Fashionable men's rococo hairstyle. Analysis of the preparation for the implementation of the developed images. Rococo makeup

In the Renaissance, rigid religious dogmas and medieval asceticism were replaced by completely new values. The desire to enjoy life here and now has had a certain impact on the style of hairstyles. Women again strive to stand out from the crowd and create hairstyles that are amazing in their complexity and luxury.

The Renaissance is characterized by a return to the traditions of ancient culture, including a return to antique hairstyles. Women begin to decorate their hairstyles with expensive jewelry, tiaras. It was highly valued blonde hair. Renaissance women used various natural dyes or they sat for hours under the scorching sun, waiting for the strands to burn out and become lighter. Despite this, in this era is valued White skin, so women of fashion carefully protected their skin from sunburn with wide-brimmed hats.

The new trend of the Renaissance was the open high forehead. Sometimes women tried to artificially increase the height of the forehead, for this they shaved off part of the hair above the forehead. It was also customary to shave off the eyebrows.

The 17th century saw the arrival of the Baroque style, with its elaborate decorative costumes and high hairstyles. At this time, the fontange hairstyle was widely used, which was a high hairstyle with a hard cap that rose above the forehead with the help of a wire frame.

Hairstyles begin to resemble high towers, which were fixed with a frame. It took a lot of time and money to perform such a hairstyle, and only representatives of high society could afford them.

A high open forehead is still in fashion, the forehead line is again raised by shaving. Hairstyles are richly decorated with gold and silver jewelry, precious stones.

In the 18th century, baroque was replaced by rococo, and tall, unnatural towers on the head were replaced by elegant and sophisticated little hairstyles. In this era, tubular curls come into fashion. The most common hairstyle among fashionistas is curls, raised and laid at the back of the head, decorated with ribbons, fresh flowers or pearls.

However, in the second half of the 18th century, huge high hairstyles are gaining popularity again. Now images of naval battles and sprawling gardens are created on the woman's head. It is during this period that the hairstyle reaches its incredible size. Very often, hairpieces begin to be used in creating hairstyles. To create additional volume, special pillow linings were also used, which were reinforced with hairpins.

Introduction

The subject of this thesis: "A stylized Rococo hairstyle."

The purpose of the thesis is to create stylized images that reflect the relationship between the Rococo era and modern fashion trends in the hairstyle, its shape, and colors.

The tasks of the work are:

Explore the options for creating hairstyles in the Rococo era;

Explore changes in the technology of performing hairstyles of the Rococo era;

Choosing an image from a variety of options and styling it.

The subject of the research is the development of hairdressing in the Rococo era from antiquity to the present day.

The object of the research is the hairstyle as an integral part of the image and style.

Rococo is a style that has features of fragility, sophistication, some mannerisms and sensuality. Graceful decorativeness, intimacy, exaggeration of curved smooth lines - that's what defines this style.

Complex stucco and carved patterns, curls, shells are introduced into the interior design, the finish is distinguished by sophistication and lightness. In the decoration of the inner chambers, light silks, gilding, and porcelain are used. The Rococo style was distinguished by bizarre asymmetry and elegance of forms. Its heyday falls on the reign of the French king Louis XV. This is the time when the aristocracy closes in its cozy little world, spending life in countless festivities, balls, masquerades, hunting, picnics and ... love adventures.

The original costume ended with a lovely female head with a smooth hairdo that was significantly reduced in size. But already in the second half of the 18th century, the hairstyle “grows” up again, sometimes to a height of up to 70 centimeters.

Famous hairdressers, together with milliners, create still lifes of flowers, ribbons, decorative hairpins and feathers on the heads of their high-born clients; even whole ships with raised sails; windmills, bridges and much more, down to garden architecture.

Men let loose boucles from the sides, and wore them from behind long braid. A little later, white powdered wigs came into fashion, with curls twisted from the sides, a pigtail and a bow at the back.

"Podium hairstyle of the Rococo era", the most relevant not only in our time, but at all times. This is our past and this is our future, because life, culture, art and new directions do not stand still, they develop with us and with each era make more and more new discoveries and upheavals.

