Orphaned children costumes. Amsterdam 1843.

Orphaned children costumes. Amsterdam folk costume. Traditional Netherlands national costumes. Dutch Ethnic garment.

Orphaned children. Amsterdam.

Orphaned children costumes. Amsterdam 1843.

Enfants Orphelins. Amsterdam. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

French Revolution Gowns. ÉLÉGANTES.

French Revolution gowns. Directory clothing. Directoire fashion. Regency costumes

Gowns. ÉLÉGANTES

French Revolution Gowns. ÉLÉGANTES.

L’HISTOIRE DU COSTUME FÉMlNIN FRANÇAIS. ÉLÉGANTES. RÉVOLUTION. – Planche 1.






  1. Mme la princesse de Lamballe. Robe à paniers en taffetas rose garnie de rûchés de rubans saumon, dentelle en sabot aux manches, au tablier de la jupe deux volants de même taffetas, éventail de Chantilly.
  2. Marchande de la halle aux poissons, robe en toile bleue et blanche, fichu de linon blanc et parements aux manches, large chapeau doublé de toile de Jouy rose et blanche.
  3. Mme Tallien. Robe en toile bleue, manches courtes, bandes brodées bleu sur la jupe et franges au bas du panneau.
  4. Mme Hamelin. Robe en drap bleu, veste à basques, bordée aux revers et parements d’un liséré rouge; chapeau de sparterie marron avec cocarde tricolore et plumes tricolores, plaque a vec inscription.
  5. Mme Despaux. Robe de percale rose, corsage droit, jupe tombant droite mais formant traîne derr ièr e, boutonnage bleu, petit bonnet blanc, cocarde tricolore.
  6. Mme Récamier. Robe pour courses du matin, blanche, broderie noire; sur la robe, écharpe noire avec au bas broderie blanche, rûché de tulle au cou, gant long, attache noire.
  7. Charlotte Corday. Robe de taffetas souple, fond jaune avec fleurs violettes, manches longues et étroites, fichu de linon, petit bonnet jaune, nœud violet, garni d’un esprit (aigrette).
  8. Th. Cabarrus. Robe de satin rayé noir et violet, ceinture chamois tombant sur la jupe, avec franges vertes, fichu chamois laissant apercevoir un gilet de linon blanc fermé par un nœud vert.

Gallery: Modes under the Revolution 1792 to 1799. Paul Louis Victor de Giafferri. L’Histoire du Costume Féminin Français. LES MODES SOUS LA REVOLUTION 1792-1799

Related:






Nymphs and Merveilleuses. The Frenchwoman of the century.
Fashion History France. On the history of costumes.
The Days of the Directoire. Costumes under the French Revolution 1796.
Gallery: Les “Incroyables et Merveilleuses”. The “The late Directoire and Empire Style” between 1795–1804.
French Directory fashion in Paris after the Revolution 1796 to 1800.
Fashion during the french revolution. Paris 1793 to 1795. 

Porto folk costume. Traditional Portugal costume.

Porto folk costume. Traditional Portugal national costumes. Portugese Ethnic garment.

Young Girl from Porto. Portugal.

Young Girl from Porto. Portugal 1843.

Porto folk costume. Traditional Portugal national costume. Costume Traditionnel Jeune Fille a Porto. Portugal. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

Pardilhó Merchant folk costume. Traditional Portugal costume 1843.

Pardilhó Merchant folk costume. Traditional Portugal national costumes. Portugese Ethnic garment.

Merchant of Fish fom Pardilhó, Portugal.

Pardilhó Merchant folk costume.

Costume Traditionnel Marchande de Poissons de Pardilhó. Portugal. Portugal national costume 1843.Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

Anne Wilson’s personal collection. Woven Stripes and Bands.

Saki-ori obi, Woven rag textile; Japan; 20th century

Saki-ori obi, Woven rag textile; Japan; 20th century

Anne Wilson’s personal collection. WOVEN STRIPES + BANDS. (PDF 2.63 Mb)

This log presents a diversity of woven textiles showing warp stripes and weft bands from various countries and time periods.

www.windrewindweave.com by Anne Wilson. Wind/Rewind/Weave. Knoxville Museum of Art.

Artist Website of Anne Wilson

The Contemporary. Fashions under the Restoration c. 1860

Glamorous Victorian ball gowns. French Second Empire Costumes. Regency Romantic Fashion.

The Contemporary. Beach life in Second Empire c. 1860

The Contemporary. Fashions under the Restoration c. 1860.

