1
10
478
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c911f793eab8e59913f80063baa2a5df
Dublin Core
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Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, Dinner or Evening Dress, ca. 1829
Date
A point or period of time associated with an event in the lifecycle of the resource
ca. 1829/30
Contributor
An entity responsible for making contributions to the resource
Hannah St. Jean
Susan J. Jerome, MS '06
Description
An account of the resource
<p><span style="font-weight:400;">In today’s age, it is crazy to think that people years ago were unable to get a wide array of information at the touch of a button. Fashion has always been a crucial part of society and has been incorporated into everyone's lifetime. Today to get fashion inspiration, we can subscribe to magazines such as <em>Vogue</em>, or we can get inspiration through social media. But how did women in the 19th century follow the latest fashion trends? <br /><br />Fashion plates showed women and dressmakers what the fashionable society of London and Paris were wearing at that given time. So, what exactly were fashion plates? Fashion plates in the 18th century were produced by using copper engraving plates, which would then be colored by hand. The production of the copper fashion plates was expensive, so they were typically meant for people of a higher economic status. But as time went on, steel engraving plates replaced the copper, allowing more plates to be produced, therefore making the plates easier to afford for anyone (McCort, 2019). </span></p>
<p><span style="font-weight:400;">This fashion plate does not have a specific date, but based on the women’s dresses it appears to have been produced between 1825-30. The two women can be seen wearing what is identified as "dinner or evening" dresses. Their dresses have folding strips of satin on the bodice, and are trimmed with lace along the neckline and sleeves, which was very popular for the time. The dresses have a wide draped bodice, sloping shoulders, a V-shaped waist, and the short sleeves are puffed over the shoulder. Each dress incudes the belts, ribbons, and decorative cords and tassels also popular at this time. The woman on the right appears to be holding some type of shawl. During 1823, cashmere shawls from India became popular.</span></p>
<p><span style="font-weight:400;">In the 1830s, hair was often arranged in high chignon of loops, braids, or curls, while the hair at the front was left in rows of small curls hanging by the women’s cheek, as seen in this fashion plate (Harper, FIT). Hairstyles became more elaborate in the evening and were often accessorized with ribbons and feathers. Married women often wore heavily trimmed turbans, as seen in this image. Turbans were popular from the 1790s through the early 1800s.<br /><br />As seen in the plate, accessories include long white gloves and elaborate jewelry. Here both women are shown wearing a necklace and drop earrings. Footwear for women was often pointed shoes which consisted of colorful fabrics, or printed leathers. In the early 1800s women's shoes typically did not have heels and were tied with a ribbon around the ankles, as seen on the light pink shoes on the right.<br /><br /></span><span style="font-weight:400;">References</span></p>
<p><span style="font-weight:400;">Franklin, Harper. “1830-1839.” </span><i><span style="font-weight:400;">Fashion History Timeline</span></i><span style="font-weight:400;">, 3 Apr. 2020, fashionhistory.fitnyc.edu/1830-1839/.</span></p>
<p><span style="font-weight:400;">McCort, Emily. “A Brief History of the Fashion Plate.” </span><i><span style="font-weight:400;">Maryland Center for History and Culture</span></i><span style="font-weight:400;">, 8 Jan. 2021, www.mdhistory.org/a-brief-history-of-the-fashion-plate/#:~:text=The%20first%20fashion%20plate%20can,descriptions%20of%20the%20current%20trends. </span></p>
<p><span style="font-weight:400;">National Portrait Gallery, “Fashion Plates Introduction.” London. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction.</span></p>
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f9dc81b8d0fb6220c0460b9f520e1956
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, June 1824
Date
A point or period of time associated with an event in the lifecycle of the resource
1824
Contributor
An entity responsible for making contributions to the resource
Catie Cleary
Description
An account of the resource
Throughout the history of human dress, there have been many different sources expressing the attire of the time, from art and sculpture to modern magazines. In the late eighteenth century we saw the emergence of a new source called fashions plates. Fashion plates usually depicted women’s fashions but included men’s as well. Early fashion plates could contain information on where the styles could be bought. Fashion plates remained the preferred method of displaying current fashions through most of the nineteenth century. Technological advancements and finally the development of photography allowed more of society to participate in current fashion through greater dissemination of fashion plates.<br /><br />My specific fashion plate is a French publication of a woman in June, 1824. The caption is “Chapeau de bois blanc garni de croissans de la même matiére et de plumes. Robe de gros d'été. Colerette de tulle et rubans.” A loose translation into English is “White wooden hat garnished with crescents of the same material and feathers. Robe of summer silk. Tulle collar and ribbons.” The woman is seen wearing a blue dress, probably what was known as a "pelisse," a type of coat dress. During this period there were strict societal standards that separated day oufits from evening dresses. The main difference is that a day outfit covered the arms and neck, whereas an evening dress allowed for the arms and neck to be exposed. This ensemble appears to be one piece. As fitting with the trends in the 1820s and the Romantic era, her sleeves have shoulder puffs that are directed horizontally across the arms.<br /><br />Towards the bottom of the pelisse, we see the ruffled, decorative trim running horizontally as well. Her skirt is wide, but not too extreme. The image depicts an elevated waistline but is lower than the former popular Empire waist. Above her shoulders, we see a variation of a ruff collar, but this one is more dainty and feminine compared to the ones in previous centuries. Atop her head sits a white bonnet probably stiffened with pieces of shaved wood. It is adorned with dramatic embellishments such as feathers and ribbon. Draped across her arm is a shawl featuring a multi-colored decorative trim. She also holds in her hand a sunshade or parasol, used to protect the skin from harsh sun rays. She wears a small pair of plain pointed black shoes.<br /><br />This particular fashion plate was published by the <em>Journal des Dames et des Modes</em>. The <em>Journal des Dames et des Modes</em> was a fashion magazine published between 1797 and 1839. As the second-oldest fashion magazine in France, it succeeded the <em>Cabinet des Modes</em> (1785-1793) which ceased publications during the French Revolution. Throughout much of its history the <em>Journal </em>enjoyed a monopoly in the industry of fashion both domestically and globally. Between 1797 and the 1820s the <em>Journal des Dames et des Modes</em> served as a guide for Europeans and North Americans, illustrating how to create a modern identity in terms of appearance, literature, and leisure. “[The journal] rejected the dress rules and materials that had signaled static social rank in favor of mobile and sexual self-expression through consumer choice.”(McCourt) The 1820s experienced a marked increase in the circulation of similar publications, which ultimately led to the journal's demise in 1839. In 1824 the magazine published a collection on “Costume Parisien” which can now be found in several archives of fashion history.<br /><br />In conclusion, the <em>Journal des Dames et des Modes</em> played a significant role in shaping the cultural landscape of its time. The detailed examination of the 1824 fashion plate reveals a glimpse into the societal norms and fashions of the time. The translated description highlights the woman's ensemble, featuring a white bonnnet adorned with feathered embellishments, a blue pelisse with distinctive horizontal shoulder puffs and ruffled trim, and a shawl with multi-colored decorative trim. Fashion plates were and continue to be an integral part of our understanding of fashion history.<br /><br />References<br /><br />Higonnet, A. (n.d.). <em>Style Revolution: Journal des Dames et des Modes (1797-1804) Digitized! | Fashion History Timeline</em>. Fashion History Timeline. https://fashionhistory.fitnyc.edu/style-revolution/<br /><br /><em>Journal des dames et des modes</em>. Wikipedia. https://en.wikipedia.org/wiki/Journal_des_dames_et_des_modes. <br /><br />McCourt, Emily. (2021, January 8). <em>A brief history of the fashion plate</em>. Maryland Center for History and Culture. https://www.mdhistory.org/a-brief-history-of-the-fashion-plate/<br /><br />Metropolitan Museum of Art, New York, New York. <em>Costume parisien, 1824</em>. https://libmma.contentdm.oclc.org/digital/collection/p16028coll1/id/25190/<br /><br />National Portrait Gallery, London, England.<em> Le Journal des Dames et des Modes. </em>https://www.npg.org.uk/collections/search/person/mp160236/le-journal-des-dames-et-des-modes<br /><br />Nevinson, John L. <em>Origin and Early History of the Fashion Plate. </em>Washington, D.C.: Smithsonian Press, 1967.
