French Fine Art Fashion Prints Collection

Victorian Volumineuses Crinoline’s 

 

France was ruled by Louis-Philippe .the last king  and then Napoleon III who was the last monarch.   On the other side of the channel was the young Queen Victoria.    Something in common that ruled was the mode of dress. The dimensions Volumineuses – (signifies the principles of Elegance).

By Royal Appointment:   were famous artists, among them  Winterhalter, Boldini & Helleu.  All gave credibility to the feminine  form. For the greatest Fashion Designers of this period view our Fashion Designer Biography pages, with even more designs and information.  

A Victorian fabric reference for fashion Designers, with rare illustrations.

The colours and fabrics used for the Victorian decades were diverse:  

In 1843 – Textiles:  ranged from wools, taffetas, cottons, soft and crisp silks, shot and watered.    Fabric Patterns: Charming daintiness and sweetness, with leaves sprigs and floral patterns,  also bolder stripes, & checks. The finishing’s were, piping, tucking, pleating, rushing and fine stitching. Colours:  Light soft and subtle.  Style detail:  Dresses had tight fitting tapered bodices with small waists pointed at the front. The shoulder line of the design was curved low, with tight sleeves to the cuffs. The art and science of the corset begins.  As many as six petticoats are used.

In 1853 – Textiles:  Mainly still similar to the last decade. Fabrics: were printed embroidered ,or a woven fabric was used for the larger sections of thc crinoline skirts this gave a horizontal emphasis to the gown because of the weave.  Fabric Patterns:  Similar to the last decade.  Colours  Light for Spring & summer, darker for the autumn and winter.  Style detail:  Under corsets were laced at the back and front. Fuller skirts required a large number of petticoats, the bottom frills were reinforced with horsehair, also they were stiffened with piping placed in the hems.

In 1860 –   A graceful mix of white and blue for a young lady and also black mixed with richer reds and bronzes were worn for the day.

In 1863 – Textiles:   More choices including,  alpaca, poplins, wools, taffetas, rich silks, satins and velvets.  Fabric Patterns:  Plainer with bold trimming designs.  or very bold florals.  Colours:  Brilliant strong, sharp combinations were the fashion. Black for women in mourning. Style detail:  Calico Crinoline skirts were extended by stiffer wale-bones and flexible steels, instead of many petticoats.  Small tightly laced corsets restrict the waist!

Generally the crinoline was an extremely difficult skirt to wear and so it was easier to adopt a gliding walk, with perfect balance.  This preventing the great skirt from swinging or bouncing.  Private practice was needed to perfect this before going public!  Sitting also was a work of art.  

 

 

In  1870 –  Textiles:  Lighter in weight, shot silks, muslins, foulards, moire, cashmere, chintzes, and sateens.  Fabric Patterns:  Striped, spotted, small flowers, and trimmed with flat braiding, piping, scalloping, bows & flounces. Colours:  pale pastels.  Styles:   A smaller crinoline, bell shaped,  and flat in the front.  Higher waist line. With a large bustle at the back, supported  by whalebone and flexible steels attached to the back of the dress. This extends the skirt outwards and higher than the waist.  Ladies no longer stood in the middle of the circle, but at the front of an ellipse.  Longer corsets were worn.  The correct posture would have been influenced by wearing higher heeled shoes and the bustle. From the waist up the body leaned forwards, and the lower body (the posterior), is thrust outwards.  This formed the “Grecian Bend”  or  “S” Curve.   Walking is spirited and bouncy!

In 1876 – Textiles:  Cashmere, serge twill,  poplin, satin, velveteen, heavy silks, and scotch plaids. Fabrics: A combination of two or more fabrics made up the dress. Trimmings were braids. deep fringes, ribbons, pleating, striped rushes, and velvet was used as a flat trimming on wool and silk dresses.  Colours:  Generally darker more sombre.    Style:  The crinoline was first discarded by young ladies. Long straighter silhouettes with a  close fitting bustle at the back, leading to a train, were complex in cut and decoration.  The dress had a separate bodice and skirt.  The seams of the bodice were boned and had a high” V” shaped neckline.  

 

The demise of the Crinoline came about because mainly it affected the restriction of movement for women, but parts of the rear drapes of the skirts were favoured and hugely popular making the gowns slimmer and more elegant for the sillouette.  Fine pleats, rushing, bows, drapes in complicated pattern designs, became increasingly more complex. Long fitted jackets for many occasions even walking by the sea were in vogue. Angled taller hats of assorted shapes mixed with a tighter smaller styles were also matched with appropriate gowns.

 This print shows rounded  trains to the rear covered with magnificent frills.  This must be the period from which so many features could be copied and used to bring new elegance back for the future. 

