#rose bertin

[amphibious-thing]

Geneviève d’Eon & Marie-Jeanne Bertin: Clothing and Gender in 18th Century France

"After being fully dressed by famous designer Rose Bertin for the first time, they ran to their room and cried for hours." ~ Kaz Rowe, The Chevalier d'Eon: the Trans 18th Century Spy

Kaz Rowe throws this story out there in their video on d'Eon as a part of their justification in using they/them pronouns for d'Eon who used she/her pronouns. Rowe never really explains the context for this story. It sounds dramatic on the surface, d'Eon spent hours crying over being forced into women's clothes. But did this really happen?

This story comes from d'Eon's own autobiographical writings that she never finished. Segments of her drafts were translated and published by Roland A. Champagne, Nina Ekstein, and Gary Kates in The Maiden of Tonnerre. The title comes from d'Eon who styled herself la pucelle de Tonnerre after Joan of Arc who was known as la pucelle d'Orléans.

Some things to consider before we start:

D'Eon's autobiographical writings operate under the pretence that she was afab and raised as a boy for inherence reasons. We have to remember that these writings are heavily fictionalised, a necessity in upholding the lie that allowed d'Eon to live as a woman. However that doesn't mean that there is no historical value in these writings. Instead of simply taking these stories as fact we must consider: Why is d'Eon presenting this story in this way? How does this story serve the narrative d'Eon is constructing for herself?

D'Eon in this story claims she had never worn women's clothing before. This is contradicted by d'Eon's own claim of infiltrating the court of Empress Elizabeth of Russia as a woman. While its hard to pinpoint the exact moment d'Eon first wore women's clothes I personally suspect it was much earlier than this.

D'Eon also includes a scene where she is bathed by Bertin's assistants. This scene is almost certainly fictional as if it happened in reality this would reveal that d'Eon had a penis, a fact she wanted to keep secret. This scene is almost certainly included to add to the 'evidence' that d'Eon was afab.

Considering these points we must consider that this story did not take place literally as d'Eon depicts it. Instead of taking this story as an accurate recollection of events I consider it a fictionalised story (based on true events). The goal in my analysis is to ask what is d'Eon trying to communicate though this story.

Some background information to add context:

D'Eon had prior to this incident signed a transaction with Louis XVI in which she was legally acknowledged as a woman and ordered by Louis XVI to wear woman's clothes. D'Eon agreed to "declaring publicly my sex, to my condition being established beyond a doubt, to resume and wear female attire until death," but then adds "unless, taking into consideration my being so long accustomed to appear in uniform, his Majesty will consent, on sufferance only, to my resuming male attire should it become impossible for me to endure the embarrassment of adopting the other". (see D'Eon de Beaumont, his life and times by Alfred Rieu, p174-182 for an English translation of the transaction)

We also must consider that d'Eon did not dispute the fact that she was a woman when signing the transaction, nor does she dispute this in her autobiographical writings. D'Eon was very much arguing that she, as a woman, should be allowed to continue to wear men's clothing (specifically her dragoon uniform) as that is what she was used to wearing and comfortable wearing.

Also mentioned in the following excerpt is the English trial over d'Eon's sex in which it was found that d'Eon was a woman. I'm not going to get too into the topic here as it's a whole other can of worms. However I think it's important to understand that while d'Eon had issues with aspects of the trial she would use the ruling to support her claim that she was afab.

The Maiden of Tonnerre: Chapter VII

Selections from the great interview between Mademoiselle Bertin and Mademoiselle d'Eon in Paris on October 21, 1777 Mademoiselle Bertin. I have come vary early in the morning to spare you trouble and embarrassment. But what else can I do? You must either go through this or through the gates of a convent. Mademoiselle d'Eon. It is easy to do otherwise. Just leave me as I am. I have lived for forty-eight years this way. I cannot live all that much longer. I am impatiently awaiting the great change that will transform us all making all of us eternally equal. Mademoiselle Bertin. The Court in its patience will never have the endurance to wait that long. Remember that it was a deliberate error on the part of your father, your mother, and yourself that resulted in Mademoiselle d'Eon's wearing men's clothing and a military uniform. But since that time things have changed considerably, and today by order of King and the law, the bad boy must become a good girl.

It's interesting that here d'Eon has Bertin distinguish between "men's clothing" and "military uniform". As women were not allowed in the French military at this time all French military uniforms were as such men's clothing. But d'Eon did not simply want to wear men's clothing she wanted to wear her military uniform.

Mademoiselle d'Eon. If I was a boy by mistake, one could inadvertently allow me to continue to be one. While you are correct about the substance of the matter, I am not wrong about the form. Mademoiselle Bertin. That is not possible now. Your trial created too much of a stir. Mademoiselle d'Eon. I am a reliable bugler in my squadron. I am not frightened by noise. The Court's behaviour, by its very decency, has wound up being indecent. I would have thought that the King would have been willing to allow me to wear the uniform of a former dragoon captain, Knight of Saint Louis, and plenipotentiary minister, since he was kind enough to allow me to wear the cross of the royal and military order of Saint Louis on my dress. Do you see how everything at court is so arbitrary? There one could say every day: Contraria contrariis opponuntur [A contrary opposes other contraries].

