Marie Antoinette was perhaps most iconically known for her sense of style. Although many of the ideas of French fashion we associate with her—the elaborate gowns, towering wigs, and fanciful headpieces—were already in place at Versailles by the time she arrived on the scene, she did take some of the concepts to new heights and bent the rules to make her own way. But she wasn’t always as chic as we have come to regard her.
When fourteen-year-old Archduchess Maria Antonia first crossed the River Rhine and arrived at the border of France, she was dressed in the Austrian fashion. The fabrics and cut of her gown were luxurious and very expensive, but Austrians had the reputation for being much more staid and businesslike than their French counterparts. Although the young archduchess was the offspring of the Holy Roman Empress and considered a Daughter of the Caesars—the most high-born of European royalty—she was still looked upon as provincial by the sophisticated French. The first thing they did, before even allowing her to cross into their land, was to strip her of all things Austrian—undergarments, jewelry, hairpins, etc.—and dress her à la française. This meant that nothing from her homeland was to cross into France with her, even her little pug Mops. All of her former belongings were left on the Austrian side of the border, and Maria Antonia, clothed, made-up, and with her hair dressed according to the customs of Versailles, emerged on the French side of the line of demarcation as Dauphine Marie Antoinette. Although this process was meant as more symbolism than fashion statement, she now looked the part of first lady of the most stylish court in Europe.
Working with the Queen’s hairdresser, Léonard, Mademoiselle Bertin also designed custom poufs—the inner pads and cushions—that supported the towering hairstyles of the time, some of which measured over three feet tall. Although wigs had been a required part of the costume of Versailles since its inception they literally reached new heights during the reign of Louis XVI and were cunningly sculpted to celebrate current events, one of the most famous commemorating the King’s inoculation against smallpox.
Shortly after Louis XVI’s coronation, he gifted his Queen with le Petit Trianon, which became her personal escape from the rigors of her position. Along with discarding the strictures of etiquette, she also put away the detestable corset and opted for simpler gowns that did not require one. Of course there were still state occasions when she had to revert to the overdone court dresses, but left to her own devices, she resorted to the comfort and easiness of poplin, muslin, tulle, or cotton lawn topped with a straw hat to complete the look. She even had a portrait painted dressed in this same simple manner. It sparked an unforeseen controversy, drawing nasty remarks ranging from outrage from courtiers at the Queen being depicted in her nightgown and diminishing the standing of the royals, to the common folk clamoring against her 'playing at' being a peasant. Although innocently done, many such unwitting blunders contributed to the disparaging of her character and the vilification of her public image, in part, leading to the downfall of the monarchy and the rise of the French Revolution.
*This post was originally run at Philippa Jane Keyworth ~ Writing, Wit & Wonderings
Ginger Myrick was born and raised in Southern California. She is a self-described wife, mother, animal lover, and avid reader. Along with the promotion for BUT FOR THE GRACE OF GOD, WORK OF ART, THE WELSH HEALER, and EL REY, she is currently doing a blog tour for INSATIABLE. She is a Christian who writes meticulously researched historical fiction with a ‘clean’ love story at the core. She hopes to persevere and show the reading community that a romance need not include graphic details to convey deep love and passion. Look for Insatiable: AMacabre History of France ~ L’Amour: Marie Antoinette live now at Amazon!