High Fashion
The Dawn of an Era
Classicism arose, the aesthetic pursuit of beauty based upon the principles, graces and myths of Greco-Roman lore, through an artistic movement coined as Rococo. The paintings of Thomas Gainsborough, Francis Hayman and Sir Joshua Reynolds provide brilliant references of this period and capture the grandeur of 18th century France.
Clothing reflected extravagance, intended to reveal one's social status within the hierarchical class structure of Europe, particularly England and France. It was desirable for women to appear in full-figured corsets and wear rich fabric that modestly hinted at cleavage, outfits often patterned to resemble architectural designs such as Baroque interior work. Rococoism, heralded as the signature of Versailles, was a result of the Enlightenment. During a period which valued reason over tradition and logic over the heart, there came a shift beginning in the 1650s which ushered in the excessive grandeur of the budding period. In France, the educated bourgeoisie gained influence while introducing new fashions in popular salons, social gatherings which allowed the nobility to display their wealth and prestige. This transition made a large impact, a trend which rippled across all social classes including the monarchy and the peasant classes.
The Rococo style became established within the reign of Louis XV, whose mistress, Madame Pompadour, widely began adoring herself and belongings with floral patterns and pastel tones. Expressed by figures such as Madame Pompadour and Marie Antoinette, who became the living symbol of this trend, Rococoism proceeded to engulf the nation into a civic dispute, a bitterness pitted against the excessive lifestyle of the nobility which instigated the spark of revolution which erupted in 1789.
Clothing reflected extravagance, intended to reveal one's social status within the hierarchical class structure of Europe, particularly England and France. It was desirable for women to appear in full-figured corsets and wear rich fabric that modestly hinted at cleavage, outfits often patterned to resemble architectural designs such as Baroque interior work. Rococoism, heralded as the signature of Versailles, was a result of the Enlightenment. During a period which valued reason over tradition and logic over the heart, there came a shift beginning in the 1650s which ushered in the excessive grandeur of the budding period. In France, the educated bourgeoisie gained influence while introducing new fashions in popular salons, social gatherings which allowed the nobility to display their wealth and prestige. This transition made a large impact, a trend which rippled across all social classes including the monarchy and the peasant classes.
The Rococo style became established within the reign of Louis XV, whose mistress, Madame Pompadour, widely began adoring herself and belongings with floral patterns and pastel tones. Expressed by figures such as Madame Pompadour and Marie Antoinette, who became the living symbol of this trend, Rococoism proceeded to engulf the nation into a civic dispute, a bitterness pitted against the excessive lifestyle of the nobility which instigated the spark of revolution which erupted in 1789.
Women's Fashion
At the beginning of the period, women wore their hair tight to the head, sometimes powdered or topped with lace kerchiefs, a stark contrast to their wide panniers. However, hair progressively was worn higher and higher until wigs were required. Women wore their hair atop metal frames which set many elaborate styles that incorporated curls and ringlets completed with powder. These towering tresses were elaborately curled and adorned with feathers, flowers, miniature sculptures and figures. Hair was powdered with wheat meal and flour, which caused outrage among lower classes as the price of bread became dangerously high.
Plunging necklines also became common as did daintier heels decorated with bright fabrics, bows, lace and pearls. Skirts usually opened at the front, displaying an underskirt or petticoat. Pagoda sleeves arose about halfway through the 18th century, which were tight from shoulder to elbow and ended with flared lace and ribbons (1). Full skirts, tight bodices, lace kerchiefs, short-lapel jackets modeled after men's coats and small trains were trademarks of this style. Yet one of the most revolutionary contributions from this era came from Marie Antoinette. This queen of fashion made the chemise à la reine (2) quite popular for it exhibited no corset, revealing a woman's figure behind a loose white gown tied with a silk sash that decreased the severity of female clothing.
Plunging necklines also became common as did daintier heels decorated with bright fabrics, bows, lace and pearls. Skirts usually opened at the front, displaying an underskirt or petticoat. Pagoda sleeves arose about halfway through the 18th century, which were tight from shoulder to elbow and ended with flared lace and ribbons (1). Full skirts, tight bodices, lace kerchiefs, short-lapel jackets modeled after men's coats and small trains were trademarks of this style. Yet one of the most revolutionary contributions from this era came from Marie Antoinette. This queen of fashion made the chemise à la reine (2) quite popular for it exhibited no corset, revealing a woman's figure behind a loose white gown tied with a silk sash that decreased the severity of female clothing.