Again we see the focus is that d'Eon wanted to wear her dragoon uniform. She likens this directly to her cross of Saint Louis which Louis XVI did permit her to wear on her women's clothes. As the cross of Saint Louis was only awarded to men it is arguably also menswear. D'Eon is pointing out the arbitrary nature of this distinction. Why is she permitted to wear an idem of menswear, the cross of Saint Louis, but not another, her dragoon uniform. To d'Eon these both represent her achievements rather than manhood, she is arguing that she, a woman, should be allowed to wear them.

Mademoiselle Bertin. I concede that every day we see in the streets of Paris a tall young woman in the uniform of a dragoon publicly giving lessons on the use if arms. But remember that this girl was a mere dragoon and that she had no other way to earn a living. To do so, she had written permission to dress as a dragoon form the lieutenant general of the Paris police. But the Court would never grant such permission for a young woman from a good family who had been in France and in foreign courts as Mademoiselle d'Eon has been. Mademoiselle d'Eon. In a well-regulated country, the law must not allow preferential treatment to anyone. Mademoiselle Bertin. You can go to Versailles to argue with the Chancellor of France, your former schoolmate. But with Mademoiselle Bertin, it can serve no purpose to argue. Do not take this matter so far as to have a falling out with the King's ministers or the royal Treasury. Remember, Mademoiselle, that in France a maiden who obeys the law and the King must wear her dress and petticoat, whether to remain in this world or to spend her time in the convent. Mademoiselle d'Eon. Your advice is wise and prudent. I would rather follow you into the royal Treasury than into a convent. Mademoiselle Bertin. My honorable captain, don't think that you are dishonored by having been found to be a woman. The discomfiture is temporary, and the glory will be with you forever. But let us not wast uselessly the precious time needed to begin and end your outfitting before the return of Major Varville. Mademoiselle d'Eon. I see that Mademoiselle Bertin is correct about all that she says and does and that a lady-in-waiting to the Queen is thus wiser in her comportment and in her begetting than all the children of the Enlightenment and all the captains of the army. Without delaying further and having followed the instructions of Mademoiselle Bertin, the Dragoon was, in a short period of time, divested of his serpent's skin and transformed into an angel of light. Her head became as lustrous as the sun. Her whole outlook on things changed as much as did her face. No trace of the dragoon remained in her. Mademoiselle Bertin thought she was consoling me by saying: "The Queen doesn't despise bravery in a well-born maiden. But out of duty she prefers to find in her decency, honor, and virtue. If Louis XV armed you as a Knight of French soldiers, Louis XVI arms you as a chevalière of French women. And the Queen crowns your wisdom by commanding me to bring to you this new armor, which must accompany your coiffure and your demeanor so that you may become the leading general of all the honorable women of France. The time has come for us to be edified and not scandalized by Mademoiselle d'Eon's conduct. Why don't you offer up your uniform as a sacrifice at Notre Dame de Paris or in your holy anger throw it out the window in order to stand witness before the people of Israel, the Parisians, the Scribes, and the Pharisees that you are now following the letter of the law that Moses gave us in his commandments." While Mademoiselle Bertin had me get into the bath to be washed, soaped and scrubbed down by her companions, I told her: "Proceed as quickly as possible; do not waste time with the preparations so that I too may keep part of my own dignity as it is joined with yours and that of your seamstresses. Virtuous Bertin, honest messenger form the chamber of the Queen, I fully realize that the hour is at hand for me to follow the directive of the law and the King. As a victim, I am offered up in sacrifice since you do me harm in order to do me good. All women are going to point at me, and all the maidens are going to thumb their noses at me when they see me dressed in style and done up like a doll or at the very least like a Vestal Virgin who is led to the marriage altar."

We see in this excerpt Bertin acts as an authority ushering d'Eon into womanhood, the transformation is painful but ultimately positive for d'Eon; "you do me harm in order to do me good". But there is this real fear of being mocked by other women. At least part of d'Eon's trepidation to don women's clothes comes form the fear of humiliation. We see this fear also reflected in the transaction when she begs King Louis to "consent, on sufferance only, to my resuming male attire should it become impossible for me to endure the embarrassment of adopting the other".