 

In 1880 – Textiles:  Similar to the previous, with silk or wool jersey fashionable.  The dresses were made of two or more different fabrics,   one patterned and one plain, or two different patterns of blending colours. Colours:  Soft autumn tints,  greys, pinks, maroon, and many greens,  sage, bottle green and khaki. Also peacock blue.  Styles:  The bustle was discarded.   Dresses had high necks, with stand up collars of lace and a jabbot down the front.  The top bodice was cut long below the hips, it was buttoned through or cut away to reveal a waistcoat underneath. The top skirt formed a tightly swathed apron at the front going around to the back to a series of hanging pouches.  The underskirt was flared from the  knees down at the sides  and the back formed a short shaped train.  Worn with boots or shoes with high slender heels.  

Our print is dated 1881, with this elegant style recorded for us!

 In 1886 – Textiles:  Wool cloths, tweeds, heavy silks & velvet’s, fur trimmings to coats.  Fabrics:  Richer textures, satin, ottoman silk,  cut velvet and fur.  Colours:  Browns, maroons, Lichen greens, petunia, sunflower yellow, maize and deep strong blues.  Styles:  Dresses had a boned bodice with a stiff millitary shaped collar, a pointed V to the waist and flared pleats at the back. Gathered or pleated skirts were at the front and back,  but flatter in the front.  A stiffer matronly dress, austere in appearance. 

Exquisite soft folds in the  palest shade of turquise blue, finished in a wide folded braid embroidered in gold threads, is the ultimate dress for this year  1889.  Sophistication personified!  and an unusual design not seen before for a long time.

In  1892 -Textiles:  As the previous years.   Fabrics:  Generally basic compared with the proceeding  decades.  Hem edgings,  flat braids and frogging.  Colours:  during 1892 yellow was dominant especially for evening wear,  reds, pinks, blues, lichen greens, and fawns.  Styles:  For the country:  Tailored jackets skirts, and coats.   High starched collars to shirts. Waistcoats double breasted with a collar.  Leg of mutton sleeves to dresses, and coats too..

For  1892    We can feature an amazing high leg of mutton sleeved, striped dress  The beautiful embroidery is hand stitched.

 

 

In 1896  – Textiles: Various feminine, lighter in weight   Colours:   Bolder vivid, strong.  Styles:   Enormous gathered tops of the sleeves to dresses. and tight to the cuffs..  Still a small “V” shaped waist.   Blouses were popular with a heavy wide belt to hide the join between the top and the skirt.  

In 1900 – Textiles:  Soft very feminine materials such as silky alpacas, Mohairs, lawn, chiffon, muslin, clinging velvet’s, artificial silk, Much lace, and heavier fabrics for tailoring garments.  Colours:  harmonious, or monochromatic schemes, highlighted with vivid touches of strong colours, especially red. Styles:  Evening gowns as images:-

 

1892

 

1897

 

 

In 1901 Queen Victoria’s long memorable, great reign was ended.

Does anyone know, how many meters of fabric did the crinoline dress take in the era of it’s biggest circumferance?

Medieval Costume & Castle Prints 15th & 16th Century

This print is by the Artist Albrecht Durer (1471-1528)

It  is questionable where the middle ages began and ended , but here are some costume images from these early times, collected on the ground  while delving around ancient castles and street markets in the once semi-remote region of south western France.  When visiting these distant villages and small towns it is difficult not to acquire a sense of awe, at the history of the architecture of the buildings, churches, Bastide village street layouts and the ambiance of the culture still remaining today.

From the middle ages onwards, it is tempting not to include any costume images that I find up to  the  l8th century,  which is beyond this Medieval period, because more images may be available in this era.  My limited but rare collection is formed in France with it’s many regions of mystic charisma and all things of great antiquity.  Such villages all have castles,  which is a good place to start for there individuality.

This charming image is a drawing with a Castle in the background and has its own story to imagine. The lady’s gown is bright blue with contrasting coloured accessories.  Cut long and full of a thick textured cloth to keep her warm in the windy parts of her home.

(Found January 2013 France).   All throughout Europe many costume designs have been found and recorded in some really fabulous books, old and new.

Near the ancient Duras Castle, in south-western France, buried beneath mounds of paperwork hid the improbable find of some printed book pages. The prints are from  an  unknown  antique book publication .  Oh what fabulous records of  l5th/16^th century medieval   costumes  found in a sunny street market one Sunday morning.  Duras is situated on a high elevated hill position overlooking rolling French countryside. The castle has some steep steps winding upwards to the village streets above, through some very attractive gardens and vegetation along the way.  I prefer this route on foot, rather than driving to the top and finding  a  car park.

Gentlemen… well here is inspiration for the costumes of real Cavalier’s.   For ladies….  huge  cone shaped  hats called the Hennin. 

At the bottom of these dresses was a wide band of fur to weight the skirt down.   In contrast the gown above has very narrow sleeves, whereas the image below has very wide draped over-sleeves, both being equally incredible.

