#austrian nobility

[tiaramania]

TIARA ALERT: Countess Leonie von Waldburg-Zeil-Hohenems wore a diamond necklace tiara for her wedding to Count Caspar Matuschka at St. Karl Borromäus Church in Hohenems, Austria on 22 June 2024

[microcosme11]

An Austrian noble feels conspicuous

Prince Charles de Clary-et-Aldringen was assigned to deliver a letter from Francis II confirming the proxy marriage of his daughter. The prince was ordered to Compiègne and then to a hunt, but he didn't have the right outfit with him so he had to borrow from French generals.

At the hunting rendezvous, another meal: it was the only time that I found myself at table with the Emperor. It was for me the strangest feeling in the world to be almost next to him, dressed the same as Savary, as Davout, as Duroc. I was wondering if it was really me. Lunch was a ten-minute affair. I was quietly having coffee when, looking up, I noticed that I was the only one there; I even thought I saw the Emperor smile with one of these gentlemen at the fact that the Austrian chamberlain was so leisurely; and at the moment I put down my cup in fear, we all got up.

[Following this is a hilarious description of the hunt. Napoleon kills a deer after many attempts and then asks the prince if he's ever seen such a lovely hunt. "Jamais, Sire!"]

(Souvenirs du prince Charles de Clary-et-Aldringen: Trois mois a Paris...) google books but it's only in French.

[indristian]

Y'know if Activision had straight up been like "Yeah, so there's this Austrian guy and his name is König." I would have maybe been like "Is that a jab at how noble titles are illegal in Austria?" But no, there probably wasn't a thought behind the eyes of the designer other than "What's a funny German codename for the tall man?"

[nobility-art]

Group Portrait of Anne of Austria

Artist: After Charles Beaubrun (French, 1604-1692)

Group portrait of Anne of Austria, widow of the French King, Maria Theresa of Spain, the Queen of France, and the Grand Dauphin

[illustratus]

Schloss Paulenstein by Joseph Holzer

[artthatgivesmefeelings]

Franz Schrotzberg (Austrian, 1811-1889) Gräfin Mako, ca.1878 Belvedere palace, Vienna

[omgthatdress]

Sorry if it's a stupid question, but I thought you'd be best to answer it. Why was Coco Chanel's "Little Black Dress" so special? I've been going though your early 1900s tags and knee-length dresses existed way before Coco. Black dresses too. Knee-length black dresses too. What was so special about Chanel? I'd argue that Paul Poiret had a much bigger influence on fashion, with some of his looks being 1920s back in 1910s. So why Chanel became so big? Is it all down to business?

It's historical context. One of the biggest things about appreciating fashion history is being able to put it all in context.

Although black dresses were popular evening wear throughout the Victorian and Edwardian era, the dresses of that era were still over-the-top and extremely fancy. The dress was designed by a couturier, House of Worth being the most influential and popular, silk had to be imported and woven, the beading and embroidery and other details hand-crafted by métiers, and then all assembled by seamstresses in the atelier.

Poiret started out with this notion of radically simplifying fashion. His robe de minute was a sort of proto-flapper dress, and it got its name because it only had two seams and could be sewn up in a minute. In spite of this, Poiret couldn't fully escape Edwardian ostentatiousness, and frequently used exotic silks and fancy detailing, still seeing his designs as works of art. His primary supporters were still the titled nobility of old Europe

World War 1 had everything to do with simplifying fashion. Well, that and the Russian Revolution the collapse of the Hohenzollerns and Austrian Habsburgs and the general collapse of the old aristocracy. Couture houses were forced to close, and Poiret was made to serve as a tailor for the French army. When he re-opened his house, he re-opened to a new world.

Chanel viewed clothes through a much more practical lens, rather than as works of art. She made menswear-inspired clothing with clean lines and few accessories, which was much more in line with the new, liberated woman of the 1920s. The little black dress caught on because it was something every woman could wear and every woman could look good in. It was dependable and practical, thus, "the Ford of fashion." Rather than relying on the old, decaying nobles whose money was running out, Chanel's clientele came from the industrial business class that had an endless supply of new money.

Of course, the world would change again after World War II, and Chanel would be usurped by Christian Dior as the new arbiter of elegance and modernity. Dior brought extravagance and opulence back to French couture, and his nipped-waist designs hearkened back to the nostalgia for pre-war times. Chanel was dealing with the fallout of an affair with a German intelligence officer and had to self-exile from France for several years.

Eventually, she returned, but the brand was out-of-date and diminished. Rather than cutting-edge elegant ballgowns like she had made before, the Chanel brand was pretty much just limited to its iconic suits, and as time wore on, it was considered to be something of a stuffy old lady brand until Karl Lagerfeld revived it in the 80s.

[minetteskvareninova]

Reasons To Support Rhaenyra

She's better than Aegon. A low bar, I know, but she still climbs it!

Even if you don't think she's all that great, her immediate heir is Jacaerys, and unless you are a stupid bastardphobic Westerosi noble, you gotta admit he's probably going to be a great king (mind you, this post is from a vantage point of the end of season 2, we know what's coming but shhhh!). "But the lords of Westeros-" Homie do I look like a Westerosi lord to you.

She's much hotter than Aegon too. I mean, if we are using arbitrary feudal bullshit as arguments, might as well use other kinds of bullshit also.

I know being a woman doesn't actually mean shit for feminism in Westeros, but it does give me War of Austrian Succession flashbacks, and that's enough for me! Again, is that really any more arbitrary than "has a penis and the right bloodline"?!

It also gives me somewhat baseless hope that her tax policy might be decent or something (look, most theresian reforms are completely inapplicable to Westeros - MAYBE urbár if we're being generous?). Like some basic administrative competence from a monarch would be nice after her dad.