Mademoiselle Bertin. Put aside your concerns about what other will say. Must what the mad say prevent us from being wise? Mademoiselle d'Eon. Alas, at court everything is beautiful. To please the court, does a former captain have to become a pretty boy [demoiseau]? Mademoiselle Bertin. Yes, absolutely, when the so-called "boy" is discovered to be in fact a girl by the systems of justice both in England and in France. Mademoiselle d'Eon. Speaking of justice, is Mademoiselle Bertin, the Queen's servant, also the enforcer of justice? Mademoiselle Bertin was stung. "Don't be angry," I told her, "I simply wanted you to acknowledge, for you are just in all matters, that I cannot fit into the dress you brought me." Mademoiselle Bertin remained disconcerted for a moment. But she soon regained her composure and said to me: "If you are a patient girl, the dress that I made for you in the name of Justice will soon be taken out to fit you. And I predict for you that the certainty of happiness will come form the alleged abyss of your unhappiness." Then, looking pleased with herself, she said to me: "I am glad about having stripped you of your armor and your dragoon skin in order to arm you from head to toe with your dress and finery. In you I have found the power to possess the benefit of simple tonsure without a papal dispensation. Give thanks to God. You can assuredly double your chances of attaining eternal life, for which all of us search amidst this life's sorrows, troubles and suffering. Tomorrow you will suffer less, and the following day you will not suffer at all. In a little while, you will enjoy the relaxation and the joy that are the natural prerogatives of a Catholic girl who loyally follows the breviary of Rome and Paris, which was annotated, revised, and made available to the Daughters of Holy Mary and the Queen's women. You are not yet canonized, but soon you will be beatified when your upcoming marriage is canonically approved. Better this for you than a cannon shot."

D'Eon at this time was considering joining a convent. Bertin is referring to d'Eon's marriage to Christ.

Mademoiselle d'Eon. You can even say that regarding a hail of cannon shots. ... But when I reflect on my past and present states, I will never have the courage to go out in public dressed as you have me. You have illuminated and brightened me up so much that I dare not look at myself in the mirror that you brought me. Mademoiselle Bertin. A room is not lit up in order to hide it or to keep it in the dark, but rather it is placed beneath a chandelier so that those who enter can see the light and be edified by your conversion. Mademoiselle d'Eon. I know that there is nothing hidden that should not be revealed or anything secret that cannot be known. Therefore, I will not seek my own willpower but that of the King who sent you here to Mademoiselle d'Eon to change what is bad into something good. Since he obliges me to choose the best way, it will not be taken away from me. What is worth choosing is worth maintaining. When you came to me, I thought you were bringing me death. Now I go to you in order to be alive, because I am no longer chasing after the false vainglory of the dragoons, but after the solid glory of maidens of pease. I am no longer looking for my own glory. There is another who is seeking it for me and is judging it. This order is the most Christian King following the opinion of his Council and his apostolic Sanhedrin, who grants me glory so that I myself might experience that God's will is perfect, that will of the law is just, the King's will is good, and that of the Queen pleasant, decent, and proper, because the Son of Man came to save what was lost. After this conversation, I quickly left the room and hurried to my bedroom, where I wept bitterly. Mademoiselle Bertin closely followed me and uselessly proposed both a drink and smelling salts in order to console me. I stopped crying only when my tears naturally dried up. Mademoiselle Bertin, as a crafty member of the Court, took advantage of my weekness by saying: "You are certainly not unaware of the joy experienced by the public in Paris when they heard sung the verses about the Heroine from Tonnerre, which were recently printed and are being sung throughout France." That was the only thing that calmed me in my distress, for when a heart is not entirely dedicated to God it is partly attached to this world. Only vanity can console such an individual because this world prefers human glory to the divine.

And so that it. Thats the moment that d'Eon "cried for hours" after being dressed by Mademoiselle Bertin. So what is d'Eon trying to communicate to the reader in this excerpt?

"When you came to me, I thought you were bringing me death. Now I go to you in order to be alive" is a key part of d'Eon's speech to Bertin, it mirrors an earlier moment in chapter VI where d'Eon says to Bertin "You have killed my brother the dragoon. That leaves me with a heavy heart." In order for d'Eon to become a woman the man or more precisely the dragoon must be killed. D'Eon tries to hang onto both womanhood and her identity as a dragoon but she isn't allowed to.

She cries in morning for the loss of the dragoon she once was and is only cheered by Bertin reminding her that she is now a Heroine. However the d'Eon who is narrating this story criticises her past self for vanity. We see this thought continued in the next chapter:

There is no doubt that it would have been preferable, for my happiness in this world and my salvation in the one to come, had my investiture taken place forty years earlier, because the dragoon disease is so deeply rooted in me that I greatly fear that our saintly Madame Louise will unite with our holy Archbishop, the good Marquis de l'Hôpital, and his pious spouse to have me put away in a hospital for the incurable.

D'Eon presents her transformation into womanhood at the hands of Mademoiselle Bertin as a painful experience but ultimately a necessary and good one that brought her happiness in the long term. I'll leave off with d'Eon's words:

That was all I could respond to Mademoiselle Bertin's questions, whether they were hers alone or form on high. I answered them in a satisfactory manner according to my system of moderation, so appropriate to my position and to the disposition that heaven has inspired in me, and not that of the dragoon, which I drove out of my clothes and away from the wardrobe that the honorable messenger of the Queen had brought me. Thus I can say without flattery that Mademoiselle Bertin is the best of the women who can be found at the Court, in the city, in Picardy, in France, and in the world. My dear Mademoiselle Bertin, it will soon be midnight return to rejoin your forty Virtues as if it were midday.

[killem-all-if-they-wont-eat-cake]

Robe Paree made for me by Madame Jejette

Inspired by this dress made for Marie Antoinette by Rose Bertin

[fashion4ducks]

Me watching the Marie Antoinette series

the whole squad

[paganimagevault]

Copper Ship Brooch from Denmark 800-1050 CE. National Museum of Denmark.

