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Description

DR. APPLES’ LEGEND STATES his mother was taken from him and replaced with a doll on a pink pillow. Every year, he is presented a doll similar to the likings of his mother. This is the first doll he received. This year marks the 75th anniversary of the disappearance of his mother. Whenever he touches this doll, it gives off the smell of his mother. I keep it safe in this box.

VERSAILLES WAS THE center not only of French political power but also of French fashion. Since the reign of Louis XIV, French aristocrats looked to royalty to know what not to wear. The French court had been governed by strict rules that determined the proper type of frocks, fabrics, and accessories to be donned for the season, time of day, and occasion. Louis XIV’s reign in the early 1700s was dominated by the baroque style of art, music, architecture, and haute couture. Ornate decorations, rich, dark fabrics, and elaborate, heavy designs dominated courtier couture under the Sun King.

After Louis XIV’s death in 1715, clothing styles began to evolve. Fashion took a turn to a lighter, more frivolous style, transitioning from baroque to rococo. The latter period was characterized by pastel colors, more revealing frocks, and lots of frills, ruffles, bows, and lace. This look spread from France and was copied by the elite in other European capitals.
Marie-Antoinette was an Austrian princess before she married Louis XVI in 1770. Clothing had always been a powerful signifier of nationality. When the young princess traveled from Austria to France to be married, her entourage stopped at the border between the two countries. There, Marie-Antoinette was stripped of all her Austrian clothes and dressed with clothing made in France. The ritual signified her transformation from Austrian to French.

After becoming queen in 1774, Marie-Antoinette embraced her new nation’s passion for fashion. Her enthusiasm for clothing fit into the wider culture that reigned at Versailles. In the 18th century, it was every highborn lady’s ambition to impress at court with her clothing, no small undertaking. The pressure of conspicuous consumption at Versailles, and the complex rules of fashion etiquette, dictated that women ought not wear the same outfit more than once—not, at least, without some carefully chosen, and costly, modification.

Beginning in the 17th century and continuing throughout the 18th century, both men and women in England and France wore obvious cosmetics. Gender differences were less important than class differences – cosmetics marked one as aristocratic and à la mode, and were adopted as well by those who were trying to rise in social status or become fashionable. Makeup was not intended to look natural – in fact, it was called “paint” — but instead, “…to represent one’s aristocratic identity as declaratively as possible through cosmetic artifice” (Hyde). Women and men showed their respectability and class through white skin, and heavy makeup was considered more respectable than naturally light skin. [4]

HIS VERSION OF HIS MOTHER is rebellious in her universe. She has no intentions of being like the others but she can never say no to wearing her favorite blue dress. Although scarlet was the chosen color of the rebels, she prefers shorter dresses. She dares anyone to challenge her style. With her wealth & dazzling pet pig by her side, you may think to reprimand her but you wouldn’t dare say it. She has plans for tea and biscuits later this evening, then a gaze into the stars at night alone.

1/6 BJD Blythe

Her blue dress was inspiration for her design. She is a Icy/Blythe, plastic doll. She has a custom skin tone and her hands and toes are painted. Her dress was hand crafted by couture designers from China who specialize in custom 1:6 scale dolls. Being an Icy doll, her she has 4 sets of eyes to complement her dress. Her wig is made of Kanekalon and is glued on to her head. Her wig has an eyelet for the strings to change her eyes. She is a doll for collectors. She is not suitable for play.

Description

DR. APPLES’ LEGEND STATES his mother was taken from him and replaced with a doll on a pink pillow. Every year, he is presented a doll similar to the likings of his mother. This is the first doll he received. This year marks the 75th anniversary of the disappearance of his mother. Whenever he touches this doll, it gives off the smell of his mother. I keep it safe in this box.

VERSAILLES WAS THE center not only of French political power but also of French fashion. Since the reign of Louis XIV, French aristocrats looked to royalty to know what not to wear. The French court had been governed by strict rules that determined the proper type of frocks, fabrics, and accessories to be donned for the season, time of day, and occasion. Louis XIV’s reign in the early 1700s was dominated by the baroque style of art, music, architecture, and haute couture. Ornate decorations, rich, dark fabrics, and elaborate, heavy designs dominated courtier couture under the Sun King.

After Louis XIV’s death in 1715, clothing styles began to evolve. Fashion took a turn to a lighter, more frivolous style, transitioning from baroque to rococo. The latter period was characterized by pastel colors, more revealing frocks, and lots of frills, ruffles, bows, and lace. This look spread from France and was copied by the elite in other European capitals.
Marie-Antoinette was an Austrian princess before she married Louis XVI in 1770. Clothing had always been a powerful signifier of nationality. When the young princess traveled from Austria to France to be married, her entourage stopped at the border between the two countries. There, Marie-Antoinette was stripped of all her Austrian clothes and dressed with clothing made in France. The ritual signified her transformation from Austrian to French.

After becoming queen in 1774, Marie-Antoinette embraced her new nation’s passion for fashion. Her enthusiasm for clothing fit into the wider culture that reigned at Versailles. In the 18th century, it was every highborn lady’s ambition to impress at court with her clothing, no small undertaking. The pressure of conspicuous consumption at Versailles, and the complex rules of fashion etiquette, dictated that women ought not wear the same outfit more than once—not, at least, without some carefully chosen, and costly, modification.

Beginning in the 17th century and continuing throughout the 18th century, both men and women in England and France wore obvious cosmetics. Gender differences were less important than class differences – cosmetics marked one as aristocratic and à la mode, and were adopted as well by those who were trying to rise in social status or become fashionable. Makeup was not intended to look natural – in fact, it was called “paint” — but instead, “…to represent one’s aristocratic identity as declaratively as possible through cosmetic artifice” (Hyde). Women and men showed their respectability and class through white skin, and heavy makeup was considered more respectable than naturally light skin. [4]

HIS VERSION OF HIS MOTHER is rebellious in her universe. She has no intentions of being like the others but she can never say no to wearing her favorite blue dress. Although scarlet was the chosen color of the rebels, she prefers shorter dresses. She dares anyone to challenge her style. With her wealth & dazzling pet pig by her side, you may think to reprimand her but you wouldn’t dare say it. She has plans for tea and biscuits later this evening, then a gaze into the stars at night alone.

1/6 BJD Blythe

Her blue dress was inspiration for her design. She is a Icy/Blythe, plastic doll. She has a custom skin tone and her hands and toes are painted. Her dress was hand crafted by couture designers from China who specialize in custom 1:6 scale dolls. Being an Icy doll, her she has 4 sets of eyes to complement her dress. Her wig is made of Kanekalon and is glued on to her head. Her wig has an eyelet for the strings to change her eyes. She is a doll for collectors. She is not suitable for play.