#late Louis XIV fashion

[gogmstuff]

Some 1690s (from top to bottom) -

ca. 1690 Beatrice Violante of Bavaria, Grand Princess of Tuscany by Bartolomeo Mancini (Museo Civico Pinacoteca Crociani - Montepulciano, Sienna, Toscana, Italy). From tumblr.com/roehenstart 1280X1492 @72 685kj.

ca. 1693 Comtesse de Balleroy by Nicolas de Largilliere (Aguttes - 6Dec22 auction Lot 48). From their Web site 2224X2798 @144 6Mp.

[pruneunfair]

so one thing Rashta is mostly known for outside of being the source of the Trashta meme is her Christmas tree wedding dress and everyone at her wedding making fun of it for being tacky

I'm not gonna lie while it is kind of pretty there is no way that thing did not require some tax payer money.

What gets me is that Remarried empress takes heavy inspiration from European fashion and aesthetics, and if you ever saw a portrait of Queen Elizabeth I, Marie Antionette, or Louis XIV.. you'd know that European nobles in those era wore very excessive clothes and jewelry. it would make more sense if it were commoners who saw the dress making fun of it, but with nobles making fun of her for wearing something flashy on her wedding it just feels like another mandatory hate on Rashta at least once per chapter.

this gets more confusing in the novel version and while to be fair we only get one shot of it, her wedding dress doesn't look as glammed up, if anything Sovieshu is about as decorated as his bride.

(It does look wonky with all random white lines but still not as flashy as a Christmas tree.)

and its not like this is just a "It's a fantasy story, the culture isn't going to be one to one with real history." thing either because Navier's wedding dress is described as having THOUSANDS of gemstones weaved into it.

It may not be as in your face flashy like Rashta's but if there are thousands of those gems in that dress not only would it be likely worth millions but it would also be heavy af. in general it would make sense for both dresses to be this flashy considering they are for royal weddings in a period akin to either the late 18th century or early 19th century but it frankly makes no sense that NOBLES of all people would be mocking Rashta for wearing something tacky when they aren't exactly known for modest dressing.

Tax payer money at it's finest right there.

[devils-acre]

Historically Accurate POTC Designs, Maybe??

Tried drawing some historically accurate Pirates of the Caribbean designs, with my best effort(s?) to keep the spirit of the original costumes!

Research rabbit holes below:

I set the clothes in the late 1720's, 1728-1731. At this time, coats were very full—almost skirt-like—with big cuffs, and the waistcoats sometimes had long sleeves!

For Will, I decided to give him just a waistcoat since most of his costumes in the movie don't have an overcoat, and it makes more sense for a blacksmith, I think! I also decided not to give him a wig since I don't think he would be wealthy enough or be able to work with one.

For (Captain) Jack, I really just wanted to give him shoes with red heels. They were popular in the 17th century, but carried over to the early 18th!  Wearing them meant you were in favor with King Louis XIV (who ruled at the time) and were rich enough to wear the color red. Since Jack is obviously none of those things I thought it’d be funny—he probably stole them. The T on his hand was supposed to be the equivalent to the P brand Jack has in the movies. Branding was a thing, just not for pirates! A T burned on the hand was for “thief.” Usually brands were like a warning, and if the offender committed another crime then they would be hanged—pirates, however, didn’t get a second chance.

For Elizabeth, her dress was hard to research. Technically the popular gown at the time was a Robe Volante, but I don’t like the way it looks so I found a different one haha :D What I could find from a few paintings was what apparently is called a “round gown” and was often worn with some sort of belt or ribbon thing at the middle. Not sure what that part is called, maybe a girdle? Technically, a mantua would be closer to the purple-red gown Barbossa gives Elizabeth, since it has fabric bunched up in the back, but I thought a different style could work too.

Elizabeth’s pirate outfit is just based off of what I could find for general 18th-century sailor’s clothes, which were difficult to find for the 1720s in particular, but didn’t seem to change much throughout the decade. However fashionable, boots (sadly) weren’t actually worn by pirates, and most sailors would go barefoot or just wear the current fashionable shoe at the time! She would also probably be wearing a knit hat, but I thought the tricorne was too iconic to take away.

And, lastly, for Norrington! He’s wearing a Ramillies wig (named after the battle of Ramillies in 1706) which was the style for people in the military, or really for anyone who couldn’t wear a full periwig (the really big curly wigs.) And for his clothes, since British Navy Uniforms weren’t introduced until 1748, I just put him in blue and gold.

And that’s it! I’m only a very amateur fashion history enthusiast and could be wrong about a lot, so if anyone knows anything about 1720-30s fashion or anything like that feel free to let me know about any mistakes or other interesting historical facts!

[visjules]

1880s: Dominique is very Masculine, and very Eccentric

In today's standards, Dominique is a fairly feminine woman. Yes she's wearing a prince inspired outfit, but it's feminized with the tight pants, long stockings, heels, and long hair, but what if I told you that was all considered masculine in the olden days?

The Time Period

Givn the story takes place when the alternate Eiffel Tower (can't remember the name) was being built, we can assume vnc takes place in the late 19th century, otherwise known as the Victorian era, ranging from 1820 to 1914.

The fashion looked somewhat like this, you can see some similarities to the outfits worn by the main cast.

Dominique's outfit doesn't really resemble much of the fashion at the time, you can make som mild comparisons to Victorian royal menswear, but I'd say her fashion is more similar to 17th century royal menswear, specifically,

King Louis XIV

The long hair, the tight white bottoms, the heels, the loose sleeves, the train of fabric behind him, It is said that King Louis was a big womanizer, who does this all sound like? It's almost as if Dominique is trying to be Louis- oh wait.

Also fun fact, King Louis XIV was born in Saint-Germain-en-Laye.

Masculinity & Eccentricity

For us in the present, King Louis XIV looks pretty feminine, and that was probably a shared sentiment in the 19th century, he looked outdated, but that same outfit on a woman like Dominique would cause some controversy if not for her status.

In the 19th and early 20th century, a woman wearing pants was not too accepted, women usually wore dresses, and pants were kept as a sports/work attire. A woman would not just go on about her day wearing a pair of pants, she'd be seen as strange, and maybe even get into trouble. Dominique wearing pants, and very tight pants reminicscent of older eras, is definetly a bold choice.

Her hair is long and straight, which is not how you'd usually describe a victorian woman's hair. It wasn't even that much of a gender thing, but more of a formality thing. Women at the time would have their long hair in an updo. Actually, according to Whizzpast, long loose hair was a thing only models and actresses wore to depict romantisiscm and intimacy.

Dominique's long hair makes a lot of since, she has a bold, eccentric personality, she's not one to conform, she's the current family outcast, but she is also a very romantic person, and is constantly seen in romantic/intimate scenes, so her loose hair really depicts that.

