During 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 influence on hairstyles. Women are once again striving to stand out from the crowd and creating 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 ancient hairstyles. Women begin to decorate their hair with expensive jewelry and tiaras. Blonde hair was highly valued. Women of the Renaissance used various natural dyes or sat for hours under the scorching sun, waiting for their strands to fade and become lighter. Despite this, white skin was valued in this era, so fashionistas carefully protected their facial skin from tanning using 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; to do this, they shaved off part of the hair above the forehead. It was also customary to shave eyebrows.

The 17th century saw the advent of the Baroque style with its elaborate decorative costumes and high hairstyles. At this time, the “fontange” hairstyle became widespread, 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 tall towers that were secured with a frame. To create such a hairstyle required a lot of time and money, and only representatives of high society could afford it.

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 and precious stones.

In the 18th century, Baroque was replaced by Rococo, and high unnatural towers on the head were replaced by elegant and sophisticated small 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 updos gained popularity again. Now images of sea battles and sprawling gardens are created on a woman’s head. It is during this period that the hairstyle reaches its incredible size. Very often, hairpieces are used to create hairstyles. To create additional volume, special pillow linings were also used, which were reinforced with pins.

Introduction

The topic of this thesis: “Stylized hairstyle in the Rococo style.”

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

The objectives of the work are:

1. Explore options for creating hairstyles in the Rococo era;

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

3. Selecting an image from a variety of options and styling it.

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

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

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

Complex stucco and carved patterns, scrolls, shells are introduced into the interior design; the decoration is distinguished by sophistication and lightness. Light silks, gilding, and porcelain are used to decorate the interior. The Rococo style was distinguished by its bizarre asymmetry and elegance of forms. Its heyday occurred during the reign of the French king Louis XV. This is the time when the aristocracy withdraws into its cozy little world, spending its life in countless celebrations, balls, masquerades, hunts, picnics and... love adventures.

The original costume ended with a lovely female head with a smooth hairstyle significantly reduced in size. But already in the second half of the 18th century, the hairstyle “grew” upward 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 sails raised; windmills, bridges and much more, right down to garden architecture.

Men wore curls on the sides and wore a long braid at the back. A little later, white powdered wigs with side curls, a pigtail and a bow at the back came into fashion.

“Runway 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 they make more and more new discoveries and revolutions.

The theme: “Stylized hairstyle of the Rococo era” is very relevant and could well be suitable for catwalk shows and competitions, as well as in theaters and cinema.

Analysis of preparation for execution of developed images

Historical and modern vision of Rococo fashion

In the first half of the 18th century, the Rococo style appeared, which seemed to complete the development of the Baroque style. Rococo is a decorative style with features of fragility, sophistication, some mannerism and sensuality. These features were present in both men's and women's hairstyles.

Rococo flourished during the reign of the French king Louis XV (Fig. 1). This is the time when the aristocracy withdraws into its cozy little world, spending its life in countless celebrations, balls, masquerades, hunts, picnics and love affairs. The style of that era bore features of fragility and sophistication, mannerism and sensuality. The focus is on the inner world.

Women dominated the secular salons. The desire to please prevailed over everything and brought to life clothes that emphasized the sensual shape 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 to hide gray hair, and their cheeks were heavily flushed.

Movements and gait were developed with teachers of “good manners”, even while sitting at the table, their feet were inserted into special pads, accustoming them to the “third position”. It is not for nothing that the 18th century was called the “gallant century”, the century of powder, lace, minuet, the century of the feminine man. Aristocratic costumes sparkled with gold and precious stones. Formal, office, salon and even home wear were equally magnificent. They even wore jewelry instead of buttons, and formal 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 defeated harmony. The freely flowing Baroque dresses seemed to fall off and take on more defined shapes; the details of the costume became smaller and more refined. There were no noticeable changes in the cut of clothing.

