Gallerie des Modes et Costumes Français, 1785, nr. 11, nr. 22, Kopie naar ee 170 (bis) : Novelle Circassienn (...) c. 1785

Editor: Here we have "Gallerie des Modes et Costumes Français, 1785, nr. 11, nr. 22, Kopie naar ee 170 (bis) : Novelle Circassienn (...)," from around 1785, believed to be by Pierre Gleich. It's an engraving, likely with watercolor, showcasing Rococo fashion. It strikes me as whimsical, almost cartoonish, with that enormous dress and even bigger hairdo. What stands out to you in this piece? Curator: Oh, she’s divine, isn't she? Almost like a meringue, piled high with sugar and dreams! Beyond the obvious opulence—the cascading ruffles, the towering confection of hair—I see a fascinating commentary on identity and performance. It’s not just about displaying wealth, it’s about constructing a persona, isn’t it? Tell me, what do *you* make of her slightly averted gaze, almost a sidelong glance? Editor: It feels…coy? Like she's aware of being watched, almost playing a role. Is that something typical of the Rococo era? Curator: Absolutely. The Rococo was all about playful artifice, a deliberate rejection of the somber formality of the preceding age. This image isn't just documentation; it’s a staged presentation of an idealized self. She isn't simply wearing the dress; she *is* the dress. It defines her, elevates her… but at what cost? Don't you wonder how she even managed to walk, let alone breathe! Editor: It does seem incredibly impractical! Almost like a walking sculpture. I guess I hadn’t thought about it as such a deliberate performance. Curator: Precisely! And isn’t that the point? The Rococo loved these dazzling distractions and superficial delights. So the question is, who's in on the joke, and who's the punchline? Editor: That gives me a completely new perspective. Thanks! Curator: My pleasure! Now, let's go find some more outrageous wigs…