16th century headdress, fiction and fact

I found this when I was looking for images suitable for my 1520’s gown project. It had nothing to do with it, but it was too good to pass on.

Pretty door knocker, c. 1500.

Source; Wikimedia Commons

And what must be the same kind of headdress, the extant version.

Ladies head dress from the grave No.31 (1525) in Geiterkinden Church. Now in Kantonsmuseum, Basseland

An extant robe de cour bodice in Sweden

The museum Nordiska in Stockholm has a large collection of costume related items and though a lot can be found at Digitalt museum, not everything has any photos. However, only recently pictures of a robe de cour bodice has come up and I am sure that will interest many of you. The four robe de cour’s preserved at Livrustkammaren were made for weddings and coronations and are quite sumptuous. This bodice is much plainer, though it is cut in the same style, a fully boned bodice, laced in the back with short sleeves. It is dated to 1770-79 and is made of white silk drouget (a Swedish article on this kind of silk can be found here.), probably produced in Sweden. The silk is cut and sewn together from nine pattern pieces.

NM.0020602

 

The lining is made from coarse unbleached linen, boned with whalebone, though it is reinforced with vertical iron boning along the top front and there is also an iron busk. There is probably a layer of glued paper between lining and the silk fabric.

 

 

The short sleeves are made of ten small pieces and are pleated.

 

At the waist there is a thin cord meant to attach the trail.

The Robe Volante in art and reality

Robe Volante, c. 1720.
Yellow and red changeable striped silk taffeta with racket
sleeves ("manches en raquette"); large pleats at front and back.

In Sweden there is an idiom that says “A loved child has many names”. If that is true, then the Robe Volante was very dear, as it also were called Robe Battante, Adrienne, contouche, innocente, flying dress and, in a shorter version, casaque. It became popular in the 1720’s and remained fashionable for some 20 years. Like the mantua it had deep pleats in the front and the back, but on the mantua those pleats were held close to the body, first with a sash and then the pleats were sewn down. In the Volante these pleats were hanging freely, giving the gown a loose bell-shape, something that was underlined as it was worn with something else that became fashionable in the 1720’s, the hoop skirt, or panier. It was originally bell shaped, but got wider and flatter, in the 1730’s, to reach its widest points in the 1740’s.

 

The Volante very quickly morphed into the Robe Française where the front of the gown became fitted. The Volante and Française co-existed and it is sometimes difficult to say it an extant gown is an unusually fitted Volante or an unusually loose Française. There were also variations within the Volante's. The first ones had loosely pleated backs, the stacked double box pleats was something that developed in the 1730’s.

Robe Volante in pale blue silk, 1730's, Metropolitan Museum

This Volante is open to the waist and very similar to this one. Others were closed all the way. The neckline always seem to be V-shaped. Despite being so loose, stays were generally worn underneath, though probably not laced very hard. It may sound odd to wear stays, but not if one comsider that this is what a woman wore for breast support in the 18th century and she might not (I wouldn't because that would actually be more uncomfortable than wearing stays) want to let it all hang freely.



The backpleats looks to be quite loose here and the sleeves looks pleated, another old-fashioned look that some extant mantuas also have.


Detail from L'Enseigne de Gersaint by Antoine Watteau, 1720

Robe Volante, 1720-1735, Musée Galliera de la Mode de la Ville de Paris
The pictures were found here.
 

This gown also have decorative buttons down the front, though I'm unsure if they are also functional. They can be seen on paintings from the period as well.


Like this one, in velvet.

Élisabeth-Charlotte d'Orléans,Duchess of Lorraine and her son François-Étienne by Alexis Simon Belle,1722

Here is a version with decorative frogs and a somewhat peculiar frill around teh neck. The stays do seem to be very loose.

Declaration of Love by Troy,1725

A Robe Volante worn completely open.

L'amour et le badinage by Jean-Baptiste Pater, painted before 1736

And getting in and out of it.

Dame à sa toilette recevant un cavalier by Jean-François de Troy

After the Ball by Jean-Francois De Troy, 1735
 

This version looks like it is closed by hooks and eyes.

The Alarm by Jean Francois de Trow, 1723

With more distinct pleating in the back.

Robe Volante, 1735-1740, Metropolitan Museum





A painting were both versions a worn, both the Volante and the Francaise.