Okay, this one is actually dead serious - I don't think the Great Council of Westeros should be a thing, and it should never ever get a say in the matters of succession. In the real world, representative bodies under feudal system only got a say in the matters of succession in a serious crisis, like when the royal house died out, or the country was under an imminent threat of an Ottoman attack and the only heir was a fucking fetus. And these were, like, organized institutions that also do other stuff, like approve taxes or issue laws. Not one time arbitrary gatherings of the local nobility (and only nobility, no representatives of the cities or the church, because in Westeros those have no power and it makes me mad) that are essentially called because the king is too senile to decide which one of his grandchildren he wants to be an heir. Like, for fuck's sake. Why are regular Great Councils not a thing then, if the approval of Westerosi nobles is so important for the king?! Why don't they also ask them their opinion on taxation or war or whatever?! Basically, the Great Council is stupid and I don't like it, also I am not a fan of feudal representative bodies in general, especially when they represent ONLY nobility. Like do you want Hungarian Diet, because that's how you get... Something even worse honestly.

[fitzrove]

Rambling about Hass in Elisabeth for a REALLY long time. TL;DR - yeah, it is necessary as a song...

Because of the costumes and staging people often just see it as "the antisemitism song", which it is, strongly, but I think sometimes the wider context presented therein is ignored. Really, the song shows how antisemitism and hatred are fuelling and entangled with other movements!!

The nationalists in that song come from various groups and social classes, and identify as their enemies:

Socialists

Pacifists

Jewish writers

Jewish women

"Those who are not like us"

Crown prince Rudolf (because of his - historically strong - friendships and other positive associations with Jews)

The Habsburgs as a whole

Elisabeth and her Heinrich Heine (= a Jewish poet) monument project (which also attracted such strong criticism from German nationalists [Austrian Germans who were nationalists, not "Germans" in the modern sense] historically)

Hungary

The "barons" - so the nobility

The "slavic state"

The ongoing "betrayal of the people"

And to contrast, they identify as good:

Strength ("the strong wins, the weak fails", and also "strong leaders") and "purity"

"Unity"

Glory/splendour ("pracht")

Christian values

"Unified Germany", an alliance with Prussia and even an Anschluss (the joining of Austria and other "ethnically German" [so-called] lands to the German Reich. Hmm does anyone remember who also strove for and eventually implemented this... /s)

The conservative Wilhelm II as emperor (again, they want to join Austria into the German Reich)

So like. There is a glorification of all things "German" and of conservative values (religion) and reactionary power politics ("weakness" was and is by similar groups now considered to be a major flaw of liberalism and a liberal world order - in the song, pacifism and socialism are also connected to it), as exemplified by Wilhelm II's Germany specifically. To contrast, racial enemies ("non-Germans") threatening "racial purity" must be eliminated, with violence if necessary. And the Habsburg monarchy, being a multinational empire, is described as immoral and weak because of it being multinational (and the position of Slavs and Hungarians in politics and imperial administration).

The themes of "betraying the people" (Volksverrat) are especially interesting because the enemies of the nationalists as listed in the song, Jewish women, pacifists and socialists, were also the people blamed for German defeat in WW1 (the "stab in the back" at the home front myth). It's overall 19th and 20th century anti-establishment fascist imagery.

Ajdkkf I don't think I'm clearly making my argument but the song's key functions are:

To dispel the myth of the late 19th century being "the good old days", the glory days of Austria before the world wars somehow magically came to happen and ruined it. In fact, the songs shows that the developments leading to the world wars stem from politics and mass movements of hatred that developed alongside and gave power to & drew power from nationalism in the 19th century

To show the audience exactly what Rudolf is talking about in "Die Schatten werden Länger (reprise)". What is the "evil that is developing"? It's not Rudolf's personal petty wish for more power, or his angst about not being emperor yet, or some generic amorphous disdain for how FJ is reigning; it's not the lack of Hungarian independence either, for god's sake. I will die on this hill, if you cut Hass or replace it with conspiracy or whatever you can cut Rudolf as well, Elisabeth as a show is (in my opinion) a good portrayal of him precisely because it depicts him as a political thinker (in contrast to many depictions and post-Mayerling accounts which diminish that and just talk about Mayerling and his "immorality" - a talking point devised by the nationalists and antisemitists who hated him lol, liberal politics were connected to lack of morality) and someone who, unlike most of his contemporaries, saw that antisemitism, emphasis on "power" and realist power politics, exclusionary/hateful rhetoric and excess nationalism would lead to ruin. AND Hass also shows that he was hated by the German nationalists for this! As was his mother, for her sympathy to Heine...

To connect genuine popular dissatisfaction (from Milch - Hass is a reprise of Milch in terms of rhythm and the call-and-response structure where Lucheni talks to the crowd) with inequality, the lack of democracy and the excesses of royalty... to the rise and presentation of fascism as a "solution"

To show that 19th century nationalism was, in many ways, exclusionary, antisemitic, racist and "war-mongering", and that this rhetoric is old - not somehow magically appearing for WW2 and then disappearing again - and will time and again rise... and that it's everyone's responsibility to recognise it for what it is when it happens, if we are to have a reasonable, decent world to live in.

The framing of Hass sometimes confuses people I will never recover from that one post cancelling Elisabeth das musical for being antisemitic because Hass exists ajiddfkdllfgl what's next, it's pro-suicide and homophobic because a character technically dies from being gay? but to me it's rather clear that it's unsympathetic lol, with the whole doomsday atmosphere (no music, just footsteps/marching and drums and screaming, it's meant to be threatening), the way the ensemble harshly criticises the most sympathetically portrayed characters we have seen so far (Elisabeth and Rudolf) for things that seem petty and harmless (having Jewish friends), and the extremely direct comparison drawn to N*zism (to indicate what such a movement would develop to) in many stagings. I don't know how to say this but somehow I've always assumed that "H*tler and n*zism = evil" is EXTREMELY common knowledge and it mystifies me when people like. Think it should have been stated more clearly in the show. Like, the show is working off the assumption that you know what it is and that it's bad because of the millions and millions of people they killed............. this is EXTREMELY common knowledge in Europe, not least in Germany and Austria lol.