All in all, Dominique's appearance states a bold, romantic blast to the past with a pinch of her desceased brother.

If you want to look into queer subtext, you can assume that''s one of the reasons Noe drinks her blood.

[romanceyourdemons]

so uh. i casually used the phrase “deus ex machina” about the movie my cousins i’m babysitting are watching, and of course one of my cousins asked what that meant. so i explained it and for an example i mentioned tartuffe, which in retrospect is not the best example to explain the concept of a deus ex machina to an eight year old with, but by then it was too late and she was asking why it was ok for the king to act like a god, so then i started explaining louis xiv’s whole sun king deal to her. i showed her a picture of him, and she asked why he was dressed like that, which led to a discussion of eighteenth century french fashion, which led to her learning women were not allowed to wear pants in public into the twentieth century, which. led to me explaining the basics of modern intersectional feminism to her. hope i didn’t fuck up

[whencyclopedia]

The Regency of Anne of Austria, Queen Regent of France, Mother of Louis XIV

Martha Walker Freer’s “The Regency of Anne of Austria, Queen Regent of France, Mother of Louis XIV” is a classic text that delves into the life of Anne of Austria during her reign and regency by using numerous previously unpublished sources. Aimed at scholars and enthusiasts of 17th-century French history, this book provides an exceptional understanding of Anne of Austria’s contributions to French history.

The Regency of Anne of Austria, Queen Regent of France, Mother of Louis XIV by Martha Walker Freer (1822-1888) is a beautifully written classic work that not only characterizes Anne of Austria but also places her in the broader context of French History. Consisting of two volumes, this classic text aims to illuminate the intricacies of Anne’s regency which is typically overshadowed by the reign of her son, King Louis XIV, also known as the Sun King. Freer creates a diligent spread of the numerous sources that give life to Anne’s rule.

The chapters cover various aspects of Anne’s regency, such as her relationship with others in court, her policies and the policies of others, and the many adversities that she faced in this period of her life. This work provides a detailed analysis of Anne’s contribution as a French queen. Freer’s use of previously unpublished sources helps this text stand out from others in the same time and genre as the unique reference sources provide readers with a fresh and nuanced look at Anne of Austria’s life. This, in return, allows this book to address multiple events and introduce many individuals while presenting new insights and analyses of Anne’s life during her regency.

With her regency constantly shadowed by different French rulers, Anne of Austria’s regency is seldom referenced or discussed. French history can become complicated, especially when concerning the monarchs and their enemies and allies, as all must coexist within the French court. With the numerous sources describing Anne’s reign as regent, readers are allowed to learn more about the intricacies of French court life and the many decisions and factors that went into ruling this country. From adopting the policies of her former enemies in court to building her own supporting council of advisors and allies, and even contesting the will of her late spouse, this book constructs a three-dimensional view beyond a simple biography to complicate Anne of Austria.

Freer’s writing style keeps readers engaged and wanting more as the narrative tone helps readers follow along with the story. The use of exclamatory dialogue allows the mentioned figures to seem more human and provides a place to gather quotes from several historical French figures. The book also includes the lyrics of popular contemporary French songs. This emphasizes Freer's argument by allowing readers to become more immersed in life in 17th-century France. Freer does a wonderful job of introducing new historical figures and policies by utilizing footnotes. The book's footnotes provide complementary information, such as brief explanations of the relationships between historical figures, directions for further readings, and a brief history of architectural structures. These informative additions completely transform the reading experience as the reader is supplied with further context to ensure that they understand the nuances of the time, and make connections between the various events.

While this is a great read for those with an academic background or research purposes, this book may be too detailed and specialized for everyday readers. Given the tumultuous nature of French history, previous knowledge of 17th-century French history and politics is recommended to follow along. Having written multiple books on French history in similar fashions, Freer's work is one that underwent much research to encompass the complexities of the time. It would be a wonderful primary source used in scholarly writing.

Born in Leicestershire, United Kingdom in 1822, Martha Walker Freer was an English woman who wrote of the various topics that created French history, especially the women who contributed significantly to French nation-building. Even after she wed Rev. John Robinson, Freer continued to write her many works under her maiden name. Overall, this is a highly recommended book for those interested in learning about an overlooked French queen from a spectrum of perspectives.

Continue reading...

[scotianostra]

On 9th April 1747 Simon Fraser, Lord Lovat, the leading Scottish Jacobite rebel was beheaded on Tower Green.

A longer post than normal from me as in my opinion Simon Fraser was one of the most interesting characters in Jacobite history. A man of contrary, he was known to be very kind to the lesser clansmen taking a paternal interest in their affairs. A quote regarding him says that….“Generally he had a bag of farthings for when he walked abroad the contents of which he distributed among any beggars whom he met. He would stop a man on the road; inquire how many children he had; offer him sound advice; and promise to redress his grievances if he had any”

In his own estimate, he took care his clansmen were ‘always well-clothed and well-armed, after the Highland fashion, and not to suffer them to wear low-country clothes’ Lovat was also a brute of a man forcing a young woman into marriage and raping her in an attempt to legitimise the union. Lovat has become more well know lately thanks to Outlander, where in their world he is grandfather to the main protagonist Jamie Fraser and played brilliantly by the fine Scottish actor Clive Russell. Back in the real world he has been in the news in the recent past, I shall cover that at the end of this post.

Born in 1667 into the ancient clan who fought with distinction in the Wars of Independence – Sir Simon Fraser was one of the co-victors of the Battle of Roslin and his sons were close friends of Robert the Bruce, Alexander marrying Bruce’s sister Mary – Simon was the second son of Thomas Fraser of Beaufort who was closely related to Lord Hugh Fraser of Lovat, chief of clan Fraser.

Simon became his father’s heir when his elder brother was killed fighting alongside Bonnie Dundee against the forces of King William III at the Battle of Killiecrankie in 1689. He was still nowhere near being clan chief, however, and took himself off to Aberdeen University from which he graduated in 1695. Lord Hugh Fraser, the 9th Lord Lovat, was a weak man who unexpectedly signed over the clan leadership to Simon’s father in 1696.

Lord John Murray, Earl of Tullibardine and the most powerful man in Scotland, disputed the succession and fell out spectacularly with Simon in Edinburgh. The young Fraser hothead duly went north to Castle Dounie to try and persuade Hugh’s widow Amelia to give him the hand of her daughter, also Amelia, in a dynastic marriage that would seal his succession. Tullibardine was having none of it and moved his niece to the Murray stronghold, Blair Castle, where he planned to marry her off to Alexander Fraser, heir to the Lordship of Saltoun.

Simon retaliated by kidnapping Alexander and frightening him away, and to make matters worse in October, 1697, he went back to Castle Dounie and forced the widow Amelia into a sham wedding, raping her to consummate the “marriage”.

