Showing posts with label fontange cap. Show all posts
Showing posts with label fontange cap. Show all posts

Saturday, 9 April 2016

Scandinavian gowns in the late 17th and early 18th century.


The more I dig into fashion history, the more interested I get in what was actually worn here, in Sweden, where I live. It’s not altogether easy to find information about that. So I have been very happy in diffing into a Danish website: Dragter på epitafier og gravsten i Danmark (Costumes on epitaphs and tombs in Denmark). There are even a few from germany and more than a few from Swedish churches, dated from the 16th century to the 18th. So far I have only dug into the paintings and they are a wonderful source to what well to do, but not necessarily aristocratic, women wore in Denmark and Sweden. Here are a few from the late 17th-early 18th century, showing some really nice mantuas, caps and hairstyles.


Click on the links for more pictures.


Two great fontange caps.



Anonymous lady by Lucas Ambders, 1685

Anonymous lady by Necolaus Tych, 1695
I love, love, love these mantuas. The different patterns on mantua, petticoat and stomacher on the mother, the play with the stripes on the daughter's gowns.


Peder Jensen Lucoppidan and Anna Christine Jørgensdatter with their children. Svendborg Sct Nicolai kirke, Denmark. Painted in 1696




More somber mantuas, but the caps are spectacular!










This mantua in black is even more sober.



Frands König and Anne Lauritzdatter. Kirke Helsige kirke, Denmark. Painted in 1694.

Also very pretty with the borders.


Mathias Rubenius and his wives; Anna and Gertrud Katrina Liljengranat. Färlövs kyrka, Sweden. Painted 1700-09

And this mantua is stunning and the cap is too! I want it!


Anne Christensdatter Søe 1644-1736. Thisted kirke, Denmark. Painted 1684.


Catharina, married to Johannes Georg Alsing. Västra Tommarps kyrka, Sweden


I'm not sure if the following gowns are closed front Mantuas or some other kind of gown. And more spectacular caps!



























Mads Christensen and Martha Bertelsdatter with their children. Bjerned kirke, Denmark Painted 1691.
Laurits Jensen Beder and Anna Cathrine Pedersdatter Dorscheus with their children. Beder kirke, Denmark. painted around 1690.


Maren Stefansdatter and her daughters. Varde Sct Jacobi Kirke, Denmark. Painted in 1677


Christen Lauridsen Rhuus and Johanne Samuelsdatter Gesmel. Saeby kirke, Denmark. Painted around 1700 by Christen Lauridsen Rhuus .

The red fabric is so gorgeous! And a nice view on the stays too.


Christiane Marie Foss 1684-1750, married to Carsten Worm 1707, Århus stift


 And here it looks like the stays are laced over a different coloured stomacher.

Knud Hauch and Sophie Brun. Ribe Sct Catharina kirke, Denmark. Painted by Knud Hauch 1703


And a few hairstyles. Big hair was a thing around 1700 too.


Edel Sophie Bille 1684-1706. Ubby kirke, Roskilde stift. Painted in 1714

Margrethe Ingeborg Hemmer, 1643-1723, married to Mathias Worm. Painting from 1700-09, Århus Stift


Unknown girl, 12 years old. painted 1690-09. Denmark


Monday, 28 September 2015

Fontange caps

High on my wish list is a 1690-1710 mantilla and with that I would need a fontange cap. This rather absurd cap fashion became popular during the 1680’s and remained popular until the 1710’s, or so. It was usually paired with a high hairstyle, confusingly enough usually called a fontange hairstyle. To be technical the fontange was the ribbons on the cap, the high pleated frill was called a frelange. As it rose higher and higher it was supported by a wire construction called commode.

The only extant fontange cap, as far as i know, is actually worn by a doll, known as Lady Clapham. V&A describes it like this:

Circular doll's cap consisting of the cap, wire and ribbon. The cap is made of spotted lawn edged in English bobbin lace which falls into two lappets on either side of the face. It has a graduated double frill ('Monte la haut'), a narrower frill in front and a taller frill behind. The frill is supported by a wire covered in muslin formed in a semi-circle with eight radiating spokes graduating to the highest in the centre. The cap is circled with pink silk taffeta ribbon which is twisted about the cap, and is tied in two bows and lined with brown silk. The ribbon is padded in between and sewn to a cotton band which forms a base to attach to the doll's head. The cap is secured by a linen cord drawn through the back breadth.

 
Victoria & Albert
Unfortunately no one seems to have made a proper pattern.
 
 
If you look at art, the standing frill seems to have been done rather differently. 
 
Anne de Souvré, marquise de Louvois by Simon Dequoy, 1695

16Mme Roig, née Theresa Gazanyola, unknown artist, 1699

María Luisa Gabriela de Saboya by Miguel Jacinto Meléndez, 1712-1714


Unknown widow, ca 1690

Maria Anna of Pfalz-Neuburg by Godfried Schalcken, 1690 
Go to the web page to be able to zoom in.
 

Marchioness Angela Maria Lombardi, unknown artist, ca 1710

Recueil des modes de la cour de France, 'Femme de qualité, en d'Eshabillé d'Esté' by Nicholas Arnout, 1687
I’m making a modified version of two layers of fine white linen and lace made by my grandmother.

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