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Nicolas Walraven van Haften - Portrait of a Family in an Interior - 1982.139 - Museum of Fine Arts Boston, 1700

18th century pinks: the 1700s

Note:  This post originally started as one that covered four decades of the 18th century.  The more I researched the more I realised how much content there is, so I’ve broken the post up into decades, and am re-publishing it with more notes, and more images.

My posts on 18th century clothing in shades of purple, and the direction of stripes on 18th century sleeves, have been so popular that I thought you might enjoy a whole series on patterns and colours.  You can learn so much by just looking at a bunch of images of clothes from any given era with one unifying detail.

Think Pink

For my first theme I picked pink.

What shades of pink were popular in the 18th century?  Is there evidence those shades were more or less popular in certain decades, or mostly used on one type of garment?

Even if there are no clear trends, looking at all of the extant pinks and depictions of pinks is helpful for recreating garments and accessories using colours and patterns that look authentic.  And who doesn’t love a bunch of pretty, pretty pinks?

As I began assembling images I realised two things almost immediately.  First, almost every shade of pink possible shows up in extant 18th century garments and portraits.  (yes, even hot pink!).  Second, pink was far, far more common in 18th century clothing than purples was.  Was it cheaper and easier to dye?  Or, conversely, more expensive and thus more of a status symbol?  Or were pink shades simply more fashionable throughout the century?

Because pink was so much more common, I’ve broken the pink post up into decades.  So now you get to enjoy four (and maybe more (definitely more, I had to break it into individual decades, so now it’s 10(!))) weeks of 18th century pink posts!

I also got a bit clever and tried to post a painting or print of the time and then an extant item or two from the same time range in a similar shade of pink.

1700s Pinks

Extant textiles and paintings show a whole range of pink being worn in the first decade of the 18th century, starting with the palest barely-there pink of this riding habit:

Kneller, Godfrey; Frances Pierrepont, later Mar, Daughter of Evelyn Pierrepont, 1st Duke of Kingston; The National Trust for Scotland, Alloa Tower; http://www.artuk.org/artworks/frances-daughter-of-evelyn-pierpont-1st-duke-of-kingston-195726

Kneller, Godfrey; Frances Pierrepont, later Mar, Daughter of Evelyn Pierrepont, 1st Duke of Kingston; The National Trust for Scotland, Alloa Tower; http://www.artuk.org/artworks/frances-daughter-of-evelyn-pierpont-1st-duke-of-kingston-195726

(shown on a woman with the most fascinating family connections.  Her older sister was the amazing Lady Mary Wortley Montague, who authored the Turkish Embassy Letters and introduced smallpox inoculation to England, and she married John Erskin, 1st Duke of Mar, a major figure in the Jacobite Rebellion)

Here’s a slightly darker pink in the same family:

Michael Dahl I; Dorothy Yard (d.1723), Mrs Alexander Luttrell (?); National Trust, Dunster Castle; http://www.artuk.org/artworks/dorothy-yard-d-1723-mrs-alexander-luttrell-99762

Michael Dahl I; Dorothy Yard (d.1723), Mrs Alexander Luttrell (?); National Trust, Dunster Castle; http://www.artuk.org/artworks/dorothy-yard-d-1723-mrs-alexander-luttrell-99762

And a textile with a central flower in the two shades shown above, as well as flowers in a number of other shades of pink:

Textile fragment, possibly Dutch, ilk satin damask brocaded with silk and metal wrapped thread, about 1700 MFA Boston, 96.420a

Textile fragment, possibly Dutch, silk satin damask brocaded with silk and metal wrapped thread, about 1700, MFA Boston, 96.420a

A fabric like this could have been used on walls, furniture, or, less commonly garments.

Textile fragment, possibly Dutch, ilk satin damask brocaded with silk and metal wrapped thread, about 1700 MFA Boston, 96.420a


Textile fragment, possibly Dutch, silk satin damask brocaded with silk and metal wrapped thread, about 1700 MFA Boston, 96.420a

Here’s a beauty in blush pink with carmine ribbons in her hair

Follower of Pierre Gobert (1662–1744), Presumed portrait of Marie Louise Élisabeth d'Orléans (1695-1719), daughter of Philippe, Duke of Orléans. ca 1705

Follower of Pierre Gobert (1662–1744), Presumed portrait of Marie Louise Élisabeth d’Orléans (1695-1719), daughter of Philippe, Duke of Orléans. ca 1705

And an apron embroidered in blush:

Apron (France), early 18th century Cooper Hewitt Design Museum, 18386997

Apron (France), early 18th century Cooper Hewitt Design Museum, 18386997

Here’s a peach pink in the shot silk lining of Mary Mansel’s banyan :