Women's suit (Fig. 2) Grace and lightness distinguish the silhouette of the women's suit of that time: narrow shoulders, extremely thin waist, high raised chest, rounded hip line, etc. Dresses with iron hoops are again in fashion, skirts have become wider and have acquired a dome shape.

In the second half of the century, the skirt widens greatly to the sides, its round shape turns into an oval (stretched at the sides and flattened at the front and back). The sides of the skirt were so elongated that the gentleman could not walk next to the lady, but walked somewhat ahead, leading her by the hand. Sometimes small frames were simply strengthened around the waist - figs, elongated at the sides and flattened at the front and back. The waist is cinched with a corset, strongly raising the chest, slightly exposed by a shallow wide neckline. The neckline around the neck and chest is draped with a flirty scarf (often with fringe). Later it is raised up to the chin, skillfully creating the appearance of high breasts, fashionable at that 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, tin) braid). Great importance is also attached to small additions to clothing. These included a fan, which was a necessary part of the ability to flirt, a pompadour handbag for countless cosmetic items, gloves and a muff.

Rice. 2.

Rice. 3.

The shoes look especially flirtatious - 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, and in the second half of the century - white silk stockings with an openwork pattern or an embroidered arrow. Women's shoes at that time were made of colored leather, brocade, satin, and velvet. Brocade satin shoes were embroidered with colored silks, pearls, gold and silver threads, and stones (Fig. 4).

Rice. 4.

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

Rice. 5.

Hairstyles of the 18th century are very interesting for their splendor and variety. After all, as the history of hairdressing testifies (and especially in the era of the majestic, luxurious, sophisticated and pathetic Rococo, hair styling masters were called and equated to the status of outstanding and gifted artists), not a single chic hairstyle of a socialite, like an impressive sculpture or a masterpiece painting, 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 speaking, it was the incomparable and delightful, fantastic and luxurious hairstyles of the 18th century both for influential men of that time and for court favorites that revolutionized the world of fashion, aesthetic outlook, artistic thinking in general and in hairdressing in particular. It is clear that, like any art with a certain share of the creator’s subjective artistic worldview, the hairdresser’s skill reflected contemporary realities and was oriented towards 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, to commemorate the launching of the royal frigate "Admiral" (Fig. 6), 18th century hairstyles a la a sailing ship came into fashion, perfectly fixed on the top of the head of an elegant, 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 hairstyle significantly reduced in size. But already in the second half of the 18th century. the hairstyle “grows” upward again, sometimes to a height of up to 70 centimeters. Moreover, this happens almost in proportion to how the skirt widens 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 sails raised; windmills, bridges and much more, right down to garden architecture (Fig. 7). High hairstyles were made using fat, lipstick, pins, and ostrich feathers. Baskets of fruit or cornucopia were placed on top of the high hairstyle. The frigate hairstyle was especially popular - a pile of hair in the form of a sailing ship at the top of the head. This hairstyle was left in place for several days; during sleep, headrests were used, which made it possible to keep the hairstyle suspended.

Only after powdering were hairpins, flowers, feathers, and precious stones inserted into the hair. Another fashionable hairstyle - Marie Antoinette - was performed on a wire frame with rollers and someone else's chignons and decorated with waves of chiffon, feathers, and jewelry. The inside of the hairstyle was also filled with cambric handkerchiefs or thin paper, so as not to make the pile too heavy.

Rice. 6.

Rice. 7.

To fight off the bad smell, the hair was heavily scented with all kinds of incense, so that the lady smelled 50 steps away. Fashionistas constantly carried bottles of pungent perfume with them. There was a special bone or metal knitting needle - a cane (grattoirs) (Fig. 5), with which you could scratch, pushing it through the rollers, linings and other “lotions” to scratch your head, because the itching was constant, without spoiling the hairstyle. These scratching sticks usually had a tip shaped like a human hand. You can imagine how difficult it was to wear this hairstyle while maintaining a relaxed smile and a proud head posture.

Rice. 8.

