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1159:. Elite men in the 18th century would travel abroad across Europe, namely Italy, to broaden their cultural depth. These men adopted foreign fashions and tastes and brought them back to England where they interpreted them further. The original macaroni of the 1760s was characterized by elaborate dress consisting of short and tight trousers, large wigs, delicate shoes and small hats. As the general population of English males became exposed to the luxurious appeal of the macaroni trend, they began to adopt and replicate the trends they saw. By the 1770s, any man could appear as if they themselves had been on the Grand Tour-based solely on their outward appearance.
951:
1522:
939:
1174:
879:
516:
1474:
540:
1311:
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414:, in large plumes. To create tall extreme hair, rolls of horse hair, tow, or wool were used to raise up the front of the hair. The front of the hair was then frizzed out, or arranged in roll curls and set horizontally on the head. Women turned their hair up in the back often in a knot. In addition, pomatum and false hair was used to give more height to the hair. Pomatum was paste that women used to stiffen their hair. Pomatum was also used to hold powder, which women put in their hair. The Pomatum was made of many ingredients including hog's grease, tallow, or a mix of beef marrow and oil.
1335:
728:
213:
800:
1359:
776:
528:
1197:
867:
1462:
1227:
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1170:. Frequently, the macaroni fashion trend was the subject of satirical caricatures and pamphlets. Their large costume like wigs and short coats, which deeply contrasted the masculine British dress of the time, were ridiculed for their frivolity and were said to be threatening the stability of gender difference, thereby undermining the nation's reputation. The question of farce and inauthenticity comes into play as well because by dressing as a macaroni, one claimed the status and the means of an elite who went on the Grand Tour.
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228:. Court dress had little or no physical comfort with restriction of movement. Full-size hoop skirts prevented sitting and reminded those wearing them to stand in the presence of the King. Stays forced a proper standing posture. Garments like these could not be washed often because of the fabrics from which they were made. The
325:, retained the styles of the 1670s. It featured a low, oval neckline that bared the shoulders, and the heavily boned bodice laced closed in back, unlike the front-opening robe. The elbow-length sleeves were covered with tiers of lace flounces, echoing the full-sleeved chemise worn with the original style.
1184:
Although many mocked the macaroni for their outwardly eccentric characteristics, some celebrated them for their commitment to the demonstration of personal identity. The idea of a unique character was becoming an important concept that spanned many types of media including books and prints as
Britain
364:
with their narrow back, wide front, and shoulder straps gave way by the 1760s to strapless stays which still were cut high at the armpit, to encourage a woman to stand with her shoulders slightly back, a fashionable posture. The fashionable shape was a rather conical torso, with large hips. The waist
1050:
woollen "undress" garments for most occasions, whilst continuing to be worn for more formal ones (e.g Balls, receptions, court appearances…). This more casual style reflected the dominating image of "nonchalance." The goal was to look as fashionable as possible with seemingly little effort. This was
1125:
Wigs were worn by middle and upperclass men, or the hair was worn long, brushed back from the forehead and "clubbed" (tied back at the nape of the neck) with a black ribbon. Wigs were generally now short, but long wigs continued to be popular with the older generation. Hair was powdered for formal,
79:
English style was defined by simple practical garments, made of inexpensive and durable fabrics, catering to a leisurely outdoor lifestyle. These lifestyles were also portrayed through the differences in portraiture. The French preferred indoor scenes where they could demonstrate their affinity for
340:
consisted of a tailored jacket like a man's coat, worn with a high-necked shirt, a waistcoat, a petticoat, and a hat. Alternatively, the jacket and a false waistcoat-front might be a made as a single garment, and later in the period a simpler riding jacket and petticoat—without waistcoat—could be
1687:
Working-class people in 18th century
England and America often wore the same garments as fashionable people—shirts, waistcoats, coats and breeches for men, and shifts, petticoats, and dresses or jackets for women—but they owned fewer clothes and what they did own was made of cheaper and sturdier
1112:
