European Inspiration In Designing Dress

Sejak kecil, ibu selalu membuatkan dress-dress lucu untukku
Hingga sekarang bajuku tidak pernah jauh-jauh dari long dress
Modelnya suka kumodifikasi.
Seiring perjalanan waktu, sering kali aku mendapati dress para putri dari kartun / film-film, cantik. 
Ada Chinese princess kayak Putri Huang Zu, Kimono Jepang, Hanbook Korea, Hijaab Arab dan Eropa jaman dulu.

Film dan imajinasiku itu yang selalu menginspirasi saat mendesain gaun-gaun. 😀
Tertutup, anggun dan mewah.
Ternyata kalau ditilik-tilik nih yaa… Gaun para putri itu semuanya tertutup looh. heeee *nyengir*

Kali ini episode European clothing
Sedari dulu aku selalu terpesona oleh gelembung lebar dan besar dari gaun-gaun khas eropa itu… hahaha entahlaah look gorgeous and awesome gitu
Selidik punya selidik ternyata si gelembung besar dan lebar itu adalah efek dari panniers yang digunakan didalam dress. qiqiqiqi
Ada beberapa jenis gaun, tidak hanya Dress saja yang aku tahu.
Berikut ini aku copas-kan beberapa contoh pakaian bernuansa Eropean:

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Dress

Dress, ca. 1735
British

Heavy silk with lace pattern design woven in beige and rust on a dark brown satin ground



A Spitalfields silk dress with a dome-shaped skirt conforms not only to the silhouette of the 1730s but also to the interaction between silks and laces during that time, especially evident in Spitalfields manufacture. The silk pattern is like that of lace. While such interaction seems hard to imagine between worker and pattern book, clothing is a place where the various media ultimately converge. Eighteenth-century dress, in particular, was a Gesamtkunstwerk of artisanal and dressmaking skills. While most eighteenth-century dresses have been altered in some way for subsequent use, fashion historian Janet Arnold has noted that this one shows no sign of ever having been altered and is thus in its perfect original state.

Source: Dress [British] (C.I.64.14) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art



Mantua

English

Bizarre silk in salmon-pink damask with floral and foliate pattern brocaded with polychrome silk and gold metallic file

Purchase, Rogers Fund, Isabel Shults Fund and Irene Lewisohn Bequest, 1991 (1991.6.1a,b)
Not on view   Last Updated May 3, 2011

The late 1670s saw a new development in the style of women’s dress that would have a far-reaching effect throughout the following century. The stiff constricting boned bodice-and-skirt style previously worn by women was now replaced with the mantua, a more loosely draped style of gown. The mantua was thought to display silk designs to their best advantage, as they were draped rather than cut; as such, it is believed the garment was named after Mantua in Italy, where expensive silks were produced. However, it has also been suggested that the name derives from manteau, the French term for a coat.

The mantua was a coatlike construction, with sleeves cut in one piece with the back and front. It was pleated at the shoulders and fell to the waist, where it was held in place by a sash. From there it was folded back into a bustle shape and worn over a matching petticoat. As the style evolved, the pleats at the front were reduced in number and the bodice was opened, with the torso now covered by a stiffened piece of fabric in the form of an inverted triangle, tapering into a narrow waist. This piece of fabric was known as a stomacher. Early examples are often intricately embroidered. While these gowns appear quite substantial, they were actually precariously fastened with pins to hold the stomacher in place.

Originally an informal style, and banned for its informality from the French court by Louis XIV, the mantua gradually became acceptable as formal dress and remained a popular choice for court dress in England until the mid-century. Its popularity was such that dressmakers were referred to as mantua-makers.

Source: Mantua [English] (1991.6.1a,b) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Robe


Robe, mid-18th century
French

Patterened light blue ribbed silk, brocaded in polychrome silks, metallic gold, and silver

This formal dress is believed to have belonged to a young girl. Until the last quarter of the eighteenth century, children were dressed as miniature adults, with girls being put into corseted bodices from about three years of age, graduating to adult dress when they reached twelve or thirteen. This gown is made from an extremely costly silk, woven with metallic braid (69.79.3), and would have been worn for a formal occasion.

