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Before leaving my place, she changed the photos in the profile and she no more give her age. Left by Workawayer Carla for host. I was for 3 weeks helping her in the garden, painting shutters and windows, doing some cleaning and DIY in the house. It was my first experience as a workawayer and it has been super great.

The fisrt week I stayed alone with her and in the second week arrived another workawayer from South Corea who I get on well quickly. Maria is a very … read more enthusiastic person, who loves to have time occupied in different activities. You will never have time to get bored with Maria, she is very talkative and you can talk about any topic with her, she has traveled a lot and she has many stories to tell about her trips.

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The working hours are perfect, usually in the mornings about 3 hours, after a lovely breakfast with her delicious homemade jams. In the afternoon we work a little bit, sometimes an hour, so you have plenty free time on the rest of the day. On weekends she organized different fun plans. With her I learned a lot of French and she taught me different recipes of delicious food, always healthy and bio food. I could enjoy his sauna, long walks in the forest, picking chestnuts, nuts, hazelnuts, quince, figs, apples, pear She has many bicycles, she really enjoys clycling and we cycled through different paths, visited the city and small towns, went to theater shows, dancings, music concerts, photo exhibition, wine tasting at a wonderful castle.

She gets along with everyone and is always surrounded by good people and that is because of her good soul and willness to help people and make them confortable. Maria, I hope to see you soon, a super hug and kiss. You can only contact Workawayers who have an active membership. Carla est venue dans ma maison il y a 3 semaines. Carla est devenue un membre de la famille et elle peut revenir quand elle veut. She was adapting very well in my rythme of live and we got on well together.

The work she did, was mostly painting the shutters, in the beginning with my help and advices and after she did this job very well and without my help. We did some gardening, but unfortunately the spring was very late to come. This was a good learning and funny time for both of us. Blanca was enthousiaste for all my proposition in the free time : walking in the nature, cycling, socialising with my friends, visite the town Poitiers, see a movie, playing games at home and so on.

She also propose some activities like meeting other couch surfers in Poitiers.

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At the end of her journey, she spent some days in Paris and then I recommend her to a good friend of mine, to be a good helper again. She is funny and always in a good mood.

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Left by Workawayer Blanca for host. Je ne peux pas dire assez de bons mots d'elle! Ah, et aussi, elle cuisine comme un vrai chef! La maison … read more est vraiment mignonne, le jardin, le sauna, les chambres Quoi de plus? Reste juste assez de temps pour rencontrer ses amis: ils sont vraiment cool. Vraiment super!!!

Merci beaucoup Maria pour tout. I can't say enough good words of her!

Ah, and also, she cooks like a real chef! Don't miss her cakes! The house is really cute, the garden, the sauna, the rooms What more? Just stay enough time to meet her friends: they're really cool. We had super unforgettable nights with all them, we had so much fun So nice I can really say I will never forget this three weeks experience. The work was very pleasant, we paint the shutters, also we did a little of gardening Thank you so much Maria for all.


Left by Workawayer Dan for host. I stayed for a week with Maria in her beautiful home. This was my first Workaway experience and she made me feel comfortable straight away. She helped me more than she realised with my French which I am very grateful for! The work was interesting and not hugely demanding. Maria is a very friendly host who has lots of interesting stories and photos … read more from her travels.

She kept me well fed and I really enjoyed her company. I cannot recommend Maria enough! Dan came a little week in my house. It was easy for me to communicate with him, he is a very interesting young man, polite, helpfully and even though the weather was very bad, he worked with serious in my garden. He trimmed my vine in the garden and in front of the house and also another plante, called wisteria, some cleaning work too. He … read more understood very quickly how to do this.

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He gives me a lot of other helps, always in a good mood. He also share some films he did from his travel experiences and with his help I could create a new travel blog. I can really recommend Dan. Ich lebte eine Woche bei Maria und es war wirklich toll! Sie ist auch sehr geduldig, was ich vom ersten Moment an erfuhr. Von Fahrradfahren bis Besuchen im Secondhandshop und treffen unterschiedlichster Menschen, alles war dabei. One of its concerns is the status of visual images as a form of evidence about court costumes and fashion, recognizing the difficulty of separating the styling of the clothes from their representations in the visual arts.

Pictures constitute an extremely important, and sometimes the only, material source of information about clothing that may not survive or may differ from its representation in archival documents and other textual sources. Instead, they are better thought of as translations, which are governed by representational conventions of their own. Indeed, visual images are capable of generating new images that refer as much if not more to those pictorial conventions as they do to actual garments or objects. In this regard, it is worth attending to distinctions between the genres and media of pictorial representation since their formats and physical characteristics can be telling in themselves of the role of fashion and costume in representing a court, particularly in a modern era of print culture and public exhibition.

