French seduction made easy pdf


 

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French Seduction Made Easy Pdf

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The modiste—the precursor of the late nineteenth century couturier —represented the beginning of the elevation of the dressmaker and stylist to a status above servant or tradesperson, on a trajectory toward the level of celebrity.

The role of the fashion icon combined with the development of the modiste linked fashion not merely to the wearer from royalty, court, or the upper class, but to a creative personality behind the style. During the French Revolution, Bertin wisely relocated to London, where prominent women of fashion appreciated her skills. Both Bertin and Leroy did what they did more than fifty years before the ascendance of Charles Frederick Worth and the supposed ground zero moment of French couture.

These collaborations—Bertin and Antoinette, Leroy and Josephine—encouraged a cult of personality that anticipated not only the great style- setters of the nineteenth century but our own celebrity-obsessed age. The careers of Bertin and Leroy set in motion the celebrity fashion icon whose hierarchy in style is enhanced by her association primarily with one designer; collaborations such as the Empress Eugenie and Charles Frederick Worth, Wallis Simpson and Mainbocher, or Audrey Hepburn and Givenchy are indeed comparable.

In addition to all the above elements contributing to a celebrity status fashion system, we also see during this time a marked series of developments in what would become the fashion press, the vehicle through which celebrity style could be best disseminated. Fashion dolls had long been a method of sharing styles, but fashion plates became well developed, especially during the seventeenth century.

This trend developed further in the eighteenth century. Following La galerie came the remarkable work of illustrator Nikolaus Wilhelm von Heideloff. Born in Germany in , he lived in Paris until the outbreak of the revolution took him to London. These three collections of fashion plates represent an enormous step in the development of the fashion press, ultimately the quintessential creator of fashion icons and the quintessential method of distribution of information about the icons it creates, paving the way for the fashion magazines that would blossom during the fashion- and celebrity-obsessed years of the Second Empire.

London fashion developed into an industry, and London dressmakers developed increasing name recognition. Brummell, the great Regency menswear arbiter and sometime intimate friend of Prince George, followed the paradigm of Anglomania and Werther, essentially making such restraint the mark of a fine gentleman and the official menswear look for the nineteenth century.

Brummell and his circle propelled the style from anti-fashion into the ultimate of fashion. His edicts also encouraged the growth of fine tailoring techniques, and the hierarchy expressed in the quality of construction equaled the restraint of the materials. With this sea change, the status of a man was, by the Regency years, expressed by a sartorial subtlety that had not been seen before; the change continued to influence clothing through the twentieth century, perhaps reaching its zenith in the power suits of the s and still affecting the way men dress today.

Sex and the Romantic imagination Beau Brummell by Robert Dighton Werther figures in our story again, and while his outfit was seminal to the development of power dressing, it was also the pinnacle of romance at the beginning of a time when exemplifying the Romantic sentiment was very attractive.

Extreme fashionable attributes for young women included a poetic frailty and sickliness. A young man of the day might have cut his own face to simulate a scar from a duel and likely did so less to impress his peers than to gain conquests among the ladies. Moodiness and melancholy became glorified and sexy. Romantic spirit suited the new, fashionable, darker menswear color story well, and the dark and brooding emotional nature of the Romantic Movement has even been credited if erroneously for the ascendance of black as a menswear fashion color during the nineteenth century.

Like nature, the impeccably dressed gentleman is also broodingly seductive. With his noticeably unstarched and undone shirts, he set a standard for casual masculinity that in its disheveled style served as a prototype for later Bohemians; the undone shirt worn with loose or no cravat combined sex with anti-fashion as it both contradicted the edicts of high fashion and also implied undress, inviting the viewer to visualize the shirt opening further.

The hierarchy of historicism and exoticism, the romance of revival Revivalism and Orientalism were hallmarks of nineteenth century style, and in fact the nineteenth century did not produce a genuinely original taste and style until its last quarter with the Aesthetic Movement and Art Nouveau.

During the years of the Regency and the Napoleonic Wars, fashions took on the distinctly nineteenth-century form of overt revivalism, not simply of the ancient world, as evoked by the Neoclassical movement, but of the more recent past, the fifteenth, sixteenth, and seventeenth centuries.

