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Pouf

The pouf, also spelled pouffe and deriving from the French term for a thick cushion, is a voluminous hairstyle that originated in mid-18th-century France, characterized by a towering structure of powdered hair built upon wire frames, pads of wool or horsehair, and false curls, often reaching heights of over a foot.^[1]^[2] This elaborate coiffure, which combined the wearer's natural hair with artificial extensions stiffened by pomade and flour-based powder, became a hallmark of aristocratic fashion during the 1770s and 1780s, particularly at the court of Versailles under Queen Marie Antoinette.^[3]^[4] Popularized by hairdresser Léonard Autié, who served Marie Antoinette and innovated techniques to elevate hair into beehive-like forms, the pouf allowed for thematic decorations symbolizing current events, such as naval victories represented by miniature ships or agricultural motifs with produce, reflecting both personal expression and political commentary among the elite.^[5]^[6] Its construction demanded daily maintenance due to the perishable elements like fresh flowers or fruits, contributing to perceptions of decadence and impracticality that fueled social satire and criticism in pamphlets depicting the style's excesses.^[4]^[7] The pouf's decline coincided with the French Revolution's onset in 1789, as simpler neoclassical styles emphasizing natural hair supplanted the ornate Baroque influences, marking a shift from opulent display to republican austerity.^[8]^[9]

History

Origins in 18th-Century France

The pouf hairstyle emerged in mid-18th-century France as an extension of escalating hair volumes that began in the 1760s, characterized by teased and powdered arrangements elevated on wire scaffolds, pads of wool or horsehair, and liberal applications of pomade for stiffness.^[10]^[11] These early structures transitioned from simpler curls and twists, such as the tête de mouton popular in the 1750s–1760s, toward more architectural forms that could reach 3 feet (91 cm) in height by the 1770s.^[10] The term "pouf" derived from the French verb pouffer, meaning to swell or puff up, reflecting the style's inflated appearance akin to a cushioned bolster.^[1] The first recorded pouf appeared in April 1774, commissioned by Louise Marie Adélaïde de Bourbon, Duchess of Chartres, as the Pouf Sentimental to commemorate the birth of her son at the Paris Opera.^[8] This inaugural style incorporated personal motifs, such as symbols of sentimentality, atop a base of the wearer's real hair blended with false pieces and gauze for volume.^[4] Its debut marked the pouf's entry into aristocratic fashion circles, driven by Versailles court influences where elaborate coiffures signaled status and innovation.^[1] Léonard Autié, appointed Marie Antoinette's premier hairdresser in 1777 after her initial encounter with him in 1774, played a pivotal role in standardizing and elevating the pouf through inventive techniques, including the use of 14 yards (12.8 meters) of gauze in some constructions.^[12]^[13] Autié's contributions, detailed in historical accounts of his career from provincial barber to royal innovator, included variations like the hérisson (hedgehog) pouf with spiked elements.^[14] Queen Marie Antoinette accelerated its adoption by debuting a pouf at Louis XVI's coronation on June 11, 1775, featuring pearls, feathers, and other ornaments that set precedents for decorative excess.^[12] This royal endorsement, amid the opulent pre-Revolutionary era, propelled the pouf from novelty to emblem of haute coiffure among the French nobility.^[4]

Evolution and Peak Popularity

The pouf hairstyle evolved from preceding French court styles, notably the fontange of the 1680s, which used ribbons and wire commodes to pile hair high above the forehead, and the more restrained tête de mouton curls of the 1740s. In the early 1770s, hairdresser Léonard Autié and milliner Rose Bertin pioneered its modern form, transitioning to cushion-like pads of wool, cotton, or horsehair overlaid with powdered natural and false hair for greater volume and thematic expression.^[8]^[3] Early examples emerged in 1774, including the "Ques-a-co" with elevated curls and ostrich plumes, and the "pouf aux sentiments" commissioned by the Duchess of Chartres, featuring 14 yards of gauze draped over symbolic wax figures representing personal sentiments. These innovations emphasized structural support via wire frames, enabling heights from 12 to 72 inches, and incorporated decorations like feathers, jewels, and miniature scenes tied to individual narratives or events.^[8]^[3] Peak popularity occurred from the mid-1770s to the early 1780s, particularly at Versailles under Marie Antoinette, who popularized the style after debuting it at Louis XVI's June 1775 coronation. During this era, poufs epitomized Rococo extravagance, with variations such as "à la Belle Poule"—commemorating a 1778 French naval victory via ship models—and "à la circonstance" styles adapting to contemporary news like hot air balloon launches or gardens with windmills, often reaching up to three feet in height.^[4]^[8]^[3]