The theme: "The stylized hairstyle of the Rococo era", is very relevant and could well be suitable for podium shows and competitions, as well as in theaters and cinema.

Chapter 1. Analysis of preparation for execution of development images

1.1 Historical and modern vision of Rococo fashion

In the first half of the 18th century, the Rococo style appears, which, as it were, completes the development of the Baroque style. Rococo is a decorative style that has features of fragility, sophistication, some mannerisms and sensuality. These features were present in both men's and women's hairstyles.

The heyday of Rococo falls on the reign of the French king Louis XV (Fig. 1). This is the time when the aristocracy closes in its cozy world, spending life in countless festivities, balls, masquerades, hunting, picnics and love adventures. The style of that era bore the features of fragility and sophistication, mannerisms and sensuality. The focus is on the inner world.

The secular salons were dominated by women. The desire to please prevailed over everything and brought to life clothing that emphasized the sensual forms of the body. Everyone, absolutely everyone wanted to be young (forever young!): to hide their age, their hair was covered with a layer of powder that hides gray hair, their cheeks were very blushed.

Movements, gait worked out with teachers " good manners”, even sitting at the table, the legs were inserted into special blocks, accustoming them to the“ third position ”. No wonder the 18th century was called the "gallant age", the age of powder, lace, the minuet, the age of the feminine man. Aristocratic costumes sparkled with gold and precious stones. formal wear, office, salon and even home were equally magnificent. They even wore jewelry instead of buttons, and ceremonial dresses, even the most expensive ones, were worn only once.

The voluminous forms of baroque clothing are a thing of the past, the dress seems to have acquired human dimensions again. Pomp and solemnity gave way to caprice and whim, asymmetry won harmony. The free-flowing baroque dresses seemed to have fallen off and acquired more definite forms, the details of the costume were reduced and became more refined. There were no noticeable changes in the cut of clothes.

Women's costume (Fig. 2) Gracefulness and lightness distinguish the silhouette women's costume of that time: narrow shoulders, extremely thin waist, high chest, rounded hips, etc. Again, dresses with iron hoops are in fashion, skirts have become wider and acquired a domed shape.

In the second half of the century, the skirt greatly expands to the sides, its round shape turns into an oval one (stretched at the sides and flattened in front and behind). The sides of the skirt are so stretched out that the gentleman could not walk next to the lady, but walked a little ahead, leading her by the hand. Sometimes small frames were simply strengthened around the waist - figs, elongated at the sides and flattened in front and behind. The waist is tightened with a corset, which greatly lifts the chest, slightly ajar with a shallow wide neckline. The cutout around the neck and on the chest is draped with a flirty scarf (often with a fringe). Later, it is lifted up to the chin, artfully creating the appearance of high breasts, fashionable at the time. This fashion was introduced by the wife of Louis X, Queen Marie Antoinette (Fig. 3), who had an impeccably beautiful small but high bust.

The sleeves narrow at the elbows, like a neckline, are decorated with a cascade of flowing lace, ribbons and braids (gold, silver or tinsel (copper, pewter) braid). Small additions to clothing are also of great importance. These included a fan, which was a necessary part of being able to flirt, a pompadour bag for countless cosmetic items, gloves, and a muff.

Rice. 2. Women's dresses

Rice. 3. Queen Marie Antoinette

Shoes look especially coquettish - small and elegant, like the whole suit in general, with a deep neckline and a large heel of an elaborately curved shape. The ceremonial costume was complemented by colored stockings with gold and silver embroidery, in the second half of the century - white silk stockings with an openwork ornament or an embroidered arrow. Ladies' shoes at that time were made of colored leather, brocade, satin, velvet. Brocade satin shoes were embroidered with colored silks, pearls, gold and silver threads, and stones (Fig. 4).

Rice. 4. Women's shoes

In Rococo style clothing, which was very revealing of the body, much attention was paid to women's underwear - an underskirt with an oversized blouse - negligee (from the French neglige - careless). Silk, richly decorated with gold and silver, embroidery and lace, it becomes the pride of ladies (Fig. 5).

