"was muted for a time, but not resolved. After the death of the Madame de Pompadour, several women in the court sought to replace her, including the Duchess of Gramont, the sister of the Duke of Choiseul, the King's chief minister. However, the King's favor turned to Jeanne Bécu, the comtesse du Barry. She was thirty-three years younger than the King. She was the illegitimate daughter of Anne Bécu, a seamstress. She was raised by the Dames de Sacre-Coeur, and had various jobs as a shop assistant and designer of dresses before she became the mistress of a self-proclaimed count,"
"Niébert, an actress at the Théâtre de Nicolet. His unusual hairstyles immediately attracted attention, and he was soon styling the hair of women of the nobility, including Madame du Barry, Louis XV's mistress and the Marquise de Langeac, a lady-in-waiting to the Dauphine Marie-Antoinette. By 1772 he had become the hairstylist of the Dauphine herself. In January 1774, at the request of Marie Antoinette, Autié and Rose Bertin (her dressmaker) resuscitated the French fashion magazine, the ""Journal des Dames"". The princess funded the venture, and the financially desperate Baroness de Prinzen agreed to lend her name to the project as"
"also the moniker of social media personality, Christina Grasso. Pouf The pouf or pouffe also ""toque"" (literally a thick cushion) is a hairstyle and a hairstyling support deriving from 18th century France. It was made popular by the Queen of France, Marie Antoinette (1755–1793), when she wore it in June 1775 at the coronation of her husband Louis XVI, triggering a wave of young French women to wear their hair in the same manner. Marie Antoinette acquired the hairstyle which was a creation from the famed hairdresser of the day Léonard Autié. In April 1774, it was first sported as"
"Pouf The pouf or pouffe also ""toque"" (literally a thick cushion) is a hairstyle and a hairstyling support deriving from 18th century France. It was made popular by the Queen of France, Marie Antoinette (1755–1793), when she wore it in June 1775 at the coronation of her husband Louis XVI, triggering a wave of young French women to wear their hair in the same manner. Marie Antoinette acquired the hairstyle which was a creation from the famed hairdresser of the day Léonard Autié. In April 1774, it was first sported as ""Le Pouf Sentimental"" by Duchess de Chartres at the"
"the heart of a King. Henceforth she became known as “Reinette”, meaning ""little queen"", and was groomed to become the mistress of Louis XV. Tournehem arranged for Jeanne Antoinette to receive a private education at home with the best teachers of the day who taught her dancing, drawing, painting, engraving, theatre, the arts, and the ability to memorize entire plays. It may have been this sponsoring of Jeanne Antoinette's education in particular that sparked rumors of his paternity to Poisson. At the age of nineteen, Jeanne Antoinette was married to Charles Guillaume Le Normant d'Étiolles, the nephew of her guardian,"
"Toilette"". In 1763, her beauty came to the attention of Jean du Barry, a fashionable pimp/procurer and casino owner. He made her his mistress and helped establish her career as a courtesan in the highest circles of Parisian society, where she took several wealthy men as her 'benefactors', including the Duke of Richelieu. On her marriage to du Barry's brother, she became Marie-Jeanne, Comtesse du Barry, and in April 1769 she became the official mistress (""maîtresse declarée"" or ""maîtresse en titre"") of King Louis XV of France. In the first quarter of the 19th century, Grisette also came to refer"
"of Louis XV from 1723 to 1726. In her youth, Pauline Félicité was known as ""Mademoiselle de Nesle"". In 1738, Pauline Félicité wrote to her elder sister, Louise Julie, the king's official mistress, asking to be invited to court. She received the invitation, and during her stay proceeded to seduce the king, who fell passionately in love with her. Pauline Félicité then became the second mistress of Louis XV, although her sister kept the official position of ""maîtresse en titre"". The king lavished her with gifts, the greatest being the castle of Choisy-le-Roi, newly decorated in blue and silver. To"
"Robespierre, wore a powdered wig until his own execution. The hair stylist of Marie-Antoinette, Léonard Autié, known simply as Monsieur Leonard, created extravagant poufs and other towering hair styles that were eagerly imitated by the court and the wealthiest Parisiennes. Throughout the century, fashion was a sign of the social class of the person wearing the clothes. Aristocrats, men and women, wore the most expensive, colorful and elaborate fabrics; bankers and merchants wore more sober colors, usually dark brown, green or blue, to show their seriousness, though their wives dressed as richly as aristocrats. Men wore culottes, a type of"