Decline and Historical Context

By the late 1770s, the pouf hairstyle began transitioning toward lower profiles, with heights diminishing and shapes becoming rounder during 1779–1781, often paired with fuller side curls.^[10] This evolution reflected emerging preferences for slightly more subdued forms amid growing critiques of excess, though elaborate decorations persisted into the early 1780s.^[10] Powdered hair remained common, but the towering structures gradually gave way to shorter, curlier styles by the mid-1780s, signaling a broader shift in fashion toward simplicity.^[10] The pouf's decline accelerated with the French Revolution starting in 1789, as its association with aristocratic opulence—exemplified by Marie Antoinette's patronage—made it a target for rejection amid widespread resentment of courtly extravagance.^[3] Revolutionary ideals favoring neoclassical austerity, inspired by ancient Greek and Roman republics, promoted cropped, unpowdered hair like the coiffure à la Titus in the 1790s, rendering the pouf obsolete as a symbol of the Ancien Régime.^[15] Satirical prints and pamphlets had already mocked the style's impracticality and excess in the 1770s and 1780s, amplifying public disdain that aligned with political upheaval.^[4] In historical context, the pouf emerged within the Rococo aesthetics of Louis XV's court but peaked under Louis XVI, embodying gendered displays of wealth and status amid Versailles' isolation from economic realities.^[2] Its rapid fall paralleled the monarchy's collapse, with émigré aristocrats abandoning such markers abroad and post-revolutionary France embracing egalitarian fashions that prioritized functionality over ornamentation.^[8] This shift extended across Europe, where Enlightenment critiques of frivolity eroded support for similar high styles by the 1790s.^[16]

Construction and Styling

Materials and Techniques

The pouf hairstyle relied on a structural base typically formed from wire frames or cages to achieve its characteristic height, often reaching up to three feet.^[17] These frames were padded with materials such as horsehair, wool, tow, hemp, or cut hair to create volume and cushioning.^[10] Gauze or cloth was wrapped around the wire mesh for additional support and smoothness before layering.^[18] Hair integration involved combining the wearer's natural hair with false pieces or wigs, piled and shaped over the padded frame.^[2] Pomade, composed of animal fats like bear grease or lard, was applied to slick and hold the hair in place, forming smooth curls or waves.^[19] The structure was then dusted with powder, often scented and tinted, to set the style and add a fashionable sheen.^[4] Professional hairdressers, such as Léonard-Alexis Autié, employed techniques like parting the hair, pinning sections forward over the crown, and securing rats or hairpieces to build the foundation.^[20] Curls were pre-formed using heated tools or papers, then arranged asymmetrically for natural appearance, with pins and ribbons providing final fixation.^[21] This labor-intensive process could take several hours, reflecting the hairstyle's exclusivity to the aristocracy.^[3]

