Costumes, Culture, Cocoa Costumes: Costumes, Flowers, Beauty, Riches And Riches

The social background of the new Rococo Era clothing In December 2, 1852, Louis Bonaparte officially became emperor, and from then on to 1870, France entered the second imperial era of modern history. The second emperors of Napoleon III almost destroyed all the Democratic achievements of the February 1848 revolution. The political power represented the interests of the great bourgeoisie and was supported by industrial and commercial capitalists and financial capitalists, and was also supported by the Catholic forces. Napoleon III paid great energy to develop the capitalist economy. The government set up some specialized banks to lend money to industry and agriculture. The new Rococo mainly refers to women's clothing in this period. We admire the magnificent style of Louis sixteen era, do not pursue functional, skirt expansion, and new pant - Kerrey Kerrey.

　　 1. Kerrey's change

First, the hard petticoat made of horsetail lining, then add a few fine wire rings. This kind of skirt with the wheel bone is called Kerrey Lin.

By the end of 1850, the British invented the pony brace without horsetail lining. This is a new type of Kerrey linoline made of baleen, bird feather, stem bone, fine wire or rattan. It is made of a new type of birdcage. It is from the dome of the past to the Pyramid shape. There are no round bones at the front, flat, and larger back outward expansion, which is lighter, more elastic and more convenient.

Because of skirt As the children grew older, the women came out wearing corsets, Cole Seth and Kerrey, but also wore underwear, DorothyHamm Vaz (semi underwear) or Pang talon, plus long petticoat or short petticoat.

In 1868, the bulging state of the skirt shifted to the rear. Like the basil style at the end of Rococo, Poland rob appeared, and then moved to the third Basil style at the end of the century.

(1) the collar continued the high neckline and low neckline of the previous era. The front was lifted, with a row or two rows of buttons. clothes From this era, we can see the tendency of women's clothing to move closer to men's clothing.

(2) pagoda srib (pagoda sleeves), sleeves narrow, cuffed and trumped, with special sleeves attached to the fabric with lace or embroidery.

(3) corset Cole Seth continues to use.

(4) more and more decorations are worn on the skirts outside; the horizontal section of the folds and decorations is contrasted with the contrasting colors of the skirts. Later, the bone was removed and the skirt turned into a Pyramid shape. In the late 60s, the outer skirt was rolled up with concealed tape to reveal the Poland style of the inside skirt. The coat continued to be popular with mandre and shawls, and there were all kinds of men's front coats.

Women's trousers and women's liberation movement, the introduction of Arabia's loose knickers. Women's wear With the development of women's sports activities, women's wear trousers have been gradually recognized.

Popular fabrics are taffeta most popular.

Rococo art was originated in Paris in the early eighteenth Century, which is widely used in interior, decoration, painting, architecture and sculpture design. Its characteristics are relaxed, graceful, noble, elegant, and widely used curve and natural form for decoration. The term "Rococo" derives from the French "rocaille". The main form of architectural expression is interior decoration, which is characterized by the combination of the raised shell pattern and the vetch leaf theme in interior decoration and furniture modeling. The Rococo style is repeated in the form of "C" shape and "S" scroll shape. It usually takes symmetry instead of symmetry, and its color is fast and light. Ivory and gold are popular colors. This Rococo style affects cultural phenomena such as clothing, painting, music, literature, and so on, and is popular in many European countries and becomes an international art form. {page_break}

　　 1. Rococo Clothes & Accessories Causes of formation

The birth of Rococo art is influenced by many aspects, mainly in the aspect of costumes, which is mainly influenced by luxurious pride and luxury. Louis's fifteen mistress, Mrs. Ponbadu, and the queen Maria Antoinette, Louis's sixteen, who are known for their extravagance, are two. Under the influence of these two women, Rococo clothing can be produced and developed, and will never end on the stage of costume history.

Rococo's performance in clothing was driven by the industrial revolution. Spin The rapid development of the industry has been achieved. After the industrial revolution, the rapid development of the textile industry, so that more choices have been made for the fabric, and more variety. Lace, flowers, bow, ribbon and puffed up have been widely used in women's clothing and men's wear design. The large variety of ornaments used in costumes is the typical costumes of the Rococo period. Its decorative effect highlights the feminine charm, femininity and the delicate and exquisite nature of men. At this point, the use of a large number of ornaments shows the transformation from Baroque style dominated by male characteristics to Rococo style dominated by female characteristics. At the same time, the luxury and refinement of costumes show the cultural characteristics of the Rococo period. In addition, political change, economic development, and civilized thinking have all contributed to the development of Rococo culture.