I shall be looking especially at official portraits and popular engravings of Josephine in formal court costume, and will also consider portraits and genre paintings that presented her in more informal situations during the years of her reign. Josephine had established a high profile identity as a woman of fashion during the Directory and Consulate and this, combined with not directly inheriting a court tradition and ceremonial as had queens Marie Antoinette and Maria Lesczynska, gave her a certain flexibility.

She was in a good position to bring even the most formal female costume at the Napoleonic court into line with the latest Paris fashions. Imperial court costumes for women merged modernity with tradition and fashion with formality and luxury, whereas costume for men became increasingly formalized as a quite separate and old-fashioned court uniform. Josephine was among the first to adopt the daring neo-Greek dress style, setting trends during what costume and fashion historians regard as one of the most creative periods in the history of female dress.

The robe en chemise was originally little more than a long one-piece tunic of white muslin slipped over the head and fastened around the waist with a sash 4. Several popular French engravings from the Consulate negotiated the issue by showing Josephine, elegantly dressed in neo-Greek attire, enacting rituals of deference to patriarchal authority.

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The portrait represented Josephine as the wife of the First Consul and had a quasi-official status. The extreme relaxation of her pose, with her back curved and legs stretched out and crossed in front of her, denoted the comfort of modern dress, and contrasted sharply with the rigid, upright postures that had previously been maintained by the boned bodices, corsets, panniers, and hoops associated with Marie Antoinette and the pre-Revolutionary court. The high waist of the neoclassical dress hugged the breasts and its thin light fabric clung to the body, a style that flattered some bodies more than others.

Contemporaries agreed that it suited Josephine admirably. She made the neo-Greek dress peculiarly her own and, as will be discussed, had herself portrayed in it even after she became empress. Shown built into an alcove, it is raised on a low dais that is covered with a Turkish carpet. The sofa backs onto an open colonnade that reveals a landscape vista behind Josephine and, like the bunch of wildflowers dropped onto the cushion beside her, this backdrop associates her with nature. At the same time, the classical column rising behind her lends a conventional grandeur to the setting.

GE From this point forward, as Philip Mansel has argued, male costume at the Napoleonic court became increasingly monarchical 9. Held in Paris, these ceremonies assumed extraordinary importance in announcing the symbolism of the new regime and underscoring its stimulation of the economy. Napoleon believed in the importance of the luxury trades to the economy of France. Recent scholarship on consumption during this period has drawn attention to the previously neglected role of the luxury market, female consumers, and a non-aristocratic notion of taste promoted by the fashion press and merchants, in stimulating the production and consumption of fashionable clothing and accessories.

This has been shown to be a significant aspect of the economic growth that took place in France in the late eighteenth and first half of the nineteenth centuries An imperial iconography and new courtly attire were rapidly fabricated, promoted and adopted in only six months This astonishingly speedy process owed something to the recent organization of massive revolutionary festivals.

Yet so much work was demanded of artisans in the Paris fashion trades that extra hands had to be imported from Lyon to make all the costumes in time. Scholars credit Josephine with influencing its design The modernity of her coronation dress is most evident in its conformity to the high-waisted silhouette of the neo-Greek dress The skirt fell continuously down the front in contrast to the open robe that divided over a petticoat in most eighteenth-century dresses. These flat shoes were another feature of contemporary fashion. According to Daniel Roche, some 25, people had been employed in the textile and fashion industries during the eighteenth century.

Napoleon reinstated traditional protectionist economic policies, banning the importation of Indian muslin during the Consulate and decreeing in that silk manufactured in France was mandatory for court costumes Le satin est ordinairement blanc, vigogne ou rose. Josephine owned hundreds of dresses in coloured silks, satins and velvets She remained partial to white for her court costumes, however, often wearing a matching white train, which sustained the association of female court costume with la mode , particulary as pictured.

She was almost invariably portrayed wearing white in both formal and informal portraits. When Josephine wore a coloured train, the general effect was to accentuate the white column of the dress The mantles designed for the Napoleonic coronation revived and redefined the mantle of the Bourbon court.

It dominates the entire foreground of the painting, curling and piling up beneath the seated empress and unfolding across the front edge until it is cropped by the corner, as if there were more to it than the painting could contain fig. This image of excess corresponds to surviving bills for the garment. The mantle required twenty-two metres of velvet, at a cost of francs, with the ermine lining and embroidered border costing twenty times that much at Jean-Louis-Charles Pauquet also portrayed Josephine seated in her imperial robes in an engraving after a drawing by Isabey published on the day of the coronation fig.