Do you ever go on a stroll with your 1830s man and his slim little waist and luscious thighs and now you're overcome with lust? Paul Gavarni understands.
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Redingote 1870′s
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Fashion plate of a redingote (frock coat) design featuring big bold lapels and a slutty waistcoat window, La Mode, c. 1820s
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• Redingote.
Design House: House of Worth (French, 1858–1956); Designer: Jean-Philippe Worth (French, 1856–1926)
Date: 1894
Medium: Silk
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Journal des Dames et des Modes, Costume Parisien, 20 novembre 1810, (1103): Redingote de Lévantin Rattachée par une Echarpe. Collection of the Rijksmuseum, Netherlands
Standing woman dressed in a 'redingote de Lévantine', fastened with a scarf (belt) of the same material. Stand-up serrated collar. Scarf, with fringes at the ends. Further accessories: earring in the left ear, pointed toe shoe. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839.
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Fashion Plate, 1786, French.
From Cabinet des modes.
Portraying a woman in a purple redingote and white cotton fichu.
BNF Gallica.
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Fashion Patternmaking Techniques: Jackets, Coats and Cloaks
This is another volume by Antonio Donnanno which uses the block or sloper method to create a whole variety of garments. This one covers jackets from the ubiquitous blazer to the motorcycle jacket to the more interesting cuts that women only tend to wear. It defines types of jackets and coats as you see here with the raglan sleeve, the redingote, and what he calls the Montgomery and we call the duffle coat. The redingote, by the way is a reworking by the French of the word riding-coat, then reworked back into the English language. How is that for fun?
Along the way, he explains the basic terminology for different kinds of collars, sleeves, and garment lines for both women’s and men’s coats and jackets. Each one comes with a full sketch of how to draft the pattern pieces by altering the basic block: see the “Collarless Lapel” for part of an example of such a sketch.
Capes and hoods in variety show up under the cloaks section, although I think they only work well for evening wear. I really like sleeves for daywear as you can remain warm and use your arms fully. But a striking cape is something most of us would be willing to cope with for an evening out. A last section explains how to cope with fitting problems for those garments that fall close to the body.
This is a technical manual and if you studied it closely, you would gain an almost encyclopedic knowledge of drafting and outer wear garment design. You can find it here at PromoPress: https://www.promopress.es/en/
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❤️❤️❤️❤️❤️
Christian Dior Haute Couture Fall/Winter 1952-53 Collection
Suzy Parker wears the frock coat, "Ratine". Photo Richard Avedon.
Christian Dior Collection Haute Couture Automne/Hiver 1952-53
Suzy Parker porte la redingote, "Ratine". Photo Richard Avedon.
Ligne "Profilée"
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Alyssah Ali
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So-called free thinkers when La Mode is pushing redingotes in 1830.
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Redingote 1780s
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📗REDİNGOT NEDİR ?📌
önü yakaya kadar düğmeli, kimi zaman vücut hatlarını saran kimi zaman da biraz bolca giyilebilen, dize kadar inen ceket türüdür. Seyahatlerin at üzerinde yapıldığı 18. yüzyıl İngiltere'sinden "riding coat" deyimi önce Fransızcaya ve sonra da diğer dillere "redingot" olarak geçmiştir.
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Journal des Dames et des Modes, Costume Parisien, 5 septembre 1827, (2532): Chapeau de paille de riz. Robe-Redingote de mousseline a garniture de mousseline formant éventails. Collection of the Rijksmuseum, Netherlands
Redingote (coat dress) of muslin trimmed with muslin in the shape of fans. On the head a hat of 'paille de riz'. Seated figure in the same dress, seen from the back. The print is part of the fashion magazine Journal des Dames et des Modes, published by Pierre de la Mésangère, Paris, 1797-1839. Bound with Le Petit Courrier des Dames. January 15, 1827 through March 20, 1830. Incomplete.
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