Los Angeles
February 2025
Written by
Dylan Poquette
Rococo
The Birth of Playful Maximalism
Rococo, a pastel-colored, pearl-draped rebellion against the seriousness of art and life. It acted as a testament to the excess of the wealthy which veered into absurd displays of wealth. Born in the 18th century, Rococo centered around fun, fantasy, and frivolity. While Rococo captivates many with its beauty, it raises the question of what role art and fashion play in social change. Beneath its layers of lace and pearls lay an aesthetic that embodies the detachment of the aristocracy from the realities of the world that surrounded them. Today, as maximalism runs rampant in contemporary fashion from streetwear to high fashion runways, Rococo’s legacy remains both an inspiration and cautionary tale of excess. The movement’s love for embellishments and whimsy persists, but modern designers alike grapple with the same issues of excess, privilege, and self-awareness that once defined the life of 18th-century elites.
Los Angeles
February 2025
Written by
Dylan Poquette
The Birth of Playful Maximalism
Rococo, a pastel-colored, pearl-draped rebellion against the seriousness of art and life. It acted as a testament to the excess of the wealthy which veered into absurd displays of wealth. Born in the 18th century, Rococo centered around fun, fantasy, and frivolity. While Rococo captivates many with its beauty, it raises the question of what role art and fashion play in social change. Beneath its layers of lace and pearls lay an aesthetic that embodies the detachment of the aristocracy from the realities of the world that surrounded them. Today, as maximalism runs rampant in contemporary fashion from streetwear to high fashion runways, Rococo’s legacy remains both an inspiration and cautionary tale of excess. The movement’s love for embellishments and whimsy persists, but modern designers alike grapple with the same issues of excess, privilege, and self-awareness that once defined the life of 18th-century elites.
Los Angeles
February 2025
Written by
Dylan Poquette
Rococo
The Birth of Playful Maximalism
Rococo, a pastel-colored, pearl-draped rebellion against the seriousness of art and life. It acted as a testament to the excess of the wealthy which veered into absurd displays of wealth. Born in the 18th century, Rococo centered around fun, fantasy, and frivolity. While Rococo captivates many with its beauty, it raises the question of what role art and fashion play in social change. Beneath its layers of lace and pearls lay an aesthetic that embodies the detachment of the aristocracy from the realities of the world that surrounded them. Today, as maximalism runs rampant in contemporary fashion from streetwear to high fashion runways, Rococo’s legacy remains both an inspiration and cautionary tale of excess. The movement’s love for embellishments and whimsy persists, but modern designers alike grapple with the same issues of excess, privilege, and self-awareness that once defined the life of 18th-century elites.
Rococo was the art of leisure; it was designed to please the eye and indulge the senses. Artists like Jean-Honore Fragnard and Fancois Boucher painted pastel-colored fantasies that were filled with cherubs, floral arrangements, and flirtatious noblewomen lounging in impossible lavish manors. Madame de Pompadour, Louis’ XI’s ultimate curator became the living embodiment of Rococo aesthetics by surrounding herself with decadent gowns, porcelain trinkets, and walls filled with gilded gold decor.
Fashion followed suit, embracing extravagance in every detail. Pannier skirts expanded into absurd dramatic silhouettes and embroidered silks shimmered in chandelier lit ballrooms. Soft hues—blush pink, powder blue, sage green, and lilac—dominated fashion of the time, creating a dreamlike romantic ambiance. Corsets sculpted impossibly tiny waists, while dainty shoes decorating with gold gilded buckles and silk ribbons peaked from beneath voluminous skirts. No outfit was complete without a painted face — cheeks rouged and skin dusted in white power. Pearl necklaces draped over laced embroidered bustiers and intricately decorated folding fans acted as both a statement of inaccessible wealth and great taste in fashion. Yet beneath the layers of silk, Rococo fashion was more than just an overindulgence of beauty, it was a symbol of wealth and hierarchy, a carefully curated ensemble that separated the aristocracy from those who could never afford to take a part in such extravagance.
