated than th0 se
_ .
b• Russian •.blou~es . • ..
.·t µt the ,mam an d Scottish . •••
sty les ·od ·
• sty le
was t he sai.lor sui.t
em erg ed pen ,caHy'
ong career . • .
? • wh ich wa s to enJ·oy a
Peared du nnmc reasmgly wo rn by
bo ys'
an d gir •
ls alike. It a_p-
twe t· h • g the S
n iet -century t ec\ ond Empire in a form ver
and 18 8s· . s Y~, . y close to its
.
opening in1taStil\ _kept bu t 1t was less typical betw~en 187.d5
its square collar ed
'straight • h po mt ged with wh1te_bra~;
over a pla in or str
r~cogn'. s or t ·trous iped plastron, wilb
t
interpret tze, even wh ers• or pleated skirts tha t make it eas
ed en it was at its mo y bo
Wh'1te.. b in two ma st fan s to e
in ways· with sh or ciful. It wa in
1900 or \ue serge . • t or long trousers,
wa or wh ite or striped duck A .
by a • ks the ~quarte before
Jae • r-master' in wh.ich the blo • vanant \aced
or skirt (et \opentn g over
use was rep
.
French'saii at~ l091). a striped front tucked, into t he shothe rts
Its indispensable co
elegant ..:. t~ ; eret_, so mplement was ore
ft rowned with a red
Few ch'tld Enghsh be7 pompom or - tn
Ap•artfronl th· ren's f h" ret with a wider, flat crown.·
.wer~ .-still farts s•~
.. as ions enjoyed
a longe • d of vo gue.
ple, ~ractical costume r peno 4 h'\dren
garments th • fro ~ , ~f
bemg dressed in the or e 191 co~table
O\'crs, bu t
was only t f USt be
th
ey we~e t~ be· given soft, _comf ull-
by the fashion _r0; :th
it:\
sa1.d tha t the simplific es
costume: 0 ~.now ation of thetr f1 dult
.the increasingly- sim
404
. plifi~~ form~ 0 a
.
 't,

1093 Outfits for girls and boYS, 1907. Collection Union ...-1094 PICASSO: At the Races, 1901. Private collection.
Francaise des Arts du Costume. (Photo Flamrnarion) (Photo Galerie Charpentier)

•.
-: -~--:.._:_,.--;_ .. -
t""'f'"'
,. '~·.
.. ... - J

..
., ...., ,, ..

- ·-
1095 J. Bf:1uuo: Le Tro11l11, 1906. Paris, Muscc Carnavalct. 1096 Carrick style coat worn by Sarah Bernhardt, 1906,
( Photo Galcric Charpentier) (Photo Sirol)

ltrn,
 1097 • PICASSO: Woman
'Naciona\ de; Arte Con in.Blue, 1901. Ma
temporaneo. (Photodrid , Museo
Giraudon) 1098 J. BtRAuo: Jar
din
Paris, Musee Carnaval de Paris. The Nig ht Beauties, c. 1905.
et. (Ph oto Fla mm ari
on)

Hl97-1109 'ln the firs

houe_tte; moulded by t years of the twentieth century, the
was ·clad in soft. materia foundation gar me nt tha t understatefeminine sil·
out at ground level, in als: shaped or pleated skirts fell stra d the hips.
skirt (plates 1098, 110what some chroniclers called the 'flowe ight. to flare
feathers.of a size nev 4). Ha ts are immense, trim me d with r' or 'bell'
er flow
Th~~· frotl\ -Year to before app roa che d (plates 1097. 1098) ers and
trailing on the ground year, the fullness dis
dis appears gradually:
1103) then only to the app ears, first reaching the gown
to the gro
rower round the legs sho e (plate 1102) and constantly bec und (J>late
11?9) (plates 1107-8). Th is oming oar•
led
skirt. whose inconvenience resulted in the pro to the hobble skirt (plate
gressive shortening of
¥,legance. ma~e the
ttself mainly m con cessions to pra
the refinement of ctic al considerations. and
details later showed

