#Louise Piret

[gogmstuff]

1908 (2 Feb issue) La Mode Illustrée - Paletot et robe de demi-saison Modeles de Mlle Louise Piret. From bibliotheques-specialisees.paris.fr/; fixed flaws & spots w Pshop 1734X2388.

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La Mode illustrée, no. 27, 6 juillet 1902, Paris. Robe-princesse garnie de guipure. Robe en voile. Modèles de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Robe-princesse garnie de guipure.

Cette robe de forme princesse, faite en drap d'été violet, est montée sur un empiècement à épaulettes en guipure crème, posée sur du taffetas violet; les coutures sont masquées sous des entre-deux cerclant également le bord supérieur du volant en forme; celui-ci est plus haut derrière que devant. Les manches en drap, très évasées au bord inférieur pour former un gros bouillonné, sont retenues dans des poignets en guipure. Chapeau en paille violette, garni d'une draperie de tulle crème et de mauves nuancées.

This princess-shaped dress, made of purple summer cloth, is mounted on a cream guipure shoulder yoke, placed on purple taffeta; the seams are hidden under insets also encircling the upper edge of the shaped flounce; this is higher at the back than at the front. The cloth sleeves, very flared at the lower edge to form a large ruffle, are held in guipure cuffs. Purple straw hat, trimmed with a drapery of cream tulle and shaded mauves.

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Robe en voile.

La jupe de cette robe en voile gris platine, posée librement sur une jupe de taffetas, est garnie de biais de taffetas gris ayant 1 centimètre 1/2 de largeur, disposés à partir de la taille en longueurs différentes; on masque la jonction des volants en forme cerclés de biais, sous un large entre-deux de broderie crème. Le corsage, également orné de biais, s'ouvre avec des revers en voile plissé et broderie, sur un plastron en mousseline de soie crème froncé; on retient les devants au moyen d'un laçage en ruban de velours noir. Le col droit, recouvert de broderie, est garni de ruban de velours, ainsi que les poignets des manches; on dispose sur celles-ci des entre-deux crème.

Chapeau en paille gris garni de piquets de cerises nuancées avec feuillage et d'une draperie en ruban.

The skirt of this platinum gray voile dress, loosely draped over a taffeta skirt, is trimmed with gray taffeta bias binding 1 1/2 centimeters wide, arranged from the waistline in varying lengths; the junction of the bias-circled ruffles is hidden beneath a wide cream embroidery gusset. The bodice, also adorned with bias binding, opens with pleated voile and embroidery cuffs over a gathered cream silk chiffon bib; the fronts are held in place with black velvet ribbon lacing. The embroidered stand-up collar is trimmed with velvet ribbon, as are the sleeve cuffs; these are finished with cream gussets.

Gray straw hat trimmed with variegated cherry stakes with foliage and ribbon drapery.

[frenchcreavintage-blog]

La mode illustrée de 1901 Toilette de Melle Louise Piret

[autumn-vampires]

Martin’s first midnight (Vampire)

Louise lived in a wooden house on the edge of the countryside, near the cemetery. Crosses were reflected on the walls around the house in the night. Ghosts were visiting its roof in the morning, before the birds in a cage wake up to start singing them away.

- shhhhhh - she said, opening the small round cage from which the chirp was coming. Little blue doves flied up and sat calmly under the roof. First she will feed them, then she will catch one and tie a piece of paper with a few ink lines to the bird’s leg. - go to the village, - Louise will whisper, and let the dove out of the window. It will fly across the forest, to the village, into the window of another house, more poor and built of logs, where a girl will find the bird pecking the pieces of meat left on the kitchen table. She will take off the letter from the dove’s leg and after a glimpse on it - close her mouth not to let the scream of delight out. She will quickly scrib the answer on the other side of the paper and send the dove back with it.