Michael Dahl I; The Honourable Mary Mansel, Mrs John Ivory Talbot; National Trust, Lacock Abbey, Fox Talbot Museum and Village; http://www.artuk.org/artworks/the-honourable-mary-mansel-mrs-john-ivory-talbot-101000

Michael Dahl I; The Honourable Mary Mansel, Mrs John Ivory Talbot; National Trust, Lacock Abbey, Fox Talbot Museum and Village

And an entire, rather fabulously bonkers, dress in peach:

Miguel Jacinto Meléndez (1679–1734), Portrait of María Luisa Gabriela de Saboya. 1708. Colección del Marqués de Santillana. Palacio del Infantado. Guadalajara

Miguel Jacinto Meléndez (1679–1734), Portrait of María Luisa Gabriela de Saboya. 1708. Colección del Marqués de Santillana. Palacio del Infantado. Guadalajara

This fabric is faded, but may have been a similar shade, or a brighter hue.

Length of silk damask, ca 1700 MFA Boston, 95.1050

Length of silk damask, ca 1700 MFA Boston, 95.1050

And a darker version in the peach family:

Pierre Gobert , Portrait of Élisabeth Charlotte of Orléans (1676-1744) with her oldest son, Louis of Lorraine (1704-1711)

Pierre Gobert , Portrait of Élisabeth Charlotte of Orléans (1676-1744) with her oldest son, Louis of Lorraine (1704-1711)

And here’s a slightly clearer peach pink on a fabric:

Woven silk, 1695-1710, French Victoria and Albert Museum

Woven silk, 1695-1710, French, Victoria and Albert Museum

Here are some more coral verging on salmon pinks:

Attributed to Pierre Gobert (1662–1744), Lady in Pink, ca 1700

Attributed to Pierre Gobert (1662–1744), Lady in Pink, ca 1700

Michae Dahl Il; Anne Salvin (d.1731), Mrs Walter Strickland; National Trust, Sizergh Castle; http://www.artuk.org/artworks/anne-salvin-d-1731-mrs-walter-strickland-132098

Michae Dahl Il; Anne Salvin (d.1731), Mrs Walter Strickland; National Trust, Sizergh Castle;

And a fabulous bizarre silk in the same:

Length of brocaded silk, 1700, France, MFA Boston, 48.1168A

These shades seemed to have been particularly popular as linings:

Michael Dahl I; Sir Thomas Hopsonn (1642-1717); National Maritime Museum; http://www.artuk.org/artworks/sir-thomas-hopsonn-16421717-173368

Stomacher (probably from an image robe) 1690-1710, French ? silk woven with a floral pattern, Victoria and Albert Museum

Stomacher (probably from an image robe) 1690-1710, French ? silk woven with a floral pattern, Victoria and Albert Museum

One shade of pink that shows up frequently across the 18th century is a soft pinky-lilac that could also arguably fit under the purple banner.  It’s shown here on two elegant young girls and in a length of ‘bizarre’ silk (learn more about them here).

Follower of Pierre Gobert, Portrait possibly of Élisabeth Charlotte of Orléans (1676-1744), niece of Louis XIV

Follower of Pierre Gobert, Portrait possibly of Élisabeth Charlotte of Orléans (1676-1744), niece of Louis XIV

Circle of Pierre Gobert (1662–1744), Portrait of a young girl in a pink satin dress protecting her biseleur from a birdkeeper, late 17th century or early 18th century

Circle of Pierre Gobert (1662–1744), Portrait of a young girl in a pink satin dress protecting her biseleur from a birdkeeper, late 17th century or early 18th century

Dress fabric, Spitalfields, England, ca. 1708, Brocaded silk damask, Victoria and Albert Museum, 711-1864

I’ve cheated ever so slightly by picking a late 17th century muff to match these two young men and their snazzy pink neck ribbons, and Nicolas in a significantly less formal outfit.  I just thought showing ribbons to go with ribbons was too good of an opportunity to pass up on.