In the second half of the century, the fan language began to be developed. In their production, the symbolism of color and image on the screen began to be used. The color matched the toilet, and could also contain some information about the status, age, marital status and mood of its owner. Fans of different colors were used for different occasions and periods of life. The color white denoted innocence, so light and white lightweight silk fans with ribbons sewn on them were worn by young and unmarried noblewomen. It was customary to wear a light-colored fan during the daytime or complement a light evening dress with it. In the evening they preferred fans in dark colors. During the day they chose fans with roses, cupids and nymphs, and in the evening - with poppies, irises and ferns. A basket of flowers, a straw hat and musical instruments are wedding themes for fans. Black color showed sadness, purple - humility, they were used during the period of mourning. Red color expressed the happiness and joy of a married woman, blue - fidelity, pink - love. Green shades on the screen indicated hope, sequins (gold glitter) - the lady’s firmness, silver - modesty (Fig. 9).

Rice. 9.

Men's hairstyles of the 18th century underwent a similar development, when any employee of average income and modest status and any aristocrat did not allow anyone, except perhaps the doctor's wife and confessor, to see their own hair. All men's hairstyles of the 18th century were based on fairly hot and heavy wigs made of long wavy, thick, natural, powdered, curled strands - Allonge (Fig. 10) (adored by the French king Louis XV). But the binette (Fig. 11) is large curls of medium length, which was preferred in most cases by representatives of the older half of humanity. Then men were not shy about using powder, applying it to their hair. There were many different shades of powder (pearl, vanilla, cream, milk, cream, honey, peach, bronze, sand, soft pink). But the most stylish were considered to be men's hairstyles of the 18th century, Katogen (Fig. 12), in the form of curly combed-back strands, gathered at the back of the head into a ponytail and secured with a black ribbon, which was especially welcomed in the navy.

Rice. 10.

In addition, the “dove wing” styling (Fig. 14) has also gained popularity in the form of several twisted strands in the temple area, which at the back of the head turn into a braid or ponytail and are secured with a black silk or velvet ribbon. Burgundy, dark blue or green. Royal people also attached great importance to the shade of their hair. Thus, noble and enlightened aristocrats were allowed to wear only wigs of wheat (Fig. 15), linen, golden or fiery tones.

Rice. 14

Rice. 15.

The main type of men's clothing has remained justocort (Fig. 16), since the time of Baroque fashion. They wore a camisole underneath. They wore snow-white shirts, lace jabots and neckerchiefs. Justocor had a more straight shape at the beginning of the century, then underwent an evolution: its floors became wider, as if sticking out in different directions. The sleeves had wide cuffs. The pockets have huge flaps.

After 1778, almost all the decorations of men's suits disappeared. But at this time, men's dresses were still made from fabrics of delicate colors from the Rococo era, which were then the same for both women and men.

Only in the second half of the 18th century. the men's suit begins to take on a truly masculine appearance, freeing itself from feminine details. Eventually it will turn into a tailcoat. But this will only happen in the 19th century. (Fig. 17)

The most popular at that time were satin and satin, fabrics that were soft to the touch. Their quality, as if by magic, made it possible to create with the help of light a rich play of folds, which was mandatory in clothing of the Rococo era. The shine of satin was combined with matte lace, and all this was arranged in light, delicate pastel colors that replaced the bright colors of the 17th century.

Rice. 16.

Rice. 17.

Colors. Court etiquette was strict in this matter. For example, only noble older women had the right to wear red. It was necessary to present oneself to the court only in black dresses trimmed with white lace, etc. For men, black shoes were considered dress shoes, brown ones were intended for walking; red and white were the privilege of noble ladies. Rococo fashion was adopted by all levels of society.

The Rococo era brought fashion for pastel, muted (compared to the Baroque era) colors: soft blue, pale yellow, pink, gray-blue. If in the Baroque era all women look significant and mature (they seem to be all over thirty), then Rococo is the time of young nymphs and shepherdesses who will never be more than twenty. Blush and powder help all ladies look young, although these faces turn into lifeless masks. Fashionable scents, perfumes - orris root, neroli, patchouli, rose water.

