Madame du Barry: The Last Mistress

French Beauty

Vaucouleurs, France. The Lorraine region. On 19 August 1743, Jeanne Bécu came into the world. History remembers her as Madame du Barry, the last Maîtresse-en-titre of Louis XV of France. 

Jeanne was the illegitimate daughter of Anne Bécu, a seamstress, and possibly Jean Jacques Godard. Jeanne’s mother worked for Monsieur Billiard-Dumonceaux and his Italian mistress, Francesca. Now in Paris, Francesca spoiled the three-year-old girl, giving her the first taste of luxury. 

Dumonceaux paid for Jeanne’s education at Couvent de Saint-Aure. At fifteen, she left the convent since mother was let go so the money stopped. Jeanne returned to her mother’s home. 

To earn money, Jeanne sold trinkets on the streets of Paris. That wasn’t her only job. She was an assistant hairdresser to Lametz. A companion (dame de compagnie) to an elderly widow even worked as a milliner’s assistant (called a grisette). 

Jeanne was described as a “remarkable attractive blonde.” She had thick golden curls and almond-shaped blue eyes. In 1763, the beautiful Jeanne caught the eye of the man who changed her life.

His name was Jean-Baptiste du Barry, the brother to the Comte Guillaume du Barry. Jean-Baptiste was considered a high class pimp nicknamed Le Roué.

Du Barry took her from the brothel/casino establishment where she toiled and installed her in his household. So began the life as a courtesan in Parisian society. The blonde, blue eyed beauty stirred a sensation among the aristocrats and the King’s ministers. 

In 1768 at the Palace of Versailles, Jeanne caught the attention of Louis XV. The king’s personal valet escorted her to the royal boudoir and all knew this woman replaced the deceased Madame Pompadour. 

Unfortunately, Jeanne couldn’t be maitresse-en-titre since she lacked a title. King Louis would change that by marrying her to a man of  a strong lineage so she could take the official position as according to protocol. 

On September 1, 1768, Jeanne married Comte Guillaume du Barry, becaming Comtesse Du Barry as well as three years younger thanks to her false birth certificate to go along with her concocted noble descent.  

Even with the new noble lineage, she still wasn’t able to be seen with the king since a formal presentation hadn’t taken place. She held the powerful position but few nobles befriended her. 

Time to find powerful sponsor. Maréchal de Richelieu helped her by getting the insolvent Madame de Béarn to be her official sponsor. On 22 April 1769, Du Barry was presented.

As a maitresse-en-déclarée, Du Barry wasn’t popular. Marie Antoinette disliked her (the scene in Marie Antoinette did happen). People were bribed into befriending her. But the mistress life fit her perfectly. The day started with a cup of chocolate then she dressed in her fine gowns and jewels. Berline dressed her hair for every day styles whereas Noelle did for special occasions in powder and curls. Then she received friends, jewelers and artists, her shopping time. 

Du Barry was described as extravagant but good-natured and not spoiled. She even save  three people lives by getting the king to pardon them. Though, she had no interest in politics unlike Madame de Pompadour. She grew unpopular because of the king’s extravagance toward her. 

In 1772, Louis started displaying symptoms of smallpox. Du Barry cared for him. On 4 May 1774, the King sent her away to protect her from becoming sick. She remained close to Versailles. The King died and Marie Antoinette and Louis XVI had her exiled to Abbey du Pont-aux-Dames, where she spent two years.

After her release, she moved to Château de Louveciennes. It was said that her time at the château was the happiest time of her life. She lived quietly, have a few lovers, and helped the poor in the area. 

Then the French Revolution erupted. Her servant testified that she  financially assisted émigrés who fled France. She tried to save herself by handing over the gems she had hid. It didn’t work. She was arrested in 1793. She was found guilty of treason and condemned to death.

On 8 December 1793, she was brought to the Place de la Révolution (now Place de la Concorde) to be guillotined. She collapsed on the tumbrel (cart used to transport the condemned) and cried “You are going to hurt me! Why?!” She begged the crowd for mercy and even said, “One more moment, Mr. Executioner, I beg you.” 

