Lace&Lanterns

Personal research blog || European Art/Fashion History

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The Nutcracker - Toy Mechanical Doll

Drosselmeyer's life sized moving doll gift; Act: 1. A beautiful peppermint themed design, playfully designed with stripes, polka dots and of course pretty bows too.

Nutcracker Exhibition

Rayell Segerstrom, Anaheim Ballet Board Member and former Anaheim Ballet dancer, shares personal favorites from her extensive Nutcracker col

The Anaheim Ballet

Original Costume Designs: Sarma Lapenieks Rosenberg

Original Costume Wardrobe Mistress: Vivian Gottheiner

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Illustrations from In Powder and Crinoline by Kay Nielsen (1912)

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Kay Nielson was an illustrator from Denmark whose work related to the art nouveau movement. Born in the Late Victorian era (1886) through the Edwardian all the way to the new age Elizabethan era passing away in 1957.

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(Circa 1891) French Silk Corset with floral patterning and busk.

Maison Léoty | Corset | French | The Metropolitan Museum of Art

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Christian Dior, Haute Couture 'Spring,' 1998. By John Galliano. A beautiful design which takes clear inspiration from the roaring 20's and 'art deco' with the geometric (diamond) patterning of the bodice and skirt, with clear implications of a saloon, and perhaps the cheeky card gambling aspect of the diamond card motif. The ends worn in a way in which attempts to make the garment look aged. I would have ADORED something like this to be Princess Tiana's frog wedding dress, just saying!

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Design for Queen Victoria's bridesmaids’ dresses  - 1840

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Robe a la Polonaise - 1775

Robe a la Polonaise (Polish gown) characterised for its large three large bunching/puffs in the back and well fitted bodice followed by the cascading free flowing front skirt. Unlike the Robe a la Francaise, and l'Anglaise the bottom of the gown and petticoat drop just short of the ankle, improving mobility, but also whimsicality. Typically the Robe a la Polonaise will include a bustle in the back which increases the abundance of the bunching.

This particular design features silk taffeta for the main dress, silk chenille for the red embroidery, and linen lace engageantes (detachable sleeves).

Woman's Dress and Petticoat (Robe à la française), Unknown, Spain; Textile: France, circa 1775, Costumes, Silk plain weave (taffeta) w

[oldpaintings]

Reverie by Kimon Loghi (Macedonian(fyrom)-born Romanian, 1873–1952)

[digitalfashionmuseum]

Brown wool overcoat with detachable cape, 1888, French.

Worn by Fannie Tuttle.

Chicago Historical Society.

CONTENTdm

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Lady Sherlock vibes

[digitalfashionmuseum]

Silver embroidered silk wedding dress, 1850, Swedish.

Worn by Louise of the Netherlands, later Queen of Sweden.

Livrustkammaren.

Buren vid vigseln i Storkyrkan den 19 juni 1850. Brudklänning bestående av sammansytt liv och kjol samt släp. Av silverinvävt siden med silv

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Absolutely beautiful!

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Robe à l'Anglaise - c.1770-1780

Unlike the robe à la française (French Gown), which has pleats falling from the shoulders, the robe à l'anglaise (English dress) has a full fitted waist. A low square neckline with a fichu scarf for both elegance and modesty sake which matched the engageantes (false sleeves).

The dress is made of silk woven taffeta adorned with floral embroidery which was common all throughout the late baroque period (Rococo). The more simplistic design suggests the beginning of the neoclassical movement (circa.1760-1850).

Woman's Dress and Petticoat (Robe à l'anglaise), Unknown, England, 1770-1780, Costumes, Silk plain weave (taffeta) with discontin

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Witch or Sorceress Fancy Dress Design, 1860s

From the Victoria & Albert Museum

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|| Elisabeth Vigée Le Brun (1783), Marie Antoinette with a Rose, Oil on Canvas, Versailles. ||

Robe a l'Anglaise or Robe a la Polonaise

In arguably one of the most renowned images of the late Marie Antoinette, Lady Le Brun paints the last French Monarch in a gown that is debated amongst Fashion Historians, however most know this style of dress as the 'Robe a l'anglaise,' otherwise known as the close bodied or English gown (Italian gown). Its popularity ranging between 1770 - 1780. Despite its informality in comparison to the Robe a la Francaise (French gown) the English gown too was worn by the upper class. Unlike the previous 'Robe a la Francaise,' which went out of style in the 1770's the 'Robe a l'Anglaise' is fitted in both the back and the front. However without seeing the back it is uncertain whether this is the English gown or Robe a la Polonaise (Polish Gown) popularity ranging between the late 1770-1780's. The Polish Gown was known for its back drapery and so without knowing what the back looks like it is difficult to pinpoint whether the dress Marie Antoinette wears is in fact either or. However, with the knowledge of the late French monarch and her indulgence and influence in the trends of her time it is not an invalid argument to state this as the Robe a la Polonaise.

Robe a la Polonaise - Back

Robe à la Polonaise (1774–93), Met Museum.

Robe a l'Anglaise - Back

Robe a l'Anglaise (1785-87), Met Museum.

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Robe à la Française - 1770-75 (Rococo)

A staple of 18th Century (1700- 1799 C.E.) aristocratic and monarchic fashion; adapted from the Mantua (Late 17th Century) and Robe Volante. Fashionable between circa 1720 - 1780.

'Robe à la Française' were only second to court dress in formal wear, it is characterized by the impish and coquettish opulence of the Rococo/Late Baroque movement. The 'Robe à la Française' also known as a 'Sack Gown' or 'French Gown' was fitted in the front with a robe a top of the petticoat layer with a decorative stomacher going under the lace of the stays - covering the chemise; whilst the back had loose Watteau (box) pleats.

Robe à la française | French | The Metropolitan Museum of Art