Panniers: The Fashionable Secret Behind Rococo's Wide Hips

Ah, the Rococo period—when fashion was a game of balance, elegance, and making sure you didn’t knock over the porcelain with your hips. From sumptuous pastels to excessively adorned wigs, there’s no denying that the French aristocracy knew how to turn getting dressed into an extreme sport. Amidst all the frills, lace, and silk, there lay a secret that was responsible for one of the most iconic silhouettes of the 18th century: the pannier. These were the grand undergarments that gave ladies of high society their incredible, side-spanning width, lending them that distinctive “I-am-my-own-doorway” shape. Let’s take a delightful and breezy romp through the history of the pannier, a garment that quite literally widened the horizons of 18th-century fashion.

 

 

The Evolution of Panniers: From Modest to “Make Way!”

The word pannier comes from the French word for “basket,” and it’s not hard to see why. The original panniers, first appearing in the early 1700s, were shaped like large, structured baskets, designed to give the wearer’s skirts a gently widened look. Initially, they started out rather modest—more akin to a gentle suggestion of width rather than an outlandish statement. Early panniers were simply there to add a subtle flare to skirts, bringing a bit of extra volume and elegance to the silhouette.

However, like any great trend, the humble pannier evolved. The early 18th century brought bigger and bolder iterations, and by the height of the Rococo period, panniers had exploded in size—literally. The goal now was to achieve a dramatic, extravagant width that could reach up to six feet across. To put it in context, a lady sporting her best pannier would need to think twice before attempting to enter a narrow doorway, lest she find herself wedged like a Rococo cork. A typical social evening was less about flowing through rooms and more about strategic angling and sidling through tight spaces.

But let’s be clear, the increasing width wasn’t just a flight of fancy; it served a social purpose too. The wider your skirt, the more prestigious you appeared. It was a literal embodiment of taking up space—an ostentatious way of saying, “I am important enough to command my own personal zone of air and fabric.” It wasn’t just about fashion; it was about status, spectacle, and asserting your rightful place among the upper echelons of society.

 

 

How Were They Worn?

You might be thinking: “Okay, but how on earth did these contraptions work?” To put it simply, panniers were hoop skirts designed to extend outwards to the sides. They were constructed with a fabric base, usually linen or cotton, and reinforced with hoops made of materials like whalebone, reed, or metal. Picture a large birdcage strapped to your hips—though far less convenient for smuggling birds. The hoops were attached to a waistband, which tied at the waist to hold the entire ensemble in place. The shape was often more oval or elliptical, rather than perfectly round, providing the desired width without extending to the front and back—an efficient way to minimize unintended consequences, like constantly tripping over your own dress.

Putting on a pannier was no small feat, and neither was getting used to wearing one. The contraption forced the wearer into a new kind of physical awareness. You had to know exactly how wide you were at all times, lest you send a tray of priceless china crashing to the floor during a particularly enthusiastic curtsey. Walking through doors required advanced maneuvering skills; ladies learned to turn sideways or even fold their pannier edges inward to squeeze through, making everyday actions something of a spatial awareness exercise.

And sitting down? Oh, sitting was an art! You couldn’t simply plop down; no, you had to perch—carefully positioning the skirts and angling yourself so the panniers flared up around you rather than trying to fold under you like a rebellious slinky. The modern-day equivalent might be trying to sit down in an overly full, stiffly inflated inner tube and trying to make it look graceful.

 

 

The Functionality and the Fancies

Panniers had practical uses as well. Yes, they were primarily a fashion statement, but they had a handy knack for displaying a woman’s dress to its fullest. The enormous skirts allowed for expansive canvases of rich fabrics, lavish embroidery, and endless decoration. They became a moving gallery of the finest craftsmanship, each lady a walking exhibition of textiles, often decked out in silks and velvets adorned with exquisite lace and ribbons.

Additionally, panniers acted as a sort of shelf for ladies to rest their hands upon. Think of it as a precursor to the modern-day armrest—though slightly more formal and less convenient. It also wasn’t unheard of for clever women to use the extra space beneath their skirts for a little smuggling. Need a flask at a ball? No problem. With a pannier wide enough, there was room for all sorts of secrets hidden beneath the layers.

But it wasn’t all practicality. The exaggerated width was also meant to make the waist look narrower by contrast. The broader the skirt, the tinier your waist appeared—making the effect doubly striking when paired with the tight stays (corsets) that were in vogue at the time. The goal was a sharply defined silhouette that practically screamed opulence, leaving viewers marveling at both the beauty and the improbability of it all.