were worn for riding. The buckles were either polished metal, usually in silver—sometimes with the metal cut into false stones in the Paris style—or with paste stones, although there were other types. These buckles were often quite large and one of the world's largest collections can be seen at
1450:
During most of this period, the clothes worn by middle- and upper-class children older than toddlers continued to be similar to the clothes worn by adults, with the exception that girls wore back-fastening bodices and petticoats rather than open-fronted robes. Boys wore dresses until they were
371:
Woollen or quilted waistcoats were worn over the stays and under the gown for warmth, as were petticoats quilted with wool batting, especially in the cold climates of northern Europe and
America. In the 1770s stays began to be produced so they would end higher on a woman's body. Phillip Vicker
1042:. However, changes were seen in both the fabric used as well as the cut of these garments. More attention was paid to individual pieces of the suit, and each element underwent stylistic changes. Under new enthusiasms for outdoor sports and country pursuits, the elaborately
637:
Mrs John
Winthrop of Boston, Massachusetts, in the fashionable dress of 1773. Her indoor cap is trimmed with striped and dotted ribbons, and her gown is trimmed with "robings" of ruched fabric—strips of fabric gathered on two sides. A lace fichu fills in her
1403:
Comte d'Angiviller wears a rose-coloured coat with a fur lining over a flowered white satin waistcoat with gold braid or embroidery. His shirt has a lace frill down the front. French fashion emphasizes rich fabrics over cut and tailoring,
311:
dress was a two-piece costume of German origin consisting of a hip-length jacket with "split sleeves"—flounced elbow-length sleeves and long, tight lower sleeves—and a hood, worn with a matching petticoat. It was popular for traveling.
117:
Women: Court dress included elaborate and intricate styles influenced by Rococo; hoop skirts; panniers; corsets; petticoats; stays; conical torso shape with large hips; "standardized courtly bodies and faces" with little individuality
52:
artistic trends of the period. The French and
English styles of fashion were very different from one another. French style was defined by elaborate court dress, colourful and rich in decoration, worn by such iconic fashion figures as
236:
which asserted a stagnant social hierarchy. During the
Enlightenment, court dress stayed almost the same while outside of court dress, fashion became less extravagant and shifted more towards comfort rather than courtly display.
1424:
David Hume wears a reddish collarless dress coat and matching waistcoat trimmed with bands of gold. His shirt sleeves are gathered into wrist bands with tiny pleats—visible by his left hand—and have fine lace ruffles,
830:
2746:
1066:
was worn at home as a sort of dressing gown over the shirt, waistcoat, and breeches. Men of an intellectual or philosophical bent were painted wearing banyans, with their own hair or a soft cap rather than a wig.
332:
of lightweight printed cotton fabric were fashionable at-home morning wear, worn with petticoats. Over time, bedgowns became the staple upper garment of
British and American female working-class street wear.
1059:
The skirts of the coat narrowed from the gored styles of the previous period. Waistcoats extended to mid-thigh to the 1770s and then began to shorten. Waistcoats could be made with or without sleeves.
372:
complained: "For the late importation of Stays which are said to be now most fashionable in London, are produced upwards so high that we can have scarce any view at all of the Ladies Snowy Bosoms..."
1920:
255:), worn over a petticoat. Most gowns had skirts that opened in front to show the petticoat worn beneath. If the bodice of the gown was open in front, the opening was filled in with a decorative
1695:
Men's felt hats were worn with the brims flat rather than cocked or turned up. Men and women wore shoes with shoe buckles—when they could afford them. Men who worked with horses wore boots.
1394:
Suit of 1761 features a dark blue coat and waistcoat with fine embroidery on the edges, deep cuffs, and pocket flaps. Hair is tied back but not powdered. The waistcoat reaches to mid-thigh.
622:
Queen
Charlotte wears an elaborate neck ruffle with a large diamond brooch with her court gown. Her figure shows the full, rounded bust and small waist created by narrow-backed stays, 1761.
365:
was not particularly small. Stays were laced snugly, but comfortably. They offered back support for heavy lifting, and poor and middle-class women were able to work comfortably in them.
80:
luxury in dress and lifestyle. The
English, on the other hand, were more "egalitarian" in tastes, thus their portraits tended to depict the sitter in outdoor scenes and pastoral attire.
1441:
Samuel Adams wears a plain coat with wide revers, a small stand-up collar, deep cuffs, and large pocket flaps. His shirt has small sleeve ruffles and is worn with a narrow stock, 1772.