- what’s that noize about, Piret? - an old woman would enter the kitchen to find a child who was just gloomily eating dinner jumping near the bonfire and clatching the pots with a spoon, with a happy smile. - just good mood, granny, - she would reply, and stop jumping. - go for the wood and mushrooms, clumsy, - old woman would bark and disappear in the yard. The gloomy shadow will come back on the pale face of the girl only for a moment, until she will remember the lines of the letter which still were printed in front of her eyes - “tomorrow, at midnight, near the well. And take your little brother”.

The dove made almost a half-way through the forest towards the wooden house near the cemetery, when a sudden stone kicked it’s little head. The bird fell down, breathless.

- HA! - the boy shouted, and his friends rushed to pick up the letter. - She writes to him again, I told you! Those dannish are not leaving us alone!

He was talking about dannish who settled on the ground against their will. 

He was meaning his girlfriend who fell in love with one of the foreigners.

Jealous, he broke the envelope to see the line about the appointment.

- I knew it! Piret is gonna meet with that guy! Why she’s gonna take her brother, though,,,,?”

His friends gathered around the letter, reading and rereading the lines. Puzzled, peasant’s children soon started making their way back to the village - it was getting darker.

***

     Slim, black-eyed and red-mouthed, all in black hoods. They were gathering besides the forest well every year, at the same October midnight, since very first of them set in the village. After the coming of crusaders it was, after the fight on the frozen lake. Danes set their own village here, and then it began - disappearances every year. Gathering in the forest, followed by a sacrifice.

Louise was the only woman without a hood on her head crowned with hair red like last autumn cowberry. She was greeting everyone with touch besides the shoulder, slowly moving through the crowd of her brothers and sisters, speaking quietly about unusually starry night, and annoying priest who required someone’s child for epiphany, and someone’s newborn, and someone’s wedding. The only children among them were a little boy and an older girl, standing aside, looking excited and scared. Louise was moving towards them.

- Im glad that you got my letter, dears, - she said, smiling widely, - It’s not so cold, - telling this, she touched their hoods and they fell down, opening two white curly heads. Talking behind them stopped, everyone’s eye turned to the children. She straightened her back and left them to the bonfire which started getting brigther.

- Greet Piret and Martin, - she said. - Our new friends.

She led them through the crowd of dark-eyed, straight-haired, wide-shouldered men and women. She led them to the well where every year they were making a sacrifice - blood and meat, for those who were always hungry, and who never let this hunger out. It was their rule, set by Louise who was the only heir of the clan - the only daughter of their leader killed at the war when he led them here.

They never touched people, those snake-like white-haired strangers at whose grounds they settled.

Never, except one night - dark, wet october night when they gathered near the well.

- Bring the sacre, - Louise commanded, and a few men went out of the thick bringing a not huge bear who tried to defeat himself beating by legs. Everyone was staring at the animal with their black wided eyes. They breath got faster, they surrounded the bear brought to the bonfire.

- Now, - Louise said, and Piret closed eyes of her bother so that he couldn’t see the murder. A flight of knife - red liquid spread on the grass, and the bear didn’t move anymore.

Piret used to watch as her grandmother was killing chickens for the dinner - but it was not allowed to kill such a rare animal as bear which was always a friend of men. Martin opened his eyes and looked at the dead animal without fear.

- When we can drink blood, sis? - he asked simply, looking at Piret who was stood frozen still horified. Louise was pooring blood out of the animal’s vein into the glasses, and giving them away to the vampires who were giving it to each other. The silence fell down, everyone was drinking without a word. Black eyes got narrowed again, mouthes got more slim and red. The faces got paled - Piret’s was the pallest. When the glass reached her, she waved:

- I cannot drink it, - she whispered, but it was only Martin who heard her. He took the glass and made a greedy sip.

- Good boy, - Louise said, looking gladly at the drops of venom pouring down the boy’s chick. - Delicious, isnt it?

- Salty like tomatoes with cheese, - the boy mumbled, but worried for the sister, he didn’t finish the glass and gave it further to the hungry vampires standing besides him. 