So um yeah akwkldlf, sorry for the ramble, I just feel like the song can be poorly understood and criticised on shaky ground sometimes. I mean, I am not Jewish and not equipped to talk about whether it's triggering or traumatising to watch especially with lived or family experience of antisemitic violence... But I think for non-Jewish people there is a huge responsibility to be aware and vigilant of antisemitism, historically and in the present, and sometimes it needs to be hammered home for people to understand...

By that last point I also somewhat mean... I think you don't "get" to be triggered by it if you're not Jewish but perhaps otherwise affected by politics of hatred. Of course I'm not emotions police lol, but many Jewish people have intergenerational trauma AND have to live with extremely similar antisemitic rhetoric and culture to this day, so there I understand criticisms - and there is also a discussion to be had about how and to what extent it is ok to use and display Jewish suffering as a device to educate non-Jewish people.

But anyway, to my original point. This is something I've seen people say and I just... if you're queer and it makes you uncomfortable to see Hass because modern n*zis hate you and it's traumatic, I mean, it's valid to feel uncomfortable and you can choose not to watch it personally to avoid being triggered, but you don't get to call for it to be erased from the show for "problematic content" or for "escapism" or to make you feel better. It is there because the destruction of the 19th century world, and Rudolf's and Elisabeth's suffering, is intrinsically tied to the rise of such hateful politics and without that being shown there is no show. You don't get to make it something it's not, this show is not ONLY an epic gothic romance with imaginary boyfriend, it's a commentary on past, present and future politics in that it shows the dangers of conservatism, antisemitism, racism and illiberalism. Calling for or supporting censorship, or state emphasis on militarism/"destroying the enemy", or advocating hatred, violence or oppression against any group based on ethnicity, religion, race, political views, etc. are all political stances held by and propagated by various people today in various political contexts. And you are not immune to antisemitism or reactionary nationalism if you're queer or whatever, so you have the constant responsibility to think critically about your worldview and your politics!!

[starcrossedyanderes]

Okay idea that you totally don’t have to do anything with:

Xavier’s darling is (like me) a history nut and knows about a lot of history from all over the world from reading books and watching documentaries

So when Xavier decides to start a long lecture about Colvakia’s history because his future wife needs to know these things, darling finishes his sentences and eventually takes over the lecture as Xavier sits there stunned with major heart eyes

I just know he’d be so happy and think that it was so cute that his darling already knew all about his homeland, he might even think it’s fate

This is so long, but I couldn’t help it! Inspiration struck, ya know? Also I assure you, I am working on that Tom fic!

Xavier taps a baton onto a large map that hung up on the wall.

“Ok, dahling, listen up. It is absolutely vital that you learn and remember the history of Colvakia, if you want to rule it one day with me.”

You were sat down at a table, notebook and pencil at the ready. You nodded your head eagerly, being the little nerd you are.

“Alright then. Colvakia for quite a while was part of Österreich-Ungarn, or as you may know it, the Austro-Hungarian empire. But in 1918 the Great War, or World War 1, ended and the empire was dissolved. Colvakia was one of the countries that were formed.”

Your eyes shined with excitement, the eager learner you were.

“But in 1922 the Soviet Union was formed. And a few years before that the Romanovs were assassinated. This is where the history of Colvakia really starts to begin.”

You eagerly raise your hand, practically bouncing on your toes. Xavier sees this and raises an eyebrow.

“Yes, dahling?”

“But aren’t the Devorskýs related to the Romanovs?”

Xavier nods his head, content with the question.

“Very good, dahling! We in fact are related to the Romanovs! We were cousins that managed to evade the slaughter. And this is important why..?”

Xavier lead me on with that question.

“So it makes your claim to the throne legitimate!”

Xavier chuckles at your eagerness.

“Correct, once again (Y/n)! 100 points to you!” Xavier snaps his fingers, instantly summoning a servant. “You there, get the future tsarina some ptichye moloko! I think she’s earned it after such a-“ Xavier goes in to caress her cheeks “-wonderful answer” Xavier steps back and the servant scuttles off, probably to the kitchen.

“Now, with the Soviet Union now formed, you can imagine some people did not want any part in it, or wished for refuge. So that is how Colvakia got such a surge in Russian citizens. But, around World War 2 we were conquered by Germany, then the Soviets. You can understand how this was an awful time for us.”

You solemnly nod your head, thinking to all the suffering that must have occurred.

“We mostly kept to ourselves, primarily farming. And by some miracle, we were relinquished to our own devices! The Soviets were too busy on other fronts, that we were able to be relinquished from their grip!”

You raise your hand again.

“Wasn’t that called the Day of Miracles?”

Xavier eagerly nodded his head, so happy with your answer.

“Yes, it most certainly is! It got its name because of how many miracles seemingly occurred that day. For one, the fact we got our independence back so quickly. The second being forces from other countries thinking we were still occupied by Germany, and the fact most of the Soviet forces that were present were redirected. Many say it took an act of God for all to happen, hence the name.”

“Now, we were in an interesting state. We needed to rebuild, and most of our citizens were immigrants from Russia or other countries. But we were also heavily Austrian-Hungarian still, hence where we get our 3 main languages or German, Russian, and English.

Now, here’s where the Devorskýs come in. My great grandfather, Dominik, was a rather wealthy man as he came from rather high ranking Russian nobility. But they also used that money to build varying companies, along with farms. He had a specialty with breeding peacocks, hence the prevalence of them here. Either way, Dominik was also known as a rather kind man, who essentially spearheaded the rebuilding efforts. In fact, many buildings here are named after him because of his funding of philanthropy.”

