REIGN OF NAPOLEON III. (CONTINUED).
1862 TO 1867.
Sunshades, en-tout-cas, _métis_, in 1862—Sailors’ jackets,
jerseys, and pilot-jackets—Princess or demi-princess gowns;
Swiss bodices; corset or postillion belts—Lydia and Lalla Rookh
jackets; Vespertina opera cloaks—“Longchamps is no more”—Bois
de Boulogne—Russian or Garibaldi bodices—Paletot vest—Empress
belt—1885 patents for inventions regarding dress are
taken out in 1864—Victoria skeleton skirts; Indian stays;
train-supporters—“Titian”-coloured hair—The Peplum in
1866—Épicycloïde steels; aquarium earrings—Description of a
court ball-dress—The fashions of Louis XV., Louis XVI., and the
Empire are revived—Sedan chairs—Handkerchiefs at all prices.
In our beautiful France, where the fault of the climate is its too
frequent showers, it often happened that ladies set out to walk, parasol
in hand, with the sun shining brightly overhead, but during their walk a
downpour of rain would overtake them, ruin their dress in one moment, and
reduce them to utter despair.
How were such heavy misfortunes to be avoided? How were mortals to
contend against the uncertainty of climate?
A remedy was sought and found. Parasol-makers invented the “en-tout-cas,”
equally useful in sunshine and in rain; and in 1862 they went a step
farther, and manufactured parasols that might have been called “métis,”
or half-breeds—that is to say, half en-tout-cas and half sunshade.
These were equally useful as a protection against heavy rain or burning
sunshine.
And now began the reign of the comfortable; every day the dress and
bearing of women became more unrestrained, and less formal.
In 1862, sailors’ jackets, jerseys, and pilot-jackets were not only worn
while travelling, or in the country, but also in towns. They were made
of light cloth, in English textures, in silk poplin, alpaca, and black
silk with much gimp trimming—for gimp is never out of fashion; it is too
valuable to the dressmakers, as a means of increasing the amount of their
bills.
Simultaneously with the introduction of the fancy garments I have just
mentioned, gowns were very prettily made, with bodices either slightly
pointed, or with waist-bands or long sashes, or else princess shape
or demi-princess. Swiss bodices were also worn, and “corslet” and
“postillion” belts.
The above designations need no commentary; the elegant appearance of such
costumes can be easily imagined; they were “characteristic,” and not
always of French origin. On that very account, perhaps, they were the
more successful.
Very many fashions are the result of caprice; but they are also modes of
commemorating some great literary, musical, or dramatic success, or of
celebrating some important event.
In 1863, the Fashion journals were loud in praise of the “Lydia” paletot,
the “Lalla Rookh” jacket, and the “Vespertina” opera cloak. “Senorita”
jackets, in velvet, silk, light shades of cashmere, and cloth, were in
great favour.
The ready reception nowadays given to new fashions without waiting,
as formerly, for certain seasons is easily explained. In 1863 a cry
was heard, “Longchamps is no more!” and it is true that Longchamps
has ceased to exist. The traditional drive has lost its importance.
Only a few tailors and dressmakers, seated in hired carriages, parade
their new designs in the broad avenue of the Champs Elysées; poor lay
figures, wanting in any kind of ease or elegance. The days are gone
when fashionable Paris used to display the newly invented modes on the
road leading from the Abbey of Longchamps to the Tuileries; when the
Wednesday, Thursday, and Friday in Holy Week were red-letter days in
the annals of extravagance and splendour. At the present time, the Bois
de Boulogne is a constant scene of fashionable rivalry, and is equally
crowded in winter and summer, spring and autumn.
Daily drives have thus taken the place of the annual solemnities of
Longchamps. The garments that are most noticeable set the fashion, which
is greatly determined by the rank of the wearer. True, Longchamps is
dead; but it has been resuscitated in a brilliant and permanent form
among the leafy avenues of the Bois de Boulogne.
For visiting dress, in 1863, Frenchwomen gave the preference to white
bodices of some thin material; a pink skirt, striped with a darker shade
of the same colour; a straw bonnet, trimmed with black ribbon and a few
wild flowers; a knot of lace at the throat, and some black lace round the
wrists.
The most striking of the slight innovations of 1864 were the Russian
or “Garibaldi” bodices of foulard, or of white, red, blue, or Havana
silk, either braided or embroidered in Russian stitch; and the Louis XV.
coats and waistcoats, of an English cloth of black and grey mixture.
The waistcoats, when not of the same material, were of velvet, smooth
cloth, or “gros-grain” silk. The Russian bodices, however, and the
coat-waistcoats, were considered too much in “undress” style, and were
soon succeeded by further novelties.
