Contemporary Adaptation of Eighteenth Century Fashion

The 1760s mark the last decade during which the robe à la française dominated women's wardrobes since it was showtime introduced in the 1720s. In the concluding 3 decades of the eighteenth century, other, more informal styles became stylish for daywear and the robe à la française was increasingly worn for evening. For men, the distinction betwixt the subdued informality of Englishmen's dress and the colorful formality of Continental styles (specially those of France and Italy) remained pronounced, although this would change in the following decades in favor of the former. The narrowing of the glaze that began effectually 1750 connected in this decade and a low standing collar that would increase in summit until the end of the century appeared in the middle years.

Womenswear

Thomas Gainsborough's full-length 1764 portrait of Mary, Countess Howe (Fig. i), conveys the understated elegance favored by aristocratic English women for daywear. The countess wears a stake pinkish silk taffeta "nightgown" (a style of dress with a fitted back that was pop in England from the early on eighteenth century) with oval sleeve cuffs busy with bows and a matching petticoat with a single flounce. The gently rounded skirts suggest that she has adopted a newly stylish small hoop or side hoops. The lightweight silk, known as "lutestring" during the menstruum, was favored for informal summer wear (Ribeiro/Earl and Countess Howe 32). Her "arsenal of accessories" includes a broad-brimmed straw hat busy with white satin ribbons, a multi-strand pearl choker and large circular pearl earrings, lace sleeve ruffles, or engageantes, a sheer fichu and apron (either fine embroidered mull or gauze), black silk "bracelets," and high-heeled black leather buckled shoes (Ribeiro/Earl and Countess Howe 32). Although Gainsborough placed Countess Howe in a landscape setting as though he had come upon her out for a walk in the countryside around Bath, the portrait was painted in his studio in that spa town, where the countess's husband was taking the waters for his gout. As dress historian Aileen Ribeiro observes (Ribeiro/Earl and Countess Howe 33):

"Gainsborough'due south portrait of Lady Howe is apt testimony to the art of graceful deportment; it is about as though she has been captured on sail, poised to accept the next stride in a formal dance."

In the eighteenth century, clothes themselves–particularly the corset (Fig. 2) and pannier for women–that gently or otherwise encouraged ideal posture worked together with proper bearing, inculcated from childhood with lessons from the dancing chief, to communicate social continuing and a life of leisure.

Fig. 1 - Thomas Gainsborough (British, 1727-1788). Portrait of Mary, Countess of Howe, 1764. Oil on sail; 244 10 152.iv cm. London: Kenwood Firm, 88028783. Source: MFAH

Fig. ii - Designer unknown (French). Corset, ca. 1760s. Silk, linen, leather, woods, baleen. New York: The Metropolitan Museum of Art, C.I.50.8.2. Gift of Mrs. William Martine Weaver, 1950. Source: The Met

Fig. 3 - Joseph Wright of Derby (British, 1734-1797). Peter Perez Burdett and his First Wife Hannah, 1765. Oil on canvas; 145 x 205 cm. Prague: National Gallery Prague, Practice 4289. Source: Wikimedia

Fig. 4 - Designer unknown (British). Mitts, ca late 18th century. Leather, silk. New York: The Metropolitan Museum of Fine art, 2009.300.6196a, b. Gift of the Brooklyn Museum, 2009. Source: The Met

The divergence between men's and women's clothing during this decade that was especially pronounced in England is evident in Joseph Wright of Derby'southward 1765 portrait of Peter Perez Burdett and his first wife Hannah Burdett (Fig. 3). In contrast to her hubby's informal clothing that was eminently suitable for the Derbyshire landscape in which they are portrayed and which he was in the process of surveying, Hannah Burdett (a wealthy widow at the fourth dimension of her spousal relationship) selected a cream silk sack trimmed with scrolling self-cloth forth the center front end edges, a stake lavender taffeta petticoat with a scalloped flounce, a stomacher with ribbon bows known in French equally an echelle, pearl choker and earrings, a luxurious white silk satin fichu edged with blonde (silk) lace and matching triple engageantes (Egerton 87-88). On her correct manus, she wears a mitt, probably of kid, and, around her left wrist, a hardstone bracelet (Fig. 4). While her cartographer husband holds a telescope, Mrs. Burdett's concession to the out-of-doors setting is the "small branch of may, or hawthorn" in her right hand (Egerton 87).

Fig. v - Allan Ramsay Two (British, 1713-1784). Anne (Archer) Garth-Turnour, Baroness (later Countess) Winterton, 1762. Oil on sheet; 75.six ten 63.5 cm. San Marino: The Huntington Library, Art Museum, and Botanical Gardens, 58.twenty. Source: The Huntington

Fig. six - Thomas Gainsborough (British, 1727–1788). Mary Little, later Lady Carr, 1765. Oil on canvas; 127 x 101.six cm. B1987.6.ii. Bequest of Mrs. Harry Payne Bingham. Source: Yale Center For British Art

Fig. 7 - Anton Raphael Mengs (German language, 1728–1779). Maria Amalia of Saxony, ca. 1761. Oil on canvas; 153.two x 110.two cm. Madrid: Museo Nacional del Prado, P002201. Source: Museo Nacional del Prado

Fig. 8 - Alexander Roslin (Swedish, 1718-1793). Mme Adelaïde, daughter of Louis Xv, 1765. Oil on canvas. Mora: Zorn Collections, ZKO 236. Source: Wikimedia

Fig. 9 - Pompeo Batoni (Italian, 1708-1787). Portrait of Lady Margaret Georgiana Poyntz, ca. 1764. Oil on canvas. Northampton: Althorp. Source: Wikimedia

Mid-century portraits past artists such as Allan Ramsay, Thomas Gainsborough, Anton Mengs, and Alexander Roslin illustrate the form of women'due south gowns during this decade, the use of both apparently and brocaded silks, and the profusion of lace accessories including caps, fichus, and engageantes too as floral pompons hair ornaments (Figs. 5-8). The rococo aesthetic with its curving lines is evident in the serpentine awarding of three-dimensional gown trimmings that were often of self-fabric and, for formal dress, also included silk ribbon flowers and knotted silk fly-fringe (Figs. 9-xiii). In the following decade, trimming would be stitched in directly bands along the front edges of the gown and across the petticoat before disappearing birthday by the mid-to-late 1780s.