You oohed, at this fact, as it finally answered why you’ve seen so many buildings with the name Dominik.

“Now, Colvakia was in need of a government, and we played around with regular democracy for a bit there. But it was terribly, terribly corrupt in our case. It was how we ended up under the thumb of the Germans, then Soviets. Also, it was completely and utterly rigged. So still reeling from that, we thought it was best to stay away from that form.

But we also saw how badly communism affected us, and knew it wasn’t a viable option. So that mostly left a monarchy as the only option.

Oddly enough, Dominik had-“

You couldn’t help it anymore, you had to blurt out what you knew!

“Dominik was volunteered for the role because of his philanthropy and him being a leader already! Also people liked him being descended from Russian royalty so they eventually declared him King! Then Colvakia slowly gained more land from either purchases, or some countries volunteering to join them! That’s how Colvakia got to where it is today!”

You panted, trying to catch your breath after blurting out so much. Meanwhile, Xavier just stared at you, in awe.

“Y-yes. Absolutely correct!”

Before you knew it, you were being absolutely bombarded with kisses.

“Correct! All of it! Wunderbar dahling! Wunderbar!”

Xavier let out a chuckle

“You cheeky little thing, I bet you were just trying to put me under your spell even more!”

You chuckled as well

“Well did it work? But in all seriousness, I just really love history.”

“Well, it’s certainly clear you are meant to be queen one day. And here I thought I couldn’t fall in love even more~”

[racefortheironthrone]

Would you put Louis XIV as overrated?

Oof, that's a tough one.

It's particularly hard to answer because the reign of the Sun King also saw the tenure of some of the most influential chief ministers in French history: Mazarin, and Colbert.

While perhaps not quite as famous as a certain cardinal whose schemes kept getting foiled by the Three Musketeers, these guys were world-historically important.

Mazarin was Richelieu's political heir, and brought his predecessor's policy of using the Thirty Years War as a way to break the back of Hapsburg dominance to a successful conclusion. The Peace of Westphalia not only served as the foundation for modern international relations, but also expanded France's position in Alsace and the Rhineland - especially when Mazarin pulled off an anti-Hapsburg alliance with the new League of the Rhine.

At the same time that France was winning the Franco-Spanish War, which won them a big chunk of territory in the Low Countries around Artois, Luxembourg, and parts of Flanders, and all of the territory north of the Pyrenees Mountains including French Catalonia. It also got Louis XIV the hand of Maria Teresa, which would eventually create the catalyst for the War of Spanish Succession and the War of Austrian Succession...

And while Mazarin was doing all of this, he was also busy crushing the Fronde uprising led by le Grand Condé, which he eventually accomplished in 1653, and creating a formidble system of centralized royal government through the intendants that ended the power of the feudal nobility.

As for Colbert, he was the guy who figured out how to pay for all of this. The single biggest reason why economists need to shut the fuck up when they talk about mercantilism, Colbert was the financial and economic genius of his age. Remember all those canals I'm so crazy about? Colbert built them. Specifically, he was responsible for the Canal des Deux Mers, transforming France's economy by linking the Mediterranean to the Atlantic.

He also turbo-charged France's economic development by restructing public debt to reduce interest payments and cracking down on tax farmers, reforming (although not ultimately solving) the taxation system of the Ancien Régime by using indirect taxes to get around tax evasion by the First and Second Estate, equalizing (but not ending) internal customs duties, and putting the power of the state into supporting French commerce and manufacturing. This included significant tariffs to support domestic producers, direct public investments into lace and silk manufacturing, and the creation of joint-stock corporations like the French East India Company. (This also meant Colbert's direct promotion of the slave trade and the Code Noir in order to generate hugely profitable investments in Haitian sugar and tobacco plantations for import into France and the rest of Europe.)

This makes it a little difficult to separate out what credit belongs to these guys versus the guy who hired them. What I can say is that Louis was directly responsible for Versailles, but also for the revocation of the Edict of Nantes.

[mariacallous]

Like many non-Austrians, I first discovered Vienna’s winter ball season through German-language tabloids. The celebrity-studded Opernball (Opera Ball), the season highlight, is widely covered in the German-speaking world, where it is streamed live on TV and culled for clickbait online. Glittering details are consumed with a mix of aspiration and resentment: debutantes, tiaras, and pricey opera boxes (starting cost: $14,000)! The only sign of the 21st century is a name-drop such as Kim Kardashian, who attended in 2014.

The Opera Ball, I have since learned, is only the tip of the iceberg.

More than 400 formal balls are held in Vienna each winter carnival season. This February, I visited three. The tradition combines the public festivities of the medieval carnival with the legacy of the “Waltzing Congress” of 1814, better known as the Congress of Vienna. Held just a year before Napoleon’s final defeat at the Battle of Waterloo, the Congress—a series of diplomatic meetings between leaders of various powers opposing France—aimed to reinstate Europe’s monarchies and hash out the continent’s post-Napoleonic order.

Its more immediate effect, however, was to transform Vienna into a giant ballroom.

With representatives from Prussia, Austria, Great Britain, Russia, and France, as well as assorted royalty and nobility from across Europe gathered at the imperial Hofburg Palace, the prevailing atmosphere was that of a permanent “house party,” observed historian Dorothy McGuigan in her book The Habsburgs. The dance halls were packed, and the streets were filled with music and fireworks; to lubricate negotiations, Emperor Francis hosted evening balls and musical entertainment, including a concert featuring 100 pianos. The enduring epithet of the so-called Waltzing Congress stems from a quip by the rakish Prince Charles-Joseph de Ligne of Belgium, who proclaimed that “[t]he Congress doesn’t work; it dances.”

