PARIS FASHIONS 1797 To 1897 with 100 Full Page Colored Outfits Printable 296 Pages of Dresses Read on Your iPad or Tablet Instant Download

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from the French by LADY MARY LOYD


296 pages

A wonderful collection of French Fashions, the ultimate in Paris style.

If you have any interest in French Dress Designs,

then this is a great book to have in your collection.

The original edition of this Rare Fashion Magazine was printed in 1898


My Personal 100% Guarantee To You

If you Buy this Book and after reading it,

You feel that You did not get Your Money's worth from it,

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The Contents

I. The Close of the Eighteenth Century
Licentiousness of Dress and Habits under the Directory

II. The Dawn of the Nineteenth Century
The Fair Sex in the Year VIII

III. Under the First Empire
Feminine Splendour in Court and City

IV. Dress, Drawing - rooms, and Society under the Restoration 1815-1825

V. The Fair Parisian in 1830
Manners, Customs, and Refinement of the Belles of the Romantic Period

VI. Fashion and Fashion's Votaries, from 1840 to 1850

VII. Fashion's Panorama in 1850
The Tapageuses and the Mysterieuses

VIII. Life in Paris under the Second Empire
Leaders of the Gay World, and Cocodettes

IX. The Fair Sex and Fashions in General from 1870 till 1880

X. The Parisian, as She is . . . . .165
Her Psychology, Her Tastes, Her Dress


The compilation of a complete bibliography, even the most concise, of the works devoted to the subject of Costume, and to the incessant changes of Fashion at every period, and in every country, in the world, would be a considerable undertaking—a work worthy of such learning as dwelt in the monasteries of the sixteenth century. Such a book would, in an abbreviated form, be a sort of " Dictionary of Origins," useful for the "General History of Mankind."

Its readers would perceive, not without surprise, that the gravest minds, the noblest and least frivolous intellects—often, indeed, the most austere of Churchmen—have found delight in this species of butterfly hunt across time and earthly space, after the vagaries of Fashion.

Nothing, in fact, so conjures up a people or a special period, nothing so closely tallies with their character, and mental and moral state, as the dominant note of their costume, and the vari-coloured splendour of their adornments. The art of dress is governed by certain general laws, which affect the lives, the colour, the harmonious expression of a given whole, increasing or modifying its beauty, to the occasional perversion of our taste, and misguiding of our aesthetic instincts.

Its influence is felt everywhere—in the nation's literature, painting, and statuary, in its ideas, its language, and even its political economy. Science, medical and other, cannot treat questions of dress with indifference, and, as Charles Blanc has remarked, dress and adornment, far from being subjects unworthy of observation, furnish the philosopher with important moral data, and are a very evident clue to the ruling ideas of any special period.

Further, the incessant mutability of Fashion is a necessity, for this, according to Chamfort, is the most natural toll that can be levied by the industry of the poor man on the vanity of the rich. The whims of Fashion, far from protecting us from her attacks, or weaning us from our devotion, end by haunting us beyond all escape. Her caprices resemble those of the fair sex—the failings which should drive us away are the very charm which draws us back. Men adore Fashion in their youth ; peoples, in their old age, give themselves utterly up to her.

Civilised nations are like sensitive women, or, again, like those courtesans whose coquetry increases and becomes more exquisite, as age advances.

"As the intellect broadens, taste grows more perfect," said a certain moralist. Acuteness of perception engenders mutability of feeling, and the excessive delicacy of the aesthetic sense inevitably brings forth a diseased condition of inconstancy, which leads up to the inevitable yoke of Fashion—that Fashion which has never, according to Balzac, been anything more than the general opinion on the subject of dress.

Books on Fashion, then, will be sought and welcomed, to all time and in every sphere, with special favour, because they are both recreative and instructive, and because everybody believes him or herself capable of enjoying, of understanding, and of interpreting them.

They rouse general curiosity. To women they supply the history of their banner, of their guild, of their own versatility. Men, gazing on their pages, seek to call up the memory of dead charms, and their sad thoughts stray to those far distant joys which have faded out for ever.

The children open their great wondering eyes on the gay shadows still touched with life's own colours ; and the old return to youth, and feel their dead passions stir again, as they gaze on the sunny mirage of the past, which starts into light under the magic-lantern of these coloured plates.

If we consider France alone—the country which, for so many years, created fashion, and imposed the eternal laws of costume on neighbouring nations—we may fairly say that the art of dress has never been more interesting than since it became democratised, and thus grew general.