I'.
I
I
1099 VU ARD · V
lj
CollectionILL
A p v·
{Photo Flam·~~rio1:)o
/I
.a Olton and Mis sia.
1899.
t. on loan to the Mu d
see d' Art Mo er ne• paris,
406
I
 1100 BoNNARD: The Box, 1908. Collection Bernheim Jeune. (Photo Flammarion) 1101 B. BOUTET DE MONVEL: Afternoon dress with hoop
tunic, 1914. Collection F. Boucher. (Photo Fla!llmarioo)

lI

_,r

I 2 Afternoon dress, c. 1910, in I I 03 Afternoon dress of navy and white 1104 Evening gown of sunray pleated ivory satin inset with bands of
. anvin blue' crepe de chine trimmed with striped surah with silk fringe and linacrie aiuipure lace, designed by AMELIE, 1903. . n)
silver auipure, a LANVIN creation flounces, created by DRECOLL c. 1905 Collection Union Francaise des Arts du Costume. (Photos Flammano
 ;.' -~: ... , /' •
.. ... .
. • ........ - ~····, ' • •..
•·> • •
•• , .. i '• • ·~
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: 1.: -
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.
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:it ~.• • • ..
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l. .... •.. •. •
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... ... .
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Ir. .;_ • '• , •'
•• •

. -1105 Evening gow ..... • -;)

f
• , '4

• ',..., '- ~,· ...-:-,

••• worn bv.Ml\e Ge n by DopcE_T. ·-"- -· -
nevjeve·Vix ot the 1106 Princess .~ty\e ~fternoon 1107 Dress by PoJRE.T, wo rn by
QperaComique, 190 c."\909. Co\lectt gown, Mm
Sirot. (Photo Reutl 7-10. Collection lPhoto f$1.ix) on S1rot. e-Paul Poire 1108 Hobble ski
inger) Union Francaiset, 1913. Co1lect1on with assymetrica rted evening gown,
Costume. (Photo des Arts du embroidered tul \ly draped beaded and
To sum up: at.a dis Flammarion) le
tance of half a ce the right, 1912-3. forming a train on
the pre-1914 perio ntury, Fren~h fas (P ho to Henri Ma Collection Sirot.
d appears as a co hion of reflected this tra nuel)
ions, created by a llection of individu ns fo rm at io n in
synthesis of the pe al creat- society at large wo m en 's life. Th
turier and his custo rsonal ta~tes of th increased, even eir role in
mers. Attention wa e t<:m:~ more limited. W th ou gh •society
finish, on the be s lavished on detai omen discarded life: became
auty ·of: materials l an d simpler styies. Un el ab or at e, _ornate
•1ine'· changed only and ornamentatio ity of lin e wa s t01lettes for
slowly from one n. Th e·.. shortening of ·to so on to be brok
the newness of a go season to the ne wn skirts. Th is en by ~e
wn showed as mu xt, an d , stockings, symbo le d to th e adop
lace and embroi~e ch in its material ls of luxury, ·a tion of silk
ry_ t_rinurii~~-- T~ as in new high boots. Ling nd lo w- cu t sh oe
created for each md e couturit?~ co~cei~ erie, to o, be ca m s in pla~e of
1v1dua\_w~ma1v eci an d . In milieux in· wh e sim pl er an d m
• V?e can see today . _, •.., " . ich women ha d ore r~stramed.
how ~at.the First ded to become un re gu la r jo bs , their
foun4. mark on tbe World War left a iform. .clothes ten-
to a new developme
cent~ry, ·an~ th
e same time corre
pro-
spo!)ded
~! Men's costume
which ha d be en .
costume of today. nt m ~l5>th1_ng: the p~oc~ss ning of th e nin
e~eenth ce nt ur y,
stabilized since
the begin-
The \914-18 warle , . . /.- .: which gave th~ I received only pra
ffw . • . , . : provements .o f ctical_ -im-
. omen mistresses ·r· h . • • . • . de tails. Ho we ve r,
for four years by its cu t became
fr~ o t important, for . increasmglY
turiers, only some ij]g tbem froin tb • d eirdown fashions· it ha d to ke ep .
of ~h o~ wodld reo .- led • . .f its perfecti.on wh.ile ·t wearer
Armistice. Thus ·th pe· ·e: the~nden~afon co . a more active 1l h
e t an formerly is

