The Rococo style in the second half of the 18th century became the main style in European art, both in architecture, painting, and fashion. The Rococo style comes after the Baroque, becoming its original continuation, but with its own peculiarities peculiar only to it. Like Baroque, Rococo style is a palace style; fashion is still dictated by Versailles.

The word "Rococo" comes from the French "Rocaille" - crushed stone, decorative shell, shell. The term “Rocaille” itself was originally used to describe the method of decorating grottoes, fountains, gazebos, and terraces with various fossils that imitate natural formations. The Rococo style was most widespread in interior design.

In the 18th century, what we today call Rococo was called “Pictorial Taste,” but soon Rococo was criticized, it began to be called “twisted” and “tortured,” and even “spoiled taste.”

The first critics of Rococo were encyclopedists and French educators, among whom, for example, were such famous personalities as Denis Diderot and Voltaire. Encyclopedists criticized Rococo for the lack of a “Reasonable Principle” in it, because for them the main thing was reason and, of course, the reasonableness and practicality that follows from it in everything.

Baroque and Rococo. Baroque was a lush, somewhat cumbersome style, a style of balls and state halls, a style where everything was “Too much.” Rococo will become a cozier, more homely style; it is not without reason that the main area of application of the Rococo style will not be architecture, but interior design.

The same is true in fashion, in Baroque times bright colors were in fashion, and makeup made all women older in age. Looking at the women of the Baroque era, one could safely say that they were all well over thirty and they were all incredibly important, significant ladies. Rococo, on the contrary, focuses on delicate, light, pastel colors - soft blue, pale yellow, pink, blue-gray. And in makeup, all the women look exclusively like twenty-year-old, young girls, blush and powder help them with this. However, the makeup becomes so abundant that sometimes husbands do not recognize their wives in makeup; the face turns into a youthful, but completely lifeless mask.

Perfumery was also valued in the Rococo era, aromas were actively used, perfumes were widespread among women - orris root, neroli, patchouli, rose water.

And the Rococo era is rightly called the “Women's Century”. It is in the Rococo style that the men's suit approaches the women's; men's clothes also follow fashion, like ladies, they also dress up and follow it. And what’s more, men’s fashion is as close as possible to women’s fashion.

Men's costume from the Rococo era.

Men wear justocor. Justocor is a long men's caftan, which is most often sewn to fit the figure. Justocore first appeared in France in the 60s of the 17th century. In the Rococo era, the floors of the justocore became wider, now they seemed to stick out in different directions.

In the Rococo era, men wore a camisole under the justocore. A camisole is a type of men's clothing, sewn at the waist and knee-length, sometimes it was sewn without sleeves; it was often, especially in winter, worn under a caftan. By the 19th century, the camisole would turn into a vest. In the Rococo era, a “Skirt on Hoops” was formed in a men’s suit from the tails of a camisole, because men’s fashion strives to imitate women’s fashion in everything.

Men also wore crisp white shirts with lace jabots and neckerchiefs.

The fabrics in both women's and men's suits were soft, pastel colors. The men's suit, like the women's, was richly decorated with flounces, buttons, ribbons, and lace.

Men also wore knee-length pants, which were complemented by white stockings.

However, hairstyles, unlike Baroque, become simpler and flatter. The hair is curled into curls that frame the face, and later collected into braids. Powdered wigs with curls on the sides, as well as a pigtail and a bow at the back also remain in fashion. The headdress is a cocked hat.

Women's costume from the Rococo era.

Women still wear full skirts - Panniers, which are held on a frame, as well as corsets. At the beginning of the Rococo era, the skirt decreases slightly, but then expands again to its maximum possible extent. Hairstyles also initially become less voluminous - a smooth, small hairstyle with rows of flowing curls is in fashion. But then the hairstyles increase again, reaching complete absurdity - still lifes of flowers, ribbons, decorative hairpins and feathers, and even entire decorative boats with sails appear on the heads of the court ladies.

Huge skirts no longer even take a round, but an oval shape. The bodice of the dress extends down, below the waist, in the form of a triangle; it also has a fairly deep neckline. This contrast becomes especially noticeable in the dress - a large fluffy skirt and a small bodice that is not at all voluminous in comparison. The sleeves of the dress taper to the elbow, they are abundantly decorated with ribbons and cascades of lace.

Ribbons became a favorite decoration of the Rococo era. In addition to ribbons, flowers were also actively used, both natural and artificial. It was during the Rococo era that artificial flowers first began to be used to decorate an outfit; before that, they served only to decorate churches and were made in monasteries.

