“By the end of the century the mantua and petticoat were made from matching fabric, with contrasting material used for the lining of the mantua. In the 1690s, women’s dress achieved an even more vertical effect (Fig. 1), as the narrowness of the mantua and the height of the fontange headdress increased. Just over here searching library collections in Uruguay for fashion magazines and women’s weeklies so you don’t have to.
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While weavers were facing increasing competition, the whole system of who made clothing was also in the midst of a sea change begun in previous decades, with male tailors being displaced by female dressmakers. Fabrics were typically darker than in previous decades and patterned, with silk brocades being the most desirable textile (Figs. 2-4, 7). Sometimes, as in an example in the Metropolitan Museum’s collection (Fig. 7) the mantua was simply pinned closed at center front. Mantua, late 17th century. The stomacher was often decorated as previously with a ladder of bows down the front (Figs. 2-3), but metallic laces (Figs. 1, 5) were also popular, as were jeweled bodice ornaments (Fig. 6). The mantua now covered the shoulders, often having the appearance of the jacket (Figs. 1, 3).
Two family portraits by Hyacinthe Rigaud (Figs. 11-12) dramatically illustrate the transformation of wig styles over the course of the decade. Henry Davenport III (Fig. 10) shows the new fashion for powdering the wigs white. Sir Francis Leicester (Fig. 8) and James Francis Edward Stuart (Fig. 9) wear especially high peaks on their wigs.
- The cost of such delicate lace must have been considerable.” (Ashelford 101)
- Plain silk satins, velvets and wools were typically used, though silk brocades were still sometimes worn; the National Trust has a bizarre silk brocade coat from this period in their collection (Fig. 5).
- Mademoiselle d’Armagnac (Fig. 15) wears a robe de chambre, a French version of the nightgown and precursor of the mantua; the closed gown features a ladder of ribbons all the way down the center front.
- “By the end of the century the tailor’s position as the only person who made male and female clothes had been challenged by the seamstresses.
- Mantua, late 17th century.
fontange
She wears her belted silk nightgown over her smock, apparently without stays. Women would wear stockings held up by garters, though no underwear. The print is useful also for the back view of the mantua it provides and for allowing us to see the streaming lappets from her fontange. The cost of such delicate lace must have been considerable.” (Ashelford 101) “spectacular head-dress consists of a wire frame formed into a high domed shape over which lace has been placed.
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Omegon Easypic Universal Smartphone Adapter The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. The Fashion History Timeline is a project by FIT’s History of Art Department. Have a primary source to suggest? To discover primary/period sources, explore the categories below.
- “In 1695, a lady of the French court complained that women were turning blue from the cold when required to wear silk dresses in winter.” (Met Museum)
- Also see the 17th-century overview page for more research sources… or browse our Zotero library.
- The Fashion History Timeline is a project by FIT’s History of Art Department.
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A few women, however, were painted wearing fontanges (Figs. 5-6), such as Donna Ippolita Montalto (Fig. 10) and Eleanor James (Fig. 11); James’s The lace tower could be quite vertical, but also sometimes tilted forward at quite a severe angle (Fig. 9). The fontange lace headdress was now omnipresent (Figs. 1-3, 5-12); what began as a small cap pinned to the back of the head now had a tall wire frame attached with tiers of lace, ribbons and ruffles (Fig. 8) ((Hill 413). “By the end of the century the tailor’s position as the only person who made male and female clothes had been challenged by the seamstresses.
“In 1695, a lady of the French court complained that women were turning blue from the cold when required to wear silk dresses in winter.” (Met Museum) Portrait of a lady, half length, in a mantua gown and lace frelange headdress, ca. Queen Maria Luisa Gabriela of Savoy (Fig. 5) wears a blue silk bodice and petticoat trimmed in tiers of ruffled lace. Princess Ana Maria Luisa of the Palatinate (Fig. 4) wears a luxurious silk brocade bodice that is further ornamented with silver lace and a massive jeweled bodice ornament. The intense horizontal fringe and lace decoration mentioned by Brown feature in figure 1. Charlotte-Félicité (Fig. 2), the Duchess of Modena, wears a mantua and petticoat made of matching striped silk brocade fabric.
Sleeves ended at the elbow and large cascades of lace (sometimes attached to the chemise, but later often independent) then billowed forth, these are called engageantes in French (Fig. 5). “A love of busy surface decoration, whether it be in the form of scarves, ruched ribbons, braids or bands of metal fringe, was typical of male and female fashion in the 1680s and 1690s.” (101) In either case, mantuas featured long trains (Figs. 1, 3).
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The dehumanizing attitude towards Africans rose alongside the slave trade, which spiked in the seventeenth century.” In both examples, the women wear a blend of classical drapery and contemporary styles and do not include the fontange headdress. The portraits blend the classical and the colonial, featuring garden settings with classical statuary alongside exotic birds like parrots. Racist portraiture tropes remained all too common, as in previous decades. Mademoiselle d’Armagnac (Fig. 15) wears a robe de chambre, a French version of the nightgown and precursor of the mantua; the closed gown features a ladder of ribbons all the way down the center front.