 

 

The Extravagance Reaches Its Peak

By the mid-18th century, panniers had reached their zenith of grandeur. Court dresses were adorned with rich fabrics, and the panniers beneath them were often so wide that it’s said Marie Antoinette herself could hardly get through some of the palace doors at Versailles. Imagine arriving late to a gathering and trying to sneak in, only to have to angle yourself like a sailboat tacking against the wind.

The court of Louis XV saw panniers at their most extreme—skirts that were so broad they resembled a fabric-covered dining table with a woman in the center. In fact, many ladies required help from servants just to get dressed, since navigating the intricate web of hoops and fabric on your own was nearly impossible. It was during this time that panniers became a symbol of the ridiculous excesses of the French aristocracy, a visual embodiment of how out of touch the elite were with the struggles of the average person.

While the voluminous skirts might have looked elegant sweeping through the opulent halls of Versailles, it’s fair to say that the panniers' more outlandish styles were also ripe for mockery. Caricaturists of the day had a field day exaggerating the hoops to comedic proportions, lampooning the absurdity of women in skirts so wide they had to turn sideways to fit through a doorway. Imagine being late for your own execution simply because your skirt wouldn’t fit through the door!

 

 

Panniers: A Dying Fashion

As the 18th century drew to a close, the fashion winds began to change. With the French Revolution came an understandable backlash against anything that screamed aristocratic excess. And nothing quite screamed excess like a skirt that could double as a dining table. The revolutionaries didn’t take kindly to symbols of wealth, and as powdered wigs and overly decorated gowns fell out of favor, so too did the pannier.

In its place, fashion shifted towards the more natural, relaxed silhouette of the early 19th century. Out went the grandiose hoops, and in came the high-waisted, flowing gowns that resembled Grecian robes. It was a clear reaction to the absurdity of Rococo opulence—a desire to leave behind the impracticalities of a skirt that needed its own zip code. Panniers were packed away, left as relics of an era defined by beauty, frivolity, and no small measure of silliness.

The Legacy of Panniers: Still Making Waves Today

Though the days of wearing panniers have long passed, their influence can still be felt in modern fashion. You can see echoes of the pannier in the crinolines and bustles of the 19th century and even in contemporary haute couture, where designers play with volume, structure, and shape to make bold statements. The idea of creating a dramatic, space-occupying silhouette never really went away; it just evolved with the times.

Panniers also remain a favorite inspiration for costume designers working on period dramas. Shows and films depicting the lavish lives of the 18th-century aristocracy often bring out the full splendor of panniers, reminding us of the elegance, the ridiculousness, and the sheer theatricality of Rococo fashion. There’s something undeniably fascinating about an undergarment designed to make a person as wide as they were tall—a kind of delightful impracticality that captures the imagination.

 

 

Final Thoughts: The Joy (and Struggle) of Width

In the end, panniers were as much about fun as they were about fashion. They embodied the playful, over-the-top spirit of the Rococo period, when more was more, and taking up space was a privilege and a performance. They might seem absurd to us now, but that absurdity is part of what makes them so intriguing. They tell a story of a time when fashion was less about function and more about fantasy, when the goal was to astonish, amuse, and command attention.

So, the next time you put on a snug pair of jeans or slip into a little black dress, spare a thought for those ladies who had to negotiate doorways, maneuver ballrooms, and perch gracefully while sporting a six-foot-wide undergarment. There’s something comforting in knowing that, no matter how tricky our modern fashion dilemmas may be, at least we don’t have to wear panniers!

 

Flirting with Flair: The Art and Allure of 18th Century Fans

Ah, the 18th century—an age of powdered wigs, extravagant gowns, and elaborate balls. But hidden beneath all the lace and layers was an accessory with a secret language of its own—the hand fan. Far more than a tool for cooling down in the stuffy confines of ballrooms, fans were elegant conversation pieces, status symbols, and even the perfect instrument for a little harmless flirtation.

In this post, we’ll take a glimpse into the fabulous world of 18th-century fans, from their exquisite materials to the playful art of using them for social intrigue.

The Fanciful Materials of 18th Century Fans

The fans of the 18th century were nothing short of miniature works of art, crafted from the most luxurious materials available. Forget cheap paper or plastic—these fans were all about craftsmanship and opulence.

• Ivory and Tortoiseshell: Handles were often carved from delicate ivory or tortoiseshell, providing a sturdy yet elegant base. The intricate carvings on these materials gave each fan a unique personality, much like the ladies who wielded them.