=~
ey ~e , ., u- Fo r m_en ..
re.lib era e1r oo
to the demands of ted
couture at -exactly from th•·
rs ter the
, varied N e at1t d women alike, costumes be d l ss
spurred them t_o the time ens1avement • w exfl 1 es, on •t h e h h d bcame fewer an er-
loo\( fo_r.'~ore ~n ous, an d th e tra ot er an , ec e more nume
clothing. The rec v~nience an~n ;:w ditional textiles am k t to
ruitment ~of, wome te e~ s them , which ha d ha d
deprived the mjdd n for war work . selv~s ~nti\ \914 the mar ~t"
le and upper classe ; or t _m fr o~ artificial an , so on m et wi th redoubtable
competl 1ro-
00
domestic staff, an s of a propo t~n ~c d synthetic fibre
d nursing and ch ;on
on by many Socie ari'table wo ion th ~s duchon became
easier with th e
s. Moreover, ga
rroenth~ es
ty~ nd middle-class wome o ~i r thought these di us e of specialize
d • b
e t heir a sent h i:
usuands an d•relati •
n :h wlas earned
' o a so replac- tailoring. A certa
d no t pr od uc e
th e level of ·•finis
d mac ; nd
dustry: all reaso ves in tra d va • t in uniformity wa h' of athe
ns f~r. WQmen to d . 1
d
ne Y an refinem s fro m then· on to rep
more important 9t an ge th ei : an even ent of former ye lace
notions of ;~s~um m-
, tis change their Th e year 1914 re ar
should express.
Fr<:>~ the ~n om e and, mains th e water s. in
domest ic ic ,point of viewa the way of life shed ~fter which
pro duct'ion an br ou gh t ab ou t ch an rthe
•
• d dcostume changes in costu
wards the same ~u rrency r~ · • · ' ~ew developmen me, an rd·
tren(j. Finally; th tnctions contribec reased 1a ts which ha ve su
lif an d the mour e ..,sus~nsion of uted t0 n pe no•
~ m or e emphati
cceeded it make
the EdwadaY
~ing fo~the war all S . • th at passes. cally a bygone
ation with perso dead inhibited an
y pr e: ie ty age w1"th ev ef'i
nal e~g~nce. ·- •
The new role of wo . --.. ,,. , cup-
by th e 4ecline ~f m~n in society .was accompanied in"f
the upper and midd
class' i_nfluence th at le classes. Th e '~ 11
i~ ,
tury now becaJ!le we d so deeply marked the nineteenth ce
ha_
the proletariat, the ak er; .~ tw ee n t~e ca n-
middle c~a~s ~er~ pit~list,Q!i&archy and
ted, all ihe more t~ be mcrea~ingly aff
diminished by succso ~~use· lbeir sav~ng~ we~ soon ec-
essive cur_rency t~ be
devawa
In all classes, thou
gh in d1fferent man uo~s. ,., . • ~-
ners 1~ cac11, costu
me
I

408 ' •
•
•• , J '
 1

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'
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1110 G. LEPAPE : Figure of Fashion. 1111 DRESA: Fashion plate. 1912-3.

1109 Summer dress of striped muslin and de guipure with satin kimono Collection F. Boucher. • •
ng Collection F. Boucher.
jacket trimmed with black lace. and sunsha matchi (Photo Flammarion)
(Pho.to Flammarion) •
the jacket. 1913-4. Collection Sirot. (Photo Felix)

Notes ..JI!,'"' • / .. ~- -: ; ... ;,. ~•' i ".~

import s rose by 40 --1~!!;_ :---;.-~·

1 Between 1807 and 1812 Englis h cotton boll
... ..._. d, .
;•-:".- ;•. I

per cent. -t'Sf - ,l,.

