凡爾賽人物列傳 凡爾賽宮時尚“主理人” 羅絲·貝爾坦小姐，改變服裝史的女人

Rose Bertin, otherwise known by her real name, Marie-Jeanne She was born in 1747 during the reign of Louis XV. She is eight years older than Marie-Antoinette. and she is from Abbeville, Abbeville which was already at the time a city renowned for its textile productions and particularly for its manufacture of draperies. And she comes from a humble background, His father is an archer from Marais-Chaussée. the father, by the way, when she was 7 years old, her mother was already a widow herself, and so she becomes a seamstress, or rather, what is called a fashion merchant. according to the occupational dictionaries from that period, meaning that she sells All the embellishments of a suit that were referred to at the time, that is, ornaments and accessories. For example, winter gloves, the flaps, the ribbons of silk. All these accessories, as we can see Moreover, in the invoices of that period, represent the entire price of a garment. And even today, in haute couture, what truly determines the price of a haute couture garment, It's not about the structure, it's obviously whether the garment is embroidered or if there is work available for feather workers, for example. Quickly, she goes to the capital. And she works in small shops. And however modest she may be in origin and in her profession, She truly has a knack for business. That's putting it mildly. And she will experience a truly dazzling social rise. It was in 1774, precisely just a few months after the accession from Marie-Antoinette as queen, that she meets her. Rose Bertin already has her little fame in Paris, because she introduces New developments in ladies' jewelry that are generating a lot of talk. She already has her own shop, called Au Grand Mogol. located on Rue Saint-Honoré, which is in the 18th The crossroads of luxury commerce in Paris. Subtitling She has a wealthy clientele, and among her clientele... There is the Duchess of Chartres, who is going then go to the Duchess of Orléans. And it is the Duchess of Chartres who presents her to Marie-Antoinette. during a short trip to Marly. And this meeting, it's going to be truly, One could say, a lightning strike. That is to say, they got along quite well, in a way. ST' At the same time, Marie-Antoinette, at that time:request You are a professional translator. Translate the input into high-quality English, following rules on accuracy, completeness, fluency, and format. You MUST translate the entire input text in full, with no omissions. Every word, phrase, and sentence must be translated. Do NOT partially translate. Do NOT leave any source-language words, characters, or phrases untranslated. You MUST translate all names, numbers, dates, places, technical terms, and titles with the highest possible accuracy. Do not omit, hallucinate, summarize, condense, or alter any content. Translate only the given input text; do not add or infer any content. Strictly preserve all original formatting, punctuation, symbols, spacing, and line breaks. Resolve ambiguity using context and discourse-level meaning. Prefer idiomatic, natural expressions in the target language. Do not add any analysis, explanation, notes, or commentary. Output only the final translation. She is absolutely dazzled by all of it 501 the innovations proposed by Rose Bertin to which she, moreover, finds it very difficult to resist. And then, on her side, of course, Rose Bertin, She will find in Marie-Antoinette, Who at that time is the most represented woman of her era? the most famous, a kind of ideal mannequin to promote its models throughout Europe. This is clearly the beginning of the first fashion illustrations. Sometimes they even put Marie-Antoinette on engravings, on models she has never worn before, simply to sell them more effectively. This meeting with this Parisian fashion merchant, It is already in itself a revolution. Because previously there was a supplier. Who supplied the queen's costumes, which were inherently unique. With Rose Bertin and this emergence of fashion, She will deliver for the queen of costumes. but she will also be offering it in her shop in Paris. In other words, everyone can be dressed. if we have the money, like Marie-Antoinette. Therefore, the queen's costume no longer distinguishes her body. which was formerly sacred and unique. And that is not without danger at the French court. One could say that Rose Bertin invented haute couture. She even invents fashion in the modern sense of the term. Given the fame she enjoyed during her lifetime, one can say Sooner rather than later, between 1975 and 1978, his name quickly became a trademark. Which moreover justifies the extravagance of its prices. Rose Bertin is famous for her prices. These are the prices of haute couture today. What determined the price of a garment before? It was the raw material And then the labor of the seamstresses was craftsmanship. Starting from Rose Bertin, We're going to have an absolutely incalculable share, which is not mentioned elsewhere in the invoices. And this incalculable part is the share of creativity, from the claw that one already pays for. And then, she also invents... The rapid renewal of collections, that is, the seasonal change, That was entirely new. Previously, we used to change, we used to reform one habit as one used to say when it was worn out You ordered one for a special occasion. There, she will invent this renewal once