Fashion during the period 1700–1750 in European and European-influenced countries is characterized by a shift towards a wider silhouette for both men and women, departing from the tall, narrow look of the late 1680s and 1690s. This era is often associated with the late Baroque/Rococo style, marked by lavishness and opulence. The fashion trends of this time had a significant impact on society, influencing not only royalty and aristocrats but also the middle and lower classes.

During the period from 1700 to 1750, a clear distinction was made between full dress, worn at court and for formal occasions, and undress, or everyday daytime clothes. Full dress was reserved for special events and occasions where a higher level of formality was required, such as royal ceremonies, balls, and receptions. These outfits were often elaborate and made from luxurious fabrics, adorned with intricate embroidery, lace, and embellishments.

During this period, fashion designers gained increasing recognition as both men and women sought to embrace the latest trends and styles. The emergence of fashion magazines further contributed to this phenomenon, initially targeting educated readers but quickly attracting a wider audience, including the lower classes, with their vibrant illustrations and timely fashion updates.

In the early decades of the new century, formal dress consisted of the stiff-bodiced mantua. A closed (or “round”) petticoat, sometimes worn with an apron, replaced the open draped mantua skirt of the previous period. This formal style then gave way to more relaxed fashions.

Therobe à la françaiseor sack-back gown had a tight bodice with a low-cut square neckline, usually with large ribbon bows down the front, wide panniers, and was lavishly trimmed with all manner of lace, ribbon, and flowers. With flowing pleats from the shoulders was originally an undress fashion. At its most informal, this gown was unfitted both front and back and called asacque. With a more relaxed style came a shift away from heavy fabrics, such as satin and velvet, to Indian cotton, silks and damasks. Also, these gowns were often made in lighter pastel shades that gave off a warm, graceful and childlike appearance.^[1]Later, for formal wear, the front was fitted to the body by means of a tightly-laced underbodice, while the back fell in loose box pleats called “Watteau pleats” from their appearance in the paintings of Antoine Watteau.

The less formalrobe à l’anglaise, Close-bodied gown or “nightgown” also had a pleated back, but the pleats were sewn down to fit the bodice to the body to the waist. It featured a snug bodice with a full skirt worn without panniers, usually cut a bit longer in the back to form a small train, and often some type of lace kerchief was worn around the neckline.

Either gown could be closed in front (a “round gown”) or open to reveal a matching or contrasting petticoat. Open-fronted bodices could be filled in with a decorative stomacher, and toward the end of the period a lace or linen kerchief called afichucould be worn to fill in the low neckline.

Sleeves were bell- or trumpet-shaped, and caught up at the elbow to show the frilled or lace-trimmed sleeves of the shift (chemise) beneath. Sleeves became narrower as the period progressed, with a frill at the elbow, and elaborate separate ruffles called engageantes were tacked to the shift sleeves, in a fashion that would persist into the 1770s.

Necklines on dresses became more open as time went on allowing for greater display of ornamentation of the neck area. A thick band of lace was often sewed onto the neckline of a gown with ribbons, flowers, and/or jewels adorning the lace. Jewelry such as strings of pearls, ribbons, or lace frills were tied high on the neck. Finally, one other large element of 18th century women’s dress wear became the addition of the frilled neckband, a separate piece from the rest of the dress. This ornament was popularized sometime around 1730 .^[2]

Thestaysor corset of the early 18th century were long-waisting and cut with a narrow back, wide front, and shoulder straps; the most fashionable stays pulled the shoulders back until the shoulder blades almost touched. The resulting silhouette, with shoulders thrown back, very erect posture and a high, full bosom, is characteristic of this period and no other.

Skirts were worn over small, domed hoops, called panniers, in the 1730s and early 1740s. Depending on the occasion, these panniers varied in size. Smaller hoops were worn in everyday settings and larger hoops for more formal occasions, which later widened to as much as three feet to either side at the French court of Marie Antoinette.

