Samuel Pepys’ Fashion Prints Reveal His Guilty Pleasure: Fancy French Clothes

Samuel Pepys, the renowned English diarist and naval administrator, is well-known for his detailed accounts of life in the 17th century. While his diary entries from 1660 to 1669 provide rich insights into his everyday experiences, little is known about the latter part of his life. New research from the University of Cambridge has uncovered fascinating aspects of Pepys’ later years through his private collection of French fashion prints. These prints reveal Pepys’ ongoing fascination with fashion, particularly French styles, and his internal conflict over adopting these foreign trends.

A Glimpse into Pepys’ Private Collection

A University of Cambridge press release explains how most of what we know about Samuel Pepys comes from the diary that he kept from 1660–69. He wrote about everything from women to parmesan cheese, and the Great Fire of London, but he also wrote a lot about clothes. However, Pepys lived for another 34 years and while surviving letters offer clues, we know less about the second, more privileged half of his life.

Marlo Avidon, a PhD researcher at Christ’s College, Cambridge, has delved into Pepys’ private collection of fashion prints housed in the Pepys Library at Magdalene College, Cambridge. The library holds one of the largest collections of 17th-century French fashion prints in the world, including volumes titled Habits de France and Modes de Paris. These volumes that contain over a hundred illustrations from 1670 to 1696, provide a unique glimpse into the fashion sensibilities of the time and Pepys’ personal tastes.

The frieze inscription ‘Bibliotheca Pepysiana 1724′ records the date of the Pepys Library’s arrival at Magdalene College, Cambridge, 300 years ago. Painted above the inscription are Pepys’ arms and his motto ‘Mens cujusque is est quisque’ (‘The mind’s the man’). (Magdalene College, Cambridge)

Avidon’s study, published in The Seventeenth Century journal, includes eight newly revealed images from Pepys’ collection. Among these is a print titled “Habit Noir,” which depicts a French courtier in evening wear, complete with lace cuffs and ribbons. This print is particularly significant as it links to a memorable episode in Pepys’ diary where he felt self-conscious about wearing a lavish summer suit with gold lace, fearing it was too extravagant for his social standing.

Jean Dieu de Saint-Jean, Habit Noir (evening wear), etching c. 1670. A print collected by Samuel Pepys showing a fashionable elite Frenchman proudly wearing lace cuffs and ribbons. (Reproduced by permission of the Pepys Library, Magdalene College Cambridge)

Fashion as Social Capital

Pepys’ collection of fashion prints illustrates his enduring interest in clothing as a means of social and cultural capital. Despite his humble beginnings as the son of a tailor and a washerwoman, Pepys rose to become Chief Secretary to the Admiralty and an influential figure in the English government. Throughout his life, he was acutely aware of the power of fashion to signal status and sophistication.

Avidon suggests that Pepys used fashion not only to navigate social hierarchies but also to forge intellectual and cultural connections. As he climbed the social ladder, Pepys began to collect prints that showcased the latest French fashions, using them to solidify his position among elite circles and to demonstrate his cosmopolitan tastes. This practice was part of a broader trend among gentleman scholars of the time, who valued cultural capital as much as political and economic influence.

The French Influence and Moral Dilemma

Pepys’ fascination with French fashion was not without its complications. The political and cultural tensions between England and France during his lifetime made the adoption of French styles a contentious issue.

There was widespread concern about the influence of French Catholicism and the perceived vanity associated with French fashions. Pepys himself often ridiculed those who returned from France dressed in excessive, flamboyant styles, reflecting his internal conflict over embracing such trends.

Despite these reservations, Pepys’ collection includes numerous prints of French fashions, indicating his admiration for their elegance and sophistication. His diary reveals his conflicting attitudes toward French culture, particularly in relation to women’s fashion. At times, he admired the bold styles worn by women, while at other times, he criticized them for being overly masculine or excessive.

Jean Dieu de Saint-Jean, Habit de Ville, etching, c. 1670. A print in Samuel Pepys’ collection depicting a fashionable city gown. Someone has colored the embroidered silk pattern with amateurish squiggly lines. Marlo Avidon suggests that this print could have been colored by Mary Skinner. (Reproduced by permission of the Pepys Library, Magdalene College Cambridge)

A Tribute to Elizabeth Pepys

Pepys’ collection of fashion prints also offers a poignant connection to his personal life, particularly his relationship with his wife, Elizabeth. Elizabeth died in 1669, shortly before Pepys began collecting these prints. Avidon believes that Elizabeth’s influence is evident in the collection, as Pepys often worried about her spending on clothes and sometimes shopped with her. The prints may serve as a tribute to Elizabeth, reflecting her interest in fashion and their shared experiences.

Following Elizabeth’s death, Pepys formed a close relationship with his housekeeper, Mary Skinner, who became his mistress. Avidon suggests that some of the prints in Pepys’ collection may have been colored by Mary, indicating a personal and educational bond between them. The amateurish coloring in some prints, such as “Habit Noir,” points to this intimate connection.

A Legacy in Fashion

Avidon’s research into Pepys’ fashion prints provides a richer, more nuanced understanding of his later life and his enduring engagement with fashion. The prints reveal a man who, despite his social ascent, remained deeply concerned with how he was perceived and used fashion to navigate the complexities of his time. They also highlight the broader cultural and intellectual networks of the 17th century, where fashion played a crucial role in social and scholarly exchanges.

By examining these prints, Avidon brings to light a more human side of Samuel Pepys, one marked by anxiety, ambition, and a keen appreciation for the finer things in life. Her work not only adds depth to our understanding of Pepys but also underscores the enduring significance of fashion as a form of personal and cultural expression.

Top image: Left; Jean Dieu de Saint-Jean, Habit Noir (evening wear), etching c. 1670. Right; Inside the Pepys Library at Magdalene College, Cambridge.        Source: Left; Reproduced by permission of the Pepys Library, Magdalene College Cambridge.  Right; Douglas Atfield/University of Cambridge

By Gary Manners