Ladies who still wore them, provided themselves with silken “aumonières,”
or bags embroidered in jet and suspended by bows of ribbon and lace;
and with the Empress or hygienic belt, a small corset made of elastic
material, which, when warm, adapted itself to every movement of the body.
It was, in fact, the “stays” perfected.
The quantity of toilet articles manufactured in a single year is really
remarkable.
In 1864, the _Bulletin des Lois_ published an edict, by which eighteen
hundred and eighty-five inventions patented in that one year were
registered. On every page is something concerning dress, viz.: an
instrument for waving the hair; steel skeleton skirts, called “Victoria
cages,” “corset à jour,” or Indian stays; petticoats for supporting
trains, called “porte-trains;” bonnets with faded American creeper,
feather parasols, a “transformable and multiple system of clothing,” iron
shoes, wicker head-dresses, petticoats with movable flounces, “bijou”
garters, &c.
We must not forget that the year 1864 was famous for the adoption of the
“Titian” tresses. Red hair or yellow hair was an ideal eagerly sought
after by many ladies, who either concealed their own beautiful dark
hair, or dyed it to the desired shade. In a certain section of society
there was quite a rage for Titian-coloured hair.
There were some quite impossible hues, intended to harmonize with the
thickly laid-on paint of the face,—for faces were painted,—just as in the
eighteenth century.
Laughter frequently greeted the appearance of these painted idols in
places of public resort, but it was quite ineffectual.
An elegant costume, worn in 1865, consisted of a pearl grey dress, with
braidings of the same colour, a black belt and silver buckle, and a black
bonnet with red ribbons.
The “peplum” of 1866 was formed of a small “corslet,” to which a basque
was attached, square in front and at the back, and very long at the
sides. This was called the Empress peplum. With this new garment,
crinoline was decidedly an anomaly, and its fall commenced. The “peplum,”
regarded from that point of view, marks an epoch in history, and deserves
our gratitude.
Unfortunately all gowns of heavy material were shaped “à l’Empire.”
The skirts were cut straight at the back, and worn with melon-shaped
dress-improvers in horsehair. Stiff muslin or a small down cushion was
sometimes used instead of horsehair.
One manufacturer invented a petticoat with springs, of which part
could be detached at pleasure; another, a transparent parasol; a third
advertised his system of aëration for the hair; and a fourth sold notched
steels for petticoats, called “épicycloïdes.” There were “aquarium”
earrings, consisting of small globes in rock crystal suspended to little
branches of water-grasses in enamel; the globes contained fishes. Chains
called “Benoîton,” after Sardou’s famous play, were worn below the chin
and underneath the bonnet strings, like a curb chain.
The principal Paris newspapers described the dress of Mme. R. K—— at a
court ball as follows: “A white gown with alternate bands of tulle and
satin; above this a skirt of silver tulle, with wreaths of roses, and
spangled with little stars or dots of black velvet; a very long black
velvet train edged with satin; a belt of emeralds and diamonds; hair
dressed ‘à l’Empire,’ and powdered with gold; a knot of black velvet and
a diamond aigrette in the hair; _no crinoline_.”
Yet a few years, and crinoline will be no more. From 1865 to 1867
costumes were worn short, and no longer swept the streets. But shortly
afterwards skirts were lengthened again, almost as much as in 1860.
The Louis XV. and the Louis XVI. styles were equal favourites for
ball dresses, and they soon became fashionable for walking. Ruchings,
kiltings, and plaitings “à la vieille” were much used. The Watteau
mantle, with two large box plaits hanging at the back, and the
“Bachelick,” with a pointed hood, were both equally popular. The
fashionable bonnets were the “Trianon,” “Watteau,” “Lamballe,” and “Marie
Antoinette.”
Under the influence of these eighteenth-century costumes, sedan chairs
for going to church, or for early morning visits, seemed bound to
reappear. Mmes. de la Rochefoucauld, De la Trémouille, De Faucènes, and
De Metternich used them; but this was a mere caprice of wealth, and it
did not last.
Muffs were small in 1866: the handsomest were of sable tails, and were
very valuable. A very small one cost 350 francs. Women who were not rich,
or who were of an economical turn, contented themselves with imitation
fur, or with Australian marten, Astrakan being now out of fashion. A
good many muffs were made of velvet, trimmed with fur or feathers, and
as they were essentially useful appendages, they were no longer confined
to elegant costumes as formerly; the “bourgeoises” and even the Paris
working-women used those of inferior quality, and have continued to do so.
[Illustration]