"The Primary Chronicle gives the following account the "Calling of the Varangians", dating it to the Byzantine years of the world 6368–6370 (AD 860–862):

The tributaries of the Varangians drove them back beyond the sea and, refusing them further tribute, set out to govern themselves. There was no law among them, but tribe rose against tribe. Discord thus ensued among them, and they began to war one against another. They said to themselves, "Let us seek a prince who may rule over us and judge us according to the Law." They accordingly went overseas to the Varangian Russes: these particular Varangians were known as Russes, just as some are called Swedes, and others Normans, English, and Gotlanders, for they were thus named."

...

"The earliest Byzantine record of the Rus' may have been written prior to 842. It is preserved in the Greek Life of St. George of Amastris, which speaks of a raid that had extended into Paphlagonia. Contemporary Byzantine presence of the Rus' is mentioned in the Frankish Annals of St. Bertin. These relate that a delegation from the court of the Byzantine emperor visited Frankish Emperor Louis the Pious at his court in Ingelheim in 839. In this delegation were two men who called themselves Rhos (Rhos vocari dicebant). Louis enquired about their origins and learnt that they were Swedes. Fearing that they were spies for their brothers, the Danes, he incarcerated them."

-taken from Wikipedia

[audreyhepburninblackandwhite]

Audrey Hepburn, wearing a pair of Oliver Goldsmith sunglasses, a Rose Bertin coat, a Gucci handbag, and a pair of Rene Mancini for Chanel shoes, in Rome in July 1968 Photography by Elio Sorci

[thebespokejournal]

A history of haute couture

Although all royal and aristocratic households had custom-made clothes, and competed for the creation of fashion trends, the term haute couture is associated retrospectively with fashion designer’s Rose Bertin’s gowns for Queen Marie-Antoinette. The garments were illustrated and printed in fashion magazines, invented the previous century, and were then copied by local dressmakers, therefore creating a faster-paced fashion. However, haute couture as we now know it has appeared only around the late 1850s. 

Charles Fredrick Worth (1825-1895) has helped define this luxury industry, as we currently know it. He was the first to present his new collections one season in advance, to hire models to present his garments, to sell them as either exclusives or copies, as well as introduce a sewn label inside each garment. It is also funny to note that his wife was the first paid model in history,  in the 1850s.

His Paris boutique dressed Empress Eugenie of France and Empress Elisabeth of Austria among others, but his real legacy could be his participation in the creation of the Chambre syndicale de la haute couture, a reform from the outdated medieval professional guilds.

The term haute couture comes from “haute” meaning “elevated” or “elegant,” and “couture” translating to “sewing” or “garment making.” In order to qualify to the term, garments must be made to the client’s individual measurements, the atelier must be located in Paris employing at least 15 full-time staff members and at least 20 technical employees, full-time or part-time, and present two yearly collections of at least 50 original designs per season.

Nowadays, the term also refers to similar practices in other fashion capitals of the world.

[thetudes]

4.0 Genshin's Fontaine - Vocabulaire

Les Lieux en Fontaine (Places in Fontaine)

fontaine (f) => fountain

poisson (m) => fish

chemin de l'espoir (m) => path of hope

fleuve cendré (m) => ashen river

quartier lyonnais (m) => Lyon quarter

quartier narbonnais (m) => Narbonne quarter

horlogerie (f) => clockmaker's shop

Les Noms des Personnages (Characters' Names) (Mainly NPCs)

les Gardes => guards

livre (m) => book

Maison Gardiennage => security house (lit. house security)

vacher (m), vachère (f) => cowboy, cowgirl

semaine (f) => week

Petit Chou (m) => little dear (familiar, affectionate term) (lit. little cabbage)

Miscellaneous

bulle (f) => bubble

confrérie (f) => community, association, guild, fraternity

marcotte (f) => layer (horticulture term)

Oratrice Mécanique d'Analyse Cardinale (f) => Mechanical Speaker of Cardinal Analysis

pluie (f) => rain

blancheur (f) => whiteness, purity

noirceur (f) => darkness, blackness

Mot-valise (Portmanteau)

lumidouce = lumière (light) + douce (soft, sweet)

belleau = bel (beautiful) + eau (water)

French Localization Names

Tidalga => Maréalgue = maré (tidal) + algue (algae)

Condessence Crystal => Cristal de condensat (crystal of condensate)

Cultural notes from the Genshin Impact Fandom/Wikia: (spoilers ahead)

Marcel/Vacher's name is a reference to French serial killers, Joseph Vacher and Marcel Barbeault

Mélusines are female spirits of fresh water in European folklore

Méquignon and Bertin's House of Curiosities may be a reference to French fashion merchant Rose Bertin, known for her work with Marie Antoinette, and Bertin's mother, Marie-Marguerite Méquignon

Méropide (as in Fortress of Meropide) is the French name of the fictional island Meropis by ancient Greek writer Theopompus as a parody to Plato's Atlantis

[caribwitch]

After reading Andre Leon Talley’s The Chiffon Trenches (i highly recommend!), I took note of some fashion subjects I want to explore further. He stressed the importance of understanding the historical significance of French influence and fashion history.

