Baroque & Rococo 1600-1800

THE
NEW YORK

TIMES
STYLE
MAGAZINE

Fashion & Lifestyle
c. 1600-1800

PEOPLE THIS MONTH ON
PLACES
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4 Do Politics Define Dress The Interrupted Sleep, 1750 Editors
The power of the monarchy By François Boucher Emily St. Claire

5 New Trends Through 22 Mozart’s Influence on Anne Park
Trade Music Bekah Coulson
What’s hitting the streets Veronika Gutierrez
of Europe? Remembering this
century’s most famous ON THE COVER
6 Into The Fashion Musician
Madame Grand (Noel
Women’s wear with 24 Mozart’s The Magic Catherine Vorlee,
elegant designs from the Flute 1761-1835) 1783.
past and now By Elisabeth Louise
Taking you backstage of Vigee Le Brun:
8 Men’s Fashion his most famous piece of
work; a glimpse at the
11 Textiles beautiful costumes and
Photographs from the sets
MET
26 Get The Look
12 Textiles Timeline 1600s Trends

2 T: THE NEW YORK TIMES STYLE MAGAZINE 15 The Thing 27 Get The Look
1700’s Accessories you
The famous silver tissue need right now.
dress of Lady Theophilia.
Photograph from The 28 Film Review Madame Grand, wife of
Fashion Museum, Bath Dangerous Liaisons; A minister Talleyrand was
look at the costumes a beauty icon during the
18 Technology that made the movie
18th century. She was
Technological advance- 30 Neoclassical Simplicity born into a french
ments that changed the Today’s street dress.
textile industry. colonial family close to
31 Ask The Editors India. Painted by the
19 Another Thing most famous female
artist of the time, Vigee

Le Brun.

Ma Cherie 1755 - French Necklace of Opaline

Since 1755

Be One Of A Kind

Do Politics Define Dress?
The Power of the Monarchy

PEOPLE, PLACES, THINGS In today's day in age, the ruling classes of
the European power are the inspiration to
many new fashionable styles roaming amongst 1670 - King Louis XIV of France and
civilians. But are they indeed the cause of this Navarre, in armour with the crown and
new fashion era? As the country gains econom- the sceptre on the table.
ic and political dominance, the fashions they
4 T: THE NEW YORK TIMES STYLE MAGAZINE favor are followed by the people. 1660-65 - King Charles II, the 1650-60 - Sword
founder and Royal Society’s first deign from Louis
As seen by the end of the last century, patron. XIV period.
the Mannerist styles replaced the Renaissance
styles not only in art but in fashion. But why? Overall, politics and political conflict play an
influential role in the evolution of dress and will
The new styles serve as a bridge between continue to define fashion for years to come.
the Renaissance and the Baroque styles and
spread across the Alps into Northern Europe,
influencing the form and ornamentation of
dress. With the help of influential figures Like
King Louis XIV, they create the path for us to
follow from one fashionable garment to anoth-
er. Dress is vital in the courts, and noblemen
must dress appropriately in luxurious attire
according to the monarch's commands. As King
Charles II returned to the monarchy in 1660
after the Civil War of 1642, he brought a taste
of French styles and multiple royal mistresses
to the court. French dress is used to communi-
cate social status, values, and customs relating
to dress as symbols of one's rank. Court
etiquette prescribed every person's activities,
and rules are placed to dictate what the royal
monarchs can wear and causes the upper class's
social life to center around the courts, making
London society fashion leaders. The court is
not the only group of individuals that devel-
oped distinctive costume traditions in Europe.
The English Puritans and the Cavaliers reflect-
ed their spiritual and political values through
dress. As both groups differ, they both have a
political viewpoint and wear garments that
differentiate them from others. In England,
everyday garments and accessories demon
strated the wearer's political affiliations.

New Through (Border Whats Hitting The Streets of Europe?
Trends Trade to Border)

As trade has become popular across Europe, many styles have arisen from across the globe.
Economic events resulting from the expansion of trade with the Middle East and East Asia lead to
cross-cultural influences through trade. Popular garments, such as the Mantua gown from the late
1600s and the popular vest of Charles II of England, were popularized through global trade. Interna-
tional trade has also introduced Asian influences on European dress, such as silks from China and
cotton from India. Items from aboard are rare but essential as the English styles for both men and
women are significant to Parisian fashion. Trade has become a crucial aspect of fashion in Europe
and will continue to bring new ideas for us to favor.

The Power of Dress on Society, Economics, Politics

and The Revolution What Could Happen Next?

Costume primarily reflects the upper-class bias 1780 - Silk ta eta gown present-
amongst the rest of the people. Clothing of those less ing a women's court dress from
wealthy demonstrates a drastic difference from the the late 18th century.
upper class's styles and serves to reinforce the class hier-
archy according to societal standards. Showing ones 1774 - 92 - Silk floss embroi-
wealth through attire by owning and displaying the dered suit with floral embroi-
garment is known as ‘Conspicuous Consumption’, and dery.
the demonstration that one does not need to work is
known as ‘Consumption Leisure’.