Piret felt the wave of disgust rising from the bottom of her chest when she was looking at the dark, creepy creatures, drinking bear’s blood. IT was in order to prevent murders of people, she knew it. But she still didn’t know - who were they? Why did they come? Why they settled here?....

- Dear, - soft voice of Louise bring her back to the ground lighted by strengthening fire. - IF you want, you can try human’s blood first.

- I... - Piret started, but one of the man who brouht the calf approached Louise, and she took his hand. Then she slightly cut it with invisible knife that she took from her pocket.

A few red drops arrived on the skin of the peasant, looking at Louise with admire.

- Drink it, dear, - she said to Piret, - and you will know no hunger or anger soon.

Piret shaked her hand and suddenly grabbed hand of her brother, starting to move away. Vampires surrounded them, laughing and smiling without aggression.

- Look at them, - Louise laughed, - Where will you go?

Your brother is almost one of us. Just have to wait until the morning.

- No, no, - Piret was saying, shaking all along her body, trying to move away - but the circle of dark-eyed creatures closed around her. Martin was helplessly following her, not knowing whether he should support his sister or laugh with the others.

Sudden threatening voices broke the laugh off.

Heads turned around - one of the vampires fell down of the wooden arrow stuck in his neck. Panic began. The creatures rushed away, attacked from the different sides of darkness - Piret and Martin left the circle, rushing through the forest. From the distance they saw peasant men, priest among them, grabbing Louise in the net.

Vampires were screaming, but - ancient and slim, they couldn’t stand the fight of young fresh-blooded humans. The villagers dislodged them further towards the cemetery and started kicking by narrows from one side - vampires had no chance but run, run deeper, further, through the field, to the other grounds, the other villages.

Piret and Martin stood, frozen, watching the fight and run of the vanpires from the other side of the forest. They were dark-eyed and slim-mouthed. Easily recognizible on the any ground, in contrast to the curly, white-skinned humans who were still firing arrows towards the running. Humans who never caught doves, or killed bears, or knew why in October green is wearing off and red is permanent.

[modeillustree-blog-blog-blog]

N°5 : Toilette de ville d'eaux

Toilette de ville d'eaux

La jupe de cette toilette, en serge blanche quadrillé de beige, est disposée en plis à, la taille et garnis dans les bas de motifs en forme de feuilles lisérés d'une petite ganse plate; les lés qui séparent les groupes de plis sont ornés de pattes en étoffe agrémentées de boutons et liserées de ganse. On porte le boléro sur un gilet de lingerie et on le garnit de pattes et de motifs rappelant ceux de la jupe; le boléro peut être porté ouvert ou fermé; on le retient à la taille dans une ceinture complétée par des petites basques; la ceinture faite en étoffe est arrêtée de chaque coté du devant et piquée sur une bande de serge blanche. Manches demi longues, garnies de pattes et de boutons.

Modèle n°5 de Mlle Louise Piret – Dimanche 5 Août 1906

La mode illustrée – Le Journal de la Famille

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La Mode illustrée, no. 18, 5 mai 1901, Paris. Robe en corkscrew. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

La jupe évasée de cette robe en corkscrew brun marron est disposée derrière à la fente en deux plis couchés piqués au bord supérieur; on la garnit de rangées de piqûres apparentes exécutées en soie beige. Le corsage, ajusté dans le dos, est taillé devant en forme de boléro; les contours sont bordés de ganse d'or. Les devants sont retenus au moyen de boutons d'or et de bouclettes en ganse sur une cravate en soie bleu turquoise dont les pans sont terminés par un travail natté exécuté en ruban beige et bleu turquoise. Le col et les poignets des manches sont établis de façon semblable. La taille est entourée d'une ceinture-corselet en soie beige, terminée derrière en un nœud. (Voir le croquis représentant le dos de la robe.) Le bord inférieur des manches est lacé sur des bouillonnés en soie beige.