Achieving Height and Structure

The height and structure of the pouf hairstyle were primarily accomplished using supportive foundations such as wire frames and padded cushions, which served as scaffolding beneath layers of hair.^[1]^[10] Thin metal wire cages or frames provided rigid shape, often forming a base that could elevate the coiffure to 12 inches or more, while triangular pillows known as toques or poufs added cushioned volume.^[8] These elements were secured to the head with ties or pins before the hair was piled atop them, allowing for asymmetrical or dome-like forms that defied gravity.^[2] Hair integration involved dividing the wearer's natural locks, teasing sections for bulk, and incorporating false hairpieces or switches to amplify density and height.^[4]^[10] Pomade—a stiffening paste made from animal fats like lard or beef suet mixed with flour, starch, or almond paste—was liberally applied to bind the hair into place, creating a hardened shell that withstood movement.^[2]^[10] Padding materials for the cushions included lightweight options such as wool, tow (coarse fibers), hemp, horsehair, or finely cut hair clippings, selected to balance elevation with wearability.^[4]^[10] This combination enabled structures reaching up to three feet in extreme cases, though typical heights ranged from one to two feet, often further extended by decorative ornaments.^[18]^[8] Professional hairdressers, such as Léonard Autié, refined these techniques in the 1770s, innovating the "High Roll" style by maximizing hair elevation over minimal padding to achieve unprecedented verticality without collapsing under weight.^[8] The process demanded precision: the back hair was often pinned flat or in a low chignon to anchor the frame, while forward-combed sections from the crown were draped and curled over the supports, then powdered with finely milled starch for opacity and fixation.^[10] Such methods prioritized visual impact over natural hair volume, reflecting the era's emphasis on artifice in aristocratic fashion.^[3]

Decorations and Variations

Poufs were adorned with diverse ornaments such as ostrich feathers, artificial flowers, fruits, foliage, ribbons, pearls, and jewels, often arranged to evoke personal sentiments or current events.^[10]^[22] These decorations, secured atop the structured hair base, could include thematic elements like miniature ships, birdcages, or figurines, transforming the pouf into a narrative display.^[10]^[23] Variations frequently reflected contemporary occurrences or individual preferences; for instance, the pouf à la Belle-Poule (1778) incorporated a model frigate to commemorate a French naval victory over the British during the American Revolutionary War.^[24] Similarly, the pouf à la victoire featured laurel branches celebrating military successes in the same conflict. Seasonal motifs, such as fresh produce for harvests or national symbols for political attachments, allowed wearers to personalize the style, akin to a "charm bracelet for the head."^[25]^[4] By the late 1770s, pouf variations shifted toward rounder profiles with reduced height, incorporating denser side curls while retaining elaborate toppings like caps or hats over ribbons and beads.^[10] These evolutions maintained the pouf's decorative excess, with ornaments sometimes reaching extravagant scales, such as towering plumes or multi-tiered floral arrangements, before the style's decline in the 1780s.^[3]^[8]

Practical Considerations

Maintenance and Hygiene Challenges

The pouf hairstyle's maintenance demanded daily application of pomade, a greasy concoction typically derived from animal fats such as bear grease, mutton tallow, or pork lard, which was scented and used to sculpt and fix the hair into its elevated form using pads, wool, or false curls.^[26]^[19] This was followed by liberal dusting with powder made from wheat starch, rice, potato starch, or occasionally flour to absorb excess oil, provide opacity, and achieve the desired white or tinted sheen, a process that required specialized tools like powder puffs and could consume significant quantities of material.^[27]^[28] The structure's height, often exceeding 18 inches and weighing several pounds, necessitated careful handling to prevent collapse, with wearers sometimes employing wire frames or sleeping in reclined positions to preserve the shape overnight.^[2] Hygiene posed acute difficulties, as the pomade's rancid fats and infrequent full washing—hairstyles were commonly retained for weeks or even a month without immersion in water, relying instead on powder as a dry cleanser—fostered bacterial growth, scalp irritation, and persistent odors masked only partially by perfumes or floral decorations.^[29]^[30] These conditions attracted lice and other vermin, which nested in the unwashed, greasy mass, prompting the use of fine-toothed combs, scented powders with lavender or citrus to deter pests, and custom ivory scratchers designed to alleviate itching without dismantling the coif.^[31]^[32] Historical observers noted that such infestations were widespread among the aristocracy, exacerbating discomfort and requiring vigilant grooming routines amid the era's limited understanding of microbial causes.^[33]