Rice. 5. Underwear and corsets

Hairstyles of the 18th century are very interesting for their splendor and variety. After all, as evidenced by the history of hairdressing (and especially in the era of the majestic, luxurious, sophisticated and pretentious Rococo, hair styling masters were called and equated with the status of outstanding and gifted artists), not a single chic hairstyle socialite, like an impressive sculpture or a masterpiece canvas, had no analogues in any part of the world. That is, every talented and sought-after hairdresser already in the 18th century guaranteed the exclusivity of his creation.

In general, frankly, it was the incomparable and delightful, fantastic and luxurious hairstyles of the 18th century for both influential men of that time and court favorites that revolutionized the world of fashion, aesthetic worldview, artistic thinking in general and in hairdressing - in particular. It is clear that, like any art with a certain degree of subjective artistic worldview of the creator, the skill of a hairdresser reflected contemporary realities and was guided by the possibilities, needs and spirit of the era. Therefore, many hairstyles of the 18th century are inextricably linked with the most important historical events. For example, in commemoration of the launch of the royal frigate "Admiral" (Fig. 6), hairstyles of the 18th century a la a sailing ship came into fashion, perfectly fixed on the crown of an exquisite thin lady.

After 1770, during the late Rococo period, hairdressing flourished. Women's hairstyles. The original costume ended with a lovely female head with a smooth hairdo that was significantly reduced in size. But already in the second half of the XVIII century. the hairstyle “grows” up again, sometimes to a height of up to 70 centimeters. Moreover, this happens almost in proportion to how the skirt expands more and more on the hips. Famous hairdressers, together with milliners, create still lifes of flowers, ribbons, decorative hairpins and feathers on the heads of their high-born clients; even whole ships with raised sails; windmills, bridges and much more, up to garden architecture (Fig. 7). High hairstyles were made with the help of fat, lipstick, pins, ostrich feathers. Fruit baskets or cornucopias were erected on a high hairstyle. Especially popular was the frigate hairstyle - a pile of hair in the form of a sailing ship at the top of the head. Such a hairstyle was not dismantled for several days, during sleep they used head restraints, which made it possible to keep the hairstyle on weight.

Only after powdering in hairstyles

But everything flows, everything changes. Whoever reaches the top goes down. For the French estate monarchy, the descent began, as you know, already during the life of Louis XIV and continued until the revolution. The Sun King, who said: The state is me, nevertheless, in his own way, cared about the greatness of France. And Louis XV, who did not at all renounce the claims of absolutism, thought only of his own pleasures. The vast majority of the aristocratic servants who surrounded him did not think of anything else. His time was a time of insatiable pursuit of pleasure, a time of merry living.

But no matter how dirty the amusements of aristocratic idlers were at times, the tastes of the society of that time were nevertheless distinguished by undeniable elegance, beautiful refinement, which made France a trendsetter. And these elegant, refined tastes found their expression in the aesthetic concepts of that time. Everywhere spread the refinement of elegance and the subtlety of sensual pleasure. In 1740, the poet Niron, in one of his poems, speaks on behalf of the famous painter Boucher to the mistress of Louis XV, Madame de Pompadour:

To be honest, I'm looking for

Only grace, grace, beauty,

Gentleness, politeness and cheerfulness

In a word, everything that breathes
Sensuality or playfulness.
All this without too much liberties,
Under the cover it requires
Captivating virtue.

Baroque was replaced by the early Rococo era

Unnatural looking large hairstyles gave way to small, elegant, with tubular curls. There was a powdered hairstyle. The graceful and attractive Marquise de Pompadour, who appeared at court with new and new hairstyles, set the tone. Louis XV admired this petite woman, who first introduced the fashion for high heels and high hairdos of the Baroque era reduced in accordance with the style of a small woman. Subsequently (under Marie Antoinette), hairdressing began to have such great importance that hairdressing academies were founded to teach the art of creating unique hairstyles. After 1770, during the late Rococo period, parkmacher art flourished. At this time, sea battles with miniature sailboats are played out on the ladies' heads, paradise gardens are blooming ... The hairstyle that had decreased at the beginning of Rococo is growing by leaps and bounds. Hairdressers are worth their weight in gold. Powder, which was made from flour, is used in kilograms.

