CIVIL COSTUME AT LOUISBOURG: 1713 - 1758
WOMEN'S COSTUME

BY

MONIQUE LA GRENADE

OCTOBER 1971

Report H F 16 E

Fortress of Louisbourg

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ILLUSTRATIONS

[Internet editor's note: The images are presently unavailable.  Please consult the original report at the Fortress of Louisbourg]

1. CHEMISE PATTERN

The pattern on the left is one of a "chemise à la françoise", whereas the one on the right is one of a "chemise à l'anglaise". The "chemise à la françoise" is made of a rectangular piece folded in two; the neck-opening is just a cut out on the fold; the sleeves are added on each side and a gore at the bottom to give the chemise more fullness. (pp. 2 )

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris 1751-1765), Article "lingère", Supplement Plate 1.

2. RUFFLE MODELS

The dress sleeves were sometimes trimmed with ruffles as can be seen on the Plates 5, 6 and 16; the same is true of the wrist of the chemise when it is a fine one. The ruffles were made of lace or of fine fabrics. (pp. 3 - 4)

The model on the left is double or "formed of two rows'", the one on the right is cut in such a way as to fill into a point when the elbow is bent. The pattern of this last model is given on Plate 3.

Drawing done by Paul Jeddrie according to description details gathered in the course of research.

3. CUFFS

Some cuffs were a tapered piece of fabric. (p.4 ). These measure two inches at their narrowest point, six inches at the widest and have a diameter of 17 inches; they are made of white linen embroidered. Once pleated and sewn to the wrist of the sleeve, the widest part was sewn on the outside of the sleeve, as illustrated on Plate 2, right side.
 

Cuffs kept in the lace collection given by Madame Margaret Simeon to the costume reproduction workshop in the Fortress of Louisbourg.

4. STAYS OR CORSETS

Some models of stays were fastened on the front with laces [fig, no. 12], the centre of the back being either sewn [fig. no. 12] or open and adjusted with laces [fig. no. 13]. The sleeves, on those which had some, were sewn (sleeve R] or laced (sleeve 0) to the armholes. (pp. 4 - 5)

The bed jacket, which was not so tight fitting as the stays, was tied on the front with ribbons. (p.6 )

Plate taken from M. Garsault, Description des Arts et Métiers (Paris 1769), quoted in Norah Waugh, The Cut of  Women's Clothes: 1600-1930 (London 1968), p. 107.

5. FULL DRESS

The dress was made of silk or cotton; (p. 8) the skirt opened on to a matching petticoat, (p. 8) while the bodice would open over the stomacker, a piece trimmed with lace or ribbons (pp. 8 ). In Louisbourg, dresses like this one were found in the wardrobes of the administrators' and officers' wives. (pp. 11 ).

Drawing done by Paul Jeddrie according to description details gathered in the course of research.

6. DRESS "A LA FRANCOISE"

Generally speaking, the dress "à la francoise" was the most popular model in the 18th century. The model and the quality of the fabrics used varied slightly according to the areas and the condition of the people. Left: dress "à la françoise" viewed from the front; Right: back view of the same dress. (pp. 7 - 12 )

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris, 1751-1765), Article "couturière", Supplement Plate 1.

7. PATTERN OF A DRESS "A LA FRANCOISE"

"The making (of the dress) consists of assembling four widths of fabric for the back and two for each side and the front". (p. 7) From left to right, half of the front pleated, the back of the dress assembled and pleated, half of the front before pleating with the armhole cut and half of the back before pleating with the armhole cut.

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris, 1751-1765), Article "couturière", Supplement Plate 1.

SIMPLE DRESS

People of modest condition, (p. 49) wore a plain coarse linen chemise with its sleeves rolled up to the elbow, (p. 50 ) a skirt (p.16 ) made of wool or cotton, (p. 17) a linen neckerchief tied around the neck, (p.44 ) an apron (p.13) tied around the waist with its bib fastened to the bodice with pins.