The flared skirt of this dress in brown corkscrew is arranged at the back at the slit in two lying pleats stitched at the upper edge; it is trimmed with rows of visible stitching executed in beige silk. The bodice, fitted in the back, is cut in the front in the shape of a bolero; the edges are edged with gold braid. The fronts are held by means of gold buttons and loops of braid on a turquoise blue silk tie whose ends are finished with basketwork executed in beige and turquoise blue ribbon. The collar and the cuffs of the sleeves are established in a similar way. The waist is surrounded by a beige silk corselet belt, finished at the back in a knot. (See the sketch representing the back of the dress.) The lower edge of the sleeves is laced over beige silk shirrings.

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La Mode illustrée, no. 18, 30 avril 1899, Paris. Manteau de voyage ou cache-poussière. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

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La Mode illustrée, no. 19, 13 mai 1900, Paris. Robe de promenade ou de voyage. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Robe en cachemire gris-vert, garnie de tresse de soie blanche à dessins gris vert et de moire maïs. La jupe, disposée derrière en un pli creux, est ornée devant de trois rangées de tresse terminées sur le côté en forme de spirales. La jaquette, taillée en pointe derrière est garnie de la même manière que la jupe (voir la gravure représentant la robe vue de dos). Les devants sont faits avec de grands revers en moire maïs, garnis de tresse et de boutons carrés en passementerie et bordés de tresse et de dentelle. La jaquette, fermant au bord supérieur au moyen d'une agrafe est terminée par un col droit, légèrement replié devant et garni de tresse ainsi que le bord inférieur des manches légèrement évasées.

Chapeau en paille grise à calotte un peu renfoncée, garni d'un foulard en soie à dessins, drapé sur le côté et d'une plume-palette grise.

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Gray-green cashmere dress trimmed with white silk braid with gray-green patterns and corn moire. The skirt, arranged in a box pleat at the back, is adorned at the front with three rows of braid ending at the side in a spiral shape. The jacket, cut to a point at the back, is trimmed in the same manner as the skirt (see the engraving showing the dress from the back). The fronts are made with large corn moire lapels, trimmed with braid and square braided buttons and edged with braid and lace. The jacket, closing at the top with a clasp, is finished with a straight collar, slightly folded at the front and trimmed with braid, as are the lower edges of the slightly flared sleeves.

Gray straw hat with a slightly indented crown, trimmed with a patterned silk scarf, draped at the side, and a gray feather-palette.

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La Mode illustrée, no. 15, 14 avril 1901, Paris. Mantelet en taffetas orné de broderie sur gaze pour taille épaisse. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

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La Mode illustrée, no. 11, 17 mars 1901, Paris. Grand collet de printemps. Modèle de Mmes Brun-Cailleux, rue de Verneuil, 54. Dos du grand collet de printemps. Jaquette de printemps. Modèle de Mlle Louise Piret, rue Richer, 43. Dos du costume de promenade. Ville de Paris / Bibliothèque Forney

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La Mode illustrée, no. 12, 20 mars 1904, Paris. Toilette de Mlle Louise Piret, Rue Richer, 43. Collection of the Rijksmuseum, Netherlands

Toilette de réception. — La jupe de cette toilette, en velours nuance castor, est montée au moyen de plis, de façon à former des godets très amples au bord inférieur. On la cercle d'une haute bande de guipure d'Alençon appliquée, pour simuler un volant; cette garniture est rehaussée de ruches en mousseline de soie ivoire.

Le corsage-veste, fait en velours et entièrement recouvert de guipure, est ouvert sur un jabot en mousseline de soie orné d'une cravate de dentelle. On le garnit d'un grand col en velours coupé en pointes. La ceinture-corselet et les basques sont également exécutées en velours.

Manches demi-longues en guipure, complétées par des grands bouillonnés en mousseline de soie ivoire.

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Reception dress. — The skirt of this dress, in beaver-colored velvet, is pleated to form very full godets at the lower edge. It is surrounded by a high band of Alençon guipure appliqué to simulate a flounce; this trim is enhanced with ivory silk chiffon ruches.

The bodice-jacket, made of velvet and entirely covered in guipure, opens over a silk chiffon jabot adorned with a lace cravat. It is trimmed with a large velvet collar cut into points. The corselet belt and basques are also made of velvet.