She is buried at Madeleine Cemetery. 

Smile: A Lady Artist

In 1781, Louise-Elisabette Vigée-Lebrun painted the portrait of Madame du Barry. Vigée was born in Paris on 16 April 1755. The French portrait artist was the daughter of a hairdresser and a portraitist and member of Académie de Saint-Luc who was also her first teacher. She was educated in a convent until 1766. Her father died when she was twelve and her mother remarried a man Louise hated. 

By her early teens, she was painting portraits professionally and her studio was seized because she practice without a license so she applied to Saint-Luc. In 1774, Louise became a member. 

Two years later, she married Jean-Baptiste Le Brun, a painter and art dealer. On 12 February 1780, she gave birth to a daughter, Jeanne Lucie Louise. The next year, she toured Flanders and Netherlands. 

On May 1783, she became member of Académie Royale de Peinture et de Sculpture, the first woman to be granted membership between 1648 and 1793.

In 1787, Louise exhibited Self-Portrait with her daughter, Julie. This portrait caused a scandal because she was smiling and open-mouthed which went against custom. But she earned the patronage of Marie Antoinette, who she painted more than thirty portraits of the queen and her family. 

At the start of the French Revolution, she fled with her family to Italy, claiming instruct and improvement. Twelve years later, she returned to France. 

She purchased a home in Louvenciennes, Ile de France. She died on 30 March 1842 at the age of 86. Her tombstone reads “Ici, elfin, je repose” which translates to “Here at last I rest.” 

Madame du Barry

Ease and Beauty: A Chemise Gown

Madame du Barry is the chemise gown. This French fashion became popular during the 1780s. The Chemise gown (or Robe en Chemise in French) became popular when Marie Antoinette donned it so it was also called chemise á la Reine. 

This casual, informal style was worn over undergarments that included a short corset underneath. This gown was constructed out of expensive Indian muslin with a silk sash in a contrasting color. Madame du Barry has a blue silk sash. 

The design was influenced by little girls who worn a chemise with pantaloons. Since the garments influence was the chemise, it was natural that many of the gowns details featured the same as a chemise did. It had a drawstring neckline (which du Barry trimmed with two layers of fine lace). Unlike the chemise, the Chemise gown had a waistline and a soft, full skirt that was gathered with a sash or drawstring.

Madame du Barry finishes her look with soft curls and a straw hat with a jaunty feather in the hat.  

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The Mysterious Lady Holding An Orange Blossom:What Was Worn

When I was searching for the next portrait for the What Was Worn series, I came across this portrait, Lady Holding an Orange Blossom and knew with the first glance that this one was it. Why? Her face captured me. This unknown lady reminded me of a friend I had during my teenage years. My friend and I had grown apart and I have seen her in decades but I wonder about her and her life. Where she happens to be, I hope she is healthy and happy.

Now back to our post.

Who’s That Girl?

Lady Holding An Orange Blossom is an oil canvas dated mid-eighteenth century with the fashion style circa 1775. The unknown artist was trained in the European Style yet, the artistic treatment of fabric and bodice was a style that dates to the 1750s and as stated the fashion timeline is later. This information tells us that the artist was a less prominent style and safe to say to resided in the Caribbean or Central or South America.

As for our sitter, she is unknown and ranges in age from twelve to fifteen years of age. She is a mystery that gazes out at us with a Mona Lisa quality that snares the viewer. For the purpose of this post, I’m naming her Grace. Our amazing Grace has medium-dark skin, with dark, deep brown eyes and hair to that matches and arranged of her face and pinned up.