By the time Marie Antoinette turned Versailles into her own personal pastel dreamland, the aesthetic had become synonymous with privilege at its most out of touch. Her fashion choices, from voluminous gowns to towering wigs became the epitome of opulence, this extravagance was not merely a reflection of her personal style but a deliberate attempt to curate a world that was completely out of reach for the majority of French society. In a time when France was grappling with severe economic inequality, her luxurious lifestyle fueled by indulgent feasts and an endless supply of decadent gowns served as a stark reminder of the monarchy’s disconnection with the realities faced by the backbone of their own economy. While Rococo art and fashion celebrated whimsy and excess, Marie Antoinette’s transformation of Versailles into a fantasy land highlights the darker side of maximalist aesthetic, when style becomes fantasy. It alienated those who could not afford to partake in it, becoming a symbol of privilege and ignorance. While the queen’s fashion choices are undeniably influential, her image as the queen who lived in excess serves as a reminder of how unattainable aesthetics can expose the divisions between those who can indulge in such excess and those whose labor makes it possible.
Fast forward four centuries, and while powdered wigs are thankfully no longer a daily staple, Rococo’s spirit is alive and well in the world of fashion, The movement’s love for embellishment, fantasy, and excess continues to resonate today, finding its way into the collections of designers who embrace maximalist aesthetics.
Beyond high fashion rococo aesthetics shimmer in pop culture. Fashion movements like Harajuku style borrow directly from Rococo’s doll-like dresses, complete with ruffles, lace, and pastel palettes, infusing it with a youthful rebellion. In shows like RuPaul’s Drag Race, the world of drag fashion channels Rococo spirit of excess and beauty, often manifesting through elaborate costumes, wigs, and exaggerated femininity. Many queens on the show experiment with Rococo references, blending them with modern avant-garde fashion. Sophia Coppola reimagines Marie Antoinette’s life with an alternative soundtrack and playful costuming, critiquing the queen’s excess while still celebrating the whimsical style of the period. Think pop stars like Lady Gaga’s exaggerated silhouettes and extravagant detailing or Rihanna’s boundary-pushing Met Gala looks featuring gold gowns that channel both Rococo opulence and contemporary style.
In terms of influence on fashion designers, Vivienne Westwood practically resurrected Rococo’s playful irreverence in her corseted, history-punk fusion designs, fusing chaos with lavish opulence of the past. Similarly, John Galliano’s era at Dior, where he sent models down the runway in frilly confections that Marie Antoinette herself would lose her head for. In all of these cases, there is an awareness, an understanding that Rococo’s excess comes with both beauty and baggage. Today’s maximalist designers and stylists often reinterpret Rococo’s aesthetics through a modern framework, one that acknowledges both its whimsy and its faults. Maximalist elements like puffed sleeves, Sandy Liang bows, and oversized silhouettes embrace the Rococo period. Designers like Jean Paul Gaultier have revived these styles with a modern twist, think Drew Barrymore’s Jean Paul Gaultier gown at the Ever After Gala of 1998.
Zendaya’s 2019 Met Gala gown by Tommy Hilfiger embodies the spirit of Rococo in its extravagance and whimsy. The soft blue color palette, exaggerated volume of the skirt and poofy sleeves creates a dramatic fantasy-inspired silhouette.
Rococo inspired elements have been incorporated into contemporary fashion in a way that blends historical references with a modern lens.
Rococo reminds us that maximalism isn't just about having more, but about celebrating more. More whimsy, more creativity, and always more lace. It serves as a lesson on indulgence without awareness. While Rococo fashion was stunningly beautiful, it served as a reflection of social disparity, one that eventually contributed to its downfall.
Today’s maximalists often embrace Rococo aesthetics with a knowing wink, aware of the movement’s history of decadence gone too far. We see this in how contemporary designers mix opulence with irony, how runway shows play with historical references while subtly critiquing them. Rococo’s resurgence in the contemporary fashion world proves that its dreamy, decadent aesthetic still captivates us. Whether through runaways, red carpets, or Harajuku street style, the era’s love for maximalist embellishment continues to inspire. But beneath the ruffles and bows lies the same tension that defined the social climate of the French Revolution, where does indulgence end and ignorance begin?