Women of manner kept upwards with subtle changes in appearance. In the winter of 1765-66, Lady Sarah Bunbury (née Lennox) shared important advice with her niece, Susan Play a trick on-Strangways:

"To be perfectly genteel you must exist dressed thus… The roots of the hair must be fatigued upward directly and not fruzed at all for one-half an inch above the roots; y'all must wear no cap and only piddling, piffling flowers dab'd in on the left side; the only feather permitted is a black or white sultane perched upwardly on the left side and your diamond feather confronting it. A broad puffed ribbon collier [necklace] with a tippet ruff or only a lilliputian black handkerchief very narrow over the shoulders; your stays very high and pretty tight at the bottom; your gown trimmed… the sleeves long and loose, the waist very long, the flounces and ruffles of a decent length, not too long nor and then hideously brusk as they at present wear them. No trimming on the sleeve, but a ribbon knot tied to hang on the ruffles." (quoted in Tillyard 157)

Subsequently providing these numerous details regarding female person attire, Sarah indicated that "the men's clothes is exactly what they used to vesture latterly" (quoted in Tillyard 157).

Fig. 10 - Designer unknown (British). Dress, ca. 1760. Silk, linen, cotton. New York: The Metropolitan Museum of Fine art, 1996.374a–c. Purchase, Arlene Cooper and Polaire Weissman Funds, 1996. Source: The Met

Fig. eleven - Designer unknown (British). Sack, ca. 1760 - 1765. Silk, linen, silk thread, linen thread. London: Victoria and Albert Museum, T.77 to B-1959. Given past John Sterling Williams. Source: V&A

Fig. 12 - Designer unknown (French). Robe à la Française, ca. 1750-75. Silk. New York: The Metropolitan Museum of Fine art, C.I.59.29.1a, b. Irene Lewisohn Bequest, 1959. Source: The Met

Although women'southward shoes and stockings were partially obscured by their gowns and petticoats, these accessories were important components of an ensemble and, for wealthy consumers, luxury items in their wardrobes (Fig. xiv). Until the finish of the century when child became stylish, woven or embroidered silks were used for female footwear, reinforcing the gender stardom between these fragile accessories and the sturdy leather of men's shoes (Fig. 15). And, while a well-shaped calf was an asset for a human being and shown to reward by a shine white silk stocking, the concealment of women's legs and hosiery ensured their erotic appeal. Emily, Marchioness of Kildare and future Duchess of Leinster (née Lennox), was particularly fond of clocked stockings (Fig. 16) and her adoring husband purchased these in quantity on visits to London from their home in Ireland to compliment her "honey, pretty legs" (quoted in Tillyard 61). In the English language majuscule in 1762, he informed her excitedly:

"I find I exceed your commission in regard to your stockings with coloured clocks. I bespoke two pairs with bright blue, two pairs with green and 2 pairs with pinkish coloured clocks. I am sure when you have them on, your beloved legs will ready them off. I volition bespoke you six more pairs with white clocks; you mean to have them embroidered I suppose, therefore I shall brand you lot a present of the dozen. The writing virtually your stockings and dear, pretty legs makes me feel what is not to be expressed." (quoted in Tillyard 61)

Fig. thirteen - Designer unknown (French). Robe à la française, ca. 1750-75. Silk. New York: The Metropolitan Museum of Fine art, C.I.59.29.1a, b. Irene Lewisohn Bequest, 1959. Source: The Met

Fig. fourteen - Thomas Gainsborough (British, 1727-1788). Ann Ford (later Mrs. Philip Thicknesse), 1760. Oil on canvas; 197.2 x 134.9 cm. Cincinnati: Cincinnati Art Museum, 1927.396. Bequest of Mary M. Emery 1927. Source: CAM

Fig. 15 - Designer unknown (British). Pair of shoes, ca. 1760-seventy. Silk woven with metallic thread; 13.5 10 7.eight cm. London: Victoria and Albert Museum, T.462-1913. Given by Messrs Harrods Ltd.. Source: Five&A

Fig. 16 - Designer unknown (European). Pair of Stockings, ca. 1750-1775. Silk; 72 ten 15 cm. London: Victoria and Albert Museum, T.34&A-1969. Source: V&A

Maternity article of clothing every bit we know it today did not exist in the eighteenth century; instead, women adapted their existing garments. They did, however, substitute sleeveless (often quilted) waistcoats for their rigidly boned corsets, and these comfortable undergarments themselves, worn in the privacy of the dwelling house, were adjusted for a rounded belly. An example with side lacings (Fig. 17) dating to the mid-eighteenth century may well have been worn by an expectant female parent. The front end of this waistcoat is made from taupe silk and edged with a matching ribbon, while the sides and back are of brown linen, "indicating that [information technology] was likely worn underneath a gown or mayhap a sleeved jacket bodice" (Cora Ginsburg xix). Allan Ramsay'due south 1765 portrait of the Marchioness of Kildare was washed during ane of her multiple pregnancies (Fig. 18). The artist depicted her dressed in a pinkish silk sack accessorized with a blackness silk lace fichu and triple white sleeve ruffles and seated at a small table, reading, to hide her "status."