And among the fabrics, satin and satin are the most popular. These fabrics, soft to the touch, allow you to create many folds, which were so necessary in the Rococo era, plus the shiny satin was in perfect harmony with matte lace.

The outerwear in the Rococo era was a manteau - a loose cloak falling from the shoulders. Great importance is also attached to additional elements such as a muff, gloves, and a fan, with which ladies gave special signs to their gentlemen. Flies - black silk patches of various shapes - also served as the secret language of lovers.

The Rococo style pays great attention to underwear, because in dresses that largely expose the body, which was typical for dresses of the Rococo era, underwear appears on public display. Women, like men, begin to wear stockings, like men - white, but sometimes colorful. Underwear is made of silk and richly decorated with embroidery, lace trim, gold and silver. After all, the neckline now allows you to see the undershirt, and the underskirt becomes visible when walking. Now the lower skirt is decorated, like the upper one, with lace, flounces, and ribbons.

Shoes are worn soft and low; they were made of fairly simple material, but were often richly decorated - ribbons, embroidery, buckles, precious stones.

The ideal of female beauty was considered to be those with a wasp waist, narrow hips, fragile shoulders and a round face. The ideal woman is a fragile and slender primp. The ideal man is a court dandy.

The fashion of the Rococo era in all its splendor can be seen in the paintings of artists of that era - Watteau, Boucher, Chardin, Fragonard.

Hairstyles of the 18th century are a combination of ostentatious luxury and pretentiousness. This is due to the strong influence of the Rococo style, which is reflected not only in architecture, design, painting, but also in hairdressing.

Characteristics

This period was immortalized in world history until the beginning of the 19th century as the “century of women” (as the Marquise de Pompadour called the 18th century). At that time, ladies wore lush, chic outfits, encrusted with a huge amount of stones and sparkles, and applied a lot of cosmetics to their faces, which were often extremely harmful to health.

The ladies' hairstyles were more reminiscent of sculptural figures and complex compositions than conventional styling. Feathers, flowers, and jewelry were used for decoration. Surprisingly, the hairstyles were so bizarre that the ladies wore entire baskets of fruit, ships and sails on their heads. They were made from water bottles and a wire frame.

How hairstyles changed during the 18th century

The evolution of hairdressing was so rapid that there are several stages of its development in the 18th century.

The beginning of the century (1700–1713) was marked by the emergence and widespread dissemination of pompous fontage among ladies from high society. This was the name given to a starched lace cap. It came in different types and shapes, allowing you to experiment with different hairstyles.
In the middle of the century (1713–1770), the hairstyle using fontage was replaced by perm. The curls were placed in wreaths, baskets, or simply made in the form of a spiral or snakes, which coquettishly fell onto the bare shoulders of the ladies. Hairstyles were decorated with ribbons and tiaras. Sometimes young ladies wore wigs that exactly reflected fashionable hairstyles with fancy names like “birdie,” “butterfly,” and “sissy.”
In the 70s and 80s of the 18th century, Queen Marie Antoinette introduced high, bulky hairstyles into fashion. To add pomp and volume, various hairpieces, horsehair, extensions and even pillows were used. To prevent the massive structure from falling and losing its shape, strong wire frames were inserted inside. This hairstyle weighed several kilograms and reached 50 cm in height. Hairdressers of the 18th century worked on such a work of art for several hours so that a lady could wear her hair for a week. Each detail was generously smeared with lipstick based on special lard and thickly powdered. Over time, an unpleasant odor began to emanate from the hairstyles, which attracted insects and rodents. Because of this, ladies had to constantly wear perfume. Hairstyles with headdresses were also popular. The hat could contain a ship, a castle, or even a living bouquet of flowers. Thanks to the vase built into the hairstyle, the flowers did not wilt for a long time.
Tired of uncomfortable massive hairstyles, in the early 80s of the 18th century, young ladies emphasized modesty and convenience. Loose hair with flirty curls and curly curls came into fashion. External hairpieces and wigs were replaced by bouffants made from one's own hair and bangs of various shapes. They also used voluminous hair knots, similar to Greek ones, but more massive. And the braided braids formed a ridge on the top of the head.
In the late 80s of the 18th century, everyday hairstyles appeared; the “Weeping Willow” hairstyle, which consisted of a high bun and curls in the form of snakes on the sides, came into fashion. The styling of this period was characterized by lightness and airiness. Decoration in the form of flowers and stones was present in ballroom hairstyles.
The end of the 18th and beginning of the 19th century was marked in hairdressing by flat waves decorated with feathers, tiaras, ribbons and hoops. The styling was done in the shape of a turban, using tongs.

