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#robe volante
digitalfashionmuseum · 3 months
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Pink silk robe volante, 1720-1735.
Palais Galliera.
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theladygruoch · 1 year
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Some handy tips for going outside in historical clothing! ...or not...
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gogmstuff · 10 months
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Early 1730s dresses (from top to bottom) -
1730 Tea Party at Lord Harrington's by C. Phillips detail (Yale Center for British Art, Yale University - New Haven, Connecticut, USA). Probably from Wikimedia; fixed spots with Pshop 1247X1623. There are many caps and veils, square necklines, and laced bodices with revers. But full-blown panniers are not to be seen.
1730 Marquise de Gueydan as Flora by Nicolas de Largillière (Musée Granee - Aix-en-Provence, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France). From cutlermiles.com/portrait-of-marquise-de-gueydan-as-flora-nicolas-de-largilliere/ 1908X2484. She wears a stout Swiss belt and cleft coiffure that harken back to the late Louis XIV era.
ca. 1730 Empress Elisabeth Christine by Johann Gottfried Auerbach (auctioned, probably by Lempertz). From Wikimedia trimmed 1715X2352. She wears a round skirt and a scoop neckline.
ca. 1730 Polyxena of Hesse-Rotenburg, Queen of Sardinia by Maria Giovanna Clementi (location ?). From tumblr.com/blog/view/jeannepompadour; enlarged by half 1053X1385. Her dress has a deep V neckline filled in by a modesty piece.
ca. 1730 Rhoda Apreece, Mrs Francis Blake Delaval attributed to Enoch Seeman the Younger (Seaton Delaval - Seaton Sluice, Northumberland, UK). From artuk.org; enlarged by half 994X1200. The ruff makes this a Van Dyck revival dress. The laced vest and jaunty hat lend a casual air to the portrait.
ca. 1730 Robe volante (Musée de la Mode - Paris, France). From fripperiesandfobs.tumblr.com-post-139802377452-robe-volante-ca-1730-from-the-palais-galliera 1140X1620. Dresses before the 1750s often had cuffs that could be substantial like these.
1731 Die Liebeserklärung by Jean François de Troy (Sanssouci, Stiftung Preußische Schlösser und Gärten Berlin - Brandenburg, Germany). From artsandculture.google.com/asset/die-liebeserklärung-jean-françois-de-troy/XAFpCyLiWrxHZw?h 3074X24.12. Known in the Anglophone world as “The Declaration of Love. The large patterns mark this as early century. The robe à la française is firmly established in the form it would take until the late Louis XVI period.
1731 Infanta Maria Teresa Antonia de Borbón by Jean Ranc (Museo del Prado - Madrid, Spain). From their Web site; removed spots and streaks with Photoshop 2621X3051. Spain was ruled by Borbóns after the last Habsburg was cleared out in the early 1700s.
1731 Julia Calverley, Lady Trevelyan, by Enoch Seeman the Younger (Wallington Hall - Wallington, Northumberland, UK). From nationaltrustcollections.org.uk/object/584399; erased navigation marks in corners & fixed spots w Pshop 1616X1992. Clasps replace lacing to close this bodice.
1731 Lady by John Vanderbank (location ?). From the Philip Mould Historical Portraits Image Library 920X1214. The dress is Van Dyck revival similar to the one worn by Rhoda Apreece.
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fashionsfromhistory · 2 years
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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)
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samissadagain · 2 years
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Robe Valante ca. 1730, French, silk
"This robe volante is an exceedingly rare example of a well-documented form of dress that marked the transition from the mantua of the late seventeenth and early eighteenth centuries to the robe à la française, the dress style that became ubiquitous in the eighteenth century. The unstructured silhouette of the robe volante, with its unbroken expanses of cloth, made it particularly appropriate for the display of large-scale patterning."
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okay but fEM BLACKBONNETT AKA LESBIAN GENTLEBEARD
Well anon you're in luck because in my break today I actually had time to draw them! And on top of that I also started a new wip with them yesterday night.
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The pirate lesbians for yall
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mathlann · 2 months
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Having fun with this Roslin Painting
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hiadaliu · 1 year
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vinceaddams · 7 months
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Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.
I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)
Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.
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(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)
There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.
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(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)
The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.
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(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)
Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.
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(1720's-30's, LACMA)
Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.
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(1730's, V&A, metal and silk embroidery on silk satin.)
Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.