The Viennese ball season has been celebrated almost continually since 1814, breaking only for the two world wars and recent pandemic. In a country of only 9 million people, it draws more than 500,000 ordinary people out to waltz. Nearly every profession in Austria hosts its own celebration: A nonexhaustive season program includes the Police Ball, the Firefighters’ Ball, the Engineers’ Ball, the Doctors’ Ball, multiple farmers’ union balls, and the Lawyers’ Ball. Some of these dances, such as the Coffee Brewers’ Ball or the Hunters’ Ball, have outlived the imperial-era professions that they were created to celebrate. Others, such as the Ball of the International Atomic Energy Agency or the recently retired Life Ball—founded to raise awareness during the height of the AIDS crisis—are decidedly contemporary.

It was the improbable continuity of 19th-century traditions, however, that drew my attention. The frenzy of the waltz—still performed in the same ballrooms as in the imperial era—echoes a persistent anxiety for Europe’s over-touristed, economically uneasy, and politically pessimistic capitals: On a continent that relishes golden-era traditions yet finds itself slipping in the geopolitical world order, how do you face the future without romanticizing the past?

Viewed through this lens, the ball season refracts the flamboyant anachronisms of a region in transition. Dozens of guests and former debutantes—most balls include a debutante ceremony—described the events to me in terms of glorious contradiction. The balls, I was told, are elegant, tacky, rarified, intimidating, democratic, elite, ironic, gorgeous, decadent, tiresome, astonishing; they are both political and apolitical, accessible and inaccessible, international and decidedly Viennese.

This cacophony carried over to my own impressions. I saw tiaras and hoop skirts and a tattoo of the Sistine Chapel fresco framed in the V-line of a backless ballgown. Orphaned evening gloves and ostrich feathers drifted across the parquet floors of the Hofburg Palace; hair fixtures nested in updos like Fabergé eggs. I witnessed government ministers dance the disco and saw at least six debutantes faint.

I was told by veteran ball journalists that the publications I write for sound “serious and political,” and that a Viennese ball is neither a serious nor political event. A ball is frivolous, they said; a ball is for fun. I don’t disagree. But I also believe that a society’s attitude toward tradition shapes its expectations for the future—and how much that future should resemble the past.

Maryam Yeganehfar, the creative director of the Opera Ball, emphasized the balls’ capacity for rejuvenation and even escape. The carnival festivities were originally founded, she said, to give people “hope, life, enjoyment” in the weeks leading up to Lent, the 40-day period before the Christian celebration of Easter.

“[W]hy is enjoyment always framed as decadence?” Yeganehfar asked.

At a time when Europe’s post-COVID-19 pandemic headlines—on immigration, war, inflation, right-wing extremism, climate change, energy crises, and strained trans-Atlantic relations—often give reason for pessimism, the balls are a testament both to the temptations of nostalgia and to the resilience to party on.

The Science Ball

The first ball I attended was the Ball der Wissenschaften (Science Ball). Oliver Lehmann, who has served as the event’s director since 2014, is aware of the season’s appeal for foreigners: “For a lot of our friends and guests from the U.K. and the U.S., but also from Switzerland and Germany,” he said over a Zoom call before I arrived, “a ball sounds like a sugar fairy tale from a Walt Disney movie.”

Lehmann admitted that there is some truth to that image. But the balls might be better understood as the “Austrian version of a huge networking event,” he said. Even socialists once held balls; in the 1860s, party members at the Workers’ Ball waltzed wearing bright red ties, attracting attention from political censors.

The Science Ball, for its part, brings together representatives from Vienna’s nine public universities, its expansive network of private and vocational colleges, and numerous research institutions to celebrate—and boost—the city’s reputation as a center of innovation.

The Science Ball also has a unique, quasi-political agenda. It was first held in 2015 in part to undercut the claim of the far-right Akademikerball, or Scholars’ Ball, to “scholarship,” Lehmann said. The gathering of right-wing fraternities is organized by the nativist Freedom Party of Austria (FPÖ). In 2014, the annual protest against the Scholars’ Ball turned violent, resulting in injuries and damaged property.

Today, the Vienna government offers the Science Ball its palatial city hall free of charge, signaling its continued support for the ball’s mission and helping to lower ticket prices for attendees. Regular entry is 100 euros, or $107, while students can attend for $43. It’s a win-win arrangement: Scientists celebrate field achievements; students attend on the cheap; local government discredits nativist misinformation; and a city whose reputation for innovation is often overshadowed by its cultural-historical attractions gets to advertise its technical heft.

To Lehmann, the Science Ball’s focus on contemporary Vienna is evidence that the balls have “nothing to do with nostalgia.” When I asked if the recent rise of right-wing nativism in Austria (the nativist FPÖ came in first in Austria’s elections for the EU Parliament this month and is currently polling at more than 30 percent ahead of elections this fall) has begun to politicize the balls, he replied, “Only counterintuitively, because we’ve never sold out so fast.”

When I arrived, the Science Ball proved to be many balls in one. The dancing unfolded through a series of rooms across three floors of the city hall, each with its own band and musical style. The main ballroom, lined with chandeliers and debutante couples in tuxedos and white gloves, opened onto a grand stairwell decked out with flowers. Beyond this lay the sultry tango room, followed by a baroque cloister where a cover band played “Que Será, Será,” and a ground-floor disco crowded with younger guests. The latter venue is where I spotted Austria’s federal climate minister briefly boogying to “Stayin’ Alive.”

This year’s ball was dedicated to promoting more effective strategies for communicating the threats posed by climate change. There were leaflets floating around with a carbon-emissions logic puzzle, plus a cryptic exhibit devoted to whales that featured a fog machine. In the flagstone courtyard, an 8-by-8 meter inflated cube (about 25 feet across), reminiscent of a giant bouncy house, offered a visual representation of one metric ton of carbon emissions; the average European Union citizen emits between 7 and 8 metric tons of carbon dioxide each year.