Drawing done by Paul Jeddrie according to description details gathered in the course of research.

9. WOMAN OF THE COMMON FOLK

The fashions launched in the royal courts and subsequently adopted by the well-off people never reached the common folk. In view of their limited financial resources, this latter group of people had just enough clothes to protect themselves against cold, and their dress was more appropriate to the type of duties they had to perform. The women did not wear the corset, their skirt was shorter and covered with an apron. (pp. 48 - 51)

Edmé Bouchardon, Crieuse de vieux chapeaux (Female hawker of old hats). Quoted in Marguerite Pitsch, La vie populaire à Paris au XVIIIème siècle (Life of the common folk in Paris during the 18th century). (Paris 1959), Plates section, Plate XV.

10. THE MANTELET

The mantelet was the commonest outdoor wear in Louisbourg. (pp. 21 - 22) It was a type of short cape stopping just below the waist. It was cut in a piece of fabric folded double. The pleats indicated on the line [a-b] form the center of the back. The line [b-n] form the neckline; tied at the front at (n], the mantelet was pleated around the neck along the lines indicated [e].

The hood was also made from a piece folded double. On the fold [i-h], the lines indicate the direction of the circular pleats and the triangular cut-out [h-g] was assembled by a seam.

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris, 1751-1765), Article "marchande de modes", Supplement Planches 1.

11. THE COIFFE

There were several. models of coiffes, (pp. 26-29). This particular one is mounted on a quilted bonnet. [a] The caul [b] is pinned to it; the border of the coiffe [c] is pleated around it and held by a stiff frame (d]; the lappets [e] are hanging on each side. (pp. 22-26)

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris 1751-1765), Article "lingère", Supplement Planches 1.

12. STRUCTURE OF A SHOE

The pieces composing a women's shoe are the heel [a: bottom view; b: side view], the vamp [c] and the quarters [d]. The vamp and quarters were mounted on a mould [e]. The structure of the shoe can be seen in [f-g] and the finished shoe in [h.]. It is to be noted that the heel seat extends itself almost to the point where the sole touches ground. (pp. 35 - 38)

Diderot et d'Alembert, Encyclopédie ou Dictionnaire raisonné des sciences, des arts et des métiers par une société de gens de lettres (Paris 1751-1765), Article "cordonnier", Supplement Planches 1.

13. SHOT HEEL

This heel found during the archaeological excavations done at Louisbourg supports the description given in the Diderot's Enclclopédie (Plate 12). The wood is broken, but it is possible to see that it extended over the shank of the shoe. (pp. 35 - 38)

Artifact collection, Fortress of Louisbourg.

14. SOLE AND HEEL

The sole part opposite to the heel bore three holes and corresponding hole marks can be seen on the heel. Consequently, the heel and the sole were fastened with nails or wooden dowels.  (pp. 35 - 38)

15. SOLE, HEEL AND HEEL COVERING

Those three pieces reveal quite interesting details; first the fairly rounded tip of the sole; the leather piece, at the bottom, which was nailed to the bottom of the heel; its edge protruding 1/8 inch all around, which probably means that this heel was covered with leather or heavy fabric. This one, fairly low, extends over the shank of the shoe. (pp. 35 - 38)

Artifact, collection, Fortress of Louisbourg.

16. GROUP PICTURE

The costume varied according to the social conditions of the individual. The ladies strolling with officers or gentlemen wear finely draped and trimmed dresses; stays gave them their slender waist and some of them emphasized the fullness of their skirt by wearing a hoop. (p.8)

The costume of the common folk was much simpler. The working women did not wear hoops or stays; they rolled up their  sleeves and wore the apron. (pp. 48 - 51)

Augustin de Saint-Aubin, La promenade des Ramparts de Paris (Promenade on the Ramparts of Paris). Quoted in Marguerite Pitsch,  La vie populaire à Paris au XVIIIème siècle (Popular life in Paris during the 18th century). (Paris 1949), Plates section, Plate XV.

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