This French movie depicts the life of Louis XV's most famous mistress: the Marquise de Pompadour. Released in the same year as Sofia Coppola's "Marie Antoinette" - 2006 - the movie stars Hélène de Fougerelles and Vincent Perez as the semi-royal couple. It is one of the few movies to include a depiction of Marie Leszczynska and her children by Louis XV which makes the movie quite interesting.
Marquise de Pompadour
An apple-green robe à la Française with yellow/orange details. On first look, the dress is not particularly special but upon a closer look, the details truly shows. Several ruffles edge the bodice as well as the overskirt's edges and matches the three attachments - one on the left side of the bodice and one on each sleeve. Rather than jewels, Hélène was styled with lace and silk ribbons around her neck - quite true to the real Pompadour's style.
If this gown had been turquoise rather than lavender, it would have been almost a complete replica of the one worn by the Marquise de Pompadour in her most famous portrait. As it is, the pink bows and matching ruffles were the very style favoured during the rococo-period - the bejewelled stomachers were only worn for special occasions.
In a complete contrast to the other, more pastel-coloured gowns worn by Hélène as Jeanne Poisson, this robe à la Française was worn during a scene in which the new favourite is introduced to the queen. That might be why the fabric is much heavier, almost old-fashioned; as such, it could be seen as an effort to blend in with the tastes of the queen's elder entourage.
Besides the heavy golden/black brocade, the bodice is quite interesting. The embroidery's pattern is very unusual compared to what was usually seen at the time.
Another robe à la Française designed for the Marquise de Pompadour. This one in pale blue silk with small embroidered flowers and blue ruffles along the neckline and down the length of the bodice. The skirt is hardly seen but what can be peeked from beneath her arm it appears to continue in the same pattern.
This yellow set is interesting from a historical fashion point of view. A caraco is rarely seen in historical movies in quite this manner; usually they are made of a matching fabric to the skirt. While the black contrasts suits the colour well, it is a shame that they look a bit too modern - almost like something that could be found in a normal fabric-shop. Nevertheless, the fabric chosen for the caraco is very beautiful; a yellow silk brocade that gives an impression of luxury.
The straw hat is a very nice touch which the actual Pompadour herself wore on occasion; as is the case for the white neck-ruffles.
The left gown is very simple and worn before Jeanne Poisson was introduced to court. Such a gown would never have been seen at Versailles but corresponds to what bourgeoisie women would wear on an everyday basis. This is particularly emphasized by the complete lack of accessories - no ruffles, no bows, no pearls or gemstones.
The second gown is somewhat puzzling. It looks more like something from the 16th century with the way the sleeves are cut to reveal the chemise below. Furthermore, the machine-embroidered flowers on the bodice and the choice of what looks to be velvet gives the entire dress almost a Renaissance look - quite an odd choice for the woman who embodied rococo!
These last two gowns are good examples of fabric used for 18th century gowns; on the left, a blue/white chinoiserie fabric is a nice nod to the fascination with the Far East that was sweeping through Europe. The gown is rather simple in itself with no contrasting colours but the overall impression is of an impeccably clean and sophisticated lady.
The second is a far more classic floral pattern on a white background. The fabric looks more like a type of cotton or similar type of fabric. Again, the only ornaments are the white ruffles and a few buttons on the bodice. For women choosing to wear such a floral pattern there was one particular advantage: it could be matched with almost all colours. Blue, red, green are all found in the pattern which would allow for a more adjustable piece of clothing.
Louis XV
A yellow silk suit with a matching golden waistcoat in a damask-pattern, there is an echo of the yellow outfit worn by Madame de Pompadour above. The black details only add to the similarities; the king's black velvet tricorne hat is topped with white feathers and the black is again seen on the bow tying his perruque together.
The embroidery on the overcoat was a classic trait of menswear from the high-nobility during this point in time. Metal thread and even actual gemstones were used to create a more luxurious appearance - and of course, it would be hand-embroidered.
