silk breechers 18thC

Brown taffeta having fall front, wide waistband with two fob pockets, self buttons, leg closure having six floral embroidered buttons and embroidered hem band, linen facings. LINK

american silk coat 1792-1799

Double breasted tan coat with satin stripe having boned wide fold-down collar, deep cuff with elongated button placket, V-shaped pocket with scalloped flap, pleated back with scalloped vent and two-tone silk basket weave buttons, linen lining. LINK

breeches 1750

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Breeches: Breeches can be made of wool, linen or leather. Breaches of the 1770's had a "fall front" or a flap in the front, which buttons near the waistline, covered by the waistcoat. An earlier style was the "fly front", which buttoned up in the middle of the front and would have been hidden by the longer waistcoats of the 1750 - 60's. The legs end about one or two inches below the knee and close with five horn, wooden, or white metal buttons or four buttons and either a buckle or drawstring. Breeches should be well fitted, rather than tight in the legs and waist with an excess in the seat. Leather breeches were very popular in New Jersey; made of buckskin by the working classes for durability http://www.outwatersmilitia.com/clothing.html
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gaiters

gaiters 1805 (met museum)

The French Marine Gaiters are made from white canvas. It should have a tight weave, but be light enough to be flexible, not stiff. Each gaiter is made from a single thickness of white canvas, with a tongue or foot cover piece added. There are12 small black leather buttons, about 1/2 inch in diameter, on each gaiter. These can be made from a small leather circle with a hole punched in it, or small black metal buttons can be used. The top 5 buttons holes have matching button holes instead of buttons. The buttons of the knee breeches will button through these five button holes.
Ilustration at left shows the gaiters attached to the knee breeches, at the top five button holes, and secured with a small leather strap with a brass buckle, just below the knee. http://www.marinesducontrecoeur.org/uniforms3.html

Gaiters patternTo make the gaiters pattern, for the height, measure your leg from above the shoe heel to above the top breeches button, for the height. For the width, measure the around the widest part of your leg, the calf, and add two inches to this measurement. This will give you the approximate dimensions to the dotted lines on the drawing. Add 1 1/2 inches to the side dimensions, to be folded back and sewn down to double the edges, for the button holes and buttons. Add a 1/2 inch to the top and bottom edges to flat fell these edges.

The tongue, to cover the top of the shoe is a separate piece. You will need four of these, two for each gaiter Sew the tongue pieces together on the curved edge. Turn inside out, fold the straight edges a little, slide the gaiter body between the two pieces of the tongue and sew down.

When completed,the gaiter is the correct height, but too wide around the leg. Put them on, inside out, and tighten them up by pinching up the back. Pin the extra cloth, so the gaiter fits tight. Remove the gaiter, sew up along the pins and cut off the excess cloth. You can flat fell this seam also. You now have tight-fitting gaitors with a seam up the back.

The strap, if you want to use one, is made of canvas or leather. It is sewn to the inside on the the foot and buttons to the bottom button on the outside of the gaiter.

The pattern shown is for the right gaiter, flip the pattern over to make the left gaitor. You can also fold your canvas and cut two pieces. That way you will have a right and a left gaiter.

kirsten dunst as marie antoinette

A GILDED CAGE
She was only fourteen when she arrived at Versailles; she fell to the French Revolution at 37. Kirsten Dunst was photographed at the peristyle of the Grand Trianon at the Château de Versailles in a corseted pink-and-dove taffeta-and-chiffon ball gown by Alexander McQueen.
ENTOURAGE
Louis XVI, played by Jason Schwartzman (at rear), and his wife (Dunst, in pale blue) hold court at a late-night gambling party. The queen's lover, Axel von Fersen (played by Jamie Dornan, front left), watches longingly from afar. Shot in Paris at the Centre des Archives Nationales, Hôtel de Soubise—where many of the movie's interiors were filmed. The sumptuous costumes were created by Milena Canonero and the wigs by Rocchetti. Set design by Jean Hughes de Chatillon.
The stars stroll in the Hall of Mirrors. This Vogue shoot was the first authorized by the Château de Versailles in 25 years.
For seven years, their marriage was unconsummated. Instead, the queen found satisfaction in creating an exquisite appearance. Here, in the park at Versailles, the couple returns home after attending a masked ball in Paris with her clique, the Private Society.
Louis and Marie Antoinette were young, lonely, and thrown together by fate. "I think they ached for each other," Schwartzman says. Here, the couple looks out over the palace's parterre and the Fountain of Latona.