Economic Accessibility and Cost

The pouf hairstyle, prevalent among French aristocratic women in the 1770s and 1780s, was economically inaccessible to all but the wealthiest elites due to substantial labor and material expenses. Skilled coiffeurs, such as Léonard Autié who served Marie Antoinette, required extensive time—often several hours per session—to construct the towering structures using wire frames, horsehair pads, pomade, and the wearer's own hair augmented with false pieces.^[34] These professionals commanded premium fees reflective of their expertise and the era's guild restrictions on barber-coiffeur distinctions, which elevated hairstyling to an artistic service.^[35] Annual contracts with top hairdressers underscored the extravagance; for example, the Comtesse de Matignon paid her coiffeur Baulard 24,000 livres per year for daily redesigned headdresses, equivalent to dozens of times the average urban laborer's wage of around 300–400 livres.^[36] Individual sessions or custom chignons—essential components for pouf volume—ranged from 6 to 12 livres in the 1780s, but elaborate aristocratic versions incorporating imported pomade and scented powder escalated costs further.^[34] Maintenance added ongoing burdens, as structures demanded frequent re-powdering with expensive perfumed flour substitutes and repairs to decay-prone elements like feathers or fabrics, rendering the style prohibitive for the bourgeoisie or lower classes who opted for simpler, self-managed curls or caps.^[10] Material outlays compounded inaccessibility; wire scaffolds and luxury adornments such as ostrich plumes or miniature models, often sourced from specialized suppliers, could exceed routine household budgets, positioning the pouf as a deliberate marker of opulent status amid pre-revolutionary fiscal strains.^[4] While some middle-class women emulated scaled-down versions using cheaper domestic alternatives, authentic poufs remained a preserve of nobility, fueling perceptions of aristocratic detachment from broader economic realities.^[3]

Symbolism in Aristocratic Society

The pouf hairstyle functioned as a potent symbol of aristocratic status and material excess in late 18th-century Europe, embodying the elite's capacity to indulge in conspicuous consumption amid rigid social hierarchies. Worn predominantly by noblewomen at courts like Versailles, its towering structures—often exceeding 12 inches in height and built on wire frames padded with horsehair and secured by pomade—required the expertise of professional coiffeurs and substantial time investments, signaling detachment from productive labor and reliance on household servants.^[10]^[8] This impracticality reinforced class distinctions, as only those with ample resources could sustain such elaborate grooming, which might endure for days or weeks despite hygiene drawbacks.^[3] Beyond structural ostentation, the pouf served as a canvas for displaying wealth through opulent adornments, including imported ostrich feathers, precious gems, ribbons, and even miniature models of gardens or vessels, which underscored the wearer's access to global trade networks and luxury goods.^[4] These elements not only amplified visual prominence but also evoked imperial prowess, with feathers sourced from distant colonies symbolizing economic dominance and familial estates represented in scaled replicas.^[2] In aristocratic circles, such displays calibrated social rank, where the scale and rarity of decorations correlated with proximity to royal favor and inherited fortunes. The pouf also enabled personalized symbolism via variants like the pouf aux sentiments, where wearers incorporated emblems of personal milestones, emotions, or allegiances—such as cypress branches for mourning, laurels for triumphs, or ships commemorating naval successes—to narrate individual and dynastic narratives.^[6] Introduced around 1774 by figures like the Duchess of Chartres to mark a birth, this mode transformed the coiffure into a dynamic emblem of aristocratic identity, blending sentiment with status assertion.^[8] Popularized by hairdresser Léonard Autié for Marie Antoinette starting in 1777, it allowed noblewomen to project refined cultural literacy and emotional depth, further distinguishing them within courtly intrigue.^[2]

