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Both are part of the museum’s exhibition “Des Cheveux et des Poils,” which translates to “Hair and Body Hair” (or fur) — the museum’s latest attempt to explore the relationship between the human body and fashion (recent shows have interrogated footwear, the rules of attire and undergarments).
Boasting 600 works dating from the 15th century to today, the show, in the museum’s words, “demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries.”
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Despite bordering on the bizarre, the exhibition uses these pieces to explain how hair has long been exploited by fashion and used to express identity. Hair, wherever it may be, has been a tool of both self-expression and oppression, of protest and societal progress.
For Rachael Gibson, a journalist who runs the popular Instagram accountThe Hair Historian, the exhibition is a welcome opportunity to examine beauty trends in an academic way that is usually only reserved for fashion.
“There are fashion museums all over the world, and fashion history is studied at universities. (But) quite often beauty gets left out of the conversation,” she told 【 - Free Stock Market Forecasting Tools 】. “There are so many weird and wonderful things that happened within hair and beauty on a global and historical scale that tell us so much about what was happening in the world (at the time).”
On the day I visited, a few dozen people had lined up ahead of the exhibition’s 11 a.m. opening. We entered a dimly lit room where portraits of women, ordered chronologically, adorned the walls. The progression showed the evolution of hair styles in medieval Europe, when most adhered to Christian norms requiring heads to be covered with a hood or veil.
Come the 16th and 17th centuries, women’s hair was increasingly on display and, in particular, French women’s once-hidden locks grew ever taller — reaching new heights in the 1770s as seen in Jean-Baptiste-Andre Gautier-Dagoty’s 1777 painting “Portrait of a Woman.” Though the eye is drawn to the subject’s hazel eyes and thick eyebrows, it’s impossible to ignore the towering hairstyle she is sporting: a “high roll,” built over a crinoline cushion. Requiring significant preparation, the high rollwas considered a status symbol among the French elite and eventually made its way to England and the United States.
Long hair remained in vogue throughout the 18th century, but not in all circles, as evidenced by a macabre party theme that emerged in 1795, following a period of the French Revolution known as the Reign of Terror. Relatives of those executed by guillotine attended so-called “bals des victimes” (victims balls), at which they, in the words of one witness at the time, “cut their hair short around the neck, just as the executioner cuts the hair of victims.”
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Why is Captain Polyplast Limited (536974) rising ✌️【Risk Management】✌️ Real-time stock and futures data, backed by expert stock market trend predictions, to help you make timely and profitable investment decisions. According to a museum display, hairless male bodies in art were synonymous with the idealized body, while the hairy body was associated with “virility, or even triviality.” Traditionally, the exhibition also noted, men’s body hair was only displayed in athletic portrayals, erotic illustrations and medical engravings. And while students in 19th-century art schools were instructed to draw what was in front of them — complete with hair — they were told that “in paintings and sculptures destined for public exhibition, body hair, considered repulsive, must not appear,” according to the museum text.
“The ideal,” reads an exhibition note underneath a portrait of a nude male model, “has long been of a hairless body.”
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