CHAPTER XXX.
REIGN OF NAPOLEON III. (END).
1867 TO 1870.
Five different styles of dressing the hair in 1868 and 1869—“Petit catogan;” three triple bandeaus—The hair is worn loose—Dress of the Duchess de Mouchy—Refinements of fashion—Various journals—New shades—Crinoline is attacked; it resists; it succumbs—Chinese fashions.
At this time women indulged more than ever in extravagance in dress, and in the strangest whims of fashion. The minor newspapers published paragraphs describing the costumes of this or that great lady, designating each by her name, by no means to the displeasure of the fair ones thus distinguished. Tailors and dressmakers grew rich.
A very favourite costume consisted of a pink gown, a straw bonnet and white feather, yellow gloves, and pale grey boots.
In 1868-9 the following styles of dressing the hair were fashionable:—
1. The hair drawn up from the forehead in a small “catogan” or club, and a large “coque” or bow of hair above; short curls over the “catogan,” and the same on each side.
2. The hair drawn up from the forehead without a parting; a large “coque” in the middle, surrounded by six smaller ones; six long ringlets falling from the back of the head, a little higher than the “coque,” low on the shoulders.
3. The hair fixed on the forehead, three immense “coques” on the top of the head, and ringlets forming a chignon behind.
4. The hair drawn straight up from the roots, and forming three rolls falling backwards; a “catogan” and three “coques” underneath; one long “repentir” or ringlet, waved, but not curled.
5. Three triple bandeaus in front; a small “catogan” surrounded by three rows of plaits; three large curls behind.
The hair was generally worn high, and dressed in a complicated style, but it was, above all, dishevelled. It was frequently worn quite loose and in disorder; less so, however, than in 1875.
The ornamental portions of dress were extremely handsome and expensive. A great deal of jewellery was worn. In 1869, at the Beauvais ball, the Duchess de Mouchy wore diamonds to the value of 1,500,000 francs. Her dress consisted of a gown and train of white gauze spotted with silver; a rather short over-skirt of red currant-coloured silk, forming a ruched “tablier;” a low, square-cut bodice, and shoulder-straps of precious stones; a sort of scarf of flowers, with silver foliage, fell from one shoulder slanting across the skirt.
At Compiègne, Biarritz, and the Tuileries, by turns, brilliant costumes such as these were seen and admired, and the day after a fête the fashionable newspapers gave minute descriptions of the most elegant dresses, and a guess at their approximate cost.
For many years, and although there was little novelty in the fashions, they never ceased to be the order of the day. More than ever did women make them their occupation, and men also were deeply interested in the subject.
There was, so to speak, a tournament of coquetry in Europe, in which the French ladies always bore away the palm.
New periodicals specially devoted to Fashion were published in France and abroad, and supplied a real want in circles where many articles of dress were made at home.
A taste for handsome dress pervaded every class of society, a “good cut” became every day of more importance, and the smallest variations were adopted, since radical changes were not taking place.
During the Second Empire new colours called “Magenta,” “Solferino,” “Shanghai,” and “Pekin” were produced in much the same chronological succession as the military expeditions to which they owed their names, and which had been successful, indeed, but at a great cost in blood.
Our victories in Italy being thus commemorated by Frenchwomen, they condescended to recall in like manner the capture of Pekin and the famous treaty of Shanghai. The extreme East was to them no longer an unknown land.
A decided change soon took place in the cut of dresses. As had frequently happened before, Fashion went from one extreme to the other; balloons were succeeded by sacks, and tubs by laths.
In 1869, when the question of giving up crinoline was mooted, the leaders of fashion consulted together. One party declared that the reign of crinoline must come to an end on account of its abuses; the other pointed out that “as women now walk so badly on their high heels, crinolines are necessary, and must be retained, because they sustain the weight of the skirts.”
The latter party gained the day at first, and crinolines were merely modified. They were made in white horsehair, with rolls round the bottom and up the back only.
But, after all, crinoline was destined to extinction, were it only because it had already lasted a long time. At various intervals its adversaries had dealt it vigorous blows, and its partisans now began to perceive that it was both inconvenient and ridiculous.
Crinoline could resist no further, and it fell. Dare we say for ever?
Crinoline was succeeded by Chinese skirts, extremely narrow over the hips, and precisely like those worn by the inhabitants of Pekin or Canton.
The transition was abrupt and sudden. It seemed, however, the most natural thing in the world.
Together with tight skirts, several other accessories of dress were made as much like Chinese fashions as possible. Up to a certain point French ladies approved of the new style, which has since that time undergone several transformations, the first being the introduction of the poufs and “tournures” that were still worn as recently as four years ago.
[Illustration]
[Illustration: Napoleon III 1865 to 1870
Present Fashions 1870 to 1875]