Art historians believe Grace is from the British or Spanish colonies and possibly, mixed race since formal Spanish portraiture was used. Because of her fine clothing and accessories as well as the fact that her family possesses the money to commission a portrait of her, Grace was a free young lady of color. Since the Renaissance, free Africans had married into white English families and experienced wealth and status. Though, in the colonies, enslavement still occurred during this timeless so some Africans were subjected to that great sin. (If you wish to read about Black people in the Regency then visit Vanessa Riley at https://vanessariley.com/blackpeople.php)

Dress You Up

Our Grace is dressed in a matching blue silk bodice trimmed with blue silk box-pleated trim on the square neckline and a matching blue skirt/ petticoat. A lace fichu is tucked in her bodice. Her sleeves are trimmed in two tiers of lace box-pleated trim with a small festoon trim between the two tiers with lace engageantes (ruffles or flounces of linen, cotton or lace tacked to elbow-length sleeves) Grace has donned a fine, sheer apron trimmed with a ruffled edge.

Material Girl

The final touches of Grace’s outfit are simple in design. Grace wears a cap of lace with blue silk trim band with a bow. Her jewelry are understated with cut steel earrings and a choker of pearls that match the pearl bracelet on her right wrist and two bead bracelets on her left one.

She is holding an orange blossom. The white and orange blossom is a symbol or marriage and purity, which most likely relates to her age. An orange tree is in the background. The tree were expensive in European colonies and the tree reinforces her family’s wealth.

Grace’s true identity may never be discovered but she has captured our imagination.

The Man Made The Clothes: What Was Worn

The idiom goes the clothes make the man. In the 1600s that was certainly true. Through fabric, colors, and style, a person’s position in society was announced without a word.

In this installment of What Was Worn, we are continuing with Renaissance Artemisia Gentileschi’s work of art entitled Esther Before Ahasuerus.

The last installment centered around Esther’s garments and accessories. This month will focus on Ahasuerus and his rich clothing.

What Is He Wearing: A Stylish Man

This post is all about male fashion. And Ahasuerus can only be described as fashionable. This work of art was painted c.1630. During this time, male fashion was shifting. Yet, Ahasuerus clothing reveals the timeline of this era.

Let’s start at the top of this rich outfit. On his neck is an untrimmed, crisp yet soft, white ruff of accordion pleats. It was fashionable at this time period for some to be trimmed with lace as well. He is wearing a rich, green velvet doublet with a long row of small, gold buttons. The armhole is a rolled sleeve that matches the doublet. Both the fabric and color were expensive and not easy to care for. Those big sleeves are paned, leg-of-mutton sleeves of green velvet trimmed in gold with a white silk lining. Beneath his luxurious clothing would be a linen shirt to protect the outer garments from sweat.

Detail of Ahasuerus Doublet

Ahasuerus’ bottoms certainly catch the eye. He is wearing trunk hose, which are padded hose with strips of fabric or panes as they are called over a full, inner layer or lining that reach mid-thigh. The trunk hose are fastened to the doublet by ties or points (short laces or ribbons pulled through matching sets of worked eyelets) . These points are not seen in the painting. At the era, men were also wearing breeches but not our man.

Seventeenth Century Bling: The Finer Touches

The accessories of Ahasuerus clothing are minimal. He isn’t wearing jewelry but he isn’t without finishing touches. First off is his hat. A matching, green velvet hat that flops. It’s reminiscent of a beret but larger. Men had been wearing a variation of this style since the sixteenth century. Two large feathers–a gold one and a white one–that flutter to the right side. He also seems to be wearing a diadem upon that hat. The golden pyramid appearing from the fullness of the hat.

The next accessory is his wine-hued scarf trimmed in gold embroidery with green details. It seems to be a wrap around scarf and from the draping of the garment it is a satin made of silk. A fancy item that still works in this day and age.

Next on our fashionable man is the bottom half of his outfit. Those boots. When I took notice of them, I couldn’t stop thinking of Nancy Sinatra’s song, These Boots Are Made For Walking. The soft, white leather boots are calf-height with a small heel and trimmed with black, short hair fur. Perhaps, mink, squirrel and trimmed with a gold and ruby brooch in the center.

The last item are white stockings. Even in this day and age, it is a trial to keep whites bright and clean. So in the seventeenth century such a task was even harder and only the rich wore such a color. I feel for the poor laundry maid who cared for those things. Those stocking are probably constructed like modern day leggings so they are pulled up with pants and tied so they remained smooth and upright.