After Pierre Gobert - Portrait of a young gentleman ca 1700

After Pierre Gobert – Portrait of a young gentleman ca 1700

After Pierre Gobert - Portrait of a young gentleman ca 1700

After Pierre Gobert – Portrait of a young gentleman ca 1700

Self-Portrait of Nicolas de Largillière, 1707, National Gallery of Art, Washington DC

Self-Portrait of Nicolas de Largillière, 1707, National Gallery of Art, Washington DC

Muff French about 1680–90, France, MFA Boston 38.1266

Muff French about 1680–90, France, MFA Boston 38.1266

The classic pink hue of the ribbons shows up in whole cloth too:

Attributed to Pierre Gobert - Portrait of a lady in pink with flowers, ca 1700

Attributed to Pierre Gobert – Portrait of a lady in pink with flowers, ca 1700

Circle of Pierre Gobert (1662–1744, Portrait of a young noblewoman, turn of the 17/18th century

Circle of Pierre Gobert (1662–1744, Portrait of a young noblewoman, turn of the 17/18th century

And heres a floral brocade in the same family of pink:

Brocaded silk, early 18th century, Continental Europe, MFA Boston 96.428

Brocaded silk, early 18th century, Continental Europe, MFA Boston 96.428

There are also lots of examples of a pinks in very similar shades, like this deep rose hue:

Lancelot Volders, Marie Louise of Hesse-Kassel with her sisters-in-law 1709

Lancelot Volders, Marie Louise of Hesse-Kassel with her sisters-in-law 1709

This stomacher features embroidery in similar colours:

Stomacher, 1700–20, MFA Boston, 43.1909

Stomacher, 1700–20, MFA Boston, 43.1909

And heading even deeper into pink-red:

Michael Dahl I ; Rear-Admiral Basil Beaumont (1669-1703); National Maritime Museum; http://www.artuk.org/artworks/rear-admiral-basil-beaumont-16691703-173372

Michael Dahl I ; Rear-Admiral Basil Beaumont (1669-1703); National Maritime Museum; http://www.artuk.org/artworks/rear-admiral-basil-beaumont-16691703-173372

This proto-bizarre silk has a range of hues in the same family:

Woven silk, damask lancé with the liseré effects of the ground weft, 1675-1700, French or Italian; proto-bizarre; green and white selvedge Victoria and Albert Museum

Woven silk, damask lancé with the liseré effects of the ground weft, 1675-1700, French or Italian; proto-bizarre; green and white selvedge Victoria and Albert Museum

As an example of how vivid some ca. 1700 pinks were, here are two portraits and a bag in striking pinks:

Godfrey Kneller, Portrait of Elizabeth Southwell, 1705, (c) Down County Museum; Supplied by The Public Catalogue Foundation

Godfrey Kneller, Portrait of Elizabeth Southwell, 1705, (c) Down County Museum; Supplied by The Public Catalogue Foundation

Nicolas Walraven van Haften - Portrait of a Family in an Interior - 1982.139 - Museum of Fine Arts Boston, 1700

Nicolas Walraven van Haften – Portrait of a Family in an Interior – 1982.139 – Museum of Fine Arts Boston, 1700

Pouch, early 18th century, Russian, silk, metal, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art 2009.300.1723

Pouch, early 18th century, Russian, silk, metal, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art 2009.300.1723

And we’ll finish with a portrait featuring two different shades of pink, and which may be one of the cutest 18th century royal portraits I’ve ever seen:

Archduchess Maria Josepha as a child - Hannover, Landesmuseum 1704-5

Archduchess Maria Josepha as a child – Hannover, Landesmuseum 1704-5

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

Rate the Dress: an Ube Boba cape – 1870s style

I haven’t done a Rate the Dress since last October.  And the time before that was July.  And I can’t promise the next one won’t be July again, or worse.  But I can hope and try.

And today’s pick is just too unique and fascinating not to show you!

Last time:  A 1908 Paquin ensemble

Ratings were all over the place for the Paquin ensemble.  First there was a solid runs of 8s and 9s, and then a perfect 10, and then 4 and 1 and 6s!  Every rating but a 5, so I guess no one thought it was average.

Huge thanks to Daniel for identifying the original design it was based on!

The Total: 7.3 out of 10

Not great.  But it leads so well into today’s post…

This time: A 1873 cape in aniline purple with bobbles

Today’s Rate the Dress isn’t a full ensemble.  It’s just a cape.

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art,, 2009.300.2732

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

But oh, what an interesting cape!

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

It’s knitted from purple wool dyed with one of the newly invented and very fashionable aniline dyes, and decorated with bobbles in ivory wool.

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

It’s definitely one of those things that if you saw in a period film you’d assume the costume designer had lost their marbles.

It’s so ’70s!

And actually ’70s.

(I guess some decades never change, no matter the century)

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

Cape, 1873, American, wool, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, 2009.300.2732

The colour and bobbles remind me of ube boba tea.