<p> </p>
<p>Welters, Linda. Lectures. History of Western Dress, University of Rhode Island.</p>
Source
A related resource from which the described resource is derived
Donor: URI Purchase
Identifier
An unambiguous reference to the resource within a given context
URI 1957.99.41
Publisher
An entity responsible for making the resource available
Journal des Dames et des Modes
Pierre de la Mésangère, Paris (1797-1839)
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23a02b2202f2784712359704f5a689e7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, 1828
Date
A point or period of time associated with an event in the lifecycle of the resource
1828
Source
A related resource from which the described resource is derived
Donor: Elizabeth Brown
Identifier
An unambiguous reference to the resource within a given context
URI 2011.13.83d
Contributor
An entity responsible for making contributions to the resource
Emma Manning
Susan J. Jerome, MS '06
Description
An account of the resource
<p>Fashion plates found their origin in the late 16th century and gained popularity throughout the 18th and 19th centuries. A fashion plate is a costume portrait that indicates fashion styles for men and women. Fashion plates were typically finely made illustrations or prints to inspire current fashions. They were often found in magazines, catalogs, or as stand-alone prints, a means of disseminating information about the latest clothing designs. The portraits showcase a person's identity through attire rather than individual features (Nevinson 1967, 67).</p>
<p>The fashion plates in the Historic Textile & Costume Collection feature fashion styles popular in France and England. The illustrations became a relied-upon source for fashion styles of the period, with distinctive choices for evening and daywear. The portraits served as a design source for tailors, dressmakers, or stores.<br /><br />As many of these fashions would be imitated, particular garments may not gain widespread popularity until a year or more after a plate’s publication. Despite this, they serve as an excellent source for current studies of fashion history. Fashion can be defined as the changing styles of dress adopted by people at a given time and place. Its function often pertains to social distinctions of class or individuality. This fashion plate, dated 1828, comes from the <em>Journal des Dames et des Modes</em>.</p>
<p><em>Le Journal des Dames et des Modes</em> was an early French magazine that was published every five days to keep up with the rapidly changing fashion trends (National Portrait Gallery). The magazine circulated in Paris as well as in England. Titled “Costume Parisians,” the two men are depicted in menswear fashionable for the period. <br /><br />The French description at bottom of the illustration has been translated to: “Cloth coat trimmed with gold buttons. Pique vest over a cashmere vest. Shirt buttoned with three pearls. Casimir [cassimere] pants. Hat with steel glove. Madras coat with sleeves.”</p>
<p>The man on the right wears a rich blue, double-breasted tailcoat with sleeves slightly puffed at the shoulder and gold buttons. The coat also features a high collar which became popular in the 1790s for menswear. A decorative handkerchief peaks out of a pocket sewn into the waist seam of the tailcoat. The cutaway tailcoat became popular in the very early 1800s as regular attire for a man not riding a horse. </p>
<p>Underneath the tailcoat, the man wears a pique white waistcoat. The red peeking out from under the waistcoat would be a second-layered waistcoat, made of cashmere. Colors and patterns were often a feature of men’s waistcoats. The white shirt has three pearl buttons and is paired with a white cravat. White cravats were popular for formal evening wear. The high, collar-like neckband required skill to correctly tie; this became a mark of elegance in men’s fashion (Chenoune 39). <br /><br />The lower garment worn by this man is a pair of fitted white pantaloons made of casimir/cassimere. The seams of the pantaloons indicate the garment as apair of fall-front trousers. The other man in the fashion plate also wears fitted black pantaloons, with the attached underfoot stirrups clearly visible. Both figures wear stockings under their ankle-length pantaloons.</p>
<p>Accessories of this time often included watch fobs, such as the one attached at the waist on the right. He also carries what appears to be a monocle or perhaps holds a watch in his hand. The two pairs of shoes depicted in the fashion plate are flat, slip-on shoes that would have been worn with formal wear. Each man wears a pair of gloves.<br /><br />Other accessories for menswear included hats, two styles of which are depicted here. The foremost man holds a black bicorne hat. These were popular beginning at the very end of the 18th century, and could be worn by civilian as well as military men, either with the points front to back, or side to side. This hat, decorated with a black cockade and perhaps made of fur, could be collapsed to carry under one's arm. The French description of the bicorne hat mentions steel gloves. Assistance wtih the translation would be appreciated.<br /><br />The other man wears a black top hat that widens to the top, and has a brim that is slightly curved down to the front and back. This style is very typical of the late 1820s. The madras (plaid) coat depicted in the fashion plate is a greatcoat wth an overcape and a very high collar. The greatcoat’s interior pop of pink appears common for greatcoats and capes as a similar garment from 1828 shown in this collection is lined with a red interior.<br /><br />References</p>
<p>Byrne, Janet S. "Fashion Plates." The Metropolitan Museum of Art Bulletin 26.3 (1967): 141-50. JSTOR. Web.</p>
<p>Chenoune, Farid. A history of men’s fashion. 88. Paris: Flammarion, 1993.</p>
<p>National Portrait Gallery, “Fashion Plates Introduction.” London. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction (accessed November 2023).<br /><br />Man's bicorne hat. https://philamuseum.org/collection/object/138520</p>
<p>Nevinson, John L. <em>Origin and Early History of the Fashion Plate</em>. Washington, D.C.: Smithsonian Press, 1967.</p>
<p>Peacock, John. <em>Men's Fashion: the Complete Sourcebook</em>. 91-102. London: Thames and</p>
<p>Hudson, 1996.</p>
<p>Welters, Linda. “Menswear 1820-1860.” TMD 441 Fall 2023. November 2023.</p>
<p>Welters, L. & Lillethun, A., eds. (2007). <em>The Fashion Reader</em>. Berg.<br /><br /><br /></p>
Publisher
An entity responsible for making the resource available
<em>Les Journals des Dames et des Modes</em>
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849556ff3728ce6b1949bff11fa50751
Dublin Core
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Subject
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Illustration
Title
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Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
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Joann T. Steere, MS '11
Linda M. Welters, PhD
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Subject
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Illustration
Title
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Fashion Plate, 1821
Date
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1821
Source
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Donor: Elizabeth Brown
Identifier
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URI 2011.13.83i
Contributor
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Kaylen Castellanos