Children’s dress was to undergo a major revolution in the eighteenth century. In 1693, the English philosopher John Locke published his Thoughts Concerning Education, examining, among other things, how children should be dressed. Locke argued against constricting clothes that were too warm or tightly fitted. However, it was French philosopher Jean-Jacques Rousseau’s novel Émile, published in 1762, that would have far-reaching consequences in the area of children’s dress.

Traditionally young children and toddlers, both boys and girls, were dressed in simple frocks. When a boy reached four years of age, he was breeched. This meant that he would be dressed in a replica of a man’s three-piece suit, consisting of coat, waistcoat, and breeches reaching to the knee, as worn in the portrait of Daniel Crommelin Verplanck of 1771 (49.12). Girls were dressed in the adult style of clothing from about the age of two. They would wear a tight-fitting boned bodice laced at the back, with a long full skirt over a petticoat; at twelve they would change to fashionable dress, with the bodice being replaced by stays (a corset) over which was worn a robe, petticoat, and stomacher.

Rousseau’s ideas, with their emphasis on the importance of a carefree childhood, were extremely popular. They were immediately adopted by many fashionable mothers, including the duchess of Leinster, who raised twenty-one children in strict accordance with his ideals. Rousseau advocated keeping children in frocks for as long as possible and then allowing them to wear loose-fitting clothing that did not constrict their movements.

Toward the end of the 1770s, a new type of dress for boys began to emerge. Knee breeches were cast off in favor of trousers, which were emerging for the first time as acceptable fashionable dress. Trousers, buttoned together at the waist, were accompanied by a short jacket, an outfit that became known as a skeleton suit and usually worn with a soft fall collar shirt. At the same time it became fashionable for young girls to wear light unboned muslin frocks, short sleeved with a natural waistline and adorned with a simple ribbon sash about the waist. These new styles of dress can be seen in the portrait of the Sackville children (53.59.3) and are particularly interesting as they were a precursor to what would become fashionable adult dress by the end of the century.

Source: Robe [French] (C.I.62.28a,b) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Robe à l’anglaise

French
White muslin with hammered silver foliate diaper-patterned and red silk thread embroidery


Source: Robe à l’anglaise [French] (1991.204a,b) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art


Cotton emerged as a fashionable fabric in the 1780s with the chemise à la reine, the cotton shift favored by Marie Antoinette beginning in this turbulent decade. As always, clothing had political and international implications. One of the chief reasons the Lyon silk manufacturers railed against the reductive modern attire is that their luxurious silks were being abandoned in favor of imported cottons from India, confirmed in the costume on the right by a weaver’s mark in the selvage.

Source: Robe à l’anglaise [French] (1991.204a,b) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Round gown

Round gown, ca. 1798

British
White cotton with polychrome wool crewel embroidered trim



The simple style of white muslin dress first appeared and was popularized in France by Marie Antoinette in the 1780s, when her friend Georgiana, duchess of Devonshire, imported the style into England. These early dresses acquired the title of chemise à la reine, and a wonderful example can be seen worn by Mme Lavoisier in the 1788 portrait of herself and her husband (1977.10).

The French Revolution called for a complete contrast in dress to the elaborate silks that had gone before, and plain white muslin dresses were considered an appropriate style, evoking as they did images of unadorned classical beauty. In the latter years of the century, waistlines rose to extremely high levels and the wide sashes that had previously been worn around the waist disappeared. All ruffles and flounces were renounced in favor of a severe, clean line.

The light, transparent qualities of this style called for a change in undergarments. Corsets, or stays were now replaced by unboned canvas or cotton drill bodices, and for the first time women took to wearing drawers; adapted from male garments, these consisted of two tubular legs open in the center and attached to a waistband.

Until 1806, these dresses retained a small train at the back, supported by pom poms stitched below the waistline. After this date, hemlines began to rise and color was gradually reintroduced, with printed cotton fabrics being a popular choice. Silk was still worn, although it tended to be in plain colors; it was popularly used for the pelisse—a long coatlike garment—or the spencer jacket. This was a small jacket finishing just below the waist with long sleeves reaching to just above the knuckles.

Source: Round gown [British] (1998.222.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

Robe à la française

French or Austrian
Pale blue silk satin brocaded with silver


Like the Mantua, the sack, or sacque, dress began life as an informal garment. It was initially a French fashion, its defining feature being the row of two double box pleats sewn in at the center of the neckline at the back of the dress and falling to the hem. The early form of the gown was loose and unstructured, falling from the shoulders in a bell-like shape. This evoked many comments on the potential for immoral behavior, with the consequences safely concealed by the voluminous gown. A sack was always worn over stays (a corset) and gradually the style developed to become much closer fitting around the waist, with only the pleats at the back remaining free from the bodice. The gown was now worn open down the front, revealing a petticoat and stomacher. The closed, buttoned stomacher on this particular dress is referred to as a compère front.