If you missed the last What Was Worn post centered on Artemisia Gentileschi and her work of art entitled Esther Before Ahasuerus, please click here https://trocheauthor.wordpress.com/2021/01/27/a-lady-of-talent-and-strength/

A Lady of Talent and Strength

During my education, I took many Art History classes. I learned about the old masters—Dutch, English, Spanish, and Italian. Yet, I never learned about my favorite artist. Artemisia Gentileschi.

I first learned about this female baroque Italian artist from a historical fiction novel entitled, The Passion of Artemisia by Susan Vreeland. After reading this book, I had to learn more about this woman and her art. That is why the next two months Historical Costume posts center on this grand dame

Artemisia Lomi Gentileschi was born on July 8, 1593 in Rome. She was the eldest child of Prudenzia di Ottaviano Montoni and Tuscan painter, Orazio Gentileschi. In 1605, her mother died and she began painting in her father’s workshop. In those times, an artist learned by apprenticing with an artist. Artemisia showed talent and love for art that her siblings lacked. There she learned drawing, how to mix color, and how to paint.

By her later teenage years, she showed great talent and her father proclaimed she had no peer. 

She took after her father’s style which was inspired by Caravaggio. Yet, this great talent had a style of her own. She was highly naturalistic. 

In 1611, her father was working with Agostino Tassi to decorate the vaults of Casino delle Muse located inside the Palazzo Pallavicini-Rospigliosi in Rome. In May of that year, Tassi visited the household where he raped Artemisia. In those days, a rape survivor had to marry her rapist to restore (I write that with a sneer, snort, and great derision) her reputation and secure her reputation. Her father pressed charges against Tassi but not for the rape but his failure to marry Artemisia. 

The trial lasted seven months. During the trial, Artemisia was tortured to discover if she was lying. Thumbscrews were used on her hands, which could have destroyed her artist life. During the torture, it is recorded that she cried out repeatedly, “It’s true. It’s true.”

Tassi was found guilty and banished from Rome, a sentence that was never carried out thanks to the pope who wanted him to stay so he could continue creating art for him. 

During this time, her father was trying to save his daughter from ruin. He wrote to the Grand Duchess of Tuscany pleading for her to intervene in the trial. He also found a husband for his daughter. 

On November 29, 1612, Artemisia married a Florentine named Pierantonio di Vincenzo Stiattesi in Rome. Soon after her marriage, she and her husband departed for Florence where with the Grand Duchess’s—Christina of Lorraine— support she found a place in the Medici court and thrived as a court painter. In 1613, on September 21, Artemisia gave birth to her first child, a son named Giovanni Battista. During her seven years in Florence, Artemisia produced great works of art that I encourage you to seek out as well as three more children. On November 9, 1615, she gave birth to her second son Cristofano and on August 2, 1617, her daughter, Prudenza, was born and October 13, 1618, her last child, Lisabella, made her appearance. Sadly, Lisabella died less than a year later.

Artemisia continued to create art and sold to the great collectors of the time period throughout Europe. And her works brought much recognition. Artemisia was the first woman to be accepted in the Accademia delle Arti del Disegno on July 19, 1616.

Yet, she did not remain in Florence. In 1621, Artemisia and her family returned to Rome where she continued to paint. In 1623, her husband leaves and she lost all contact with the man. 

Her works were so in demand that she traveled to Venice, Naples and even joined her father in England and Charles I’s court. She departed England as the English Civil War began. She continued to paint even to an old age. It is believed she died around 1656.

Esther Before Ahasuerus By Artemisia Gentileschi c.1630

This month’s work of art is entitled Esther Before Ahasuerus. For this month’s Historical Costume post, I will be focusing on the female named Esther or the Queen’s outfit. Next month, I will be breaking down the king’s garments.

Esther Before Ahasuerus is dated to 1630 and the garments confirm that date. The style of the sixteenth century changed at this time from the decades before this time.