Tullibardine ensured Simon and his father were declared outlaws and when old Thomas died in 1699, Simon was unable to legally claim his title as 11th Lord Lovat which later passed to one Alexander Mackenzie who had legally married the younger Amelia.

Simon Fraser somehow managed to persuade King William that he was no threat, despite having his own personal army, and he was pardoned in 1700, only to be declared an outlaw again the following year over the forced marriage and rape.

Simon went off to the court of the Stuarts in France where he devised the plans that were eventually used in the 1715 and 1745 uprisings. Long before the former, however, Simon was double dealing, giving Queen Anne information about the plans of James, the Old Pretender. He was found out and King Louis XIV clapped him in jail for three years.

Even after he was released he was prevented from travelling to Scotland and thus missed the Act of Union which he opposed.

Still desperate to get his Lovat title and the chieftainship of his clan back, Simon sided with the forces of the new King, George I, during the ’15, and was given back his title as a reward, with Alexander Mackenzie imprisoned for being a Jacobite. The two men would fight in the courts for the next 15 years as to who was entitled to the income of the estate. Simon eventually won and spent his time building up the Fraser estates and wealth, even taking command of one of the Independent Companies of Highland soldiers established by the Hanoverian regime – the Fraser Highlanders.

As I said early Fraser was a man of contrary and to me was very like “Bobbing John” The Earl of Mar another Jacobite who a tendency to shift back and forth from faction to faction, no sooner had Fraser built up this “Hanoverian” army that he started openly campaigning for the restoration of the Stuarts. The Government responded by cancelling his military role.

When Bonnie Prince Charles landed in Scotland he was still playing games.

He allowed his sons to fight for the Stuarts, but stayed at home himself “loudly lamenting the wilful disobedience of children,” as Sarah Fraser has put it. Lovat did meet Charles, however, and expressed his anger at the lack of “siller” which he knew would be necessary for a successful campaign. They met again after Culloden, at which Clan Fraser fought bravely and suffered many casualties, and Lovat advised the prince to get away and re-form his forces. Charles fled through the heather, as we know, and made it to France while anyone associated with the Bonnie Prince was hunted down. The Duke of Cumberland’s troops were not taking any more games from Fraser and burned Castle Dounie.

Lovat managed to make it to Loch Morar but was captured there while hiding in a hollow tree. Although approaching his 80th birthday, The Fox was taken south to London.

He pled not guilty but his trial was a formality and he must have know his fate would be the same as previous nobles, the Earls of Kilmarnock, Balmerino and Derwentwater who were executed for treason the previous year.

At his trial, ever the Fox he insisted strongly upon his affection for the reigning family. Such were the characteristics of Simon Fraser, but of course he was found guilty the sentence, hanging, drawing and quartering was commuted later to a mere beheading by the King.

In a way, Lovat had the last laugh. Newspapers and pamphlets of the time recorded that as he was led out to the scaffold on Thursday, April 9, 1947, a wooden stand that had been erected near the Tower to seat crowds eager to see the execution collapsed sending hundreds plunging down. At least nine people died and dozens were injured, which amused Lovat – the phrase ‘laughing your head off’ is said to date from that event.

According to a woodcut print made on that fateful day, Lovat “with some composure laid his head on the block which the executioner took off with a single blow.”

As I mentioned at the top Lovat has been in the news quite recently. Simon had requested burial at the family mausoleum at Wardlaw near Inverness and the government initially agreed but changed its mind thinking his body could become a rallying point for further trouble. He was therefore buried in the floor of the chapel within the Tower of London, St. Peter ad Vincula. The chapel was refurbished in the 19th century and the floor was relaid. One of the coffins uncovered during the works had the nameplate of ‘Lord Lovat’. The names of those found are now recorded on a plaque on the wall of the chapel.

Fraser folklore, and written in several books says that his body was spirited away from London, the stories even go so far as to name the boat ‘The Pledger’ that sailed north to The Beauly Firth, where he was taken to the family mausoleum, there is even a plaque in the crypt that reads “In this coffin are laid the remains of Simon Lord Fraser of Lovat who, after twenty years in His own Land and abroad with the greatest distinction and renown, at the risk of his own life, restored and preserved his race, clan and household from the tyranny of the Athol and the treacherous plotting of the Mackenzies of Tarbat. To preserve an ancient house is not the greatest credit. Nor is there any honour for the enemy who despoiled it. Although that enemy was strong in his plotting and unrelenting warfare, yet Simon who was also skillful and cunning defeated him in war.“

In 2018 the headless skeleton inside the coffin was exhumed to be examined by experts from the University of Dundee in January this year they announced that the bones in the coffin did not belong to Simon Fraser, but to a young woman. So it looks like his body did end up rotting in The Tower’s Chapel, although the Frasers will still tell you otherwise.

Scottish actor Clive Russell played The Old Fox in the television adaptation off Outlander.

[amphibious-thing]

Shoelaces

[Detail of the Meagre Company, oil on canvas, c. 1633-1637, by Frans Hals, via Wikimedia.]

While shoelaces had been fairly common in the 17th century by the beginning of the 18th century they had been surpassed in popularity by buckles.

[Detail of Declaration of Independence, oil on canvas, c. 1819, by John Trumbull, via Wikimedia.]

The most common style of men's shoe in the 18th century was black leather buckled shoes, typically with a small heel (see above). Even fashionable men often wore these simple black buckled shoes, though they may accessorise them with ornate buckles rather than plain ones. Even on men's high heels we see buckles replacing ribbons at the turn of the century.

[Left: Detail of Charles II of England, oil on canvas, c. 1670-1675, by Simon Pietersz Verelst, via Wikimedia.

Right: Detail of Louis XIV of France, oil on canvas, c. 1700-1701, by Hyacinthe Rigaud, via Wikimedia.]

During the first few decades of the 18th century shoe ties remained popular alongside buckles in women's footwear. However extant examples of buckled shoes outnumber those of laced shoes, though this may in part be due to shoes being converted to accommodate the fashionable buckle.

[Left: Shoes with ribbon ties, leather & brocaded silk, c. 1730s, via V&A (accession number: T.197&A-1927).

Middle: Buckled shoes, painted kid leather & silk, c. 1760s, via V&A, (accession number: 270&A-1891).

Right: Shoes with eyelets, leather & silk, c. 1700–1720, via The Met (accession number: 2009.300.1480a, b).]

In their description for the shoes on the right the Met writes:

Most aficionados of historic fashion are well acquainted with 18th century ladies' shoes in the classic buckled latchet style, as they survive in fairly good number. The predecessor of these - latchet ties shoes - are however fairly scarce in good unaltered condition. In order to extend their life as fashionable footwear, latchet tie shoes were frequently modified to accommodate a buckle.