Until about 1713, they still wore high fontange hairstyles, which owed their name to the mistress of Louis XIV, Marie Angelique de Fontanges, who, having disheveled her lush curls on the hunt, tied them with a strip of lace, which plunged the king into delight. The next day, all the ladies of the court combed their hair "à la Fontange". The hairstyle, adorned with stiff starched lace or ribbons, gradually grew in height and could reach half a meter in height.

Maria Angelique de Fontanges (1661-1681)

However, nothing lasts forever under the moon, and the fountain fashion has gone as abruptly as it arose. In 1713, at a reception in Versailles, the English Duchess of Shrewsbury appeared before the king - with rather smoothly combed, slightly curly, slightly powdered hair, decorated with flowers and lace. The king liked the simplicity and elegance of the coufure, and from now on "tout le mond" began to be combed in this way.

From 1715 it became customary to powder hair. Starch or rice flour was often used as powder. The use of wheat flour for these purposes was condemned. Hair powder, often perfumed, could be purchased in various shades: gray, white, soft pink and yellowish. Wealthy families had a special toilet room for powdering wigs and hairstyles, a powdering robe was worn over the clothes, and the face was protected by a cone-shaped paper mask. So that the powder settled on the hair and did not crumble, the hair was smeared with oils or special lipstick. Ladies powdered their hair sparingly at first, but around the 1750s, more and more powder settled on women's hair, which was caused by the use of overlays from other people's hair (especially after 1770), which were not always ideally suited in color. The powder also helped the hairstyle last longer.

After 1770, hairstyles again begin to become more complicated and grow upwards. Naturally, there was not enough own hair for such huge structures, and false hair, frames, and pillows were used. Hairstyles required more and more time and were expensive, and therefore the same coufure was worn for several days in a row, or even for several weeks. Men's wigs have been in fashion for a long time, but now ladies are increasingly wearing wigs (which probably saved a lot of time, money and nerves). Despite modern ideas about wigs in the 18th century, wigs were not white at all. People with means could afford real wigs. human hair, poorer people were content with wigs made of horse or buffalo hair. Hats also grow in size and are lavishly decorated with feathers, ribbons, flowers, and fabrics. Caps are still worn, which could be both huge and purely symbolic in size.

In the course were headdresses "Kalash", reminiscent of the folding top of the wagon.

In the 1770s, the unhappy married Marie Antoinette set the tone for clothes and hairstyles, who from time to time amazed all of Paris with the most incredible structures on her head. Flower vases, windmills, sailing ships, cages with birds - the fantasy of Queen Leonard's hairdresser was inexhaustible. Such high hairstyles are called "poof".

After 1780, hairstyles again became more modest and reduced in size. The marriage of Marie Antoinette and Louis XVI finally, in 1777, was physically consummated and Marie Antoinette became a mother in 1778. suffer from hair loss, which eventually had to be cut shorter. This brought into fashion a new type of hairstyle "hedgehog". The simplification of hairstyles (and dresses) was also greatly facilitated by Rousseau's craze and his "back to nature" philosophy. After 1780, the hair was powdered less and less, as fashion demanded "naturalness". Fancy hairstyles and dresses, as well as the entire artistic style of "rococo", were criticized both by the philosophers of the "Enlightenment", and the increasingly powerful bourgeoisie. Marie Antoinette's manner of dressing and combing her hair caused discontent among the people, which was expressed in anonymous pamphlets that were widely circulated, in which the queen was portrayed as a dressed-up girl.

1783. Marie Antoinette

1785. Sarah Siddons.

18th century was the heyday of women's hairstyles and wigs. Never has the diversity of fashion and its "drama" been shown so clearly as in the Rococo era. Between the two extremes - from high hair to low and vice versa - fashion constantly fluctuated. In the first half of the 18th century, women's hairstyles in France continued to be bulky and heavy. Basically, they repeated the silhouettes of hairstyles. "a la Fontange" with minor changes. Soon, the 2-foot (62 cm) high hairstyle begins to fall and gets the name “Fontange chest of drawers” ​​- “comfortable”.