Description
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<div class="page" title="Page 2">
<div class="section">
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<p><span>Fashion plates are the equivalent of today's fashion magazines, given that the need for paper magazines is minimal in this digital age. In the past, fashion plates became more popular as styles evolved more rapidly. The National Portrait Gallery article on fashion plates explains, “fashion plates were increasingly relied upon to suggest the latest and most appropriate outfits for different times of the day and for specific occasions” (National Portrait Gallery). Starting in the late eighteenth century, Paris and London were the centers of fashion which influenced dress in Europe and America. The influence Paris and London had over fashion trends in the past continues to the present day.<br /><br />Early fashion plates were small, engraved, and hand-colored, but by the middle of the nineteenth century technological advancements spurred the availability of larger, colored images. The lithograph technique developed in the 1860s. Photography became widespread in the 1840s, but it wasn't used to disseminate fashion information in magazines until the twentieth century. The early fashion magazines also included accurate descriptions of the outfits depicted and discussion of latest fashion trends in London and Paris (National Portrait Gallery).<br /><br /></span><span><em>Petit Courrier des Dames</em> is a fashion journal from Paris depicting various modes in fashion plates. This particular fashion plate, "Modes de Paris," dates back to 1821, and portrays a woman in a romantic white evening gown. This gown is appropriate for evening wear as it exposes much of the neck due to the bateau neckline. Short full sleeves and a horizontal design elements across the hem were popular trends in the early nineteenth century and are displayed on this fashion plate. Decorative ribbons drape </span>the bust, shoulders, back, and hem. In the 1820s waistlines gradually lowered from the higher Empire style, as seen here. A bow of ribbon or silk sits at the back waistline. The hemline is decorated with a row of bow-like puffs and two rows of ribbon. Flowers were becoming very popular at this time; here the woman’s gown has a small bouquet of red flowers centered on the skirt and also adorning her hairstyle. Her hair is fashionably styled in an updo incorporating curls that frame her face and a single braid in the front. Her outfit is accessorized by white gloves, a gold necklace with a red stone, and red earrings. The woman is also wearing flat white slippers with a little bow on the top. This is a hand-colored fashion plate.<br /><br />The fashion plate depicts neoclassical style transitioning into a more romantic phase. We see this in the full skirt, full short sleeves, and the slightly lower waistline in comparison to the neoclassical era. Later into the nineteenth century the sleeves become the large gigot style and the skirts widen to create balance within the outfit. The cashmere shawls from India were becoming more popular with their paisley motifs. <br /><br />Fashion plates are beneficial to research of historical dress which also leads to greater understanding of people and historical events.<br /><br />References<br /><br />Byrne, Janet S. "Fashion Plates." <em>The Metropolitan Museum of Art Bulletin</em>, Vol. 26, No. 3, (Nov. 1967): 141-50. www.jstor.org.<br /><br />Holland, Vyvyan B. <em>Hand-Coloured Fashion Plates, 1770 to 1899</em>. London: Batsford, 1955.<br /><br />Ingham, Erika. "Fashion Plates introduction." The National Portrait Gallery, London, England. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction<br /><br />Nevinson, John L. <em>Origin and Early History of the Fashion Plate</em>. Washington, D.C.: Smithsonian Press, 1967.</p>
</div>
</div>
</div>
</div>
Publisher
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Petit Courrier des Dames
Rue Meslee No. 25
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cbe6e599e9d3c3a1fe395bf9383941bb
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, December 1828
Evening & Walking Dresses for Dec.r 1828
Date
A point or period of time associated with an event in the lifecycle of the resource
December 1828
Contributor
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Kirsten Shea
Source
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Donor: URI Purchase
Identifier
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URI 1959.99.56
Description
An account of the resource
<p>Fashion plates are crucial to understanding and visualizing the dress and appearance from historical time periods. Fashion plates are small, hand-colored prints illustrating different people wearing the latest styles. They usually did not include a lot of narrative other than date and publication, due to the images being the focal point of the piece. They allowed women and men to see what fashions were in style and appropriate for evening and daywear. While styles were changing at a rapid pace in the eighteenth and nineteenth century, fashion plates suggested and depicted what fashionable society was wearing in London and Paris (National Portrait Gallery 2023). Without the creation of fashion plates, changes in fashionable men’s and women’s dress would have taken longer to spread throughout society.<br /><br />In order to understand the impact of fashion plates, it is important to learn their origin. While fashionable people have been depicted in multiple forms of illustrations, fashion plates didn’t become popular until the last quarter of the seventeenth century when they were published by Paris print sellers. Oftentimes they were used as advertisements and fashion guides for the public (Ginsberg 2010). Gaining even more popularity in the nineteenth century due to the publishing boom in the late eighteenth century, fashion plates increased in England and Germany.<br /><br />One example of a fashion plate is published by James Robins & Co. titled, “Walking and Evening Dresses for December 1828”. James Robins & Co. were print publishers both in London and Dublin in 1828 (The British Museum 2023). The fashion plate from <em>The Lady's Monthly Museum,</em> illustrates two women wearing walking and evening dresses in late 1828. During the 1820s, romanticism was on the rise in arts and fashion. Romanticism was an art movement and style that evoked emotions with a heavy emphasis on freedom of expression. Charles Baudelaire wrote that "romanticism, lies neither in the subjects that an artist chooses nor in his exact copying of truth, but in the way he feels” (Miller 2021). In this fashion plate from 1828, the garments definitely reflect the romantic style.<br /><br />During the 1820s, the waistline of women's dresses dropped from just below the bust, the Empire style, to the natural waist. The bodice of each dress in this plate is decorated with a “V” shape accented by a belt at the waist. Dresses from this decade were highly ornamented with ruffles, embroidery, puffs, and cut-work which became a signature mark of 1820s styles. Both of these dresses have ruffles at the neckline, specifically a ruff with a wice collar on the right dress. While these dresses are similar in detail and decoration, they differ in type of dress. The white dress on the left is an evening gown, while the teal dress on the right is a daytime dress. This is determined by the exposure of the woman’s arm and neck in the white dress, which was not common in women’s daytime dress (Welters, 2023). The sleeve lengths of these dresses also vary, but they both remain puffed.