While some designers like Vivienne Westwood utilize Rococo’s history to critique power and excess, others revel in its beauty without critiquing its privileged origins.The French Revolution was in many ways a rejection of the privilege that Rococo embodied. As Marie Antoinette played dress up in the palace of Versailles, the working class struggled under severe economic collapse, fueling the rage that would end the monarchy. Today, that same dynamic plays out in new forms, from mass produced cheaply made fashion trends to billionaires flaunting their luxurious lifestyles while economic instability looms. Social media apps act as a modern-day Versailles, where influencers curate extravagant, unattainable lifestyles while audiences question who gets to live in excess and who is left out.
Rococo’s revival doesn’t just act as a symbol for privilege, it also mirrors overconsumption. In a world shaped by unethically sourced labor and fast fashion, ultra-trendy aesthetics are mass produced and discarded quickly. This democratization of indulgence raises its own ethical concerns: today’s rococo fuels climate change and exploitative labor practices at the expense of the very working class that it originally excluded.
Maximalism itself isn’t the problem. There are ways to embrace extravagance without excess. Slow fashion, secondhand shopping, and supporting small artists and designers allow for indulgence without waste, proving that maximalism and ethics don’t have to be mutually exclusive. The true power of Rococo’s return isn’t just in aesthetics, but in our ability to recognize both its beauty and its costs. The lesson of Rococo isn't about just loving excess, it's about understanding its impact. While we may no longer live in a world of silk draped boudoirs or horse-drawn carriages, Rococo's legacy encourages a different philosophy. Let fashion be fun, but let’s be a little more self-aware this time around.
Rococo was the art of leisure; it was designed to please the eye and indulge the senses. Artists like Jean-Honore Fragnard and Fancois Boucher painted pastel-colored fantasies that were filled with cherubs, floral arrangements, and flirtatious noblewomen lounging in impossible lavish manors. Madame de Pompadour, Louis’ XI’s ultimate curator became the living embodiment of Rococo aesthetics by surrounding herself with decadent gowns, porcelain trinkets, and walls filled with gilded gold decor.
Fashion followed suit, embracing extravagance in every detail. Pannier skirts expanded into absurd dramatic silhouettes and embroidered silks shimmered in chandelier lit ballrooms. Soft hues—blush pink, powder blue, sage green, and lilac—dominated fashion of the time, creating a dreamlike romantic ambiance. Corsets sculpted impossibly tiny waists, while dainty shoes decorating with gold gilded buckles and silk ribbons peaked from beneath voluminous skirts. No outfit was complete without a painted face — cheeks rouged and skin dusted in white power. Pearl necklaces draped over laced embroidered bustiers and intricately decorated folding fans acted as both a statement of inaccessible wealth and great taste in fashion. Yet beneath the layers of silk, Rococo fashion was more than just an overindulgence of beauty, it was a symbol of wealth and hierarchy, a carefully curated ensemble that separated the aristocracy from those who could never afford to take a part in such extravagance.
By the time Marie Antoinette turned Versailles into her own personal pastel dreamland, the aesthetic had become synonymous with privilege at its most out of touch. Her fashion choices, from voluminous gowns to towering wigs became the epitome of opulence, this extravagance was not merely a reflection of her personal style but a deliberate attempt to curate a world that was completely out of reach for the majority of French society. In a time when France was grappling with severe economic inequality, her luxurious lifestyle fueled by indulgent feasts and an endless supply of decadent gowns served as a stark reminder of the monarchy’s disconnection with the realities faced by the backbone of their own economy. While Rococo art and fashion celebrated whimsy and excess, Marie Antoinette’s transformation of Versailles into a fantasy land highlights the darker side of maximalist aesthetic, when style becomes fantasy. It alienated those who could not afford to partake in it, becoming a symbol of privilege and ignorance. While the queen’s fashion choices are undeniably influential, her image as the queen who lived in excess serves as a reminder of how unattainable aesthetics can expose the divisions between those who can indulge in such excess and those whose labor makes it possible.