Esther’s garment is soft and shimmering satins (made of silk) of the luxurious golden yellow or a bright mustard yellow. The robin’s blue egg sash is of the same material and reflects the light on our fainting figure. The upper half of the sleeves, which are called Virago Sleeves are the same yellow satin of the dress. The lower half of the sleeves are damask and embroidered with gold flower and leaf pattern. Lace peeks out at the end of the sleeves and along the bodice. She’s donned a bejeweled belt and with a jeweled- brooches pinned at the virago sleeve. 

Beneath this striking gown, Esther must be wearing a chemise made of linen and corset that is shorter than the bodice, that are a looser design than the style of the previous decade’s stiff style that ended lower on the waist. The gown’s natural bodice is high waisted and styled with a jeweled belt. The undergarments that gave the previous decades that wide-hipped, stiff look has vanished. The soft and natural look is all the rage. Yet, women are donning a padded roll or the French Farthingale so the skirt, now closed all around, has a rounded, soft shape that falls at folds to the ground. According to my research, the garment called an unfitted gown. An unfitted gown’s silhouette is loose and with long hanging sleeves, which brush against the floor. (Bottom left of the painting). The bodice has a low square neckline with white lace trim. 

Naturally, the rest of the look changed. Esther’s hair is curled and wavy hair in a style and most likely, uncovered as was fashionable during this era. She wears a gold crown with spikes. 

I encourage you to research the tale behind Esther Before Ahasuerus to learn the story behind this great work of art. 

The Perfect Dress For A Night On The Town: Historical Fashion

Elsa Schiaparelli, Surrealist Fashion Desiger

Usually when I am selecting a historical costume to present for my Historical Costume blog series, I chose something for centuries ago and presented in a painting, usually a portrait.

This month is different. If you are a reader of my blog then you know that I studied fashion design at F.I.T. (Fashion Institute of Technology). Because of that connection and the fact that the museum is shut down because of this pandemic I decided to show the great fashions the museum possesses.

So for May 2020, the spotlight shines on this stunning red number and the female designer that doesn’t shine as bright on her legacy as it does on Coco Chanel (her biggest rival). That designer is Elsa Schiaparelli.

On September 10, 1890 Elsa Luisa Maria Schiaparelli was born in Rome to Maria Luisa, a Neapolitan aristocrat, and Celestine Schiaparelli, a scholar in the Islamic world and Middle Ages, who was Dean of University of Rome. Raising in this cultural and academic surroundings, Elsa developed a love of ancient cultures, its lore as well as its religious rites. She wrote a book of poems entitled Arethusa based on the ancient Greek myth of the hunt. But she had her wicked moments, which got her sent to a Catholic boarding school. No happy to be there, she held a hunger strike and was permit to leave.

Instead of returning home to Rome, Elsa headed to England for a job a friend arranged for her. Well, that didn’t work out but her life did change. While in England, she attended a lecture on theosophy–a philosophical or religious thought based on a mystical insight into the divine nature. The lecturer was Wilhem de Wendt, who went under various alias, and claimed to have psychic powers and numerous academic credentials. He claimed to be a detective, criminal psychologist, a doctor, lecturer, and even performed in Vaudeville. This man became Elsa’s husband on June 21, 1914. She was twenty-three and Wilhem was thrity.

Elsa began helping with his work, promoting his act. In 1915, the couple was forced to leave London when Wilhelm was convicted for practicing the then illegal fortune-telling. The couple made their way around France before departing for America in 1916.

In New York City, they rented out offices for their Bureau of Psychology, which was the same act they did in England. This caught the eye of the F.B. I. so Elsa and her husband headed to Boston to continue their “work.”

On June 15, 1920, the couple became a trio with the birth of their daughter, Maria Luisa Yvonne Radha was born. Gogo as she was called by her mother. Wilhelm abandoned the ladies. Then in 1921, Togo was diagnosed with polio. That same year, the mother and daughter returned to New York. A year later, mother and daughter sailed to France.