Looking into the following:

Court of Versailles Fashion 🏰

Léonard Autié - Marie Antoinette’s Hairdresser ✂️

Rose Bertin - Marie Antoinette’s Dressmaker 👗

If you love this stuff and have any recommended resources - please add to notes or comments. For the glamour ✨💋

[lejournalfaitmain]

Une histoire de haute couture

Bien que toutes les maisons royales et aristocratiques possédaient des vêtements sur mesure, et rivalisaient pour la création de tendances de mode, le terme haute couture est associé rétrospectivement aux robes de la créatrice de mode Rose Bertin pour la reine Marie-Antoinette. Les vêtements étaient illustrés et imprimés dans des magazines de mode, inventés au siècle précédent, puis copiés par des couturiers locaux, créant ainsi une mode plus rapide. Cependant, la haute couture telle que nous la connaissons aujourd’hui n’est apparue que vers la fin des années 1850.

Charles Fredrick Worth (1825-1895) a contribué à définir cette industrie du luxe telle que nous la connaissons actuellement. Il a été le premier à présenter ses nouvelles collections une saison à l’avance, à engager des modèles pour présenter ses vêtements, à les vendre en exclusivité ou en copie, ainsi qu’à introduire une étiquette cousue à l’intérieur de chaque vêtement. Il est également amusant de constater que sa femme a été la première modèle rémunérée de l’histoire, dans les années 1850.

Sa boutique parisienne habillait entre autres l’impératrice Eugénie de France et l’impératrice Elisabeth d’Autriche, mais son véritable héritage pourrait être sa participation à la création de la Chambre syndicale de la haute couture, une réforme des corporations professionnelles médiévales désuetes.

Le terme haute couture vient de « haute » signifiant « élevée » ou « élégante », et « couture » signifiant « confection de vêtements ». Pour bénéficier de ce terme, les vêtements doivent être confectionnés aux mesures individuelles du client, l’atelier doit être situé à Paris et employer au moins 15 personnes à temps plein et au moins 20 employés techniques, à temps plein ou à temps partiel, et présenter deux collections annuelles d’au moins 50 créations originales par saison.

De nos jours, le terme désigne également des pratiques similaires dans d’autres capitales mondiales de la mode.

[archivist-crow]

On this day:

TELEPORTED TREES

On January 3, 1582, a clump of land, complete with trees and bushes, was lifted into the air and transported forty yards before being set down again. A Tudor annalist named Stowe, reports the event, which he said happened "in the Hermitage, in Dorset":

On Sunday, 3 January 1582, in the valley of the Cerf Blanc, Dorset, a piece of earth suddenly quitted its place of former time, and was transferred and transported forty yards to another paddock, in which there were alders and willows. It stopped the high road leading to the little town of Cerne. Yet the same hedges that surrounded it still enclose it today, and the trees that were there are still standing. The place this bit of land occupied is now a great Hole.

All manner of objects and creatures, including humans, have been also reported mysteriously transplanted. From the ninth century we have two reports of a case of land teleportation in Prussia. They may or may not be referring to the same incident. The first says:

AD 822: This year a prodigious portent occurred in Thuringia: a foot and a half of turf was seen suddenly to be lifted into the air from over a total area of twenty-five feet. It also happened on the border of Saxony and Misnia that the earth swelled up and erected itself in a heap near Lake Aonseum, creating a mound nearly 3,000 paces long.

The second report, the Chronicon Ecclesiae Sancti Bertini, compiled at St. Bertin's Abbey of St. Sihieu, says that in 840, in Thuringia, "a clod of earth over fifty feet long, fourteen feet broad, and six feet thick, no hand touching it, was cut off and raised into the air. In Saxony the earth was puffed up like a mound of one league."

Text from: Almanac of the Infamous, the Incredible, and the Ignored by Juanita Rose Violins, published by Weiser Books, 2009

[amphibious-thing]

Like I'm sorry but where is my d'Eon movie!

Spy thriller ✓

Trans and asexual main character ✓

Costume drama with beautiful Rose Bertin inspired dresses ✓

Sword fights ✓

[vivelareine]

just a quick thought on the marie-antoinette series now that I’ve watched more of it

and by quick I mean “I rambled a bit”

I was expecting the Marie-Antoinette series to be Sofia Coppola but amplified. I was expecting Fersen, we can’t escape him, I was expecting the same modernistic Coppola-style “she was just like you guys,” etc etc.

I was not expecting the episodes to be genuinely incoherent at times, in just about every possible way. The cinematography is aimless, though it has its interesting moments. The writing is inconsistent, never showing us what it tells us is there (see: lack of etiquette on screen but trying to pretend that it exists when the narrative calls for it)--sometimes showing us reactions or moments that are sudden and wild and make no sense. Like showing Marie Antoinette walking by Du Barry and Du Barry being ShooOoOOcked, but the narrative did not set this up whatsoever.

