REIGN OF NAPOLEON III. (END).
1867 TO 1870.
Five different styles of dressing the hair in 1868 and
1869—“Petit catogan;” three triple bandeaus—The hair is
worn loose—Dress of the Duchess de Mouchy—Refinements of
fashion—Various journals—New shades—Crinoline is attacked; it
resists; it succumbs—Chinese fashions.
At this time women indulged more than ever in extravagance in dress,
and in the strangest whims of fashion. The minor newspapers published
paragraphs describing the costumes of this or that great lady,
designating each by her name, by no means to the displeasure of the fair
ones thus distinguished. Tailors and dressmakers grew rich.
A very favourite costume consisted of a pink gown, a straw bonnet and
white feather, yellow gloves, and pale grey boots.
In 1868-9 the following styles of dressing the hair were fashionable:—
1. The hair drawn up from the forehead in a small “catogan” or club, and
a large “coque” or bow of hair above; short curls over the “catogan,” and
the same on each side.
2. The hair drawn up from the forehead without a parting; a large “coque”
in the middle, surrounded by six smaller ones; six long ringlets falling
from the back of the head, a little higher than the “coque,” low on the
shoulders.
3. The hair fixed on the forehead, three immense “coques” on the top of
the head, and ringlets forming a chignon behind.
4. The hair drawn straight up from the roots, and forming three rolls
falling backwards; a “catogan” and three “coques” underneath; one long
“repentir” or ringlet, waved, but not curled.
5. Three triple bandeaus in front; a small “catogan” surrounded by three
rows of plaits; three large curls behind.
The hair was generally worn high, and dressed in a complicated style, but
it was, above all, dishevelled. It was frequently worn quite loose and in
disorder; less so, however, than in 1875.
The ornamental portions of dress were extremely handsome and expensive.
A great deal of jewellery was worn. In 1869, at the Beauvais ball, the
Duchess de Mouchy wore diamonds to the value of 1,500,000 francs. Her
dress consisted of a gown and train of white gauze spotted with silver;
a rather short over-skirt of red currant-coloured silk, forming a ruched
“tablier;” a low, square-cut bodice, and shoulder-straps of precious
stones; a sort of scarf of flowers, with silver foliage, fell from one
shoulder slanting across the skirt.
At Compiègne, Biarritz, and the Tuileries, by turns, brilliant costumes
such as these were seen and admired, and the day after a fête the
fashionable newspapers gave minute descriptions of the most elegant
dresses, and a guess at their approximate cost.
For many years, and although there was little novelty in the fashions,
they never ceased to be the order of the day. More than ever did women
make them their occupation, and men also were deeply interested in the
subject.
There was, so to speak, a tournament of coquetry in Europe, in which the
French ladies always bore away the palm.
New periodicals specially devoted to Fashion were published in France and
abroad, and supplied a real want in circles where many articles of dress
were made at home.
A taste for handsome dress pervaded every class of society, a “good cut”
became every day of more importance, and the smallest variations were
adopted, since radical changes were not taking place.
During the Second Empire new colours called “Magenta,” “Solferino,”
“Shanghai,” and “Pekin” were produced in much the same chronological
succession as the military expeditions to which they owed their names,
and which had been successful, indeed, but at a great cost in blood.
Our victories in Italy being thus commemorated by Frenchwomen, they
condescended to recall in like manner the capture of Pekin and the famous
treaty of Shanghai. The extreme East was to them no longer an unknown
land.
A decided change soon took place in the cut of dresses. As had frequently
happened before, Fashion went from one extreme to the other; balloons
were succeeded by sacks, and tubs by laths.
In 1869, when the question of giving up crinoline was mooted, the leaders
of fashion consulted together. One party declared that the reign of
crinoline must come to an end on account of its abuses; the other pointed
out that “as women now walk so badly on their high heels, crinolines are
necessary, and must be retained, because they sustain the weight of the
skirts.”
The latter party gained the day at first, and crinolines were merely
modified. They were made in white horsehair, with rolls round the bottom
and up the back only.
But, after all, crinoline was destined to extinction, were it only
because it had already lasted a long time. At various intervals its
adversaries had dealt it vigorous blows, and its partisans now began to
perceive that it was both inconvenient and ridiculous.
Crinoline could resist no further, and it fell. Dare we say for ever?
Crinoline was succeeded by Chinese skirts, extremely narrow over the
hips, and precisely like those worn by the inhabitants of Pekin or Canton.
The transition was abrupt and sudden. It seemed, however, the most
natural thing in the world.
Together with tight skirts, several other accessories of dress were made
as much like Chinese fashions as possible. Up to a certain point French
ladies approved of the new style, which has since that time undergone
several transformations, the first being the introduction of the poufs
and “tournures” that were still worn as recently as four years ago.
[Illustration]
[Illustration: Napoleon III 1865 to 1870
Present Fashions 1870 to 1875]