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A hairstyle popular in the second half of the 17th century. French braid: A French braid is a braid that appears to be braided "into" the hair, often described as braided backwards—strands, going over instead of under as in a Dutch braid. French twist: A hairstyle wherein the hair is twisted behind the head into a sort of bun style. Fringe ...
The pageboy or page boy is a hairstyle named after what was believed to be the haircut of a late medieval page boy. It has straight hair hanging to below the ear, where it usually turns under. There is often a fringe (bangs) in the front. [1] This style was popular in the mid-to-late 1970s and 1980s.
Hairstyles were equally elaborate, with tall headdresses the distinctive fashion of the 1770s. For men, waistcoats and breeches of previous decades continued to be fashionable. English style was defined by simple practical garments, made of inexpensive and durable fabrics, catering to a leisurely outdoor lifestyle. [ 2 ]
The City Lore office on First Avenue on the Lower East Side houses archives containing over 100,000 images, hundreds of oral histories, and traditional music and poetry performance tapes. [3] The archives are part of the ongoing documentation project featured on City of Memory, a participatory online story map of New York City .
The Titus cut was considered a radical departure from the large elaborate hairstyles and wigs that were popular during the last quarter of the 18th century. [1] As a simple "classical" style, free from aristocratic excess, it was associated with the French Revolution and popular among those who supported it.
An early example of an eponymous hairstyle was associated with the 5th Duke of Bedford. In 1795, when the British government levied a tax on hair powder, as a form of protest Bedford abandoned the powdered and tied hairstyle commonly worn by men of that era in favor of a cropped, unpowdered style, making a bet with friends to do likewise. [13]
These new textile designs included uneven repetitions and linear geometric patterns. Many textile patterns produced in the United States also incorporated images of both jazz bands and people dancing to jazz. [20] The print Rhapsody shows a textile produced in 1925 representing a jazz band in a polka-dot like manner. [21]
A critic reviewing a collection of society portraits notes: "Hairdressing is in a state of transition. There is an Eton crop, there are many soft shingles, and there are a few heads where the hair is being let grow."