<br /><br />Accompanying the dresses in this fashion plate are various accessories. The main accessory is the bonnet or headdress worn by the women. The headress on the left is made with flowers and a wide ribbon to decorate the curled hairstyle characteristic of evening wear. The bonnet on the right is suitable for wearing when away from home, with a wide brim and high crown. There seems to be a yellow and red ribbon tied in bows and long strands flowing from the back. The two women also have their hair curled, a favored hairstyle of this time period (Welters 2023). These hairstyles demonstrate the emphasis on the top of the head in womenswear from the late 1820s through the 1830s. Each woman wears jewelry; each has a pair of drop earrings, a pair of bracelets, and a pin at the neck. The low neckline of the evening dress accommodates a necklace as well. Their shoes are both shown as slippers tied with ribbons that cross over the foot, in white or black to match each outfit. Another accessory shown is a colored scarf wrapped around the woman on the left’s shoulders which is assumed to be used for warmth in the evening. These accessories exemplify the decorative details women included in their attire in the 1820s.<br /><br />References<br /><br />Ginsberg, Madeleine., "Fashion Plates." In The Berg Companion to Fashion, edited by Valerie Steele . Oxford: Bloomsbury Academic, 2010. Accessed November 14, 2023. <span><a href="http://dx.doi.org/10.5040/9781474264716.0006591">http://dx.doi.org/10.5040/9781474264716.0006591</a></span>.</p>
<p>Miller, Sanda. "Capturing modernity in nineteenth-century France and England." In Images on the Page: A Fashion Iconography, 155–183. London: Bloomsbury Visual Arts, 2021. Accessed November 14, 2023. <span><a href="http://dx.doi.org/10.5040/9781350122628.0010">http://dx.doi.org/10.5040/9781350122628.0010</a></span>.</p>
<p>National Portrait Gallery, “Fashion Plates Introduction.” London. <span><a href="https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction">https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction</a></span></p>
<p>The British Museum. (2023). <em>James Robins</em>. The British Museum. https://www.britishmuseum.org/collection</p>
<p><em>The Lady's Monthly Musem.</em> Accessed December 13, 2023. HathiTrust. https://babel.hathitrust.org/cgi/pt?id=hvd.hn1prw&seq=396<br /><br />Welters, Linda. “Women’s Fashion (1820-1840).” TMD441: The History of Western Dress. Class lecture at University of Rhode Island, Kingston, RI, November 6, 2023.<br /><br /></p>
Creator
An entity primarily responsible for making the resource
Published Dec. 1, 1828 by James Robins, & Co. London & Dublin
The Lady's Monthly Museum; Or, Polite Repository of Amusement and Instruction
Publisher
An entity responsible for making the resource available
Published Dec. 1, 1828 by James Robins, & Co. London & Dublin
The Lady's Monthly Museum; Or, Polite Repository of Amusement and Instruction
-
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43a2b357daed393ccc917450f38af220
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, 1828
Costumes Parisiens
Date
A point or period of time associated with an event in the lifecycle of the resource
1828
Contributor
An entity responsible for making contributions to the resource
Hallie Ivory
Susan J. Jerome, MS '06
Source
A related resource from which the described resource is derived
Donor: Elizabeth Brown
Identifier
An unambiguous reference to the resource within a given context
URI 2011.13.83c
Description
An account of the resource
<div class="page" title="Page 2">
<div class="section">
<div class="layoutArea">
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<p><span>This hand-colored fashion plate is identified on the page as #2567 and dated 1828. The artist is unknown. The image was probably published in <em>Le Journal des Dames et des Modes, </em>Costumes Parisiens. This was a French magazine founded and edited by Pierre de la Mésangère (1761-1831). At the height of its popularity, the magazine was published every five days to keep up with the rapidly changing fashions of the time (National Portrait Gallery). The journal highlighted fashion for both men and women as well as offered the usual articles on poetry, society and culture. Begun in 1797, publication ceased in 1839, primarily due to competition from other French as well as English magazines fueld by technological changes in engraving and printing early in the 19th century. Mésangère's work influenced these competitors, who would feature coies of the fashion plates in some of their publications.<br /><br /></span><span>The description, in French, beneath the image states "Manteau de drap double de pluche de soie. Habit garni de boutons dores. Gilet de velours. Pantalon de casimir. Redingote de drop. Habit a collet de velours et boutons de soie." Translated this possibly describes the garments as "Cloth coat, with over cape, of plush silk cloth. Garment trimmed with gold buttons. Velvet vest. Casimir [cassimere] pants. Cloth frock coat. Coat with velvet collar and silk buttons." While this is a somewhat vague description of the two outfits, we do get an idea of the fabrics used for men's attire, including expensive materials such as gold and silk, and woven fabrics such as velvet and the relatively new cassimere. This was originally made from fine Spanish Merino wool, woven in a twill pattern to create a fine, soft and warm fabric. It became popular in the latter part of the 1700s.<br /><br />Mens’ attire was inspired by prior periods and parrelled the woman's silhouette. Both silhouettes suggest a narrow waist and curved hipline, similar to that popular in women's fashion of the same time. Men may even have worn a corset to create this desirable shape. Sloping shoulders, emphasized by the wide cravat tied high on the neck, echo the sloping shoulders also fashionable for women. <br /><br /></span><span>The red-colored neckwear and light colored greatcoat on the left suggest daywear, while the white neckwear and black cape would be considerd appropriate for evening attire. During the 1820s-1840s, neckwear color was associated with time of day. Black and other colors were popular for day use where white was used for evening attire.<br /><br />Looking more closely, the gentleman on the left is wearing a white double-breasted greatcoat. Under that is a black-double breasted tailcoat, buttoned. Underneath the tailcoat we can see a red stock with a white cravat peeking out the collar. For pants, he has light blue, ankle-length pantaloons paired with black shoes/boots. The straps keeping the legs straight are clearly visible around the shoes. For accessories he has a tall black top hat that widens at the top, and white gloves. The facial hair is trimmed to long sideburns. <br /><br />The man on the right is wearing formal evening attire perhaps for the opera. He wears an ankle-length brown cape lined with red, possibly silk, with an oversape of the same fabrics. The cape has what appears to be a fur collar and button clasp. Underneath the cape is a dark blue tailcoat buttoned up with a white shirt and stock sticking out the collar. The garments are paired with black pantaloons and black shoes/boots. The shoes have an interesting texture suggesting footwear for a fancy ball or other indoor activity. For accessories he also has white gloves and a high black top hat that curves out at the top. He holds what may be a watch or monocle in one hand. He also has long sideburns. <br /><br />When comparing these styles, we can see that there is a distinction between evening wear and day wear. The daywear has some lighter and softer colors where the nighttime has darker and bold colors in their undertones. Analyzing Fashion Plate #2567 provides valuable insight into what was considered fashionable during 1828 and captures the essence of the era in which it was created. We know how time of day and occasion played a role on what clothing a person would decide to wear.