Fast forward four centuries, and while powdered wigs are thankfully no longer a daily staple, Rococo’s spirit is alive and well in the world of fashion, The movement’s love for embellishment, fantasy, and excess continues to resonate today, finding its way into the collections of designers who embrace maximalist aesthetics.
Beyond high fashion rococo aesthetics shimmer in pop culture. Fashion movements like Harajuku style borrow directly from Rococo’s doll-like dresses, complete with ruffles, lace, and pastel palettes, infusing it with a youthful rebellion. In shows like RuPaul’s Drag Race, the world of drag fashion channels Rococo spirit of excess and beauty, often manifesting through elaborate costumes, wigs, and exaggerated femininity. Many queens on the show experiment with Rococo references, blending them with modern avant-garde fashion. Sophia Coppola reimagines Marie Antoinette’s life with an alternative soundtrack and playful costuming, critiquing the queen’s excess while still celebrating the whimsical style of the period. Think pop stars like Lady Gaga’s exaggerated silhouettes and extravagant detailing or Rihanna’s boundary-pushing Met Gala looks featuring gold gowns that channel both Rococo opulence and contemporary style.
In terms of influence on fashion designers, Vivienne Westwood practically resurrected Rococo’s playful irreverence in her corseted, history-punk fusion designs, fusing chaos with lavish opulence of the past. Similarly, John Galliano’s era at Dior, where he sent models down the runway in frilly confections that Marie Antoinette herself would lose her head for. In all of these cases, there is an awareness, an understanding that Rococo’s excess comes with both beauty and baggage. Today’s maximalist designers and stylists often reinterpret Rococo’s aesthetics through a modern framework, one that acknowledges both its whimsy and its faults. Maximalist elements like puffed sleeves, Sandy Liang bows, and oversized silhouettes embrace the Rococo period. Designers like Jean Paul Gaultier have revived these styles with a modern twist, think Drew Barrymore’s Jean Paul Gaultier gown at the Ever After Gala of 1998.
Zendaya’s 2019 Met Gala gown by Tommy Hilfiger embodies the spirit of Rococo in its extravagance and whimsy. The soft blue color palette, exaggerated volume of the skirt and poofy sleeves creates a dramatic fantasy-inspired silhouette.
Rococo inspired elements have been incorporated into contemporary fashion in a way that blends historical references with a modern lens.
Rococo reminds us that maximalism isn't just about having more, but about celebrating more. More whimsy, more creativity, and always more lace. It serves as a lesson on indulgence without awareness. While Rococo fashion was stunningly beautiful, it served as a reflection of social disparity, one that eventually contributed to its downfall.
Today’s maximalists often embrace Rococo aesthetics with a knowing wink, aware of the movement’s history of decadence gone too far. We see this in how contemporary designers mix opulence with irony, how runway shows play with historical references while subtly critiquing them. Rococo’s resurgence in the contemporary fashion world proves that its dreamy, decadent aesthetic still captivates us. Whether through runaways, red carpets, or Harajuku street style, the era’s love for maximalist embellishment continues to inspire. But beneath the ruffles and bows lies the same tension that defined the social climate of the French Revolution, where does indulgence end and ignorance begin?
While some designers like Vivienne Westwood utilize Rococo’s history to critique power and excess, others revel in its beauty without critiquing its privileged origins.The French Revolution was in many ways a rejection of the privilege that Rococo embodied. As Marie Antoinette played dress up in the palace of Versailles, the working class struggled under severe economic collapse, fueling the rage that would end the monarchy. Today, that same dynamic plays out in new forms, from mass produced cheaply made fashion trends to billionaires flaunting their luxurious lifestyles while economic instability looms. Social media apps act as a modern-day Versailles, where influencers curate extravagant, unattainable lifestyles while audiences question who gets to live in excess and who is left out.