The Rococo style was the brilliant completion of the Baroque style. As a legacy from the previous century, the 18th century received a special aesthetic consciousness, in which a highly developed artistic taste became more important than many other human qualities. Taste presupposed the ability not only to distinguish beauty and know how to recreate it, but also the ability to deeply enjoy creation. If Baroque requires the whole gamut of emotions - from joy to tragedy, then for those enjoying Rococo - only exquisitely subtle and graceful ones. “Graceful” is the key word of this era. It is then that there is a departure from life into the world of fantasy, theatrical play, mythical and pastoral plots with the obligatory touch of eroticism. Therefore, even the products of outstanding masters, although decorative and graceful, are somewhat superficial. The history of hairstyles of the 18th century is very surprising and unusual. The 18th century is considered by historians to be the “century of women.” This is a time of both complexity and simplicity, unusualness and unimaginably complex hairstyles. Hair and hairstyles have always been a reflection of general trends in high fashion, and the Rococo style defines fashion and sets accents in the 18th century. The history of women's haircuts and hairstyles of the 18th century can be divided into several periods. The history of women's hairstyles can be divided into several stages. Until 1713, ladies of high society still wore a fontange (a cap consisting of a row of starched lace), the very shape of which gave great scope for imagination (Fig. 18).

The new fashion for headdresses began in 1713, at a ceremonial reception in Versailles (France), when the Duchess of Shrewsbury appeared before Louis XIV without a fontange with smooth and slightly curly hair, decorated with lace and flowers. Louis really liked the duchess's hairstyle, and given the fact that he was a trendsetter in European fashion, this event predicted the development of European fashion for hairstyles of the Rococo era.

Rice. 18.

The skill of an experienced hairdresser is confirmed mainly by the fact that he fundamentally rejects the development of hairstyles according to a template or their copying from professional magazines, but creates an individual fashionable hairstyle of the perfect shape in accordance with the shape of the head, facial features, figure and clothing of the client, focusing to a certain extent on the style historical hairstyles.

The Rococo style originated in Western Europe several centuries ago. What is so special about this style and why does it still inspire admiration among many representatives of the fairer sex?

Rococo hairstyles

The first half of the Rococo period was distinguished by neat and rather modest hairstyles. But after some time, a period of incredible and intricate hairstyles begins. First, the hair was simply beaten vigorously and combed smoothly, giving the shape of an egg. Next, two dense tubular curls were laid across the crown from ear to ear. A chignon was attached to the back of the hair. Instead of curls, curls were used. The hairstyle was decorated with flowers and the curls with pearls.

The Rococo style owes its unimaginable hairstyles to the court hairdresser Leonard Authier, nicknamed Bolyar. Rococo hairstyles required a huge amount of powder, lipstick, hairpins and other devices. That is why the hairstyle was not taken care of for several days or a whole week. The ladies slept on special headrests that held all this splendor on their heads.

Separate headdresses were also used to create the image. The famous "mood hats" were fancy structures that were built into the hairstyle and had a certain meaning. Rococo style jewelry for hair styling has become an integral part of the look. Entire miniatures were created depicting political events, theatrical moments and much more. Later, hairstyles began to be decorated with waves of chiffon, jewelry, feathers and flowers. Bolyar managed to create jewelry from everything he could get his hands on, and the ladies were absolutely delighted.

