#1750s dress

[digitalfashionmuseum]

Blue Silk Court Dress with Silver Embroidery, ca. 1750, British.

Met Museum.

[fashionsfromhistory]

Robe à la française

1750s; Altered 1780s & Late 19th Century

France & England

The ensemble was probably made as a sack and petticoat in the 1750s. In the 1780s, the sack was updated in style. A waist seam was probably added, the skirts reconfigured, and sleeve ruffles removed. The half-stomachers were added at this time and the bodice fronts relined. The back lacing was reconfigured and more eyelets worked.

The ensemble was altered for fancy dress in the late 19th century. Hooks and eyes were added to the bodice stomacher fronts and machine-lace ruffles to the sleeves. The petticoat may have been unpicked at this point.

The petticoat was gathered onto a cotton band after acquisition for Museum display. (V&A)

Victoria & Albert Museum (Accession Number: CIRC.157-1920)

[fripperiesandfobs]

Robe à la française ca. 1750

From Cora Ginsburg

[life-imitates-art-far-more]

François-Hubert Drouais (1727-1775) "Portrait of a Woman, Said to be Madame Charles Simon Favart (Marie Justine Benoîte Duronceray, 1727–1772)" (1757) Oil on canvas Located in the Metropolitan Museum of Art, New York City, New York, United States In 1745 Mademoiselle Duronceray—the singer, dancer, and comedienne probably portrayed here—married Charles Simon Favart, the father of French comic opera. Among her best-known roles was that of the heroine in The Loves of Bastien and Bastienne, 1753, in which she inspired a revolution in theatrical costume by wearing authentic peasant dress. Drouais’s portrait of her seated at a harpsichord recalls traditional representations of Saint Cecilia, patron saint of music.

[fashion-from-the-past]

1750-1760

[lookingbackatfashionhistory]

• Gown.

Date: 1750's

Medium: Silk

[threadtalk]

This pale green and grey robe à la française is quite dreamy, isn't it? Though I am a fan of the bright, bold patterns of this period, there is something to be said about an understated combination like this.

While certainly not as wide in the hips as some similar gowns, this dress dates from the middle of the 18th century, somewhere between 1750 and 1760. It makes beautiful use of the S curve patterning as well as scalloping and pleating. The subtle color differences on satin lend a very ethereal aesthetic to the piece on the whole.

French dress © L. Degrâces and Ph. Ladet / Paris Museums, Palais Galliera

[acrossthewavesoftime]

So, I was just asked by a stranger, by their accent noticeably of the Thirteen Colonies, on public transport whether I am dressed as George Washington.

Which I, attitred as a gentleman tho I might be, am decidedly not - for what true gentleman could ever endorse that rebellious rascal and his rabble? 😉

[shewhoworshipscarlin]

Robe a l'anglaise, 1750.

[digitalfashionmuseum]

Green Embroidered Silk Dress, 1750-1775, Italian.

Met Museum.

[fashionsfromhistory]

Dress (Left) & Robe Volante (Right)

c.1750 & 1700-1735

Italy & France

Late in the reign of Louis XIV, loose-flowing gowns with pleats gathered at the back neckband were worn as undress wear by daring ladies who liked the ease and comfort of this garment. The famous actress Madame Dancourt popularized these gowns by wearing one in Terence’s Andria, after which such gowns were often called andriennes. As the style developed the gathers were formalized by being drawn into one or more flat pleats, and a dome-shaped hoop or pannier was worn to extend the material around the wearer. When a lady moved, air was trapped under the hoops and she appeared to be floating; thus the name robe volante. This type of dress is often erroneously called a "Watteau sack," despite the fact that Antoine Watteau had little to do with the creation or dissemination of the fashion. According to the Mercure de France, by 1729 robes volantes were "universellement en règne, on ne voit presque plus d’autres habits" (universally in vogue, one hardly ever sees any other kind of dress).

The MET (Accession Number: 26.56.47a–g) (Accession Number: C.I.50.40.9)

[uni-vee]

[CN] Sanrio Collab Announcement

Miracle Nikki will be getting the Sanrio collab in 2023! JN has already gotten this event.

Event: Pavilion. 4k for both suits. Keep in mind this collab happened in JN a few years ago; so the suits are dated.

Recharges: Cogimyun and Gudetama are 260 VIP exp suits; Kuromi should be ~1750 VIP exp

No exact date is announced. The suits are also kept very vague, there is one more Sanrio suit (it has green hair but I can’t remember which Sanrio character it was) but is not included with the chibis on the infographic

[gogmstuff]

1750s dresses -

Top row  Lady by ? (Auktionhaus Wendl - 25Jun22 auction Lot 2803); removed spots and fold line w Pshop 2918X3532 @150 1.7Mj.

Second row  1750s British stomacher (Metropolitan). From their Web site 2919X4000.

Third row  1750s Mademoiselle de Coislin by Louis Tocqué (National Gallery - London UK). From tumblr.com/historical-fashion-devotee 1280X1599.

Fourth row left  ca. 1750 Front of robe à la française (location ?). From tumblr.com/sims4rococo76 1893X2927.

Fourth row right  ca. 1750 Back of robe à la française (location ?). From tumblr.com/sims4rococo76 2048X3056.

[kecobe]

Eunice Dennie Burr (Mrs. Thaddeus Burr) John Singleton Copley (American; 1738–1815) 1758–60 Oil on canvas Saint Louis Art Museum, St. Louis, Missouri

[awindinthelantern]

Woman's Dress and Petticoat (Robe à la française)

France, textile circa 1750, constructed circa 1760 Linen plain weave with wool embroidery Dress: center back length: 60 in. (152.4 cm) Petticoat: center front length: 34 1/2 in. (86.96 cm)

LACMA

[recycledmoviecostumes]

The costume, initially designed by Jenny Beavan for Sienna Miller, made its debut in the 2005 film Casanova, where Miller portrayed the character Francesca Bruni. It was then reused in En kongelig affære (A Royal Affair) by Alicia Vikander, who played Caroline Mathilde. Finally, the costume appeared in the first season of Poldark in 2015, worn by Sally Dexter as Mrs. Chynoweth.

Over the years, the gown, which Cosprop owns, has been displayed in various exhibitions. One notable exhibition called Cinematic Couture showcased original costumes from films such as Ever After, Onegin, Miss Potter, and Becoming Jane.

In 2024, the gown was put up for auction by Kerry Taylor Auctions as part of their “Lights Camera Auction,” which featured costumes from Cosprop. The auction house provided a description of this piece:

This elegant gown, designed by Jenny Beavan and labeled by Cosprop with the actor’s name, is a replica of a 1750s-style robe a l’anglaise. It is made of blue and gold silk woven with floral patterns and adorned with gold lace rosettes and lace cuffs. The front bodice features a tasseled bow. The costume also includes a black cotton bustle pad, labeled by Cosprop, with approximate measurements of 86cm (34in) bust and 61cm (24in) waist.

This costume was worn in the masquerade ball scene. Designer Jenny Beavan said of the gown:

“The 18th century is a very flattering period for women, and you can move with ease in the corsets if they are properly fitted! I used this shade of blue a lot on Sienna / Francesca, but this dress is the grandest version of it. Characters ‘find’ their colors in my world. As I said, I am very instinctive and tend not to overthink things … having done the research and seen what the Art Dept, Camera, etc. are up to so, we are all on the same page. A good film normally has great teamwork behind as well as in front of the camera.”

Costume Credit: Dorina_97

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