By the 1780s shoe strings in menswear was so unpopular in mainstream Parisian fashion they were seen of being indicative of sodomy. In his article Commissioner Foucault, Inspector Noël, and the “Pederasts” of Paris, 1780-3 Jeffrey Merrick explains how Foucault and Noël used men's clothes to identify them as suspected sodomites. These men wore “some combination of frock coat, large tie, round hat, small chignon, and bows on the shoes.” Merrick speculates that these men were using fashion to signal to each other. Understandably when questioned by police men would deny such a purpose.

In England men who wore shoe strings were seen as effeminate. In their issue of 6-9th of December 1788 the St. James's Chronicle or the British Evening Post describes the "Jessamy or Petit-Maitre" (both terms for effeminate men) as follows:

The Jessamy or Petit-Maitre are so nearly allyed that the Rules that serve for one will do for the other-These He-She Beings should always take particular Care in the Decoration of their sweet Persons-Their Clothes should be cut to the very extreme of the Mode, their Hair dressed particularly nice, even if they sit two Hours under the Hairdresser's Hands, and while under the Operation, are to take out their Pocket Glass and give the Hair Dresser Instructions form Time to Time-When they walk the Streets of London, they are to make short Steps, as was formerly the Fashions of the fine Ladies, wear Shoe-Strings-paint their Faces, and be alarmed at every little Noise they hear in the Streets. In short it will be necessary to keep up their Reputation that they assume a Behaviour more feminine than masculine-and by all Means to imitate the Behaviour and Looks of the Females in the Days of their Great Grandmothers. Such Conduct will stamp their Characters in the Eyes of their Brethren.

[Sir John Coxe Hippisley, oil on canvas, c. 1779–80, by William Pars, via Art & the Country House.]

However by the late 1780s shoe strings were already starting to have a resurgence, in part due to their cost. With shoe strings being cheaper than buckles many men started to adopt them in spite of the associations with effeminacy. On the 21st September 1786 The Times reported:

The shoe-strings are now the fashion wit all the barbers boys, hair-dressers, and waiters, in London. The charity schools have also adopted them, as they are much cheaper than buckles. A man of sense, and a real man of fashion, has never yet dishonoured his instep with such a piece of mean folly.

And on the 12th of July 1787 The Times suggests that when a "tolerably well-dressed man wears them, the general conclusion is, that his buckles are in pawn." However in spite of the comparative cheapness of shoe strings the association with effeminacy persisted.

One intriguing instance of the cultural perception of shoe strings comes from a 1789 adaptation of the Tempest that opened on Drury Lane on Tuesday the 13th of October. The play included an epilogue written by General John Burgoyne. The epilogue fear-mongers the growth of effeminacy in England writing that "we may lack men, though over-run with males." Burgoyne depicts the middle class John Bull as an effeminate "He-Miss" Milliner:

Yet John sometimes his shape and sex degrades, And stoops to rob his sisters of their trades. Six feet in height, with sinews of an ox, Shoulders to carry coals, and fists to box,- Behold-O shame!-a thing of whip and hem- A He-Miss Millener-"Your orders, Me'm?- "Rouge, lipsalve, chicken gloves, perfumery, "Hair cushions, gauzes, bustles?-HE! he! he!"-

Burgoyne then shifts to men "of higher bearing";

Still Falstaff's men, all radish and cheese-paring!- Oh! could he sketch some figures that one sees- Tied up with strings at shoes and strings at knees! So thick the neck-cloth, and the neck so thin! He'd swear they bore a poultice for the chin:- And lest the cold the adjacent ears should harm, See half a foot of cape to keep 'em warm; While the stiff edge, for better purpose made, Rubs off the whiskers it was form'd to shade. With eyes of fire that vie with snuffs in sockets, And hands distress'd for want of waistcoat pockets: The crutch of levity directs their gait; And wanghee bends beneath their wangling weight.

On the 14th The World praises the epilogue as a "pleasant satyr upon modern modes" noting in particular;

the perversion of his good parts into effeminate pursuits-the Man-Milliner-the strings at shoes, and strings at knees-the stiff stand-up cape, "chasing the whisker it was meant to hide"-the waistcoat pockets-were all perfection, in what is the Epilogue's best praise, knowledge of effect, and strong accomplishment of it.

In contrast to Burgoyne's depiction of him as a "He-Miss Millener" John Bull, a personification of England (much like Uncle Sam is to the US), was typically depicted as a plainly dressed middle class Englishman. Some satires such as James Gillray's Politeness would compare the masculine English John Bull to the effeminate French archetype. Bull is depicted sitting with his legs open, wearing blue, red and buff with short un-powdered hair and wearing boots. The Frenchman is sitting with his legs closed, wearing pink and green (colours that were considered effeminate) with white powdered hair tied back with a ribbon and wig bag. However he is wearing bucked shoes.

[Politeness, hand-coloured etching, c. 1779, copy after James Gillray, via The Met.]

Another example of a typical depiction of John Bull can be seen in The Honest Pickpocket published by William Holland which comments on the clock tax enacted by the Pitt government. The cartoon depicts Prime Minister William Pitt taking a watch out of John Bulls pocket. Pitt is saying "Don't be alarmed, Johnny, I only want to see whether it is Gold or Silver - you know there is a great deal of difference between Half a Crown and Ten Shillings."

In this anti-Pitt satire, Bull is depicted again in blue, red and buff with un-powdered hair, however this time he is wearing buckled shoes. Pitt in contrast is depicted in green with powdered hair tied back with a ribbon and wig bag. His shoes are fastened with strings.

[The Honest Pickpocket, hand-coloured etching, c. 1797, published by William Holland, via The British Museum.]

However in An Enquiry Concerning the Clock Tax Pitt is depicted in blue and red with buckled shoes. The satire is playing on a pun, the clock tax was a tax of the time keeping devices but in the 18th century stockings sometimes had decorative embroidery known as clocks. In the print a delegate "from the worthy and respectable Society of Hosiers" asks Pitt "to know whether your Honor means to extend the Tax to Clocks upon Stockings." In contrast to Pitt the hosier wears not only stockings with clocks, but also shoes with strings as well as breeches with strings at the knees. Pitt is holding a quill labeled "Tax Pen", he is halfway through writing a list of taxes which includes "Shoe Strings", "Knee Strings" and "Hair Strings".

[An Enquiry Concerning the Clock Tax, hand-coloured etching, c. 1797, after George Moutard Woodward, published by S. W. Fores, via The British Museum.]

While this satire was clearly playing on the pun, it's not too far off what some were proposing. With the popularity of shoe strings increasing during the 80s the buckle makers were starting to get concerned for their livelihood and hoped a shoe string tax would combat the price difference. On the 22nd of November 1788 The Times reported:

The buckle makers it is said intend to petition for a tax on shoe strings by an eighteen penny stamp on each pair. This, although somewhat extraordinary, yet is in agitation, and might be easily effected.