The flat folds of fabric, known as robings, that edge the sides of the gown were left over from the large pleats that once fell from the shoulders. As the sack became more formal, robings presented an opportunity for embellishment, as in the pleated folds adorning the sides of the blue gown pictured here. They were often stuffed with sheep’s wool to give them volume. Other types of adornment included metallic lace and fly braiding on a trim of silk floss tied into tiny multicolored knotted tassels. The flounces that decorated the front of the petticoat were known as falbellas or furbelows, and were usually affixed only to the front of the petticoat, where they were visible.

By the last quarter of the century, trimmings for formal dress had become increasingly elaborate, often costing more than the dress fabric. It was common practice to wear the same dress to different occasions, merely changing the trimmings to give a different effect.

Source: Robe a la francaise [French or Austrian] (2001.472) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art


Dress (robe à la polonaise)

French
White silk de chine with hand-painted multicolored floral sprays


Dress (robe à la polonaise), 1780–85
American
Yellow silk de chine with hand-painted multicolored floral sprays

Gift of Heirs of Emily Kearny Rodgers Cowenhoven Gift, 1970 (1970.87a,b)
Not on view   Last Updated May 3, 2011

The polonaise gown first came into fashion in the 1770s. It was a style of gown with a close-fitting bodice and the back of the skirt gathered up into three separate puffed sections to reveal the petticoat below. The method of suspending the fabric varied. Most often the dress had rows of little rings sewn inside the skirt through which a cord ran from hem to waist. Alternatively, ribbon ties would be used, with the ribbons forming decorative bows. However, in some instances the skirt was held in place by simple cords sewn to the inner waist of the dress and looped over buttons attached to the outside waistline. The stays underpinning the bodice of the polonaise were not markedly different from those which supported the robe à la française.

Russian, German, and French Rococo styles absorbed chinoiserie into a seamless whole of frivoles, fêtes galantes, and colorful narratives. One particular syncretism is evident in painted wallpapers and dress, where the traditional Western floral forms in Rococo taste cross-pollinated with meandering Chinese patterns.

Source: Dresses (robe a la polonaise) (1976.146a,b_1970.87) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art


Court Dress

Court dress, ca. 1750
British
Blue silk taffeta brocaded with silver thread


In the eighteenth century, formal dress was so closely associated with Versailles and the French court that it was universally described as the robe à la française. As illustrated here, the robe à la française has a fitted overdress. It is open at the front, with a decorative bodice insert called a stomacher covering the corset and an underskirt, the petticoat, showing under the splayed drapery of the overskirt.

In its most formal configuration, the robe à la française presented a particularly wide and flattened profile accomplished by enlarged panniers. Constructed of supple bent wands of willow or whalebone and covered in linen, panniers took on broader or narrower silhouettes. The most remarkable held out the skirts like sandwich boards, barely wider than the body in side view, but as expansive as possible in front or rear view. As shown in the etching Les Adieux (33.22.1), a woman so garbed had to pass through a door sideways.

Source: Court dress [British] (C.I.65.13.1a-c) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

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Ternyataa macem-macem yah namanya, ck… ck… sampe aku belibet bacanya  qiqiqi
Btw Court dress yang terakhir itu guedeeeeee bangeeeet, muat orang deh kayaknya, bisa ngumpet pas maen petak umpet wuakakakaka

Semoga terinspirasi
Anty yang lagi semangat mendisain dan menjahit d^o^b



Source from here

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54 thoughts on “European Inspiration In Designing Dress

  1. Luqman Hakim

    entertainment industry gitu lohhhh… Di dunia normalnya di Jepang, yang perempuan (maaf) harus diuji coba dulu kelaminnya, yang laki-laki juga, malah kadang diuji cobanya sama gay gitu. Di Indonesia juga Nty, bukan jadi rahasia umum lagi kalo di dunia entertainment ini emang lumayan parah adanya…

    Makanya jangan mau masuk dunia entertainment, parah!

    Reply

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