<br />Studying these we know what was considered popular and modest by the majority of the people during a time period.<br /><br />References<br /><br />“Fashion Plates Introduction.” National Portrait Gallery, National Portrait Gallery, 2023,<br />www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion<br />-plates-introduction.<br /><br />“Le Journal Des Dames et Des Modes - National Portrait Gallery.” National Portrait<br />Gallery, National Portrait Gallery, 2023,<br />www.npg.org.uk/collections/search/person/mp160236/le-journal-des-dames-et-des-modes#<br />:~:text=Le%20Journal%20des%20Dames%20et%20des%20Modes%20(Paris)%20was%2<br />0an,until%20his%20death%20in%201831.<br /><br />Nevinson, John L. “Origin and Early History of the Fashion Plate.” Origin and Early<br />History of the Fashion Plate, Smithsonian Press Washington, D.C., Oct. 1967,<br />www.gutenberg.org/cache/epub/34472/pg34472-images.html.<br /><br />Peacock, John. Men's Fashion : the Complete Sourcebook. 91-102. London: Thames and<br />Hudson, 1996.<br /><br />Welters, Linda. Lectures from class 2023.<br /></span></p>
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Creator
An entity primarily responsible for making the resource
Pierre de la Mesangere
Publisher
An entity responsible for making the resource available
Pierre de la Mesangere
Journals des dames et des modes
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d575d6403778418684950d1a01044343
Dublin Core
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Subject
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Illustration
Title
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Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
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Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, 1828
Date
A point or period of time associated with an event in the lifecycle of the resource
1828
Contributor
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Julia Seitz
Susan J. Jerome, MS '06
Source
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Donor: Elizabeth Brown
Identifier
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URI 2011.13.83e
Format
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Description
An account of the resource
<p><span>Rapidly changing styles created a need for fashion plates as people needed new ways to keep up with the latest in fashion. In the late 1700s and into the 1800s, “fashion plates showed ladies and their dressmakers what fashionable society was wearing in London and Paris” (Ingham, n.d.). During this time, as fashion styles were constantly changing, fashion plates increasingly served as a makeshift news source for what fashion was in style, and provided inspiration for these fashion trends.<br /><br /></span><span>Consumers were able to easily envision themselves in the outfits that were featured as the models all looked very similar besides their outfit and hair (Fay, 2010). Descriptions accompanied these images to help customers copy the outfits accurately. Artists created each of the drawings, which were then engraved, printed, and hand-colored, a time consuming and labor intensive process (Ingham, n.d.). The plates were then bound into a magazine, creating the final product.<br /><br /></span><span>Specific fashion plates now offer us a way to study and understand fashion during various time periods and show how individuals were wearing different items. This fashion plate </span><span>is probably taken from the magazine <em>Journal des dames et des modes, </em>which was published between 1797 and 1839. The year is identified as 1828.<br /><br /></span>The description written in French just below the image states “Longchamp. - Chapeau de castor. Redingote de drap. Gilet de poil de chêvre à boutons d'or. Pantalon de velours à côtes. Cravate de satin.” This can be roughly translated to “Beaver hat. Cloth frock coat. Goat hair vest with gold buttons. Ribbed velvet pants. Satin tie.” The garments depicted fit other documented descriptions of men’s dress during the Romantic period in France and England which took place from 1825 to 1850. This particular fashion plate can also be seen in the digital collections of the Metropolitan Museum of Art (Men’s wear 1790-1829, plate 017, n.d.).<br /><br />In the early 1800s, the silhouette was a key aspect of changes in fashion and apparel (Franklin, 2020). The frock coat, featuring a tight waistline seam and knee-length skirt, became increasingly fashionable for informal daytime events following its introduction in the mid-1810s. During the 1820s and 1830s, the male silhouette evolved into an even more defined shape, occasionally enhanced by corseting and padding. The 1820s frock coat showcased a significantly fuller sleeve cap, a wider skirt, and a cinched waist. Trousers also adopted a fuller style compared to the preceding decades (1826 Frock coat, n.d.).<br /><br />Trousers were also becoming popular, as opposed to the previously dominant pantaloons. Typically, these had a narrow fit and were shoe-length, continuing to show how the silhouette was evolving. In addition to this change, men usually wore light colored trousers with a dark colored coat (Franklin, 2020). This preference in color would have been reflected in fashion plates suh as this one, providing further inspiration for menswear.<br /><br />Neckwear was a very important element of men’s dress at this time, typically being either a cravat or a stock. In the fashion plate being discussed, the man appears to be wearing a bow-tied cravat. To finish off the look, top hats were also commonplace, varying in color and shape, but remaining a staple in men's fashion (Franklin, 2020). Other accessories include an impossibly delicate cane or wlaking stick, what appears to be a monocle on a ribbon around the neck, and a ribbon peaking out from under the waistcoat, most likely a watch fob. <br /><br />References<br /><br />1826 Frock coat. Fashion and decor: A cultural history. (n.d.). https://mediakron.bc.edu/fashiondecor/silhouettes-romantic-men/1826-fashion-plate.<br /><br />Fay, E. A. (2010). Fashioning faces: The Portraitive Mode in British Romanticism. Google Books. https://books.google.com/books?hl=en&lr=&id=jMjZ0pSaTEsC&oi=fnd&pg=PA191&dq=fashi on%2Bplates%2Bromantic%2Bperiod&ots=OfIedsuZu-&sig=hMjAhAcLCuBE0tBy0n7Pp5ec GDc#v=onepage&q=fashion%20plates%20romantic%20period&f=false.<br /><br />Franklin, H. (2020, May 27). 1820-1829. Fashion History Timeline. https://fashionhistory.fitnyc.edu/1820-1829/<br /><br />Ingham, E. (n.d.). Fashion plates introduction. Fashion Plates introduction - National Portrait Gallery. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashio n-plates-introduction.<br /><br />Men’s wear 1790-1829, plate 017. Thomas J. Watson Library Digital Collections. (n.d.). https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/2454/rec/44.</p>
Publisher
An entity responsible for making the resource available
Les Journal Des Dames et Des Modes, published between 1797 and 1839.