　　 Two. Rococo dress Characteristics of integral modeling

After the middle and late eighteenth Century, the most striking feature of the Rococo women's dress was the buttocks protruding to the sides from the pant, and the rectangle below the waist. The corset was wrapped in a flat cone on the waist above the waist, and faced with the inverted triangle. The overall shape, which is visually shaped like an arc dome, is an exaggerated shape pursued by people during the Rococo period. Mrs. Ponbadu is the most gorgeous representative of Rococo women's clothing. The costumes are specially focused on extra decoration. They are decorated with numerous lace, ribbon ribbons, artificial flowers ornaments and cumbersome complex folds. The skirts and skirts are decorated with twisting flashes and lace, and the whole costumes are flowery, beautiful and rich.

Rococo costumes also have their typical characteristics in specific local modeling. For example, the style of Ponpadu neckline named by Mrs. Ponpadu is a wide and low neckline designed for the inverted ladder. The opening of the neckline is wider, and it is very low. It can reveal 1/4 of the breasts, and the upper neckline near the shoulder is narrower. This shape is comparable to the wide and curved court dress neckline. This inverted trapezoidal neckline style design is similar to the natural droop pattern of curtains in interior decoration. It is not difficult to see that the two models echo each other in form. This pattern produces the effect of partial symmetry on Rococo clothing in general.

Rococo decorative arts gradually change the symmetry of traditional art form into asymmetric novelty features in the process of curve freedom. This feature can be seen everywhere in Rococo decoration art. The artistic style and lifestyle are highlighted in these factors, and become the decisive factors affecting clothing, especially women's clothing. Rococo women's clothing entered the peak of "artificial" decoration.

　 Three, the characteristics of Rococo costumes in color and decoration.

(1) soft and bright colors and natural forms of decoration.

The remarkable feature of Rococo clothing is soft, delicate, delicate and soft, which makes the whole style of dress more beautiful and complex. The use of exaggerated shapes, soft colourful colors, and natural forms of decoration in costumes gives people a luxurious and romantic visual effect. The Rococo color is usually in white, gold, pink, pink, light yellow and other delicate colors. The colors on clothing are also shown in soft, bright colors, such as sweet champagne and cream.

Rococo clothing seeks soft and delicate appeal. In order to imitate natural forms, ornaments and other components on clothing are often made in an asymmetric form. The use of decorative themes from nature makes Rococo decorative art full of feminine relaxed lightness, which embodies the aesthetic interest of the rising bourgeoisie in its rising stage, which emphasizes satisfying its sensual pleasure. The embodiment of natural form on clothing is a large number of natural and flower oriented fabrics. During this period, the printed fabrics of France were beautiful and beautiful. At that time, the main flowers were roses and orchids, and realistic flowers were used in processing, and flowers were linked to each other by the vine.

Rococo clothing seeks soft and delicate appeal. In order to imitate natural forms, ornaments and other components on clothing are often made in an asymmetric form. The use of decorative themes from nature makes Rococo decorative art full of feminine relaxed lightness, which embodies the aesthetic interest of the rising bourgeoisie in its rising stage, which emphasizes satisfying its sensual pleasure. The embodiment of natural form on clothing is a large number of natural and flower oriented fabrics. During this period, the printed fabrics of France were beautiful and beautiful. At that time, the main flowers were roses and orchids, and realistic flowers were used in processing, and flowers were linked to each other by the vine.

The evolution of Rococo costume has gone through three periods: Duke Orlean Regency era, Louis fifteen era and Louis sixteen era. Rococo clothing is also very delicate and soft on decorations, and uses decorative techniques such as gold thread, coloured drawing, lace and tassels. For example, under the influence of interior decoration style, French robe sleeves are more suitable than earlier ones, and cuff making is more unusual, delicate and complicated, and with trims. The winged cuffs in the Hua Tuo rob are replaced by filament frills. This ruffle is usually two layers with tassels, metal trims and multicolored lace. Underneath the sleeves, double or three fold frills. The frills are thin and wide, with lace on the edges, which is the most charming classic "lotus leaf folds sleeves" at that time. {page_break}

　　 (two) attention and performance of decorative effects

The Rococo women's dress is made up of an inside bodice, a reverse triangular foot (st amaka), a skirt (pany) and a gorgeous petticoat covered with a skirt, and the outermost skirt (Luo Bu). The pair of corsets and pampas have created romantic, charming and luxurious customs of Rococo women's clothing to a large extent. As the most representative soul of Rococo women's clothing, its exaggerated shape and super large garment surface are given to the soul. Designer Enough decorative space to make the delicate and gentle dress art vivid.

