#second Empire fashion

[gogmstuff]

1860s dresses (from top to bottom) -

1862 Aleksandra Zatler, general’s wife, by Josef Simmler (location ?). From Merinok's Facebook pages 1440X1795.

1863 Rosa Guardiola, Baronesa de Andilla by Federico de Madrazo y Kuntz (private collection). From Wikimedia 1400X1804.

ca. 1865-1866 Afternoon dress (auctioned by Tessier-Sarou). From tumblr.com/fashionsfromthepast 1280X1920.

ca. 1867 Walking and visiting suit by Worth & Bobergh (Albany Institute of History and Art - Albany, New York, USA). From tumblr.com/history-of-fashion 1660X3072.

[fashionsfromhistory]

Ball Gown

Emile Pingat (Paris, France)

c.1864

The MET (Accession Number:C.I.69.33.12a–c)

[daguerreotyping]

Carte de visite of a French naval officer with perfectly curled hair and a matinee idol face, c. 1860s

[barbucomedie]

Jungle Uniform of the Border Regiment from the British Empire dated to 1945 on display at the Cumbria Museum of Military Life in Carlisle, England

This uniform was worn by Private Vernon Cook from Glagate, Lancaster during their time in the 9th Battalion of the Border Regiment. The 9th Battalion was part fo the Burma Campaign 1944 - 1945 that pushed the Empire of Japan out of British occupied Burma.

The start of the war in Burma went very poorly for the Allies and many lessons were learnt. One lesson was the uniform as many British army and Commonwealth soldiers wore the Khaki Drill uniform that was useful in the desert campaigns like in North Africa but not so much the jungles of Burma. The more camoflaged green uniform and light weight material proved to be more effective as well as easier to produce as it was made locally.

Photographs taken by myself 2023

[frogteethblogteeth]

Witch or Sorceress masquerade ball dress by Leon Sault, Paris, 1860s

[fawnvelveteen]

Circa 1860 dress with crinoline walk or indoor printed bunting bayadère dating from the French Second Empire

[anatomicalmartyr]

"Infatuated with herself, always classically draped, her magnificent hair her only coiffure, she was strange in her personality and her ways. She would appear at gatherings like a goddess descending from the clouds. At her request, her husband would lead her to a quiet corner of the room where she would allow people to admire her as if she were a shrine; absent amid the crowd, she would meet with glacial calm the indiscreet stares of her admirers (...)”

General Fleury on Virginia Oldoini, Countess di Castiglione

[fashionbooksmilano]

Sous l’Empire des crinolines   Musée Galliera

Catherine Join-Diéterle,  Françoise Tétart-Vittu

Paris Musées, Paris 2008, 212 pages, Relié, 180 ill.couleurs, 17,5 x 24,5 cm, ISBN : 978-2-7596-0069-4

euro 80,00

email if you want to buy booksinprogressmilano@yahoo.it

Catalogue publié à l'occasion de l'exposition "Sous l'empire des crinolines" présentée au Palais Galliera du 26 novembre 2008 au 26 avril 2009, Editeur Paris Musées. Symbole du Second Empire, la crinoline apparaît dès 1830 avec l’utilisation de jupons en crin qui font gonfler les jupes. Ils seront remplacés en 1856 par la fameuse cage à fanons de baleine, puis substitués par une armature métallique. Le succès de cette dernière sera immédiat : en France, 5 millions sont confectionnés en 1860. Sa forme évolue également. D’abord ronde, elle est ensuite plate devant et se projette loin vers l’arrière. Puis, à partir de 1867, une «demi crinoline», plus étroite, s’impose. Souvent comparée aux coupoles en métal et en verre la crinoline témoigne de la passion de l’époque pour le volume. Cependant, ce qui frappe surtout c’est l’exubérance de la silhouette, l’emploi récurrent des volants, l’accumulation des étoffes et des ornements, l’éclectisme des décors où se mêlent historicisme et orientalisme, où le bleu vif côtoie le rose pastel. Mais au delà du port de la crinoline, de la rapidité des transformations de la silhouette, de la diversité des sources d’inspiration, la mode du Second Empire reflète les changements survenus en France depuis le début du siècle. Cet ouvrage richement illustré, témoigne de cette période très particulière dans l’histoire de la mode française. Conçu autour de trois grands thèmes (la fête à la ville et à la cour ; la modernisation ; la commercialisation) il aborde l’ensemble des aspects propres à la crinoline et à son époque. Mais il nous montre également à quel point elle fascine encore les créateurs. Regardons pour cela comment Jean-Paul Gaultier ou John Galliano (pour Dior) l’interprètent dans leurs collections automnes-hivers 2008-2009.

12/05/23

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[theebonswan]

Outdoor carousel, poss. around Champs-Élysées, Paris. ca. 1860s. via eBay.

[clove-pinks]

I swear I don't want to contaminate this blog with the 1850s when there is already way too much 1840s going on, but I can't resist the appeal of loudly patterned midcentury menswear, which honestly seems to peak in the early 1850s.