In France, Elsa’s friend, Gabrielle “Gaby” Buffet-Picabia, wife of Dada and Surrealist artist Francis Picabia, would bring her into a circle that would inspire Elsa for the rest of her days and became a major part of her style. She developed friendships with Man Ray, Marcel Duchamp, Alfred Stieglitz and Edward Stuckin.

Elsa now began making clothes. Couturier Paul Poiret (a major designer of early 19th century) encouraged her to open her business. Though she received favorable reviews her business closed in 1926.

Not one to give up, Elsa launched her new collection of knitwear in 1927. She used a special double layered stitch that Armenian refugees created and sweaters with surrealist trompe l’oeil images. The Pour le Sport collection expanded in 1928. It included bathing suits, ski-wear and linen dress. The business grew that in 1931 she added evening wear and the shop moved to 21 Placve Vendome.

Then the world changed. In 1939, France declared war against Germany and then a year later on June 14, Paris fell to the Germans. Elsa and her daughter sailed to New York for work and she remained there until the end of the war.

Naturally, the fashion house closed but when the war ended, Elsa returned to Paris and reopened her house where it remained open until 1954. Elsa died at 83 on November 13, 1973 in Paris.

Elsa Schiaparelli changed fashion in a ways you might not be aware of. She first introduced zippers that matched the fabric, brooches like a buttons on clothing and even modern day catwalks are thanks to her. She also introduced a new color called Schiaparelli Pink, a shocking bright pink that you probably have seen hundreds of times.

This evening gown is from circa 1955 and is haute couture, which translates to made to measure. The gown is constructed of red silk faille and pink silk. The vibrant color has not fade or lost its vibrancy. The classic strapless gown appears to be boned or corseted to keep its shape and give support to the lucky lady who might have donned this gown. The hourglass silhouette accentuates a woman’s figure that was popular in the 1950s. A drape sash cuts across the hips for a train lined in the pink silk drapes asymmetrically.

The gown was sewn by hand by Schiarapelli’s fashion house workers and must have taken weeks to construct after being fitted and refitted to the measurements of the woman and model who donned this gown.

As for accessories that a lady would have wore with this, I would have gone with a simple yet refined look. Perhaps, pink strapped shoes that match the pink of gown so with every step, perfectly manicured red toes peeked out from beneath the hem. I would wear my hair swept up to show off the shoulders and perhaps, diamonds or simple necklace to highlight a perfect expanse of flesh. Maybe a shawl to cover up from the evening chill.

Wearing this gown, you can’t help but feel utterly sexy and classy. Perfect to got to the theatre or a ball and dance the night away even to fall in love.

The Princess wore…

Josephine- Eleonore-Marie-Pauline De Gaard De Brassac De Bearn, Princess de Broglie

I love fashion. In case, you didn’t know, I studied fashion design. I can make a dress out of a scrap of fabric. So, it’s natural that I blend the things I am passionate about fashion, history and writing.

This is a new feature of my blog that focuses on historical costume or historical fashion (depending on what term you wish to use).

For this blog, I chose to focus on my favorite portrait. The portrait of Josephine Eleonore Marie Pauline De Galard De Brassac De Bearn, Princess de Broglie painted by Ingres in 1853. This work of art is located in the Metropolitan Museum of Art–the MET– in New York City. If you get to see it in person, you will be hypnotized and enchanted by both the skill of the artist, Ingres and by the sitter herself, Princess de Broglie.

Before I get into the costume, let me tell you the Princess’ story. Josephine was known for her beauty. Look at the portrait, you can also see that she appears shy. The princess was known to be profoundly shy. Though, her exterior form is striking (possessed the fashionable figure of that time with her sloping shoulders), there was more to this woman. She was deeply religious and highly intelligent. During her life, she published three volumes of essays on religious history.

Josephine was married to Albert de Broglie on 18 June 1845. She was the mother of five sons. Born in 1825, she would not live to an old age. She contracted tuberculosis and was died in 1860 at 35 years old. Her husband lived into 1901 and heartbroken, he never remarried.

Her portrait was completed when she was 28 years old. Her beauty and personality were captured in oil in the most beautiful garment I have ever seen. So, let’s get to what she’s wearing.

