The Dress that Traveled the Globe

One of my favorite aspects of curatorial work is the chance to dive deep into individual artifacts—pieces that at first glance might seem straightforward, but on closer study reveal entire worlds. 

During my time at the Winterthur Institute, I had such an opportunity for a deep dive, and chose one of their mid-18th-century oil paintings, Portrait of a Woman, attributed to Boston-born artist John Greenwood (1727–1792).Greenwood likely painted it while living in the Dutch colony of Suriname in the 1750s.

We don’t know much about the sitter, but what grabbed my attention right away was her dress. It’s not what you would expect for the time—different in cut, fabric, and style. That unusual dress became my starting point for figuring out when and where the portrait might have been painted, and what story it might be telling.

Fashion that Breaks the Rules 

Between 1750 and 1775, women’s fashion in Europe and the colonies usually followed a set formula: low necklines, a conical torso shaped by stays, full skirts, and sleeves that ended just past the elbow. Popular styles included the robe à l’anglaise, with its fitted back and open skirts, and the robe à la française, which had loose Watteau pleats at the back but was still tightly fitted in the bodice.

Robe à la française 

Robe à la française 

Silk, French, 1750-1775

C.I.54.70a, b     

Metropolitan Museum of Art 

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