Coiffures, Poufs, Hats and Bonnets: Eleven Coiffures and Headdresses 1776

Editor: Here we have “Coiffures, Poufs, Hats and Bonnets: Eleven Coiffures and Headdresses,” an engraving with watercolor from 1776, by an anonymous artist. The scale is relatively small, like a fashion plate. All that hair! What strikes you about this piece? Curator: The sheer volume of labor embedded in this image is striking. Consider the sourcing of materials for these elaborate coiffures – the hair itself, likely supplemented with horsehair or wool, the fabrics, the feathers, the jewels. And then the skill required to assemble these materials into such extravagant displays. This image is a document of intense material consumption and artisanal production. Editor: So, it's not just about the aesthetic of the Rococo period but also about the actual making and the societal implications? Curator: Exactly. Who had access to these materials and skills? Who was excluded? Think about the social context. France, on the eve of revolution. This isn't simply decorative art, it is also indicative of class division, and the concentration of resources. And let’s not forget the political statements some of these coiffures made – the ‘coiffure à la Belle Poule’ celebrating a naval victory for example. How might the consumption of this print be connected to actual displays of wealth and power in the streets? Editor: That’s fascinating. I never considered the labor aspect before; I only focused on the final look. The engraving now feels less frivolous. Curator: The image itself is a product, consumed, circulated, and further influencing material culture. The lines of production and consumption are intricately entwined. Hopefully, looking closely helps reveal more about this historical moment and material processes.