THE SECOND REPUBLIC.
1848 TO 1851.
Tricoloured stuffs of 1848—Girondin mantles—Open gowns—Summer
dresses—Kasawecks and their derivatives—Beaver bonnets; velvet
bonnets, and satin or crape drawn bonnets—Cloches, Cornelia,
Moldavian, and Josephine cloaks; mantles—Isly green—Opera
cloaks—Numerous styles of dressing the hair: à la Marie
Stuart, à la Valois, Léda, Proserpine, and Ceres—Marquise
parasols—Jewellery—Straw bonnets—“Orleans” and “armure”—Work
reticule or bag—“Chinés”—Pagoda sleeves—Waistcoats; basque
bodices—New and economical canezous.
The Revolution of 1848 lasted too short a time to effect a change in
dress. There is little to remark in that transient period, beyond the
adoption of tricoloured materials in remembrance of 1830. Tricoloured
ribbons were worn on caps, and on a few bonnets. For some months Girondin
cloaks, with three rows of shaded lace, were in fashion; the cloaks were
of muslin, and trimmed with frills worked in button-hole stitch. Bronze
was the favourite colour for mantles.
The year 1848 was like its forerunner. The same materials, the same
bodices, and the same sleeves continued to be worn. Small mantles called
“grandmother,” and others, shawl-shaped, with little sleeves and three
flounces, and others again, rounded behind, and trimmed with fringe or
deep lace, were fashionable.
Gowns were made open in front, with low square-cut Raphael bodices, the
front and back gathered; and Marie Stuart head-dresses were worn. As the
light material of summer costumes was found trying to delicate persons,
kasawecks or casaques, imported from Russia, were worn over them in the
evening.
The kasaweck was a sort of jacket coming below the waist, with a
tight-fitting back, and wide, braided sleeves. The fronts were made
loose, or to fit tight, according to taste. The Russian kasawecks were
lined with fur, but ours were simply wadded. They were sometimes made of
velvet and satin, but more frequently of cashmere or merino, and were
occasionally worn under a shawl or mantle. They were known under several
names, viz. “coin-du-feu,” “casaque,” “pardessus,” &c.; and there was
quite a series of kasawecks, i. e. home kasawecks, garden kasawecks,
girls’ kasawecks, grandmamma’s kasawecks, &c. Women of fashion, however,
never wore them out of their own house in the daytime.
For several years wide-brimmed beaver bonnets were generally worn. They
were given up because they were very expensive, unsuitable for full
dress, and soon lost their colour. Velvet bonnets succeeded them, trimmed
with black lace or feathers, and drawn bonnets of satin or silk, or crape
bonnets, on which were velvet heartsease, auriculas, or primroses.
Gowns, which remained about the same in shape, were cut more or less
low, according as they were intended for morning or evening wear. Some
were shorter than others; but fashion no longer allowed the ankle to be
displayed as in 1829.
As regards material, the favourite woollens were cashmere, flannel,
Glasgow cloth, and Amazon sateen; and in silks, plain or glacé, “satin à
la reine,” “pekin,” “gros d’Afrique,” &c.
An enumeration of all the cloaks, mantles, and pardessus would be
tedious. But I must not omit to mention the bell-shaped, or Greek cloak,
also called the “Cornelia,” because its fulness and simplicity somewhat
resembled the form of the Roman cloak. It had no sleeves and no seam on
the shoulder, and could be gathered up over the arms like a shawl, at the
pleasure of the wearer.
Another cloak, called the Moldavian, fell below the knee, the sleeves
hung down wide at the back, and formed a square cape in front. We may
also mention the double-cape beige cashmere mantle, edged with braid;
the Josephine mantle, with one cape, and without shoulder-seam; and the
shawl-mantle, the elegance of which depended chiefly on the trimming.
Black lace mantles were embellished by little ruchings of narrow lace, or
by “frisettes,” a sort of braid which formed a frill on each side of a
silk thread running through its entire length.