Reception and Political Satire

The pouf hairstyle garnered admiration within aristocratic circles for its ostentatious display of wealth and ingenuity, often incorporating topical elements such as miniature naval vessels in the "pouf à la Belle Poule" to commemorate French naval victories in 1778.^[4] Fashion innovators like milliner Rose Bertin and hairdresser Léonard Autié elevated the style through bespoke creations for figures like Marie Antoinette, positioning it as a pinnacle of courtly sophistication.^[3] Yet, outside elite spheres, reception soured due to perceptions of impracticality and frivolity; British commentator Horace Walpole derided such fashions as "silly" in a 1782 letter, reflecting wider elite skepticism toward their cumbersome nature, which hindered activities like dancing.^[4] Public discontent intensified as the pouf symbolized aristocratic detachment amid France's fiscal strains in the 1780s, amplifying criticisms of monarchical excess that presaged revolutionary fervor.^[3] Satirical prints lampooned the style's absurdity, with British caricaturist Matthew Darly's "Top and Tail" (1777) depicting a rear view of an exaggerated pouf to imply its wearers were intellectually vacant.^[4] In France, works like "Le Triomphe de la Coquetterie" (circa 1780) portrayed women in mock jousts over headdresses, critiquing coquettish vanity and courtly waste.^[4] These engravings, akin to contemporary political cartoons, harnessed the pouf's towering scale and ornamentation—often feathers, fruits, or models—to underscore themes of moral decay and economic irresponsibility, particularly targeting Marie Antoinette's patronage.^[2]

Criticisms and Limitations

Impracticality and Health Risks

The towering height of pouf hairstyles, often exceeding one foot and supported by wire frames, horsehair pads, and voluminous padding, rendered them highly impractical for everyday activities, as wearers frequently struggled to navigate doorways, carriage roofs, and low ceilings without dislodging ornaments or collapsing the structure.^[18]^[37] These elaborate constructions, which could take hours to assemble using pomade, powder, and accessories like feathers or miniature ships, also proved cumbersome during travel or social events, limiting mobility and requiring constant adjustments to prevent sagging under their own weight.^[2] Health risks associated with poufs stemmed primarily from their poor hygiene and flammable materials; the greasy pomade base, combined with flour- or starch-based powder, created an ideal environment for lice infestations and bacterial growth, leading to scalp sores and infections as the unwashed styles were often worn for weeks.^[38]^[39] The lard-infused pomade and accumulated powder attracted vermin such as rats and mice, which nested in the structures overnight, exacerbating infestations and necessitating measures like head cages to deter rodents while sleeping.^[40]^[41] Fire hazards were acute in the era's candlelit interiors, where the pouf's height brought tresses perilously close to chandeliers and candelabra flames; the oil-based pomade ignited easily, and historical accounts note women risking singed or fully ablaze hair from accidental brushes against open fires, prompting cautious navigation in palaces.^[18]^[37]^[42] The pouf hairstyle intensified social tensions in late 18th-century France by embodying the aristocratic detachment from economic realities affecting the broader population. Popularized at the court of Versailles during the 1770s under Louis XVI and Marie Antoinette, the style demanded extensive resources, including specialized hairdressers, imported pomades, and structural supports like horsehair pads, rendering it feasible only for the nobility and affluent bourgeoisie.^[3] This opulence occurred against a backdrop of fiscal strain, with France's debt from wars and poor harvests culminating in bread riots and the Flour War of 1775, where grain shortages drove up prices for staples essential to the lower classes.^[43] The pouf's flour-based powdering, though not uniquely causative, amplified perceptions of wastefulness, as elite consumption of grain products for cosmetic purposes mirrored broader grievances over aristocratic privileges exempt from taxation.^[3] Such displays reinforced class divides, fostering resentment among the Third Estate, who viewed the pouf as symptomatic of noble frivolity and "willful ignorance" of public suffering. Social critics lampooned the style's excesses, decrying "prodigious folly of composite and fabricated coiffures" adorned with absurd elements like vegetables or miniature ships, which underscored the court's insularity.^[3] While deeper structural factors—such as absolutist governance and Enlightenment critiques—drove revolutionary momentum, the pouf provided tangible iconography for pamphleteers and agitators, symbolizing inequality in an era when Versailles's grandeur contrasted with urban poverty and rural famine.^[3] By the late 1780s, as economic crises peaked with the harsh winter of 1788-1789, the hairstyle's decline paralleled eroding deference to aristocratic norms, paving the way for its rejection amid the Estates-General convening in May 1789.^[2]

