Screenprint with offset lithography, hand colouring and collage 29 1/2 × 25 5/8 (749 × 650) on paper 39 × 27 1/4 (990 × 692) watermarked ‘FABRIANO’, offset lithography printed by Sergio and Fausta Tosi, Milan, screenprinting by Chris Prater at Kelpra Studio, published by Petersburg Press in an edition of 70 The Metropolitan Museum of Art. “Women 1840, Plate 100.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/1220

The Metropolitan Museum of Art. “Women 1921-1940, Plate 002.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/10980 The information for Fashion Plate Collection was researched and prepared by the UW Libraries Special Collections and Cataloging staff in 2002. Not all the plates from the collection were included in this database: the database consists of 417 digital images chosen from a larger group of fashion plates. The images were scanned in color using a Microtek Scanmaker 9600L and saved in .jpg format. Some manipulation of the images was done to present the clearest possible digital image. The scanned images were then linked with descriptive data using the UW Content program. The original collection resides in the UW Libraries Special Collections Division as the Fashion Plate Collection. The Victoria and Albert Museum. “One Hundred Years of Fashion Photography.” http://www.vam.ac.uk/content/articles/o/one-hundred-years-of-fashion-photography/ Elegance Meets Originality | Luxury Green Retro Square Quartz Watch for Fashion-Forward Women, Waterproof and Timeless Along with advancements in technology, depictions of children's clothing can also be seen in nineteenth century fashion plates.

The Metropolitan Museum of Art. “Children 1800-1849, Plate 017.” Gift of Woodman Thompson. https://libmma.contentdm.oclc.org/digital/collection/p15324coll12/id/2044/rec/17

The collection can now be explored here by decade, by magazine or browsed by dress terms. This has been made possible by generous funding from The Ashley Family Foundation and the Idlewild Trust. Handbag Coffee Mug with Plate Teaspoon Afternoon Tea Time Customize Personalized gifts for her Mother's Day Birthday Valentines mugs for momBy the 1830s, U.S. magazines began to include their own fashion plates, although these were often derived from imported French originals. The most popular magazines of the antebellum period, including Godey's Lady's Book and its competitors, particularly Graham's Magazine and Peterson's Magazine, boasted about the quality of their fashion plates. Publisher Louis Antoine Godey claimed in January 1857 that his fashion plates - hand-colored by a corps of 150 women colorists - "surpass all others." [9] [10] Godey also made sure his readers were aware of the considerable cost of his fashion plates, and indeed, some readers removed them from the magazine and displayed them as art. [10] Ingham, Erika. “Fashion Plates introduction.” The National Portrait Gallery. Accessed June 28, 2019. https://www.npg.org.uk/research/fashionplates/fashion-plates-introduction. The original fashion plates collected by Blanche Payne and others have been cataloged and carefully stored for preservation purposes in archival housing. Many of these plates are from some of the leading French, British, American, and other continental fashion journals of the 19th century and early 20th century: Belle assemblée; Le bon ton; Le Follet, courrier des salons; Journal des dames and des modes; Godey's lady's book and magazine, and others. They are primarily hand-colored engravings although some of the plates after 1885 are colored lithographs. A project was undertaken by the Digital Initiatives Program to digitize and provide online access to selections from this collection. The 417 digital images cover many stylistic periods in French and English history. These include the Empire (1806-1813), Georgian (1806-1836), Regency (1811-1820), Romantic (1825-1850), Victorian (1837-1859), Late Victorian (1860-1900) and Edwardian (1901-1915). Although the original items are available for viewing by appointment through the Special Collections Division, providing web access increases the visibility and use of such unique resources. Personalized Name Seam Ripper, Mother's Day Gift Alloy Sewing Tools, Sewing Supply, Gift for Tailor/Craftsman/Fashion Designer/Mom/Grandma Blanche Payne taught historic costume and apparel design in the School of Home Economics at the University of Washington. She joined the University faculty in 1927. Engaged in intensive research on clothing and historic costume, she supervised work on the Textile Costume Study Collection housed in the Home Economics Department. As part of her studies of non-Western folk dress and embroidery technique, she traveled extensively in Europe, collecting original ethnic costumes, textile and embroidery examples. Her primary interest was Eastern Europe. She considered the Balkan countries a valuable source for studying ethnic dress in its original context and wanted to provide her students with primary source material for the study of modern costume construction and fine craftsmanship. Unfortunately, her Yugoslavian research failed to result in a full length publication because of the prohibitive costs of publishing and destruction of some of the color plates during the war years.

The malleability of copper meant that these plates could only produce a limited amount of images. The combination of hand-coloring and the limited number of plates being produced meant that these fashion plates were costly and were typically reserved for members of the aristocracy and the wealthy bourgeoisie class. The Metropolitan Museum of Art. “Les modes,1917-1918.” https://www.metmuseum.org/art/collection/search/821934 a b c d Laver, James (1986). Costume & Fashion. London, England: Thames and Hudson. p.288. ISBN 0-500-20190-0. The Culture of Clothing: Dress and Fashion in the Ancien Régime." Translated by Jean Birrell. Cambridge: Cambridge University Press, 1989, p. 476 Fashion plates are frequently used as primary source material for the study of historical fashions, although commentators warn that as they were high-end aspirational catalogues it should not be assumed that the majority of people dressed in the same way expressed by a plate. A more accurate way to use fashion plates for study is to treat them like a modern high-end fashion magazine or designer's shop window with only a few people wearing such luxury items. [2] History [ edit ]

a b c Brekke-Aloise, Linzy (2014). "A Very Pretty Business: Fashion and Consumer Culture in Antebellum American Prints". Winterthur Portfolio. 48: 191–212. doi: 10.1086/677857. S2CID 147022141– via JSTOR. La Mésangère extended the range of his artist illustrators by publishing them in a series of fashion and genre prints, such as Debucourt's Modes et Manières du Jour, 1810, and the Vernets' Incroyables et Merveilleuses and Le Bon Genre, 1818. They are a precedent for the more intimate picture series by Gavarni and Deveria, whose fashion plates were such a feature of the periodicals of the 1830s and 1840s. A successful formula, it was followed by the pochoir fashion illustrators of the twentieth century, most notably George Barbier. Women are not the only people to depicted in fashion illustrations. Men's fashions have been portrayed since the creation of fashion plates, although less frequently than women's.