DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0047
Images of fashion: an image of France in the late seventeenth century
Fig. 2.
Henr i Bonnart, Suit Worn with a Sword, 1677-
1678. An early plate in the folio, the engrav-
ing illustrates just about the end of the fash-
ion for petticoat breeches or rhinegraves.
They are worn with a jacket that has become
form-fitting and is lengthening, but is still
worn closed. The ruffle of lace from his
shirt, pulled through the front of the jacket
indicates that no waistcoat/vest is worn. It is
undated but ca. 1677, when grey was a fash-
ionable colour. Of importance is the extrava-
gant use of ribbons: at the neck, waist, a fash-
ionable ribbon knot on his hat tucked un-
der his arm, on his right shoulder,
beribboned cuffs on his buff leather gloves
and large knots at the sides of his breeches.
The French ribbon industry was one of the
industries that supported the crown
and Denmark in particular, as following
events in France closely.)
Jean Dieu de St. Jean, Nobleman in Winter
Dress, 1687. The previous illustration is also
intended as a counterpoint to illustrate a
precipitous change in men's costume at the
French court in 1678, the date of this engrav-
ing. The king was very fond of the fuli pet-
ticoat breeches but in 1678 he adopted the
form-fitting knee-length coat, waistcoat and
slim knee-breeches, claiming the costume as
his own (despite its English origin). That
same year, Le Mercure' Galant was permitted
to suggest this three-piece suit and the fash-
ion for slimness as the ideał for men.
Raymond Gaudriault in La Grauvure de
modes feminine en France attributes to the
Bonnart family the idea of deliberately illus-
trating a back-view of the figurę in order to
facilitate tailors and dressmakers' ability to
copy the garments. (Gaudriault cites Roger-
Armand Weigert as the source of that infor-
mation)
Another vehicle for disseminating information about the French court was a journal
known initially as Le Mercure, but changed within a few years to Le Mercure Galant.
Begun in 1672 and published by a former playwright, Donneau de Vize, the journal
45
Fig. 2.
Henr i Bonnart, Suit Worn with a Sword, 1677-
1678. An early plate in the folio, the engrav-
ing illustrates just about the end of the fash-
ion for petticoat breeches or rhinegraves.
They are worn with a jacket that has become
form-fitting and is lengthening, but is still
worn closed. The ruffle of lace from his
shirt, pulled through the front of the jacket
indicates that no waistcoat/vest is worn. It is
undated but ca. 1677, when grey was a fash-
ionable colour. Of importance is the extrava-
gant use of ribbons: at the neck, waist, a fash-
ionable ribbon knot on his hat tucked un-
der his arm, on his right shoulder,
beribboned cuffs on his buff leather gloves
and large knots at the sides of his breeches.
The French ribbon industry was one of the
industries that supported the crown
and Denmark in particular, as following
events in France closely.)
Jean Dieu de St. Jean, Nobleman in Winter
Dress, 1687. The previous illustration is also
intended as a counterpoint to illustrate a
precipitous change in men's costume at the
French court in 1678, the date of this engrav-
ing. The king was very fond of the fuli pet-
ticoat breeches but in 1678 he adopted the
form-fitting knee-length coat, waistcoat and
slim knee-breeches, claiming the costume as
his own (despite its English origin). That
same year, Le Mercure' Galant was permitted
to suggest this three-piece suit and the fash-
ion for slimness as the ideał for men.
Raymond Gaudriault in La Grauvure de
modes feminine en France attributes to the
Bonnart family the idea of deliberately illus-
trating a back-view of the figurę in order to
facilitate tailors and dressmakers' ability to
copy the garments. (Gaudriault cites Roger-
Armand Weigert as the source of that infor-
mation)
Another vehicle for disseminating information about the French court was a journal
known initially as Le Mercure, but changed within a few years to Le Mercure Galant.
Begun in 1672 and published by a former playwright, Donneau de Vize, the journal
45