Circa 1850s caricature by J.V. Barret, Wellcome Collection.

Some Second Empire swells in a fashion plate, 1853 (Met Museum). They gave the child a gun and also made some decisions with facial hair.

I feel that just as the ultimate distillation of the 1980s, the Solo cup Jazz pattern, was actually produced in 1992; and the hippie psychedelic aesthetic that we associate with the 1960s is more of an early 1970s thing—so the long and stripey shadow of the Greater 1840s persists into the 1850s.

An 1854 cartoon by John Leech that the Wellcome Collection describes as "Two working-class men wearing top hats and moustaches, imitating the fashions of the upper classes, rejoice in their new-found equality in fashion."

There are 1850s cartoons in a similar vein by Leech on the John Leech Archive, but not in high resolution.

Two 1854 cartoons by Leech showing that the "Gent" of the 1840s is alive and well: striped pants, narrow-brimmed hat, paletot coat and all.

[gogmstuff]

Back to the 1860s -

Top row  1860 Ballgown (location ?). From tumblr.com/royaland; enlarged by half 852X1350.

Second row  1860 La Contemplation by Henri-Guillaume Schlesinger (location ?). From tumblr.com/artthatgivesmefeelings 1206X1540.

Third row left  1861 Maria Sawiczewska by Leopold Loeffler (location ?). From tumblr.com/ artthatgivesmefeelings; fixed larger spots & edges w Pshop 736X989.

Third row right  ca. 1860 Doña Antonia Roca by Ángel María Cortellini y Hernandez (Museo de Bellas Artes de Valencia - Valecia, Valencia, Spain). I found this before I started recording sources - before 2010; fixed spots & flaw w Pshop 836X1328.

Fourth row left  1862 The lesson, mother and her daughter in a bourgeois interior by Gustave Léonard de Jonghe (location ?). From tumblr.com/artthatgivesmefeelings; fixed spots & large smudge w Pshop 1920X1557.

Fourth row right  1862 The recital by Gustave Léonard de Jonghe (location ?). From Wikimedia; fixed spots w Pshop 1657X2047.

Fifth row  1862 Palm Sunday by Alfred Stevens (location ?). From tumblr.com/eirene; fixed spots & flaws w Pshop 1367X1859.

Sixth row left  1863 The Love Letter by Auguste Toulmouche (Sotheby's - Auction PF1209 Lot 135). From their Web site; too many flaws to fix 2836X3391.

Sixth row right  1865 Erzsébet Borsay by Ferenc Klimkovics (Magyar Nemzeti Galéria  - Budapest, Hungary). From en.mng.hu/artworks/portrait-of-erzsebet-borsay/1894X2390.

[fashionsfromhistory]

Ball Gown

Emile Pingat (Paris, France)

c.1864

The MET (Accession Number: C.I.69.33.1a, b)

[professorpski]

Woven, Not Printed: A Paisley Shawl from 19th Century Paris

Earlier this week, I was admiring the many beautiful printed designs on silk and rayon scarves offered up in the book Scarves. They were printed designs and for some reason when I saw this long shawl on 1st Dibs, I assumed it was printed too. How else could they have used so many colors in so many intricate patterns? The answer is a jacquard loom using 8 different colors. See the last image for the back side of this shawl where the non-dominant colored threads are hidden behind.

They date it to around 1860, so from the Second French Empire. Paisley patterns, borrowed from India, were already fashionable then. While we often see stoles of 6 feet in length and a foot and a half in width today, this one is a whopping size. Almost 5 feet wide and more than 10 feet long. So long that you wonder if anyone actually wore it-- I know I would feel swamped by it, even if it is indeed thin--or if it was used to drape over a sofa instead.

You can find it here: https://www.1stdibs.com/fashion/clothing/coats-outerwear/long-french-paisley-shawl-polychrome-center-circa-1860/id-v_6601412/

[daguerreotyping]

Carte de visite of a sleekly polished gentleman, backstamped Angers, France c. 1860s

[barbucomedie]

Land Army Uniform from Carlisle, England dated to 1939 on display at the Tullie House Museum and Art Gallery in Carlisle, England

This uniform belonged to Ann Penrice to work on the farms in the Wigton area during the Second World War. She was born in Workington and live in Carlisle. Ann was a "Land Girl" in the Women's Land Army for many years and the bands mark her length of service.

The Women's Land Army was set up to support the agricultural industry in Britain while many men were fighting in the Second World War. They worked all over the country and in all weathers and conditions with little training or preperation for these tasks. Despite ensuring the steady supply of food and the maintenance of natural resources like forests, they were paid much less than men and had to pay for lodging as well. Many also worked with prisoners of war from Italy and Germany.

Photographs taken by myself 2023

[frogteethblogteeth]

Fancy-dress design representing the Alphabet, Jules Helleu, Paris, 1860s