The lavish lifestyle demonstrated throughout
the century illustrates the principals of conspicuous
consumption. Conspicuous leisure is prominent
because of the inconvenience of abnormal size head-
dresses and garments that add limitations to everyday
tasks. The political conflicts that lead to the French Rev-
olution are overlooked by the French nobility as the
dress in extravagant styles as an escape from reality.
The dress demonstrates the wealth of the wearer and
the ready availability of the low-paid laborers that con-
structed the piece.

As the Revolution has begun, marking the end of
life in which the aristocracy has separated from the rest
of the people, hopefully, this would result in revolution-
ary changes in costume and accompanies the political
disturbances of the Revolution.

5

INTO THE
FASHION

Women’s wear with elegant designs from the past
and now

PEOPLE, PLACES, THINGS

Photograph from The Metabolitan Museum of Arts
This 1708 design gown is a different style
from regular bodice and skirt style, being
more loosely draped, called mantua. This
mantua is constructed in a coatlike
contruction, sleeve cut in one piece with
the back and front. The overskirt is split at
the front to loop into complex drapery,
which shows the beautifully ornamented
underskirt with embroidery, ruffles, pleated
edgings, and other trimmings.

6 T: THE NEW YORK TIMES STYLE MAGAZINEPainting by Anthony Van Dyck This 1660-1680 design dress is worn -
with chemises and under petticoats as
Slightly elevated gowns, bodices and an undergarment that is shown slightly
skirts sewn together at the waist that on the neckline and the edge of the
sleeves serve as the focal point of this sleeves. Bodices are long and narrow,
dress. Multilayers are included in this with slender look, V-shaped extending
dress, with a modeste layer and a secret at the front. Low, wide, and horizontal
layer. A modeste layer is worn over an or oval shaped neck lines are used in
under bodice (long U-shaped stomach this type of dress. The shoulder seam is
er at the front like a corset) and the below the elbow. Two styles can be worn in
secret layer is worn under even when and closed OR split at the front and
the outer gowns are closed. V-shaped,
square shaped and horizontal shaped
necklines are worn the most with wide
collars tied under the chin with strings.

jeweled decorations can be added to Painting from The Cleveland Museum
the design. 1663

Style Choices

Casaquin

Fashionable top that is
fitted through the
bodice and flared out
below the waist, sleeves
are tight with a small,
turned back cuff. This
garment can be worn
on top of the dress.

Stomacher This fashionable design includes open
bodices with decorative stomachers. The
Worn with many dresses at skirt is very large on the side of the waist
the center of the dress with with flowers and decorative embroidery all
many different designs which over the dress. Ribbons, artificial flowers
can include ruffles, ribbons, or lace can be used to decorate the stom-
flowers, embroidery and achers and the dress for other designs.
more. Used as one of the main Low necklines are popular, with square or
decoration in many dresses. oval in shape, sleeves ending below the
elbow finishing in engageants (One or
more ruffles). This design is Robe a la
Francais; gown with full backs, pleated cut
at the back and fitted front.

“Modern
Style”

This modern design is a polonaise dress which is an
overdress and petticoat. This skirt is puffed and
looped with tapes or rings sewn into the skirt which
makes this beautiful drapery and design at the
back. A hoot or bustle is used to support the skirt.
This design is a round gown, closed all the way
down the front.

7

PEOPLE, PLACES, THINGS MEN’s FASHION

8 T: THE NEW YORK TIMES STYLE MAGAZINE MEN’S STYLE POINT

This design includes the most basic form in men’s style, including a coat, waistcoat
and breeches. Collars or bands that can either be a part of the shirt or be worn sepa-
rately with biblike, lace-trimmed look. A long linen tie can be an alternative for a
fashionable look. The doublet ends above the waist being straight and unfitted. Both
style and details are increasingly sophisticated,

Photograph from The Metabolitan Museum of Arts

Style Choices

Stocks

High neckband made of linen square
folded, stiffened with buckram and
fastened behind the neck.

Cravats, a long, narrow, scarf is worn in this Steinkirk
design with knee length coats. Justacorps, a
garment that is fitted with turned back cuffs Type of cravat that is
and button down at the front design was pulled through the
used a lot in the 1680-1710s designs. buttonhole and
This design includes ruffled frill at the front twisted loosely.
of the shirt and the end of the sleeves,
collars gathered to a neckband. Cravats is Frock Coats
worn by being knotted under the chin to
conceal the collar. Looser and short
dress coat, with flat
Banyans turned down collar
made with sturdy
Worn as casual or undress woven fabric
at home, comfortable and
loosely fitted garment. Smock Frock
Cottons calicos, silk
damasks, brocades, velvets, Type of Frock coat
taffetas or satins were used but made of linen
a lot for this type of and loose fitting
garment and each basic
style could have additional
variations.

9

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