974:
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398:. These were either shiny metal, usually in silver—sometimes with the metal cut into false stones in the Paris style—or with paste stones, although there were other types.
2394:
1085:
sleeves were full, gathered at the wrist and dropped shoulder. Full-dress shirts had ruffles of fine fabric or lace, while undress shirts ended in plain wrist bands.
610:
wearing a floral gown with matching petticoat. Her sleeves end in flounces worn over lace engageantes. Her stomacher is decorated with a vertical row of ribbon bows.
2362:
703:
679:
2823:
353:(in France), or smock, had a low neckline and elbow-length sleeves which were full early in the period and became increasingly narrow as the century progressed.
278:" could be tucked into the low neckline. Women would also sometimes wear a neckerchief or a more formal lace modesty piece, particularly on low-cut dresses.
1868:
1692:
were a regional style for men, especially shepherds. Country women wore short hooded cloaks, most often red. Both sexes wore handkerchiefs or neckerchiefs.
1509:
1928:
1627:. The teenage boy has powdered hair and wears a frock coat and knee length breeches. The youngest child wears a loose white frock with a cloth belt, 1769
1384:
in a dark red coat with deep cuffs worn over a long gold brocade vest or waistcoat. His shirt has full sleeves gathered at the wrists with ruffles, 1756.
48:
in
European countries and the colonial Americas was characterised by greater abundance, elaboration and intricacy in clothing designs, loved by the
1607:
787:
739:
575:
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715:
628:
Mrs. Benjamin Pickman, the wife of a wealthy merchant of Salem, Massachusetts, wears a blue silk gown with robings. She carries a parasol, 1763.
613:
A 1759 portrait of Madame de Pompadour shows her petticoat trimmed with flounces to match her gown. She wears a small lace ruff around her neck.
2945:
2841:
2387:
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645:
129:
Men: Coat; waistcoat; breeches; large cuffs; more attention on individual pieces of the suit; wigs for formal occasions; long and powdered hair
2403:
1438:
banyan over his waistcoat and shirt. The shirt fastens with buttons and buttonholes at the neck, details usually hidden by the stock, 1767.
890:
811:
634:
Marie Antoinette at age 15 wears a riding habit with a striped waistcoat. Her hair is tied back and she wears a tricorn hat, France, 1771.
224:
continued to be worn, reaching their largest size in the 1750s, and were sometimes replaced by side-hoops, also called 'false hips', or
587:
304:
featured back pleats sewn in place to fit closely to the body, and then released into the skirt which would be draped in various ways.
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368:
Free-hanging pockets were tied around the waist and were accessed through "pocket slits" in the side-seams of the gown or petticoat.
938:
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17:
2312:
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1613:
American boy wears a frock with a pink satin lining over a buff-colored waistcoat and a collared shirt with wrist frills, 1765.
64:
began to reduce in size, but remained being worn with the most formal dresses, and were sometimes replaced with side-hoops, or
1074:, derived from a traditional working-class coat, was worn for hunting and other country pursuits in both Britain and America.
950:
854:
1147:
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Elisabeth Freudenrich wears a gown trimmed with silk ribbons. Her hair is dressed high and two curls frame her neck, 1760.
291:
featured back pleats hanging loosely from the neckline. A fitted bodice held the front of the gown closely to the figure.
1415:
1046:
silks and velvets characteristic of "full dress" or formal attire earlier in the century gradually gave way to carefully
262:
Close-fitting sleeves just past the elbow were trimmed with frills or ruffles, and separate under-ruffles referred to as
41:
of Antwerp, 1764. The women's sack-back gowns and the men's coats over long waistcoats are characteristic of this period.
1521:
2530:
1688:
fabrics. Working-class men also wore short jackets, and some, especially sailors, wore trousers rather than breeches.
878:
2618:
2613:
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M. Gilbert DesVoisins, Councillor of State in Ordinary wears a shirt with front and wrist ruffles of fine lace. 1761
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Women's clothing styles emphasized a narrow, inverted conical torso, achieved with boned stays, above full skirts.
515:
394:
Shoes had high, curved heels—the origin of modern "louis heels"—and were made of fabric or leather, with separate
902:
667:
539:
2331:
1715:"Panniers (1973.65.2)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
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An American girl of 1767 wears a pink satin back-fastening gown over a smock and black shoes with low heels.