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59790a7118be04ed580587e6c4b3063c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, June 1827
Date
A point or period of time associated with an event in the lifecycle of the resource
June 1827
Contributor
An entity responsible for making contributions to the resource
Xavier LeGrand
Description
An account of the resource
<p><span style="font-weight:400;">Fashion plates serve as windows into the past, offering detailed glimpses of the styles and trends of bygone eras. The June 1827 edition of <em>The Lady's Monthly</em> <em>Museum</em> not only adds to the fashion plates in the Historic Textile and Costume Collection, but also sheds light on the elegant and distinctive garments of English women's wear in the later 1820s.</span></p>
<p><span style="font-weight:400;">The purpose of a fashion plate was to capture and disseminate new styles and serve as a visual catalyst to individuals seeking to stay up to date with the latest trends. During the 1820s, a period of Romanticism in the arts influenced fashion. Women's attire went through significant modification. Silhouettes evolved from the former Neoclassical styels, and an emphasis on delicate femininity emerged (Franklin, 2020). The fashion plates of this era often featured high waistlines, full skirts, and intricate details reflecting the romantic spirit that defined the era.</span></p>
<p><span style="font-weight:400;">The June 1827 edition of <em>The Lady's Monthly Museum</em> encapsulates the essence of later 1820s fashion. The prevailing styles in this particular plate are characterized by high-waisted dresses, creating a distinct silhouette. Both dresses illustrated feature full skirts enhanced with puffed sleeves at the shoulders, contributing to the garments' grace. The color palette of the illustrated garments includes muted pastel tones; the left figure is pink and the right pale purple. The details on the dress of the woman on the left depicts a wide boat neckline, an added bertha collar with ruffles that runs across the upper chest with an added layer of ruffles at the shoulders accompanied by sheer sleeves, a pleated bodice, and fabric added at the hem for an intricate design. An elegant dress such as the one on the left was devoted to evening events. <br /><br />The woman on the right is depicted in a fashionable walking dress. The dress features piping that runs across the center of the bodice, what could be passementerie trim or lace trim and added fabric trim on the bodice from the shoulders to the center of the waist in a V-shape. The standing collar has a button closure at the front. A waist ribbon separates the bodice and the full skirt of the dress emphasizing the waistline. At the bottom of the dress extra fabric creates a wave-like pattern. Accessories such as hats, gloves, ribbons, hair pieces and jewelry were essential components of these ensembles, contributing to the overall sophistication of the look.</span></p>
<p><span style="font-weight:400;">Vernor and Hood were booksellers and publishers based in London during the late eighteenth and early nineteenth centuries. The firm was known for its participation in the publication of a variety of works as well as portraits. (Collections British Museum, n.d) The June 1827 fashion plate from <em>The Lady's Monthly Museum or, Polite Repository of Amusement and Instruction</em> can be credited to Vernor and Hood as the magazine's distributor and publisher. <em>The Lady's Monthly Museum</em> was a well known magazine. It provided the people of England with up-to-date fashion trends and literary content. Established in 1798, the magazine catered to a fashion-forward audience presenting a blend of fashion plates, literature, and articles on diverse topics (Skedd, 2004). Published monthly, <em>The Lady's Monthly Museum</em> featured fashion plates that focused on the transforming styles of the time, providing readers with inspiration for their own outfits. The magazine also added literary contributions, making it a useful source of amusement and information for its readers.<br /><br />References<br /><br /></span><span style="font-weight:400;">Collections online: British Museum. Collections Online | British Museum. (n.d.). https://www.britishmuseum.org/collection/term/BIOG130105 </span></p>
<p><span style="font-weight:400;">Edinburgh, L. (n.d.). <em>The Lady’s Monthly Museum</em>. Capital Collections. https://www.capitalcollections.org.uk/view-item?i=43951&WINID=1700001428935 </span></p>
<p><span style="font-weight:400;">Franklin, H. (2020, May 27). 1820-1829. Fashion History Timeline. https://fashionhistory.fitnyc.edu/1820-1829/ </span></p>
<p><span style="font-weight:400;">Skedd, S.J. (2004). "Pilkington, Mary Susanna (1761–1839)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/22273. </span></p>
<p><span style="font-weight:400;">V&A. (2009, June 30). Fashion plate: V&A explore the collections. Victoria and Albert Museum: Explore the Collections. https://collections.vam.ac.uk/item/O753220/fashion-plate-the-ladies-monthly/</span><span style="font-weight:400;"></span></p>
Publisher
An entity responsible for making the resource available
<em><span style="font-weight:400;">The Lady's Monthly Museum or, Polite Repository of Amusement and Instruction<br />Vernor and Hood, distributor and publisher</span></em>
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dd811946de73a7244bcf68de9ba3f16a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
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Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
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Subject
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Illustration
Title
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Fashion Plate, September 1826
Fashionable Walking & Evening Dresses for September 1826
Date
A point or period of time associated with an event in the lifecycle of the resource
September 1826
Contributor
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Serena Batacchi
Susan J. Jerome, MS '06
Description
An account of the resource
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<p><span>Fashion plates are records of fashion from the eighteenth century through the early twentieth centuries. These printed and hand-colored images were produced to show what was fashionable at the time. As part of the earliest magazines, fashion plates captivated the eye of fashionable ladies. These became quite popular as women's fashion was rapidly evolving. Fashion plates told people useful information about dress: “fashion plates were increasingly relied upon to suggest the latest and most appropriate outfits for different times of the day and for specific occasions” (Ingham). Changes in women's fashion became easier to follow after the publication of the first ever magazines to present fashion plates: “A spate of periodicals emerged in the 18th century, including a number aimed at women, and from 1759 the </span><span><em>Lady's</em> <em>Magazine </em></span><span>(1770-1847) became the first to record contemporary fashions with its ‘habits’ of the year” (Ingham).