With most of the buckle manufacturing coming out of Birmingham it was reportedly a risky move to wear shoe strings there. On the 28th August 1789 the Oracle reported:

At Birmingham, the man who dares appear with ribband-ties in his shoes, is certain not to pass current. He is instantly seized, his shoes taken off and cut to pieces; and no shoe maker can dare to sell him a new pair, unless he buys a pair of buckles first!

Much of the public was on the side of the buckle makers and against the shoe strings. On the 12th August 1789 the Oracle bemoans that "thousands of His Majesty's loyal subjects are now starving, from the introduction of the effeminate fashion of shoe-strings." On the 6th of November the Oracle reported that on "being asked by a Nobleman, why he had such an objection to Shoe Strings-His Royal Highness replied in these emphatic words-"

In the first place, I dislike them, for they look effeminate, are neither genteel or becoming; but give a certain air of meanness to the foot, which should be avoided. In the next place, I do not wear them, for it shall never be said of me, that any whim of mine has been instrumental in bringing the hard labouring Mechanic to Ruin!

A letter signed "Cheapside" published on the 5th January 1789 in The World was a bit more extreme suggesting that men who wore shoe strings "ought, in plain English, and with a good sufficient English cord, to be hanged". While Cheapside was concerned that the buckle makers were being "tied up from getting their bread" the true dislike of shoe strings and the men who wore them seem to be more due the their "intimations" that were "most disgraceful to manhood."

[thebeautyofdangerousassociation]

The Silhouettes of the 18th Century.

A Silhouette is the recognizable shape of fashion as it changes. Fashion in the 18th century reflected affluent society's view on style, personal taste, social position, and world outlook.  France was established as a fashion leader in the 17th century, and Paris became a world center for popular modes of dress throughout the 18th century. 

The iconic silhouette of the eighteenth century is that of the  conically corseted court dress, a simpler line of dress launched the era. The mantua, which dominated the beginning of the eighteenth century to the point that dressmakers were called mantua makers, was introduced in the late seventeenth century as a casual dress alternative to the heavily structured court dress required by Louis XIV. Before the mantua the dresses beforehand took more of a robe format however once the mantua became more formal, the bodice took more of an important role over the dress, the display of the stomacher, an inverted triangle of richly embroidered fabric. The placement of the stomacher allowed for an increasingly full skirts of which created a narrow-waisted silhouette for the mantua, which became increasingly extreme over the course of the eighteenth century. The triangle of the bodice was created by conically shaped stays that pressured the waistline to a small circumference while driving the bosom upward to bob about as a barely contained base for the spherical head. The rectangle at the base of this structure was created by panniers which were constructed with hoops, at first to support a bell-shaped skirt, but later drawn in with tapes at front and back into a flattened ovoid form. 

By the 1770s, the silhouette of the skirts shifted away from the squared-off panniers. In the 1770s the polonaise gown was also developed, the waist remained small and pointed into a very full skirt. The fullness of this gown was created through the voluminous drapery fabric, most often via rings sewn on the underside of the skirt that were drawn up with cording to create puffs at the back and side of the dress. The puffs of fabric rested on full petticoats to create the still expansive base of the silhouette; its real shift was one of weight, giving as it did an overall lighter impression of the body within.

In the 1780’s the chemise became popular, this was a lightweight gown made from fine fabric gathered in at the natural waist by a sash. However, this gown still emphasised the waist. Furthermore, by the end of the eighteenth century, a different silhouette was beginning to emerge, intended in imitation of classic Greek and Roman dresses. The dresses took a turn from hard geometric carapace into a soft, thin chemise of cotton or linen that grazed the natural female form and almost fully revealed the breasts.

Rococo emerged in France in the 1720s and remained the predominant design style until it fell out of fashion in the 1770s. Excessively flamboyant and characterised by a curved asymmetric ornamentation and a use of natural motifs, Rococo was a style without rules. A smart and refined court culture called Rococo flourished in France after Louis XV came to the throne in 1715. Along with Rococo the leader in woman's fashion became more of a solidified statutes as international trendsetter. The essential spirit of Rococo era women’s clothing is expressed in its elegance, refinement, and decoration.

This is a typical Rococo period women's dress, "robe à la française". The ensemble shown here consists of a gown, the petticoat much like what we would call a skirt today, and a stomacher made in a triangular panel shape. The gown opens in the front, and has large pleats folded up at the back. All this would be worn after formed with a corset and pannier, which acted as underclothes. Until clothing accepted drastic changes with the 1789 French Revolution, rich outfits, such as is shown here, were worn.

The fan-shaped trims on the gown on the left.

Rococo S-Shaped.

[pilferingapples]

I have an old French money question. Have you come across the expression "would cut a liard in four" (tu couperas des liards en quatres)? My guess is it's an old-fashioned way (circa 1840) to say cheapskate or penny-pincher, since liards are from the time of Louis XIV to late 1700s.

Oh that's an interesting phrase! it's not ringing a bell for me right now, though your interpretation sounds right --maybe someone else who reads more untranslated French than I do knows it?

[modorama]

fashion |  DES CHEVEUX ET DES POILS at MAD Paris

   Following the success of the exhibitions La mécanique des dessous (2013), Tenue correcte exigée ! (2017) and Marche et démarche (2019), the Musée des Arts Décoratifs continues its exploration of the relationship between the body and fashion with an exhibition on hair styles and body hair grooming. Des cheveux et des poils (Hair & Hairs) exhibition, which runs from April 5 to September 17, 2023, demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries. Hair is an essential aspect of one’s identity and has often been used as a means of expressing our adherence to a fashion, a conviction, or a protest while invoking much deeper meanings such as femininity, virility, and negligence, to name just a few.

The exhibition explores through 600 works, from the 15th century to nowadays, the themes inherent in the history of hairstyles, but also the questions related to facial and bodily hair. The trades and skills of yesterday and today are highlighted with their iconic figures: Léonard Autier (favorite hairdresser of Marie- Antoinette), Monsieur Antoine, the Carita sisters, Alexandre de Paris, and more recently studio hairdressers. Great names in contemporary fashion such as Alexander McQueen, Martin Margiela, or Josephus Thimister are present with their spectacular creations made from this unique material that is hair.

The exhibition is presented in the Christine & Stephen A. Schwarzman’s fashion galleries of the Musée des Arts Décoratifs. The scenography will be created by David Lebreton of the Designers Unit agency.

In an atmosphere where shades of blond, brown and red evoke the main hair colors, the course, divided into five themes, questions what makes hair, in Greek- Roman and Judeo-Christian cultures, an attribute of the animal and wildness and explains why hair had to be constantly tamed to remove the woman or man from the beast.