The importance of these issues to the Austrian government’s agenda was underscored by the presence of Vienna Mayor Michael Ludwig and Leonore Gewessler, the federal minister of climate action, environment, energy, mobility, innovation and technology. On the main stairwell, the politicians posed for selfies with students, many of whom expressed interest in climate-related issues. The balls can facilitate this sort of direct constituency engagement. But Gewessler also warned against overstating the events’ political importance: “A lot has changed since the Congress of Vienna,” she said. “As it should in an open democracy.”

She is right: Things have changed. Many young women—including the president of the Vienna student union—took advantage of the gender-neutral dress code, donning smart tuxedos and white ties. The organizers “don’t give a damn” about who wears what, Lehmann said, as long it’s evening attire. A couple of biologists I spoke to with roots in India, who now work at a Viennese research outlet, appeared in a tux and emerald sari repurposed from Mumbai’s wedding season. (The fact that I, too, had worn my wedding dress became a bonding moment.)

A group of American exchange students from St. Olaf College in Minnesota had bought their outfits at a budget shop in nearby Bratislava, Slovakia, about an hour away by train. They were starstruck. “It’s amazing,” one said. Another chimed in: “But the drinks are really expensive.”

The balls’ class dynamics are the subject of much local scrutiny. Open any Austrian newspaper in January and you will find an announcement about the average cost that each guest spends per visit: $371. About a third of that is paid for entry, and the rest on attire, taxis, styling, and infamously exorbitant concessions. Local headlines decry $15.50 pints and $17 Wiener sausages. In 2022, an Austrian state governor went viral for her tone-deaf tip that constituents restrict themselves to owning three—rather than 10—ballgowns.

The considerable spending associated with the balls is also a source of revenue that working-class Viennese—taxi drivers, caterers, dance instructors, and hairdressers—depend on. Norbert Kettner, the CEO of the Vienna Tourism Board, an independently run organization that also receives funds from the city, pointed out that the hundreds of millions of euros that this year’s 540,000 guests spent on the balls filter back into the local economy. At a “styling corner” at the Science Ball, where guests can stop by for touch-ups, one freelance makeup artist estimated that she makes more than half her annual income during the ball season.

Later that evening, my taxi driver explained that he organizes his night shifts around the ball schedule, which he pulled up on his phone; there were five events that night alone. When I asked whether he’d ever attended a ball himself, he laughed: “Just outside!” That is, at the taxi stand.

It’s natural to wonder whether the 19th-century aura does more to promote or impede democratic norms, especially when far-right nostalgia—such as that channeled through the FPÖ-sponsored Scholars’ Ball—is on the rise. The object of that nostalgia is pre-globalization Europe. There is a perception that the continent’s status has declined since then: The eurozone’s respective share of the global GDP, for example, has fallen by more than a third since 1960. On the other hand, Europe remains comparatively wealthy; Austria’s per capita GDP is the 14th-highest in the world, according to International Monetary Fund estimates.

Meanwhile, as war rages on in Ukraine, Sudan, and the Middle East, the EU Agency for Asylum predicts that 2024 could bring the highest number of asylum-seekers to the bloc since 2015, when 1.3 million refugees arrived in Europe, about half of them from Syria, Afghanistan, and Iraq. Just before this year’s carnival season, the 35-year old Austrian right-wing extremist Martin Sellner presented a bone-chilling “remigration” plan for migrants, asylum-seekers, and “unassimilated citizens” at a November conference of far-right actors near Berlin. He has since been banned from entering Germany.

The balls appear to offer a welcome respite from these thorny challenges—if they don’t feed back into the well of nostalgia from which these troubling political headlines are sourced.

Around midnight at the Science Ball, a psychology master’s student from Bavaria took a break from her heels on the red-carpeted stairs. She told me that this was her second time attending the event; she and a friend visited last year as well to celebrate the conclusion of a dreaded statistics exam.

“We love it,” she said, gesturing at the glittering crowd of young people posing for pictures behind us, “but we also hate it.” In her view, ball culture is elite and exclusive, reserved for the rich—but more so at other events than at this one. All the same, she conceded, “Why not feel super special? For 40 euros, look what you get.”

The Coffee Brewers’ Ball

Hosted by the Club of Viennese Coffeehouse Owners, the Kaffeesiederball, or Coffee Brewers’ Ball, is another of the season’s most-anticipated events. It celebrates and promotes the history of Vienna’s famous coffeehouse culture, which was inducted into the UNESCO list of intangible world heritage practices in 2011. Were there a people’s choice award for balls, the Coffee Brewers’ Ball would likely win; multiple guests, none of them coffee brewers, told me that it’s the most beautiful ball of the season.

The stately Hofburg Palace, where the ball was held, took on the atmosphere of a black-tie nightclub. Attendees—whose ages spanned from 18 to 80—had traveled from Munich to celebrate a 40th birthday; from Dubai, for the glamour; from Austria’s southern Carinthia region to see the scheduled performance by the Vienna State Ballet; and from northern Austria, to see a disco cover band (called the Bad Powells). Most were from Vienna itself. They had come to see the Hofburg, whose status as the former imperial palace lends the events held there a particular lure and elegance.

The guests were there, above all, to dance: the polka, the quadrille, the polonaise, and the tricky Viennese “left waltz,” in which couples follow a double rotation, revolving on their own axes while simultaneously orbiting the room, like planets hurtling around the sun. The dancing spilled from the main ballroom into gold-trimmed apartments leading deeper and deeper into the palace; I finally reached a dead end at the storied Redouten Rooms, which ball-enthusiast Empress Maria Theresa renovated in 1748 to better accommodate waltzes and masquerades. That evening, they had been furnished with neon lights, a gin bar, and a DJ spinning techno.

