18th Century Mantelets
Last updated: Jan 5, 2024
According to the 1773 Dictionary of the English Language, a mantelet is “a ſmall cloak worn by women.”
From the Galerie des Modes (1778) comes the following description of the mantelet:
The Mantelet is a type of little overcoat or light drapery, intended to cover the upper part of the body; it is kept out of the formal parure, but it has become so favored that one is accustomed to see it as an essential part of Ladies’ clothing.
Taffeta in summer and satin in winter are the two main materials that are employed in mantelets: black lace mantelets are worn, but they are fallen into discredit and have been relegated to the provinces. Mantelets of white lace, and of solid or embroidered Indian muslin, and lined with pink, have likewise been in vogue; they are still in style, but they do not go with all outfits, so they will be remarked on later.
Mantelets, when they were invented, were very imperfect: it was thought marvelous to join two pieces of taffeta in the back that were stretched from the front, to form what are called the “points” or the “flames”; they were worn very short and without a hood. Then came the very ample mantelets; this fashion passed. They were pulled up over the arms, others had indentations cut into that area. A little hood, attached to a stopped collar, seemed a very agreeable development, and the Ladies covered their heads with their hoods, believing themselves admirable. The large coiffures coming on, it was necessary to look for other expedients: the hood was put back on the shoulders, and became a simple ornament, and théreses and calashes were substituted. The raised collars were also found to be only convenient to the precieuses; coulisse collars were made, and the hoods, obliged to conform to the fashion, took on an excessive size without being more useful. Finally, the introduction of the polonaises brought the mantelets with tapered or flared points: this is the last change that came to this part of French Ladies’ dress.
More from the Galerie des Modes (1778):
The first mantelets appeared around 1745; they only became generally fashionable in 1750: they were short and without hoods … Mantelets and their trim have always been of one color, except in 1777, when piebald mantelets were worn, that is to say, white trimmed with black. Mantelets of black lace wanted to reappear in these latter times, but they have not been strongly welcomed. The hood of the mantelet has also felt these changes; the latest fashion wants that it be nearly entirely open or reversed, forming more of a type of capote on the mantelet, rather than a hood.
This notebook page includes mantelets in silk and similar fine fabrics; other fashionable short cloaks include capuchins and pelisses, while yet another page considers various styles of working-class women’s short cloaks.
- The little girl in The morning toilette by Jean-Baptiste-Siméon Chardin, c. 1740
- The Milliner by François Boucher, 1746
- The family of Anna Maria Vlotman by Johann Heinrich Strumph, c. 1750-1774
- Water, with a young woman wearing a lace mantle
- Modern Love: The Elopement by John Collet, 1764
- All Sorts. From the lucious Tid bit to the bouncing Jack Whore - From the Bunter in Rags to the gay Pompadour, 1775-1776
- A lady of fashion with black shawl and black shoes, 1778
- Galerie des Modes, 7e Cahier, 4e Figure, 1778; “The mantelet is an essential part of this ensemble; it must be ample, entirely enveloping what one would assume to be the bodice, and only allow the sight of the lower part of the body; thereby completing the ensemble, and creating an illusion to fool the curious eye.”
- Galerie des Modes, 7e Cahier, 5e Figure, 1778; “the marchande de mode, who carries her merchandise in the city … her mantelet is arranged in such a manner to keep the elegance of her shape from escaping the viewer.”
- Galerie des Modes, 8e Cahier, 3e Figure, 1778; “Mantelet of black taffeta, trimmed with black gauze, scalloped on two sides, not covering the lace manchettes”
- Galerie des Modes, 8e Cahier, 4e Figure, 1778; “White mantelet, very full, perfectly showing the graceful shape of a supple and cartilaginous body”
- Galerie des Modes, 9e Cahier, 1ere Figure, 1778; “the mantelet, fastened under the contentement, is very short so as not to cover the triple manchettes, the trim, and the watch cord with sequined tassels.”
- Galerie des Modes, 9e Cahier, 2e Figure, 1778; “Black taffeta mantelet, with the ends of the hood coming to be lost under the contentement; these are called mantelets à coulisses; they are now the only kind in fashion, except among the devout ladies and certain ladies who are obliged by their age or other reasons to cover their chests.”
- Galerie des Modes, 9e Cahier, 5e Figure, 1778; “The top of the body is entirely covered with a taffeta mantelet, trimmed with gauze; it is a mantelet à coulisse with tapered points, descending almost to the knees.”
- Galerie des Modes, 11e Cahier, 1e Figure, 1778; “Elegant seamstress … in order to keep from overheating, or for coquetry, she has taken off her mantelet with two tapered points and hung it over her arm.”
- Galerie des Modes, 11e Cahier, 3e Figure, 1778; “The mantelet seems, at first glance, to remove a part of the grace of the elegant costume, but this is not the effect in this case. This part of dress, with regard to the parure, may be compared to shadow in a painting: that which produces illusion is very removed from destroying it. It is therefore with reason that this Beauty is enveloped in a vast mantelet à coulisse with flared points; with it, she has nothing to fear about her very beautiful chest staying unnoticed; the flared points are very favorable to the plump waist, which needs to be hidden under a vast but light drapery.”
- Galerie des Modes, 12e Cahier, 3e Figure, 1778; “This young man holds over his arm the mantelet with flared points of his amiable company”
- Galerie des Modes, 23e Cahier, 6e Figure, 1778; “white taffeta mantelet trimmed with fantasy gauze”
- Galerie des Modes, 21e Cahier, 5e Figure, 1779; “a black Mantelet with flared points”
- The Fair Florist, c. 1780
- Galerie des Modes, 33e Cahier, 3e Figure, 1780; “a fashionable large, white mantelet … This mantelet is simply decorated with a gauze trim.”
- A lady coming from the circulating library by John Raphael Smith, c. 1781
- Galerie des Modes, 39e Cahier (bis 2), 4e Figure, 1784; “a spotted Gauze Mantelet with a large Fichu Collar”
- Galerie des Modes, 39e Cahier (bis 2), 5e Figure, 1784; “spotted Gauze Mantelet”
- The Fashionable Shoe-Maker trying on an Italian Slipper, 1784
- Galerie des Modes, 47e Cahier, 4e Figure, 1786; “satin mantelet bordered with white fur”
- Cabinet des Modes, 1er Cahier, 1ere Planche, November 15, 1785; “The mantelet of black satin with spots.
- Cabinet des Modes, 12e Cahier, 1ere Planche, May 1, 1786; “her shoulders [are covered] with an ample Mantelet of black taffeta”
- Galerie de Modes, 49e Cahier, 4e Figure, 1786; “mantelet of black taffeta”
- Galerie des Modes, 50e Cahier, 3e Figure, 1786; “a fashionable mantelet”
- An exact representation of an attempt made by Margt Nicholson to stab his majesty on Wednesday Augt 2 1786
- Cabinet des Modes, 20e Cahier, 3e Figure, September 1, 1786; “Her mantelet is also of white gauze, trimmed with a matching gauze, with wide pleats.”
- Galerie des Modes, 55e Cahier, 3e Figure, 1787; Mantelet of black taffeta.”
- Galerie des Modes, 62e Cahier, 6e Figure, 1787; “a Mantelet of spotted Gauze”