 

 

 

 

 

 

 

 

 

Artist Edgar Maxence (1871-1954)  

His work reflects the the influence of the Italian Rossetti, is mythological, highly detailed and distinctive of the  XV  Century. Many of his paintings are characterized  by often elaborate and theatrical staging and richly coloured.  His portraits are fine especially those depicting children and women.

 

So captivating and memorable are the Medieval period costumes that even the children wanted to dress up in them for Fancy Dress Fetes.  This little boy would stand out in a crowd and his costume is true to the early Cavaliers in the print  above. The undated print is from the Journal des Demoiselles and later than the actual Medieval period.

Theatre and film productions can use these designs but the cost to reproduce such elaborate costumes is high.  (I just love his boots)!

 

 

 

 

These last two images are for Lucy –  (Adeed 16.3.2013) We welcome more comments to this blog  Thank you

Fashion Trends 1951, for TODAY

 I have just found a way to brighten up 2013!  BLACK is everywhere this winter that little black dress for noel, flowing and straight coats, tops,  skirts. shoes. Boots, hats and  head accessories.  O.K it’s way we feel —  the mood it creates, it can either become what do I wear, I want to look elegant, evening chic, street cred or, you don’t’s see me I blend in! Personally it never dates for me and France is full of ladies in black, but New Year poses another question economics, so no buying new for January and February, I’m waiting for the spring-time.   Well in 1951 they probably had the answer, a blaze of colour was added to that problem just add it to any winter garment and it changes the mood, lifts the spirits and gets immediate glances.  Just about any bright colour even white, can be easy to find in existing wardrobes of 2012.

When a stunning Rose pink flashed, upon opening a page of an old fashion journal I recently found, this idea evolved. My old scarf bag came out and had nothing to compare with this vibrant rose pink.  Red reminded too much of Noel, so was green.  If not too garish is the preferred trend how about deep purple, maroon, grey, or mixtures of them all!   Has anyone else any bright ideas for early 2013?

 

 

 

Fashion trends for Spring, the perfect  suit from 1976

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 Happy Christmas Greetings 2012

A big thank you with a rare Noel image from Les Annales 1895!

We would like to thank everyone throughout the world for so much support for our Headtotoefashionart.com vintage fashion website, and for the thousands of clicks received! Google tells us that nearly every country/continent on the globe has visited us, some in the remotes regions known.  Wow…. top of search engines in our first year.

Ladies please spread the word and sit back and enjoy our pages over the Christmas holiday.  Huge thanks to our magnificent web builder Harvey Stroud a man of amazing talent!

Thanks to all our new friends and Fashion Groups in Linkedin we wish you every new success in 2013.

The Fashion research goes on in earnest for the new year. New fashion print production and editions are planned. Expanding Blog subjects are on our thoughts for you all.

Wishing you the happiest Noel Season ever from Lavinia & Trevor.  

 

Identifying amazing prints by famous illustrators

While walking around a peaceful village in south-western France some l5 years ago, my long time interest in design fabric and actually making clothes, also a love of paintings and drawings in this subject attracted to me to all the stalls set up in a busy street market (Vide Grenier).  A large surface was strewn with pages stripped from fashion Journals, individual old lithographs, drawings and more.  I thought I had arrived in heaven!  My attention was captured in an instant to a fabulous colourful costume of a Ballet design by Leon Bakst.  Torn from a Journal dated 1911.   Six more were also in this pile and I purchased them all for little money.

A KING’ S crown of gold  is a sight to see,,,,,   In one respect I was glad and happy at the realisation of what I could do next and the other emotion was outrage to say the least!, and a deep sadness that all this beautiful art had been almost ripped to shreds and then would be just dumped in a skip discarded perhaps forever.  This practice of tearing up books and journals for its images has continued for decades in France and probably elsewhere too. Some dealers are still decimating Journals and books today.  Anyway my mission was set and I thought I could rescue some pages and the actual books and magazines that were applicable.   My collection soon became from boxes to stacks to a room full!

I began extracting images into categories of Art and Fashion Designers and fashion art plates.  Then cleaning up the aged ones and wrapping them individually in tissue paper and protective bags.  Mending old books and guarding their contents with sheets of paper. Finding expert advice on preserving as many ones as possible.

Now comes the next process how could I reach out and make them available to many people and not only a few by selling them individually.  I started with a book which has never been completed because along came the computer.  A web site it was!  Now everyone can see my collection without it being dissipated and some being made into wall pictures which fade and eventually are light damaged and crumble. Many having a short life with only a few people to appreciate them.

My knowledge from finding the Artists styles who drew the fashion plates has expanded and wow… now I could identify a specific gown, its date, the designer, and its artist without looking at the text. Well mostly, sometimes not, this goes on with practice. I keep testing myself when new images are found!

My fashion plate collector tips are long so this will be another blog to write.