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#journal des luxus und der moden
fashion-plates · 1 year
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Journal des Luxus und der Moden, 1792-1793
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history-of-fashion · 2 years
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1786 Print, Plate VI, design for gentleman's costume, “Journal des luxus und der moden (Journal of luxury and fashions)”, Vol. 1, No. 2  
1789 Print, Plate 16, design for gentleman's costume, “Journal des luxus und der moden (Journal of luxury and fashions)”, Vol. 4, No. 6
1787 Print, Plate 8, design for gentleman's costume, “Journal des luxus und der moden (Journal of luxury and fashions)”, Vol. 2, No. 3
1786 Print, Plate IX, design for gentleman's costume, “Journal des luxus und der moden (Journal of luxury and fashions)”, Vol. 1, No. 3  
designed by Georg Melchior Kraus and published by Friedrich Justin Bertuch and Verlag des Landes-Industrie-Comptoirs 
(Cooper Hewitt Smithsonian Design Museum)
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lafcadiosadventures · 2 years
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Journal des Luxus und der Moden, 1801
(check out that cane?? club??? with lenses?? on it??)
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whennnow · 8 months
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Regency Ribbon Bodices
July 8, 2021
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[Image ID: a neck-to-hip photo of Alex wearing a blue ribbon bodice that ties in a bow at the front over a white Regency dress.]
I found an on Pinterest ages ago and fell in love with the idea of an over-bodice made of ribbons. Eventually (read: accidentally) I discovered its source - the July 1808 edition of "Journal des Luxus und der Moden".
Now, admittedly, my white Regency dress is a few years earlier than 1808 (it's more 1800-1803-ish?) and the bodice as-pictured wouldn't suit the cut of my dress, but if I'm making it I can redesign it to suit my needs!
The Blue Ribbon Bodice
For my first ribbon bodice, I used 2" wide poly satin ribbon in a lovely shade of blue. To better suit my dress, I changed the shoulder straps to angle in and come to a point in the back, which imitated the narrow back of my dress bodice.
To start constructing it, I cut a piece of ribbon long enough to tie around the waist of my dress and leave long trailing ribbons. I found the center of the length and pinned it to the center back of my dress at the waistline. Then I pinned it again at the sides of the waist just where the drawstring ended.
After that, I approximated how long the shoulder strap needed to be and, through trial and error, figured out where they needed to be joined and at what angle to stay on my shoulders. Those got pinned onto the dress as well.
With those pieces pinned in place, I pinned on a ribbon to connect the two shoulder straps and a short ribbon connecting the center of the waist ribbon to the center of the shoulder-connecting ribbon.
I unpinned it all from the dress (making sure the ribbons were still pinned together), trimmed any excess ribbon, and pinned the raw edges of the ribbon under. That all got basted in place and I gave it one last try-on.
Once everything was finalized, I used a spaced backstitch and thread in a matching color to sew everything together. And then my first bodice was done!
Almost. I wanted to add two more short ribbons connecting the shoulder straps to the waistband, but I had to make sure I had ribbon enough to decorate the straw bonnet I'd be getting soon. The bonnet arrived a few days later and was decorated with enough ribbon to spare to finish my bodice. The last two straps were pinned, basted, and attached in the same manner as the rest. Then the bodice was fully complete.
The Red Ribbon Bodice
Why stop at one ribbon bodice when you can have two?
My second ribbon bodice was made of the same kind of 2" poly satin ribbon, but in a dark red, and I opted for a much simpler design.
I started this one the same as the other - a long ribbon sash marked at the center. The center got pinned to the center front this time, so it ties in the back. I then cut two lengths of ribbon for shoulder straps and pinned them where I wanted in the front.
The other end of the shoulder straps were pulled around to the back and clumsily pinned into place. The straps needed to be close enough to the back to keep from falling off, but still leave enough room to tie the waistband between them. It took a lot of pinning and re-pinning and trying on and taking off to get this part right, but once I was happy with the length and placement I was good to go.
Like with the first ribbon bodice, I did my best to tuck under any raw edges, and basted everything together before sewing it.
Final Thoughts
These two bodices took me just a few hours total to make, so they're a quick, simple way to expand your Regency wardrobe. I'm not sure how ""historically accurate"" they are, but they look nice and I'm content to settle for historically adequate.
I did this all on myself (by myself) and on my dress as it was either laid out or on a hanger. I feel like having a mannequin (or a trusted sewing helper) would have sped up the process a lot though, especially on the first bodice, where I was pinning on the back a lot. There was a lot of taking off the dress and putting it back on.