The introduction of the Brunswick or High german Addiction in the midcentury offered women a new selection for out-of-doors and traveling dress in add-on to well-established cloaks and riding habits. Made like a iii-quarter-length sack and worn with a petticoat, its distinctive features were long sleeves and "a high cervix and a buttoned, unstiffened bodice" (Ribeiro 146). Early versions of the Brunswick often had a flounce at the elbow, similar to the sack, but past the late 1760s, the sleeves "ended in a small-scale ruched gage" (Ribeiro 146). In January 1764, the London Magazine reported that "the going-away dress for Princess Augusta [sister of George Iii] was 'the German way, a scarlet silk buttoned earlier, sleeves down to her wrists and with a sack behind'" (quoted in Ribeiro 146). A portrait of Duchess Philippine of Braunschweig shows her in a brilliant red satin Brunswick trimmed with fur and holding a matching muff (Fig. xix).

Fig. 17 - Michael Fredericks (Photographer) (French). Woman's Waistcoat, ca. 1730–1780. Silk, linen; 53.34 × 53.34 cm. Chicago: Art Institute of Chicago, 2011.667. Barbara East. and Richard J. Franke Fund. Source: Cora Ginsburg Catalogue

Fig. eighteen - Allan Ramsay (Scottish, 1713-1784). Emily Countess of Kildare, 1765. Oil on canvas. Liverpool: Walker Fine art Gallery, 1356. Purchased 1951. Source: Wikimedia

Fig. 19 - Johann Georg Ziesenis (German-Danish, 1716–1776). Princess Philippine Charlotte of Prussia, Duchess of Brunswick-Wolfenbüttel, ca. 1760. Oil on canvas; 147.5 x 96.5 cm. Guildford: National Trust, Hatchlands, 1166728. Transferred past HM Treasury, 1958. Source: Art United kingdom of great britain and northern ireland

Fig. 20 - Designer unknown (British). Quilted Petticoat, ca. 1760-1780. Silk. London: Victoria and Albert Museum, 133-1900. Source: 5&A

Fig. 21 - Joshua Reynolds (British, 1723-1792). Miss Nelly O'Brien, ca. 1762 - 1763. Oil on sail; 126.3 x 101 cm. London: The Wallace Collection, P38. Source: WC

In the winter months, English women favored quilted petticoats that provided insulation in houses that relied on fireplaces to rut the rooms. An example in the Victoria & Albert Museum (Fig. 20) is typical of these applied however decorative garments; the top fabric is silk satin, the lining is glazed wool, and the batting is too wool. Quilted petticoats were among the first gear up-made clothing items for women, available since the tardily seventeenth century (Lemire 65). Although manufacturers had to go on abreast of current stylish colors and quilting patterns, the perennial popularity of these garments ensured regular demand (Lemire 65). They did not crave custom fitting since the tapes at the waistband could be tied to accommodate the individual wearer, or other fastenings such as hooks and eyes could exist added later as necessary, and "the dimensions of the petticoat were less related to the size of the wearer than to the width of the hoops or number of underpetticoats employed" (Lemire 65).

Characterized by "uniformity and regularity," prepare-made petticoats that ranged in toll and quality were made on quilting frames either by a seamstress at dwelling or in a warehouse (Lemire 66). The large expanse of plain silk taffeta or satin (ivory, pinkish, blue, yellow, and dark-green were favorite colors) provided an platonic surface for decorative display at the forepart opening of a woman's gown. Sir Joshua Reynolds's portrait of Nelly O'Brien dating about 1762-1763 shows the celebrated beauty and courtesan in a blue-and-white striped silk gown and pink silk petticoat quilted in an all-over diamond pattern over which she wears an virtually transparent delicately floral-patterned apron (Figs. 21, 22). The petticoat's subtle color compliments O'Brien's (rouged) cheeks that set off the paleness of her peel (which was the fashionable ideal for women at the fourth dimension) and flossy pearl choker.

Fig. 22 - Designer unknown (British). Frock, ca. 1760. Silk gauze; 91.44 x 114.3 cm. London: Victoria and Albert Museum, T.196-1959. Ancestral by Miss M. S. Mourilyan. Source: V&A

Fig. 23 - Artist unknown (French). Swatch Book, 1764. Silk, taffeta, linen, brocaded, leather jump, paper and ink, sealing wax; 53.97 ten 39.37 cm. London: Victoria and Albert Museum, T.373-1972. Acquired with the help of Marks and Spencer Ltd and the Worshipful Company of Weavers. Source: V&A

Fig. 24 - Artist unknown (French). Swatch Book, 1764. Silk, taffeta, linen, brocaded, leather bound, newspaper and ink, sealing wax; 53.97 ten 39.37 cm. London: Victoria and Albert Museum, T.373-1972. Acquired with the help of Marks and Spencer Ltd and the Worshipful Company of Weavers. Source: 5&A

Fig. 25 - Designer unknown (French). Sack, ca. 1765-1770. Silk, lace; 156 x 26 cm. London: Victoria and Albert Museum, T.708&A-1913. Given by Messrs Harrods Ltd.. Source: V&A

A French sample book dating to 1764 in the collection of the Victoria & Albert Museum (Figs. 23-24) shows the wide range of designs, weaves, and palettes that were fashionable in the middle years of the decade. At the loftier end are the brocaded silks with complex weave structures featuring what are at present referred to as "meander patterns" in which undulating bands of ribbons, lace, faux fur, feathers, and other motifs interspersed with floral bouquets create a strong vertical emphasis (Fig. 23). The rich textural issue of these heavy silks—"a tour de force of the weaver'southward fine art"—is enhanced by the amount and variety of threads including silk, metal, and chenille and their figured grounds (Rothstein 53). Taffetas with shaded stripes, floral-sprigged striped satins, and chiné (warp-dyed) taffetas likewise announced in this merchant's sample album (Fig. 24). The widespread popularity of these silks is confirmed in both portraiture and surviving garments (Figs. 25-29).

