A woman’s toilette was one of the loveliest delights of the 18th century (if you were rich). The Toilette Hours, where given lengths of times during a day where a woman could go refresh herself, change out of her clothes, get any letter writing out of the way, and of course do whatever business was pressing on her mind in the safe sanctuaries of her rooms. Gentlemen, in general, excluding husbands and select members of court, were not permitted to call on the mistress as she was not decent to receive company. But during these calling hours, most commonly, women of a certain station wouldn’t put back on the same clothes they wore during the day, instead they would most likely wear a fresh set of clothing.
I decided to give a rundown of the most common collections of garments a woman might have in her trousseau, so you might be able to determine which dress would best suit your needs.
Robe a la’ Francaise (sacque)
“A long gown with pleated fabric stitched down at the neckline. The fabric is stacked in multiple deep pleats. Fitted front by means of a back lining to which the back fabric was not attached except at the seams. The petticoat is nearly always made of the same fabric as the gown and is typically trimmed with a wide applied flounce.” – Glossary of 18th Century Costume Terminology
Generally, this particular garnment is primarily made of fine fabrics such as silk or and delicate laces and embroidery. The trim is lavish and extensive, with ruffles and bows in decorative ribbons or metallic threads. The train on the back of the dress is configured into becoming the actual structure of the back of the dress, while the rest of the fabric trails behind, blending into the skirt. There have been several, excellent tutorials on how to make this dress either by pattern or by eye-balling it.
Robe a la’ Anglaise
“A long gown with the bodice back fitted to the body. Set in waist. More simple in appearance. Skirt is pleated or gathered around the fitted bodice.” – Glossary of 18th Century Costume Terminology
This gown, as assumed, was introduced to the world by the influence of the British, who favored gowns with a simpler construction, paying more attention to the cut of the fabric and the dainty details of the trim works around the bodice, sleeves or the hem of the petticoat (though the second to last image is a french style and worn during the end of the century). As we can guess, less fabric is required for this gown, as most gowns have a wide front parting where a simple petticoat could be worn beneath (we see this style in colonial America). The back of the gown could be gathered and “bunched up,” therefore being called a robe à l’anglaise retroussée.
Robe a la’ Polonaise
“A specific cut of gown involving, a cutaway bodice, the bodice cut in one with the skirts, and typically and famously, the skirts pulled up to form large poufs of fabric in the back and on the sides by means of cords, buttons, ties, or whatever means. Normally, the gown skirts were pulled up in two places on either side of the back in order to form three poufs, but there are very rare examples of gown skirts pulled up in four places to form five poufs. The bottoms of the poufs fall at approximately the same height off the ground or the front poufs are shorter than the back poufs.” – Glossary of 18th Century Costume Terminology
There is a distinct “3 rump” look about the back of the dress, where one can almost clearly see 3 separate panels of the over-skirt being bunched up and gathered at the back, exposing the matching petticoat beneath. This design has a sharp waistline that is distinct and noticeable from every angle, as though it cuts into the puffiness of the dress to keep it from floating off the body. (To keep dress straight from variations like the robe à l’anglaise retroussée, think of the Polonaise dress being the bootylicious dress of the 18th century).
Robe a la’ Mantua
“Originally the Mantua was an informal gown with an attached open skirt that was draped back over the hips to reveal the petticoat beneath. Gradually its skirt extended and in the mid 1750s it would only have been worn for very formal occasions and at Court. In the late 17th century dressmakers began to be called mantua makers, an expression that continued to be used until the early 19th century, long after mantua gowns had been abandoned.”-Museum of London
Worn over grand panniers, long and flat crinoline cages that supported the weight of the heavily embroidered fabrics and brocades, as well as wearing stiff petticoats. The second image, from the Museum of London, records a fascinating story of the background of this dress. Do check it out!
Chemise a la’ Reine
“Translates as ‘shift in style of the queen.’ Muslin gown fitted by means of gathering at the neckline, the waist, at the ends of the sleeves, and one or more points along the sleeves. Marie Antoinette is attributed as having said she and her court ladies were [wore] it informally.” – Glossary of 18th Century Costume Terminology
Élisabeth Vigée Le Brun, Martine-Gabrielle-Yoland de Polastron (1745–1793), duchesse de Polignac , 1783, Waddesdon Manor – National Trust
A lightweight gown, gathered and loosely fitted for comfort in the countryside. Though the closures for these gowns are difficult to imagine or construct… I have my ideas.
I hope this post was helpful to you, as you plan your gowns for Costume College! I am excited and I plan on making one of these gowns in the near future. -Elise
Additional Resources: Clothing of 18th Century England: American Revolution Terminology: Dreamstress The Chemise a la Reine: The Fashion Historian What do you wear under a Chemise a la Reine: Dreamstress 18th Century: Fripperies and Fobs All the Mantuas: 18th Century Notebook