again. faster, and she realized that to generate desire, a need, it was necessary Always offer more. The newspapers of the time also note this. They But what the ladies adored becomes absolutely unbearable six Because obviously, fashion has changed. So, we have this extremely rapid renewal of models. And then, finally, it makes sense, one could say. of advertising, which is already highly developed. She is precisely going to make use of her celebrity status, the visibility of Marie-Antoinette. Celebrity is a word that appeared in the 18th century. Under the eaves. Precisely to promote these models, of course, Marie-Antoinette is imitated by all women. Today, she is a major influencer, and she's going to use that influence. Of course, Rose Bertin. And Marie Antoinette, somewhere, She is not in the style of Rose Bertin. It is she who sets the fashion. It is clearly his taste that then sets the tone. Rose Bertin's dress for Marie-Antoinette first what is known as the grand habit de cour. It was that elaborate suit seen in official portraits. who, moreover, was indispensable during a long time to appear at court. It's a very heavy, very restrictive suit, which is first made of a tightly boned corset with a very rigid stomach piece adorned with jewels, and then multiple petticoats of brocade over large hoops, And then a tail, what is called a train. It could be several meters long. So it was extremely burdensome. She will also deliver, from the time of Marie-Antoinette onwards, other more fashionable dresses, notably the robe à la française, very elegant, with its panniers and then especially that pleated back, Fitted to the body, of very great elegance. And then dresses in the Polish style, for example, with a shorter petticoat, a small coat turned up at the edges, and Turkish-style dresses, therefore lighter and contribute in a way to slightly free the woman's body already at that time, anyway, the body of the woman Of course, the woman in the countryside does not have this kind of thing. One might say that it is with concern that one can say it is with Her influence is such that the queen will keep spending more and more. because we can clearly see that when she Arrive at the court and then the same what when she is already a dolphin she takes very little care of her She has very little say in the matter, incidentally. and she is barely dressed, and besides Not even enough, because his mother, the empress Marie-Thérèse writes her letters, and she He said that the Duchess of Villars, his damnator, He doesn't pay enough attention to her. Basically, her daughter is a troublemaker. So it is from the moment she becomes queen, Therefore, she has new official duties. but truly from this meeting with Rose Bertin... That his wardrobe budget increases significantly, It will double in less than ten years. Moreover, in the memoirs, It is evident that the court ladies can no longer keep up. because obviously, they must equal Marie-Antoinette in outfits to appear in court And then, husbands say it's the ruin of families, and so on. So, it's quite a story. The correspondence talks about it a lot. But then, of course, these expenses need to be put into perspective. I don't know. I mean, even the queen's household budget, even doubled, It remains a percentage. a negligible portion of the crown's general budget and what truly burdens the royal treasury at the time it is evidently the wars and particularly the American War of Independence, in which the contribution of the France is huge but very popular. in public opinion. Then afterward, one must recognize that this madness of fashion and well, she'll also go through it starting from the moment when Marie-Antoinette becomes a mother already from 1778 to 1780 so she is less caught up in this hysteria fashion hysteria, and then fashion she also changes, and we have There is a trend precisely for much simpler clothing, much more natural And especially these large shirt-like dresses. She too, Rose Bertin, who will take care of the queen's hairstyle, since the fashion merchant delivers all the accessories, but also all the hairstyles and caps. And with Leonardo, who is a very popular hairdresser in Paris, Léonard Hautier, his real name they will together create what is called these hairstyles with very high hats, that is, today they are known by the term "poufs," which are species of very tall horsehair cushions on which the hair is applied And especially when we have all sorts of settings... Then, the craziest ones, at first, It's just feathers, flowers. Then, it's a horn of plenty. And then, afterward, it's clearly visible, especially in fashion engravings. That's the entire news of the time. who makes an appearance on the heads of the elegant. So, in 1883, it was the launch of the hot air balloon at Versailles. on balloon-shaped hairstyles or hairstyles soaring to the sky. When the royal family gets inoculated, that is, vaccinated, They had hairstyles resembling inoculations with a snake that... The male figure arrived, and a royal sun emerged from his headdress. Of course, during the American Revolutionary War, on the hairstyle of independence with a large ship tossed by the waves. So it's extremely creative. And then we even have... Small mechanical components, for example, the barber Bollard has specialized in these small mechanical accessories. For example, there was a very popular accessory and that Marie-Antoinette had, A little