Among the favourite colours of the period was Isly green, so named in
honour of the great victory obtained by Marshal Bugeaud, in 1844, over
the armies of the Emperor of Morocco. Women wore a great deal of Algerian
finery, or at any rate, their dressmakers got ideas from the events
taking place in the colony, and made use of them in their work.
“Sorties de bal,” or opera cloaks, were much worn at the same period.
There was no dearth of dancing parties in the winter of 1849-50, and the
number of entertainments in Paris astonishes the historian who remembers
the political events of that same year.
The Marie Stuart and the Valois head-dresses were both in fashion;
the latter being adopted by young and pretty women who wished to be
conspicuous. The hair when dressed in this style was drawn back from
the brow, and rolled over a pad right round the forehead. The “Druid”
head-dress was composed of oak leaves; the “Nereid,” of all the flowers
beloved by Naiads; the “Leda” consisted of little feathers of Barbary
birds; the “Proserpine” of wild flowers, for this was Proserpine’s mode
before she was abducted by Pluto. Lastly, the “Ceres,” consisting of the
attributes of the genial goddess.
Long chains of large beads without clasps were worn round the neck, and
reached to the waist; bracelets were of marcasite, enamel, diamonds, and
cameos; velvet bands an inch or two in width were fastened closely round
the throat.
On the first appearance of sunshine, ladies provided themselves, when
about to take a walk or pay a visit, with small parasols, white, pink, or
green. These were called “marquises,” and were trimmed with broad lace.
Parasols were sometimes fashioned like small umbrellas, and were useful
in case of a sudden shower. Soon afterwards they were bordered with a
wreath of embroidered flowers, or with a satin stripe either of the same
colour as the parasol, or blue or green on écru, or violet on white or
buff.
Bouquets of jewellery for the breast were worn by only a few, on account
of their cost. One was exhibited at the Industrial Exhibition of 1849,
which, although of only ordinary size, and containing neither diamonds,
nor other precious stones, was valued at seven thousand francs. We must
add that this ornament could be altered at pleasure so as to form a
tiara, a bracelet, or a necklace.
In order to defy the Paris mud, ladies wore high-heeled kid boots, and
gaiters of lamb-skin, buttoning on the outer side.
Shoes were hardly seen except at balls, and were worn with beautiful
hand-embroidered stockings, either of silk or Scotch thread.
Very pretty trinkets were manufactured in green enamel, or enamel, gold,
and pearls, or blue oxydized silver. Cap pins and brooches were made
with pendants, either of pearls or diamonds. Arabesques were greatly
appreciated by women of artistic taste.
How numerous were the toilets of one single day! First a dressing-gown,
then a costume for mass, another for walking, another for the evening,
others for the theatre or a ball! And all these without counting
wedding-gowns, or mourning attire, or the dress of young girls or
children.
The great and typical novelty of 1850 was the introduction, first, of
straw bonnets, and then of drawn bonnets. An endless variety were seen
in places of fashionable resort. We need but enumerate the names of some
of these: “paillassons,” “sewn straws,” “Belgian straws” with scalloped
edges; and fancy straws in shell patterns, lozenges, &c.
This revived fashion of Italian straw bonnets lasted for several years.
Women who could afford it, purchased expensive straws called “pailles de
Florence” (Leghorns); the middle classes contented themselves, generally
speaking, with sewn straws.
All these more or less expensive bonnets were trimmed with white ribbon,
wheat-ears, cornflowers, and bows of ribbon or straw.
Drawn bonnets were especially becoming to young girls; they were made of
crêpe lisse or tulle, and trimmed with bands of Italian straw. Many were
made of Mechlin net, of horsehair, and of rice straw or chip. Black lace
drawn bonnets were worn in general by women of a certain age.
We see that straw was approved of by every class, and in every station of
life.
A woollen material, still in use at the present day, was first
manufactured in 1850. It was called “Orleans,” or “Orleance;” it
was mixed and lustrous, was sometimes made in grey and black for
half-mourning, and was principally used for gowns. “Armure,” an autumn
stuff, was a woollen mixture, grey, violet, or green, with satin stripes.