Legacy and Modern Interpretations

Influence on Fashion History

The pouf hairstyle, first publicly worn by the Duchess of Chartres in April 1774 and rapidly popularized at the French court under Marie Antoinette, established innovative techniques for artificial hair elevation using wire frames, horsehair pads, and layered false hair combined with the wearer's natural locks.^[44] These methods allowed for unprecedented vertical height, often exceeding 30 inches, and intricate theming with ornaments such as feathers, fruits, and miniature ships, setting a precedent for hairstyles as narrative and status-displaying constructs in Western fashion.^[4]^[7] Its prominence from approximately 1775 to 1785 exemplified Rococo extravagance but provoked a stylistic reaction after the French Revolution of 1789, accelerating the shift to neoclassical modes with cropped, unpowdered hair like the coiffure à la Titus, which rejected pouf-like excess in favor of Grecian-inspired simplicity and naturalism.^[3] This backlash underscored how the pouf's impracticality—requiring hours of construction and frequent collapse from grease or weather—highlighted causal links between fashion extremity and social critique, influencing 19th-century trends toward more restrained volume achieved via subtle padding rather than overt scaffolding.^[2] Elements of the pouf's volumetric approach resurfaced in moderated forms during the Victorian era (1837–1901), where mid-to-late-century updos incorporated smaller puffs for added fullness alongside curls and buns, adapting the 18th-century padding principle to align with corseted silhouettes emphasizing elongated torsos.^[45] Conceptually, the pouf prefigured 20th-century revivals of puffed crowns, such as the bouffant of the 1950s and 1960s, which drew on its swelling, rounded volume—etymologically linked via French bouffer (to puff)—to evoke femininity and height without the era's structural excesses.^[46] This enduring technical legacy demonstrates the pouf's role in perpetuating cycles of hair augmentation across centuries, even as direct emulation waned post-Revolution.^[47]

20th- and 21st-Century Revivals

The elaborate 18th-century pouf hairstyle, with its towering wire-framed structures and decorative elements, saw limited direct revivals in mainstream 20th-century fashion due to evolving practicality and tastes, but its emphasis on height and volume influenced subsequent voluminous styles. The bouffant, a puffy rounded coiffure with roots in earlier European traditions, surged in popularity during the 1950s and 1960s, often achieved through teasing and backcombing to elevate the crown, as seen on figures like Brigitte Bardot and Jackie Kennedy.^[48] This echoed the pouf's verticality without replicating its cumbersome scaffolding or thematic ornaments.^[46] Variants like the beehive hairstyle, introduced in 1960 by stylist Margaret Owen for singer Amy Winehouse's precursor influences but popularized by Dusty Springfield and Aretha Franklin, further extended this lineage by piling teased hair into a high, rounded dome secured with hairspray.^[49] These mid-century adaptations prioritized accessibility over the pouf's labor-intensive construction, reflecting post-World War II prosperity and media-driven glamour rather than aristocratic excess.^[48] In the 21st century, direct recreations of the pouf have primarily occurred in historical dramas, costume design, and niche fashion, spurred by cultural interest in Marie Antoinette's era, such as Sofia Coppola's 2006 film which employed period-accurate wigs and padding for authenticity. High-fashion runways and editorial shoots occasionally nod to its opulence, as in voluminous updos inspired by 18th-century French court styles, though simplified for wearability.^[5] Concurrently, a distinct "pouf" trend from the early 2000s— a small, teased front section pinned for subtle lift, emblematic of Y2K aesthetics and associated with celebrities like Nicole "Snooki" Polizzi—resurfaced in the 2020s via nostalgia-driven social media and red-carpet looks by stars like Elle Fanning, but this bears minimal resemblance to the original's scale and structure.^[50]^[51] Such modern iterations prioritize quick volume over historical fidelity, underscoring the pouf's enduring symbolic appeal for extravagance amid contemporary minimalism.^[52]