775:
191:
1358:
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68:. Hairstyles were equally elaborate, with tall headdresses the distinctive fashion of the 1770s. For men,
29:
2535:
2525:
866:
2367:
1428:
John Grey, third son of the Earl of Stamford, wears a brown coat and waistcoat over a linen shirt, 1766.
1017:
wears a gold figured waistcoat under his coat. His breeches have buttons and buckles at the knee, 1760s.
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of Boston wears a coat with a collar, waistcoat, and breeches of deep blue trimmed in gold braid, 1764
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1370:
Man's 3-piece suit has coat, waistcoat and breeches of cut, uncut and voided silk velvet, France,
631:
Mrs. Epes Sargent II wears a dark blue riding habit and carries a plumed hat, Massachusetts, 1764.
491:
124:
English: Simple and practical, inexpensive durable fabrics, outdoor lifestyle, portraiture outside
2455:
1214:
1010:
2930:
2925:
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1952:
1610:
wear the miniature versions of adult costume that were standard for upper-class children, 1764.
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1845:"Mrs. Richard Skinner :: John Singleton Copley - 4 women's portraits 18th century hall"
1545:
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274:
sleeves. The neckline was trimmed with a fabric or lace ruffle, or a neckerchief called a "
229:
2321:
1563:
148:
Men: Frock coat; knee length breeches fitted snugly; full shirt sleeves; original Macaroni
8:
2899:
2363:
18th century fashions in the Staten Island Historical Society Online Collections Database
1640:
Boy's suit of the early 1770s is worn with a collared shirt and a floppy bow at the neck.
1603:
607:
216:
Lady Mary Fox wears a grey silk hooded Brunswick gown with striped ribbon ornaments, 1767
625:
In the American colonies Mrs. John Murray wears a simple gown with cuffed sleeves, 1763.
212:
2889:
2592:
1716:
1400:
Informal country clothes of 1760–62. The long collared coat without cuffs is a "frock".
1142:
225:
100:
65:
2309:
1921:"Musings from the millinery: revealing the truth about 18th-century women's necklines"
1346:
1250:
551:
2718:
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2512:
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2310:
An Analysis of An Eighteenth Century Woman's Quilted Waistcoat by Sharon Ann Burnston
2288:
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2218:
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2187:
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2016:
1962:
1954:
Women's hats, headdresses, and hairstyles: with 453 illustrations, medieval to modern
1887:
1742:
1391:, an at-home gown or informal coat, made in the Netherlands of Chinese silk, 1750–60.
1388:
1063:
301:
206:
2357:
1298:
375:
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2813:
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2353:
Looking at Eighteenth-Century Clothing by Linda Baumgarten at Colonial Williamsburg
1668:
1452:
54:
1599:
Young Irish girls wear back-fastening bodices and sheer, embroidered aprons, 1762.
1421:
Nathaniel Sparhawk of Maine wears a rose velvet suit with a collarless coat, 1764.
2517:
2316:
1772:
The Making of the Modern Self: Identity and Culture in Eighteenth-century England
1661:
1062:
As in the previous period, a loose, T-shaped silk, cotton or linen gown called a
1027:
2090:
Patterns of Fashion 2: Englishwomen's Dresses and Their Construction C.1860–1940
1155:
The trend of the macaroni grew out of the tradition of those who partook of the
563:
2467:
2165:
1322:
1238:
641:
Side view of a frock of 1774 shows pleated robings and striped ribbon rosettes.
288:
195:
104:
1982:
455:
443:
2914:
2118:
What Clothes Reveal: The Language of Clothing in Colonial and Federal America
1431:
1114:
619:
Lady Susan Fox-Strangways's gown is worn with wide, tiered engageantes, 1761.
267:
233:
2085:
999:
354:
337:
322:
2497:
1630:
Young Russian boy in court dress, with powdered hair and miniature sword,
1689:
1101:
395:
995:
187:
2582:
2229:
The Dress of the People: Everyday Fashion in Eighteenth-Century England
2092:, Wace 1966, Macmillan 1972. Revised metric edition, Drama Books 1977.