• Mother-of-Pearl: If you wanted to flaunt your wealth, a fan with mother-of-pearl sticks was a must. These iridescent fans shimmered with every flick, perfect for catching the light (and someone’s eye) across the room.

• Silk and Lace: The leaf (or fan’s folding part) was commonly made of silk, lace, or vellum. Painted by hand, these fabrics were adorned with pastoral scenes, delicate florals, or even mythological characters, all designed to show off a woman’s artistic taste and refinement.

• Feathers: Sometimes, fans were adorned with the finest feathers from exotic birds like ostriches or peacocks. The feathers added a dramatic flair and just a hint of exotic mystery—perfect for making a grand entrance.

The Fan as a Canvas: A Gallery in Your Hand

The real charm of 18th-century fans lay in their decoration. While some featured simple designs, the more elaborate ones were truly portable art galleries. Artists often painted romantic scenes, pastoral landscapes, or classical myths onto the fan’s surface. Picture this: a pastoral scene where shepherds and nymphs frolic on the silk folds, or cherubs dance across a lace canvas. Each fan was a window into a whimsical world—perhaps even a subtle reflection of its owner’s romantic dreams or desires.

Fans could also bear political or social messages. Some fans even commemorated historic events, like royal weddings or military victories, turning a simple accessory into a subtle statement piece.

Flirting with a Fan: The Secret Language of Love

But beyond their visual splendor, fans were secret agents of 18th-century flirtation. Yes, you read that right—fans were a sophisticated tool for sending subtle (or not-so-subtle) signals to potential suitors. Through a precise series of gestures, a lady could say more with her fan than with a dozen words.

Here’s a crash course in the language of fans:

• Fan closed, touching the cheek: "I love you." The simplest gesture could convey an overwhelming declaration of affection.

• Drawing the fan across the eyes: "I’m sorry." In case you needed to apologize for a slight faux pas.

• Hiding your eyes behind the fan: "I love you, but I’m shy about it." A coy way to say, "Come closer, but not too close."

• Fanning slowly: "I’m not interested." Sorry, but that handsome fellow across the room? He has caught her eye.

• Fanning quickly: "I’m available." You’d best act fast if you’ve received this signal!

• Placing the fan’s handle to the lips: A bold move that means, "Kiss me." Only for the most daring of flirtations!

With every flick and flutter, a woman could control her interactions without ever uttering a word. In a society governed by strict decorum, fans were a clever way to communicate privately in public—a silent conversation carried on through graceful movements.

The Art of the Flutter Today

Although the days of fan-flirting at balls may be behind us, the allure of the fan remains. Today, these antique fans are highly collectible, cherished for their artistry and the intriguing history they carry. And who knows? If you find yourself at a summer garden party, you might just want to revive a few of these fan-flirting tricks to bring a little 18th-century charm into the present day.

So, next time you come across an antique fan, remember: it’s not just a pretty accessory; it’s a portal to the past and a playful weapon of seduction. Ready to flutter your way through history?

 

 

 

Latchet Shoes: Stepping Back in Style to the Eighteenth Century

When we think of iconic shoes, modern designs like sneakers, loafers, or high heels might pop into our heads. But if you rewind the fashion clock to the eighteenth century, there’s one shoe style that reigned supreme: the latchet shoe. A symbol of both practicality and elegance, latchet shoes were worn by men and women alike, gracing everything from cobblestone streets to the lavish courts of European royalty. So, slip on your best buckles, and let’s take a lighthearted yet informative stroll through the history, construction, and materials of one of the most timeless shoe styles in history.

What Exactly Are Latchet Shoes?

Before we dive into their construction, let’s first figure out what makes latchet shoes unique. The defining feature of these shoes is the two flaps or “latchets” that meet over the top of the foot, often secured with a buckle or ribbon. The name comes from these "latchets," which allowed for the shoe to be fastened snugly to the foot. Unlike modern shoes, which rely on laces or zippers, the latchet system was simple, functional, and provided an opportunity for a bit of flair.

The latchet shoe had variations for different occasions. Men's latchet shoes were usually designed with a low heel, square toe, and often featured bold buckles for fastening. Women’s latchet shoes, on the other hand, typically had a higher heel, pointed toe, and were more likely to be adorned with ribbons and delicate details. Both styles were worn with stockings, and for formal occasions, these shoes could be made with exquisite fabrics and embellishments to match the high fashion of the time.

The Evolution of the Latchet Shoe

Though the latchet shoe reached its height of popularity in the eighteenth century, it has roots that stretch back much further. The style developed from medieval footwear and evolved as fashion tastes shifted over time. In the late seventeenth and early eighteenth centuries, a more structured and refined form of the latchet shoe emerged. This new design catered to both the practical needs of daily wear and the aesthetic preferences of the aristocracy.

