Guest Post: Fashion from Japan and France: Nightgowns in Colonial Brazil

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Jean-Baptiste Debret, “Les dèlassemens d’une aprés diner,” from Voyage Pittoresque et Historique au Brésil, vol. 2 (Paris: Firmin Didot Frerès, 1835)

Today’s guest post comes from Rachel Zimmerman (Ph.D., University of Delaware), Assistant Professor of Art History at Colorado State University-Pueblo. She has been studying the art and architecture of the Brazilian town of Minas Gerais since her first trip to the region in 2006. She began examining consumption in colonial Brazil for her dissertation, “Global Luxuries at Home: The Material Possessions of an Elite Family in Eighteenth-Century Minas Gerais, Brazil,” and is continuing research for a book project on elite material culture in the city of Mariana. Follow her work here.

According to the early nineteenth-century English merchant John Luccock, it was customary for Brazilian men to discard stiff outer layers when at home and wear only a cotton shirt, often unbuttoned, knee-length breeches, and clogs.[1] Brazilian standards of decorum permitted informal dress in domestic settings, even when receiving guests. Examination of colonial-era probate inventories from Minas Gerais, the gold mining district, reveals that a small number of educated elite men transformed their state of undress from ordinary to stylish with the addition of a nightgown. Continue reading

Creole Comforts and French Connections: A Case Study in Caribbean Dress

Today’s #ColonialCouture post is by Philippe Halbert. Follow him @plbhalbert.

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“Vêtement dit à la creole,” Galerie des modes et costumes français, Charles Emmanuel Patas after Pierre Thomas Leclerc, 1779, Museum of Fine Arts, Boston

In 1779, a fashion plate depicting a woman’s garment “in the creole style” was published in Paris. Consisting of a lightweight muslin gown with wrist-length sleeves, the dress was “in the style of a chemise,” the basic female undergarment of the period.[1] Worn over a petticoat, the gown was to be pinned at the bust and loosely closed with a sash or belt. In addition to enumerating its various components, which included a separate caraco jacket, the engraving’s caption remarked that the fantastic ensemble was “of the sort worn by our French Ladies in America.” At the end of the Seven Years’ War in 1763, French colonial possessions in the Americas were largely confined to the Caribbean Basin, a region where interactions between people of indigenous, European, and African descent brought about innovations in everything from architecture to foodways. Although the inhabitants of French-controlled islands like Guadeloupe, Martinique, and Saint-Domingue, or Haiti, were not beyond the reach of Parisian novelty, the heat and humidity necessitated certain sartorial adaptations. Continue reading

“A curious font of porphyry”

Screen Shot 2018-07-12 at 3.29.59 AMWorking on material culture, my research has taken me to some interesting, if unexpected places. Last summer, it involved waiting outside Saint John’s Church in Portsmouth, New Hampshire, founded in 1732 as the Anglican Queen’s Chapel. I quickly ran inside to snap some pictures of a baptismal font between back-to-back Sunday services. The Saint John’s font is an impressive fixture, carved from marble in a Continental European baroque style. As a ritual object used in the sacrament of baptism, the font is hardly unusual, but its story is. Continue reading

Q&A: Erin M. Greenwald, author of New Orleans, the Founding Era

Greenwald_2017Today at The Junto, Philippe Halbert interviews Erin M. Greenwald about her exhibition, New Orleans, the Founding Era, on view at The Historic New Orleans Collection through the 27 of May. Edited by Greenwald, the accompanying English-French publication features interdisciplinary essays by eight leading scholars and an illustrated catalogue. Before beginning as Curator of Programs at the New Orleans Museum of Art in 2017, Greenwald was senior curator and historian at The Historic New Orleans Collection, where she curated exhibitions including Purchased Lives: The American Slave Trade from 1808 to 1865, a traveling exhibition funded by the NEH and awarded the AASLH Leadership in History Award of Merit. Her first monograph, Marc-Antoine Caillot and the Company of the Indies in Louisiana: Trade in the French Atlantic World, was published by LSU Press in 2016. Greenwald also chairs the New Orleans Slave Trade Marker and App Project, an initiative of the 2018 Tricentennial Commission, which anticipates placing six interpretive markers designating sites in New Orleans with direct links to the slave trade this summer.

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