The National Museum of Romanticism opens the exhibition «Weave your hair a story.The hairstyle in romanticism », on hairstyle and hair uses in the nineteenth century.More than ninety works allow the visitor to approach the evolution of female and male hairstyles at the time, to the arrangements of the facial hair of men, as well as the sentimental use of hair during romanticism.

The hair, although distinctive of each person, has had throughout history an important sociocultural burden.As is the case today, in romanticism the hairstyle was fundamental for the construction of the personal image, and together with the jewels or the rich dresses, a form of distinction and social representation.

The ostentation of some designs of the 18th and early nineteenth century would make the services of an expert hairdresser necessary.Therefore, aristocratic hair arrangement had little to do with what the most popular classes showed.However, he left a certain imprint in the fashions of the elegant ladies, which incorporated into their dressing peanuts and blondas mantillas.

As the century advanced the forms would be softened, coinciding with the rise and settlement of the bourgeoisie, giving way to simpler hairstyles, especially in the female universe.

Spain, which at other times had been a creator of trends, would receive in the nineteenth century the influence of the two great centers of European fashion, Paris and London.The farms in customs would also have its reflection in fashion, in which the hairstyle would be an essential part.Clothing and hair arrangement would go hand in hand to the point that certain clothing would be associated with one type or another hairstyle.On the other hand, English trends were introduced through the neighboring country, so they arrived sifted by the gala vision of the same.

Female female and fashion hairsty.As the century progressed, the chronicles of the great events, which included the descriptions of the most outstanding clothing and hairstyles, were enriched with the insertion of figurines and illustrations, which was key to the dissemination of fashion.

The hairstyles would vary depending on the moment of the day, but above all according to the occasion, being the most lush those that were reserved for the dance.

The hair collected would be one of the hallmarks of the time.In the 1820s and 1830s these collected would increase in size and also climb to higher areas of the head, with creations full of artifice and fantasy.The following decades were characterized by the return to sobriety, configuring the bourgeois hairstyle and contributing to the democratization of this.

Since the end of the 20s the female hairstyle became complicated, especially the dance, gaining height and introducing striking dressings.In the hairstyle of the Infanta Luisa Carlot.We can observe complete the Ave of Paradise, an animal specially appreciated in the hairdresser of the time for the beauty of its plumage.

The alleged portrait of Lucía del Riego represents one of the most elegant variants of the mid -1820s and early 1830s: dropping two thick loop groups on the temples, with divided hair through a line.These guedejas were called tufos and were generally created created.The hairsty.Each of those strands was beaten, that is, he cardaba, trying to be smooth on the outside, without any padded.

The most characteristic hairsty.Actually the term alluded to the different parts in which the hair could be divided, but since 1832 it will be used to talk about each side, divided by the line or central stripes.Advanced the 40 The Bandós will refer to the hairsty.This hairstyle would end two decades of extravagance and fantasy, simplifying the ends to the extreme.The first years will take completely smooth and flat, covering the ears totally or partially.It is, for example, the hairstyle that Isabel II looks in his childhood and adolescence, since this styling lasted long years.Little by little, the bandós went "snorting", that is, hollowing.

The male hairstyle difference from what happened in the female universe, the male hairstyle was not considered an element of beauty as such, but should serve to print character and underline the individuality of the knights.Perhaps that is why barely references to fashions in the magazines of the time appeared, which did not usually be aimed at men, or descriptions of hairstyles with names that would identify one or another trend.Neither did the changes occur vertiginously, but more attenuated.

As the 18th century progressed, male wigs were reducing their length and volume.After the French revolution, rice powders were falling into disuse and the heads began to discover their natural shades.White and gray, which years before had denoted elegance, would now be testimony of the passage of time.Its abandonment was not only due to changes in fashions, but also for the use of rice and wheat flour as food.By 1893 its use had practically disappeared, although the older gentlemen would continue to use them to hide the canicie.

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Although the image of frivolity and fastening to fash.