A fashion print depicting Louis-Auguste de Bourbon, Duc du Mayne (Fig. https://pin-up-download.in/ 1) gives a good idea of the overall silhouette. This male uniform would be maintained into the 19th century, though with many changes to cut and style. A portrait of Maintenon with her niece shows this more severe style with Maintenon dressed all in black (Fig. 1). Portrait of Madame de Maintenon, last third of the 17th century.
A few 21st century ones thrown in as well. Books on the history of fashion and design, etc.
Her research and writing interests include nineteenth- and twentieth-century art and literature, visual and material culture, modernism and fashion. Whether the story is true or false, the fashion lasted until the very end of the century and was even adopted by women for hunting costume.” (265) Fontanges appear constantly in fashion prints of the day, but women sometimes chose not wear them in portraits, perhaps sensing that the trend would not last.
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Plain silk satins, velvets and wools were typically used, though silk brocades were still sometimes worn; the National Trust has a bizarre silk brocade coat from this period in their collection (Fig. 5). Sleeves were sometimes left open to near the elbow, which allowed the shirt to billow forth; see portraits of Charles Townshend (Fig. 3) and Charles Montagu (Fig. 4) for examples of this style. “A good fit and defined waist, the effect being increased by a fuller skirt which flared out fan-wise from pleats closely stitched down at the apex of each side vent where a decorative button was placed.” (139)
Mantuas and petticoats were still sometimes made of contrasting fabrics as well; see, for example, a portrait of the Comtesse de Mailly in 1698 (Fig. 3). Petticoats were decorated with horizontal bands of lace or fringing (furbelows).” (Brown 139) The foundation of women’s dress remained the chemise (also known as a smock or shift), upon which now boned stays (early corsetry) were now typically worn. A fashion print depicting the daughter of the Duke d’Orléans (Fig. 1) gives a good idea of the overall silhouette; notably she wears a variation of the steinkirk cravat, a menswear influence see Menswear below. Men’s coats gained fuller skirts and their wigs were now two-peaked and, by the end of the century, powdered gray or white. The more modest jacket-style mantua bodices are often attributed to the influence of Madame de Maintenon, the secret wife of King Louis XIV.
An unknown girl with oranges (Fig. 2) wears a more formal gown with a boned bodice and elaborate lace fontange and apron. At home, men would still remove their justaucorps and dress informally in silk dressing gowns or robes over their waistcoats and cravats (Fig. 15). Men, like women, wore stockings or hose to cover the legs. See examples of ostrich-fringed tricornes in figures 1-2. Rigaud’s 1699 portrait of Jean Le Juge and his family (Fig. 12) shows Le Juge in a powdered wig and his wife and child with their hair powered gray and white. His 1692 portrait of the Léonard family shows the father with a full dark wig and his wife and child with their natural hair (Fig. 11).
Consigned until then to sewing linen underwear and accessories, the seamstresses started making the unboned mantua and, when stiff-bodied gowns ceased to be fashionable, took over the making of all gowns. The 1690s silhouette for women was extremely vertical and linear with the long-trained mantua being amplified by the towering fontange lace headdress. Before coming to FIT, Dr. De Young previously taught art and fashion history at Harvard, Wellesley, Lesley and Northwestern University. A member of FIT’s History of Art department since 2015, Dr. De Young specializes in the intersection of art and fashion. Also see the 17th-century overview page for more research sources… or browse our Zotero library.
At the end of the century, the aging Louis XIV began to wear his full-bottomed wigs dusted with white powder. “By the late 1690s, the hair was parted in the center into two high peaks that swept upwards from the forehead. Portrait of an Aristocrat in Armor, believed to be James Francis Edward Stuart, ca. Plain linen cravats were gaining in favor (Figs. 4, 6), though lace and fringed ends were still popular (Figs. 1-3, 8).
Prince James Francis Edward Stuart; Princess Louisa Maria Theresa Stuart, 1695. Portrait of Mademoiselle Léomenie Brienne, Marquise de Roualt Gamache, late 17th century. Her brother Prince James Francis Stuart (Fig. 3) wears a red justaucorps with white cravat and holds his ostrich-trimmed tricorne under his arm as an adult would.
A dice player in a hand-colored etching (Fig. 7) models the style, as does Sir Francis Leicester (Fig. 8); see figure 1 in womenswear for an example of a woman adopting the steinkirk cravat style. In addition to influencing fashion and women’s education, she played a powerful role at the French court affecting everything from domestic to foreign policy (Wikipedia). A fashion print of the time (Fig. 5), featuring Maintenon in a mantua and fontange, details her positive educational efforts in the caption, crediting her with educating more than 250 girls. She also commissioned a portrait of herself dressed as the 15th-century French saint Françoise Romaine (Fig. 2), an unusual choice. During the seventeenth century the nightgown was gradually worn for more formal occasions, and it is believed to be the origin of the mantua.” (54) “A seventeenth-century nightgown can be seen in the portrait of Henriette D’Auverquerque, Countess of Grantham.