...,."'-'-~" "\·.~
.was first published
2 The famou s Jnuma l des Dames et des. Modes and directed . . . "":,......_;, ~., .. ::.
. __

in Paris in An VI (1796); in .1800 jt was revived ,-·

of philoso phy
•""

by the famou s La Mesan gere, a former profes sor

• .. _;,,, -. -

s draftsm en • ,. .."1.4":1'. ,. •
and belles-lettres, who attract ed the most famou •
and engrav ers.
,
"
"!It
..• '
.,
trie Nationale was
3 The Societe d'Enco uragem ent pour l'Indus '~,\
founde d in 1801. .,-if
Passy by the govern-
4 A model weaving factory was establis_hed in ..... . ..
ment to spread the use of the flying shuttle. . .
et anglaise8, 1789. '
5 Cf. Magasin des Modes nouvel/es franraises ... ..... • .. ~..,,
•

..._
6 Accord ing to Sergen t-Marc eau 0751-:-1847) m velvet coat and -. " . -~
7 It is.said that David still worke d m his studio , ',:\t r

lace cuffs. a stupid, scerited

8 In 1747 this word alread y meant, in a play,
little fop. ••
9 Villa Medici Archives. Rome. 21.
10 Journal des Dames et des Modes, an 13, no.
- • • ,: l

wrapped i~ cloth.
11 They were also made of tiny metal springs •
12 Ibid. Journal des Dames et des Modes
.
~ates of a costu~ e
13 It is very import ant, in order to determine the of the sewing
of this period , to know that the first version
United States
machin e dated from 18.25; it was taken up in the
and America,
in 1834, then improved by firms in both Europe
the patent in
and finally perfected by Singer, who took out
1851.
popula tion between
14 The increase of about 40 per cent in world
.and 1840 indicat es the size of the new market opened . '
1800
to clothing.
exchange agent,
15 In 183_8 Mlle Dosne, the daught er of a Paris
marriage with
received a trousseau worth 20,000 francs on her
M. Thiers.
16 Chat~aubriand: Memoires d'Outre-Tombe
, vol. iv, pp. 245-246.
J898.
17 Henn Bouchot: La Mode sous la Restauration,
n l ?95 _and l 849 eleven nation al exhibit ions were held in ll
18 Betwe~
Pans, with increasing success.
Universe/les Paris
19 Cf. Raymond Isay: Panorama des Expositions ' '
1937.
Ackerm an; Reposi tory of Fine Arts, March 1809.
20 Cf.
if 'any notion of
21 Cf. Ackerman: Arbiter e/ega111iarum, wonders
able dress-
harmo ny has entered into the head of a fashion
maker .'
22 Cf. Taine: Notes sur l'Angleterre.
Generale des

J
23 Cf. R. Schnerb: Le X/Xe siecle (vol. VI, Histoire
clvillsatio11s), p. 36. .
1908-10. • ''w-""-,
1112 ~hinch~lla coat worn by Mlle de Marsy,
Fran~a ise des Arts du Costum e. (Photo H. Manuel)
Collect1on Union
V - Nii'.
---