Half-length guipure sleeves, completed with large ivory silk chiffon ruches.

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La Mode illustrée, no. 20, 19 mai 1901, Paris. Mantelet nouveau à capuchon. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

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La Mode illustrée, no. 48, 2 décembre 1900, Paris. Robe d'intérieur simple et pratique. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Cette robe, en lainage gris rosé, est faite avec un empiècement en soie blanche plissée, prolongé jusqu'à la taille. Cet empiècement, avec col droit à revers, est encadré d'un grand col découpé, bordé de deux rangs d'étroit ruban de velours noir. Les manches, faites avec de grands parements biaisés bordés de velours, sont complétées par des bouillonnés en soie blanche plissée, serrés au poignet par des rangées de velours et formant manchette. Le grand col se termine devant sous un nœud en velours, prolongé jusqu'à la taille et rattaché à un second nœud dont les pans retombent sur la jupe. Celle-ci est bordée de deux volants très fournis en lainage ornés de ruban de velours; la jonction du volant supérieur est masquée sous deux rangs de velours.

This dress, in pinkish gray wool, is made with a pleated white silk yoke, extending to the waist. This yoke, with a straight lapel collar, is framed by a large cut-out collar, bordered with two rows of narrow black velvet ribbon. The sleeves, made with large bias facings edged with velvet, are completed by pleated white silk bubbles, tightened at the wrist with rows of velvet and forming a cuff. The large collar ends in front under a velvet bow, extended to the waist and attached to a second bow whose sides fall on the skirt. This is bordered by two very rich woolen ruffles decorated with velvet ribbon; the junction of the upper ruffle is hidden under two rows of velvet.

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La Mode illustrée, no. 11, 18 mars 1900, Paris. Collet de printemps en drap, orné de rubans de velours. Modèle de Mlle Louise Piret, rue Richer, 43. Collet de printemps avec franges nouées. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Collet de printemps en drap, orné de rubans de velours.

Ce collet en drap blanc plissé, taillé avec un col à empiècement terminé devant en pans d'étole, est cerclé de plusieurs rangs d'étroits rubans de velours noir. L'empiècement est terminé par un col Médicis bordé à l'intérieur avec des rubans en velours. La partie supérieure du collet s'ouvre avec des revers taillés en pointe, garnis de la même manière.

Chapeau en paille de soie blanche, garni de nœuds de ruban blanc et de touffes de jacinthes de couleur.

Spring collar in cloth, decorated with velvet ribbons.

This pleated white cloth collar, cut with a yoke collar ending in stole panels at the front, is encircled with several rows of narrow black velvet ribbons. The yoke is finished with a Medici collar bordered on the inside with velvet ribbons. The upper part of the collar opens with pointed lapels, trimmed in the same way.

White silk straw hat, trimmed with white ribbon bows and tufts of colored hyacinths.

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Collet de printemps avec franges nouées.

Ce collet en drap merveilleux noisette, disposé en petits plis piqués, est fait avec un empiècement ajusté sur les épaules, et garni d'une haute frange grillagée en soie de la même teinte; cette frange masque la jonction du collet. Les petits boutons de satin et les agrafes de passementerie terminées par de longues aiguillettes, sont de la même nuance que le collet; on double le vêtement avec du taffetas vert-réséda.

Chapeau rond en paille crème, garni de plumes d'autruche et de nœuds en ruban de velours vieux rose.

Spring collar with knotted fringes.

This collar in wonderful hazelnut cloth, arranged in small stitched pleats, is made with a fitted yoke on the shoulders, and trimmed with a high mesh fringe in silk of the same shade; this fringe hides the junction of the collar. The small satin buttons and the trimming clasps ending in long needles are the same shade as the collar; the garment is lined with reseda green taffeta.

Round cream straw hat, trimmed with ostrich feathers and old pink velvet ribbon bows.