The wives of the bourgeois wore more modest hairstyles: “a la Kulbit”, “a la Mouton”. In 1712, the "fountain" becomes out of fashion and disappears. King Louis XIV is losing his former interest in fashion and completely submits to the influence of his last favorite Madame Maintenon, a pious and modest woman who wears a ridiculous, flattened hairstyle, which received the caustic name "Humility". All court ladies were forced to comb their hair "a la Maintenon".

Since 1725 (at the court of Louis XV, small, elegant hairstyles that were heavily powdered came into fashion. These hairstyles were called “small powdered ones.” They were almost the same for men and women. wreath, leaving the back of the head smooth.Women's hairstyle had two more serpentine curls that descended on a heavily decollete chest.This is the Countess Kossel, the favorite of the Elector of Saxony Augustus II, so the hairstyle was called by her name.

Maria Leszczynska, a Pole by birth, paid a lot of attention to her appearance and wardrobe. In 1725, she married Louis XV and did much to develop fashion at the royal court. She perfected the hairstyle of Countess Kossel, decorated it with a feather and a brooch, and called her "Polonaise".

Court ladies and gentlemen "without age" looked like porcelain puppets not only with their immensely bleached faces and hair, dresses and camisoles made of silk of the most delicate shades, but also with the puppet plasticity of memorized court etiquette, in which making a mistake was as irreparable as breaking a fashionable thin porcelain. But the refined grace of small white heads did not reign for long. In the 1730s of the 18th century, a new silhouette of the hairstyle appeared, not too graceful "egg" shape. The hair was fluffed up and combed smoothly up above the forehead. Two dense, tubular curls were laid from ear to ear through the crown, through the highest point of the hairstyle. A chignon was attached at the back, rather flat in shape. Sometimes they did not curls, but boucles, laid them parallel to each other in the same direction, and curled one or two curls near the ear and lowered them onto the shoulder. The hairstyle was necessarily decorated with flowers, the curl - with pearls.

But by the middle of the century, hairstyles increased again, as did skirts stretched on a whalebone. Jean de La Bruyère, the famous French moralist (he was the tutor of the Duke of Bourbon) angrily remarked: “Just as a fish must be measured without taking into account the head and tail, so a woman must be examined without paying attention to her hair and shoes.” hair appears "Tape" - "Waving". Curled hair was driven in and laid high above the forehead in a kok of various variations. They began to wear hairstyles such as "crown", "tiara". Torsad- (fr. - tourniquet) or a braid, or long curled strands were intertwined with ribbons and pearls and laid in the shape of these headdresses.

The accession to the throne of Louis XVI was marked by two things: an unprecedented increase in the national debt of France and the appearance of a new hairstyle "Flowers of the Queen", decorated with grain ears and a cornucopia. This was the beginning of the hairdressing frenzy. Very soon, fashion will replace the former, more modest hairstyles of the early Rococo. The Queen herself sets the tone. In the 60s and 70s, hairstyles were already whole structures half a meter high, which were erected by skillful hairdressers-kouafeurs. The work takes several hours. The Parisian Courrier des Dames gives fashionistas another piece of advice: “Every lady who wants to bring her hair in line with the latest tastes should purchase an elastic pad that fits exactly the size of her head. Having laid, powdered and pomaded your hair properly, you need to put a pillow under it and raise it to the desired height ... ". Competing with each other, the capital's couafers invented not only hitherto unseen hairstyles, but also unheard-of names for them: "Zodiac", "Stormy waves", "Hunter in the bushes", "Mad Dog", "Duchess", "Hermit", "Cabbage", "Musketeer", "Poly Garden", "Angel's Smile", "Flourishing Pleasure", "Charming Simplicity".

A very characteristic description of the hairstyles of the nobility is in the essays by Galina Serebryakova “Women of the French Revolution”: “Diana Polignac and Princess Lambal vying with each other tell Marie Antoinette vulgar palace gossip, while four hairdressers have been working on the royal hairstyle for the sixth hour in a row. The three hundred and second curl at the back of the head is stubbornly developing, and the sailboat, hoisted on whipped coke, threatens to fall off. The queen was tired of covering her face with a paper shield, and the powder, which was sprinkled in abundance on her hair, covered her face with a white mass. In a corner of the boudoir bustles Madame Rosa Bertin, the queen's dressmaker, laying out with the help of ten maids on a sofa draped with flowers ball gown of the finest Chinese silk and Lyon velvet.