"Antoinette and was called Monsieur Léonard. Léonard-Alexis later arranged for Jean-François and Pierre to join him in Paris, and they became partners in a hair-dressing studio and school, known as the ""Académie de coiffure"", which was eventually situated in the rue de la Chaussée-d'Antin. Taking advantage of their oldest brother's fame, Jean-François and Pierre also adopted the professional name of Monsieur Léonard. The ""Académie de coiffure"" in effect became the House of Léonard. Jean-François and their cousin Villanou (Jean-Pierre Autié, born 4 April 1762) also worked as hairdressers in the household of Marie Antoinette, while Pierre worked for the king's"
"originally came from seventeenth-century Spanish fashion, known as ""'guardainfante',"" initially designed to hide the pregnant stomach, then reimagined later as the pannier. 1745 became the Golden Age of the Rococo with the introduction of a more exotic, oriental culture in France called ""‘a la turque’."" This was made popular by Louis XV’s mistress, Madame Pompadour, who commissioned the artist, Charles Andre Van Loo, to paint her as a Turkish sultana. In the 1760s, a style of less formal dresses emerged and one of these was the ""'polonaise""', with inspiration taken from Poland. It was shorter than the French dress, allowing"
"was employed to make etchings after the drawings of Antoine Watteau, this connection helped shape his art style which later led him to paint ""The Blonde Odalisque"". When The Blonde Odalisque was painted in 1751, it was clear that Boucher had been fully influenced by the Rococo movement. =Marie-Louise O'Murphy= The woman seen in the painting is Marie-Louise O'Murphy, an Irish woman who was also known as Louison. She was born in 1737 and at the age of 14 became the youngest mistress to King Louis XV. She was only 14 years old when she modeled for this painting, which"
"distance. However, wanting to attract the King’s notice, Jeanne Antoinette drove directly in front of the King’s path, once in a pink phaeton, wearing a blue dress, and once in a blue phaeton, wearing a pink dress. The King sent a gift of venison to her. Though the King’s current mistress, Madame de Châteauroux, had warned off Jeanne Antoinette, the position became vacant on 8 December 1744 when Châteauroux died. On February 24, 1745, Jeanne Antoinette received a formal invitation to attend the masked ball held on February 25 at the Palace of Versailles to celebrate the marriage of the"
"kissed, and throughout their relationship, she remained “the bolder and more enticing of the two.” In 1732 or 1733, Louise Julie finally caught the attention of the king, and became his mistress with the approval of her spouse. Louise Julie de Mailly was described as a thin beauty, with a perfect oval face and dark eyes with marked eyebrows, which gave her a “provocative and sensuous charm”. She knew how to adjust the fashion to suit her, designed her own “piquant and suggestive” negligees, and often wore her diamonds in her carefully dressed black hair – she was, however, not"
"Louis XVI by English author Jean Plaidy. Louise Julie is one of the central characters in Sally Christie's ""The Sisters of Versailles"" (Simon&Schuster 2015), a novel about Louis XV and the notorious Mailly-Nesle sisters. Louise Julie de Mailly Louise Julie de Mailly-Nesle, comtesse de Mailly (1710–1751) was the eldest of the five famous ""de Nesle"" sisters, four of whom would become the mistress of King Louis XV of France. She was his mistress from 1732 until 1742. Louise Julie was born the eldest daughter of Louis de Mailly, marquis de Nesle et de Mailly, Prince d'Orange (1689 - 1767), and"
"Louis Alexandre Raimon Louis Alexandre Raimon (6 September 1922 – 3 January 2008), better known as Alexandre de Paris, was a famous French hairdresser (""maître coiffeur""). He was responsible for creating Elizabeth Taylor's coiffure in the 1963 Hollywood epic ""Cleopatra (1963 film)"". He also styled Greta Garbo, Audrey Hepburn and Lauren Bacall, among others. He was nicknamed the ""Prince de la coiffure"", ""d'Artagnan de la coiffure"", ""Sphinx de la coiffure"", and ""Figaro."" His signature chignons ""(knot or a coil of hair arranged in the back of the head)"" and his flamboyant style made him famous, setting fashions in hairstyling for"
"came along for hair and the ""pouf"", after the execution of Marie Antoinette, became history. The pouf returned in both the 20th and 21st century with the more modern name ""beehive"", revived by stars such as Dusty Springfield, Cilla Black, and Amy Winehouse. The pouf was a very elaborate and time consuming hairstyle, hours were needed to create it. To create the base, a very thin metal frame was used to structure the shape. Also a triangular pillow (""pouf, toque"") was used as support. The frame was then padded and intertwined with pomaded false hair 'postiches', and one's own hair"