Fashion Editor: Grace Coddington
Sittings Editor: Alexandra Kotur http://www.vogue.com/feature/081606/popup/slideshow1.html

jas en broek

Na het midden van de 18de eeuw droegen modieuze mannen een jas van effen stof, versierd met veelkleurig borduursel. Vaak waren in het borduurwerk metaaldraad, lovers, pailletten of gekleurd glas verwerkt, zodat iemand in zo'n kostuum letterlijk een 'schitterende' entree kon maken. Hoewel niet zó spectaculair, was ook dit kostuum bedoeld om te dragen tijdens feestelijke gelegenheden. Helaas is de oorspronkelijk donkerblauwe fluweel met de golvende ribbels sterk verkleurd. Het jasje is erg smal in de schouders. De man die dit pak droeg was dus nogal klein van stuk, maar het model is ook typerend voor de 18de-eeuwse mode, waarbij een heer zijn rug rechtte, de schouders ver naar achter trok en de borst vooruit stak.

Sinds de 17de eeuw waren mannenjassen vrij recht van snit, met vanaf het middel diepe plooien in de zijnaden. Deze boden extra bewegingsruimte bij het paardrijden. Dit model was overgenomen uit de militaire dracht. Ook de grote knopen en knoopsgaten, zakken en manchetten van de militair waren mode geworden. In de loop van de 18de eeuw werd het silhouet zwieriger. De voorpanden werden schuin weggesneden, zodat het feestelijk versierde vest beter zichtbaar werd.

Behalve een jas - ook wel rok of frak genoemd - en een kniebroek, droeg een heer ook nog kousen, gehakte schoenen met gespen en een eveneens fraai geborduurd vest. Onder dit alles droeg hij een lang wit onderhemd met mouwen. In de broek gepropt vervulde dit hemd vaak tegelijk de functie van onderbroek. Het was mode om een gepoederde pruik te dragen. Iedere ochtend werd deze pruik door een bediende ingesmeerd met vet en met meel bestrooid. In de loop van de dag verloor men een deel van dat witte poeder, zodat op de schouders witte vlekken verschenen.

georgian coat

Gentleman's silk top coat, late 18th century

Throughout the 18th century, the essential features of a gentleman's costume—the topcoat, the waistcoat with or without sleeves, and knee-length breeches—did not change, but the shape slowly evolved. After 1760, topcoats like this one began to be cut away at the front and were seldom buttoned.

Despite the glacial pace of change in men's fashion over the period, subtle details on the garment could show if the wearer were in or out of fashion. This is because the style of trimming or the accessories changed more quickly than the basic shape. So the details on the garment were stylistically quite important.

The coat retains the large self-covered buttons, fold down collar, and wide cuffs of earlier coats. The buttons on the topcoat are decorative only; the coat closes in front with hidden hooks. The sleeves of the topcoat are cut with a curve to accommodate the elbow. http://vintagetextile.com/new_page_251.htm

georgian era

Fashion in the period 1750–1795 in European and European-influenced countries reached heights of fantasy and abundant ornamentation, especially among the aristocracy of France, before a long-simmering movement toward simplicity and democratization of dress under the influence of Jean-Jacques Rousseau and the American Revolution led to an entirely new mode and the triumph of British tailoring following the French Revolution.

http://en.wikipedia.org/wiki/1750-1795_in_fashion

http://www.antiquedress.com/ c. 1770-1790's (late 18th Century) "Habit a la Francaise" French Frock Coat of Dark Taupe Cut Velvet with Magnificent Polychrome Floral Silk Embroidery... Along with Ivory Silk Embroidered Waistcoat