Bolyar is a virtuoso of fashion.

The brilliant Leonard Otier, nicknamed Bolyar - "Magnificent", was the court hairdresser and hatmaker of Her Majesty Marie Antoinette. “... The virtuoso of fashion is refined, cutesy, mannered, in a word, a real couturier, he fully corresponded to the type, numerous examples of which are well known to us. His contemporary, a poet, left laudatory lines dedicated to Bolyar - Archimedes of fashion, a magician who, in his luxurious store, controls the tastes of the client:

Bolyar, so many masterpieces, so brilliant,
With which you decorated your Fatherland,
Your great talent is confirmed.
You hold a precious wand
What turned the French Empire
To the empire of happiness and extravaganza.

Bolyar presented the queen with a fragrant rose made by him, the core of which opened, revealing a miniature portrait of Her Majesty. This seemed very offensive to Rosa Betren, who strove for autocracy over her high-ranking clients and, for a long time, she refused to fulfill the orders of Princess de Lamballe, the culprit of Bolyar's acquaintance with Marie Antoinette.

Marie Antoinette's inner circle were also Bolyar's clients. Madame de Matignon, known for her impudent antics (even on the day of execution she remained true to herself: she went up to the scaffold rouged and in chic dress), concluded with great coufer agreement: twenty-four thousand livres and every day he builds her new hairstyle. These hairstyles were so high that “the ladies rode in their carriages on their knees or bent over to the limit. Their faces seem to be inserted into the middle of the body ... "- so they wrote in 1775.

Hairstyles required a lot of hairpins, lipstick, powder, so they tried to keep it as long as possible, without taking it apart for several days, or even weeks. During sleep, the ladies used special headrests, which allowed them to keep their hair on weight. The same famous Leonard Bolyar was the first creator of hairstyles that were integral with the headdress. The creativity of the virtuoso hairdresser and the indefatigable imagination of the Queen gave the world such masterpieces as "Explosion of Sensibility", "Voluptuous", "Secret Passion". In comparison with the pale “sissy” or modest “butterfly” of the previous period, these were huge, complex hairstyles that were integral with the headdress. They reflected international events, advances in technology.

Hats, of course, existed independently. A whole direction in the creation of hats was invented by the famous maestro: "mood hats", - this was the name of bizarre structures inscribed in no less bizarre hairstyles of exquisite ladies. They were intended to express the secret thoughts and feelings of the person who put on such a hat. Butterflies curled around the heads of frivolous ladies - a whole flock of messengers of love spoke of seeking or encouraging flirting with a gentleman, sarcophagi and mourning urns spoke of melancholy due to lost love. For the Duchess de Chartres, who in 1775 gave birth to a son (the future Louis Philippe), Leonard came up with a hairstyle with a seated luxurious nurse holding the child in her arms. small figurines- knick-knacks have become a necessary means for creating a conceived image. From now on, they have an independent life in the unchanged process of creating a costume. They allowed milliners and coufers to embody any fantasies: political events, battles and victories, lawsuits, theatrical successes, salon gossip - everything served as an excuse for creating new jewelry, finishing new models of headdresses and hairstyles.

A foreign traveler in 1774 wrote: "Daily news can be found by looking at the heads of women." The picture shows one of the masterpieces of Leonard Bolyard's hairdressing talent, the hairstyle "a la frigate" up to 35 cm high, dedicated to the victory of the French frigate "La Belle Poule" in 1778 over the British. Once he was paid a visit by a noble Englishwoman: "I am the admiral's widow," she said, "and I rely on your taste and imagination." Two days later, she received a “divine hat,” as Countess Ademarskaya wrote in her Memoirs: the crumpled gas played the role of sea waves, a ship made of lace and jewelry sailed along them, and a mourning flag fluttered at the match.