The Revolution, which overthrew, with no useful result, so many traditions, and set up humanitarian theories far exceeding in number the really beneficent reforms it conferred on the people—that Revolution which dug so mighty an abyss between two societies, and from which the history of our uncouth modern civilisation takes its date—the Revolution, when it severed the links of all French tradition, gave birth to a new conception of the aesthetics of dress, of which the fashions of the present century—so extraordinary in their number, so
near and yet so far away already—are the logical outcome.

In the beginning, these garments of a newly liberated people left the body free, followed its outlines, and were well-nigh transparent in texture. Their inventors drew their inspiration from nature and the pagan mythology ; they aimed at concealing nothing, and followed the harmonious lines of Grecian beauty ; then, under the Empire, we see them, less frivolous already, growing more Roman, and leaning towards the cramped lines of military uniform. Under the Restoration, the fashions, like the neo-mediaeval literature of the time, grew formal, affecting the stiff lines and starched manners of a sham Troubadourism.

The year 1830 brought more of the Renaissance, dress was more lissome, more voluptuous ; never were fashions more feminine, more subtle, more original, more exquisitely artistic. Later, exaggeration began, increased, and grew worse and worse, till it reached the monstrous caricature of the crinoline, and the monkey-like trappings of the Second Empire. Later than 1870, we can come to no clear judgment concerning our taste in dress, because a space of more than fifteen years must elapse before any definite opinion can be formed of shapes and colours as a whole. An ancient fashion is always a curiosity.

A fashion slightly out of date is an absurdity ; the reigning fashion alone, in which life stirs, commands us by its grace and charm, and stands beyond discussion. These successive fashions, so strange, so curious from many points of view, we have endeavoured to determine in the course of this work, as we marshal them before our readers' gaze, amidst those various surroundings of our beloved Paris, amongst which, in the course of these last hundred years, they have moved and had their being. To save the illustrations from the stamp of commonplaceness, peculiar to the "Fashion Plate," we have desired to make the background of each appropriate, showing forth the architecture against which fashion stood outlined, whether in haunts of elegance, or of mere pleasure. Mons. Francois Courboin has faithfully carried out this desire, and has reproduced the gallery of retrospective engravings, for which we have appealed to his talent and special knowledge, to our complete satisfaction.

Each of the one hundred coloured illustrations is a faithful witness, a complete representation, of some corner in Paris, vanished now, or utterly changed. Fashion only figures therein as a logical and indispensable accessory, and all the interest is centred in the background of the picture, which reveals one of the most fashionable aspects of our ancient city. The drawings dispersed throughout the text possess all the charm, the spirit, and the delicacy of the old vignettes of the 1840 school, and will certainly delight every amateur, both he whose curiosity is of modern growth, and he whose passion for illustrated books is mingled with certain tender memories of past days. As regards the substance of the book itself—the ten successive chapters on Parisian Fashions—they are, as it were, the artistic expression and synthesis of everything written, in the course of the nineteenth century, on our national salons, dress and ideas.


Paris: October 18, 1897.