The shift (chemise) or smock had full sleeves early in the period and tight, elbow-length sleeves in the 1740s as the sleeves of the gown narrowed.

Some women wore drawers (underpants) in England. For instance, as early as 1676 inventory of Hillard Veren had “3 pair of women drawers”. Although, they are not common in English or New England inventories during the 17th and 18th century. Clothing Through American History: The British Colonial Era, by Kathleen A. Staples, Madelyn C. Shaw page 245

Woolen waistcoats were worn over the corset and under the gown for warmth, as were petticoats quilted with wool batting.

Free-hanging pockets were tied around the waist and were accessed throughpocket slitsin the gown or petticoat.

Loose gowns, sometimes with a wrapped or surplice front closure, were worn over the shift (chemise), petticoat and stays (corset) for at-home wear, and it was fashionable to have one’s portrait painted wearing these fashions.

Riding habits consisted of a fitted, thigh- or knee-length coat similar to those worn by men, usually with a matching petticoat. Ladies wore masculine-inspired shirts and tricorne hats for riding and hunting.

When outdoors, ladies also wore elbow-length capes, often lined with fur for warmth.

In the early years of this period, pastel silk hoods and light colors became fashionable at the French court for mature women, under the influence of Madame de Maintenon. Younger women also wore light or bright colors, but the preference was for solid-colored or floral silks with ornamentation.

Gradually, trim in the form of applied lace and fabricrobings(strips of ruched, gathered or pleated fabric) replaced the plain style. Ribbon bows, lacing, and rosettes became popular, as did boldly patterned fabrics. Silk gowns and stomachers were often intricately embroidered in floral and life motifs, demonstrating great attention to detail and care for an accurate portrayal of nature.^[3]A mid-century vogue for striped fabrics had the stripes running different directions on the trim and the body of the gown.

Chintz, an Indian cotton fabric adorned with block-printed imagery on a white base, enjoyed immense popularity during this period. Despite bans imposed on their importation to protect the British silk, linen, and woolen industries, chintz fabrics remained highly desirable among consumers. Brocaded silks and woolens also featured colorful floral patterns on light-colored grounds, reflecting the prevailing fashion trends.^[4]

In the second decade of the 18th century, there was a notable shift in shoe fashion from the curved heel, squarish toe, and instep tie of the previous period to a shoe with a higher, curved heel. Pointed toes became fashionable, and backless mules gained popularity for both indoor and outdoor wear, albeit not on the street. This style of shoe remained in vogue well into the subsequent period.^[5]

Women, particularly in France, adopted the fashion of wearing a boutonnière, a small bouquet of fresh flowers displayed in a “bosom bottle.” These bottles, typically made of glass or tin and measuring about four inches in length, were designed to be small enough to discreetly tuck into the bosom or hair. However, they were also sufficiently sized to contain water, ensuring that the flowers remained fresh and vibrant, resisting wilting throughout the day.^[6]

An 18th-century toilette began with a heavy white foundation made from white lead, egg white, and a variety of other substances. This was overlaid with white powder (typically potato or rice powder), rouge, and deep red or cherry lip color.

Tiny pieces of fabric, known as patches, in the shapes of dots, hearts, stars, etc. were applied to the face with adhesive. The fashion is thought to have originated as a way of disguising pox scars and other blemishes, but gradually developed coded meanings. A patch near the mouth signified flirtatiousness; one on the right cheek denoted marriage; one on the left cheek announced engagement; one at the corner of the eye signified a mistress.^[7]

The male suit, also known as the habit à la française, made of three parts: the justaucorps, a jacket, and breeches.^[8]The waistcoat was the most decorative piece, usually lavishly embroidered or displaying patterned fabrics. In the early 18th century the Breeches usually stopped at the knee, with white stockings worn underneath and heeled shoes, which usually had large square buckles. Coats were worn closer to the body and were not as skirt-like as during the Baroque era. They were also worn more open to showcase the elaborate waistcoats..^[9]Fabrics for men were primarily silks, velvets, and brocades, with woolens used for the middle class and for sporting costumes.^[10]