Fig. 26 - Designer unknown (French). Robe à la française, ca. 1765. Silk. New York: The Metropolitan Museum of Fine art, 38.30.1a, b. Fletcher Fund, 1938. Source: The Met

Fig. 27 - Designer unknown (French). Robe à la française, ca. 1765. Silk. New York: The Metropolitan Museum of Art, 38.30.1a, b. Fletcher Fund, 1938. Source: The Met

Fig. 28 - Designer unknown (French). Robe à la française, ca. 1760–70. Silk. New York: The Metropolitan Museum of Art, C.I.60.40.2a, b. Purchase, Irene Lewisohn Bequest, 1960. Source: The Met

Fig. 29 - Tibout Regters (Dutch, 1710-1768). Portrait of a Woman, 1743. Oil on copper; 15.three x 12.7 cm. Private Collection. Source: Wikimedia

European printed cottons and woven silks as well as Chinese painted silks attested to the continuing vogue for chinoiserie in the 1760s. The "imaginary flowering branches [on] the creamy surface" of an breezy French block-printedrobe à la française (Fig. thirty) "exemplify the spirit of Orientalist fantasy and its perfect adaptation to Rococo taste in French way" (Stewart 212). The exotic motifs testify the influence of the French artist Jean-Baptiste Pillement (1728-1808), who created numerous designs that were afterward engraved and used on porcelain, wallpaper, textiles, and silver. His publications including A New Book of Chinese Ornament of 1755 aided in the dissemination of these finely fatigued and oft whimsical images (Stewart 213). On a French formal gown brocaded with silk and metal thread, the atomic pagodas are barely visible among the larger floral-and-foliate sprays and gilded stripes entwined with floral sprigs (Figs. 31, 32). Chinese painted silks, deputed for Western consumers, featured colorful exotic flowers on sinuous stems against white or pale-colored taffeta or satin grounds (Fig. 33)

Fig. 30 - Designer unknown (French). Robe à la française, ca. 1760s. Cotton fiber. New York: The Metropolitan Museum of Art, C.I.64.32.3a, b. Buy, Irene Lewisohn Bequest, 1964. Source: The Met

Fig. 31 - Designer unknown (French). Dress, ca. 1760s. Silk, metallic thread. New York: The Metropolitan Museum of Art, 50.168.2a, b. Souvenir of Fédération de la Soirie, 1950. Source: The Met

Fig. 32 - Designer unknown (French). Wearing apparel, ca. 1760s. Silk, metal thread. New York: The Metropolitan Museum of Art, 50.168.2a, b. Souvenir of Fédération de la Soirie, 1950. Source: The Met

Fig. 33 - Designer unknown (British-Chinese). Sack, ca. 1735-1760. Painted silk, chenille. London: Victoria and Albert Museum, T.115&A-1953. Source: 5&A

In the early 1760s, women's hairstyles that had been curled closely to the head since the 1720s began to rise at the front of the crown and by the finish of the decade, this increasing height that would achieve its fullest vertical expression in the 1770s was already drawing disapproval. In 1763, the Ipswich Journal deplored this unfortunate trend: "Ladies of fashion…their heads are covered with a vast load of simulated hair which is frizzed on the brow" (quoted in Cunnington 370). By the end of the decade in 1768, the Gentleman 's Mag summed up these at present more than prominent arrangements that depended on a variety of supplementary materials for their structure and blamed their importation on the French:

"When he sees your tresses sparse / Tortur'd by some French friseur, / Horsehair, hemp, and wool within, / Garnish'd with a diamond skewer; / When he scents the mingled steam / Which your plastered heads are rich in, / Lard and meal and clotted cream, / Tin can he love a walking kitchen?" (quoted in Cunnington 372)

50 ' Art de la Co ë ffure des Dames Françoises (Figs. 34, 35), a five-volume piece of work with one hundred engraved plates published betwixt 1768 and 1770 by Legros de Rumigny, a "cook-turned-coiffeur," illustrates numerous examples of these upward-inclined hairstyles that—as their surface area increased—provided ample infinite for boosted ornaments including "ribbons, lace, jewels, bogus flowers, [and] feathers" (Cora Ginsburg 18). Legros was coiffeur to well-placed clients, such as Madame de Pompadour and her successor as the king's favorite, Madame du Barry, who excelled at self-promotion. In the text of his opus, Legros positions himself every bit the most talented among his peers and "cites the usefulness of his piece of work for milliners as well as portrait painters, who would do good from the report of his plates in order to accurately describe their sitters' hair" (Cora Ginsburg 18). He founded the first hairdressing schoolhouse, the Acad émie de Co ë ffure, which trained aspiring coiffeurs "as well as valets-de-chambre and ladies' maids" and his publicity-seeking endeavors included hiring "models to walk along the Parisian ramparts, a stylish promenading spot, and exhibiting dolls at i of the well-known city fairs" (Cora Ginsburg eighteen). Legros sold his own (undoubtedly superior) pomade that incorporated some of the "kitchen" ingredients satirized by the Admirer 's Magazine: beef marrow, hazelnut oil, and essence of lemon. Similarly, the names of the circuitous arrangements of existent and imitation hair in the plates were perchance inspired past his quondam profession: "coque (egg) marron (chestnut) and bouillons (bubbles)" (Cora Ginsburg 18).