In general, between 1770 and 1780, with light hand Queen Marie Antoinette, who had luxurious hair, the female hairstyle began to rise up - sometimes to a height of up to 70, and sometimes up to 100 cm. It turned out that other hairstyles were several times (sometimes 8) more than the head of her mistress. Maestro Leonard Bolyar invented a “bonnet for mother”, in which a special spring was mounted. In the company of respectable matrons, a respectable cap covered the head of a young fashionista, but as soon as the frock left this strict society, she set in motion a spring and her headdress tripled its height.
France has become a trendsetter in the field of hairstyles. From the name of a complex hairstyle-kuafure, hairdressers began to be called kuafers. In Paris, the Academy of Hairdressing was created by the courier of his royal highness Louis XV, master Legros. False hair, chignons tied with ribbons, decorated with feathers and flowers literally "piled up" on the heads of women. Competing with each other, the coufers invented and implemented more and more new types of "artificiality", trying to please all tastes, predilections, and also in accordance with political changes. The number of different hairstyles has been constantly increasing. In the book "Praise of hairdressers directed to ladies" they were listed 3774 and only the revolution was able to completely destroy the fashion for wigs.

Hairstyles 1700-1780

In 1780, Maître Bolyard designed Marie Antoinette's complex hairstyle, embellished with chiffon waves, feathers and jewels. In order to complete it, it was necessary to make a frame. This support was braided with hair, masking iron or wooden rods. Dozens of hairpieces were used for such high hairstyles. They were attached sequentially, in rows. The frames themselves, so as not to weigh them down, were filled with cambric handkerchiefs or very thin paper, but sometimes, after a visit from a hairdresser, ladies missed nightgowns - in a moment of inspiration, the master used everything that came to hand. They say that once Leonard Bolyar was combing the hair of Countess Razumovskaya, who wanted to show off a new hairstyle at the ball. Unfortunately, there was nothing at hand: fruits, ribbons, jewelry - all this was already outdated. Glancing around the room, he saw the short, red, velvet trousers of the count, instantly cut them with scissors and built a huge pouf, with which he decorated his hair. This unimaginable construction was a huge success. Another time, he put pigeon wings on the head of another ambitious lady. A still life of vegetables and fruits was the most ordinary option, except that in England it was called "Fruit Shop", and in France - "English Garden".
In the last years of the 18th century, with a change in costume, the hairstyle is somewhat modified. She gets shorter - hairstyle type "Princess Lambal". Its shape is asymmetrical. Buckles are becoming out of fashion. The hair is curled and combed. Jewelry is used much less, and in the 80s, powder completely goes out of fashion. White wigs are replaced with golden, red, chestnut. Blush disappears, but white appears. Small wig comes into fashion, curled big curls, with a flat chignon at the back of the head - “Anfan” (fr. child) - this is the name of the hairstyle invented by Queen Marie Antoinette. High "koafer" disappeared, all the ladies of the court put on small wigs with playful curls.

At the end of the reign of Louis XVI, English hairstyles, small and low, came into fashion. Since 1786 they begin to wear hairstyle "Brush", in which a long loop of hair or ribbon was made at the back.

Papilotki - Future curlers.

Not a single poet admiringly sang "a trap for a man's heart" - women's curls:

Emphasizing the languor of the look,
Where breasts and triumph are merged,
Two curls, like two shells
To catch the heart, you wear ...

But no one ever thought or said how prosaically these curls are constructed - with the help of nondescript paper coat which were not even manufactured industrially. Before going to bed, each lady, on her own, wound a paper roll onto a ribbon, and here you have a papillot. Papillot tongs were commercially available, at the end of which there were recesses concave, like halves of nuts. The tongs were heated, a papillot with a strand wound around it, laid in these recesses and warmed up. In the future, hairpins, having changed their name, will turn into curlers.

Hair sellers.