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(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)
Tell me this look isn't positively made for vampires!
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(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)
(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)
And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.
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(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)
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(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)
Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!
I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.
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(1730's, Museo del Traje.)
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(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)
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(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)
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(Portrait of Duchess Colavit Piccolomini, 1690's.)
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(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)
Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.
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(Viago in drag Portrait of a lady, Italian School, c. 1690.)
Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!
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jewellery-box · 1 month
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Dress and petticoat (Robe Volante)
French
about 1730
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MFA Boston
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digitalfashionmuseum · 6 months
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Blue Silk Robe Volante, ca. 1730, French.
Met Museum.
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gogmstuff · 8 months
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1724 Madame de La Sablonnière et de sa fille by Alexis-Simon Belle (Musée des Beaux-Arts de Pau - Pau, Pyrénées-Atlantiques, Nouvelle-Aquitaine, France). From pop.culture.gouv.fr-notice-mnr-MNR00087; fixed spots w Pshop 2781X3635. This one had many, many spots making it hard to determine what was in between them.
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chic-a-gigot · 3 months
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La Mode nationale, no. 297, 2 janvier 1892, Paris. Panorama de toilettes de bal. Bibliothèque nationale de France
(1) Toilette de jeune fille, en fourreau de velours bleu foncé. Corsage à gerbe, dentelle paille autour du décolletage en rond. Manches de soie paille. Coiffure jeune fille grecque.
(1) Young girl's ensemble, in dark blue velvet sheath. Sheaf bodice, straw lace around the round neckline. Straw silk sleeves. Greek girl hairstyle.
(2) Robe en broché fond blanc, à bouquets multicolores. Le corsage, retenu sous une ceinture vert-amande en satin antique, est orné dans le haut par un volant de dentelle d'Irlande, monté sur un galon brodé de soies multicolores.
Manches bouffantes, en satin blanc, retenues par un bracelet brodé.
Coiffure antique, formée par un pouf en cheveux, entouré par des galons brodés multicolores.
(2) Dress in paperback white background, with multicolored bouquets. The bodice, held under an almond-green belt in antique satin, is decorated at the top with a ruffle of Irish lace, mounted on a braid embroidered with multicolored silks.
Puff sleeves, in white satin, held by an embroidered bracelet.
Antique hairstyle, formed by a hair pouf, surrounded by multicolored embroidered braid.
(3) Robe de mousseline de soie blanche, à corsage sultane en velours carmélite, brodé or et argent, sur corsage froncé, retenu à la taille par une ceinture semblable. Manches courtes, très bouffantes; collier en plumes carmélite.
(3) White silk muslin dress, with a sultana bodice in Carmelite velvet, embroidered in gold and silver, on a gathered bodice, held at the waist by a similar belt. Short, very puffy sleeves; Carmelite feather necklace.
(4) Toilette de jeune femme, en satin rose pâle. Corsage drapé, orné par une berthe en mousseline de soie, terminée par un nœud Watteau derrière. Une bande de violettes ferme le corsage et se répète en bretelles sur les épaules.
(4) Young woman's ensemble, in pale pink satin. Draped bodice, decorated with a silk chiffon berthe, finished with a Watteau knot behind. A band of violets closes the bodice and is repeated in straps on the shoulders.
(5) Toilette de jeune femme. Robe en broché Louis XV bleu-ciel. Corsage plat, recouvert par une grande collerette en dentelle plissée blanche, entourée par un cordon de petities fleurs. Ceinture double et collier en velours noir. Manches bouffantes en satin uni.
(5) Young woman's ensemble. Louis XV sky blue paperback dress. Flat bodice, covered by a large white pleated lace collar, surrounded by a cord of small flowers. Double belt and necklace in black velvet. Plain satin puff sleeves.
(6) Toilette de jeune femme. Corsage plat, en satin antique aubergine, garni par un galon paille et aubergine, recouvert aux entournures par une dentelle blanche faisant Figaro retourné. Manches courtes et bouffantes en mousseline de soie paille. Jupe en soie brochée paille, forme empire, recouverte dans le bas par un haut volant de dentelle blanche. Derrière, longue traîne de satin antique aubergine. Coiffure grecque.
(6) Young woman's ensemble. Flat bodice, in antique aubergine satin, trimmed with straw and aubergine braid, covered around the edges with white lace in the shape of a reversed Figaro. Short, puffed sleeves in straw silk chiffon. Straw brocade silk skirt, empire shape, covered at the bottom by a ruffled white lace top. Behind, long train of antique aubergine satin. Greek hairstyle.