Styling in the style of Marie Antoinette

This is the simplest and most simultaneously majestic styling of that time. The fact is that Queen Marie Antoinette was a trendsetter in the 18th century. She had a personal hairdresser named Leonard Bolyar, with whom she loved to come up with new hairstyles and outfits. Marie Antoinette was not afraid to experiment with her appearance and went down in world history as the most prominent representative of the Rococo era.

The owner of long thick hair can try to make her own popular hairstyle of that time, which bears the name of the outstanding queen. Detailed diagrams and photos are easy to find on the Internet. To do this you will need a wire frame, cotton wool, pins, and varnish. To create a hairstyle you need to follow these steps.

Comb your hair thoroughly and install a frame on the top of your head.
Place cotton wool or a pillow inside the frame.
Raise your hair up, cover the base with it and secure with bobby pins or an elastic band.
Curl the side and back hair into curls and style it in a cascading wave.
If desired, you can decorate your hair with ribbon, beads, and feathers.

Rococo styling

A similar hairstyle from the 18th century will appeal to modern young ladies, because it is distinguished by its simplicity and airiness. The algorithm for creating it is given below.

The hair is divided into strands, each of which is sprayed with varnish and curled using curling irons at a distance of 10–15 cm from the roots.
Having backcombed the roots, pull all the hair back, revealing the temple area.
The strands are secured to the crown with bobby pins or hairpins.
A ribbon or a large hairpin would serve as a good decoration.

Back to the past

Outrageous hairstyles in the Rococo style of the 18th century had a great influence on the development of modern hairdressing. A special cutting technique served as the basis for creating new images. The hairstyles of that era are an example to follow for a new generation of hair stylists.

Making such works of art is very difficult, because you need to have remarkable imagination, professionalism and delicate taste. In Russia and abroad, talented hairdressers present their work, made in the best traditions of the 18th century, complemented by modern details. For example, stylist Tono Sanmartina organized a solo exhibition, which presented 14 works in the Rococo style.

Watch a video about creating a Baroque hairstyle:

But no matter how dirty the amusements of aristocratic slackers were sometimes, the tastes of the society of that time were still distinguished by undeniable grace, beautiful sophistication, which made France a trendsetter. And these elegant, refined tastes found their expression in the aesthetic concepts of the time. The refinement of elegance and the subtlety of sensual pleasure spread everywhere. In 1740, the poet Niron, in one of his poems, speaks on behalf of the famous painter Boucher to the mistress of Louis XV, Madame de Pompadour:

Frankly speaking, I'm looking for

Only elegance, grace, beauty,

Gentleness, politeness and cheerfulness

- In a word, everything that breathes
Sensuality or playfulness.
All this without unnecessary liberties,
Under the cover it requires
Picky virtue.

Baroque was replaced by the early Rococo era

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Introduction

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

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

The objectives of the work are:

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

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

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

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

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

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

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

The original costume ended with a lovely female head with a smooth hairstyle significantly reduced in size. But already in the second half of the 18th century, the hairstyle “grew” upward again, sometimes to a height of up to 70 centimeters.

Famous hairdressers, together with milliners, create still lifes of flowers, ribbons, decorative hairpins and feathers on the heads of their high-born clients; even whole ships with sails raised; windmills, bridges and much more, right down to garden architecture.

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

“Runway hairstyle of the Rococo era,” the most relevant not only in our time, but at all times. This is our past and this is our future, because life, culture, art and new directions do not stand still, they develop with us and with each era they make more and more new discoveries and revolutions.

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

Analysis of preparation for execution of developed images

Historical and modern vision of Rococo fashion

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

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

Women dominated the secular salons. The desire to please prevailed over everything and brought to life clothes that emphasized the sensual shape of the body. Everyone, absolutely everyone, wanted to be young (forever young!): to hide their age, their hair was covered with a layer of powder to hide gray hair, and their cheeks were heavily flushed.

Movements and gait were developed with teachers of “good manners”, even while sitting at the table, their feet were inserted into special pads, accustoming them to the “third position”. It is not for nothing that the 18th century was called the “gallant century”, the century of powder, lace, minuet, the century of the feminine man. Aristocratic costumes sparkled with gold and precious stones. Formal, office, salon and even home wear were equally magnificent. They even wore jewelry instead of buttons, and formal dresses, even the most expensive ones, were worn only once.