But they really were a fun, quick, simple project, and I'd love to see other people's takes on the idea.
I've got an upcoming post on decorating a straw bonnet to match these bodices coming, and then it's the final installment of my 1890s corset, so you'll hear from me again soon!
Stay warm. Stay safe. Stay healthy.
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[Image ID: a back-view photo of Alex wearing a red ribbon bodice that ties in the back over a white Regency dress.]
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my18thcenturysource · 6 years
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The fashion from the end of the 18th century has something that I truly love: perhaps it’s the hairstyles, or colour combinations or just the way the silhouette was getting slim, at the verge of Regency fashion. I don’t know, but I saw that fashion plate and it made think of these outfits from Chenilles et Papillons.
Just love them. And the red coats.
Images from top:
December 1789 plate, Journal des Luxus und der Moden.
Photo from the “21 Janvier” set with designs by Dragos Moldoveanu from Chenilles et Papillons, photos by Corinne Mariaud.
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modafactor · 3 years
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HISTOIRE DU MAGAZINE DE MODE
Fashion magazines are an essential component of the fashion industry. They are the medium that conveys and promotes the design's vision to the eventual purchaser. Balancing the priorities has led to the diversity of the modern periodical market. 
It wasn’t until 1732 that the actual word “magazine” was introduced (thanks to bookseller Edward Cave). It was under the reign of Louis XIV in France when the term “fashion magazine” made its initial emergence. The fashion publication was called The Mercure Galant and featured illustrated fashion plates of what the aristocracy was wearing. This made it possible for dressmakers who lived outside of the court to have an idea of what was “trending” in royal fashion.
Reference- https://fashion-history.lovetoknow.com/
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Check out the complete series of Vogue by the decade series.
In 1678, however, Donneau de Visé first included an illustrated description of French fashions with suppliers' names in his ladies magazine, Le Mercure galant, which is considered the direct ancestor of modern fashion reports. Thereafter, fashion news rarely reappeared in periodical literature until the mid-eighteenth century when it was included in the popular ladies handbooks and diaries. Apparently in response to readers' requests, such coverage to the popular Lady's Magazine (1770-1832) was added to the genteel poems, music, and fiction that other journals were already offering to their middle-class readers.
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By the end of the eighteenth century, Lady's Magazine had been joined by many periodicals catering to an affluent aspirational society. Interest in fashion was widespread and it was included in quality general readership journals such as the Frankfurt Journal der Luxus und der Moden (1786-1827) and Ackermann's Repository of the Arts, Literature, Commerce, Fashion and Politics (1809-1828) as well as those specifically for ladies. Despite the continental wars, French style was paramount and found their way into most English journals. Very popular with dressmakers was Townsend's Quarterly (later Monthly) Selection of Parisian Costumes (1825-1888), beautifully produced unattributed illustrations with minimal comment. The journals were generally elite productions, well illustrated and highly priced, though cheaper if uncolored. John Bell's La belle assembléé (1806-1821) was edited by Mary Anne Bell between 1810 and 1820, also proprietor of a fashion establishment. Dressmaker's credits are rare, perhaps because fashion establishments were dependent on personal recommendation and exclusivity.
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By the middle of the nineteenth century, the magazine, like other popular literature, profited from improvements in printing methods, lower paper costs, and lower taxation. Literacy levels had risen and readership increased. Many new titles were produced and fashion for all types and ages were generally included in those for the women's market. Circulation figures were high; Godey's Lady's Book (1830-1897) issued 150,000 copies in 1861 and Samuel Beeton's The Englishwoman's Domestic Magazine (1852-1897) issued 60,000. Advertisement increased but the revenue rarely inhibited editorial independence. The key to circulation was innovation, and Godey and Beeton both added a shopping service and additional paper patterns to those already available within the magazine. Up-to-date fashion news was an essential and fashion plates as well as embroidery designs came direct from Paris sources, though in America they were often modified for home consumption.
High-fashion Paris news was most easily accessible in the large format society journals, the weekly illustrated newspapers, and La mode illustrée (1860-1914), of which there was an English edition. Semi-amateur fashion cum gossip columnists were a feature of Gilded Age society, but the couture concerned with their expanding international market were increasingly professional about their publicity, and well-kept house guard books were probably as useful for press promotion as they were to designers and clients.
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Through its Chambre Syndicale, the couture was organizing its own fashion journal, Les modes (1901-1937). Its innovative and informative photographic illustrations made it an anthology of high status Paris design by the end of the century. In 1911 Lucien Vogel offered the couture an even more modern shop window in the elitist Gazette du bon ton (1911-1923), the precursor of the small pochoir (stencil) illustrated fashionable journals characteristic of the avant-garde press of the early twentieth century.
