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This piece is a reflection on the role of the courtesan in the Parisian demi-monde of the latter half of the 19th century.
It is an expression of Woman, of Nakedness and of Desire. In shape and structure it is suggestive of the female form and whole is a piece of deliberately provocative beauty.
To reflect the sexual politics of the time it comments, by using transparent and opaque fabrics and hidden layers, on propriety and impropriety, on a person’s public persona and private demeanour, on the way people purport to think and behave and their sexual desires. The contemporary text, some complete, some not, some partially hidden, records these desires. Much of it is from the censored poems of Baudelaire’s Fleurs du Mal. The skirt contains the entire original text of Zola’s Nana so the story of the courtesan can be read on the piece.
There is an intended inherent irony: Manet’s Olympia portrayed the courtesan as man wanted her – naked and available yet here a dress is used to say much about what the courtesan stood for.
To place the piece within this historical and geographical context, aspects of the design such as the boned bodice, the neckline and bustle, are inspired by contemporary French fashion. |
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| Author |
| Charlotte Burrows , 17 yrs |
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| School |
| Magdalen College School |
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