Classical Revival: Exploration, Philosophy and the Arts

Although often associated with the French Revolution and a rejection of the Ancien Régime, the transformation of fashionable dress was shaped by a multitude of influences, from global exploration and archaeological discoveries to the philosophical ideals of the Enlightenment.

Moving away from elaborate frills, flounces, imposing panniers and embellished stomachers, fashionable dress evolved towards simpler silhouettes, sheer fabrics and raised waistlines. The writings of Enlightenment thinkers such as Voltaire and Rousseau promoted ideals of ‘natural simplicity’ [2], while archaeological discoveries at Herculaneum and Pompeii brought the classical worlds of Greece and Rome into renewed focus. Their influence was disseminated through publications such as Antiquities of Herculaneum Exposed, published between 1757 and 1792, which became an important source of inspiration for designers, architects, artists and scholars.

Between 1789 and 1815, an old world collapsed and a new one began. The ancient civilisations of Greece and Rome became the perfect foundation to base the brand-new chapter of the French republic.

As the classical world took hold, a craze for everything à l’antique swept European society. Women of the new French elite eagerly played out their roles as goddesses [3]. Gowns were designed with low-cut necklines and empire line waists; constructed with draped, flowing fabrics, such as muslin, to form a conical silhouette which mimicked Greek and Roman architecture.

White textiles became synonymous with Neoclassical fashion, reflecting a widespread misconception of the ancient world. Today, we often picture antiquity through the image of pristine white marble statues, yet these sculptures were originally far more colourful. In the late 20th century, archaeologist Vinzenz Brinkmann helped reveal this lost palette by identifying traces of pigment on ancient marble sculptures. Over centuries, exposure to the elements and the natural degradation of pigments had stripped these figures of their original colour. The pristine white aesthetic that came to define Western ideals of Neoclassical elegance was, in fact, a consequence of time rather than a reflection of antiquity itself.

During the opening years of the nineteenth century, Neoclassical fashion was still evolving, with elements of earlier styles retained in garment construction. In this portrait of Eglé, she wears a white cotton muslin gown, its low, sweeping neckline edged with frills and a bottle-green silk sash tied beneath the bust to accentuate the skirt’s straight, flowing drape. The red buttons at her shoulders, however, reveal a connection to the preceding century, fastening a pleated muslin train reminiscent of the sac-back, or Watteau-pleated, gowns popular in the latter half of the eighteenth century. Traditionally identified as a circle dress, this silhouette illustrates how early nineteenth-century fashion bridged the ornate traditions of the Ancien Régime and the emerging Neoclassical ideal.

Satirical Depictions of Dress

The radical departure from eighteenth century attire drew criticism from broader social circles, fuelling a rich body of satirical prints. The new fashion which emphasised the natural contours of the body led to women being widely dubbed as ‘fashionable nudes’ [4].

Satirical prints serve as a key window into contemporary attitudes, articulating opinions that the printed word could not. Prints such as Parisian Ladies in the Winter Dress for 1800, seen in the Library of Congress archive, mock the extreme styles adopted by the French elite [5]. Similarly, British satirist Thomas Rowlandson captured this cultural fixation in works like Walking Sticks and Umbrellas for the Year 1801, illustrating the widespread debate over changing fashions across Europe [6]. A further example of Rowlandson’s work, Saint Carlo Borromeo Giving Alms to the Poor, will be offered in our forthcoming auction.

Textiles and the Empire

The red shawl draped over the back of Eglé’s chair is another distinct style of nineteenth century dress. While the classical silhouette discussed symbolised a new republic, the shawl symbolised colonial power.

Eglé’s shawl, most likely a Kashmiri shawl, grew in popularity during Napoleon’s Egyptian campaign (1798-1801). A garment that was originally an honorific dress item worn by high-profile South Asian men was adopted into fashionable French society as a display of imperial power [7]. Brought back as spoils of war, these shawls showcased Napoleon’s territorial acquisitions.

The Kashmiri shawl became a necessary accessory that complimented the simple gowns of the early 19th century, typically featuring a plain cotton body adorned with an intricate decorative boarder.

Dress and textiles were, in essence, a portrayal of character and a display of political, social and economic status. The present work showcases the wealth of Eglé, presenting her in fine textiles and fashionable dress. She demonstrates her patriotism with the shawl and her wealth through a fine muslin empire-line gown decorated with silk and lace, a look deeply reminiscent of the classical world.

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Auction Details

Wednesday 4 November, 10.30am GMT
Donnington Priory, Newbury, Berkshire RG14 2JE

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Viewing at Dreweatts London (highlights): 16-17 Pall Mall, SW1Y 5LU
Monday 26 October: 10am-4pm
Tuesday 27 October: 10am-7pm
Wednesday 28 October: 10am-4pm

Viewing at Dreweatts Newbury (full sale): Donnington Priory, RG14 2JE
Saturday 31 October: 10am-3pm
Sunday 1 November: 10am-3pm
Monday 2 November: 10am-4pm

Further information
General enquiries: + 44 (0) 1635 553 553 | pictures@dreweatts.com
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References

[1] The Met, Madame Philippe Panon Desbassayns de Richemont (Jeanna Eglé Mourgue, 1778-1855) and her son, Eurene (1800-1859). Marie Guillemine Benoist - Madame Philippe Panon Desbassayns de Richemont (Jeanne Eglé Mourgue, 1778–1855) and Her Son, Eugène (1800–1859) - The Metropolitan Museum of Art

[2] Katell le Bourhis (ed.), The Age of Napoleon- Costume from Revolution to Empire 1789-1815, New York: the Metropolitan Museum of Art, x.

[3] Ibid, xi.

[4] Michele Majer, ‘American Women and French Fashion’ in The Age of Napoleon- Costume from Revolution to Empire 1789-1815, ed. Katell le Bourhis, New York: the Metropolitan Museum of Art, 1989, 217. 

[5] Library of Congress, Parisian Ladies in the Winter Dress for 1800. Parisian ladies in their winter dress for 1800 | Library of Congress

[6] The Met, Walking Sticks and Round Abouts for the Year 1801. Thomas Rowlandson - Walking Sticks and Round-A-Bouts for the Year 1801 - The Metropolitan Museum of Art

[7] Naomi Lubrich, ‘The Little White Dress: Politics and Polyvalence in Revolutionary France’ Fashion Theory, 20 no.3, 2015, 273-296. The Little White Dress: Politics and Polyvalence in Revolutionary France: Fashion Theory: Vol 20 , No 3 - Get Access