At the beginning of the 19th century, a new elegant and refined male image was configured, embodied in figures such as George Bryan Brummel, "the beautiful Brummel", which were references of the new trends.The longest, apparently messy and combed hair, was one of the identity signs of these first dandis.At least since 1820 the term "lethundo" was used to designate those influenced by the aesthetic currents of the moment, showed a very careful image.This phenomenon would have much to do with that of English dandism.The term "romantic" was used not only to generally adjective the cultural movement that was taking place, but also to designate young people who were under the influence of the new currents.

As for male facial hair, in the 19th century the use of mustache and beard was generalized.In the 1830s, due to the influence of the military sphere, the gentlemen began to grow mustaches and beards, moving away from the bisoños faces that civil society had maintained in recent decades.While in the male hairstyle there were no great changes, the young people claimed their individuality through the arrangement of the facial hair.The combinations of mustache, pints and different beards, gave rise to endless possibilities.The big sideburns were gradually elongated to the Sotabarba, that is, a beard usually below the chin.In Spain it was sometimes used combined with fly, the small beam of hair that was formed under the buna of the mouth, or with a mustache.

Weave your hair a memory, immutable, imperishable, survives us.Perhaps for this reason, in romanticism it was common to deliver and save the hair of loved ones.The simplest expression of this type of practices, and perhaps the most intimate, was to keep a strand of the depositaries of affections.Sometimes it was delivered as a sign of friendship, but more than any other issue, it was a love test.In the most dire circumstances it was the only physical memory left by those who had already left.This turned the hair into a fetish capable of invoking memory, and perhaps the presence, of the loved one, diluting the border between the world of the living and that of the dead.It was frequent to cut guedejas to the finishes before they bury them, but also bury them with tufts of those who had left behind.

The hair could be guarded in small boxes, jewelers or between the pages of a book.But there was an alhaja dedicated to that end, the bodyguard.A small adminicle that either in the form of a pendant, brooch or bracelet, allowed to carry the memory and touch of our loved ones.

The material qualities of the hair allowed different tasks, making it possible to carry the memory of the loved one beyond the bodyguard, in very elaborate compositions.Sometimes it was applied as a thread to embroider or to decorate handkerchiefs and other lingerie pieces.But in addition, it was used to make small pictures, figures and jewelry items such as bracelets, bracelets, rings, watch chains or belts.

The origin of the known as sentimental jewelry dated centuries ago, but it was in romanticism when it reached its maximum splendor.Hair worked in laces or mesh was garnished with metal closures or richer materials, or inserted in slopes, rings or buttons.

It was also used to make pictures of various themes.The simplest were those who formed bouquets with the strands, but they made the most disparate issues, such as portraits or landscapes.

If in the sentimental jewelry they interwoven more than ever the threads between the living and the dead, the same would happen with the drawing in hair.Thus, graves, pantheons, crosses, cypresses and tears were some of the most repeated reasons.

There were artists in hair and hairdressers who did these works professionally.Although due to the similarities with other tasks, the education manuals of the young women also included notions in this art.

Among the more than 90 pieces of the National Museum of Romanticism, the works of some of the most relevant authors of the nineteenth century, such as José de Madrazo and his son Federico de Madrazo, Antonio María Esquivel, Valentín Carderera or Rafael Tegeo,of which two recently donated portraits to the museum are exposed.In addition, the exhibition consists of jewelry pieces, fans, miniatures, engravings, drawings, as well as other hairstyle objects, such as a game of curling hair composed of heater, curling, tenza and hair separator.

Interest data: Weave your hair a story.The hairstyle in romanticism.National Museum of Romanticism (C/ San Mateo, 13 - Madrid) Temporary exhibition hall and XXVFECHAS Sala: November 29, 2019 - April 12, 2020: Tuesday to Saturday: from 9.30 h.at 18.30 h./ Sundays and holidays: 10.00 to 15.00 Hcomisaria: Carolina Miguel Arroyo