The elevated waistline remained parked below the breasts from the s to about After the s established a new silhouette rather quickly, the subsequent near stasis of the silhouette inspired volumes of new trims and details during the s to allow the changes in fashion desired by the wealthy.

Heavily trimmed skirts brought complex details back into fashion, more strongly asserted since the years of Madame de Pompadour. In the Regency years, complicated historic and orientalist elements provided lavish stylistic displays. This kind of statement was particularly noticeable in profuse trimmings, especially on skirts where unrestrained details were common, along with cut edge details and edge trims.

Such elements served not only hierarchical purposes but seductive ones as well since often they were tied to strong Romantic sentiments, buoyed by art and literature. Fine art and Romantic fiction contributed to the revivalist vogue, strongly related to the poetic emotional life of an item of clothing or a style.

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Complex womenswear details of dagging and scalloping were pronounced expressions of this theme. Ruffs, a staple of sixteenth-century style, also returned to fashion and were primarily seen on women; however, male versions appeared in court dress, notably the somewhat monstrous coronation clothes seen in portraits of both Napoleon in and George IV in Of course both coronation ensembles indicate profuse use of other inspirational themes.

In addition to these historic influences, exotic Eastern influences also affected fashion, as the supremacy of European imperialism served as Dress, right, in the sixteenth-century mode, including ruff and slash-and-puff details stylistic inspiration. Building on the chinoiserie of the eighteenth century, the spectacle of India became a primary form of orientalism, buoyed by the increased British colonial presence there.

The Royal Pavilion at Brighton, built in Indian Islamic style resembling the Taj Mahal, was begun in and represents the apogee of such Indian style. The style was already strongly present in fashion during the s, in feathered turbans and hammered wire embroidery, and it continued over a few decades.

The popularity of the style led to domestic production of such shawls, famously in the Scottish town of Paisley that gave the Asian pattern its name. A portrait of Empress Josephine by Antoine-Jean Gros even shows her wearing a paisley shawl draped around her in the manner of a Greek Doric Chiton, thus melding the Indian and Neoclassical styles in one, a meld typical of simultaneous multiple influences on fashion.

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A warmed-over leftover: The panier in Regency court dress The panier, the basket-like, hooped under-support, had come into fashion during the early eighteenth century in the years of the French Regency. Other similar under-supports had been used in the sixteenth and seventeenth centuries as court dress styles.

The panier reached its zenith as a fashion item during the middle years of the eighteenth century, and it continued until the Anglomania styles became popular. As the panier waned in popularity, the hip emphasis lingered in the form of pads.

But the panier continued to be worn for court dress in many countries, and for special occasions. In France, its use naturally came to an end with the Revolution, but in Britain it continued through the s as a feature of court dress and remained in court-dress usage throughout the Regency years.

When court life was resumed in France during the Empire, the panier did not make a comeback; rather a new style, the court train, was adopted. The United States, with no court system, adopted the court train as eveningwear. While the court train was used in Britain for full dress outside of court, paniers lingered at the British court, even when waning in usage at other European courts.

The style became a particularly ghastly expression of hierarchy as it as combined with the fashionable raised waist, thus concentrating the fullness of the paniers at the ribcage. Expressions of hierarchy in dress throughout fashion history have often been appalling.

This use of the panier was no exception. Fashion plates of these years shows women in British court dress clad in such paniers sometimes even and decorated with Greek keys and topped with ostrich feathers, showing an odd combination of elements used to express—rather hideously—the pinnacle of the Regency class system. Though not abundant, the observations of clothes in her books are often witty and reflect many of the fashion traits discussed here.

As the references to clothing in her novels are few, they are all the more essential to the message.

When discussing manners, style, and dress in her novels and letters, Jane Austen often noted the elegance of a character, and the elegance of a style.

Given her legacy of stylistic influence through many readings and film adaptations of her work, she created elegance as well. NOTES 1.

New York: Abrams, Jane Austen: Her Life and Letters. Charleston, SC: BiblioLife, Barreto, Christine, and Martin Lancaster. Milan: Skira, Blum, Stella. New York: Dover, Byrde, Penelope. Jane Austen Fashion. Ludlow: Excellent P, Foster, Mandy, and Dannielle Perry. Regency Era Fashion Plates: London: Victoria and Albert Museum, Goethe, Johann Wolfgang von.

The Sorrows of Young Werther.

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