(7) Costume de jeune fille, en satin blanc. Corsage drapé, en mousseline de soie blanche, retenu au milieu par un chou de ruban.
Jupe plate, plissée derrière, garnie dans le bas par cinq rouleaux de satin. Bracelets à chaque poignet.
(7) Young girl's dress, in white satin. Draped bodice, in white silk chiffon, held in the middle by a bow of ribbon.
Flat skirt, pleated behind, trimmed at the bottom with five rolls of satin. Bracelets on each wrist.
(8) Robe de jeune fille, en crépon rouge vif. Corsage uni et décolleté, entouré par une collerette froncée en mousseline de soie rouge. Ceinture brodée. Jupe légèrement vaguée devant, rejetée en plis derrière.
Très petites manches, recouvertes par la collerette.
(8) Young girl's dress, in bright red seersucker. Plain, low-cut bodice, surrounded by a gathered red silk chiffon collar. Embroidered belt. Slightly waved skirt in front, thrown back into folds behind.
Very small sleeves, covered by the collar.
(9) Toilette de femme âgée, en soie noire, brochée. Corsage de satin uni, entouré par une dentelle relevée forme Médicis. Manches bouffantes en tulle noir brodé.
Jupe ample en broché, plissée en petite traîne derrière. Collier de perles fines. Coiffure jeune femme grecque, rehaussée derrière par un pouf de trois plumes roses.
(9) Older woman's ensemble, in black silk, paperback. Plain satin bodice, surrounded by raised Medici lace. Puff sleeves in embroidered black tulle.
Loose brocade skirt, pleated with a small train behind. Fine pearl necklace. Hairstyle of a young Greek woman, enhanced behind by a pouf of three pink feathers.
(10) Robe de dîner, en bengaline azalée. Corsage plat, recouvert, devant et dans le dos, par une pèlerine en pointe, en dentelle d'Irlande, surmontée par un collier en plumes.
Manches courtes, formées par un jockey très bouffant et froncé. Jupe plate devant, rejetée en plis derrière, faisant traîne. Ceinture semblable, nouée en très gros nœud derrière. Coiffure grecque.
(10) Dinner dress, in azalea bengaline. Flat bodice, covered, front and back, by a pointed cape, in Irish lace, topped by a feather collar.
Short sleeves, formed by a very puffy and gathered jockey. Flat skirt in front, folded behind, creating a train. Similar belt, tied in a very large bow at the back. Greek hairstyle.
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chicinsilk · 5 months
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US Vogue November 1, 1970
Anjelica Huston wears a printed purple silk gypsy dress with an extravagant neckline and tightly laced bodice, billowing ruffles on the sleeves and skirt. By Geoffrey Beene. Earrings: Flemming for Judith McCann. Marvella pearls. Hairstyle Ara Gallant.
Anjelica Huston porte une robe gitane de soie pourpre imprimée avec un décolleté extravagant et un corsage étroitement lacé, des volants ondulants sur les manches et la jupe. Par Geoffrey Beene. Boucles d'oreilles: Flemming pour Judith McCann. Perles de Marvella. Coiffure Ara Gallant.
Photo Richard Avedon vogue archive
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tendermelanina · 9 months
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Corrections and additions to @chic-a-gigot's post, which can be found here.
Dress in green taffeta, with broad stripes of two shades. The darker stripe is plain, while the lighter stripe has a pattern of large dots of the same shade as the dark stripe, plus two thin dark stripes on either side framing the pattern. The edge of the skirt is trimmed with a ruffle scalloped on each side, pleated, 12 centimetres high, including the head. The bodice has a very wide waistband closed by a high buckle. Large buttons of the darkest hue adorn the bodice. Close-fitting sleeves. Point (wrap?) of Chantilly lace, trimmed with a Chantilly lace flounce. Hat of green tulle, with full puffs, embroidered with small crystal beads, decorated with a tea rose underneath. Two long pieces of tulle fall from behind, green straps.
Dress in lapis grey poil de chèvre(1), with white stripes, bordered on each side with a fine black stripe. Three narrow ruffles edged with black taffeta, pleated, are placed in sharp "teeth" at the bottom of the skirt. A band of black taffeta, embroidered with grey silk polka dots, heads these flounces. On the top, the "teeth" are festooned by a black taffeta diamond with embroidery representing a swallow in several shades of lapis grey silk. Corsage-casque, i.e. with long basques(2) reproducing the shape and ornaments of the skirt trim.