<br /><br /></span>Women's clothing rapidly changed throughout the early years of the nineteenth century, specifically the 1820s. “This decade is notable in fashion as providing a bridge between the classic, high-waisted Empire styles of the early 19th century and the large sleeved, full-skirted styles of the mid-19th century” (Matthews). During the 1820s, women followed fashion very closely by subscribing to fashion magazines. Garments consisted of one-piece dresses with back closures. They could be simple in construction but highly ornamented with ruffles, bows, swags and lace. <br /><br />The plate includes the following information: "Invented by Miss Pierpont, Edward Street, Perlman Square," suggesting that Miss Pierpont was a dressmaker or designer for the <em>Lady's Monthly Museum</em> in which this fashion plate appeared. As we see in this fashion plate titled "Fashionable Walking & Evening Dresses," the ladies are wearing either a long or short sleeved gowns. The evening dress on the right displays short sleeves, worn at evening parties and, according to the 1826 edition of <em>La</em> <em>Belle Assemblée</em>, “finished round the arm by a quilling of tulle” (Matthews). Typically the time of day indicated if the neck and arms were covered or not. Here we see the low neckline suitable for evening attire. She also wears long gloves that cover the lower part of her arms. Other accessories include a scarf draped around her neck, a sash, and white slippers for her feet. Drop earrings decorate each ear, and her curls and bun appear to have a comb or other piece of jewelry embellishment.<br /><br />During the day arms were covered with long sleeves, as we see on the left with the lady in the fashionable walking dress. This outfit incudes a large collar of the blue fabric as well as a ruff of fine white around the neck. Dark slippers can be seen below the hem. In addition to this, puffy sleeves, prevalent at this time, can be seen. These gathers give the gown a silhouette with more width to the shoulders and at the hem. The cinched waistline makes the waist look small. This silhouette is further emphasized by the wide-brimmed bonnet complete with a large bow and fabric flowers.<br /><br />Decorations on the trims of evening gowns became popular during this time, including reflective trimming of silver and gold. In this white evening gown we see three flounces bound with decorative trimming. “The durable and always elegant fashion of trimming the skirts of the gowns with flounces, was still the most prevalent mode” (Matthews). The blue dress on the left features “a charming ruche down the front” (Wendell). It is ornamented with bows and gathers in the middle down the front of the gown. During this time, dresses were mostly made of silk, cotton or wool fibers and fabrics including taffeta and satin.<br /><br />References<br /><br />“The 1820s in Fashionable Gowns: A Visual Guide to the Decade.” Mimi Matthews, July 13, 2021. https://www.mimimatthews.com/2015/11/23/the-1820s-in-fashionable-gowns-a-visual-guide-to-the-decade/.<br /><br />“Fashion Plates Introduction.” Fashion Plates introduction - National Portrait Gallery. Accessed November 14, 2023. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction.<br /><br />Ingham, E. (n.d.). <em>Fashion Plates Introduction</em>. National Portrait Gallery. https://www.npg.org.uk/collections/research/new-research-on-the-collection/fashionplates/fashion-plates-introduction.<br /><br />“The Lady’s Monthly Museum Improved Series:V.24 (1826).” HathiTrust. Accessed November 14, 2023. https://babel.hathitrust.org/cgi/ptid=hvd.hn1prs&view=1up&seq=2.<br /><br /><em>The Lady's Monthly Museum,</em> accessed December 13, 2024. HathiTrust Digital Library.https://babel.hathitrust.org/cgi/pt?id=hvd.hn1prs&view=1up&seq=202&q1=Fashionable</p>
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Donor: URI Purchase
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Invented by Miss Pierpont, Edward Street, Perlman Square Pub. Sept. 1st, 1826. by Dean & Munday. Threadneedle Street
Publisher
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The Lady's Monthly Museum; Or, Polite Repository of Amusement and Instruction
Pub. Sept. 1st, 1826. by Dean & Munday. Threadneedle Street
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plates
Description
An account of the resource
Fashion Plates <br /><br />Fashion plates originated in the French court of Louis XIV during the last quarter of the seventeenth century. Hand-colored engraved prints, accompanied by brief descriptions, illustrated the latest styles worn by aristocratic men and women. Available through print sellers in Paris, fashion plates promoted French taste to an international clientele. Fashion plates grew into one of the most important resources for fashion news by the late eighteenth century. <br /><br />Two Parisian print sellers, Jacques Esnauts and Michel Rapilly, expanded circulation of fashion plates in 1778. Their plates appeared in the publication <em>La Galerie des Modes</em>, along with portraits of French court members and detailed images of fashionable costumes. <em>La Galerie des Mode</em>s ceased publication in 1787 just two years before the French Revolution. In 1794, Nicolaus Wilhelm von Heidelhoff, a Paris-trained engraver, began production of his <em>Gallery of Fashion</em> in London; it lasted until 1802. His exquisite hand-colored plates were often embellished with metallic paint. By the early nineteenth century, numerous French, English, and German periodicals also included fashion plates.<br /><br />In America, women eagerly sought information on the latest Paris fashions from monthly publications such as <em>Godey’s Lady’s Book</em> and <em>La Belle Assemblée</em>. From the inception of Louis B. Godey’s magazine in Philadelphia in 1830, until the late 1860s, <em>Godey’s Lady’s Book</em> was considered an institution and a leading authority on fashion. Initially focused on sentimental short stories, it occasionally added reproductions of French and English fashion plates. <br /><br />Sarah Josepha Hale, a widow with five children, was hired as editor of <em>Godey’s Lady’s Book</em> in 1837. A devoted feminist and activist, Mrs. Hale’s many accomplishments included helping to found Vassar, one of the oldest women’s colleges in the United States, and urging the government to proclaim Thanksgiving a national holiday. Her influence on <em>Godey’s Lady’s Book</em> was seen almost immediately as she strove to shape it into a work that included literature, music, and fashion. Each month’s issue included a fashion plate with two or more figures dressed in the latest styles with a description of colors and fabrics. Mrs. Hale hired local artists to redraw fashion from European publications, simplifying them to fit American cultural ideals. <em>Godey’s</em> published house plans as well as recipes and designs for handiwork. <br /><br />Interest in <em>Godey’s Lady’s Book</em> began to wane after the Civil War when industrialization brought an increase in urbanization and disposable income. Fashionable women began to seek more sophisticated looks presented in other periodicals such as <em>Graham’s</em> and <em>Peterson’s</em>. In 1877 Godey sold his publication, and despite new owners and a relocation to New York, the magazine ceased publication in 1898. Women’s magazines such as <em>Harper’s Bazar</em> (founded in 1867) and <em>Vogue</em> (founded in 1892) superseded the older publications, and they grew into influential sources of fashion news over the course of the twentieth century. <br /><br />Today, fashion plates serve as valuable primary sources for the study of historic fashion. Once overlooked by art and design historians, steel-engraved and lithographed prints have come to be viewed as a form of decorative art on their own. <br /><br />The Historic Textile and Costume Collection houses many individual fashion plates and illustrations ranging from the late eighteenth century to the early twentieth century. The Collection also has bound volumes of nineteenth-century women’s magazines including <em>Godey’s Lady’s Book, Peterson’s, Graham’s, Lady’s Friend, and Lady’s Cabinet</em>.
