3 minute read
Rococo
c. 1700 CE - c. 1800 CE
The Rococo period has major influences from the Baroque period. Symmetry and limitation were major influences that took from the Rococo style. Asymmetry from architectural buildings, furniture, and art (Lucero, 2018). Many paintings were the core evolvement of the Rococo period which became the main infiltration of 18th century Europe. Both ladies and gentlemen were expected to be fluent in fine arts, music, and dancing and behave with the “utmost grace and poise” . (The Art Story, n.d.). Colours became lighter for both men and women, showing a diverse and ethereal style that separates itself from previous periods.
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Women ’ s Footwear and Inspiration
Figure eighty-three shows a pair of women ’ s noble shoes from 1769 England which are made from wool, linen, and silk. It had buckles over it for steadier fastening. The ‘bargello’ or flame stitch is a style of embroidery that was laced to the shoes. The ‘zigzag ’ pattern could have been inspired from the asymmetrical architecture or art of the period. Aristocratic women loved decoration and eye-catching textile design on shoes (Five Minute History, 2016) Figure eighty-four shows a Manolo Blahnik pair of shoes from his ‘Marie Antoinette’ inspired collection. The shape is similar to figure eighty-three instead this pair of ‘slippers’ are with a bare back-foot opening. Velvet ribbons and ruffles stitched over silk fabric finished the shoe’s design.
Figure 83: A pair of ‘Rococo’ shoes (Five Minute History, 2016)
Figure 84: Manolo Blahnik ‘Marie Antoinette’ inspired shoes (Consalves, 2019)
By the 1700’s close-fitting coats were popular amongst men. The over-coat would reach below the knee and had an open slit at the back with each vent reaching the hip level. The neck of the coat is low and collarless finished with “dome-shaped” buttons. An embroidered waistcoat was worn underneath that had the same type of material and design to match the overcoat (Cassin-Scott, 1994, p.66; Charles & Carl, 2010, p.30). A frilled shirt would be worn underneath the waistcoat where the sleeve emerges from the coat’s cuffs. The silk breeches lasted up until the knee’s length and fastened with a kneeband. French men wore a full-bottom wig with a mass of curls supported by a cocked or tricorne hat (Cassin-Scott, 1994, p.66-68; Charles & Carl, 2010, p.30-35). Men’ s shoes were adorned with buckles, shaped in a simple form with flat heels and made from leather. Square-toed leather boots became popular which were worn with metal spurs that were imported from England. Brightly coloured stockings were worn underneath to be eye-catching that had a satin or silk material (Cassin-Scott, 1994, p.66-68; Charles & Carl, 2010, p.30-35).
Figure 85: Portrait of an Unknown Gentlemen by JeanBaptiste van Loo c. 1740 (Art UK, n.d.) Figure 86: Man’s suit c. 1760 (MET Museum, n.d.)
Figure 87: Robe à la Française c. 1765 (LACMA, n.d.)
Current Inspirations
Galliano’s Christian Dior Couture SS12 show was inspired from the detailed construction of garments (Blanks, 2012). Shades of grey, including lace elements that are shown in figure eighty-eight which gives a creative outlook towards future constructive elements that could be provided on garments. This is surely inspired from ‘Rococo’ styles as the same shape that the ‘petticoat’ has, allows two pieces to be casted on each side of hip area and an open front giving a voluminous effect. The sheer and white fabric also resembles the texture of the petticoat’s fabric (Fashion History, 2018) . Another term for ‘Robe à la Française’ is a women ’s dress and a petticoat. The dress shown in figure eighty-seven shows a silk plain weave with metallic lace and thread that was worn in England (LACMA, n.d.). At the start of the 18th century, corsets were re-introduced to give effect to the woman’ s body. This allowed to restrict the female body and to show the natural shape of her waist. The petticoat was the undergarment made to constrict so it would be attached to the waistband. Matching gloves and a lace bordered cap were worn to be tied with a brooch to show the crown over the head (Charles & Carl, 2010, p.27; Cassin-Scott, 1994, p.74).