The hair trade grew more and more, and French fashion is taking over Europe: “with your hair” it becomes simply indecent to go out into society! Louis XIV appoints 40 responsible for wigs at the royal court, then a group of 200 people for all of Paris. At the end of the 18th century, everyone - aristocrats and bourgeois - wear false hair. Wig makers proudly call themselves "hair artists". They work very carefully: after all, you need to select matching hair, process them, comb out, train and create a wig according to the requirements: according to the measurements, size and desired length. In the market, the hair of young peasant women was valued more than the curls of townswomen, while male hair were not required at all. "Shavers" and "striguns" systematically bypassed the French villages and monasteries, trying to get the highest quality goods first hand. Very popular was the hair of red and light golden colors from Scotland. The golden hair of the Bretons was highly valued. Over time, the girls stopped voluntarily giving away their natural wealth. However, the "hair hunters" managed to deftly cut off the braids of young girls right in the church or in the public garden during a walk. In this huge maelstrom, France occupied a very advantageous position: thus the export of "artificial hair" in 1865 brought her more than one million francs.

Between two extremes.

The beginning of the Rococo era had a penchant for everything miniature: small legs, graceful hands, a wasp waist, a small (at the beginning of the century) head with a small hairstyle, a doll face with doll make-up of a porcelain figurine. Everything that needed to have a pleasant roundness was supplemented with the help of thicknesses, which were commonly called "linings". The look should be languid, lips capriciously pouted, dimples and flies are a mandatory attribute of makeup (I will not write separately about flies - there are a lot of variations on this topic on the net). A coquettishly cutesy smile is the main weapon at the ball. Early XVIII- this is a general passion for blush, which is abundantly applied to a face already covered with white. Moreover, not only the cheeks, but also near the lips, temples and the eye area were decorated with rather dark, brownish blush. The era of the reign of the Regent, who had a special weakness for late libations and plentiful dinners, not without reason made the main decorating paint - blush. The courtiers, who were obliged to attend these receptions, were exhausted to the point of exhaustion. whitewash, and especially rouge hid traces of fatigue. Everyone, men and women, applied a thick layer of blush on their faces, giving Special attention lower eyelids. It was believed that this gives a special fire to the look. Nevertheless, the love of ladies for powder and blush was quite justified, the colors rejuvenated the face and made the eyes shine, especially with the mysterious flickering of candles. Therefore, women of fashion felt young and attractive, danced at balls and masquerades until old age, flirted and indulged in love passions. The bourgeoisie also began to blush their cheeks, adopting the fashion of the aristocrats, but they didn’t do it so brightly and applied paint only to the cheeks.

By the end of the 50s of the 18th century, changes began to be felt and the fascination with artificiality was gradually fading away. Society refuses excessively bright colors and tends more towards naturalness.

Marie Antoinette, who brought her traditional love for body hygiene from Austria, has the strongest influence on high society. “... Every day she took a bath, in which a mixture of peeled sweet almonds, pine nuts, flaxseeds, marshmallow root and lily bulbs was added. Instead of a washcloth, the future queen used a small bag of bran. Marie Antoinette also demanded impeccable hygiene from her courtiers, so soon her entourage began to jokingly call the “perfume court”. The new hygiene standards brought by Marie Antoinette from Austria at first caused misunderstanding and distrust at court, but gradually got used to them and water procedures have become the norm…

She was very fond of flowers and at the end of her life called them her true passion. One day, the queen asked her court perfumer to create a fragrance that would capture the entire atmosphere of the Little Trianon she adored. After studying the style of Marie Antoinette, the palette of Jean-Louis Fergen and the National Archives of France, Elisabeth de Fedo announced that she knew the formula of royal perfume. The result of her and the work of the perfume company Quest International was the perfume M.A. Sillage de la Reine is a delicate bouquet of roses, iris, jasmine, tuberose and orange blossom, favorably shaded by notes of cedar and sandalwood and turning into a “base” of bamboo musk and ambergris.

The portrait painter Vigée-Lebrun, the queen's favorite artist, immortalized the disappearance of bright rouge from the faces of court ladies. Now high-society pallor is in fashion, but without the help of whitewash. The body gets used to taking baths, moderation in food becomes the norm, which returns natural colors to the face and completely changes its facial expressions; a dreamy expression with a sincere and easy smile on a pretty face - this is the standard female beauty, the requirements for which will further strengthen the proclamation of the principles of universal equality.