Princess De Broglie is wearing a blue satin evening gown embellished with a lace bertha and dangling blue satin ribbons. Lace trims the ruched ribboned neckline and sleeves and down the center front of the bodice is a row of matching blue satin ribbons.

The princess is dressed for an evening probably to attend a ball. The dress follows the fashion of the early 1850s France. This French time period is called the Second Empire. Fashion was having a Rococo Revival. The details of this style was a short-waisted bodice and dome-shaped skirt as well as the bow detail and the lace on the neckline and sleeves that mimic 18th century fashion.

What is she wearing beneath the gown? In order of dressing, she has donned a chemise, cotton or linen, tucked into pantalettes and a corset over that. The support garments would be additional petticoats.

Now for the finishing details, her hairstyle. Her thick, black hair is parted down the middle and pushed back and pinned and finished with pearl-laced maribou feathers attached to matching blue ribbons pinned on both sides of her head.

Her accessories include a white or ivory cashmere shawl finished with a border of gold embroidery. She has a matching gold and white or ivory face and white silk gloves. I believe just on the edge of the chair is a velvet black cloak she would have donned before heading out. These items are located on the chair.

The accessories she has on her person are gold and pearl strand earrings. She has a simple gold necklace with a gold pendant. On her wrists are two braclets. On the left arms is a pearl braclet that loops around her wrist five times and is clasped with a metal detail–most likely gold. And on her right wrist is a gold and ruby bracket.

Are you as hypnotized by this portrait as I am? What do you love about it?

Dressing a 13th Century Historical Romance Heroine

You may not know this but I love fashion especially historical costume. I studied fashion design at the Fashion Institute of Technology so it is natural that I blend my two passions together: Writing and fashion.

In my medieval Highlander Romance, The Laird’s Right, my heroine Portia de Mowbray is an English woman who finds herself kidnapped by Laird Alec Cameron. Portia may be surrounded by Highlanders but she sticks to her English styled garments. 

During the medieval times, the style is different from our modern day style but both function and fashion play an important part. After all, that is what clothing must do.

For Portia, she would be wearing numerous items both under and outer garments. First off, our tough Portia would have worn hose and garters with fancy buckles to hold them up (after all there was no elastic) and a chemise with long sleeves and a high neckline. The chemise would have been constructed of linen. And she would not be donning any underwear. No panties or bra for Portia.

Now Portia would slip her côte over her head. The côte was a wide garment. It was wide at the shoulder and narrowed at the wrist. It’s the image we all have the medieval princess that is plastered around us. The natural waist was usually belted. Portia would have worn two layers one made of a linen then a wool or silk one even a velvet one to show off her status.

She’s not finished getting dressed yet.

Of course, Portia isn’t walking away yet because she needs shoes. In the 1250s, her shoes would be a soft shoe with more of a pointed toe that could have been embroidered in a floral motif or scrolls. Anything that she thought was fashionable or like. Back then, there was no right or left foot shoe so it would look odd to our eyes. Also it would have been constructed of leather.

Now she would choose some accessories. A belt for her côte, one made of silver or gold even with jewels, depending on what she might afford. Portia could put on a brooch or a jeweled collar or pendant to add a little flash. She might have taken gloves and her drawstring purse and dirk that may have jewels on the hilt.

Now with Portia dressed, she must do something with her hair. Perhaps, she has better skills than me or her maid does better than Portia. Her long blonde hair would be parted in the center and plaited. She might have her braids twisted into a bun since she is a widow. Her head would be covered with a coif, wimple or barbette even a gold or silver chaplet to give her that romantic look.

So, Portia is ready to face the day but if it was a chilly one, she would have had a cloak, which would have been a long mantle trailing on the ground and fastened in the front with a brooch. That too would have reflected her status and her fashion choices. It would have been wool or velvet. It could have been trimmed in fur and even fur-lined.

The most basic of what Portia may have looked it once dressed. Though, with more flair as she has a bit more coin.

 

To your modern eyes and sensibilities, would you don these garments? Sounds pretty comfortable to me.