Nouvelles modes de 1797; Coiffure a la bonne fortune. 1797

Editor: This is "Nouvelles modes de 1797; Coiffure a la bonne fortune," a print created in 1797 by Claude Louis Desrais. It uses watercolor and ink on paper, and is held at the Rijksmuseum. What immediately strikes me is the sheer variety of hairstyles displayed. What historical narratives do you think this piece reveals? Curator: This image provides us with a fascinating lens through which to examine the socio-political climate of post-Revolutionary France. The obsession with fashion wasn't simply frivolous; it became a visual battlefield. These hairstyles—each with its own provocative name—represented a negotiation of identity after the rigid structures of the monarchy were dismantled. How might these extreme styles also reflect a rejection of the puritanical values sometimes associated with revolutions? Editor: That's a great point, I hadn't considered how these fashions could also push against newly installed norms! Curator: Consider also the fact that fashion became a crucial industry during this time, empowering women as creators and consumers. This print could also serve as a commentary on emerging capitalism and its influence on gender roles. Can you imagine the conversations and social performances surrounding the adoption—or rejection—of these "modes"? Editor: It’s a bit like a visual newsreel of resistance and adaptation all rolled into one decorative sheet. I never would have thought fashion could carry so much significance! Curator: Exactly. Art, even in seemingly superficial forms, is a powerful register of societal shifts and individual expression. This isn't just about pretty hairstyles; it's about agency, identity, and the turbulent birth of a new republic. Editor: I see it now! Thanks for untangling that. Curator: It’s all about situating the object within a matrix of historical forces, always asking: who benefited, who was excluded, and what dialogues were unfolding? Hopefully this provides new questions about this artwork to consider!