JUDGMENT of our female contemporaries is certes by no means an easy matter. After having run through the history of the Frenchwomen of this great nineteenth century — across fashions, manners, anecdotes, through all its little picturesque and seductive districts — we have scruples in approaching this dangerous physiology of the modern woman.
To speak the truth, to manage properly so complex a study, we must undertake it boldly, in the fashion of our ancestor Restif de le Bretonne (1), who, better than Brantôme, (2) consecrates to the romantic analysis of the ladies of his time more than forty volumes, in which he hesitates not to catalogue the Parisian ladies of the eighteenth century, in the different classes of society, from the top to the bottom of that ladder which the Revolution was to turn upside down.
But here we study not, scarcely do we look in the face of the silhouettes which pass by, to note in a lively manner some small details seized in the prism of costumes and fashions. The female contemporary, under her diverse aspects, realistic romance writers are on the spot to give her in detail, with all unhealthy complaisances and all improper perversities; they quit her not …; these amiable vultures ransack her palpitating flesh, and expose her nerves, her heart, and her brain. They have shared among them the inheritance of Restif.

Some have laid their claws on the lower parts of our “female contemporaries of the common;” others, more eclectic, dissect at leisure the courtesan or the woman of the world; others, again, who set up pretensions to the Comédie humaine, run through the “graduated female contemporaries” in all their tints.

If we are to believe these demoralising moralists, the Parisienne of this end of the century would be a little monster no less of a rogue than of a coquette, cruel to an unheard-of degree, and so essentially governed by her senses and her libertinism that we must never think of trusting her with our faith, our heart, or our repose. We have sometimes, we must confess it, a better opinion of our fellow-citizenesses, and, beside them, of certain women who are but the giddy products of nature. We think, with Goldsmith, that the modest virgin, the reasonable spouse, the prudent mother, are far superior to all the women who fix the attention of the world, to all the heroines of romances whose sole occupation is to assassinate humanity with the arrows of their wit or the looks of their beautiful eyes. We have been able, in a preceding work, to speak straightforwardly of la Parisienne moderne (Son Altesse La Femme. Paris, Quantin, 1885. 2 N).

We have regarded physiologically that feminine aristocracy which is not to be found in its true mean except in a great city. We cannot to-day recur to this subject, and we will only regard our female contemporaries from the special point of view of psychology and taste, allowing ourselves at the same time a very sober résumé the different circumstances which have principally favoured the blossoming of the manners of the day.

(1) Rétif de la Bretonne (also Nicolas Edmonde Rétif de La Bretonne), 1734-1806 was a French novelist and pioneer of realism and naturalism.

(2) Pierre de Bourdeille, seigneur de Brantome (1540-1614) was a French writer in the Renaissance. He gave in his memoirs (eg, “The life of the gallant ladies”, issued 1665), a vivid picture of French aristocratic society of his time.

From the Book: The Frenchwoman of the century; Fashions – Manners – Usages, by Octave Uzanne. Illustrations in water colours by Albert Lynch. Engraved in colours by Eugène Gaujean. Excerpt of the Chapter: FEMALE CONTEMPORARIES. THE END OF THE CENTURY.

Pardilhó folk costume. Poultry merchant. Portugal 1843.

Pardilhó folk costume. Traditional Portugal national costumes. Portugese Ethnic garment.

Poultry merchant from Pardilhó. Portugal.

Pardilhó folk costume. Poultry merchant 1843.

Poultry merchant from Pardilhó. Traditional Portugal national costume. Costume Traditionnel Marchand de Volaille de Pardilho. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

Man from Corsica. Corsican folk costume 1843.

Corsican folk costume. Traditional French national costumes. Corsican Ethnic garment.

Man from Corsica.

Man from Corsica. Corsican folk costume 1843.

Costume Traditionnel Corse. Traditional French national costumes. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

Water Carrier in Venice folk costume 1843.

Venice folk costume. Traditional Italy national costumes. Italian Ethnic garment.

Water Carrier in Venice.

Water Carrier in Venice folk costume 1843.

Costume Traditionnel Porteuse d’Eau a Venise. Traditional Italy national costumes. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.

Young Girl in traditional Salerno costume.

Salerno folk costume. Traditional Italy national costumes. Italian Ethnic garment.

Young Girl from Salerno.

Young Girl in traditional Salerno costume 1843.

Jeune Fille de Salerne. Traditional Italy national costume. Gallery: Manners, customs and costumes of all peoples of the world, based on authentic documents and and newer travel  by Auguste Wahlen.