(1) Fabric of goat's hair with satiny surface, introduced in 1861 || (2) French term for an extension of the bodice below the waist
The original text, in French;
Robe en taffetas vert, à larges rayures de deux nuances. La plus foncée est unie, la plus claire a un semé de gros pois de même teinte que la rayure foncée, et de plus deux fines rayures foncées, qui, de chaque côté, encadrent le semé. Le bord de la jupe est garni avec un volant découpé de chaque côté, tuyauté, ayant 12 centimétres de hauteur, y compris la tête. Corsage montant a très-large ceinture fermée par une haute boucle. De gros boutons de la teinte la plus, foncée garnissent le corsage. Manches étroifes. Pointe en dentelle de Chantilly, garnie avec un volant de même dentelle. Chapeau de tulle vert entièrement bouillonné, brodé en petites perles de cristal, orné dessous avec une rose thé. Deux longs pans de tulle retombent par derrière, brides vertes.
Robe en poil de chèvre gris-lapis, à rayures blanches, bordées de chaque côté avec une fine rayure noire. Trois étroits volants bordés de taffetas noir, tuyautés, sont posés en dents aiguës sur le bas de la jupe. Une bande de taffetas noir, brodée de pois en soie gris-lapis, surmonte ces volants. Sur la pointe supérieure, les dents sont ornées d’un carreau de taffetas noir avec une broderie représentant une hirondelle en plusieurs nuances de soie gris-lapis. Corsage-casaque, c’est-à-dire à longues basques découpées reproduisant la forme et les ornements de la garniture de la jupe.
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devils-acre · 1 year
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Historically Accurate POTC Designs, Maybe??
Tried drawing some historically accurate Pirates of the Caribbean designs, with my best effort(s?) to keep the spirit of the original costumes!
Research rabbit holes below:
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I set the clothes in the late 1720's, 1728-1731. At this time, coats were very full—almost skirt-like—with big cuffs, and the waistcoats sometimes had long sleeves!
For Will, I decided to give him just a waistcoat since most of his costumes in the movie don't have an overcoat, and it makes more sense for a blacksmith, I think! I also decided not to give him a wig since I don't think he would be wealthy enough or be able to work with one.
For (Captain) Jack, I really just wanted to give him shoes with red heels. They were popular in the 17th century, but carried over to the early 18th!  Wearing them meant you were in favor with King Louis XIV (who ruled at the time) and were rich enough to wear the color red. Since Jack is obviously none of those things I thought it’d be funny—he probably stole them. The T on his hand was supposed to be the equivalent to the P brand Jack has in the movies. Branding was a thing, just not for pirates! A T burned on the hand was for “thief.” Usually brands were like a warning, and if the offender committed another crime then they would be hanged—pirates, however, didn’t get a second chance.
For Elizabeth, her dress was hard to research. Technically the popular gown at the time was a Robe Volante, but I don’t like the way it looks so I found a different one haha :D What I could find from a few paintings was what apparently is called a “round gown” and was often worn with some sort of belt or ribbon thing at the middle. Not sure what that part is called, maybe a girdle? Technically, a mantua would be closer to the purple-red gown Barbossa gives Elizabeth, since it has fabric bunched up in the back, but I thought a different style could work too.
Elizabeth’s pirate outfit is just based off of what I could find for general 18th-century sailor’s clothes, which were difficult to find for the 1720s in particular, but didn’t seem to change much throughout the decade. However fashionable, boots (sadly) weren’t actually worn by pirates, and most sailors would go barefoot or just wear the current fashionable shoe at the time! She would also probably be wearing a knit hat, but I thought the tricorne was too iconic to take away.
And, lastly, for Norrington! He’s wearing a Ramillies wig (named after the battle of Ramillies in 1706) which was the style for people in the military, or really for anyone who couldn’t wear a full periwig (the really big curly wigs.) And for his clothes, since British Navy Uniforms weren’t introduced until 1748, I just put him in blue and gold.
And that’s it! I’m only a very amateur fashion history enthusiast and could be wrong about a lot, so if anyone knows anything about 1720-30s fashion or anything like that feel free to let me know about any mistakes or other interesting historical facts!
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