In the early 18th century, men’s shoes continued to have a squared toe, but the heels were not as high. From 1720-1730, the heels became even smaller, and the shoes became more comfortable, no longer containing a block toe. The shoes from the first half of the century often contained an oblong buckle usually embedded with stones.^[11]

Upper class men often wore a cane as part of their outfits, suspending it by a loop from one of their waistcoat buttons to allow their hands to properly hold snuff-boxes or handkerchiefs. The cane was thus less functional and rather for the sake of fashion.^[12]

Wigs in a variety of styles were worn for different occasions and by different age groups.

The large high parted wig of the 1690s remained popular from 1700 until around 1720. During this time various colors were worn, but white was becoming more popular and the curls were getting tighter. The cadogan style of men’s hair developed and became popular during this period, with horizontal rolls of hair over the ears. Later, wigs or the natural hair were worn long, brushed back from the forehead andclubbedor tied back at the nape of the neck with a black ribbon. From about 1720, a bag wig gathered the back hair in a black silk bag. Black ribbons attached to the bag were brought to the front and tied in a bow in a style called a “solitaire”.

Wide-brimmed hats with brims turned up on three sides into tricornes were a ubiquitous accessory throughout the era. These hats were not only fashionable but also served as an integral component of the “domino” costume, which gained popularity at masquerade balls during this period. The “domino” ensemble typically included a mask, a long cape, and a tricorne hat, all predominantly crafted in dark colors, adding an air of mystery and sophistication to the wearer’s attire.^[13]

Toddler boys and girls wore low-necked gowns.Leading strings—narrow straps of fabric attached to the gown at the shoulder—functioned as a sort of leash to keep the child from straying too far or falling as they learned to walk.

Children older than toddlers continued to wear clothing which was in many respects simply a smaller version of adult clothing. Although it is often said that children wore miniature versions of adult clothing, this is something of a myth. Girls wore back-fastening gowns, trimmed much more simply than women’s. The skirt of a girl’s gown was not split down the front, as women’s typically were.^[14]Girls did not wear jackets or bedgowns. Boys wore shirts, breeches, waistcoats and coats a man would, but often wore their necks open, and the coat was fitted and trimmed differently from a man’s, and boys often went bareheaded. During some decades of the 18th Century, boys’ shirts and coats had different collars and cuffs than a man’s. Even if the size is not apparent, it is usually possible to tell a child’s garment from an adult’s.

1.A simple trimmed lace and cloth dress English/French cut. (1710)

2. Silk dress supported by panniers. Note that there is no central parting to the dress. The low cut neckline is also less ornamented than a contemporary women’s would be. (1718)

3.A group scene of a girl and two boys. Boys were breeched at around 5-10. The girl wears a low neckline that was customary for young girls and boys. (1724)

4.An example of an older girl not far from adulthood. The neckline is still lower than a womans but is more ornamented than that of a child. (1727)

5. The girl sitting holding a fan is displaying her leading strings that her mother would have used to make sure she didn’t fall when learning to walk. (1730)

6.A boy of around 10 who has been breeched and wears a Frock coat of a child’s pattern. The cuffs and frills would have been less obvious on a grown man. (1738)

7. A middle class girl c1740. The simpler fabric and colours used in her dress show her not to be of noble birth but not in poverty either. Again the low neckline is typical of girls of that age.(1740)

8.A group portrait of children in fine clothes of the period. The boy has been newly breeched while the girls have the characteristic low neckline of children. (1745)

Joseph Addison in 1711 devoted an issue ofThe Spectator^[15]to satirising fashion, by noting how the country fashions lagged behind those in London. “As I proceeded in my journey I observed the petticoat grew scantier and scantier, and about threescore miles fromLondonwas so very unfashionable, that a woman might walk in it without any manner of inconvenience” and so on.