Fashion Plates Design Set

Product Information

Gaudriault, Raymond. La Gravure de Mode Feminine de France. Paris: les editions de l'amateur, 1988.

The Metropolitan Museum of Art. “Women 1840, Plate 100.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/1220 The information for Fashion Plate Collection was researched and prepared by the UW Libraries Special Collections and Cataloging staff in 2002. Not all the plates from the collection were included in this database: the database consists of 417 digital images chosen from a larger group of fashion plates. The images were scanned in color using a Microtek Scanmaker 9600L and saved in .jpg format. Some manipulation of the images was done to present the clearest possible digital image. The scanned images were then linked with descriptive data using the UW Content program. The original collection resides in the UW Libraries Special Collections Division as the Fashion Plate Collection. Fashion plates should not be confused with costume plates. As outlined by the French social and cultural historian Daniel Roche, there was a point when depictions of costume and of fashion "diverged": [16] the latter came to depict clothes of the present day, while the former came to represent clothes "after the event", that is, after the epoch of the fashionable style. "Le Monument de Costume" of Freudenberg and Moreau le Jeune, published in Paris between 1775 and 1783, consisted of costume plates. [5] Fashion plate illustrators [ edit ]This collection is currently closed to researchers due to a major collections audit, in preparation for the Museum of London’s move to West Smithfield. Fashion plates are frequently used as primary source material for the study of historical fashions, although commentators warn that as they were high-end aspirational catalogues it should not be assumed that the majority of people dressed in the same way expressed by a plate. A more accurate way to use fashion plates for study is to treat them like a modern high-end fashion magazine or designer's shop window with only a few people wearing such luxury items. [2] History [ edit ] 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. Ingham, Erika. “Fashion Plates introduction.” The National Portrait Gallery. Accessed June 28, 2019. https://www.npg.org.uk/research/fashionplates/fashion-plates-introduction. Custom Fashion Designer Desk Name Plate Wedge Personalized Fashionista Nameplate Office Sign Shelf Tabletop Plaque Gift Decor

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.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. 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). As April Calahan states in Fashion Plates: 150 Years of Style,“the fashion plate was no longer about a line-for-line transcription of garments, as it had been for centuries, but about conveying a certain mood, spirit, or lifestyle.” Fashion plates no longer remained the only source of information on current fashion trends and so they became their own art form in addition to providing information on current trends. 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 A spate of periodicals emerged in the 18th century, including a number aimed at women, and from 1759 the Lady's Magazine (1759-1763) became the first to record contemporary fashions with its ‘habits’ of the year. Another, longer-lived Lady's Magazine (1770-1832) followed with more frequent and regular plates from 1770 to show what society was wearing. Early plates were issued uncoloured, though may have been tinted by dressmakers to inspire their clients, but by 1790 those in the Lady’s Magazine were 'embellished’ with hand-colouring, and the practice of including regular coloured plates had begun.