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La Mode illustrée, no. 33, 13 août 1899, Paris. Toilette de réunions pour jeune dame. Modèle de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Cette toilette en gros tulle noir, posé sur du taffetas lilas clair, est ornée d'applications brodées en taffetas noir; mais on peut remplacer cette garniture très difficile à exécuter par des applications toutes faites en dentelle, soit séparées, soit brodées sur tulle illusion: dans le dernier cas on découpe les applications et on les fixe sur l'étoffe de la robe. Sur notre modèle, les applications entourent le bord inférieur de la jupe et remontent en se rétrécissant sur les coutures des devants; les manches demi-longues, ornées de volants de dentelle, ainsi que le côté gauche du devant de la jupe, sont entièrement garnis d'applications de taffetas. Le corsage de tulle, décolleté en pointes devant et derrière, est garni de revers arrondis en taffetas recouvert de tulle brodé d'applications. L'ouverture est comblée par une chemisette en mousseline de soie mauve plissée, ornée d'une longue cravate semblable retenue par des liens.

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This dress in coarse black tulle, placed on light lilac taffeta, is adorned with appliqués embroidered in black taffeta; but one can replace this trimming, which is very difficult to execute, by ready-made applications in lace, either separate or embroidered on illusion tulle: in the latter case, the applications are cut out and attached to the fabric of the dress. On our model, the applications surround the lower edge of the skirt and go up while narrowing on the seams of the fronts; the half-long sleeves, adorned with lace flounces, as well as the left side of the front of the skirt, are completely trimmed with taffeta applications. The tulle bodice, with a pointed neckline in front and behind, is trimmed with rounded lapels in taffeta covered with tulle embroidered with appliqués. The opening is filled with a chemisette in pleated mauve silk muslin, adorned with a similar long tie held in place by ties.

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La Mode illustrée, no. 32, 12 août 1900, Paris. Toilette de Mlle Louise Piret, rue Richer, 43. Ville de Paris / Bibliothèque Forney

Description de la gravure coloriée:

Cette toilette en voile vert amande est garnie de guipure crème et de ruban de velours noir. La jupe à petite traîne, posée librement sur un transparent en taffetas et faite avec des plis couchés, est cerclée à mi-hauteur d'une guipure remontant par derrière pour se terminer sous le pli creux.

Le boléro court, agrémenté de motifs de guipure, est bordé d'une dentelle surmontée d'un large ruban de velours noir; sur le devant, le velours passé sous la dentelle, barre le plastron fait en taffetas blanc, recouvert de mousseline de soie blanche. Le col droit, exécuté en taffetas blanc recouvert de guipure, forme une pointe devant et ferme derrière. Ceinture haute en dentelle drapée sur transparent de taffetas blanc. Les manches garnies de guipure, sont terminées par des bouillonnes en mousseline de soie, ornés de rubans de velours, figurant des manches de dessous dont le contour inférieur est bordé d'un volant en mousseline plissée.

Capeline en paille de crin blanche, garnie de ruban de velours noir et d'une guirlande de chrysanthèmes nuancés.

Ombrelle en soie blanche, ornée de nœuds Louis XV.

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This dress in almond green voile is trimmed with cream guipure and black velvet ribbon. The skirt with a small train, loosely placed on a transparent taffeta and made with lying pleats, is surrounded at mid-height by a guipure going up from behind to end under the box pleat.

The short bolero, embellished with guipure patterns, is edged with lace topped with a wide black velvet ribbon; on the front, the velvet passed under the lace, bars the plastron made of white taffeta, covered with white silk muslin. The straight collar, executed in white taffeta covered with guipure, forms a point in front and closes behind. High belt in lace draped over transparent white taffeta. The sleeves, trimmed with guipure, are finished with bubbles in silk muslin, adorned with velvet ribbons, appearing on the sleeves below, the lower contour of which is edged with a pleated muslin ruffle.

Floppy hat in white horsehair straw, trimmed with black velvet ribbon and a garland of nuanced chrysanthemums.

Parasol in white silk, adorned with Louis XV bows.