Jean-Etienne Liotard was known for his unconventional dress and hairstyle, and also for creating exquisite pastel portraits that record minute details of dress. In order to appreciate his life, work and individuality, it’s useful to have an overview of the evolution of fashion in his day. 

The early years of the 18th century were dominated by extravagantly high hairstyles for men. Long luxuriant locks signified purchasing power - even now we call important people ‘big wigs’. The equivalent status symbol for women was enormously voluminous skirts. With a focus on work by Hogarth and Gainsborough, we will chart the key stylistic developments of the first half of the 18th century for men, women and children of the upper and aspiring-middle classes. 

In the second half of the session, we will consider the fashion for fancy dress costume inspired by 17th-century portraits by Rubens and Van Dyck. Costume was worn at masquerade balls and recorded in art. By the end of the talk, you should be able to determine the difference between clothing and ‘costume’ and appreciate the rapid pace of fashion change.

Extended travel throughout continental Europe on 18th-century Grand Tours was the means by which wealthy boys became men, and men became gentlemen. The acquisition of fine manners, clothing and paintings was often the aim of such travellers, who could acquire pastel portraits painted by Rosalba Carriera in Venice, or by Pompeo Batoni in Rome.

Early works by Joshua Reynolds give us some insight into the clothing and character of male travellers, and will help us to understand the sartorial signals conveyed through Batoni’s work. We will complement our discussion of male fashion with a close consideration of the dress worn in portraits of French fashion leader Madame de Pompadour, and vivacious Venetian dancer Eva Maria Veigel, who married popular actor David Garrick (and was depicted by Liotard, Hogarth and Zoffany). Surviving garments and caricature images will aid our understanding of mid-18th century fashions.