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<td height="56" align="center" valign="top"><span class="detailpagetitle"><strong>Floral brocaded silk dress</strong></span><br>
<span class="detailsubtitle">English, ca. 1760; the silk Spitalfields, ca. 1735</span></td>
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<a href="images/costume/T8027_lbox.jpg" data-lightbox="image-access2"><img src="images/costume/T8027_detail1.jpg" width="290" style="padding-right: 15px; float: left;"></a>
In the early 1730s, an innovation in the preparatory drawings of silk designs allowed for painterly, threedimensional depiction of motifs with sophisticated gradation of colors. Credited to Lyonnais designers who
were widely regarded as leaders in the production of high-end silks, this naturalistic aesthetic was quickly
adopted by their counterparts across the Channel in the London-based weaving center at Spitalfields.
Increasingly large and vividly hued flowers, foliage, fruits, and other elements decorated the surfaces of
woven silks, and were shown to particular advantage by the rounded feminine silhouette created by the
pannier, or hooped petticoat. In this closed robe with a fitted back, the twisting sprays of realistically rendered
blossoms and berries are shown at their peak, spreading their fully-opened petals and leaves with delicately
curled edges. Against the pale mauve ground, overlapping wefts of bright red, pink, blue, citrus, and apple
green are combined with muted shades of soft brown, peach and dusty rose, with outlines and details in
black. When worn, the swaying skirt would have given the impression of a gently undulating floral parterre.
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<a href="images/costume/T8027_detail2.jpg" data-lightbox="image-access2"><img src="images/costume/T8027_detail2.jpg" width="290" style="padding-left: 15px; float: right;"></a>
A number of factors—including the price of the fabric, its weight, the tightness of the weave as well as the
scale of its pattern—ensured that there was minimal cutting on the part of the mantua-maker. The skirt is
constructed from six selvedge widths, carefully matched at the seams so that the pattern is continuous. In order
to maximize the inherent value of such expensive silks, gowns were often altered at a later date. In this
example, earlier pleat marks and stitching lines indicate that the dress was re-worked, primarily to narrow
the back to a more up-to-date appearance. The wing cuffs, with metal weights sewn into the lining, date to
the original incarnation of the dress. As an alternative to the more formal <em>robe á la française</em> with its loose pleats
and separate petticoat, a one-piece gown with fitted back was especially popular among English women
throughout most of the century.
<p>
This dress was exhibited in <em>AngloMania: Tradition and Transgression in British Fashion</em>, Metropolitan Museum of Art, New York, May 3–September 4, 2006.
<p>
For more information, see the <a href="http://coraginsburg.com/catalogues/2008/CoraGinsburgCatalogue2008.pdf"><em>Cora Ginsburg 2008–2009</em> catalogue</a>.</p>
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