The Coloured Plates

Vigier's Baths. Year V (1797)
A Drive in a Whiskey, Longchamps. Year V {1797)
On the Terrace of the Tuileries. Year VI {1798)
Appointment at the Cafe des Tuileries. Year VI (1798)
The Fountain in the Rue du Regard. Year I'll (1799)
The Theatre des Varietes. Year VII {1799)
In the Gardens of the Tuileries. Year VII (7799)
Stock-jobbing in the Palais Royal. Year VII {1799)
The First Switchback. Year VII {1799)
An Opera Ball. Year VIII (1800)
A Gathering in the Luxembourg Gardens. Year VIII {1800)
A Gambling Hell in the Palais Royal. Year VIII {1800)
Little Patriots. Year VIII (1800)
A Public Room at Frascati's. Year VIII (1800)
A Walk in the Tuileries Gardens. A Dandy of the Year VIII {1800)
The Picture Exhibition at the " Salon." Year VIII {1800)
In the Gallery of the Palais Royal. Year VIII (1800)
The Tuileries in 1802. Below the River Terrace.
19. The Perron of the Palais Royal {1802)
20. The Delights of the Malmaison. A Saunter through the Park in 1804
21. The Wooden Gallery in the Palais Royal (1803)
22. An Official Ball in the Strasbourg Theatre (1805)
23. Waiting for the Saint-Cloud Coach. Place de la Concorde (1806)
24. The Sculpture Gallery in the Louvre Museum (1806)
25. A Check in the Park at Bagatelle. Hunting Dress, 1807
26. The Boulevard " des petits Spectacles" {1808)
27. View of the two Panoramas and of the Passage between them (1810)
28. At the Races on the Champ de Mars {1811)
29. Skaters on the Reservoirs at La Villette (1813)
30. Cossack Encampment on the Champs Elysees (1814)
31. Crossing the Pont des Arts (1816)
32. The Saint-Cloud Coach Meeting {1817)
33. Court Dresses of the Early Restoration
34. The lesser Theatres (1819)
35. The Gardens of the Tuileries. Near the Rue de Rivoli {i8i9)
36. The Great Longchamps Day (1820)
37. Inside the Boulogne Panorama {1824)
38. The Theatre de Madame {1827)
39. Entering the Comedie Francaise (1828)
40. A Winter Stroll in the Luxembourg Gardens (1830)
41. Sunday at the Tuileries (1831)
42. In the Champs Elysees (1832)
43. A Corner on the Boulevard des Italiens (1833)
44. Dandyism in the Romantic Period. {A Ballroom in 1834)
45. A Review on the Square of the Invalides {1835) .
46. At the Opera Ball (1833)
47. A Sentimental Walk in the Abbey of Longchamps {1836)
48. Fashions in the Palais-Royal Gardens {1837)
49. In the Luxembourg Gardens {1838)
50. The Courtyard of the "Messageries Nationales” Diligences {1839)
51. A Fop Driving in the Bois de Boulogne {1840)
52. High Life in the Bois de Boulogne. L’Allee des Cavaliers {1842)
53. The Booths on the Pont Neuf {1844)
54. Opposite the first Cafe de Paris. Boulevard des Italiens {1845)
55. Passengers by the Corbeil Steamer (1846) .
56. The Terrace at Tortoni's {1847)
57. The Carrefour Gaillon and the Fountain (1848) .
58. A Stand at the Champ de Mars Races (1848)
59. The Chinese Baths. On the Boulevard des Capucines (1849)
60. At the Freres Provencaux Restaurant (1830)
61. A Box at the Italian Opera {1832)
62. The Last of the Boulevard "Lions " (1833)
63. A Smart Corner of the Rue Richelieu. The East India Company's Warehouse (1834)
64. The Boulevard des Italiens. Left Side (1833)
65. The Avenue du Bois de Boulogne (1836)
66. Watching the Comet. On the Boulevards {1837)
67. The Gardens at Mabille {1838)
68. Prinking before the Ball (1838)
69. Children in the Tuileries Gardens (1859)
70. In Front of the Ambigu Theatre (1861)
71. Racing at the Bois de Boulogne (1862)
72. The New " Foyer " at the Theatre Francais. Portrait of Mme. de R. in 1863
73. On a Balcony in the Rue de Rivoli {1864)
74. The Picture Exhibition at the " Salon." Looking at Manet's "Olympia"
75. In Front of the Palais de l'Industrie. Coming back from the Races (1866)
76. Fete given at the Tuileries {1867)
77. The Palmy Days of the Cafe de la Rotonde. In the Palais Royal (1868)
78. The Shelter on the Longchamps Racecourse (1868)
79. The Court at Compiegne. Mme. de M. watching the Hunting Party start (l869)
80. The Square of the Tuileries {1870)
81. On the Paris Ramparts. During the War of 1870
82. Stopped at a Barricade. A Pass from the Commune {1871)
83. Near an Omnibus Station. The Palais Royal (1873)
84. The Skating Rink in the Bal Bullier (1876)
85. The Place de la Concorde (1877)
86. A River Boat on the Seine (1878)
87. The Bird-Charmer. In the New Tuileries Gardens (1880)
88. Entrance to the Jardin de Paris (1883)
89. After a Meeting of the Institute. The Pont des Arts {1884)
90. The Terrace of the Luxembourg (1883)
91. The Main Avenue in the Pare Monceau (1886)
92. The Avenue des Champs Elysces (1888)
93. The Eiffel Tower, from the Exhibition Gardens {1889)
94. Coming Back from a Morning in the Bois (1890)
95. Subscribers leaving the Opera (1891)
96. At the Concours Hippique. In the Palais de I''Industrie {1892)
97. Children's Promenade in the Luxembourg Gardens {1893)
98. The Grand Prix Day {1895)
99. Bicycling. The Ladies of the Wheel {1896)
IOO. In the Cabinet des Estampes (Bibliotheque Nationale).
The Search for Bygone Fashions {1897)

PLUS 250 Black and White Illustrations

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In the interest of creating a more extensive selection of rare historical books, we have chosen to Digitize this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other Digitizing issues beyond our control.

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