The bodices of walking-dresses were still made to open in a V shape,
with wide frilled sleeves and tight under-sleeves, showing black velvet
bracelets cleverly embroidered to represent coral.
Some magnificent dresses were made of “satin à la reine,” brocaded with
little “chiné” bouquets, and trimmed with flounces either of equal depth
or graduated.
In 1850, also, a little hand-bag or workbox was invented, of real
utility, containing various little articles on the inside of the lid,
viz. a needle-case, an instrument for the nails, a bodkin, scissors, a
button-hook, and crochet-hooks. The box itself held a thimble, a little
pocket-book, a pencil, a looking-glass, and a pincushion. It would easily
hold in addition, a purse, a handkerchief, a strip of embroidery or any
other small piece of needlework, and reels of cotton. It was made in
brown, black, or green leather, or in Russian leather lined with silk.
Two leather straps made it very convenient to carry: it has been improved
every succeeding year, and at the present day is in constant request.[62]
“Bourgeoises” and working women have adopted it; and it is of great
service to all housewives. This was the origin of our present admirably
convenient travelling-bags.
The following was a pretty costume of the period. A green or blue silk
gown shot with black, with two or three graduated flounces, each flounce
braided in the Greek key pattern, with narrow black velvet ribbon. The
basque bodice (for all kinds of basques were worn) was trimmed with
velvet. A fine white petticoat embroidered in open work was visible, if
the dress were ever so little held up.
Silk was in such universal demand that fabulous prices were asked for it;
and velvet was less esteemed than moire antique, or brocades, or gros de
Tours, or satin-striped chinés, or reps with velvet bands, or watered
poplins, or Irish plaid poplins.
Nevertheless, shop-girls and workwomen made every possible sacrifice in
order to procure a silk gown, in place of the Rouen cottons formerly worn.
A decided improvement in colours came into fashion. Ladies perceived,
or were beginning to perceive, that each should wear those shades most
becoming to her, and that, while following the popular fashions of
Longchamps, she should adapt her dress to her own face and figure.
The various styles of gowns, mantles, and bonnets continued to increase
in number.
Chinés were very numerous; there were “pastel chinés,” bouquet of roses
chinés, chinés with patterns arranged apron-fashion, chinés with wreaths
round the skirt, obelisk chinés, &c. Tall and slight persons wore as many
as five flounces, the upper one being gathered in with the skirt at the
waist.
Pagoda sleeves brought back velvet and ribbon bracelets; they might
almost have been called armlets, for the wrist was entirely hidden by
bows and ends. This was very becoming to thin persons: those with round,
plump arms wore a plain piece of velvet and a buckle.
Handkerchiefs were bordered in button-hole stitch, and for full
dress were embroidered and trimmed with lace, or were made of “carré
d’Angleterre.”
Gloves of kid and lamb-skin were so greatly in request, that the
manufacturers raised the price on the pretext that “the massacre of the
poor little animals did not supply the demand.”
A few dressmakers revived the shaped sleeves terminated by a narrow
wristband, and the “mousquetaire” or cavalier collars.
Waistcoats came into fashion in 1851, and were greatly worn under basque
bodices; thus the ladies once more gave their sanction to the garment
worn by Gilles, a buffoon of the eighteenth century.
For morning wear, waistcoats were of black velvet, buttoning high to
the throat; for afternoon, they were of embroidered silk, and had gilt
buttons. For full dress, the buttons were of plain or chased gold, coral,
turquoise, or garnet.
Canezous were very useful to wear with skirts that still retained their
freshness. They were either bordered with button-hole stitch or with
narrow lace. They were worn in summer. On the first sign of cold weather,
muslin and gauze canezous gave way to jackets of thicker material.
Canezous were frequently worn by good managers, in order to utilize
skirts whose bodices were partially worn out, and they were very
economical.
We need not go further afield to account for the long duration of this
fashion, both in town and country.
[Illustration]
[Illustration: Second Republic—Napoleon III 1848 to 1860
Napoleon III 1860 to 1864]