The beautiful Suzon sits in the Jardin du Luxembourg, meditating on diverse subjects that she has found in the book that she holds in her hand, and which take for her the place of pastimes and dissipation, in place of that to which she has given a rendez-vous: she is in a hat à l'Anglaise … Continue reading Galerie des Modes, 48e Cahier, 6e Figure
Galerie des Modes, 48e Cahier, 5e Figure
The brilliant Nymph of the Palais Royal offering to the eyes of the public the charms of her figure and the elegance of her shape which attracts to her the most merited praises: she is coiffed à la Suzanne with a juste à la Figaro. (1785) Palais Royal. - "There one can see everything, hear … Continue reading Galerie des Modes, 48e Cahier, 5e Figure
Galerie des Modes, 48e Cahier, 4e Figure
The tender Aspasie* sits with an air of nonchalance following the pleasures that love made her taste, liked to meditate on those that her beauty has right to make her hope: she is coiffed with a hat à la nouvelle Omphale, gown of striped muslin with an elegant border. (1785) "The New Omphale, a comedy … Continue reading Galerie des Modes, 48e Cahier, 4e Figure
The Myth of Chanel and the 1920s: VI – Femininity and Androgyny
Vionnet cleverly amalgamated a still lingering desire for femininity with the wish to dress without the restricting comfort of corsetry. ... But it was the androgyny promoted by Chanel that dominated women's fashion in Europe in 1919. The idea that Chanel suddenly brought out a less curvaceous figure in 1919 has already been dealt with, … Continue reading The Myth of Chanel and the 1920s: VI – Femininity and Androgyny
Galerie des Modes, 48e Cahier, 3e Figure
The prudish Mélite, only seeming occupied with what must interest her heart the most, seeks to fix her regards in taking the air at the Palais Royal after dinner: she is dressed in a new déshabillé in the fashion of the Ladies of quality and coiffed with a hat à la Charlotte. (1785) Palais Royal. … Continue reading Galerie des Modes, 48e Cahier, 3e Figure
Mimic of Modes 