1167:
1156:
1129:
Wide-brimmed hats turned up on three sides called "cocked hats"—called
1071:
407:
263:
221:
121:
French: Elaborate court dress, colorful, decorative, portraiture inside
61:
2160:
History of Costume from the Ancient Egyptians to the Twentieth Century
1624:
1435:
1178:
1163:
1043:
1031:
411:
256:
69:
1656:
1162:
The macaroni and the subsequent imitators were criticized for being
88:
1130:
1105:
1035:
73:
2271:
Fabric of Society: A Century of People and their Clothes 1770–1870
1673:
1093:
Knee-length breeches fitted snugly and had a fall-front opening.
350:
329:
271:
2201:
A Lady of Fashion: Barbara Johnson's Album of Styles and Fabrics
1377:. The waistcoat buttons match the coat buttons, but are smaller.
170:
or close-bodied gown; the "Brunswick"; tall hair and headdresses
2324:
The Eighteenth Century: Its Institutions, Customs, and Costumes
1644:
1620:
1047:
49:
2450:
2358:
18th century European dress at the Metropolitan Museum of Art
1820:
The Darly Macaroni Prints and the Politics of the Private Man
1082:
275:
259:, pinned to the gown over the laces or to the stays beneath.
1676:, a patched and mended petticoat, and neckerchief (England,
1798:
1796:
1109:
1097:
246:
245:
The usual fashion of the years 1750–1775 was a low-necked
2170:
The Art of Dress: Fashion in England and France 1750–1820
1788:
The Art of Dress: Fashion in England and France 1750–1820
1739:
The Art of Dress: Fashion in England and France 1750–1820
270:, to the inside of the gown's sleeves, or perhaps to the
1793:
1151:
1773 caricature of the exaggerated style of the macaroni
655:
wearing the same dress as in the previous picture, 1774.
2243:
Fashioning Fashion: European Dress in Detail, 1700–1915
1418:
wearing a deep blue coat, waistcoat and breeches, 1764.
2332:"Introduction to 18th Century Men and Women's Fashion"
2148:, Batsford (UK), 1986; Holmes & Meier (US), 1987.
1733:
1731:
1729:
1727:
1725:
379:
Woman's yellow silk shoe to be worn with shoe buckle,
2402:
1717:
http://www.metmuseum.org/toah/works-of-art/1973.65.2
1606:, Grand Duke of Mecklenburg-Schwerin and his sister
173:
Men: Waistcoats began to shorten; Macaroni imitators
1806:(Johns Hopkins University Press, Fall 2004) p. 101.
1722:
599:Self-portrait of Anna Bacherini Piattoli wearing a
139:Women: New strapless stays cut high at the armpit;
83:
2241:Takeda, Sharon Sadako, and Kaye Durland Spilker,
2146:Working Dress: A History of Occupational Clothing
1177:1774 caricature of a young lady and her macaroni
1088:
1026:Throughout the period, men continued to wear the
76:of previous decades continued to be fashionable.
2912:
2104:The Art of Dress: Clothing and Society 1500–1914
60:After reaching their maximum size in the 1750s,
1051:to be the new, predominant mindset of fashion.
360:The long-waisted, heavily boned "stays" of the
653:Hedvig Elisabeth Charlotte of Holstein-Gottorp
646:Hedvig Elisabeth Charlotte of Holstein-Gottorp
2388:
2259:. 2nd Edition, 1994. Fairchild Publications.
1957:. Mineola, N.Y.: Dover Publications. p.
1672:A working-class woman wears a short dress or
410:had come into fashion. Women wore their hair
2305:Glossary of 18th Century Costume Terminology
2184:Dress in Eighteenth Century Europe 1715–1789
1814:
1812:
1782:
1780:
1120:
328:Front-wrapping thigh-length "shortgowns" or
316:
295:
282:
266:in modern terms, of lace or fine linen were
250:
165:
159:
140:
1886:. New York: Routledge. pp. 66–67, 69.
2395:
2381:
2231:, New Haven, Yale University Press, 2007,
2162:, Harper & Row, 1965. ASIN B0006BMNFS.
1804:Hair, Authenticity, The Self Made Macaroni
1185:wanted to distinguish itself from France.