Rococo’s revival doesn’t just act as a symbol for privilege, it also mirrors overconsumption. In a world shaped by unethically sourced labor and fast fashion, ultra-trendy aesthetics are mass produced and discarded quickly. This democratization of indulgence raises its own ethical concerns: today’s rococo fuels climate change and exploitative labor practices at the expense of the very working class that it originally excluded.
Maximalism itself isn’t the problem. There are ways to embrace extravagance without excess. Slow fashion, secondhand shopping, and supporting small artists and designers allow for indulgence without waste, proving that maximalism and ethics don’t have to be mutually exclusive. The true power of Rococo’s return isn’t just in aesthetics, but in our ability to recognize both its beauty and its costs. The lesson of Rococo isn't about just loving excess, it's about understanding its impact. While we may no longer live in a world of silk draped boudoirs or horse-drawn carriages, Rococo's legacy encourages a different philosophy. Let fashion be fun, but let’s be a little more self-aware this time around.
Rococo was the art of leisure; it was designed to please the eye and indulge the senses. Artists like Jean-Honore Fragnard and Fancois Boucher painted pastel-colored fantasies that were filled with cherubs, floral arrangements, and flirtatious noblewomen lounging in impossible lavish manors. Madame de Pompadour, Louis’ XI’s ultimate curator became the living embodiment of Rococo aesthetics by surrounding herself with decadent gowns, porcelain trinkets, and walls filled with gilded gold decor.
Fashion followed suit, embracing extravagance in every detail. Pannier skirts expanded into absurd dramatic silhouettes and embroidered silks shimmered in chandelier lit ballrooms. Soft hues—blush pink, powder blue, sage green, and lilac—dominated fashion of the time, creating a dreamlike romantic ambiance. Corsets sculpted impossibly tiny waists, while dainty shoes decorating with gold gilded buckles and silk ribbons peaked from beneath voluminous skirts. No outfit was complete without a painted face — cheeks rouged and skin dusted in white power. Pearl necklaces draped over laced embroidered bustiers and intricately decorated folding fans acted as both a statement of inaccessible wealth and great taste in fashion. Yet beneath the layers of silk, Rococo fashion was more than just an overindulgence of beauty, it was a symbol of wealth and hierarchy, a carefully curated ensemble that separated the aristocracy from those who could never afford to take a part in such extravagance.
By the time Marie Antoinette turned Versailles into her own personal pastel dreamland, the aesthetic had become synonymous with privilege at its most out of touch. Her fashion choices, from voluminous gowns to towering wigs became the epitome of opulence, this extravagance was not merely a reflection of her personal style but a deliberate attempt to curate a world that was completely out of reach for the majority of French society. In a time when France was grappling with severe economic inequality, her luxurious lifestyle fueled by indulgent feasts and an endless supply of decadent gowns served as a stark reminder of the monarchy’s disconnection with the realities faced by the backbone of their own economy. While Rococo art and fashion celebrated whimsy and excess, Marie Antoinette’s transformation of Versailles into a fantasy land highlights the darker side of maximalist aesthetic, when style becomes fantasy. It alienated those who could not afford to partake in it, becoming a symbol of privilege and ignorance. While the queen’s fashion choices are undeniably influential, her image as the queen who lived in excess serves as a reminder of how unattainable aesthetics can expose the divisions between those who can indulge in such excess and those whose labor makes it possible.
Fast forward four centuries, and while powdered wigs are thankfully no longer a daily staple, Rococo’s spirit is alive and well in the world of fashion, The movement’s love for embellishment, fantasy, and excess continues to resonate today, finding its way into the collections of designers who embrace maximalist aesthetics.
Beyond high fashion rococo aesthetics shimmer in pop culture. Fashion movements like Harajuku style borrow directly from Rococo’s doll-like dresses, complete with ruffles, lace, and pastel palettes, infusing it with a youthful rebellion. In shows like RuPaul’s Drag Race, the world of drag fashion channels Rococo spirit of excess and beauty, often manifesting through elaborate costumes, wigs, and exaggerated femininity. Many queens on the show experiment with Rococo references, blending them with modern avant-garde fashion. Sophia Coppola reimagines Marie Antoinette’s life with an alternative soundtrack and playful costuming, critiquing the queen’s excess while still celebrating the whimsical style of the period. Think pop stars like Lady Gaga’s exaggerated silhouettes and extravagant detailing or Rihanna’s boundary-pushing Met Gala looks featuring gold gowns that channel both Rococo opulence and contemporary style.