I certainly didn’t expect the random, pointless violence that simply would not have existed in this manner at Versailles. I still can’t believe that Noailles slapping Marie Antoinette across the face for not having sex with Louis on her wedding night, the guards roughly dragging Marie Antoinette back to her rooms, wasn’t a dream sequence.

I didn’t expect the show to be completely lacking on a vision in regards to costuming and hair, to be constantly jumping aesthetically from the 1770s to the mid-1780s. Marie Antoinette is constantly sporting the show’s take on a 1780s hairstyle but it’s the mid-to-late-1770s. In episode 8 she’s wearing a structure chemise dress that is more appropriate to 1785 than anything worn in 1778-1780. But then in the next scene she’s back to wearing a pouf. What is up with this show’s costuming trajectory?

I didn’t expect the show to completely disregard the historical timeline to the point of nonsense, but also to the point of being detrimental to Marie Antoinette’s narrative.

For example: Episode 4, I think it’s Episode 4,  has Marie Antoinette dressing in private with Rose Bertin and snubbing Noailles who says it’s not etiquette. This is before Louis XV dies.

Now Marie Antoinette did change the dressing ceremony etiquette--retreating to closet with her chosen ladies and Bertin instead of everything being done by ceremony in the Queen’s chamber--but it was after she became queen. The point, narratively, is that Marie Antoinette COULD do that after she became queen, because she has the power as queen that she didn’t have as dauphine

. The show just has her start being a rebellious little sneak when she’s dauphine and it’s like... why? Why make that change? You’re robbing the “transformation” of its power. It’s especially ridiculous because the show’s marketing and creative team has made it clear that that is what they were going for, that Marie Antoinette used her power as queen to transform life at Versailles to suit her needs. So why doesn’t the show actually want to set that up in a clear and cohesive way?

Every choice the show makes is baffling. Whether it’s the writing, the costuming, the characterization. The only thing not baffling is the acting, which is, for the most part, interesting to watch and well done. (Especially considering the writing choices being mad.) I’m genuinely sad Louis Cunningham isn’t playing Louis XVI in something written coherently.

[la-semillera]

LE LAIT D'AMANDES DE COLETTE

«Pour 2 litres [de lait] d'amandes il faut plus d'1kg d'amandes fraîches et saines, épluchées. Pilez dans un mortier de marbre, avec une petite quantité de sucre. Ajoutez goutte à goutte, l'eau nécessaire à l'émulsion. Pendant la nuit suivante, le mortier et son contenu, voilé d'un linge, resteront au frais.

Le lendemain, filtrez dans une poche de batiste, ou de mousseline à trame serrée. Goûtez, sucrez encore un peu, ajoutez la quantité d'eau qui manque à vos 2 litres. Si vous servez promptement vous pouvez remplacer l'eau par du lait fraîchement trait.

Ne frappez jamais le lait d'amandes mais laissez flotter sur son onde un peu bleue, crémeuse, une feuille de citronnelle, verte, à peine immergée, effilée comme une jonque de Chine… Et noubliez pas, non plus—tout est perdu sans elle!—, la goutte d'essence de rose, une goutte une seule…»

Colette, Prisons et Paradis, 1932

- Hélène Bertin, Recettes de Valentine Schlegel

Descascarillando almendras, Valentine Schlegel, Étienne Schlegel, Sète, circa 1955

[littleeyesofpallas]

Gekkan COMIC BUNCH[月刊コミックバンチ]: MONTHLY COMIC BUNCH

Kaijuu Jieitai[怪獣自衛隊]: Kaiju Self Defense Force

Shiyakusho[死役所]: Government Office (of) Death

Oten no Mon[応天の門]

Ohitori-sama HOTEL[おひとりさまホテル]: One Person HOTEL

Rokuhōdō Yotsuiro Biyori[鹿楓堂よついろ日和]

Delicious Underground[デリシャス・アンダーグラウンド]

DinoSan[ディノサン]: Dinosaurs Sanctuary

Saigo no RESTAURANT[最後のレストラン]: The last RESTAURANT

Artiste[アルティスト]

Keikoku no Shitateya - Rose Bertin[傾国の仕立て屋 ローズ・ベルタン]: The Dressmaker of the Ruinous Beauty - Rose Bertin

"Kodomo wo Koroshite kudasai" to iu Oyatachi[「子供を殺してください」という親たち]: Parent says "Kill (my) Child, Please"

Moeyoken[燃えよ剣]: Burning Sword

Narazumono Renbo[ならずもの恋慕]

Misetagari no Tsuyuno-Chan[見せたがりの露乃ちゃん]: Tsyyuno-cahn Wants to show it

Boku no Tsuma wa Hattatsu Shougai[僕の妻は発達障害] MY WIFE HAS A DEVELOPMENTAL DISORDER

OOKAMI Buka-kun to HITSUJI Jouushi-san[オオカミ部下くんとヒツジ上司さん]: WOLF Subordinate-kun & SHEEP Superior-san

Ruru Hikaru -Vampire Memories-[るるひかる -Vampire Memories-]: Unbroken Light-Vampire Memories-