Corsets have always been one of the most important means of modeling Western women's wear. When wearing a corset, the chest is usually fitted with an inverted triangular breast pocket. This is an independently made clothing component. When worn, it is tied under the belt of the front corset, and it can also block the opening of the bra, which can be regarded as an important part of Rococo dress adornment. There are exquisite decorations on the belly pocket, which is the expression of the beauty of detail and the beauty of craft.

As an important part of Rococo women's clothing, the skirt skirt forms the perfect X type with the corset. In the early days, the "pie" was bell shaped (as shown in Figure 1). The increase in the outer layer of "Nair" creates more opportunities for surface decoration. The front skirt with a wide opening and a wide variety of skirts are the focus of modern western women's clothing. Usually there are skirts, petticoat and bottom skirts under the outer skirts. The layers of skirt form a layered visual effect with its fine, delicate and varied decoration, and become the symbol of eighteenth Century's pursuit of delicate pretence and functional enjoyment. This three-dimensional pleat and the stitching and reconstruction of garment fabrics add to the visual relief and three-dimensional sense of the garment.

Lace is a fabric with perforated mesh lace, usually patterned. The earliest hand woven fabrics, in eighteenth Century, due to the progress of textile technology, lace production has entered the peak. Because of its beautiful material, exquisite handwork and expensive price, it is a symbol of wearer's status and wealth. The decoration of lace and lotus leaves is a decorative classic of Rococo art (Figure 2). The sleeves of Rococo women's clothing are narrow and tight fitting from shoulders to elbows. The lace trims hang down from the elbows and naturally open. Lace sleeves not only play a decorative role, but also modeling function, so that the overall appearance of the sleeve triangle. Such sleeves play a good role in visual harmony between the trunk of the inverted triangle and the lower skirt of the rectangle, matching with the overall shape of the garment, thus changing the lace from the symbol of identity, status and wealth to the symbol of female sexuality.

The theme of flowers in Rococo clothing is mainly manifested in two aspects: fabric and decoration. Whirlwind vines and elegant flowers are often used and displayed. Embroidery technology adds noble temperament and romantic atmosphere. The use of flowers in Rococo costumes is not only manifested in the pattern of fabrics, but also in the use of natural or artificial flowers.

People often compare Rococo style women's clothing to "grand basket of flowers", in addition to flowers, lace, bow and ribbon. It not only used in women's clothing, but also frequently appeared in men's clothing, creating the peak age of men's decoration, and adorned the romantic elegance of men's wear. In eighteenth Century, the focus of dress adornment shifted to women's wear, ribbon and bow tie were adopted by women's clothing, and became the most typical decorative elements of Rococo women's wear.

The decoration of ruffles and lotus leaves is another important feature of Rococo women's decoration. The frill is to fold the narrow strip of fabric into a pleat and to fix it on the fabric to form a wrinkle on both sides. The decoration of ruffles is often used for clothing decoration or some special parts, such as the surface decoration such as the chest, skirt and so on. The lotus leaf refers to the shrinkage or kneading of one side of the striped fabric, while the other side has a concave and convex shape. The width and width are different according to the needs of the specific decorative parts. This kind of decoration is often used in Rococo costumes, such as the front edge of skirt, the edge of skirt and the bottom of the skirt. The wavy edge lines formed by the lotus leaf and frills, and the appearance of saw teeth and convex concave appearance, make the edges of the clothes no longer flat and monotonous, but the layers are undulating, light and elegant, and are very feminine. These two classic decoration methods are not only representative of Rococo dress adornment, but also extended to the costume design of later romanticism period, and have been preserved until today.

There are many variations in the way of decorating pucco. In the Rococo women's clothing, there are many variations. One of the most distinctive features is to fold up the skirt's edge and fold it up every other distance, so that the skirt will form an arc curtain and the underneath petticoat falling down. The inspiration of this style comes from the characteristics of interior fabric decoration. Another way is to stitch the fabric with stitches on the reverse side according to a certain stitch. From the front, it has a concave and convex relief feeling. This process is called "accumulation" in modern three-dimensional cutting. The folds that are accumulated and tied up are neat and regular, and some are random and changeable, and the huge circular arched skirts are covered with drape like folds. This kind of visual effect not only enriches the fabric mechanism, but also embodies the originality of artificial modification.