In terms of influence on fashion designers, Vivienne Westwood practically resurrected Rococo’s playful irreverence in her corseted, history-punk fusion designs, fusing chaos with lavish opulence of the past. Similarly, John Galliano’s era at Dior, where he sent models down the runway in frilly confections that Marie Antoinette herself would lose her head for. In all of these cases, there is an awareness, an understanding that Rococo’s excess comes with both beauty and baggage. Today’s maximalist designers and stylists often reinterpret Rococo’s aesthetics through a modern framework, one that acknowledges both its whimsy and its faults. Maximalist elements like puffed sleeves, Sandy Liang bows, and oversized silhouettes embrace the Rococo period. Designers like Jean Paul Gaultier have revived these styles with a modern twist, think Drew Barrymore’s Jean Paul Gaultier gown at the Ever After Gala of 1998.
Zendaya’s 2019 Met Gala gown by Tommy Hilfiger embodies the spirit of Rococo in its extravagance and whimsy. The soft blue color palette, exaggerated volume of the skirt and poofy sleeves creates a dramatic fantasy-inspired silhouette.
Rococo inspired elements have been incorporated into contemporary fashion in a way that blends historical references with a modern lens.
Rococo reminds us that maximalism isn't just about having more, but about celebrating more. More whimsy, more creativity, and always more lace. It serves as a lesson on indulgence without awareness. While Rococo fashion was stunningly beautiful, it served as a reflection of social disparity, one that eventually contributed to its downfall.
Today’s maximalists often embrace Rococo aesthetics with a knowing wink, aware of the movement’s history of decadence gone too far. We see this in how contemporary designers mix opulence with irony, how runway shows play with historical references while subtly critiquing them. Rococo’s resurgence in the contemporary fashion world proves that its dreamy, decadent aesthetic still captivates us. Whether through runaways, red carpets, or Harajuku street style, the era’s love for maximalist embellishment continues to inspire. But beneath the ruffles and bows lies the same tension that defined the social climate of the French Revolution, where does indulgence end and ignorance begin?
While some designers like Vivienne Westwood utilize Rococo’s history to critique power and excess, others revel in its beauty without critiquing its privileged origins.The French Revolution was in many ways a rejection of the privilege that Rococo embodied. As Marie Antoinette played dress up in the palace of Versailles, the working class struggled under severe economic collapse, fueling the rage that would end the monarchy. Today, that same dynamic plays out in new forms, from mass produced cheaply made fashion trends to billionaires flaunting their luxurious lifestyles while economic instability looms. Social media apps act as a modern-day Versailles, where influencers curate extravagant, unattainable lifestyles while audiences question who gets to live in excess and who is left out.
Rococo’s revival doesn’t just act as a symbol for privilege, it also mirrors overconsumption. In a world shaped by unethically sourced labor and fast fashion, ultra-trendy aesthetics are mass produced and discarded quickly. This democratization of indulgence raises its own ethical concerns: today’s rococo fuels climate change and exploitative labor practices at the expense of the very working class that it originally excluded.
Maximalism itself isn’t the problem. There are ways to embrace extravagance without excess. Slow fashion, secondhand shopping, and supporting small artists and designers allow for indulgence without waste, proving that maximalism and ethics don’t have to be mutually exclusive. The true power of Rococo’s return isn’t just in aesthetics, but in our ability to recognize both its beauty and its costs. The lesson of Rococo isn't about just loving excess, it's about understanding its impact. While we may no longer live in a world of silk draped boudoirs or horse-drawn carriages, Rococo's legacy encourages a different philosophy. Let fashion be fun, but let’s be a little more self-aware this time around.
© Forward 2025
"For the Future"
© Forward 2025
"For the Future"
© Forward 2025
"For the Future"