FASHION AND EXTRAVAGANCE

The first part of the exhibition opens with the study of the evolution of feminine hairstyles, a real social indicator and marker of identity. In the Middle Ages, obeying the command of Saint Paul, the wearing of the veil imposes itself on women until the 15th century. Gradually, they abandon it in favor of extravagant hairstyles that are constantly renewed. In the 17th century, the hairstyle “to the Hurluberlu” (dear to Madame de Sévigné) and “to the Fontange” (after the name of Louis XIV’s mistress) are emblematic of real fashion phenomena.

Around 1770, the high hairstyles known as Poufs are undoubtedly the most extraordinary of Western hair modes. Finally, in the 19th century, women’s hairstyles − whether inspired by ancient Greece, or known as “the giraffe,” in curls or “the Pompadour” − are just as convoluted.

TO BEARD OR NOT TO BEARD

After the hairless faces of the Middle Ages, a turning point occurred around 1520 with the appearance of the beard, symbol of courage and strength. In the early 16th century, the three great Western monarchs: Francis I, Henry VIII, and Charles V were young and wore beards, which were then associated with the virile and warrior spirit. From the 1630s until the end of the 18th century, the hairless face and the wig were the hallmarks of courtiers. Facial hair did not reappear until the early 19th century with the mustache, sideburns, and beard: this century was by far the hairiest in the history of men’s fashion. A multitude of small objects used (mustache wax, brushes, curling irons, wax, etc.) testify to this enthusiasm for mustaches and beards.

During the 20th century, the rhythm of bearded, mustached, and smooth faces continued, until the return of the beard among Hipsters in the late 1990s. The maintenance of hairiness among these young urbanites has given rise to the profession of barber, which had disappeared since the 1950s. Today, the thick beards tend to give way to the mustache that had deserted faces since the 1970s.

The choice of keeping, eliminating, hiding, or displaying hair on other parts of the body is also a subject of history that the exhibition addresses through the representation of nude bodies in visual arts and written testimonials. Hairiness is rare, or even absent from ancient painting. The hairless body is synonymous with the antique and idealized body, while the hairy body is associated with virility, or even triviality. Only enthusiasts of virile sports such as boxing and rugby, as well as erotic illustrations or medical engravings, show individuals covered in hair.

Around 1910-1920, when women’s bodies were exposed, advertisements in magazines touted the benefits of hair removal creams and more efficient razors to eliminate them.

In 1972, actor Burt Reynolds posed naked, hairy body for Cosmopolitan magazine, but fifty years later, an abundance of hair is no longer in fashion. Since 2001, sportsmen being photographed naked for calendars like Les dieux du stade (The Gods of the Stadium) have had rigorously controlled hairiness.

BETWEEN TRUE AND FALSE

Hair styling is an intimate act. Moreover, a well-born lady could not show herself in public with her hair down. A painting by Franz-Xaver Winterhalter, dated 1864, depicting Empress Sissi in a robe and with her hair untied, was strictly reserved for Franz Joseph’s private cabinet. Louis XIV, who became bald at a very young age, adopted the so-called “bright hair” wig, which he then imposed on the court.

In the 20th century, Andy Warhol had the same misfortune: the wig he wore to hide his baldness became an icon of the artist. Nowadays, hairpieces and wigs are used in high fashion, during fashion shows or, of course, to compensate for hair loss.

The natural hair colors and their symbolism are studied along with what they convey. Blonde is said to be the color of women and childhood. Red hair is attributed to sultry women, witches and some famous stage women. As for black hair, it would betray the temperament of brown and brunettes. From the experimental colorations of the 19th century to the more certain dyes from the 1920s: artificial colors are not forgotten. The work of the hairdresser Alexis Ferrer who makes digital prints on real hair is also presented.

TRADES AND SKILLS

The exhibition reveals the different hair professions: barbers, barber-surgeons, hair stylists, wigmakers, ladies’ hairdressers, etc., through archival documents and a host of small objects: signs, tools, various products, and the astonishing perming machines and dryers of the 1920s.

In 1945, the creation of haute coiffure elevated the profession to the rank of an artistic discipline and a French savoir-faire. 20th century hairdressing is marked by Guillaume, Antoine, Rosy and Maria Carita, Alexandre de Paris styling princesses and celebrities. Nowadays, great hairstyling is mainly expressed during the fashion shows of prestigious fashion houses. Sam McKnight, Nicolas Jurnjack and Charlie Le Mindu were invited to the exhibition to create extraordinary hairstyles for top models and show business personalities.

A HAIRY CENTURY

Finally, a special focus will allow us to evoke the iconic hairstyles of the 20th and 21st centuries: the 1900 chignon, the 1920s garçonne haircut, the 1930s permed and notched hair, the 1960s pixie and sauerkraut, the 1970s long hair, the 1980s voluminous hairstyles, the 1990s gradations and blond streaks, not to mention afro-textured hair.

The arrangement of hair in a particular form can reveal the belonging to a group and manifest a political and cultural expression in opposition to society and the established order. More ideological than aesthetic, the Iroquois crest of the punks, the neglected hair of the grunges or the shaved heads of the skinheads are strong moments of hair creativities.

Wearing the hair of another, known or unknown, has an eerie dimension, and this superstition seems well-entrenched. Despite these apprehensions, some creators choose to transcend this familiar material into fashion objects. This is the case of contemporary designers such as Martin Margiela, Josephus Thimister and Jeanne Vicerial. The question of identity, treated lightly or more deeply, is often at the heart of the reasoning, whether the hair is real or fake.

The Musée des Arts Décoratifs has benefited from exceptional loans from the Château de Versailles, the Musée des Beaux-Arts d’Orléans, the Musée du Louvre and the Musée d’Orsay. till 17 sept. 2023 madparis.fr Andrei S.

[gogmstuff]

Late Louis XIV - Fripon curls and cleft coiffures (from top to bottom) -

1690s (late) Female portrait by Nicolas de Largillière (State Pushkin Museum of Art - Moskva, Russian Federation). From pinterest.com/pocketmuseum/1600-1699-women-in-works-of-art/1690s/ 1875X2420.

ca. 1700 Une élégante dame by Nicolas de Largillière (location ?). From tumblr.com/sims4rococo76.

1700s Lady with a dog and a monkey by Nicolas de Largillière (Muzeum Narodowe w Warszawie - Warsawa, Poland). From Wikimedia 1782X2353.

[duxiaomin-blog]

The Status of French-Chinoiserie

French-Chinoiserie, as a fusion of Eastern and Western cultures, has become a cultural bridge connecting two worlds. It not only facilitates profound cultural exchanges between France and China but also serves as an example for the integration of diverse civilizations worldwide. The collision of two distinctly different cultures engages in a dialogue across time and space. The romance of France and the ancient history of China, in this unique amalgamation, create a new aesthetic that is both ancient and trendy. The rise of French-Chinoiserie is not just a fashion trend but a resonance of civilizations, a profound manifestation of the interchange between Eastern and Western cultures. In this cultural feast, people witness not only the birth of art but also perceive the profound connotations of cultural heritage.

