The serendipitous confluence of the commanding Charles Worth and the compelling Eugénie set the sartorial tone for the glittering society of the Second Empire. The first illustration in this book was engraved after a photograph of the Empress Eugénie, one of a series by Disderi, a Paris photographer who conceived the carte de visite format in 1854 and was selling over 2,000 such postcards daily by 1862. This traditional method of dressmaking was revolutionized by Charles Worth, the Englishman who founded the French haute couture industry. A comprehensive source of historic costume in pictures, this remarkable book will be invaluable to costume designers, students of fashion design, commercial artists, and anyone interested in the history of dress. Organized according to region--Egyptian, Assyrian, Greek, Roman, and Greco-Roman--the finely detailed drawings are accompanied by brief identifying captions. Before 1860, department stores were already established in New York and Paris selling confections ready-made garments, consisting mostly of outerwear and undergarments at first , dress goods, and the astonishing assortment of accessories deemed vital to the sartorial well-being of the nineteenth-century customer.
Organized according to region--Egyptian, Assyrian, Greek, Roman, and Greco-Roman--the finely detailed drawings are accompanied by brief identifying captions. A new breed of merchant shrewdly concocted a climate of perpetual temptation, leading to the creation of new businesses catering to the insatiable, fast-changing desires of an affluent middle class. Head coverings from helmets and shawls to wide-brimmed hats were de rigueur. The E-mail message field is required. This volume presents all 125 double-spread plates from the third English edition. Over 1,450 costumed figures are shown, from antiquity to the end of the nineteenth century, covering a wide variety of social classes, and professions: Egyptian and Assyrian kings, Byzantine emperors, Frankish and Norman nobles, priests, servants, soldiers of many lands and eras, crusaders, German knights, pages, Italian scholars, German townspeople, peasants, merchants, Dutch burghers, popes, nuns, bishops, monks, English Puritans and Cavaliers, English and French kings, Swiss citizens, French courtiers and republicans, and many more.
The illustrations are uniformly excellent, and the exceptionally low price makes this book even more attractive. She is rather a goddess. Willett Cunnington and Phillis Cunnington. Bibliographical Note Victorian and Edwardian Fashions from La Mode Illustréeis a new work, first published by Dover Publications, Inc. Mass production methods enabled products to be turned out in quantities sufficient to supply a burgeoning consumer class. A man of his time, he was both artist and entrepreneur.
For the first time, the plates appear in chronological order and with English captions. These plates were eventually collected in book form and published at the turn of the century in Germany and England. Author: Paul Louis De Giafferri Publisher: Dover Publications, 2013. Show me the man who. It is her offensive armor, her harmonious palette. . To avoid the variable and somewhat fanciful depictions of color in the early editions, all costumes are rendered in black-and-white.
Worth presented seasonal collections, showed them on live mannequins, signed his work with a label, and, by 1871, had over 1,200 workers in his employ. Even Monet and Cezanne based canvases on engraved fashion plates from La Mode Illustrée and Le Petit Courrier des Dames. Like many of today's young ladies, fashionably dressed women of ancient Egypt favored pointed sandals and dresses of transparent materials. Abstract: One of the most extensive pictorial collections of its kind, this volume of 700 full-color illustrations provides an authentic and fascinating glimpse of what fashionable women were wearing more than 2,000 years ago. Like many of today's young ladies, fashionably dressed women of ancient Egypt favored pointed sandals and dresses of transparent materials. A valuable reference for costume historians and designers, this extensive pictorial collection will delight fashion enthusiasts as well.
Assyrian females liked fringed accents on their tunics and gowns, while Greek and Roman ladies of fashion were partial to loose robes that frequently revealed upper and lower limbs. By the date of the photograph, Worth would probably have been presented to the empress by Princess Pauline Metternich, the fashionable wife of the Austrian ambassador, and Eugénie might well be wearing one of his designs. Willett Cunnington and Phillis Cunnington. He devised a system of standardized interchangeable components that allowed one pattern piece to be used for any number of designs and utilized the sewing machine for joining parts and sewing seams, reserving handwork for finishing and embroidery. Off-the-shoulder gowns were popular, as was costume jewelry. Head coverings from helmets and shawls to wide-brimmed hats were de rigueur. Off-the-shoulder gowns were popular, as was costume jewelry.
In addition, there is excellent coverage of late-nineteenth-century folk and their costumes, captured just before the beginning of standard Western dress — Italian, Spanish, Dutch, French, German, Russian, Eastern European, Chinese, Japanese, Asian, and others. Frederick Nietzsche may well have been thinking of the duo when he wrote, Women believe in their dressmakers as in their god. The period of the Second Empire and the Belle Époque—slightly more than half a century beginning with the founding of La Mode Illustrée in 1860 and ending with the onset of World War I in 1914 —was a time of unprecedented change, characterized by a deluge of technological innovations that dramatically transformed daily life, from horse to iron horse to horseless carriage. A valuable reference for costume historians and designers, this extensive pictorial collection will delight fashion enthusiasts as well. Only dresses were still made up individually by a dressmaker or the wearer herself.
Assyrian females liked fringed accents on their tunics and gowns, while Greek and Roman ladies of fashion were partial to loose robes that frequently revealed upper and lower limbs. . . . . . .