The blonde Mélite walking at noon at the Palais Royal in the grand path of the fair, hoping to see the one who has fixed her heart: she is dressed in an English gown, with a Devonshire hat. (1786) Accessories made for Mme Fléminard by Rose Bertin: 1786, December 9 - a rose bouquet with … Continue reading Galerie des Modes, 49e Cahier,1ere Figure
Galerie des Modes, 48e Cahier, 6e Figure
The beautiful Suzon sits in the Jardin du Luxembourg, meditating on diverse subjects that she has found in the book that she holds in her hand, and which take for her the place of pastimes and dissipation, in place of that to which she has given a rendez-vous: she is in a hat à l'Anglaise … Continue reading Galerie des Modes, 48e Cahier, 6e Figure
Galerie des Modes, 48e Cahier, 5e Figure
The brilliant Nymph of the Palais Royal offering to the eyes of the public the charms of her figure and the elegance of her shape which attracts to her the most merited praises: she is coiffed à la Suzanne with a juste à la Figaro. (1785) Palais Royal. - "There one can see everything, hear … Continue reading Galerie des Modes, 48e Cahier, 5e Figure
Galerie des Modes, 48e Cahier, 4e Figure
The tender Aspasie* sits with an air of nonchalance following the pleasures that love made her taste, liked to meditate on those that her beauty has right to make her hope: she is coiffed with a hat à la nouvelle Omphale, gown of striped muslin with an elegant border. (1785) "The New Omphale, a comedy … Continue reading Galerie des Modes, 48e Cahier, 4e Figure
The Myth of Chanel and the 1920s: VI – Femininity and Androgyny
Vionnet cleverly amalgamated a still lingering desire for femininity with the wish to dress without the restricting comfort of corsetry. ... But it was the androgyny promoted by Chanel that dominated women's fashion in Europe in 1919. The idea that Chanel suddenly brought out a less curvaceous figure in 1919 has already been dealt with, … Continue reading The Myth of Chanel and the 1920s: VI – Femininity and Androgyny