Fig. 34 - Legros de Rumigny (French, 1710-1770). L'art de la coëffure des dames françoises, avec des estampes, ca. 1768–seventy. Leather, paper. New York: The Metropolitan Museum of Art, 2004.126a–e. Purchase, Friends of The Costume Plant Gifts, 2004. Source: The Met

Fig. 35 - Legros de Rumigny (French, 1710-1770). L'art de la coëffure des dames françoises, avec des estampes, ca. 1768–seventy. Leather, paper. New York: The Metropolitan Museum of Art, 2004.126a–e. Purchase, Friends of The Costume Institute Gifts, 2004. Source: The Met

Fashion Icon: KITTY FISHER (CA. 1738-1767)

Fig. 1 - Sir Joshua Reynolds (British, 1723-1792). Catherine 'Kitty' Fisher, subsequently Mrs Norris, 1759. Oil on canvas; 74.5 x 61.5 cm. W Sussex: National Trust, Petworth Business firm, 486167. Source: National Trust

Fig. 2 - Joshua Reynolds (British, 1723-1792). Kitty Fisher every bit "Cleopatra" Dissolving the Pearl, 1759. Oil on canvas. London: Kenwood House, English Heritage. Iveagh Bequest, 1927. Source: MFAH

Fig. 3 - Allan Ramsay (Scottish, 1713-1784). Portrait of Lady Susan Fox-Strangways, 1761. Oil on sail. Private Collection. Source: Wikimedia

Fig. 4 - Nathaniel Hone (Irish, 1718-1784). Portrait of Kitty Fisher, 1765. Oil on canvas; 74.9 10 62.2 cm. London: National Portrait Gallery, NPG 2354. Bequeathed by John Baring, 2nd Businesswoman Revelstoke, 1929. Source: NPG

In the eighteenth century, respectable gild women did not depict attention to themselves through their beliefs or their dress. Those whose names are familiar to us in the twenty-get-go century every bit trendsetters were often perceived as morally compromised. Marie Antoinette's status as Queen of France did non protect her from vitriol and slander when it came to her pursuit of la mode; in fact, her attention to mode was a liability that contributed directly to her downfall. Although courtesans' propensity for ostentatious dress and jewels was condemned, for these women who made their living by being beautiful, fashion was integral to their success and an acknowledged part of their visibility and renown.

Kitty Fisher's courtesan career was cursory (less than a decade) but spectacular. Built-in around 1738, she may have worked as a milliner or lady's maid (Pointon 77). She was introduced to fashionable society past Ensign Anthony George Martin and her succession of wealthy lovers and her capacity for self-promotion apace fabricated her a celebrity (Pointon 78). By the time of her marriage to John Norris in 1766, she had "accumulated a vast fortune" that she enjoyed only briefly (Conway 35). Fisher died in Bath in 1767, probably from consumption, although her use of poisonous pb white cosmetics has also been cited as crusade for her death (Pointon 77; Conway 35).

Fisher was 1 of Sir Joshua Reynolds'due south favorite models at the fourth dimension and, in 1759, she sat for 2 portraits past the celebrated painter. 1 of these depicts her in pearls, a black silk fichu, and outsized lace engageantes that trail over the edges of the table at which she is seated (Fig. i). The other shows her every bit Cleopatra in a scene that "recalls [the Egyptian queen] impressing Mark Antony past dropping a pearl into a glass of wine and drinking it at their first banquet" (Conway 36) (Fig. 2). Literary and cultural historian Alison Conway notes that this painting aptly comments "on Kitty Fisher's status as a courtesan" since it evokes an incident in which she was said to have ingested a L50 banknote every bit dismissive gesture to ane of her admirers, the Duke of York (Conway 36-37). Conway farther suggests that:

"Reynolds was willing to interpret Kitty Fisher'south status as a courtesan into an aesthetic and material opportunity for himself, to answer to a popular need for scandalous images." (Conway 36)

Both 1759 portraits of Fisher were engraved and widely disseminated, enhancing the reputations of both artist and sitter.

Susan Play a trick on-Strangways, the recipient of way advice from her aunt Sarah, was i of many immature women at the time who were:

"fascinated with the theatre and the personal power that actresses and courtesans similar Kitty Fisher occasionally attained [and] copied her eagerly." (Tillyard 139)

Some other of Fox-Strangways's female relatives referred to Fisher's "improvident dress and manner" as "the Kitty Fisher style" (quoted inTillyard 139). Nonetheless, Flim-flam-Strangways would emulate Fisher's pose in Reynolds's 1759 painting (Fig. ane) when she sat for her ain portrayal by Allan Ramsay  in 1761 (Fig. 3). Flim-flam-Strangways'southward portrait would bring together those of other members of her illustrious family in the flick gallery at Holland Business firm, London.

Nathaniel Strop's 1765 portrait of Fisher (Fig. 4) uses a rebus, "a mutual semiotic tool in eighteenth-century prints," equally a play on the courtesan'due south proper noun and as "a kind of 'doubling', representing the woman as the subject of the painting, and… past representing her emblematically in a way which says something about her character and her position" (Thom). Draped in gauzy gold-embroidered textile, Fisher wears a delicate choker and multi-strand pearl bracelet. To her left is a cat dipping its paw into a large goldfish bowl—literally "a fishing true cat, or indeed a kitty fisher." The true cat, however, can be interpreted as "representative of Fisher herself, the playful, feminine and kittenish courtesan; but likewise equally a predator" (Thom). Visible for all to see through the glass, the "goldfish, like celebrated 'women of the town', are shimmering, ephemeral, and easily replaceable" (Thom). Thus, at the same time that Strop's portrait promotes Fisher'south beauty and celebrity, it besides comments on the courtesan'south vulnerability that, in her case, was her death at age 29.

