Le Petit écho de la mode, no. 3, vol. 13, 18 janvier 1891, Paris. 13. Dentelle en guipure Renaissance. Ville de Paris / Bibliothèque Forney
I pulled this plate today, and totally by chance, found myself on a Bordeaux library's website and came across an earlier version of this same plate, from 1879, 12 years earlier:
La mode française, no. 38, 20 septembre 1879, Paris. 3. — Dentelle en guipure Renaissance. Bibliothèque municipale de Bordeaux
They even have nearly identical descriptions:
Le Petit écho de la mode, 1891:
Dentelle en guipure Renaissance. — Le modèle de cette dentelle est des mieux réussi, et l’effet obtenu par son exécution des plus heureux.
Il faut comme toujours reproduire son dessin sur moleskine, ou sur percaline lustrée, puis coudre son lacet avec beaucoup de soin et comme s’il devait rester à demeure sur ladite moleskine; à certains endroits on peut se dispenser de couper son lacet, il faut bien consolider et le plus proprement possible, l’espèce de soudure si je puis m’exprimer ainsi, que l’on ne peut éviter dans la tulipe, à certaines feuilles où les brins sont trop rapprochés; on peut éviter ces coupures en repliant le lacet l’un sur l’autre, mais il faut que ce soit fait avec une grande précision, sous peine de nuire à la perfection du travail.
Dans les intervalles on fait des barrettes vénitiennes festonnées.
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Renaissance guipure lace. — The model of this lace is most successful, and the effect obtained by its execution is most successful.
As always, you must reproduce your design on moleskin, or on glossy percaline, then sew your lace with great care and as if it were to remain permanently on said moleskin; in certain places we can dispense with cutting the lace, we must consolidate and as cleanly as possible, the kind of welding, if I may put it that way, which we cannot avoid in the tulip, on certain leaves where the strands are too close together; These cuts can be avoided by folding the lace one over the other, but this must be done with great precision, otherwise the perfection of the work will be compromised.
In the intervals we make scalloped Venetian barrettes.
La mode française, 1879:
Le modèle de cette dentelle est des mieux réussis, et l'effet obtenu par son exécution des plus heureux.
Il faut, comme toujours, reproduire son dessin sur moleskine, ou percaline lustrée, puis coudre son lacet avec beaucoup de soin; à certains endroits, on ne peut se dispenser de couper son lacet, il faut bien consolider, et le plus proprement possible, l'espèce de soudure, si je puis m'exprimer ainsi, que l'on ne peut éviter dans la tulipe, à certaines feuilles, où les brins sont trop rapprochés; on peut éviter ces coupures, en repliant le lacet l'un sur l'autre, mais il faut que ce soit fait avec une grande precision, sous peine de nuire ¡a la perfection de son travail.
L'intérieur du dessin est rempli par des jours variés.
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The model of this lace is most successful, and the effect obtained by its execution is most successful.
You must, as always, reproduce your design on moleskin, or glossy percaline, then sew your lace with great care; in certain places, we cannot avoid cutting our laces, we must consolidate, and as cleanly as possible, the kind of welding, if I may put it that way, which we cannot avoid in the tulip, to certain leaves, where the strands are too close together; These cuts can be avoided by folding the lace one over the other, but this must be done with great precision, otherwise it will harm the perfection of the work.
The interior of the drawing is filled with varied days.
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A part two (of this) but for Honoka! bc it would be a crime to have only one half of this duo.
In the same vein as Nagisa’s adult uniform leaning towards her armor references, Honoka’s look here leans into princess-y vibes with a touch of strategist/tactician/fighter.
The Breakdown:
Overall, her og design feels very Rococo with her light blue pleating down the center of her top, bows, and lace! (cure black may have ruffles and bows, but no lace)
Her hair ribbon mimics a royal headpiece
The top layer of her skirt that splits in the middle is probably what marks her as more princess-like than Nagisa, bc it reminds us of the two weird pillowy things that the og animated princess Cinderella has.
To go off on a tangent here, the floofs on both sides of Cinderella’s hips are actually loose references to either bustles or trains found on court dresses from the 18th century, but it’s hard to say definitively what the hell she was actually wearing bc they’re two symmetrical puffs w no train or anything in the back😵💫 (I can’t link it for some reason, but search “Disney Princess Historical Costume Influences Part 2”)
But that specific element most likely is a reference to Robe à la Polonaise, where the overskirt is bunched to reveal the petticoat underneath. The rest, however…
You can’t NOT see it!! The illustration is “Figure de mode— dame en grande parure de cour à la française, 1789”
Whatever’s going on w the drapery on her neckline looks like the shape of a ribbon, and the skirt design is pretty spot on!
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Planche 1, Cabinet des Modes, May 15th 1786, Bibliothèque Nationale Française.
This plate has a LONG description, and here's a (shortened) rough translation of the description:
We can say it is no longer desirable for women to dress with great adornment (...) and these fashions are no longer made but for ceremonial gatherings, weddings, formal balls, large meals, which take place in very small numbers. This justifies us to not have often representations of these garments (...), nevertheless since they re sometimes worn, we show them in plates 1 and 2.
In plate 1 we can clearly see that we no longer wear the big paniers and even in the most adornment, the fashions have been simplified (except, of course, the court clothes, which do not vary much and can be traces to the clothes of our fathers) (...).
The woman in Plate 1 wears a blue robe à la Turque. The petticoat is of the same fabric and colour, the sleeves are made of white gros-de-Naples or another white fabric. The trim of the dress is in white crepe in the shape of rosettes, and in the middle of each is bouquet of artificial roses. The skirt of also decorated with white crepe and rosettes similar to the dress. The cuffs attached to the sleeves are made of cut white gauze. The throat is covered with a gauze fichu, tied at the front with a rainbow ribbon bow, she wears white leather gloves, and a fan. The head is covered with a bonnet also tied with a rainbow ribbon and topped with a garland of artificial roses. The ribbon forms a large bow at the back and holds a white crepe veil that falls almost to the waist, and on top of the bonnet rises a set of feathers: two rose, two blue, one white, and one green. The hairstyle has light curls along the entire front of the head, her hair is pulled up at the back in a flat bun, and two large curls on each side fall down her length. Her shoes are blue to match the colour of the dress, and are adorned with rainbow ribbon.
I found many funny things in this description, like that the magazine writers thought in 1786 that this look was simple, the concept of rainbow ribbon (ruban à l'Arc-en-Ciel) that seems to simply be a ribbon in colourful stripes, and the size and complexity of that bonnet. How about you? Please let me know in the comments or reblog tags, what is your favorite part of this outfit, or even if you'd like to reproduce it.
Also, the plate 2, that is a men's outfit, will be posted soon :)
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La Mode nationale, no. 7, 17 mars 1886, Paris. Modèles de l'ancienne Maison Cheuvreux-Aubertot, 7, boulevard Poissonnière, à Paris. Bibliothèque nationale de France
No. 1. — Béarnaise. Visite en faille française veloutée, doublée merveilleux, garnie dentelles chantilly et riche galon jais. 290 fr.
No. 1. — Béarnaise. Velvety French faille visiting dress, wonderfully lined, trimmed with chantilly lace and rich jet braid. 290 fr.
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No. 2. — Princesse. Robe de mariée en faille française et broderies de perles, fines, de 400 à 600 fr. Dans ce prix est compris le juponnage, le voile et la parure d'oranger complète.
No. 2. — Princess. French faille wedding dress and pearl embroidery, fine, from 400 to 600 fr. This price includes the skirting, the veil and the complete orange tree adornment.
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