As we move through the eighteenth century, we see a divergence in men’s and women’s footwear. While men’s shoes remained more practical, with sturdy leather and bold buckles, women’s footwear became a statement of femininity and extravagance, often made of delicate materials like silk and satin. Yet, even with these changes, the latchet shoe remained a constant, offering a recognizable and reliable option for fashionable feet.

Materials and Methods of Construction

Now that we know what latchet shoes looked like and who wore them, let’s delve into how they were made. Shoe construction in the eighteenth century was an intricate and highly skilled craft, and making latchet shoes was no exception. Here's a breakdown of the typical materials and methods used:

1. Leather: The Heart and Sole (Pun Intended)

The primary material used for latchet shoes, especially for everyday wear, was leather. Both the soles and the uppers (the top part of the shoe that covers the foot) were made of leather, which varied in quality depending on the wearer’s status and budget. Fine calfskin or goatskin was often used for upper-class shoes, while sturdier cowhide was reserved for more practical, everyday shoes.

The leather would be cut to fit a specific shoe size using wooden or metal lasts (foot-shaped forms). A shoemaker, known as a cordwainer, would carefully stretch and shape the leather around the last, ensuring a perfect fit. The stitching that held the upper part of the shoe to the sole was done by hand, often using linen or waxed thread for durability.

2. Wooden Heels: Raise Your Game

High-heeled shoes were all the rage for both men and women in the early eighteenth century. Women’s shoes featured curved, sometimes ornately carved wooden heels, which were covered in leather or fabric to match the shoe’s design. Men’s heels were lower and squarer, providing a more stable base for walking. These wooden heels were attached to the sole using small wooden pegs or nails, giving the shoe extra height and elegance.

3. Buckles and Ribbons: The Finishing Touches

One of the most iconic features of latchet shoes was the buckle or ribbon that fastened the latchets over the foot. For men, buckles were often made of brass, silver, or even gold, and were sometimes encrusted with gemstones. These buckles not only served a functional purpose but were also a symbol of status. The bigger and more ornate the buckle, the higher the wearer’s social standing.

Women’s latchet shoes were often secured with ribbons, laced through eyelets in the latchets. These ribbons were made of silk or satin and could be tied in elaborate bows for added flair. In some cases, women’s shoes also featured buckles, though these were usually more delicate and decorative than the bold buckles on men’s shoes.

4. Silk and Satin: For Fancy Feet

While leather was the go-to material for practical shoes, more luxurious latchet shoes were often made with silk or satin uppers. These shoes were delicate, designed to be worn indoors or on special occasions. The fabric was sometimes embroidered or embellished with lace, making the shoes a true work of art. Women’s latchet shoes, in particular, showcased the fine fabrics and attention to detail that epitomized eighteenth-century fashion.

5. Soles and Stitching: A Labor of Love

The soles of latchet shoes were made of thick leather, designed to withstand the wear and tear of walking on uneven streets. The construction process involved attaching the sole to the upper using a method called "welt stitching." This involved stitching a strip of leather (the welt) to the upper part of the shoe and then attaching the sole to the welt. The result was a sturdy, long-lasting shoe that could be resoled when necessary.

Soles were sometimes also reinforced with metal nails or hobnails to give extra durability, especially for shoes meant to be worn outdoors. However, delicate silk or satin shoes often had thinner soles, as they were primarily for indoor wear or dancing.

The Popularity of Latchet Shoes

One of the reasons latchet shoes became so popular in the eighteenth century was their versatility. The simple, functional design allowed them to be adapted to different occasions and social classes. Whether you were a farmer, a merchant, or a member of the aristocracy, there was a latchet shoe for you.

For everyday wear, latchet shoes were practical and durable, offering a snug fit and good support for long hours on your feet. For more formal occasions, they became a canvas for artistic expression, with silk, satin, embroidery, and extravagant buckles elevating the simple design into something truly special.

In fact, buckles became such a status symbol in the eighteenth century that entire businesses sprang up devoted solely to crafting ornate shoe buckles. These buckles were often interchangeable, allowing the wearer to switch out plain ones for more decorative options depending on the occasion.

Latchet Shoes in Modern Times

Though latchet shoes eventually fell out of fashion as new styles emerged in the late eighteenth and early nineteenth centuries, their legacy lives on. Today, you can find reproductions of latchet shoes for historical reenactments, theater productions, and museums. Their simple yet elegant design has inspired modern shoe styles, particularly in period fashion and costume design.