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From Servants to Sovereigns, Lousy Hair Days (Part I)
Nov 7, 2018 · However, without proper maintenance, wig hair could host just as many pests as natural hair. In 1664, Samuel Pepys was dismayed to discover that ...
[35]
Expertise and social skills: hairstyles, wigs and wigmakers during ...
Fayçal Falaky, “From Barber to Coiffeur: Art and Economic Liberalisation in Eighteenth-Century France”, Journal for Eighteenth-Century Studies, vol. 36 ...
[36]
(PDF) From Barber to Coiffeur: Art and Economic Liberalisation in ...
The history behind the emergence of the coiffeur holds key elements to understanding how art played a role in bringing about significant economic changes.
[37]
The Hair at the 18th Century - Revolution, Titles, and TitleMax
Women continued with their extravagant styles until the French Revolution, when all the luxury and exuberance were vanished into the new republican ideas.Missing: coiffeur | Show results with:coiffeur<|separator|>
[38]
Marie Antoinette — Hair Up To There - monarchy of style
May 3, 2015 · With the help of her trusty hairstylist Léonard Autié Antoinette popularized the pouf hairstyle, a crazy eighteenth-century version of the beehive.
[39]
Why did So Many People Wear Wigs in the 18th Century?
Dec 9, 2018 · The heavy, elaborate wigs of the Georgian era were something of a health hazard. People developed sores on their scalps, suffered from lice, and ...<|separator|>
[40]
https://www.facebook.com/groups/USHistoryGroup/posts/1906679402880773/
[41]
Did you know: The elaborate, towers coiffures of the 18th century ...
May 2, 2017 · To combat the stench and the pests, wearers doused their wigs in scented powders made from ingredients like lavender, orange peel, or cinnamon.
[42]
Off to the Powder Room….18th century style - The Raucous Royals
Dec 4, 2009 · Hair became so infested with rodents that beauty books contained special vinegar recipes to rid hair of vermin. We think we suffer for ...
[43]
Court Wigs in France - Miriam Mendoza - WordPress.com
Nov 9, 2017 · Court members were wearing wigs to mark their social rank.During the coronation of Louis XVI, Marie Antoinette wore a hairstyle named the pouf ...Missing: symbol | Show results with:symbol
[44]
How Bread Shortages Helped Ignite the French Revolution
Sep 30, 2019 · In late April and May 1775, food shortages and high prices ignited an explosion of popular anger in the towns and villages of the Paris Basin.Missing: hairstyle powder
[45]
Hairdos and hairstyles of Marie Antoinette. The 18th-century absurd ...
May 7, 2018 · Her stunning glamorous costumes and odd avant-garde pouf hairstyle made her the fashion pioneer of the 18th century. The fashion icon in ...Missing: risk | Show results with:risk
[46]
15 Delightful Hairdos History Has Forgotten - Mental Floss
Oct 15, 2014 · Women in the mid- to late-1800s grew their hair long but opted to wear it swept up—typically with a little pouf and some curls to cover the ...
[47]
The High-Rise Hairstyle That Has Survived Centuries | AnOther
Aug 10, 2018 · In celebration of the enduring style, we chronicle a brief history of the bouffant, through the women who immortalised it. ... pouf' – The ...
[48]
https://www.nylon.com/beauty/bouffant-hair-revival-kaia-gerber-anne-hathaway-brigitte-bardot
[49]
This Hairstyle Will Be Big In 2024, According To Beauty Experts
Dec 27, 2023 · Seen on the likes of Audrey Hepburn and Jackie Kennedy, the style involves teasing and backcombing a pouf of hair on the crown of the head ...<|separator|>
[50]
https://www.allure.com/story/elle-fanning-2000s-pouf-hairstyle
[51]
Elle Fanning Gave the 2000s "Pouf" a 2025 Makeover - Allure
Jan 8, 2025 · It's exactly what it sounds like: a small section of hair is pulled back from your forehead, “poufed” up like a shih tzu, and pinned, with the ...
[52]
The Pouf Hairstyle Is Making a Comeback - Popsugar
Aug 12, 2024 · The pouf hairstyle trend is back but with a twist. Learn how to modernize the pouf hairstyle from the 2000s with expert tips.
[53]
The immortal influence of Marie Antoinette's aesthetic - nss G-Club
Nov 2, 2022 · The myth of "pouf" hair. It was the hairstyle developed by Marie-Antoinette's hairdressers that gave rise to contemporary hairstyles in the ...