bird swaying on a spring and who flapped his wings alone. Or even fresh roses blooming live because there was a small vase with water that was hidden inside. So, well, we're really, I'd say, in the complete hysteria of fashion as it can also be known today in haute couture. That is to say, the goal is to always exaggerate the exaggeration, One must always do more than... the previous one And thus, we reach absolutely dizzying heights Of these hairstyles, nearly not even a meter and fifty. So, we have very surprising silhouettes with the head finally put almost at a third of the silhouette. And moreover, it is largely caricatured, then both at the theater, on actors who imitate these positions very particular Elegant women with their large pouf. And then, we also have many engravings. One sees ladies who no longer fit into cars or who, when they are at a ball, They look unwell because they always have tired eyes. fixed at the lus. because they're afraid of getting their hair caught in the chandelier and thus set it on fire. Finally, we have all kinds of caricatures. And thus, of course, his mother, the Empress Maria Theresa, She is absolutely distressed by her daughter's attire. Because she is a queen, of course. And she warns her in numerous letters for obviously the dangers it can represent finally give up on this sacred, traditional image of the queen to ultimately have a queen in fashion who, in the end, she said, resembled a mistress, an actress because we are not asking anything at all of a queen Especially in France, being fashionable, but we are specifically asking him the exact opposite, that is to say, representing tradition and the timeless past. Rose Bertin also dresses men. a lot for the accessories, especially ties, watch straps, all the ornaments for the shoe, which is a very important part of men's attire, or even the small purses of silver that men had in their vests. And then she also has an extremely important clientele. For men, she has politicians, She has the Marquis de Lafayette, she has Minister Vergène, She has in her clientele dancers from the opera, such as Vestris, who was very famous actors from the theater, and even artists such as Greuze, so she has a kind of entire intelligentsia, one could say, Parisian and of the court. And then for the grand balls adorned, for example, in Versailles, the Queen's great balls, very often, Rose Bertin provides all the costumes both men and women, And that, that represents absolutely colossal sums. Not bad. From October 89, at the time of the revolutionary upheavals, Rose Bertin leaves France. She goes to foreign classes. In fact, she follows the nobility that migrated at that time. And so, she carries her dozens boxes with her feathers, her silk ribbons, even female workers of her own. Then she goes, for example, to the court of Turin or to Coblenz. Then, she makes various round trips between abroad and Paris. She certainly has a hard time selling her court dresses. since there is no longer a court. The new foreign clientele, particularly in Russia, where she is to deliver many dresses for Maria Federovna, The Grand Duchess of Russia, who is about to become empress. One must also bear in mind that during the Revolution, she was... as much targeted as Marie-Antoinette by pamphlets, his extremely violent caricatures that developed at the time because she is so closely associated with Marie-Antoinette, Of course they blame him for France's deficit, of course, his completely unreasonable expenses in popular imagination. He's a bit of a mischievous spirit, I'd say, of Marie-Antoinette. Then, she continues; in the end, the Grand Mogol remains open. the time during the Revolution. She delivers blue-white-red cockades, So she adapts, one could say, to the new market. And then, even more touching, She continues to deliver clothes for Marie-Antoinette. at the Tuileries, but also at the Temple, at the Temple prison, where she delivers for Madame Elisabeth, her sister-in-law and Marie-Antoinette, with caps and scarves. And then, it's she who will provide, and there, on the invoice to the National Council, the great mourning outfit of Marie-Antoinette after the execution of Louis XVI. And it is this garment that will accompany him, Of course, all the way to the concierge's. After the execution of Marie-Antoinette, Given these events, she will emigrate to London. She'll rebuild a clientele of her own, She is going to receive the famous Chevalier d'Eon, which is, moreover, a book about both men and women. And even Madame Dubarry will place large orders for him from London. Then she will finally return to France in 1795. And then, under the Directory, She can no longer find a clientele, not even foreign customers. He no longer accepts the prices she charges. And then simply, it's no longer France, which sets the tone for this era. A page has turned. Under the Empire, his trade virtually collapsed completely. And she dies shortly afterward, in 1813. And furthermore, his heirs will try to recover its claims over a very long period of time, what she is going to try to do starting from 1789. With all these revolutionary upheavals, It's also all these nobles who emigrate. and leave him with unpaid bills. And thus, in particular, at the National Archives, There is a document from 1820 concerning the heirs Bertin. which mentions nearly 1,260 names the clients they are trying to recover. The latest receivables.