Two family portraits by Hyacinthe Rigaud (Figs. 11-12) dramatically illustrate the transformation of wig styles over the course of the decade. Henry Davenport III (Fig. 10) shows the new fashion for powdering the wigs white. Sir Francis Leicester (Fig. 8) and James Francis Edward Stuart (Fig. 9) wear especially high peaks on their wigs.
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- Fontanges appear constantly in fashion prints of the day, but women sometimes chose not wear them in portraits, perhaps sensing that the trend would not last.
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- Men, like women, wore stockings or hose to cover the legs.
- Two family portraits by Hyacinthe Rigaud (Figs. 11-12) dramatically illustrate the transformation of wig styles over the course of the decade.
- The fontange lace headdress was now omnipresent (Figs. 1-3, 5-12); what began as a small cap pinned to the back of the head now had a tall wire frame attached with tiers of lace, ribbons and ruffles (Fig. 8) ((Hill 413).
Prince James Francis Edward Stuart; Princess Louisa Maria Theresa Stuart, 1695. Portrait of Mademoiselle Léomenie Brienne, Marquise de Roualt Gamache, late 17th century. Her brother Prince James Francis Stuart (Fig. 3) wears a red justaucorps with white cravat and holds his ostrich-trimmed tricorne under his arm as an adult would.
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An unknown girl with oranges (Fig. 2) wears a more formal gown with a boned bodice and elaborate lace fontange and apron. At home, men would still remove their justaucorps and dress informally in silk dressing gowns or robes over their waistcoats and cravats (Fig. 15). Men, like women, wore stockings or hose to cover the legs. See examples of ostrich-fringed tricornes in figures 1-2. Rigaud’s 1699 portrait of Jean Le Juge and his family (Fig. 12) shows Le Juge in a powdered wig and his wife and child with their hair powered gray and white. His 1692 portrait of the Léonard family shows the father with a full dark wig and his wife and child with their natural hair (Fig. 11).
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A few women, however, were painted wearing fontanges (Figs. 5-6), such as Donna Ippolita Montalto (Fig. 10) and Eleanor James (Fig. 11); James’s The lace tower could be quite vertical, but also sometimes tilted forward at quite a severe angle (Fig. 9). The fontange lace headdress was now omnipresent (Figs. 1-3, 5-12); what began as a small cap pinned to the back of the head now had a tall wire frame attached with tiers of lace, ribbons and ruffles (Fig. 8) ((Hill 413). “By the end of the century the tailor’s position as the only person who made male and female clothes had been challenged by the seamstresses.
Media in category “Fashion in 1692”
The dehumanizing attitude towards Africans rose alongside the slave trade, which spiked in the seventeenth century.” In both examples, the women wear a blend of classical drapery and contemporary styles and do not include the fontange headdress. The portraits blend the classical and the colonial, featuring garden settings with classical statuary alongside exotic birds like parrots. Racist portraiture tropes remained all too common, as in previous decades. Mademoiselle d’Armagnac (Fig. 15) wears a robe de chambre, a French version of the nightgown and precursor of the mantua; the closed gown features a ladder of ribbons all the way down the center front.
- Women would wear stockings held up by garters, though no underwear.
- A portrait of Maintenon with her niece shows this more severe style with Maintenon dressed all in black (Fig. 1).
- A member of FIT’s History of Art department since 2015, Dr. De Young specializes in the intersection of art and fashion.
“In 1695, a lady of the French court complained that women were turning blue from the cold when required to wear silk dresses in winter.” (Met Museum) Portrait of a lady, half length, in a mantua gown and lace frelange headdress, ca. Queen Maria Luisa Gabriela of Savoy https://pin-up-download.in/ (Fig. 5) wears a blue silk bodice and petticoat trimmed in tiers of ruffled lace. Princess Ana Maria Luisa of the Palatinate (Fig. 4) wears a luxurious silk brocade bodice that is further ornamented with silver lace and a massive jeweled bodice ornament. The intense horizontal fringe and lace decoration mentioned by Brown feature in figure 1. Charlotte-Félicité (Fig. 2), the Duchess of Modena, wears a mantua and petticoat made of matching striped silk brocade fabric.
“By the end of the century the mantua and petticoat were made from matching fabric, with contrasting material used for the lining of the mantua. In the 1690s, women’s dress achieved an even more vertical effect (Fig. 1), as the narrowness of the mantua and the height of the fontange headdress increased. Just over here searching library collections in Uruguay for fashion magazines and women’s weeklies so you don’t have to.
Omegon Easypic Universal Smartphone Adapter The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. The Fashion History Timeline is a project by FIT’s History of Art Department. Have a primary source to suggest? To discover primary/period sources, explore the categories below.
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A few 21st century ones thrown in as well. Books on the history of fashion and design, etc.
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She wears her belted silk nightgown over her smock, apparently without stays. Women would wear stockings held up by garters, though no underwear. The print is useful also for the back view of the mantua it provides and for allowing us to see the streaming lappets from her fontange. The cost of such delicate lace must have been considerable.” (Ashelford 101) “spectacular head-dress consists of a wire frame formed into a high domed shape over which lace has been placed.
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Mantuas and petticoats were still sometimes made of contrasting fabrics as well; see, for example, a portrait of the Comtesse de Mailly in 1698 (Fig. 3). Petticoats were decorated with horizontal bands of lace or fringing (furbelows).” (Brown 139) The foundation of women’s dress remained the chemise (also known as a smock or shift), upon which now boned stays (early corsetry) were now typically worn. A fashion print depicting the daughter of the Duke d’Orléans (Fig. 1) gives a good idea of the overall silhouette; notably she wears a variation of the steinkirk cravat, a menswear influence see Menswear below. Men’s coats gained fuller skirts and their wigs were now two-peaked and, by the end of the century, powdered gray or white. The more modest jacket-style mantua bodices are often attributed to the influence of Madame de Maintenon, the secret wife of King Louis XIV.
Plain silk satins, velvets and wools were typically used, though silk brocades were still sometimes worn; the National Trust has a bizarre silk brocade coat from this period in their collection (Fig. 5). Sleeves were sometimes left open to near the elbow, which allowed the shirt to billow forth; see portraits of Charles Townshend (Fig. 3) and Charles Montagu (Fig. 4) for examples of this style. “A good fit and defined waist, the effect being increased by a fuller skirt which flared out fan-wise from pleats closely stitched down at the apex of each side vent where a decorative button was placed.” (139)
Sleeves ended at the elbow and large cascades of lace (sometimes attached to the chemise, but later often independent) then billowed forth, these are called engageantes in French (Fig. 5). “A love of busy surface decoration, whether it be in the form of scarves, ruched ribbons, braids or bands of metal fringe, was typical of male and female fashion in the 1680s and 1690s.” (101) In either case, mantuas featured long trains (Figs. 1, 3).
A fashion print depicting Louis-Auguste de Bourbon, Duc du Mayne (Fig. 1) gives a good idea of the overall silhouette. This male uniform would be maintained into the 19th century, though with many changes to cut and style. A portrait of Maintenon with her niece shows this more severe style with Maintenon dressed all in black (Fig. 1). Portrait of Madame de Maintenon, last third of the 17th century.
At the end of the century, the aging Louis XIV began to wear his full-bottomed wigs dusted with white powder. “By the late 1690s, the hair was parted in the center into two high peaks that swept upwards from the forehead. Portrait of an Aristocrat in Armor, believed to be James Francis Edward Stuart, ca. Plain linen cravats were gaining in favor (Figs. 4, 6), though lace and fringed ends were still popular (Figs. 1-3, 8).