GANGSTA.[ギャングスタ]

Boku wa Oniichan no Koto ga Suki desu[僕はお兄ちゃんのことが好きです。]: Onii-chan's Thing That I Like

Shabake[しゃばけ]: worldly desires

TOKYO TOYBOXES[東京トイボクシーズ]

Zenra Kantoku Muranishi Tooru Den[全裸監督 村西とおる伝] Toru Muranishi The Naked Director

[alexlacquemanne]

Septembre MMXXIV

Films

L'Homme au pistolet d'or (The Man with the Golden Gun) (1974) de Guy Hamilton avec Roger Moore, Christopher Lee, Britt Ekland, Maud Adams, Hervé Villechaize, Clifton James, Richard Loo et Soon-Tek Oh

La Panthère rose (The Pink Panther) (1963) de Blake Edwards avec Claudia Cardinale, David Niven, Peter Sellers, Robert Wagner, Capucine, Brenda De Banzie et Fran Jeffries

Le Masque de Zorro (The Mask of Zorro) (1998) de Martin Campbell avec Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, Stuart Wilson, Matt Letscher, Victor Rivers et Tony Amendola

La Classe américaine : Le Grand Détournement (1993) de Michel Hazanavicius et Dominique Mézerette avec Christine Delaroche, Evelyne Grandjean, Marc Cassot, Patrick Guillemin, Raymond Loyer, Joël Martineau, Jean-Claude Montalban et Roger Rudel

Les Sept Mercenaires (The Magnificent Seven) (1960) de John Sturges avec Yul Brynner, Steve McQueen, Charles Bronson, James Coburn, Robert Vaughn, Brad Dexter, Horst Buchholz, Eli Wallach, Jorge Martínez Hoyos, Vladimir Sokoloff et Rosenda Monteros

Un homme est mort (1972) de Jacques Deray avec Jean-Louis Trintignant, Ann-Margret, Roy Scheider, Angie Dickinson, Umberto Orsini, Ted de Corsia, Alex Rocco, Felice Orlandi et Michel Constantin

Le Grand Pardon (1982) d'Alexandre Arcady avec Roger Hanin, Richard Berry, Bernard Giraudeau, Jean-Pierre Bacri, Gérard Darmon, Jean-Louis Trintignant, Clio Goldsmith, Richard Bohringer, Lucien Layani et Anny Duperey

Luke la main froide (Cool Hand Luke) (1967) de Stuart Rosenberg avec Paul Newman, George Kennedy, Strother Martin, J. D. Cannon, Lou Antonio, Jo Van Fleet, Clifton James et Morgan Woodward

Everything Everywhere All at Once (2022) de Daniel Kwan et Daniel Scheinert avec Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, James Hong, Jamie Lee Curtis, Tallie Medel, Jenny Slate et Harry Shum Jr

Le Tonnerre de Dieu (1965) de Denys de La Patellière avec Jean Gabin, Michèle Mercier, Lilli Palmer, Robert Hossein, Georges Géret, Paul Frankeur, Ellen Schwiers, Nino Vingelli, Louis Arbessier et Daniel Ceccaldi

La Pomme de son oeil (1970) de François Villiers avec Jean Pierre Aumont, Elisabeth Wiener, Sophie Desmarets, Carol Lixon, Jean Marc Thibault, Gabrielle Doulcet, Pierre Bertin, Gérard Depardieu et Edith Ker

Baiser mortel (A Kiss Before Dying) (1956) de Gerd Oswald avec Robert Wagner, Jeffrey Hunter, Virginia Leith, Joanne Woodward, Mary Astor, George Macready et Robert Quarry

Arabesque (1966) de Stanley Donen avec Gregory Peck, Sophia Loren, Alan Badel, Kieron Moore, Carl Duering, John Merivale, Duncan Lamont et George Coulouris

Séries

Nestor Burma Saison 5, 6

Drôle d'épreuve pour Nestor Burma - La Plus noble conquête de Nestor - Poupée russe - Les Affaires reprennent - En garde, Burma ! - Mise à prix pour Nestor Burma - Burma et la Belle de Paris - N’appelez pas la police

Castle Saison 7, 8

Planète hostile - Le Flic de Hong Kong - Dans la ligne de mire - L'Attaque du pitbull - En sommeil - Y a-t-il un enquêteur dans l'avion - La mort n'est pas une blague - Dans les bois - Disparition - Conspiration - Cinquante Nuances de vengeance - De pieux mensonges - Le Nez - Une vieille connaissance - Un homme à femmes

Affaires sensibles

Le tortueux destin des Inconnus - Le Parrain, les recettes d'un chef-d'œuvre - Lolo Ferrari, la chute de l'icône de silicone - Rocky : l'Amérique les poings levés - La chute de la IVème République en mai 1958 - Landru et le chemin des dames - Les révoltés du France - The Golden State killer, le plus froid des cold case - Rue des Rosiers : le lent chemin vers la vérité ?

