Fashion Plates Design Set

Product Information

The Metropolitan Museum of Art. “Women 1921-1940, Plate 002.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/10980 Clothes began to be collected as soon as the idea of a museum for London became reality in 1911. Until around the 1960s mainly garments from earlier periods were added with the exception of the two World Wars when contemporary collecting took place. The early curators of the museum were aware of the importance of clothes to bring history to life and in 1933 the museum was the first in Britain to publish a catalogue of its costume collection. The original fashion plates collected by Blanche Payne and others have been cataloged and carefully stored for preservation purposes in archival housing. Many of these plates are from some of the leading French, British, American, and other continental fashion journals of the 19th century and early 20th century: Belle assemblée; Le bon ton; Le Follet, courrier des salons; Journal des dames and des modes; Godey's lady's book and magazine, and others. They are primarily hand-colored engravings although some of the plates after 1885 are colored lithographs. A project was undertaken by the Digital Initiatives Program to digitize and provide online access to selections from this collection. The 417 digital images cover many stylistic periods in French and English history. These include the Empire (1806-1813), Georgian (1806-1836), Regency (1811-1820), Romantic (1825-1850), Victorian (1837-1859), Late Victorian (1860-1900) and Edwardian (1901-1915). Although the original items are available for viewing by appointment through the Special Collections Division, providing web access increases the visibility and use of such unique resources. a b c Brekke-Aloise, Linzy (2014). "A Very Pretty Business: Fashion and Consumer Culture in Antebellum American Prints". Winterthur Portfolio. 48: 191–212. doi: 10.1086/677857. S2CID 147022141– via JSTOR. 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.

Laver, James. Fashions and Fashion Plates 1800-1900. London and New York: Penguin Books Limited, 1943, p. 3 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

By the 1830s, U.S. magazines began to include their own fashion plates, although these were often derived from imported French originals. The most popular magazines of the antebellum period, including Godey's Lady's Book and its competitors, particularly Graham's Magazine and Peterson's Magazine, boasted about the quality of their fashion plates. Publisher Louis Antoine Godey claimed in January 1857 that his fashion plates - hand-colored by a corps of 150 women colorists - "surpass all others." [9] [10] Godey also made sure his readers were aware of the considerable cost of his fashion plates, and indeed, some readers removed them from the magazine and displayed them as art. [10] Suffrage and other banners represent London’s role as a centre for the fashion and clothing industry, from education through to design, production, promotion, retail and wear. The Metropolitan Museum of Art. “Children 1800-1849, Plate 017.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/2044/rec/17 Gazette du bon ton: arts, modes et frivolities,1912–15 and 1920–25, The Metropolitan Museum of Art,

One of her subsequent accomplishments, however, was the completion of a book entitled "History of Costume", a college textbook describing the evolution of fashion from 3000 B.C. to 1900. Published in 1965, it contains detailed descriptions of historical and cultural fashion along with renditions of small-scale garment patterns that she meticulously drafted from various museum collections. To research her book, she spent two years avidly collecting illustrations: photographs, postcards, art prints, and fashion plates. Her book is still considered today a foremost resource in the study of costume history. It reflects her teaching philosophy that the study of original artifacts is of essential importance in the understanding of good design. The market for women’s periodicals was changing, new ones emerging with more practical content to appeal to the burgeoning middle-classes, alongside the magazines of fashion and leisure for wealthier readers. Over a hundred new titles appeared in Europe from the 1840s-1860s alone, bringing the latest styles to a much wider public. Some magazines lasted only a few issues, some for decades; some were wholly devoted to fashion though most included it among a range of educational and entertaining topics. The early magazines - and plates - were small, but they generally increased in size during the second quarter of the century. Plates were usually accompanied by descriptions of the outfits shown to enable them to be copied accurately, and by lengthy discussions of the latest modes in London and Paris.The collection can now be explored here by decade, by magazine or browsed by dress terms. This has been made possible by generous funding from The Ashley Family Foundation and the Idlewild Trust. Determined to make a print as a further step towards a painting, Hamilton photographed, in collaboration with Tony Evans, a carefully-chosen grouping of studio equipment for fashion photography, to act as a frame for a head-and-shoulders image, and to emphasise the ritualistic character of the fashion photo-session. This was lithographed in Milan, soft tonality and luminous whiteness being accentuated. Hamilton began building up on the sheet... collage elements which should recur throughout the print's edition. As this proceeded, the difficulty of obtaining sufficient identical collage material for an edition combined with the developing physical interest of this and other studies to change the project to one of an interlinked series of collage- drawings (Morphet, p.86). The Metropolitan Museum of Art. “Women, 1790 – 1799, Plate 002.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/3469 In France, La Galerie des Modes was a pioneer in fashion plate publication. [8] Encompassing over 400 prints, this series was issued sporadically by the print merchants Jacques Esnauts (or Esnault) and Michel Rapilly between the years 1778 and 1787 and paved the way for the distribution of popular magazines such as the Magazin des Modes Nouvelles Françaises et Anglaises. [5] Created by the French, fashion plates are images depicting women, and sometimes men, dressed in the latest styles and trends. Even after the advent of photography in the 1830s, fashion plates disseminated the most current fashion trends and provided a reference that instructed their dressmaker how to construct or alter a garment in the latest style. Those who made these illustrations used copper and steel engravings, hence the name “fashion plate.”