Men's Fashion
While men and women wore wigs, facial hair was not fashionable. Instead, men shaved, grew their hair past their shoulders in order to curl it or they would simply wear a wig. Wigs were usually worn by men, preferably white with horizontal rolls brushing over their ears. Yet the tax duty on hair powder in 1795 led to the complete demise of the powdered wig.
Additionally, men typically wore knee-length breeches, stockings, heeled boots, impressive waistcoats and an outer coat topped with a lace jabot tied about the neck(3). Tricorne hats became popular during this period, often plumbed with ostrich feathers. Elites were referred to as "macaronis" while the lower classes survived in tattered rags.
Fashion served a great importance, specifically in the confusion of the French Revolution. One's choice of clothing could erupt into a riot or death due to the absence of the revolutionaries' tricolor cockade. The peasant class in revolt called themselves sans-culottes, or those "without breeches," which made breeches dangerous to wear and self-identifying symbol of one's ties to the aristocracy.
The Rococo era was defined by seemingly contrasting aspects: extravagance and a quest for simplicity, light colors and heavy materials, aristocrats and the bourgeoisie. This culmination produced a very diverse era in fashion like none ever before. Although this movement was largely ended with the French Revolution, its ideas and main aspects strongly affected future fashions for decades.
Makeup
Men and women painted their faces white, finding a light pallor to be the most appealing. To establish a sense of realism upon their wraith-like appearance, women would typically paint blue veins upon their bosoms. Regardless of gender, material containing toxic lead would be used to cover exposed necks and faces regardless of known hazards contained within the paste(4).
Another unique discovery is that while men darkened their eyebrows, women removed theirs' completely in order to finely repaint or replaced them with mouse skin(5). Rouge was heavily used, buffed into small circles or triangles to denote vitality and youth. Large lips however were deemed uncouth. In order to diminish size, applicants would delicately paint crimson over their lips covered with pale foundation. Additionally, a trademark of the Rococo period is the use of patches. Black patches, replicating "beauty marks," were commonly worn, often on the portion of the face indicating a political allegiance or to hide skin lesions.
Fans
By the 18th Century hand fans had become a popular accessory and were seen frequently at society gatherings. Masquerades hosted dozens of masks and fans, items used to conceal one’s identity and assist in the struggle to rise upwards through a limited class structure.
A Raging Trend: Wigs
For nearly two centuries, "perukes" or powdered wigs were daily fashion accessories. However, if not for poor hygiene and contracted genital diseases, wigs may never have escaped obscurity.
The most devastating illness to strike since the Black Plague of the 16th century, spread in the form of syphilis. This sexually transmitted disease exposed rashes, oozing sores, caused blindness and baldness. Syphilis caused a desperate cry for wig-making for the lack of hair was seen as a public embarrassment. Wigs were crafted from horse, goat and human hair and were coated with powder, dyed white or grey and scented with lavender or citrus to mask foul odors. Wigs were considered a shameful necessity until Louis XIV lost his hair in 1655(6). The seventeen year old French King and his cousin began sporting wigs, which the aristocrats instantly copied which created a hierarchical trend that issued from the crown downwards.
The most devastating illness to strike since the Black Plague of the 16th century, spread in the form of syphilis. This sexually transmitted disease exposed rashes, oozing sores, caused blindness and baldness. Syphilis caused a desperate cry for wig-making for the lack of hair was seen as a public embarrassment. Wigs were crafted from horse, goat and human hair and were coated with powder, dyed white or grey and scented with lavender or citrus to mask foul odors. Wigs were considered a shameful necessity until Louis XIV lost his hair in 1655(6). The seventeen year old French King and his cousin began sporting wigs, which the aristocrats instantly copied which created a hierarchical trend that issued from the crown downwards.
As perukes became popular, wigs were seen as an emblem of the nobility. The term "bigwig" originated from elitists who could afford to wear the latest styles whose prices ranged from 25-800 shillings (7).