Rococo style clothing

1. Rococo dresses remained voluminous. At first, Rococo skirts became a little smaller, but over time they grew again to even larger sizes, while the frame became oval. The bodice of the dress gradually stretched down slightly below the waist. The upper part of the rococo style dress began to resemble a triangle, while the neckline remained very open. A clear boundary becomes characteristic of the image of a woman in the Rococo style: the upper part is a small bodice, and downwards it turns into an incredibly fluffy and voluminous skirt. The sleeves of the dress noticeably taper towards the elbows and are decorated with cascading lace and ribbons.
2. It is difficult to imagine a rococo style costume without many ribbons. In addition, many fresh or artificial flowers were often used in clothing. It was during this period that flowers were first used to decorate clothes and hairstyles in the Rococo style. Satin and satin were popular fabrics. The fact is that such fabrics allow you to create many folds and harmonize perfectly with matte lace, which was the distinctive feature of the Rococo style.
3. Accessories in the Rococo style also have their own distinctive features. A lot of attention was paid to underwear. Since the neckline was revealing, part of the underwear was always visible. During this period, women begin to wear stockings, both white and brighter shades. Underwear is made from silk using lace and embroidery. Great importance was attached to muffs, fans and gloves. It was these details of the image that were intended to give signals to the gentlemen.

Rococo style makeup

The Rococo style emphasized soft, bed tones. We used soft blue, pale yellow, pink and gray shades. All the ladies looked young and young maidens no more than twenty years old. This effect was achieved with the help of blush and powder. Sometimes the use of cosmetics played a cruel joke. It happened that too thick a layer of makeup changed a woman’s face so much that her own husband could not recognize her. The face was really young in appearance, but completely lifeless and resembled a mask. It was not uncommon for ladies to become interested in perfume. The scents of patchouli, neroli, orris and rose water were very popular.

Hairdressing art in the era of the ROCOCO style (first half of the 18th century)

But everything flows, everything changes. He who reaches the top goes down. For the French class monarchy, the descent began, as is known, already during the life of Louis XIV and continued until the revolution. The “Sun King,” who said: “I am the state,” 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 about his own pleasures. The vast majority of the aristocratic servants surrounding him did not think about anything else. His time was a time of insatiable pursuit of pleasure, a time of cheerful living. But no matter how dirty the amusements of aristocratic slackers were sometimes, the tastes of the society of that time were still distinguished by undeniable grace, beautiful sophistication, which made France a trendsetter. And these elegant, refined tastes found their expression in the aesthetic concepts of the time. The refinement of elegance and the subtlety of sensual pleasure spread everywhere. In 1740 the poet

The Baroque era was replaced by the early Rococo era. Unnatural-looking large hairstyles gave way to small, graceful, tubular curls. A “powdered hairstyle” appeared. The graceful and attractive Marquise de Pompadour, who appeared at court with more and more new hairstyles, set the tone. Louis XV admired this small woman, who pioneered the fashion for high heels and the high hairstyles of the Baroque era were reduced in accordance with the style of the “little woman.” Subsequently (under Marie Antoinette), hairdressing became so important that hairdressing academies were founded to teach the skill of creating unique hairstyles. After 1770, during the late Rococo period, the art of hairdressing flourished. At this time, naval battles with miniature sailing ships are played out on ladies' heads, the gardens of Eden are blooming... The hairstyle, which was reduced at the beginning of Rococo, is growing by leaps and bounds. Hairdressers are worth their weight in gold. The powder, which was made from flour, is used in kilograms.

Fashion of the 18th century generally gravitated towards pretentiousness and sophistication, towards lightness and mannerism. This was facilitated by the Rococo style, which dominated the fine and decorative arts for most of the 18th century. Hairstyle is always a reflection of general fashion trends, so with the accession

Rococo fades into oblivion, the solemnity of fontange and allonge. Since the 18th century is considered to be the “century of women,” we should start with women’s hairstyles.

The history of women's hairstyles can be divided into several stages. Until 1713, ladies still wore fontange, the very shape of which gave great scope for imagination.