c---- - j --

24 Twenty-nine sheep were unloaded in.Australia

in 17_88 and had .Jl
. . multiplied to 20,000,000 in 1860; Jhe first
o!
- l

bales W(?Ol were

shipped to England in 182L •
25 The economist Adolphe· Bla:nqui wrote: '·Every . . .
where we find the
immortal flame of the French genius,.'which
significance for us as, foundries and coal-mines has the same
for E!1gl~nd.'
26 ia Mode, 1814, passim_.
27 The textile had been in.vented by Oudin.ot for • • •
co1lar-cravats for
soldiers; it was also used to obtain the bouffa
mutton sleeves; one variety was the crinolatne, nt leg-of- .-
28 Less in vogue .after. 185 l : 'Who. wears crinoli used in winter.
nes ~oday)' (~es y
. Modes Parisiennei, 15 February 1851).
29 The best-known model, the Thomson "Ameri ,
can cage-skirt, was
~- ·, made in a factory at Saint-Denis;· the fronr
part, free of
• hoops, folded down like a ~rawbridge and the
,. in through this opening. :wearer stepped
30 Les Modes Parisiennes, 10 May 1851.' • . .
•• - •
3r'In 1869, when she went to the·openin'g of
th; Suez
• • is said to have taken five hundred outfits, which Can.it' she
. ·,to as he.r 'diplomatic wardrobe.! she ref;rred
; • . • :. ·•
32 It seem~. that in th~se rumours there was often.
. tween the crinoline petticoat, which was still confus.ion be-
worn but ·1ess
frequently, and the crinoline-cage, which was widely
33 Cf. the repo;t froi:n the Illustrated London News· 'worn.
spondent m Pans (21 June 1866). fashion corre-

' ~i~liography •
. •. . . '"
.' .. . i. ' ,,,

:·•.
... • .i
... ,
•.
1, .. -

.'
.- •Y •• •
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••... GENERAL •
...
• I •
,_ •
.. • ·. ,
" t .' '••
'

• •.";, •
• ' ;; •~ I

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~• ... ,, ' • \,, • •

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. ..:,~s.ar~1ste} pendant la periode revo-
••. RAYMONDE Sh: /.,e :Costume -d ia . ; :
V. HUSARSKI: Le St l ,· ' ..••.. ,. ·. ;' ••
• - ~evohttion a. nos Jours, ·1929 ., • •
HE,NRIETrE VANIER'YLaer~";'!dnt11~e, 193
• ,. . , • L , :
,y,o e et ses • • . . . . "•• ::· , •. -
·. • classes, 1830-1870,·1 960.,. : . me~ter .. • !•
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, ,. h oNtG and p ' • • • • • , •
~- , : • • ··, • c vesells ,..- · . ETER W.. SCHUPISSER:' D· u . •• • • ' • f
t :· -·. chaft, ZUrich 1958: p . • ,e fr,ode in
r;,· •' • •
- . ,. EDITH SAUNDEns·· -r'he
• J p A ',r m ' ans, 1960. • • . der. •·Mensc .
hli-
W
ORTH:,A.., Centur
• "' ge 01 rrorth Londo 1954 ·
t j
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y of Fa h' 'B , n, ·'· •
,. ,· • • M. BRAuN-RONSDORF· M di s ton, .ostoi:i, .1928. . . .•••
t';_,' ~- . ,•,.; .
J'"II'
1
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.. •
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bis 1929. ·Munich
A·.. • ••

... -
.- -I • ,,.
f;, • :. ,J r ) :°'
•
., ,
l ' • > t

COST UME ' .

..~·· ,.,f ·;
. ' ' . ,
.;. J:.Rto{Rtc MASSON: lf Li vre du
• HEN_RI BoucnoT: Le Luxe fra S?cre .... • .•
de I' empereur Napoleon
l. E~position Universelle inter ?a,s:l /a Reitauration,
, -c/as9es 85 86 .'1898 . . .' 1998.
:· 't d· •. na iona e de 1900· M e • .
' n. . . et - Le Costume_et ses accessoires : us e retrospectif des
- Notices •• ,
I >
PAUL IRIBE: Les ·Robes de Paul p• .
• , , rapports.
GEORGES LEPAPEi Les Choses,d ~retl,
.. 19~8. •••
' • e au Poirer, 1911.
-•. '
I
,
.
' ;

.: '
.., I

·'
'
.•. '
l .
I, • I l

.
~- '
, 't

..
1113-4 Dress in black velvet, fieured in aold .-and '
MARIANO FORTUNY) with wide black silk
-~ilver (des" •
chiffon sleeves,dtsianed b~a~ by
POIRET, c. 1920. Col/~ction Union Franca
ise des Art, du Costume :u~
Centre de DocumentaJ!on _du Costu!l\~· .~Ph?t~• _F!~mmario~
..) . ) •: • ; n

410

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