"Louise Julie de Mailly Louise Julie de Mailly-Nesle, comtesse de Mailly (1710–1751) was the eldest of the five famous ""de Nesle"" sisters, four of whom would become the mistress of King Louis XV of France. She was his mistress from 1732 until 1742. Louise Julie was born the eldest daughter of Louis de Mailly, marquis de Nesle et de Mailly, Prince d'Orange (1689 - 1767), and Armande Félice de La Porte Mazarin (1691 - 1729). Her parents had been married in 1709. Her mother was the daughter of 'Paul Jules de La Porte, duc Mazarin et de La Meilleraye (1666"
"in their coaches, due to the immense height of the hair-dress. Wealthier women may have had their hair done more often than this due to the cost of the technique and materials; Marie Antoinette at one time was said to have a different hairstyle every day, which were designed by her dressmaker Rose Bertin and her favourite coiffeur Léonard Autié. Countess Goyon de Matignon, known as Madame de Matignon gave hairdresser Le sieur Beaulard 24 000 livres a year for styling her hair in a different way every day of the year. Duchess de Chartres ordered one batch of plumes"
"Sorel's name in their descriptors, Agnes Sorel bodice, Agnes Sorel corsage and a fashion style named after her as well, Agnes Sorel style, which is described as a ""princess"" style of dressing. Agnès Sorel Agnès Sorel (1422 – 9 February 1450), known by the sobriquet ""Dame de beauté"" (Lady of Beauty), was a favourite, and chief mistress, of King Charles VII of France, by whom she bore four daughters. She is considered the first officially recognized royal mistress. She was the subject of several contemporary paintings and works of art, including Jean Fouquet's ""Virgin and Child Surrounded by Angels"". Born"
"is most likely why Boucher chose to paint the back of her. After the painting was commissioned by the French court of the Ancien Régime, The King was so intrigued by the painting that he summoned her for himself. She stayed with The king for two years before she was seen as a threat to The Kings other mistresses and was caught asking the King personal questions. She was later asked to leave the Parc-aux-Cerfs, which was what Louis XV's secret brothel was called. Madame De Pompadour, Louis XV's most famous mistress, would regularly dismiss young mistresses for trying to"
"king took care of his financial needs but never paid him much attention. Later, Madame de Pompadour wanted to marry her daughter to him, but the king would not allow it. Pauline is one of the central characters in Sally Christie's ""The Sisters of Versailles"" (Simon&Schuster 2015), a novel about Louis XV and the notorious Mailly-Nesle sisters. Pauline Félicité de Mailly Pauline Félicité de Mailly-Nesle (1712–1741), marquise de Vintimille, was the second of the five famous ""de Nesle"" sisters, four of whom would become mistresses of King Louis XV of France. She was his mistress between 1739 and 1741. Pauline"
"worldwide reputation of French couture. In the mid-18th century, French women had begun to ""pouf"" (raise) their hair with pads and pomade and wore oversized luxurious gowns. Bertin used and exaggerated the leading modes of the day, and created poufs for Marie Antoinette with heights up to three feet. The pouf fashion reached such extremes that it became a period trademark, along with decorating the hair with ornaments and objects which showcased current events. Working with Léonard Autié, the Queen's hairdresser, Bertin created a coiffure that became the rage all over Europe: hair would be accessorized, stylized, cut into defining"
"a passion for things English, brought an enthusiasm for mahogany. The chairs of the Louis XV period were characterized by elegance, lightness and simplicity of form. The most notable craftsmen of chairs were Georges Jacob, furnisher to the Royal ""Garde-Meuble"", or furniture depot, from 1774, and Jean-Baptiste-Claude Sené who obtained the title of official ""fourniseur"" in 1785. The basic types of chairs were little changed from the Louis XV style, but a wider variety of forms appeared, particularly in the ""dossier"", or back, of the armchairs. These included ""en raquette"", ""en chapeau"", ""en lyre"", ""en grebe"", ""en anse de pannier"","
"Queen of France and Mme. de Pompadour, Louis XV's mistress, who was considered the most powerful woman in France at the time. Boucher was Mme. de Pompadour's favorite artist and was commissioned by her for numerous paintings and decorations. Boucher also became the principal designer for the royal porcelain factory and the director of the Gobelins tapestry factory. The Vulcan Presenting Venus with Arms for Aeneas is a template for a tapestry made by this factory. Characterized by elegant and refined yet playful subject matters, Boucher's style became the epitome of the court of Louis XV. His style consisted of"
"style. This was confirmed by the nomination of Le Troy as director of the Academy in 1738, and then in 1751 by Charles-Joseph Natoire. Madame de Pompadour, the mistress of Louis XV contributed to the decline of the Rococo style. In 1750 she sent her nephew, Abel-François Poisson de Vandières, on a two-year mission to study artistic and archeological developments in Italy. He was accompanied by several artists, including the engraver Nicolas Cochin and the architect Soufflot. They returned to Paris with a passion for classical art. Vandiéres became the Marquis of Marigny, and was named director general of the"