The voluminous forms of Baroque clothing are a thing of the past; the dress seems to have acquired human dimensions again. Pomp and solemnity gave way to caprice and whim, asymmetry defeated harmony. The freely flowing Baroque dresses seemed to fall off and take on more defined shapes; the details of the costume became smaller and more refined. There were no noticeable changes in the cut of clothing.

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

In the second half of the century, the skirt widens greatly to the sides, its round shape turns into an oval (stretched at the sides and flattened at the front and back). The sides of the skirt were so elongated that the gentleman could not walk next to the lady, but walked somewhat ahead, leading her by the hand. Sometimes small frames were simply strengthened around the waist - figs, elongated at the sides and flattened at the front and back. The waist is cinched with a corset, strongly raising the chest, slightly exposed by a shallow wide neckline. The neckline around the neck and chest is draped with a flirty scarf (often with fringe). Later it is raised up to the chin, skillfully creating the appearance of high breasts, fashionable at that time. This fashion was introduced by the wife of Louis X, Queen Marie Antoinette (Fig. 3), who had an impeccably beautiful small but high bust.

The sleeves, narrow at the elbows, like a neckline, are decorated with a cascade of flowing lace, ribbons and braids (gold, silver or tinsel (copper, tin) braid). Great importance is also attached to small additions to clothing. These included a fan, which was a necessary part of the ability to flirt, a pompadour handbag for countless cosmetic items, gloves and a muff.

Rice. 2.

Rice. 3.

The shoes look especially flirtatious - small and elegant, like the whole suit in general, with a deep neckline and a large heel of an elaborately curved shape. The ceremonial costume was complemented by colored stockings with gold and silver embroidery, and in the second half of the century - white silk stockings with an openwork pattern or an embroidered arrow. Women's shoes at that time were made of colored leather, brocade, satin, and velvet. Brocade satin shoes were embroidered with colored silks, pearls, gold and silver threads, and stones (Fig. 4).

Rice. 4.

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

Rice. 5.

Hairstyles of the 18th century are very interesting for their splendor and variety. After all, as the history of hairdressing testifies (and especially in the era of the majestic, luxurious, sophisticated and pathetic Rococo, hair styling masters were called and equated to the status of outstanding and gifted artists), not a single chic hairstyle of a socialite, like an impressive sculpture or a masterpiece painting, had no analogues in any part of the world. That is, every talented and sought-after hairdresser already in the 18th century guaranteed the exclusivity of his creation.

In general, frankly speaking, it was the incomparable and delightful, fantastic and luxurious hairstyles of the 18th century both for influential men of that time and for court favorites that revolutionized the world of fashion, aesthetic outlook, artistic thinking in general and in hairdressing in particular. It is clear, like any art with a certain share of the subjective artistic worldview of the creator, the hairdresser’s skill reflected contemporary realities and was oriented towards the possibilities, needs and spirit of the era. Therefore, many hairstyles of the 18th century are inextricably linked with the most important historical events. For example, to commemorate the launching of the royal frigate "Admiral" (Fig. 6), 18th century hairstyles a la a sailing ship came into fashion, perfectly fixed on the top of the head of an elegant, thin lady.

After 1770, during the late Rococo period, hairdressing flourished. Women's hairstyles. The original costume ended with a lovely female head with a smooth hairstyle significantly reduced in size. But already in the second half of the 18th century. the hairstyle “grows” upward again, sometimes to a height of up to 70 centimeters. Moreover, this happens almost in proportion to how the skirt widens more and more on the hips. Famous hairdressers, together with milliners, create still lifes of flowers, ribbons, decorative hairpins and feathers on the heads of their high-born clients; even whole ships with sails raised; windmills, bridges and much more, right down to garden architecture (Fig. 7). High hairstyles were made using fat, lipstick, pins, and ostrich feathers. Baskets of fruit or cornucopia were placed on top of the high hairstyle. The frigate hairstyle was especially popular - a pile of hair in the form of a sailing ship at the top of the head. This hairstyle was left in place for several days; during sleep, headrests were used, which made it possible to keep the hairstyle suspended.

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

Rice. 6.

Rice. 7.

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

Rice. 8.

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

Rice. 9.

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

Rice. 10.

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

Rice. 14

Rice. 15.

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

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

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

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

Rice. 16.

Rice. 17.

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

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

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

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

Rice. 18.

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