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Ideology, Fashion and the Darlys’ “Macaroni” Prints

Peter Mcneil

Source: Dress and Ideology. Fashioning Identity from Antiquity to the Present 2017

Book chapter

Painted caricatures began on the “Grand TourGrand Tour” as private jokes shared between young men and their tutors. Private Italian painters working in Florence inspired the English development of this field. Etchings were made by Pier Leone Ghezzi (1674–1755) and Pietro Longhi (1702–85), and painted in Rome by English artists including Sir Joshua Reynolds and Thomas Patch (1725–82). Horace Walpole wrote in his journal thus: “Patch was excellent in Caricatura, and was in much favour with the youn

Gay Men’s Style: From Macaroni to Metrosexual

Adam Geczy and Vicki Karaminas

Source: Queer Style 2013

Book chapter

The term for the particular form of male style from the late eighteenth century, macaroni (or maccaroni), did in fact come from eating pasta (the Greek makaria literally means ‘food made from barley’), which had become fashionable in the 1760s through men who had returned to England after exploring the European continent, especially Italy, on the Grand Tour. Macaronis typically took pains to announce their difference in outlandish examples of foreign clothing that was either foreign—French and It


Gertrud Lehnert

Source: Berg Encyclopedia of World Dress and Fashion. West Europe 2010

Encyclopedia entry

The basic distinction between female and male dress in the Western world is between women’s skirts and men’s bifurcated trousers. Only in the twentieth century was this abandoned—but in one direction, since, even today, men do not wear skirts, despite some attempts by fashion designers. This does not indicate that trousers are more natural for men, but that in the West, they denote supremacy and masculinity. From the late Middle Ages onwards, increasing emphasis was put on gender differentiation

Macaroni Dress

Peter McNeil

Source: The Berg Companion to Fashion 2010

Encyclopedia entry

Macaroni identity was not a peripheral incident in eighteenth-century culture but a lively topic of debate in the periodical press. Motives for retaining elaborate dress requisite at court but not necessary in the streets of commercial London was various, inflected by the class interests and personal motivations of the wearers. Macaroni status was attributed to such famous figures as the Whig politician Charles James Fox (1749–1806), “the Original Macaroni;" the botanist and South Sea explorer Si

Breasts and Waist

Susan J. Vincent

Source: The Anatomy of Fashion. Dressing the Body from the Renaissance to Today 2009

Book chapter

Plotting the whereabouts of the waist on a map of the body is a surprisingly tricky undertaking. Like a fashion version of pin the tail on the donkey, the waist has ended up in unexpected places. Drifting up and down the torso as decade has followed decade, its location—particularly, but not exclusively, on women—has altered with a ready adaptability: as fashions change, the waist decamps and wanders off in search of a new, albeit temporary, residence. In Anthropometamorphosis, a seventeenth-cent

The Picture of Paris

Valerie Steele

Source: Paris Fashion. A Cultural History 2nd Edition 1998

Book chapter

Le travail des modes est un art: art chéri, triomphant, qui dans ce siècle, a reçu des honneurs, des distinctions. Cet art entre dans le palais des Rois, [et] y reçoit un accueil flatteur.

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