Menswear

By the 1760s, men'southward three-piece suits were considerably slimmer than in the offset one-half of the century (Fig. 1). The fronts of both formal and breezy coats curved to the back below the waist and oversized cuffs and deep, stiffened side pleats and then characteristic of the 1720s to the 1740s disappeared. Sleeves gradually became closer plumbing fixtures and were cut to arrange the bend in the elbow, complimented past narrower cuffs. Unlike earlier sleeved waistcoats that were synthetic similarly to the coat, those of the 1760s (both single- and double-breasted) were sleeveless and the skirts ended at the hip, cutting either straight across or with an inverted V at the center front; the former became more typical for informal dress, while the latter was retained for formal suits until the end of the century (Cunnington 203). Breeches that were at present more visible also became slimmer and the earlier wing-front end was replaced by a fall-front (Fig. ii).

Although many immature Englishmen who undertook the Grand Tour commissioned portraits of themselves while abroad in the luxurious silks and velvets worn on the Continent, the iv sitters in Nathaniel Trip the light fantastic toe Holland'southward group portrait, A Conversation Piece in Rome: James Grant, Mr. Mytton, The Hon. Thomas Robinson, and Mr. Wynne (Fig. 3), preferred to be recorded in their distinctly understated Anglo-styled wool suits that would become increasingly stylish in France over the next decades. All wear wool coats and waistcoats trimmed with narrow bands of metal galloon (Fig. iv). Those worn past James Grant (at the left) and The Hon. Thomas Robinson (seated) comprise three matching pieces, while Mytton has paired his scarlet glaze and waistcoat with black (probably wool) breeches and Wynne is the only one wearing silk—his deep cherry-red breeches are velvet. The portrait illustrates the personal choices among the men for the 2 main coat styles—with a round neck (that would develop a standing collar by the end of the decade) and the frock with a turned-down collar that Englishmen had worn since the early on eighteenth century.

Fig. i - Designer unknown (British). Adapt, ca. 1760. Silk. New York: The Metropolitan Museum of Art, 2009.300.972a, b. Gift of the Brooklyn Museum, 2009; Gift of Cora Ginsburg, 1976. Source: The Met

Fig. ii - Designer unknown (British). Suit, ca. 1760. Silk. New York: The Metropolitan Museum of Art, 2009.300.972a, b. Gift of the Brooklyn Museum, 2009; Gift of Cora Ginsburg, 1976. Source: The Met

Fig. 3 - Nathaniel Dance (British, 1735-1811). Chat Slice (Portrait of James Grant of Grant, John Mytton, the Honorable Thomas Robinson, and Thomas Wynne), ca. 1760. Oil on canvass; 96.ii x 123.2 cm. Philadelphia: Philadelphia Museum of Art, 1946-36-one. Gift of John Howard McFadden, Jr., 1946. Source: PMA

Fig. four - Designer unknown (British). Glaze, ca. 1760. Wool, silk, linen. London: Victoria and Albert Museum, T.73&A-1962. Given by Lt Col A.D. Hunter from the Gorst Collection. Source: V&A

Men'southward coats were always lined with silk during the period and we clearly see the white silk lining in three of the sitters' coats; Mytton's coat, however, is lined in black silk, which is more unusual. Known as à la marinière and fashionable from about 1750, Wynne's sleeve cuffs with vertically applied, scalloped galloon are the same width equally the sleeves, while those on Grant and Robinson'south suits retain some of the fullness and the horizontal trimming of the first one-half of the century (Cunnington 193, 203). All iv wear white linen shirts with apparently muslin ruffled cuffs (matching jabots are visible on Robinson and Wynne'due south shirts); black silk stocks; three-cornered blackness hats, either trimmed or untrimmed, that were ubiquitous during the century; gleaming white silk stockings with long knitted-in clocks and fashionably low-heeled shoes with oval buckles (Fig. five). Their status as gentlemen is conveyed past the inclusion of their swords, worn on the left side. Adding to their decidedly English language appearance is their unpowdered hair.

Fig. 5 - Designer unknown (British). Shirt, ca. 1740-1780. Linen. London: Victoria and Albert Museum, T.246-1931. Given by Mrs H. Egland. Source: V&A

Fig. half-dozen - Pompeo Batoni (Italian, 1708–1787). Portrait of a Immature Human being, ca. 1760–65. Oil on canvas; 246.7 10 175.nine cm. New York: The Metropolitan Museum of Art, 03.37.1. Rogers Fund, 1903. Source: The Met

Fig. 7 - Designer unknown (Italian). Suit, ca. 1740–60. Silk, metal, cotton wool, linen. New York: The Metropolitan Museum of Art, 2009.300.2480a–d. Souvenir of the Brooklyn Museum, 2009; Gift of the International Business Motorcar Corporation, 1960. Source: The Met

Fig. eight - Designer unknown (Italian). Suit, ca. 1740–60. Silk, metal, cotton, linen. New York: The Metropolitan Museum of Art, 2009.300.2480a–d. Gift of the Brooklyn Museum, 2009; Souvenir of the International Business Auto Corporation, 1960. Source: The Met

A young homo who sabbatum to Pompeo Batoni for his impressive life-size full-length portrait in the early 1760s chose to exist represented in formal attire (Fig. six). As the Met explains, he is surrounded by

"the props Batoni used repeatedly in order to denote various aspects of a K Tour didactics, including a bas relief of Antinous, a statue of Minerva, an armillary sphere, guidebooks to aboriginal and modern Rome, a volume of biographies of painters, and a volume of Homer'sOdyssey."