Industry Growth in the 20th Century
As fashion pace increased, the fashion publication scene was stimulated by developments at Women's Wear Daily (WWD), after the Fairchild family purchased it in 1909 as a conventional trade paper for the garment trade. Its offshoot, W (1972- ) was developed by John Fairchild, the son of the founder, to have "the speed of a newspaper … with the smart look of a fashion magazine" and significantly, its survival depended on advertisement. News "scoops" were competed for ruthlessly. Vogue secured the designs for Princess Elizabeth's wedding dress in 1947, WWD obtained Princess Margaret's in 1960, plus the annual Best-Dressed List. Assessment of style change was more problematic and it was the role of the fashion editor to balance designer's contribution and public acceptance. It was a tribute to both when magazines and public supported Dior's New Look in 1947.
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Increasingly dependent on advertising, the conventional magazine is challenged if fashion deviates from established trends. The "lead in" time for a quality, full-color journal is generally two months-too long for the speed of street fashion and its high-spending, young, and trendy clientele. This readership was not targeted until 1976 when Terry Jones, originally from Vogue, developed the U.K. magazine i-D, with its apparently spontaneous fanzine look. Its original message, "It isn't what you wear but how you wear it," had little appeal for the clothing trade but it has found its niche market in the early 2000s and is the prototype "young fashion" magazine. 
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Check out books and more at- https://amzn.to/3r10gRd
Also browse your fashion favorites at- https://amzn.to/34hrNUB
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“Journal des Luxus und der Moden”
April 1798
Germany
Victoria & Albert Museum, London
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A Regency Yule
Day 03 part 2
Miniature reproduction by me and @moodyladybug of a blue Open Robe with gold trims from a 1800 Fashion Plate from Journal der Luxus und der Moden, worn over a swiss dot emboidered cotton Round Gown, again made according to the specifications of the American Duchess Guide 📓. The gown is worn with a sash, which is a replica from the one in the paiting by François Henri Mulard shown before as an inspiration. The shawl is also completely sewn by ✋ and the fringes have been sewn into it one by one by us. The Reticule was modelled after the same fashion plate from Journal des Dames et des Modes shown yesterday.
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tamara-rutsky · 2 years
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Как появился первый журнал мод? История возникновения издания о моде очень богата. Прототип такого журнала - обычная гравюра. Потом появились печатные сборники об истории костюма, так называемые «костюмные книги». Вот представьте себя человеком того времени, который листает книгу с изображениями и описанием одежды. Для костюмных книг рисовали иллюстрации отдельные художники. Это было ну очень почётно. Представляете сейчас таких илюстраторов, создающих зарисовки костюмов? Хотя я знаю что они есть, хоть и в небольшом количестве. В Европе, кстати, можно украшать журналы зарисовками. Самым первым журналом стало издание 1679 года, появившееся во французском городе Лионе: «Mercure galant dedie a Monseigneur Le Dauphin» («Галантный вестник Его Величества Дофина»). Вообще в первых изданиях писали о знаковых событиях и тех кто диктует моду - например, о свадьбе короля Испании Карла II и принцессы Марии-Луизы Орлеанской. Дальше издания начинают появляться как грибы после дождя. 1776 год - журнал «Galerie des modes et costumes francais» («Галерея мод и французских костюмов»), 1785 – «Cabinet des modes ou les modes nouvelles» («Кабинет образов или новых мод»), 1789 - «Bertuch’sche Journal des Luxus und der Moden» («Журнал роскоши и моды Бертуха»). В мире моды считается что именно эти издания протоптали дорожку к модной журналистике 🙌 (at Manhattan, New York) https://www.instagram.com/p/CYmnkZCJov2/?utm_medium=tumblr
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markus8winter-blog · 7 years
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#Bergere after a drawing published in Journal des Luxus und der Moden, 1802 #AvailableAtLampedo #armchair #lounge #chair #loungechair #club #interior #inspiration #interiordesign #interiorstyling #contemplation #highlife #lampedo #beauty #design #architecture #architecturalfurniture #bohemianstyle #bohemian #bohemianmodern #bohemianlifestyle #country #countryhouse #neoclassicism #Weimar #antiques #antiquefurniture #vintage #vintagefurniture (at Germany)
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fashion-plates · 4 years
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Journal des Luxus und der Moden, 1793
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fashion-plates · 4 years
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Journal des Luxus und der Moden, 1796
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