After Louis XIV, the main trendsetter of European fashion, positively assessed the small, modest hairstyle of the Duchess of Shrewsbury, a simple, lightly powdered coiffure (hairstyle), decorated with bouquets or a lace headpiece, came into fashion. This apparent simplicity became the main fashion trend of the Rococo century. Women from the paintings of Watteau, Boucher, Pater, de Troyes, Chardin, all of them have their hair done modestly and elegantly, be it the luxurious Marquise de Pompadour, the virtuous Maria Theresa or the young Fiquet of Zerbst. The names of these hairstyles have also been preserved - “butterfly”, “sentimental”, “mystery”, “sissy”. However, since the mid-70s, a different trend has been observed: the hairstyle again began to “grow” upward.

And again the coiffure began to turn into a complex structure (as in the era of fontange). Not only their own hair was used, but also false hair. And also ribbons, jewelry, fabrics, flowers, fruits. There is an opinion that the tone in fashion was set by the new favorite of Louis XV - Marie - Jeanette Becu, Countess DuBarry - a girl from the people, whom the king instantly elevated to himself. In addition to Countess DuBarry, fashion was, of course, dictated by the young Dauphine Marie Antoinette. After becoming queen, she devoted most of her time to inventing new hairstyles and outfits. Her personal hairdresser Leonard only directed the “Austrian woman’s” wild imagination in the right direction. The joint work of the hairdresser and the queen gave the world such masterpieces as “explosion of sensitivity”, “voluptuous”, “secret passion”... (Compare with the pale “sissy” or modest “butterfly” of the previous period)... These were huge, complex hairstyles, forming a single whole with the headdress.

The most stylish women managed to wear stuffed birds, figurines and even mini-gardens with tiny artificial trees on their heads. The beloved A-la Belle Poule, a hairstyle with a model of the famous frigate, dates back to the same period.

Over time (by the beginning of the 80s), the bulky, pretentious coiffure became somewhat more modest. The fashion for “sails” and “vases” is disappearing. Only ribbons and muslin fabric remain in the arsenal of fashionistas. From the paintings of Goya and Vigée-Lebrun and Gainsborough, these women with lush but modestly decorated hair look at us...

After the French Revolution, “old regime fashions” became the subject of ridicule... And a few years later, society ladies sported elegantly modest hairstyles “a la Greek” and “a la Aspasia.”

The history of men's coiffure (hairstyle) of the 18th century can also be divided into several stages. At the beginning of the century, hairstyles that arose at the end of the 17th century continued to improve. So, allonge wigs are still in fashion, however, their length is noticeably decreasing. A small-sized “binet” wig appears - large curls laid in parallel rows. Since the 1730s, only older people wore such a wig. In such a wig we can see both the great Bach and the Polish king Stanislav

If the reign of Louis XIV can mainly be characterized as the “era of wigs,” then in the 18th century the fashion for hairstyles made from one’s own hair returned again, although wigs remained as popular as ever. Young people prefer not to burden themselves with heavy and rather warm wigs.

There was powder for both wigs and hair. The powder was of various colors and shades - from white to pale pink and pale blue. A small, relatively simple and even democratic hairstyle “a la Katogen” is coming into fashion: curled hair is combed back and tied at the back of the head in a ponytail with a black ribbon. This hairstyle was often worn in the army and navy. Some fashionistas hid this ponytail in a kind of black velvet case

The hairstyle “a la Catogen” turned out to be the most popular during the 18th century. In 1740--1750 The “pigeon wing” curl is very popular - two or three rows of carefully twisted curls were placed at the temples. At the back is a small braid or ponytail, tied with a ribbon. It is with this kind of curl that we can see the young kings - Louis XV and Frederick the Great. (There was also a wig of the same name, invariably white).

By the end of the 18th century, wigs went out of fashion almost everywhere - with the exception, perhaps, of Russia, where even in the era of Paul I it was unthinkable to appear at court without a powdered wig. In the 1780s. Men's hairstyles with large, seemingly carelessly arranged rows of curls are coming into fashion. Young lords in paintings

During the French Revolution, long hair almost went out of fashion, especially after the actor Talma played the role of Titus in Voltaire's Brutus. After this, short “Roman” hairstyles “a la Titus” came into fashion.