401:
2052:
2050:
1809:
1777:
1711:
1709:
1707:
1651:
2010:
1950:
1667:
1655:
1172:
1146:
1005:
994:
417:
374:
336:As in previous periods, the traditional
211:
186:
87:
28:
1133:in later eras—were worn in mid-century.
14:
2913:
2255:Tortora, Phyllis G. and Keith Eubank.
2130:Black, J. Anderson and Madge Garland:
2063:
2047:
1704:
1188:
2946:History of clothing (Western fashion)
2376:
2285:The Cut of Women's Clothes: 1600–1930
1884:The Cut of Women's Clothes: 1600–1930
1881:
1445:
2441:Prehistory of nakedness and clothing
2336:Fashion, Jewellery & Accessories
406:By the 1770s extreme hairstyles and
145:or "stiff-bodied" gown; riding habit
1070:A coat with a wide collar called a
24:
1941:Tortora & Eubank 1995, p. 272.
1774:. New Haven: Yale UP, 2004. Print.
1077:
822:
177:
25:
2957:
2322:French Fashions 1700 - 1789 from
2298:
985:
659:
103:. Taken at the Fashion Museum in
2496:
2417:History of clothing and textiles
1574:
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84:Changes in fashion in the period
2824:impact of the COVID-19 pandemic
2217:. Yale University Press, 2001,
2186:, Yale University Press, 2002,
2172:, Yale University Press, 1995,
2120:, Yale University Press, 2002.
2038:
2029:
2004:
1995:
1975:
1944:
1935:
1913:
1900:
1875:
1861:
1833:The Appearance of Enlightenment
1741:, Yale University Press, 1995,
1136:
1104:were worn with silk or woollen
92:English or French court dress,
2269:Tozer, Jane and Sarah Levitt,
2215:The Corset: A Cultural History
1951:Courtais, Georgine de (2006).
1837:
1825:
1764:
1751:
1089:Breeches, shoes, and stockings
357:were not worn in this period.
46:Fashion in the years 1750–1775
39:Jan Josef Horemans the Younger
13:
1:
2287:, New York, Routledge, 1968,
2079:
1869:"Eighteenth-Century Clothing"
1790:, Yale University Press, 1995
1677:
1631:
1591:
1587:Young girl's costume of 1754.
1552:
1405:
1387:Man's fitted double-breasted
1371:
1287:
1269:
1203:
1021:
648:made of silver brocade, 1774.
432:
380:
199:
93:
2245:, LACMA/Prestel USA (2010),
1664:'s servants (England, 1750s)
344:
232:produced a backlash against
192:Princess Henriette of France
7:
2740:1920s–1950s Western fashion
2670:1830s–1910s Western fashion
2607:1500s–1820s Western fashion
194:in court dress playing the
182:
10:
2962:
2340:Victoria and Albert Museum
2257:Survey of Historic Costume
2013:A History of Men's Fashion
1140:
2877:
2834:
2801:
2770:
2739:
2669:
2606:
2505:
2494:
2431:
2422:History of fashion design
2411:
2747:Suffrage Movement period
2011:Chenoune, Farid (1993).
1698:
1054:
389:
240:
152:
133:
111:
2406:of clothing and fashion
2058:The Dress of the People
1822:, Duke University Press
1121:Hairstyles and headgear
402:Hairstyles and headgear
2273:, Laura Ashley Press,
1983:"Franklin and Friends"
1684:
1665:
1652:Working class clothing
1382:George Frideric Handel
1181:
1152:
1018:
1015:Young Man with a Flute
1003:
386:
317:
296:
283:
251:
217:
209:
166:
160:
141:
108:
42:
35:Concert in an Interior
2835:By country and region
2368:18th Century Notebook
2015:. Paris: Flammarion.
1882:Waugh, Norah (1968).
1671:
1659:
1176:
1150:
1009:
998:
418:Women's style gallery
412:high upon their heads
378:
215:
190:
91:
32:
2941:Age of Enlightenment
2936:18th-century fashion
2802:2000–present fashion
2326:, Paul Lecroix, 1876
2132:A History of Fashion
2001:Rauser 2004, p. 101.
18:1750–1795 in fashion
2842:Indian subcontinent
2771:1960s-1990s fashion
2116:Baumgarten, Linda:
2071:What Clothes Reveal
1908:What Clothes Reveal
1849:www.fineartlib.info
1604:Frederick Francis I
1189:Men's style gallery
1126:evening occasions.
