Fashion Plates Design Set

Product Information

Ingham, Erika. “Fashion Plates introduction.” The National Portrait Gallery. Accessed June 28, 2019. https://www.npg.org.uk/research/fashionplates/fashion-plates-introduction. The Metropolitan Museum of Art. “1800-1866, Plate 079.”Gift of Leo Van Witsen. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/11916 Costume is interesting because it is splendid, ridiculous, useful, pompous, dignified, sombre, gay, fantastic – because, in short, it is human.

Screenprint with offset lithography, hand colouring and collage 29 1/2 × 25 5/8 (749 × 650) on paper 39 × 27 1/4 (990 × 692) watermarked ‘FABRIANO’, offset lithography printed by Sergio and Fausta Tosi, Milan, screenprinting by Chris Prater at Kelpra Studio, published by Petersburg Press in an edition of 70 Along with advancements in technology, depictions of children's clothing can also be seen in nineteenth century fashion plates. The aim of the dress and textile collection is to represent London’s role as a centre for the production, design and consumption of clothes. It contains over 23,000 objects from the Tudor period to the present day. The majority of dress and textiles from the 16th century to the 19th century consist of fashionable dress and accessories, while objects from the more recent period represent a broader spectrum of society. By the 1880s, hand-coloring was out and mechanical color-printing was in. However, photography, which had begun earlier in the century, was developing into an even more popular medium and in the 1890s, fashion plates began to decline as photography grew.

Bibliography

The Metropolitan Museum of Art. “Les modes,1917-1918.” https://www.metmuseum.org/art/collection/search/821934 The dress and textile collection is complemented by related material in the social and working history, photograph and printed ephemera collections, and the museum library. These holdings include the Harry Matthews Collection of costume and fashion plates consisting of around 3,500 prints dating from the 16th century to 1829.

a b c d Laver, James (1986). Costume & Fashion. London, England: Thames and Hudson. p.288. ISBN 0-500-20190-0. Blanche Payne taught historic costume and apparel design in the School of Home Economics at the University of Washington. She joined the University faculty in 1927. Engaged in intensive research on clothing and historic costume, she supervised work on the Textile Costume Study Collection housed in the Home Economics Department. As part of her studies of non-Western folk dress and embroidery technique, she traveled extensively in Europe, collecting original ethnic costumes, textile and embroidery examples. Her primary interest was Eastern Europe. She considered the Balkan countries a valuable source for studying ethnic dress in its original context and wanted to provide her students with primary source material for the study of modern costume construction and fine craftsmanship. Unfortunately, her Yugoslavian research failed to result in a full length publication because of the prohibitive costs of publishing and destruction of some of the color plates during the war years. The publications that printed fashion plates also reflected the changing socio-economic climate in the nineteenth century. Periodicals targeted to both wealthy women and middle class women were being produced, which led to ladies’ magazines, and therefore fashion plates, being a regular commodity for households of varying social classes. It is important to remember, however, that this accessibility didn't mean that women could buy new clothes with every issue. Much like today with magazines like Vogue and Elle, women can read about the latest styles, but unless they have the financial means, they aren't buying new clothes every month.At Fashion-Era.com we analyse two centuries of women’s costume history and fashion history silhouettes in detail. Regency, Romantic, Victorian, Edwardian, Flapper,1940’s Utility Rationing, Dior’s New Look, 1960’s Mini dress, 1970’s Disco, 1980’s New Romantics, Power Dressing, Haute Couture, Royal Robes, Fashion Semiotics, and Body Adornment, each retro fashion era, and future fashion trends are all defined. Several ladies’ magazines aimed at fashionable society appeared towards the end of the 18th century and in increasing numbers in the 19th, anticipating new styles as well as recording what had been worn. Until the 1820s engravings were made on copper printing plates, the softness of which limited the number of prints that could be taken. But their replacement by harder steel-faced plates, the introduction of new mechanised printing methods in the middle of the century and the removal of the tax on papers in 1854 all led to larger editions and a dramatic increase in sales, as well as a substantial decrease in price. La Mésangère extended the range of his artist illustrators by publishing them in a series of fashion and genre prints, such as Debucourt's Modes et Manières du Jour, 1810, and the Vernets' Incroyables et Merveilleuses and Le Bon Genre, 1818. They are a precedent for the more intimate picture series by Gavarni and Deveria, whose fashion plates were such a feature of the periodicals of the 1830s and 1840s. A successful formula, it was followed by the pochoir fashion illustrators of the twentieth century, most notably George Barbier. The Metropolitan Museum of Art. “Women, 1790 – 1799, Plate 002.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/3469

Confronted by advances in printing and photographic technology and the easy availability of the conventional graphic image, in the early twentieth century the artistic avant-garde retreated to the craft technique of pochoir (stencil) printing and hand coloring, producing formal, modernist, faux naives fashion plates in exotic or romantic settings reminiscent of the early nineteenth century. The genre was pioneered by Paul Iribe for Poiret's 1909 collection in Les Robes de Paul Poiret, 1909, and by Georges LePape in Les Choses de Paul Poiret, 1911. Their work and others of the group, such as Charles Martin and George Barbier, was brought to a wider public by the publisher Lucien Vogel, who launched the elitist Gazette du Bon Ton in 1911, the precursor of several similar art and fashion magazines. The general public became aware of the style and technique through prestige advertising, such as Art Gout Beauté, 1920-1936, published by the textile firm Albert Godde Bedin.

a b "Fashion Plates introduction - National Portrait Gallery". www.npg.org.uk . Retrieved 2021-03-18. The Metropolitan Museum of Art. “Women 1840, Plate 100.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/1220 Despite this brief resurgence in the popularity of fashion plates, by the mid 1920s, the popularity of photography would win out over the traditional fashion plate. The increasing popularity of photography in the early 20th century spelled the end for fashion plates, as photos offered a realistic portrayal of fashionable styles. [4] [12]