The philosophy of the Rococo style was determined by women. “Women reigned,” said Pushkin about the time when the dawn of Rococo was just beginning. Rococo considers the main things in life to be celebration, refined pleasure and love. Acting, the “art of appearing” in life, has reached such perfection in this century that the theater with its conventions on stage has faded.

Throughout the 18th century. sensuality and sophistication will determine the style of women's aristocratic clothing. In fashion, a thin figure, a flexible waist, soft rounded hips, a small head, small high breasts, small arms, a thin neck, narrow shoulders - the woman resembled an elegant porcelain figurine.

All aristocrats, be it the luxurious Marquise de Pompadour or the virtuous Maria Theresa, with the light hand of the Duchess of Shrewsbury, wore moderately fluffy skirts with a frame and a small, modest, lightly powdered hairstyle, decorated with bouquets or a lace headdress.

Marquise de Pompadour

Austrian Empress Maria Theresa

The fullness of the skirt was in harmony with the hairstyle and was relatively small

However, with the appearance of Marie Antoinette on the historical stage, paniers (in Russia - figmas) gradually acquired simply terrifying proportions. By 1725, they reached 7 or more feet in diameter, as a result of which the round pannier was replaced by double figs, when two half-dome shapes (for each hip separately) were fastened with braid at the waist.

Pannier skirt with elbows

This gondola pannier skirt (flat front and back)

However, the width of such a skirt created a lot of inconvenience for its owner... in particular, it was impossible to get into the carriage or walk through the door. French tailors soon improved this model, offering an ingenious design, albeit quite complex: a metal pannier, the individual parts of which were hinged and movable. They were controlled using ribbons released through small slits onto the surface of the skirt.

As the width of the skirt increased, so did the height of women's hairstyles. It all started modestly... :-)

However, already in the 70s, hairstyles were entire structures with a height of 50 to 100 cm, the construction of which was carried out by skilled hairdressers for several hours.

The era of hairdressing madness has arrived, marked by the appearance of the Queen's Flowers hairstyle, decorated with ears of grain and a cornucopia.

Competing with each other, the capital's coiffeurs 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”, “Garden”, “Angel’s Smile”, “Blooming Pleasantness”, “Lovely Simplicity”.

The creativity of the virtuoso hairdresser and hatter Leonard Authier, nicknamed Bolyar - “The Magnificent” and the irrepressible imagination of Queen Marie Antoinette gave the world such masterpieces as “An 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 and advances in technology.

Headdresses, of course, existed independently. A whole trend in the creation of hats was invented by the famous maestro: “mood hats” - that was the name of the fancy structures, inscribed in the equally fancy hairstyles of sophisticated ladies. They were intended to express the secret thoughts and feelings of the person wearing such a hat.

Convenience, grace and beauty were sacrificed to Her Majesty Fashion. Despite the obvious inconveniences of such hairstyles, ladies slept with their heads on special stands; special frames were put on their heads and this support was braided with hair, masking iron or wooden rods. Dozens of hairpieces, hairpins, lipsticks and powders were used for such high hairstyles - coiffeurs invented and brought to life more and more new types of “artificiality”, trying to please all tastes, preferences, and also in accordance with political changes. The number of different hairstyles has constantly increased. The book “Praise of Hairdressers Directed to Ladies” listed 3,774 of them.

Marie Antoinette, 1780

Cartoonists mocked such coiffures as best they could

By the beginning of the 80s, thanks to the influence of the same restless Marie Antoinette, dresses acquired a softer silhouette and, first of all, this affected suits “for a country gentleman.” Corsets and paniers were not worn under such dresses, since these English-style dresses had an elongated back at the cape, visually narrowing the back and waist.

With a change in costume, the hairstyle changes somewhat. She becomes lower - the “Princess Lamballe” hairstyle type. Its shape is asymmetrical. Booklets are becoming unfashionable. Hair is curled and combed. Jewelry is used much less, and in the 80s, powder completely went out of fashion.

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