The dialogue between culture and art began in the late Baroque period, primarily among the court nobility. Whether it was Louis XIV appearing in Chinese attire on the 'Eight-Lift Sedan' at the New Year's feast in the Palace of Versailles in 1700, the construction of the Trianon de Porcelain in France, or the creation of the Porcelain Cabinet in Schloss Charlottenburg, Berlin, completed in the late 17th century, all these instances substantiate the introduction of Chinese influence into European court culture by the late 17th century. Particularly, they underscore the unique charm of the Chinese blue-and-white porcelain among various exotic imports from China.

What truly propelled the French Chinoiserie into the pinnacle of artistic trends was the mid-18th century in France and throughout Europe. During this period, the prevalence of the Chinese aesthetic indirectly gave rise to the Rococo style. As people sought an escape from the solemn, symmetrical, and overwhelming nature of the Baroque style, artists found immense inspiration in the asymmetrical layouts, luxuriousness, vibrant colors, and decorative motifs of Chinese influence. The convergence of cultural and artistic desires resulted in the emergence of Rococo, characterized by asymmetry, soft pastel colors, delicate ornamentation, flowing curves, and pervasive opulence. The renewed fusion with Chinese elements brought forth a series of uniquely innovative and artistically valuable works.

Jean-Baptiste Pater's "The Chinese Hunt"

The French Chinoiserie, derived from this fusion, remains a top-down influence, often initiated by court artists. In the realm of painting, for instance, Louis XV possessed a piece titled 'The Chinese Hunt,' centered around a Chinese hunting scene. Executed by the court painter Jean-Baptiste Pater, a protégé of the pioneer of French Chinoiserie, Antoine Watteau, the painting epitomizes the Rococo style. Adorned with a gilded frame, it embellished the rooms of Versailles. The composition features lush and delicate figures, with a clear blue sky at the top, distant pagoda-like structures, and vividly contrasting foreground. Notably, a figure resembling a Chinese emperor on the right, carrying a bow and arrow and dressed in luxurious attire, adds a subtle sheen to the scene. Employing Western-style shading, the essence lies in using Chinese exoticism to express the opulent lifestyle of the French court. While the trees and architecture echo Watteau's work, the color palette differs from Boucher's lighter and softer tones. Despite this, the painting's full-bodied composition, vivid depictions of figures and animals, and impeccable interplay of light and shadow render it artistically valuable.

ChuCui Palace Dancing in Clouds Necklace

In the 19th and 20th centuries, although Chinoiserie experienced a decline, classic works continued to emerge. An example is the high-end jewelry brand ChuCui Palace, formerly an Italian jewelry dynasty. Similar to the Western chiaroscuro in Jean-Baptiste Pater's work, ChuCui Palace employs Western jewelry techniques but essentially interprets and enriches three-dimensional aspects of Chinese paintings. Their work, the 'Dancing in Clouds' necklace, employs a classic Chinese asymmetric composition, featuring the symbol and totem of the crane, a traditional Chinese cultural motif. The necklace captures the essence of the crane delicately rearranging its feathers. The crane's neck is abstracted into long lines, with a pointed beak complementing its lush tail feathers, creating a tension between simplicity and complexity, abstraction, and representation. Following the tradition of ink painting, the piece uses Chinese ink colors, highlighting its elegant and pure essence. Depicted through gemstones, the artwork embodies the traditional Chinese expressive technique of capturing the spirit of the object. It expresses the refined elegance of the crane, as revered in Chinese literati art, and echoes the free-flowing ink strokes seen in traditional Chinese ink paintings.

The "Chinese Tea House" (Chinesisches Haus) in Sanssouci Park, Germany

The "Chinese Tea House" (Chinesisches Haus) in Sanssouci Park, built by Frederick the Great from 1755 to 1764, is located approximately 700 meters southwest of the Sanssouci Summer Palace. The pavilion, designed by architect Johann Gottfried Büring, served as an ornamental addition to Frederick's garden. During the peak of Chinoiserie influence across Europe, the architect incorporated the popular Chinese style, blending decorative Rococo elements with Chinese architectural features.

The most distinctive feature of the building's exterior is the gilded sandstone sculptures depicting various Chinese figures (with European facial features). The columns of the pavilion still feature Rococo-style patterned decorations, while golden bells resembling Chinese pagoda ornaments hang from the eaves. At the pinnacle of the tea house sits a Chinese figure wearing a hat and holding an umbrella, a popular motif in the Chinoiserie of the time, also evident in high-altitude Chinese figure murals inside. Dragon imagery appears above the lintels of windows and on golden chandeliers hanging inside. Inspired by Christophe Huet's famous Chinese-style monkey room (La Grande Singerie) in the Château de Chantilly in France, various monkey sculptures and murals adorn the "Chinese Tea House." The palace's color palette is soft and elegant, decorated with gold-scrolling Rococo reliefs, embodying both the luxury, dynamism, and lightness of Rococo style, as well as the exotic charm of Chinese-themed figures. Cleverly, the high murals feature railings, allowing various Chinese figures to gaze downward. One can imagine that during a royal banquet, the Chinese figures in the paintings and the European nobility in reality exchange glances, creating an amusing and truly artistic and cultural fusion in the pinnacle banquet of Chinoiserie.

Just as in modern society, the profound and extensive influence of Western civilization on Eastern civilization and art is reflected in the enchanting world of Chinoiserie. In the realm of French Chinoiserie, the lasting and widespread artistic trend from top to bottom has seen the aesthetic influence of both East and West in Europe. From the artist's brush strokes and the exquisite craftsmanship of jewelry to the distinctive charm of royal palaces, the prevalence of Chinoiserie represents not only a collision of cultures but also a grand feast of East-West cultural integration. It allows people to feel the profound heritage of civilization in the ocean of art. French Chinoiserie, like a bridge between cultures and art, tightly connects the Far East with France and Europe. In this journey of circulating civilizations, people witness the mutual blending of the mysterious charm of the East and the romantic sentiments of the West, creating a splendid moment in the unique trend of French Chinoiserie. This distinctive fashion trend is not just a retrospective of history but also a legacy of civilization, leaving an eternal mark on human artistic creation.

[kroashent]

Kroashent Character Spotlight: Anjela du Berry

For August/September, I'm taking on a little side project, cleaning up and finishing some of the placeholder characters on the Kroashent WorldAnvil. Oftentimes, inspiration strikes suddenly, leaving me with a lot of unfinished concepts that don't quite fit cleanly into the mix. I'll be returning to answering Q+As soon (questions are always open and welcome) and writing the next chapters of the book. In the meantime, working on a lot of commission work, so this is something of a side project when the tablet is charging.