 

Declaration of Love by Jean Francois de Troy, 1731

Robe Volante c. 1730
Museum of Fine Arts, Boston

There was, as I have already mentioned, a shorter version, the casaque.



 

Lady Sealing A Letter by Jean Baptiste Simeon Chardin, c. 1732

It's possible that they were just shortened volantes which had been worn, but there are two beautiful embroidered casaques which clearly have been made shorter by purpose.

Embroidered ölinen casaque (Italian), 1725-1740, Metropolitan Museum

Silk casaque with embroidery in white silk, 1730-1740's, Kulturen, Lund

The petticoat is quilted, but sadly re-made so it's impossible to say what it looked like originally.

The loose fit of the Volante must have made it ideal to use as a coat as you could have worn several layers underneath. The lady enjoying a day on the ice, must have done so to stand the cold.

Detail from Winter by Jean-Baptiste Pater,1725

It must also have been very comfortable for travels. There have been some debate over these paintings online, but I think they are meant to be showing travelling clothes. Masques were not only worn for masqueardes, but for travels as well, to protect the face from sun and dust.


Countess de Rieux, by Maurice Quentin de La Tour, 1742

 

Posthumous portrait of Louise-Élisabeth de France, Duchess of Parma by Jean-Marc Nattier, c. 1760

A very similar portrait, I guess one of them is a copy of the other.

Unknown woman found at Just A Wench Livejournal

Two gowns balancing the fine line between Volante and Francaise

C. 1735, The Museum at FIT

C. 1735, Les Arts Décoratifs




An assortment of paintings showing of different versions of the Volante.



Mrs. Elizabeth Symonds by Allan Ramsey, 1740

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Nicholas Lancret




The Four Times od Day- Midday by Nicholas Lancret

People In the Park, the workshop of Nicholas Lancret



A Lady and Gentleman Taking Coffee with Children in a Garden by Nicholas Lancret, 1742

Follow the link underneath for a high res version.


St. James' Park and the Mall, 1745

What a Swedish rural bride wore at her wedding, Midsummer 1795

Nordiska museet in Stockholm has an almost complete wedding outfit worn by a young woman at her wedding in 1795 in Tunge socken, Ale härad, Västergötland. It is a good example of what rural women wore in Sweden in the 18th century, though the material were finer than for everday clothes. As you can see the sleeveless bodice, so abhorred in reenactment circles, is perfectly fine and period correct if you happen to be Swedish.

A lot of the wool fabric used for the clothes are very fine camlet, manufactured in England and therefore expensive and often used for wedding clothes.

This striped wool bodice has an unusual feature, the lacing is hidden by a stomacher. It's dated to 1780-1795, but it is known to have belonged to Annika Andersdotter and as it is unlikely that such an exclusive fabric had been used by a young girl, this bodice probably was part of the wedding outfit as well. That would make an outift with two jackets and two (if you don't count the underbodice) bodices, but at was not uncommon for the bride to change clothes during the festivities as a mark of her changed maritial status.

NM.0001024

Underbodice worn by Annika Andersdotter at her wedding in 1795. No descroption of material, but linen seems likely. It also have boningchannels.

NM.0001015

Bodice in red wool with 16 bones in reed, lined with linen. The boning channels and decorative stitching is made in white linen thread.

NM.0001016

Red jacket in a wool blend with the warp in blue wool and the weft in red worsted yarn. It is laced in front with a stomacher to hide the lacing and with several boning channels with reed both at the front and the stomacher. The remains of decorative pink silk ribbons can be seen.

NM.0001014

Jacket in black wool camlet of a similar cut. remains of black silk ribbons were probably used to decorate the stomacher.

NM.0001012

Petticoat in greyblack camlet wool. Pleated at the back. Waistband and the top of the petticoat is lined with blue and white checkered linen.

NM.0001012

Apron in very sheer cotton, linon, woven with lappet weaving. The hem is 5 cm wide and at the top it is pleated to 40 cm to a 6 cm wide band in linon with another pattern in the weave. Both sides end with selvage. The fabric is probably imported from Scotland and is a very early example of this kind of weave in cotton instead of linen. Very exclusive, Annika must have come from a fairly wealthy family

NM.0001017

There are another item in the trosseau, but it seems that Digitalt museum has no picture of it. It is quite likely that it is some kind of bonnet, or possibly shoes. The grooms outfit has preserved as well, but there are no pictures of his clothes either.