"gave his wife an estate, the Petit Trianon, and free rein to renovate it; soon rumours circulated that she had plastered the walls with gold and diamonds. The queen spent heavily on fashion, luxuries and gambling, though the country was facing a grave financial crisis and the population was suffering. Rose Bertin created dresses for her, and hair styles such as ""pouf""s, up to three feet (90 cm) high, and the ""panache"" (a spray of feather plumes). She and her court also adopted the English fashion of dresses made of indienne (a material banned in France from 1686 until 1759"
"chief architect to the Princes of Conti from as early as 1765. John Harris has identified Mme de Boufflers, the mistress and hostess of Louis-François de Bourbon, prince de Conti (1717–76), the friend and support of Rousseau and the first woman of fashion to open her salon to foreigners, as the first French gardener in a landscape style that genuinely could be called ""Brownian"", that is, reflective of the style of Lancelot ""Capability"" Brown. On her return from England in 1765, she immediately grassed over her gardens, both at the Hôtel Saint-Simon in the ""Temple"", Paris and then at the"
"parted in the center with height over the temples, and by the 1690s hair was unparted, with rows of curls stacked high over the forehead. This hairstyle was often topped with a ""fontange"", a frilly cap of lace wired to stand in vertical tiers with streamers to either side, named for a mistress of the French King. This was popular from the 1690s to the first few years of the 18th century. With the end of the Thirty Years' War, the fashions of the 1650s and early 1660s imitated the new peaceful and more relaxed feeling in Europe. The military"
"Therese Vien and Anne Vallayer-Coster. Work Basseporte was a teacher to Louis XV’s daughters and was responsible for educating them on the art of flower painting. It is during this time that she is believed to have also worked as an interior decorator for Madame de Pompadour, the king’s official mistress. Basseporte’s connections to major botanists of the time, such as the previously mentioned Carolus Linnaeus and Georges-Louis Leclerc, reveal the artist’s status within the genre of botanical illustration. Despite this, however, there is very little additional information available on her. The majority of said information derives from the Louis"
"""The Sisters of Versailles"" (Simon&Schuster 2015), a novel about Louis XV and the notorious Mailly-Nesle sisters. Marie Anne de Mailly Marie Anne de Mailly-Nesle, duchesse de Châteauroux (5 October 1717 – 8 December 1744) was the youngest of the five famous ""de Nesle"" sisters, four of whom would become the mistress of King Louis XV of France. She was his mistress from 1742 until 1744. Marie Anne was born the youngest daughter of Louis de Mailly, Marquis de Nesle et de Mailly, Prince d'Orange (1689 - 1767), and Armande Félice de La Porte Mazarin (1691 - 1729). Her parents had"
"was specially designed for Brigitte Bardot. Compact coiffures were popular in the 1950s as less importance was given to hairstyling, although a new look was stylized by Christian Dior’s fashion revolution after the war. In the 1950s, lotion shampoos with conditioning ingredients became popular precursors of the shampoo/conditioner rinse pairing of two decades later. The Clairol ad campaign, ""Does she ... or doesn't she?"" boosted hair color product sales not just for their company, but across the hair dye industry. The bouffant style relied on the liberal use of hairspray to hold hair in place for a week. Hairspray lacquers"
"de Sevigne recommended to her daughter. Her style was a new initiative, as she broke with the previous fashion and arranged women's hair upward instead of on the sides, signifying a new style of fashion. She invented the hair style ""a' la Maintenon"", which was famously adopted by Madame de Maintenon. She remained the leading hair dresser of the French court for several years during the late half of the 17th-century. Madame Martin Madame Martin (fl. 1671) was the hairdresser at the court of Louis XIV who popularised a style of elaborate tall hair. Madame Martin was married to a"
"short hair and wearing a toga. The style was adopted by both men and adventurous women like Lady Caroline Lamb, the ""Journal de Paris"" reporting in 1802 that ""more than half of elegant women were wearing their hair or wig ""à la Titus"""". An early example of an eponymous hairstyle was associated with the 5th Duke of Bedford. In 1795, when the British government levied a tax on hair powder, as a form of protest Bedford abandoned the powdered and tied hairstyle commonly worn by men of that era in favor of a cropped, unpowdered style, making a bet with"