The balls have long dramatized a broader European tug-of-war between democratization and aristocratic control. From the 16th to 18th centuries, the monarchy strove to regulate, then ban, public masquerades and dances in the weeks leading up to Lent. The prohibitions were issued on the grounds of mischief (murders were known to be committed from behind the anonymity of carnival masks) and the threat of popular uprising.

Meanwhile, the nobility began to host their own masquerades in private ballrooms such as the Redouten Rooms. When Emperor Joseph II opened these rooms to the nontitled public in 1772, the nobility retreated once again to exclusive spaces, where they could better monitor the guest list (and, by extension, the marriage market). The same trend followed the rise of public dance halls at the turn of the century, when every profession began to hold its own celebrations.

Today’s balls are also increasingly international and cross-cultural. “Twenty years ago,” a 40-year-old Viennese guest told me, “you wouldn’t see so many international guests.” This year, he had brought two friends from Paris. As the night wore on, I also met a fashion journalist from Switzerland, a reporter from South Korea, and a correspondent from Munich. In one of the palace’s many golden bars, a local journalist pointed a camera at two models posing in a black tuxedo and a frothy pink gown. When I asked what the photoshoot was intended to advertise, he gave a cheerful answer: “Vienna!” The staged images will run in an international travel magazine.

For European states, the continent’s golden era is readily monetizable through foreign tourism. In cities such as Barcelona and Amsterdam, the annual total of visitors outnumbers locals by more than 10 to 1, prompting some local governments to dissuade further travelers from coming. Today, tourism makes up almost 10 percent of Austria’s economy, the same share as for the eurozone as a whole, which also claims more than 60 percent of the world’s international leisure travel.

There are many reasons to be drawn to the continent; Vienna itself is frequently ranked as the world’s most livable city. Yet among locals, the pandemic, climate change, and geographic proximity to Russia’s war in Ukraine can contribute to a mood of perceived domestic decline.

One former debutante reflected on her experience with a contagious nihilism: “Europe is lost,” she said. There’s “Ukraine,” and “nobody has money. Everything is fucked, basically, so why not party?”

It is not the kind of sentiment that will make the travel magazine spread.

Despite signs of disillusionment, Kettner—the Vienna Tourism Board CEO—said that young people such as the former debutante have “rescued” the balls. The discotheques and increasingly gender-neutral dress codes are part of a concerted effort to appeal to younger generations.

It’s been successful: Debutante classes ahead of the balls, which draw from the under-30 crowd, are full at the city’s top dance schools. Post-pandemic participation across all ages has risen from 520,000 in 2019 to an estimated 540,000 in 2023. The challenge of keeping the ball season relevant is a microcosm for Europe’s overall challenge: How to protect proud cultural traditions while also making sure that they can keep up with the times.

The Opera Ball

This official state ball, the “ball of all balls”—Austria’s most beautiful, decadent, and exclusive event—arrived on the scene in the year 1935. It is a fundraiser, with revenues flowing to the Vienna State Opera, in whose building the dance is also held. In 2019, the event raised  the equivalent of more than $1.1 million for the national opera and ballet.

In recent years, the Opera Ball has also developed a side reputation for celebrity antics. This is in large part thanks to Austrian reality TV star and businessman Richard Lugner; the reveal of his date is an annual tabloid event. In 2005, Lugner was accompanied by former Spice Girl Geri Halliwell, who, headlines gleefully reported, refused to dance with him. His other previous companions have included Pamela Anderson, Kim Kardashian, and Grace Jones. This year, he took Priscilla Presley.

A livestream broadcast of the ball is popular with viewers at home. This winter, more than 1.6 million Austrians and 1 million Germans tuned in.

The Opera Ball, with its outsized media footprint, also attracts dissenters. An annual demonstration that has been held on the same day as the ball since the late 1980s has become as much a part of the tradition as the waltz itself. Organized by the Communist Youth of Austria, this year, 400 to 600 people marched to the slogan “Eat the Rich.” More specific demands included a nationalized housing policy, the reinstatement of a national inheritance tax, and wage increases to keep pace with inflation.

The group’s media relations manager, Johannes Lutz, said that the protest stands against the inequity that the Opera Ball “symbolizes” rather than the ball itself. The minimum entry price of about $426 ($38 of which is earmarked for charity) is a point of contention; basic tickets for the season’s other exclusive balls range from $107 to $208.

Yeganehfar, who has served as the creative director of the Opera Ball since 2023 and also runs a successful local event production company, conceded that the ball “has its price.” She compared it to a major sporting event: Some fans will save up to attend, but many more will watch from home. (By comparison, the average ticket price to attend an NFL football game in the United States was $377 in 2023.) It is precisely because ordinary people “save up to be in this room” that Yeganehfar said she aims to make the Opera Ball so memorable.

“This is the most beautiful event in the entire country,” she said. “We should put it on a pedestal.”

The ball unfurled throughout the entire opera house—onstage, in the wings, in the basement, and in the many gilded bars and cafes—lending a night-at-the-museum giddiness to the evening. From a lobby erupting with Pink Floyd roses, arriving parties filtered through linoleum hallways and past dressing rooms usually reserved for singers and ballerinas. The dancing took place on the stage itself, which had been extended over the orchestra pit.

To debut at the Opera Ball, one breathless young debutante told me, is to occupy the same stage where the “the greatest singers in history” have performed.

The idea that the Opera Ball is something “you should see once in your life” is a sentiment that I heard from guests again and again. A couple from Berlin—a retired secretary and the manager of a hydrogen firm—said they were in attendance because Vienna is “the city of music.” Eight middle-aged women from Kyrgyzstan had arrived in matching pastel gowns after discovering the Opera Ball on the internet. Two Austrian students—a couple studying education and social anthropology, whose gelled hair and all-black palette gave the requisite dress code a punk twist—told me that they are usually at the leftist demonstration outside. This year, they’d saved up to attend the ball itself, saying, “[o]nce at the Opera Ball, the rest of the time at the protest!”