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Val's Notes: Anjela du Berry, the self-proclaimed "leader" of the Dragons of Dreger, began as a guest character, an informal "trade" between my world of Alvez and the world of Nova, the setting of the artist Ivanks. Adapting Angela Goldenstar from her original world to Alvez proved to be a fun challenge, and of the "Dragons of Dreger" Anjela du Berry is probably my favourite to draw and write.

Anjela is the quintessential noble. Well spoken and well educated, but a little snobbish, eccentric and kind of a brat. She's brave and loyal, but used to the finer things in life and getting her way. She is from a powerful family, the niece of the King of Gallia, Phillipe le Fortune, and the second cousin of Enora de Chinon.

I wanted to make sure that she, and all "Alvez-ized" characters are not just palette-swaps, but their own characters entirely. I tried to maintain Angela's teal and blue palatte, but added her navy blue coat for more prominence, and give her the air of an ancien regime fencer and bon vivant. Like her cousin, Anjela sort of threw a wrench in my inspirations, speeding along my shift from a High/Late Middle Ages High Fantasy (1341-1365 CE) towards a more eclectic and anachronistic Clockpunk setting, drawing from wider range of inspirations to give Alvez its own unique feel, drawing aesthetics from the Musketeers of Louis XIV, the Napoleonic Wars, the Belle Epoque and 19th Century Breton fashion. Anjela specifically was meant to evoke the first of these, with a distinctly "musketeer" vibe.

I am very happy with the direction the aesthetics of Alvez have taken, and sometimes inspiration can strike from unlikely places. Also, if you like in depth well-crafted worlds and fleshed out characters, be sure to check out Ivanks' "World of Nova" series: https://www.deviantart.com/ivanksmw

[shalomanna]

The Story of Christian Louboutin’s Red Sole

DATE: 07/15/2022

What if I told you that the story of Christian Louboutin’s red sole started with…nail polish? With simple beginnings in 1991, Louboutin was about to launch a trademark look for the fashion industry, and it came from simple inspiration—and a little luck. Here’s the story behind Louboutin’s red sole, plus a few more reasons to love his heels as much as I do! 

What inspired the red heel?

Tell the truth: when you catch a flash of Christian Louboutin’s trademark red sole while, say, out for a walk, what images pop into your head? Luxury? Royalty? Riches? Well it makes sense, since red heels have quite the royal history, dating back to French monarchy and in particular, King Louis XIV.

As the story goes, Louis’ younger brother Philippe d’Orléans – who for some reason was raised as a girl – was out walking the streets of Paris when his heels became stained with a red color. Attracted as he was to the look, he went home and is said to have painted all his heels red, only for his older brother to adopt the style himself.

Soon, the red heel would gain a permanent place in history thanks to Louis’ own narcissism, which saw him pass an edict that meant only nobility could wear heels, and only allowed those in his favor to wear red heels at that—apparently, the higher the heel, the more favored the wearer.

In fact, according to Philip Mansel – a historian with knowledge on the subject – the color red “demonstrate[d] that the nobles did not dirty their shoes”, and impressed upon the lower classes the idea that noble-persons “were always ready to crush the enemies of the State at their feet.” 

Not that it lasted—soon the style fell out of fashion with the French Revolution and Marie Antoinette’s beheading, where she has been recorded as wearing a pair 2-inch heels to the guillotine. 

While red heels had become unpopular for some time afterward – so much so that the phrase “red-heeled” was for a while considered derogatory in the UK – we know now that this ‘royal’ and dramatic history has nothing to do with how Christian Louboutin came to build his brand identity around the eye-popping red sole we know today!

Red Soles and Nail Polish

In 1993, after being in business for two years, it is said that Christian Louboutin released his latest collection of shoes a few weeks late. The idea had been to create a shoe inspired by close acquaintance (and party buddy) Andy Warhol’s painting, Flowers—and yet when the prototype arrived from Italy, there was something missing. 

Certainly, the pink-stacked heel and large cloth blossom looked like the design Louboutin had drawn, and yet according to the designer, “the drawing was still stronger and I could not understand why.” 

Enter, the red sole of fate! Looking around for inspiration, the blank, black sole of the shoe staring at him in the face, Louboutin noticed an assistant in his office painting her fingernails red. Without asking – so we can assume – Louboutin grabbed the bottle of red varnish, polished the sole of one of the shoes and thought: “This is the drawing!” 

So were Louboutin’s red soles born! 

When, in the years since, Christian has been asked about the importance of the red sole, he has been quoted as saying, “The shiny red color of the soles has no function other than to identify to the public that they are mine. I selected the color because it is engaging, flirtatious, memorable, and the color of passion.” 

Louboutin is certainly known to be passionate about his red soles, which he registered in 1997 with the U.S. Patent and Trademark Office—a move that would later come in handy in a court case against Yves St. Laurent when the design house delivered a collection featuring their own version of Louboutin’s red soles. 

Thanks to the existing popularity of the heel, and because of the drama which ensued when YSL was accused of copying Louboutin’s signature, today Louboutin’s red soles are as iconic to his brand as Chanel’s interlocking C’s—and only come in one shade: Pantone 18-1663 TPX.

[corallapis]

Henry ‘Chips’ Channon: The Diaries (Vol. 1), 1918-38, entry for 7th July 1923

— 

Saturday 7th July  Gerry [Wellesley] motored me to Polesden Lacey ... Mrs Ronnie Greville's,¹ where I am for the weekend. A fashionable party here, but not at all my stunt .... Mrs Greville is a perfect hostess. She even plays golf despite her massive form, with the professional. The house is too luxurious and constipated ... it cannot digest so much rich furniture, rare tapestries, buhl² and objets de vertu ...³ and food that must make Lucullus⁴ jealous in Paradise. The Yorks honeymooned here ... what strange spell does Mrs Greville cast on royalties? I suspect it is her large fortune to which there is no heir ... or her colossal jewels???⁵

— 1. Margaret 'Maggie' Helen Anderson (1863-1942), daughter of William McEwan, Scottish brewing magnate. She married in 1891 Ronald Henry Fulke Greville (1864-1908), who became a Conservative MP; a close friend of Queen Mary, she was one of London's leading hostesses before and after the Great War, with weekend parties at Polesden Lacey, near Dorking in Surrey. Although always referred to as Mrs Ronnie Greville, she had become Dame Maragaret Greville in 1922.

2. Richly ornate French furniture of the late seventeenth and early eighteenth centuries designed by André Charles Boulle (1642-1732), the leading cabinet maker specialising in marquetry, one of whose main patrons was Louis XIV.

3. An antique object of especially fine workmanship.

4. Lucius Licinius Lucullus (118-57 BC) was a Roman politician and gastronome.

5. The jewels, including some allegedly owned by Marie Antoinette, were left in 1942 to Queen Elizabeth, the Queen Consort.