The unidentified sitter shows off his suit that announces its cost through its silk velvet textile (expensive to weave), its bright red color (expensive to dye), and the extensive gold embroidery on the coat and white silk satin waistcoat. His white silk stockings and blackness buckled shoes are like to those worn by the Englishmen in Trip the light fantastic Holland's portrait; however, his shirt is trimmed with lace and he wears a powdered wig with its queue enclosed in a black silk bag. His sword and plumage-fringed hat on the chair beside him complete his courtly ensemble. Although Batoni primarily painted English subjects, "this sitter'southward costume suggests that he may have been French"—and, presumably, accepted to dressing lavishly (Figs. 7, 8).

In addition to solid colors similar those worn by Batoni's elegant young man, modest all-over patterned silks and velvets were especially stylish in the 1760s for formal suits. In 1762, Thomas Gainsborough painted a portrait of Sir Edward Turner (Fig. nine) "who had recently come into a fortune" and was eager to show off his "nouveau-riche gustatory modality" with his matching patterned suit of French silk (Fig. ten / Ribeiro Art of Apparel 45). Apparel historian Aileen Ribeiro notes that "the effect… is of an embarras de richesse" and that "although such suits survive in museum collections… it is rare to run across them in portraits" (Fig. 11 / Ribeiro Art of Dress 45).

Fig. ix - Thomas Gainsborough (British, 1727–1788). Sir Edward Turner, 2nd Bt of Ambrosden, Oxford, 1762. Oil on canvass; 229 x 147.v cm. Wolverhampton: Wolverhampton Fine art Gallery, OP491. Purchased with the assistance of the Victoria and Albert Museum Purchase Grant Fund, 1971. Source: Art UK

Fig. x - Designer unknown (French). Arrange, ca. 1760–80. Silk. New York: The Metropolitan Museum of Art, C.I.64.31.2a–c. Purchase, Irene Lewisohn Bequest, 1964. Source: The Met

Fig. 11 - Alexander Roslin (Swedish, 1718-1793). Portrait of Baron Thure Leonard Klinckowström, 1758. Oil on canvas; 90 x 71 cm. Helsinki: Sinebrychoff Fine art Museum, A I 498. Otto Wilhelm Klinckowström. Source: Wikimedia

Returning briefly to Peter Perez Burdett in Derbyshire (Fig. 12), his attire is—understandably—more than informal than the dress of his compatriots in Rome. He wears a wool apron coat with a velvet collar and matching breeches and he has turned back the meridian of his sleeveless double-breasted striped cotton waistcoat to form lapels. At this date, the double-breasted closure was primarily limited to clothing for country pursuits and would not get fashionable daywear until the following decades. His has dispensed with the blackness silk solitaires of the sitters in Trip the light fantastic's painting (Fig. 3) and his stockings are thickly ribbed, rather than smooth.

Throughout the century, loose dressing gowns provided men with a comfortable garment to article of clothing in identify of the coat when at home. They were a favorite pick for portraiture since they immune the artist to evidence off his or her skills at depicting the shimmering surface of patently silks and the circuitous patterns of brocaded silks and the sitter to display his taste and wealth. In 1769, the Encyclop édiste Denis Diderot penned an essay on his difficulty adjusting to a new reddish dressing gown. This was probably offered every bit a gift since he makes it clear that he was reluctant to give up his onetime, worn, but withal serviceable garment, which is certainly not the changeant silk gown he wears in his portrait past Louis Michel van Loo in 1767 (Fig. thirteen). Outraged, he asks:

"Why on globe did I ever part with information technology? Information technology was used to me and I was used to it. It draped itself and then snugly, yet loosely, effectually all the curves and angles of my body – it made me await picturesque as well as handsome. This new 1, strong and rigid equally it is, makes me look like a mannequin." (McNeil 22)

Diderot reveals that his old gown served as a pen wiper and duster, as evident from "the long blackness stripes it diameter," merely now, to his dismay, "I wait like a rich loafer, and nobody tin tell by looking at me what my trade is" and he has become "a slave" to his "new ane" (McNeil 22). Additionally irritating is the similar unwanted upgrading of his rooms that used to be filled with "poor bric-a-brac" and now contain an expensive mirror and clock, among other bolt (McNeil 23-24). At the finish of this complaining, Diderot assures himself that he is "not still corrupted," although "who tin tell what the passage of time may bring?" (McNeil 25).

Fig. 12 - Joseph Wright of Derby (British, 1734-1797). Detail of Peter Perez Burdett and his First Wife Hannah, 1765. Oil on canvas; 145 10 205 cm. Prague: National Gallery Prague, 4289. Source: Wikimedia

Fig. 13 - Louis-Michel van Loo (French, 1701-1771). Portrait of Denis Diderot, 1767. Oil on canvas; 81 ten 65 cm. Paris: Louvre Museum, RF 1958. Gift of Grand. de Vandeul to the French State in 1911. Source: Wikimedia

In some other league entirely from Diderot's red dressing gown is the dazzling and highly impractical banyan worn by Göran Nilsson Gyllenstierna (1724-1799), "a Swedish nobleman, jurist, and from 1781 riksmarskalk (Align of the Realm)" (Cora Ginsburg 23) (Figs. 14, fifteen). The resplendent textile features:

"intermingling plum, leafy green, and silverish diaper-patterned vines with an ogival lattice structure…brocaded on a sky-blue silk ground… with cloud-similar sprigs. Sprays of purple lilies backed by silver feathers and bouquets of ruddy and pink roses float inside the ogives." (Cora Ginsburg 23)

Particularly opulent is the use of "remarkably untarnished aureate (silver golden) and silver threads" that "suggests that the silk originated on royal looms" (Cora Ginsburg 23).