1096:Low-heeled leather
608:Madame de Pompadour
606:A 1755 portrait of
323:"stiff-bodied" gown
318:grand habit de cour
284:robe à la française
164:or sack-back gown;
161:robe à la française
142:grand habit de cour
2315:2010-05-22 at the
2197:Rothstein, Natalie
1685:
1666:
1446:Children's fashion
1182:
1153:
1143:Macaroni (fashion)
1019:
1004:
387:
249:(usually called a
218:
210:
109:
43:
2908:
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2213:Steele, Valerie:
2182:Ribeiro, Aileen:
2144:de Marly, Diana:
2102:Ashelford, Jane:
1786:Ribeiro, Aileen:
1737:Ribeiro, Aileen:
1643:Young girls with
644:Wedding dress of
315:Court dress, the
302:close-bodied gown
297:robe à l'anglaise
207:Jean-Marc Nattier
167:robe à l'anglaise
16:(Redirected from
2953:
2654:Directoire style
2500:
2397:
2390:
2383:
2374:
2373:
2349:
2347:
2346:
2203:, Norton, 1987,
2158:Payne, Blanche:
2134:, Morrow, 1975.
2106:, Abrams, 1996.
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1927:. Archived from
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1759:The Art of Dress
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1164:gender ambiguous
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55:Marie Antoinette
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2299:External links
2297:
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2283:Waugh, Norah,
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2227:Styles, John:
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2073:, pp. 106–127.
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2003:
1994:
1974:
1967:
1943:
1934:
1931:on 2018-06-09.
1925:Making History
1912:
1910:, pp. 116–119.
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980:England, 1775
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944:England, 1768
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884:England, 1758
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848:England, 1752
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2638:
2343:. Retrieved
2335:
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2228:
2214:
2200:
2183:
2169:
2159:
2145:
2131:
2117:
2103:
2089:
2070:
2069:Baumgarten,
2065:
2060:, pp. 32–36.
2057:
2040:
2031:
2012:
2006:
1997:
1986:. Retrieved
1977:
1953:
1946:
1937:
1929:the original
1924:
1915:
1907:
1906:Baumgarten,
1902:
1883:
1877:
1863:
1852:. Retrieved
1848:
1839:
1832:
1827:
1819:
1803:
1787:
1771:
1766:
1758:
1753:
1738:
1694:
1690:Smock-frocks
1686:
1449:
1414:Portrait of
1380:Portrait of
1183:
1161:
1154:
1137:The Macaroni
1128:
1124:
1095:
1092:
1081:
1069:
1061:
1058:
1025:
1014:
1000:John Hancock
817:France, 1775
805:France, 1772
793:France, 1770
781:France, 1769
769:France, 1766
757:France, 1764
745:France, 1762
733:France, 1760
721:France, 1758
709:France, 1756
697:France, 1754
685:France, 1752
673:France, 1750
651:Portrait of
405:
396:shoe buckles
393:
370:
367:
359:
348:
338:riding habit
335:
327:
314:
306:
293:
280:
261:
244:
219:
99:, with wide
78:
59:
45:
44:
34:
26:
2878:By clothing
2541:Western Xia
2531:Jurchen Jin
2513:Anglo-Saxon
2506:Middle Ages
2451:Han Chinese
2035:Rauser 2004
1681: 1764
1635: 1770
1602:The future
1569:9 – 1770–75
1556: 1770
1479:2 – 1755–60
1409: 1763
1375: 1755
1291: 1763
1273: 1762
1232:3 – 1750–60
1207: 1755
1044:embroidered
436: 1750
362:early 1740s
349:The shift,
264:engageantes
222:Hoop skirts
97: 1760
62:hoop skirts
2915:Categories
2598:Vietnamese
2556:400s–1000s
2345:2007-12-09
2279:0950891304
2265:1563670038
2223:0300099533
2209:0500014191
2192:0300091516
2178:0300062877
2154:0841911118
2140:0688028934
2126:0300095805
2112:0810963175
2098:0896760278
2080:References
1988:2006-03-19
1968:0486448509
1893:0878300260
1854:2018-03-13
1747:0300062877
1168:effeminate
1157:Grand Tour
1072:frock coat
107:, England.