Contributor
An entity responsible for making contributions to the resource
Joann T. Steere, MS '11
Linda M. Welters, PhD
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Subject
The topic of the resource
Illustration
Title
A name given to the resource
Fashion Plate, March 1826
Fashionable Evening & Walking Dresses for March, 1826
Date
A point or period of time associated with an event in the lifecycle of the resource
March 1826
Contributor
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Kiannaley Pereyra
Creator
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Dresses "Invented by Miss Pierpoint. Edward Street, Portman Square"
Publisher
An entity responsible for making the resource available
The Lady's Monthly Museum; Or, Polite Repository of Amusement and Instruction. March, 1824.
Published March 1, 1826 by Dean & Munday, Threadneedle Street
Description
An account of the resource
Fashion plates are defined as “small, printed images, often hand-colored, of people wearing the latest fashions and depicted in conventional minimally narrative social contexts”, according to the <em>Encyclopedia of Clothing and Fashion</em>, <em>Volume 2</em>, by Valerie Steele. They were popular between the late eighteenth century and early twentieth centuries. Their purpose was identical to that of a modern-day fashion magazine: to display the latest fashions and bring awareness to them to drive sales. On a deeper level, displaying these clothes in this way helped people romanticize the idea of fashion and society's overall aesthetic. As ground-breaking as these fashion plates were, they were not a completely new concept. One might compare the idea of fashion plates to costume books and/or illuminated manuscripts, which were developed long before the eighteenth century. In fact, according to Giorgio Reillo on an Oxford University Press article regarding the creation of European costume books, Francois Deserps published what is thought to be considered the first costume book: a collection of images and illustrations that displayed the dress of different people in various parts of the world. One can see how fashion plates carry similarities, as they displayed people wearing a certain kind of dress for a certain place or time, for example, the fashion plate in this entry specifically displays the clothing as “Fashionable Evening and Walking Dresses for March.”<br /><br />Fashion plates served many purposes beyond just showcasing and selling different fashion styles. They also served the purpose of social and cultural reflection. It was a significant concept for art, as many plates were hand-drawn or engraved by artists and over time, with technological advancements, began to include photography as well. Perhaps the most important purpose they still serve today is their historical significance and documentation. While the fashions depicted in many of the plates were most likely a more romanticized and aesthetic version of the actual pieces of clothing worn at the time, it still allows one to paint a general picture of the common fashions that dominated this time-period, such as this plate from 1826.<br /><br />The 1820s was a time of classical and romantic fashions. According to Fashion History Timeline, a lot of these styles emphasized “imagination, emotion, individualism and fascination.” (Franklin, 2020). When observing the image, women’s clothing such as gowns went through minor, yet significant changes compared to earlier years. The waistline was lowered, but only slightly. There was a greater emphasis on puffy sleeves, and the skirts flared out more at the hem to balance the width of the shoulders.<br /><br />Different elements of a gown became more decorated, especially the hems of dresses as evidenced on the dress to the left, which has flowers all around the bottom of the skirt. While the decoration appeared the most extensive around the hems of these dresses, elaborate trims, layers, and lace on other parts of the gowns such as the sleeves and waistline were apparent as well. The construction of the upper bodice and sleeves also provided a unique silhouette, which made the upper body appear wider, the waist smaller, and the bottom half of the body to appear larger with the slight flare added to the skirts. <br /><br />Variations of dress depended on the time of day and the occasion. For example, during the day, it was more appropriate to wear a filled-in neckline (usually with a chemisette or fichu), longer sleeves were worn, and more robe-style gowns would be worn. For evening or special-occasion wear, while the evening gown depicted in this specific plate displays long sleeves, it was not uncommon to find short, puffy sleeves worn along with an open neckline. On the right, a white collar with a VanDyke edge, visible above the wide double collars, sets off the blue bow of the bonnet.<br /><br />Each woman wears a pair of bracelets over gloves, and while we cannot see earrings, the low neckline of the evening attire is set off with a necklace. We can see two fashionable headdresses, with feathers being appropriate for the evening. A walking dress would require a suitable bonnet, here made from straw with a wide brim and high crown, all decorated with ribbon. The white ruffle around the woman's face suggests she is wearing a cap underneath. Ladies would wear their hair in curls around the temples which framed their face. The handbag carried by the lady on the right is called a reticule; ladies could carry their small belongings when out during the day.<br /><br />References<br /><br />Byrne, Janet S. "Fashion Plates." <em>The Metropolitan Museum of Art Bulletin</em> 26.3 (1967): 141-50. <em>JSTOR</em>. Web.<br /><br />Franklin, H. “1820-1829, 19<sup>th</sup> Century, decade overview” (2020) Fashion History Timeline. <a href="https://fashionhistory.fitnyc.edu/1820-1829/">https://fashionhistory.fitnyc.edu/1820-1829/</a><br /><br /><em>The Lady's Monthly Museum.</em> Accessed December 13, 2023. HathiTrust. https://babel.hathitrust.org/cgi/pt?id=hvd.hn1prr&seq=203<br /><br />Reillo, G. “The World in a Book: The Creation of the Global in Sixneeth-century European Costume Books” (2019) Oxford Academic Past & Present. <a href="https://academic.oup.com/past/article/242/Supplement_14/281/5637708">https://academic.oup.com/past/article/242/Supplement_14/281/5637708<br /><br /><span style="color:#000000;">Steele, Valerie. “Encyclopedia of Clothing and Fashion: Volume 2: Fads to Nylon” (2005) 65-66. Charles Scribner’s Sons.</span></a>