If you’ve ever seen a pair of buckled shoes in a film or TV series set in the eighteenth century, you’ve likely admired the beauty of latchet shoes without even realizing it. From historical dramas to reenactments at colonial sites, these shoes continue to make their mark, proving that some styles really do stand the test of time.

Wrapping It Up

Whether you’re a history buff, a shoe enthusiast, or just someone with an appreciation for classic fashion, latchet shoes offer a fascinating glimpse into the footwear of the past. Their combination of practicality, elegance, and versatility made them the go-to shoe of the eighteenth century, and their influence is still seen today.

So next time you slip on your modern shoes with their convenient zippers or laces, take a moment to appreciate the craftsmanship and history behind the latchet shoe. After all, fashion is all about finding inspiration from the past, and latchet shoes are a perfect example of how a simple design can become an enduring symbol of style and sophistication.

Now, if only we could bring back those sparkling buckles...

 

 

If you need to order, please email me at shesalive@peoplepc.com 

 

Okay, cast and known to be working mold masters:

 

molds with the heads and torsos cast together in one piece: $60 each

Georgia

Julia

Lily

Camille

Rose

Belle 

Solange

 

molds with both the head and torso but they are cast separately and joined in the greenware stage     $60 each

 

Eleanor

Josie cast with the upper arms as part of the torso for strapless gowns

 

just the head molds

 

Josie $25

Kiara contains two heads one with closed and the other with open eyes $40

Lucille contains two heads one with eyes downcast and one with open eyes $40

 

Still taking stock of the arms and leg molds. I think I have more master molds in storage and plan on trying to get into town to find them this week.

 

 

 Great news! The doll maker who bought the rights to produce ultra Chic porcelain is up and running! Her online shop is located here https://allfordoll.myshopify.com/ and you can buy both pints and gallons!

 

 

 I think I have figured it out! Hopefully below is a clickable link to download The Edwardian Promenade pattern. This fits the Camille and Julia molds best.

 

 

 

Edwardian Promenade pattern

 Unfortunately many suppliers have retired or sold their businesses. Have patience as I try to go through and find alternative sources. Will be adding more photos today, and if I can remember how, include two of my older patterns to download.

The First Cat Show: Victorian time capsule by Jacob Hofman

 

  The first (recognized) cat show was in Victorian England circa 1871 at the Crystal Palace. This was the first event of its kind to successfully enthrall the British public and indeed the Queen herself. Organized by Harrison Weir and the naturalist Fred Wilson it soon became a public sensation. Even though the show was thrown together on rather short notice, the two men managed to bring together over 170 exhibits. These feline specimens came from a mix of middle-class and aristocratic can’t fanciers. These exhibits included the first Siamese cats ever recorded at Show as well as African, long-haired varieties of both French and Persian bloodlines, English domestic short-hair cats, and a manx. The idea was to develop standards on which to judge the domestic cat. Almost to the cat fanciers’ consternation, the exhibition was an almost overwhelming success! The public was so entranced with the idea that over 20,000 showed up to view the event. Crowd control became a real issue and transportation needs were quickly ramped up by scheduling more trains to accommodate the crowds. The second day was even better attended than the first. So much so, two cat shows were held yearly until the blip of eighteen seventy three.

Besides being a historic event for cat fanciers worldwide, here are some other interesting tidbits.

·      

• • Pedigrees did not exist: This is deeply ironic, my non purebred Siamese could have been a contender back then! It was only in 1887 that pedigrees began to emerge.
  • ·       Frustrating portraiture: The winners of the first Crystal Palace cat show were not photographed, they got portraits. I do not envy the poor souls who had to paint the kitties.
  • ·       Joke categories: Once upon a time in a land far, far away there was a “prize” for the fattest cat who came in at twenty pounds.
  • ·       Great PR: Before cat shows came into vogue cats were valued for one reason only, pest control. So much so that we have this deeply disheartening quote from Charles Baker."The Cat must be considered as a faithless friend, brought to oppose a still more insidious enemy. The domestic cat is the only animal of the tribe to which it belongs, whose services can more than recompense the trouble of its education."
     
  
   
  
      And that is the cat show that started it all; kitty mania has come so far. It’s hard to think that cats were once regarded as a “necessary evil”, a change in thinking made possible by cat shows. Not since Egyptian times have cats had it so good.
   
      In the nineteen sixties it was Beatles mania, in the eighteen sixties it was exhibition mania. This was indeed what the crystal palace was well known for; in addition to cat shows it showcased inventions, industrial products, and anything else that would draw crowds.