DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0053
Images of fashion: an image of France in the late sevent.eenth century
high end of the social spectrum, the illustrations imply sufficient means to sustain
dignity at even the lower levels of society, enhancing the king's idealized image of
France (Figs. 11,12)
To summarize, details of what is referred to as the 'French standard', the luxurious
and elegant lifestyle commanded by King Louis XIV, and conscientiously practised
at Versailles, were well-documented not only through visitors at court, but also
through a journal, and engravings. Information about novelty in dress, elegant-ap-
pearing mannerisms, fashionable leisure activities, political accomplishments and
extravagant theatrical productions from the French court, and even the well-being
of the common people, were disseminated through the journal and through these
single sheet engravings which were issued in great numbers and, importantly, with
regularity.
While the journal was issued somewhat erratically, engravings appeared with more
regularity and were widely distributed. Because of the availability of the prints, any-
one could remain up to date on the latest styles. That the engravings were issued
with regularity, were widely distributed, and for the purpose of promoting con-
sciously created, new modes and elegant mannerisms was a new concept. The fact
that with each new illustration, last season's mode became old (calculated obsoles-
cence) was a new idea, too.
The desire to affect the dress of the privileged class has a long tradition, and ideas
for new details in dress have always moved around in the world. But to imply that
the 'ladies and gentlemen of ąuality' in these illustrations were courtiers, that they
were the models for, and possibly the inventors of, these seasonally created modes
was a new idea, also.5 Additionally, the identification of the models as 'ladies and
gentlemen of ąuality' established the concept of'celebrity as trend-setters', a con-
cept that is still used to promote fashion.6
Both the journal and the individually issued prints played a calculated role in dis-
seminating a French perspective of the French-developed concept of an ongoing
5 Gaudriault, R., La Gravure de modes feminine en France. Les editions de 1'amateur,
undated, p. 20. Gaudriault ąuotes Roger-Armand Weigart: '[Weigert] attributes to the
Bonnart family the idea of using or implying that figures represented are nobility in
order to add veracity and authority to the fashions illustrated and to stimulate sales.
Precedent for illustrating fashionable dress had been set by the King's father, Louis
XIII, who wanted Parisians to know how the nobility dressed, and commissioned
Abraham Bossę and Isaac Briot to make engravings representing court dress.'
6 There are no portraits of specifically identified members of nobility in this folio,
although prints purporting to represent specific personages to exist in some collec-
tions; however, there are about 120 examples indicated as gentlemen and women of
the nobility.
51
high end of the social spectrum, the illustrations imply sufficient means to sustain
dignity at even the lower levels of society, enhancing the king's idealized image of
France (Figs. 11,12)
To summarize, details of what is referred to as the 'French standard', the luxurious
and elegant lifestyle commanded by King Louis XIV, and conscientiously practised
at Versailles, were well-documented not only through visitors at court, but also
through a journal, and engravings. Information about novelty in dress, elegant-ap-
pearing mannerisms, fashionable leisure activities, political accomplishments and
extravagant theatrical productions from the French court, and even the well-being
of the common people, were disseminated through the journal and through these
single sheet engravings which were issued in great numbers and, importantly, with
regularity.
While the journal was issued somewhat erratically, engravings appeared with more
regularity and were widely distributed. Because of the availability of the prints, any-
one could remain up to date on the latest styles. That the engravings were issued
with regularity, were widely distributed, and for the purpose of promoting con-
sciously created, new modes and elegant mannerisms was a new concept. The fact
that with each new illustration, last season's mode became old (calculated obsoles-
cence) was a new idea, too.
The desire to affect the dress of the privileged class has a long tradition, and ideas
for new details in dress have always moved around in the world. But to imply that
the 'ladies and gentlemen of ąuality' in these illustrations were courtiers, that they
were the models for, and possibly the inventors of, these seasonally created modes
was a new idea, also.5 Additionally, the identification of the models as 'ladies and
gentlemen of ąuality' established the concept of'celebrity as trend-setters', a con-
cept that is still used to promote fashion.6
Both the journal and the individually issued prints played a calculated role in dis-
seminating a French perspective of the French-developed concept of an ongoing
5 Gaudriault, R., La Gravure de modes feminine en France. Les editions de 1'amateur,
undated, p. 20. Gaudriault ąuotes Roger-Armand Weigart: '[Weigert] attributes to the
Bonnart family the idea of using or implying that figures represented are nobility in
order to add veracity and authority to the fashions illustrated and to stimulate sales.
Precedent for illustrating fashionable dress had been set by the King's father, Louis
XIII, who wanted Parisians to know how the nobility dressed, and commissioned
Abraham Bossę and Isaac Briot to make engravings representing court dress.'
6 There are no portraits of specifically identified members of nobility in this folio,
although prints purporting to represent specific personages to exist in some collec-
tions; however, there are about 120 examples indicated as gentlemen and women of
the nobility.
51