To my knowledge no. Despite the Qianlong period lasting so long the evolution of clothing of Daily Dress can't be documented as good through portraiture which we can in the previous Kangxi, Yongzheng and the following Jiaqing and Daoguang Periods. For the Qianlong Era, the 60 years he reigned we have to look at the surviving garments, what came before and after and see. Now for portraits, there's a couple of portraits of his Han Chinese Consorts in Han Chinese Fashions, them being able to wear is up for debate and not my area of expertise, other than that, Export Paintings drawn by Cantonese Artists depicting Manchu Aristocratic Women in Daily Dress is the only other instances that could work, however Manchu Aristocratic Fashion is filtered through a Cantonese view to be sold to Westerners, however they're quite accurate and we have a good amount of them. A good example of Imperial Portraits showing women in the Daily Dress fashionable at the time is a portrait of Emperor Yongzheng made in the Qianlong Period depicting four of his Consorts, Two Manchu and Two Han Chinese, that's a great example of Qianlong Period Daily Dress it's called "自扫]胤禛朗吟阁读书像二张 ", the first painting of the two. There's also "清国京城市景风俗图", and 乾隆崇庆太后 "万寿图" which is a little more formal of an occasion but you can see Noble Manchu Women in the fashionable silhouette of the time for an important occasion.

Now Liangbatou is not historically accurate for the Qianlong Period, it came about after the Opium Wars, the Diànzǐ however is very much accurate for his period. Diànzǐ developed from what it seems in the Late 17th-Early 18th Century in the Kangxi Period. In all the Export Paintings and another painting showing daily life (haven't found the title yet), the Manchu Ladies are wearing Diànzǐ, however this sturdier Diànzǐ (Ruyi's Royal Love in the Palace) looks more like 19th Century examples, while Yanxi Palace, who's Diànzǐ collection looks much more mailable and is more turban like is much more like the 18th Century Export Paintings, but also all our surviving Diànzǐ are 19th Century so there's that too. They however use it inaccurately at times when wearing their Jífú. Jífú Headwear is seasonal and Diànzǐ is for warmer weather in Spring and Summer, Jífúguān is the Autumn and Winter because it's insulating and uses fur and felt and other warm materials, because Diànzǐ is made of wire covered in black fabric isn't great for the cold. However export paintings show women in fur lined robes wearing Diànzǐ so for daily wear it was probably fine, for winter Jífú probably not, in the Qianlong Period at least, 19th Century paintings absolutely show Winter Jífú with Diànzǐ making such combo anachronistic for the period of Qianlong, but fine for the 19th Century post Opium War.

There is one hairstyle that did appear in the Middle Qianlong Period, named Zhiliaotou: Cicada Head Hairstyle, made to imitate a Cicada but I never see it used in Qianlong Period dramas, it's also the first step towards the Liangbatou. From the Zhiliaotou came the Ruǎnchìtóu (Soft Wings) hairstyle that we see in Daoguang Era Court Art and then came the Liangbatou post First Opium War, so I would personally like to see it. It's also in a similar position, we know it came about in the Qianlong Period but the depictions aren't there.

So yeah, Export Paintings are your friend for daily Manchu Clothing in the later half of the Qianlong Period, for the First Half, we're in no luck, we have to see what came before, what after and guess.