(and now I’m having an absolute 12 year old boy brain moment, because boba means nipples, so it’s the nipple cape with nipple tassels.  I think it might be bedtime…)

To give you an idea of what it might have been worn over, here are some early 1870s fashion plates:

Woman's dolman mantle, front & back views. Harper's Bazaar, November 1871

Woman’s dolman mantle, front & back views. Harper’s Bazaar, November 1871

A dress featuring a ‘Watteau’ back, September, 1872 – The Young Englishwoman

Fashion plate, 1875

What do you think?  A fun and cozy addition to an early bustle era wardrobe?  Or just a little weird?

Rate the Dress on a Scale of 1 to 10

A reminder about rating — feel free to be critical if you don’t like a thing, but make sure that your comments aren’t actually insulting to those who do like a garment.  Phrase criticism as your opinion, rather than a flat fact. Our different tastes are what make Rate the Dress so interesting.  It’s no fun when a comment implies that anyone who doesn’t agree with it, or who would wear a garment, is totally lacking in taste.

As usual, nothing more complicated than a .5.  I also hugely appreciate it if you only do one rating, and set it on a line at the very end of your comment.

Scroop Patterns Nina Blouse scrooppatterns.com

Meet the Nina Blouse

For almost eight (!!!) years, ever since I put out the Fantail Skirt pattern and it was a smashing success, my friend Nina has been asking me to make an Edwardian or Victorian blouse pattern to go with it.

Nina’s not just my friend: she’s my pattern editor (any mistakes are my fault from tweaking things after she edits a pattern), my confidant, and my brain to bounce pattern ideas off of.

So, when I found the perfect extant ca. 1910 blouse to base a pattern off of I knew exactly what to name the blouse!

Better yet, I had another Nina already on my list of inspirational and interesting (not always necessarily both, but this one is!) people to name patterns after: Nina du Bois.

Nina du Bois (July 4, 1870 – July 26, 1950) was an American civil rights and peace activist. Along with her husband W.E.B Du Bois, Nina Du Bois was involved in the early 20th century Pan-African movement, which sought to end colonial rule and racial discrimination, to improve human rights, and to create a world economy which provided equal opportunities for all groups.

They believed that ending colonialism and imperialism, both in Africa and around the world, was critical to achieving a more peaceful future. Initially Nina Du Bois’ work focused on supporting her husband’s activism, running their household, managing admin, and raising their children. Later, she was active in her own right, helping to organise the fourth Pan-African congress in 1927.

Nina Du Bois is illustrative of the many women throughout history whose support and management of all the household and life admin allowed their more famous husbands to achieve what they did – and who thus should also get recognition and credit for that work..

Oh, and what’s more?   There’s a ca. 1910 photograph of Nina du Bois in a bodice that could easily be hacked from the blouse pattern!

So, meet the Nina Blouse pattern!

The Scroop Patterns Nina Blouse scrooppatterns.com

 

The ca 1910 blouse the Nina is based is a classic example of a late Edwardian lingerie blouse, with an all lace twist!

Extant ca 1910 'Nina blouse' scrooppatterns.com

The pattern includes instructions for making it in all lace, like the original, making it in fabric with lace insertion, or making it entirely in fabric.

Basically, the design possibilities for the Nina are practically endless.

Scroop Patterns Nina Blouse scrooppatterns.com

And whatever fabric and trims you choose, the fit will be perfect with the help of the handy fitting guide.

Scroop Patterns Nina Blouse scrooppatterns.com

Like all historical Scroop patterns, the Nina Blouse comes with extensive information on period accurate sewing techniques, and the materials and trims used on this style of garment.

Scroop Patterns Nina Blouse scrooppatterns.com

The Nina Blouse is perfect worn over the Persis and Rilla Corset & Ettie Petticoat and tucked into a Fantail, Seatoun or Kilbirnie Skirt.

Max (in blue) is wearing it with a Fantail Skirt, and Kezia (in lilac) is wearing it with a Seatoun Skirt over a Rilla Corset.  Theresa (in black) is wearing it over a Persis Corset.  And they are all wearing Ettie Petticoats!

I’ve wanted Theresa to model a Scroop Pattern for years, and the one time we managed it, for the Fantail Skirt, I had a catastrophic computer crash and lost all the photos.  So when she announced she was making a trip to Wellington just when I was scheduling the Nina photoshoot, I knew I had to include her!

Scroop Patterns Nina Blouse scrooppatterns.com

We combined the photoshoot with a late Edwardian picnic, and everyone looked delightful and we had delightful Edwardian food, and I hope everyone who makes a Nina blouse has equally delightful events to wear it to and friends to wear it with!

Scroop Patterns Nina Blouse scrooppatterns.com

Scroop Patterns Nina Blouse scrooppatterns.com

Scroop Patterns Nina Blouse scrooppatterns.com

Scroop Patterns Nina Blouse scrooppatterns.com