Again, the elaborate embroidery is the key factor of this coat. Silver thread with some gold thread interwoven in the fabric gives a shining effect to the sky-blue velvet. The coat was used on two different occasions in the movie - on the right photo, an order can be seen attached with a bright red fabric as well as the sky-blue sash of royalty.
On the left photo, the king wore a pink waistcoat embroidered with more silver - this time in emblem-patterns. As was the custom, his cravat can be seen sticking out at the neckline - generally, a gentleman's (even a king) cleanliness was judged by how clean his linen were.
Considering the pastel hues used as a matter-of-fact by the emerging rococo, this suit is remarkably dark. Dark blue silk makes up the foundation of the suit with burgundy embroidery and golden buttons. Although it is hard to see, the waistcoat is a deep red, almost scarlet silk with golden embroidery.
This is a good example of an outdoor coat - the design does not vary a lot from the coats worn by the men of the court during the latter years of Louis XIV. The large buttons and the leather-gloves indicates that the king wore this coat for hunting. The coat itself was made from blue silk with silver embroideries on it. The trousers appears to be pink.
Marie Lezczynska
A robe à la Française, this is the main gown worn by Marie Leszczynska in the series. The design corresponds well to the style of the actual queen which was often described as being rather conservative - some even called it "boring". However, the colour combination is certainly anything but. The greenly turquoise clash with the rusty burgundy - the overall impression is of a somewhat unfashionable gown. It is very likely that that was done on purpose.
Due to the monochrome colour scheme - presumably worn for a mourning scene - the gown is somewhat difficult to discern properly. Yet it appears to - again - be other simple with the sole ornaments being the two bows and ruffles along the outer skirt. But this might very well be due to the context the gown is worn in. During mourning periods, displays of jewels were prohibited.
This was the only photo I could find of this gown which looks far more in tune with the reigning fashions. The muted rode-tone of the brocade is feminine but the cut gives the gown a more matronly look - again, undoubtedly on purpose. Note, that the mauve ruffles appear to continue down the length of the gown and is matched by a bow on the bodice and two more - one on each sleeve.
Mesdames
Madame Adélaide is depicted wearing this robe à la Française in golden/beige brocade with coral details. The design chosen is far more in keeping with the emerging rococo style than the gown worn by her mother; the gown is overflowing with adornments: ruffles, elaborate embroidery on the bodice and lush silks.
The fabric used for the bodice is a tone brighter than the coral of the outer skirt. The result is that the wearer's pale complexion is highlighted.
In comparison to Madame Adélaide's gown, this one is very plain, primarily due to the choice of a single-coloured silk for the outer skirt and sleeves. The colour-scheme itself is not far from her "sister's" with the same golden and pink tones reappearing. The most dominating feature of the bodice is the somewhat large, embroidered bow with a jewel at the clasp in the centre.
Others
The gown was worn by a waiting-woman of Madame de Pompadour's which explains the plainer appearance of the design. The costume designer did a very good job at demonstrating the difference in class by the costumes. The fabric used for this particular gown appear to be of a poorer quality and while it does have ruffles, the overall impression is of a woman from a lower, social background.
The gentleman's suit follows the fashion trends for men quite well although both the overcoat and the waistcoat seems to be too big for him. Another thing is that the waistcoat would not usually hang like that. The embroidery is a good example of a man of quality - but lesser means - as it is of a rather limited scope but still in golden thread.
These three ladies also display a difference in class through their clothing. The right and left photo are both of the same woman - Madame de Pompadour's mother. It is clearly made for a bourgeoisie woman who tries to emulate the tastes of the court.
The courtier in the middle, in contrast, wears a lavishly adorned bodice. The effect appears to have been made using a mixture of ruffles, bows and pearls. The fabric is of a green silk with reddish details. Note that the lady repeats the choice of pearls on her wrist, around her neck and in her hair.
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