Maguy Saison 8

Les délinquants sont éternels - Ennuis et héros - Tx-trol de drame - Crocodile Maguy - Tous les kalaniens, toutes les kalaniennes - Funérailles aïe aïe - Nomade's land - Sauce grand vanneur - L'entremêleur - Maguy, Georges, Pierre, Rose et les autres - Traitement de chic - Allô Maguy ici bébé - Roman à l'eau de rose - Le fiscopathe - Olé beaux jours - Cet obscur objet de Désiré - Hoquet sur place - Fenêtre sans cour - La guerre des canulars - Désastres et des astres - Legs à deux têtes - Une souris et des homme - Coût de peau - La bourse ou Maguy - N'oubliez pas le service - C'est pas sorcier - Drôle de squatt - L'espion qui venait d'en face - Bébé éprouvant - Crises de mères

Le Coffre à Catch

#183 : Bataille Royale + Hommage à Sid - #184 : Santino Show + Dusty supporte Uva - #185 : Le futur s'appelle Ezekiel Jackson - #186 : La ECW : c'est annulé !! - #187 : Yoshi Tatsu et Goldust champions pour la dernière?

Les Nouvelles Brigades du Tigre Saison 5

S.O.S. tour Eiffel - Le Temps des garçonnes - Le Vampire des Carpates - Made in U.S.A. - Le Réseau Brutus - Le Complot

Nautilus Saison 1

Évasion - Tic Tac Boum - La force du peuple - Sur une pente glissante - Hallucinations - L'Atlantide - Guerre froide - Le Point de bascule - La Chevauchée des Walkyries - Bouquet final

The Grand Tour Saison 6

Un dernier pour la route

MacGyver Saison 1

Pris au piège - Le Casse du casino - Cauchemars - La Taupe - Mission Afghanistan

Brokenwood Saison 9

Brokenwood: Le Musical - On ne choisit pas sa famille - Les Petites Soeurs de Sainte-Monica

Commissaire Dupin

Les secrets de Brocéliande

Brocéliande

Episode 1 - Episode 2 - Episode 3 - Episode 4 - Episode 5 - Episode 6

Friends Saison 1

Celui qui déménage - Celui qui est perdu - Celui qui a un rôle - Celui avec George - Celui qui lave plus blanc - Celui qui est verni - Celui qui a du jus - Celui qui hallucine - Celui qui parle au ventre de sa femme - Celui qui singeait - Celui qui était comme les autres - Celui qui aimait les lasagnes - Celui qui fait des descentes dans les douches - Celui qui avait un cœur d'artichaut - Celui qui pète les plombs - Celui qui devient papa : première partie - Celui qui devient papa : deuxième partie - Celui qui gagnait au poker - Celui qui a perdu son singe - Celui qui a un dentiste carié

Spectacles

Gary Moore : Live at Montreux (2010)

Laurent Gerra flingue la télé (2006)

La Sainte famille (1976) de Georges Vitaly avec Dominique Paturel, Nelly Vignon, Frank Baugin, Erik Colin, Rodolphe Marin, Jose Luccioni, Jacques Balutin, Michèle Grellier, Max Desrau, Monique Delaroche, Madeleine Cheminat, Odile Mallet, Robert Party Frédérique Cernay, André Lambert, Xavier Renoult et Bertrand Gohaud

The Police : Certifiable: Live In Buenos Aires (2008)

The Doors : Live at the Hollywood Bowl (1968)

Livres

Zazie dans le métro de Raymond Queneau

Le boucher d'Alina Reyes

Effroyables jardins de Michel Quint

Kaamelott, tome 8 : L'antre du Basilic d'Alexandre Astier et Steven Dupré

Kaamelott, tome 9 : Les renforts maléfiques d'Alexandre Astier et Steven Dupré

Les secrets de Brocéliande de Jean-Luc Bannalec

Friends l'intégrale : Le livre officiel des dix ans ! de David Wild

Astérix, tome 16 : Astérix chez les Helvètes de René Goscinny et Albert Uderzo

[thebeautyofdangerousassociation]

The Designers of the Century.

Rose Bertin, the French milliner is considered the first celebrity fashion designer and is a synonymous with the extravagant style of French women in the mid-18th century, with trends including the elaborate pouf hairstyle, lavish dresses, and rustic muslin gowns. Bertin was primarily known as the dressmaker to her most famous client, Marie Antoinette, the last queen of France before the French Revolution, whilst much of her signature style was invented by Bertin, Marie inspired the nation through her clothes. Following her links to Royalty Bertin was able to open up her own shop in Paris of 1770, a Parisian boutique called Le Grand Mogol. Which ultimately put Paris on the fashion map, establishing the city as an epicenter for luxury fashion.

Fashion Icon of the Century.

Marie Antoinette, when she arrived arrived from Austria in preparation for her marriage to the French dauphin, she was required to change out of her Austrian clothes at the border into French ones, signalling her transformation from Austrian archduchess to the future queen of France. Realising quickly that she could not exert any kind of political influence at the French court, Marie Antoinette turned to fashion as a way to express herself. Known for her extravagant tastes as queen, Marie Antoinette was often ridiculed for her lavish clothing but women across the country flocked to copy her style.