The notion to wear wigs spanned the Atlantic even when Louis died, wigs were profoundly ingrained into the public arena. Wigs were practical for a populace who suffered from rampant lice, a lack of sanitation and venereal diseases. In order to wear a wig, the entire head was shaven, which ceased the spread of lice who instead buried into wigs. Simplistically, a wig owner need only send their peruke to a wig-maker who would boil and remove insects, debris and any rodents who decided to inhabit the stylish fixture
By 1770, wigs began to ascend to greater heights. Soon feats became outrageous as stuffed birds, fruits, boats and garden scenery were fastened to the metal frames maintaining the buoyancy of these fanciful hairstyles.
Unfortunately for prosperous wig-makers, the rage began to diminish by 1790. Radicals banned the use of wigs during the French Revolution as figures like Marie Antoinette's extravagance spurred hatred against that symbol of opulent wealth. Simultaneously, William Pitt the Younger, the Prime Minister of England, levied a tax on hair powder in 1795 due to international conflict(8).
Afterwards, hairstyles for both men and women became more conservative as highly decorated wigs faded from public demand.
Although the powdering of hair had been fashionable, the tax officially sentenced the demise of the popular use of wigs altogether. The height of women's hair decreased and yet curls would remain as a sign of femininity. Besides those in legislative positions, men relished for their natural hair to be tied in low pigtails and doused with oil. Soon adopted shorter styles such as the ponytail or "queue" tied with a black ribbon became the most recent development.
An End to Indulgence
As the Rococo age came to a close, 1822 would be the turning point in fashion with the rise of the Georgian and Regency period which spanned from the early to mid 19th century. Romanticism, a focus on emotion ranging between 1800-1830, witnessed a transformation of culture which suited the dawning of the idealistic era.
Following after artistic trends, wardrobe for women became wider and looser. Hats were amassed with flowers and other decorations while bonnets would be seen worn about in town or in the fields. Braids, curled and chignon hairstyles replaced wigs of the Rococo era while the evening remained a elaborate event comprised of long gowns and festooned hair. Men's fashion vaulted into a lavish display of frills, scarves, top hats, canes, tight breeches and riding boots. Sideburns appeared although it was socially unacceptable to not be clean shaven. Fashion-oriented men became known as "dandies" whose style was refined and suiting a air of sophistication (9).
Surprisingly, heavy make-up became unfashionable; the movement of Naturalism prompting a more organic look. Only chic married women would use a small daub of powder and rouge to one's cheeks while light mascara was acceptable. This rejection of artificial beauty may be linked with the abandonment of the French style as displayed at the court of Versailles one the absolute monarchy was toppled.
Following after artistic trends, wardrobe for women became wider and looser. Hats were amassed with flowers and other decorations while bonnets would be seen worn about in town or in the fields. Braids, curled and chignon hairstyles replaced wigs of the Rococo era while the evening remained a elaborate event comprised of long gowns and festooned hair. Men's fashion vaulted into a lavish display of frills, scarves, top hats, canes, tight breeches and riding boots. Sideburns appeared although it was socially unacceptable to not be clean shaven. Fashion-oriented men became known as "dandies" whose style was refined and suiting a air of sophistication (9).
Surprisingly, heavy make-up became unfashionable; the movement of Naturalism prompting a more organic look. Only chic married women would use a small daub of powder and rouge to one's cheeks while light mascara was acceptable. This rejection of artificial beauty may be linked with the abandonment of the French style as displayed at the court of Versailles one the absolute monarchy was toppled.
Galerie
(1) Westover, Abigail. "Archive for the ‘Baroque/Rococo 1650-1800’ Category."
(2) Ibid.
(3) Ibid.
(4) History of Fashion and Make-up. Pearson Schools, 2004. 8.
(5) Ibid, 8.
(6) Reilly, Lucas. "Why Did People Wear Powdered Wigs?." Mental Floss.
(7) Ibid.
(8) Simon, James R. Taxation: Critical Perspectives on the World Economy, 43.
(9) History of Fashion and Make-up. Pearson Schools, 2004. 9.
(2) Ibid.
(3) Ibid.
(4) History of Fashion and Make-up. Pearson Schools, 2004. 8.
(5) Ibid, 8.
(6) Reilly, Lucas. "Why Did People Wear Powdered Wigs?." Mental Floss.
(7) Ibid.
(8) Simon, James R. Taxation: Critical Perspectives on the World Economy, 43.
(9) History of Fashion and Make-up. Pearson Schools, 2004. 9.