70:waistcoats
2762:1945–1960
2757:1930–1945
2719:Edwardian
2677:Victorian
2649:1795–1820
2644:1775–1795
2639:1750–1775
2634:1700–1750
2629:1650–1700
2624:1600–1650
2619:1550–1600
2614:1500–1550
2593:Tocharian
2518:Byzantine
1818:S. West,
1757:Ribeiro.
1625:straw hat
1581:10 – 1772
1436:shot silk
1364:13 – 1772
1352:12 – 1767
1340:11 – 1766
1328:10 – 1766
1106:stockings
1032:waistcoat
638:neckline.
601:Brunswick
593:14 – 1774
581:13 – 1774
569:12 – 1774
557:11 – 1773
545:10 – 1771
345:Underwear
309:Brunswick
257:stomacher
2900:Swimwear
2864:Thailand
2522:Chinese
2488:Thracian
2473:Biblical
2463:Egyptian
2404:Timeline
2313:Archived
2056:Styles,
1831:McNeil,
1761:. p. 35.
1539:7 – 1769
1527:6 – 1767
1515:5 – 1765
1503:4 – 1764
1491:3 – 1762
1467:1 – 1754
1453:breeched
1434:wears a
1316:9 – 1764
1304:8 – 1764
1256:5 – 1761
1244:4 – 1761
1220:2 – 1756
1131:tricorns
1048:tailored
1036:breeches
1022:Overview
533:9 – 1764
521:8 – 1763
509:7 – 1763
497:6 – 1761
485:5 – 1761
473:4 – 1760
461:3 – 1759
449:2 – 1755
330:bedgowns
226:panniers
183:Overview
101:panniers
74:breeches
66:panniers
2588:Ottoman
2552:Europe
2548:English
2433:Ancient
2199:(ed.):
1674:bedgown
1645:mobcaps
1621:mobcaps
1102:buckles
1038:of the
355:Drawers
351:chemise
158:Women:
2890:Corset
2885:Bikini
2583:Korean
2291:
2277:
2263:
2249:
2235:
2221:
2207:
2190:
2176:
2152:
2138:
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2110:
2096:
2019:
1965:
1890:
1745:
1623:and a
1389:banyan
1064:banyan
341:worn.
268:tacked
50:Rococo
2857:Meiji
2852:Japan
2847:Italy
2819:2020s
2814:2010s
2809:2000s
2793:1990s
2788:1980s
2783:1970s
2778:1960s
2752:1920s
2729:1910s
2724:1900s
2712:1890s
2707:1880s
2702:1870s
2697:1860s
2692:1850s
2687:1840s
2682:1830s
2661:1820s
2576:1400s
2571:1300s
2566:1200s
2561:1100s
2483:Roman
2478:Greek
2468:Inuit
2446:China
1699:Notes
1425:1766.
1110:Boots
1098:shoes
1083:Shirt
1055:Coats
390:Shoes
276:fichu
241:Gowns
205:, by
153:1770s
134:1760s
112:1750s
2895:Hide
2536:Yuan
2526:Liao
2289:ISBN
2275:ISBN
2261:ISBN
2247:ISBN
2233:ISBN
2219:ISBN
2205:ISBN
2188:ISBN
2174:ISBN
2150:ISBN
2136:ISBN
2122:ISBN
2108:ISBN
2094:ISBN
2017:ISBN
1963:ISBN
1888:ISBN
1743:ISBN
1551:8 –
1286:7 –
1268:6 –
1202:1 –
1179:beau
1166:and
1034:and
1028:coat
431:1 –
408:wigs
307:The
294:The
281:The
252:robe
247:gown
105:Bath
72:and
2456:Shu
1013:'s
321:or
300:or
287:or
37:by
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2088::
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1961:.
1959:76
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1847:.
1811:^
1795:^
1779:^
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1706:^
1678:c.
1632:c.
1592:c.
1553:c.
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1288:c.
1270:c.
1204:c.
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200:c.
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33:A
2396:e
2389:t
2382:v
2348:.
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1991:.
1971:.
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1871:.
1857:.
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1647:.
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1411:.
603:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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