Onstage, I was asked to participate in a disastrous waltz. A ball veteran leading me through the polka, a step I do not know, insisted that the point of the Opera Ball is to escape reality. “For one night,” he said, “you don’t think about war or poverty. You just celebrate.”

But we were thinking about these issues—he mentioned them without my prompting. Awareness of the world outside was inscribed in the price of concessions, 10 percent of whose revenues were earmarked for an Austrian charity initiative in addition to the $38 earmarked from the ticket price. I saw three young men pass around a flask of liquor, a common workaround to the exorbitantly priced drinks. Exiting the stage, I dodged waiters rushing into private opera boxes with trays of petits fours and canapés.

This is about “tradition,” guests told me. It’s about prestige. It’s about attending the same ball as celebrities. (Later, I discovered that Italian actor Franco Nero was also in attendance.) It’s about “seeing and being seen.” It is, above all, about the illicit, dreamworld feeling of being where we’re not supposed to be: backstage at the Vienna Opera House and also, possibly, in the 19th century.

In the lobby, VIPs were being interviewed on live television. The sense that I’d fallen through the looking glass became more overwhelming when I stumbled into the basement, which had been transformed into a club. On a velvet sofa adjacent to the writhing dance floor lay a tulle hoopskirt, evidence of someone’s late-night costume change.

Like a hypnotist’s signal, it was my cue to head out and catch my early morning train.

Out in the real world, Yeganehfar’s comment lingered with me the most: “Why is enjoyment always framed as decadence?”

The taxi driver who picked me up outside of the opera house was originally from Poland. Our conversation drifted to the rise of right-wing politics in his native country. “History is turning back on itself,” he concluded, a reference to the ascendence of the far-right Law and Justice party in Poland and the accompanying decline in German-Polish relations. The observation compounded my sense of being drawn through multiple timelines at once.

By the time we arrived at the hostel apartment where I was staying, it was dawn. I exited onto the sidewalk and tipped my driver everything I had. Teetering in the sunrise in a pair of borrowed heels, I wondered if ball critics’ hand-wringing over decadence speaks less to a distrust of pleasure than to a profound sense of dissonance. Europeans still enjoy a quality of life that is the envy of much of the world, yet populists have managed to create—and spread—a narrative of a continent in imminent decline.

“Let us hope the future will be better!” the taxi driver said in parting. I found myself a little too eager to agree.

[cirilee]

have a formal introduction to the two very historically inaccurate desaster gays (although Jan is very drunk here)

Graf Lothar von und zu Khälß and Jan Čeněk Hlinovský, austrian noble and czech rebel out to destroy austrian nobility respectively; created by @neoncl0ckwork and me UwU

[nobility-art]

Anne of Austria, Consort of Emperor Mathias

Artist: Gaspar de Crayer (Flemish, 1584–1669)

Genre: Portrait

Date: circa 1600-1699

Medium: Oil on Canvas

Collection: Nationalmuseum, Stockholm, Sweden

Anna of Tyrol

Anna of Tyrol (4 October 1585 – 14 December 1618) was by birth an Archduchess of Austria and member of the Tyrolean branch of the House of Habsburg and by marriage Holy Roman Empress, German Queen, Queen of Bohemia and Queen of Hungary.

The first crowned Holy Roman Empress since the mid-15th century, she was responsible for the moving of the Imperial court from Prague to Vienna, which became one of the centers of European culture. A proponent of the Counter-Reformation, she held a great influence over her husband Matthias, with whom she founded the Imperial Crypt, which later became the burial place of the Habsburg dynasty.

[xavierbautistagarcia]

Esterháza

The Esterháza or Esterházy-kastély Fertöd Palace, known as the ‘Hungarian Versailles’, was built in the 18th century on the orders of Prince Miklós Esterházy, a member of one of Hungary's most powerful lineages. The architect appointed to build it was Johann Ferdinand Mödlhammer, and the project was later continued by Melchior Hefele, who gave the palace its final rococo and baroque style.

Construction of the palace began in 1762 in the town of Fertőd, near the present-day Austrian border, and was completed in 1766. Miklós Esterházy wanted it as his main residence and for lavish ceremonies and concerts to showcase his family's power and wealth.

During his rule, Prince Miklos turned the palace into an important cultural centre in Central Europe. The musician and composer Joseph Haydn was employed as chapel master at the Esterházy court between 1766 and 1790, and composed many of his best-known works in Esterháza, which became a meeting place for renowned musicians and artists.

After Miklós Esterházy's death in 1790, the palace lost some of its splendour, as his successor, Anton Esterházy, was less interested in maintaining cultural activities. Anton moved the family residence to the town of Kismarton (today's Eisenstadt in Austria), leaving the Esterháza palace as a secondary property.

During the 19th century, the palace was partially abandoned, and the Napoleonic wars and other regional conflicts caused damage to its structure. However, the Esterházy family retained ownership of the palace, which was restored several times to preserve its historical and artistic value.

The 20th century brought more challenges for the palace. During World War II, the building was severely damaged by military occupations, and after the war, the Hungarian government that emerged from the fall of Nazism and its allies expropriated many properties of the nobility, including the Esterháza Palace.

After decades of neglect, following the fall of the Iron Curtain, the Hungarian state initiated a restoration process in the late 20th century, which restored some of the original grandeur of the palace, now a museum open to the public and a centre for cultural events.

Today, the Esterháza palace is one of Hungary's most prominent tourist attractions and hosts concerts and festivals, keeping alive the country's musical tradition. Its history reflects the glory and decadence of the Hungarian nobility and the revival of its cultural heritage.

[artthatgivesmefeelings]

Karl von Blaas (Austrian, 1815-1894) Portrait of Countess Gabriella Andrássyove, born Pálffy, 1865 Vihorlatské múzeum v Humennom