Fig. xiv - Designer unknown (Swedish). Banyan, ca. 18th century. Silk, gold and silver thread. Photograph past Michael Fredricks. Source: Cora Ginsburg Catalogue 2016

Fig. xv - Designer unknown (Swedish). Banyan, ca. 18th century. Silk, gold and argent thread. Photo by Michael Fredricks. Source: Cora Ginsburg Catalogue 2016

Fiftyeading into the eighteenth century, new philosophies emerging from the Age of Enlightenment were irresolute attitudes about childhood (Nunn 98). For example, in his 1693 publication, Some Thoughts Concerning Didactics, John Locke challenged long-held behavior about best practices for child-rearing. A slightly later on kid evolution theorist was Jean Jacques Rousseau. Locke and Rousseau both put forward general principles about children's dress. Withal, it was not until the 1760s that their ideas were clearly reflected in childrenswear (Paoletti).

Swaddling was a very long-held European tradition where an baby's limbs are immobilized in tight material wrappings (Callahan). However, Locke and Rousseau believed that swaddling infants was bad for their health and physical force (Paoletti). While the tradition was connected throughout the showtime half of the century, the do did begin to refuse in the second half.

Babies were and so dressed in "slips" or "long clothes" until they began to clamber (Callahan). These were ensembles with very long, full skirts that extended across the feet (Nunn 99). Babies also wore tight-fitting caps on their heads.

One time a child was condign mobile, they transitioned into "brusk clothes" (Callahan). Dissimilar long wearing apparel, these ensembles concluded at the ankles, allowing for greater freedom of motion (Callahan). Brusque gowns featured back-opening, stiffened bodices and typically had "leading strings" at the back (Magidson). Leading strings were streamers of cloth used to protect immature children from falling or wandering off ("Childhood"). A portrait of three-twelvemonth-old James Badger from 1760 depicts him in a rather masculine-looking skirted short clothes ensemble (Fig. i).

When boys were deemed mature enough, they underwent a rite of passage known equally "breeching" (Reinier). Breeching referred to the first time a boy wore bifurcated breeches or trousers, symbolizing his entrance into manhood. This typically happened by the time a male child reached the age of seven (Callahan). From that signal on, they would be dressed in menswear fashions (meet Fig. ii) — although suits for children were now becoming more relaxed (Callahan).

Locke and Rousseau advocated that young children receive more regular hygiene. They besides believed that dressing children in many layers of heavy fabrics was bad for their health. For those reasons, linen and cotton fabrics were preferred for babies and very immature children because they were lightweight and easily washable (Paoletti).

Fig. 1 - Joseph Badger (American, 1708 - 1765). James Badger, 1760. Oil on canvass; 108 x 84.one cm (42 1/two x 33 1/eight in). New York: The Metropolitan Museum of Art, 29.85. Rogers Fund, 1929. Source: The Metropolitan Museum of Art

Fig. ii - Designer unknown (French or Italian). Male child's 3 Piece Suit: Coat, Waistcoat and Breeches, ca. 1760-1775. Silk and linen. Philadelphia: Philadelphia Museum of Art, 1904-30a--c. Souvenir of Mrs. William D. Frishmuth, 1904. Source: Philadelphia Museum of Art

Fig. 3 - Johann Zoffany (German, 1733-1810). John, Fourteenth Lord Willoughby de Broke, and His Family, ca. 1766. Oil on canvas; 101.ix × 127.iii cm (40 1/8 × 50 one/8 in). Malibu: J. Paul Getty Museum, 96.PA.312. Source: J. Paul Getty Museum

By the mid-1760s, a new style for young children emerged: a white gown worn with a colored sash around the waist (Fig. three). This manner was worn by very young children of both sexes. The most common sash colors were pink and blueish, although they were non used to betoken gender. A colored underslip could also be worn, which would show through the translucent white summit fabric (Paoletti). While the mode originated with very modest children, it quickly became more pervasive equally the century continued.

An English family unit portrait circa 1766 depicts the newly emerging white gown style on iii young children (Fig. three). The couple's daughter is depicted at the eye of the painting, wearing a white frock with a pinkish sash and tight-plumbing fixtures cap. Ii sons are depicted on either side, wearing white frocks with blueish sashes. Blue leading strings are visible on the back of the leftmost boy.

As it was in previous decades, girls typically did not transition into adult dress until their early on teens. While the ensemble of a young girl may incorporate elements of stylish womenswear, she would clothing a back-opening bodice (meet Fig. 4) and peradventure an apron too.

The group family unit portraits titled The Children of George Bond of Ditchley (Fig. 5) and The Pybus Family (Fig. 6) were painted in 1768 and 1769 respectively. In both portraits, the youngest children wear the novel white gown and colored sash ensemble. Likewise in both portraits, older boys clothes in menswear suits. There is, however, a discrepancy between the dress of older girls. Two older girls stand on the lefthand side of the 1769 painting. Both girls wear aprons and their silhouettes mirror fashionable womenswear, post-obit the childrenswear traditions of the past. Even so, in the 1768 painting a tall, older girl wears what appears to be a scaled-upwardly version of what her younger siblings article of clothing. This inconsistency is indicative of the transition occurring in older girls' dress, which would be complete past the end of the century.

Fig. four - Designer unknown (English language). Gown, ca. 1760. Silk. London: Victoria and Albert Museum, T.183-1965. Source: Victoria and Albert Museum

Fig. five - Hugh Barron (English, 1746-1791). The Children of George Bond of Ditchleys, 1768. Oil paint on canvas; 106 × 139.seven cm (41 iii/4 × 55 in). London: Tate, T01882. Bequeathed by Alan Evans 1974. Source: Tate

Fig. 6 - Nathaniel Trip the light fantastic toe-Holland (English, 1735-1811). The Pybus family, ca. 1769. Oil on canvas; 142.viii 10 140.2 cm. Melbourne: National Gallery of Victoria, 2003.687. Felton Bequest, 2003. Source: Wikimedia Eatables

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