Ghost
Robe, 1780-85 France, the Victoria & Albert Museum This gown demonstrates the fashionable styles in women’s formal dress of the 1780s. The hoop has changed from the square shape of earlier decades to a round profile. A stomacher is no longer needed, because the gown now meets in the front. The cream silk is adorned only at the edges with an embroidered band, ribbon and a stencilled fringe. This restraint in decoration illustrates the growing influence of the Neo-classical style in textile design.

Robe, 1780-85 France, the Victoria & Albert Museum

This gown demonstrates the fashionable styles in women’s formal dress of the 1780s. The hoop has changed from the square shape of earlier decades to a round profile. A stomacher is no longer needed, because the gown now meets in the front. The cream silk is adorned only at the edges with an embroidered band, ribbon and a stencilled fringe. This restraint in decoration illustrates the growing influence of the Neo-classical style in textile design.

Princess Élisabeth of France by Louise Élisabeth Vigée Le Brun, ca 1782 France, Châteaux de Versailles et de Trianon Click for a huge image

Princess Élisabeth of France by Louise Élisabeth Vigée Le Brun, ca 1782 France, Châteaux de Versailles et de Trianon

Click for a huge image

Georgiana, Duchess of Devonshire with Her Infant Daughter Lady Georgiana Cavendish by Sir Joshua Reynolds, 1783 England, the Devonshire Collection

Georgiana, Duchess of Devonshire with Her Infant Daughter Lady Georgiana Cavendish by Sir Joshua Reynolds, 1783 England, the Devonshire Collection

Ballgown, 1780-85 France, Musée des Tissus de Lyon This dress, also called “robe parée”, is a ball dress. The skirt is worn over a pannier which, early 1780, was less ample than the one used under the dress “à la française”. The decoration consists of appliqué painted flowers, gauze flounces and extremely refined embroideries. It exemplifies the dresses Rose Bertin, Marie-Antoinette’s dressmaker, used to create for the queen.

Ballgown, 1780-85 France, Musée des Tissus de Lyon

This dress, also called “robe parée”, is a ball dress. The skirt is worn over a pannier which, early 1780, was less ample than the one used under the dress “à la française”. The decoration consists of appliqué painted flowers, gauze flounces and extremely refined embroideries. It exemplifies the dresses Rose Bertin, Marie-Antoinette’s dressmaker, used to create for the queen.

Robe à l’anglaise, 1780-85 France, Les Arts Décoratifs

Robe à l’anglaise, 1780-85 France, Les Arts Décoratifs

Robe à la française, 1780-85 France, Les Arts Décoratifs

Robe à la française, 1780-85 France, Les Arts Décoratifs

Portrait of Giovanna Baccelli by Thomas Gainsborough, ca 1782, Tate Britain

Portrait of Giovanna Baccelli by Thomas Gainsborough, ca 1782, Tate Britain

Portrait of Maria Feodorovna (Sophie Dorothea of Württemberg) after Pompeo Batoni, 1782-87 Russia

Portrait of Maria Feodorovna (Sophie Dorothea of Württemberg) after Pompeo Batoni, 1782-87 Russia

Robe à la française and petticoat, ca 1780-85 England, Royal Ontario Museum This is such a well-known dress but they only have one shot of it.  Shame.

Robe à la française and petticoat, ca 1780-85 England, Royal Ontario Museum

This is such a well-known dress but they only have one shot of it.  Shame.

Shoes, 1780-85 Europe, MFA Boston Loving the colors

Shoes, 1780-85 Europe, MFA Boston

Loving the colors

Dress worn by First Lady Martha Washington, early 1780’s United States, Smithsonian Museum of American History

Dress worn by First Lady Martha Washington, early 1780’s United States, Smithsonian Museum of American History

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