The small decorative patches worn on the face, often made of black silk, velvet, or taffeta, were a distinct beauty trend of the early modern period. Known in France as mouches (flies) or in England as plaisters, they were adhered to the skin using a mild adhesive like mastic or saliva. Their function evolved from simple utility to a complex form of social communication, making them a defining accessory for the European elite. This fashion was concentrated across the 17th and 18th centuries, a time when artificiality in appearance was celebrated as a sign of high social standing.
The Peak Era of the Beauty Patch
The beauty patch became a widespread phenomenon across Europe starting in the late 17th century, peaking throughout the 18th century. France served as the center of this trend, particularly within the court circles of Louis XIV. The French court established a cultural climate where heavy cosmetics and elaborate adornment were sophisticated, spreading the practice to other European societies, including English high society.
This period emphasized a specific aesthetic ideal: a pale, marble-white complexion that marked wealth and status, signifying a life free from outdoor labor. Both women and men used thick white face paint, often containing toxic ingredients like lead, to achieve this look. The small, dark mouche was deliberately placed against this starkly white canvas to draw attention to the face and enhance the skin’s perceived whiteness.
The patches were considered a necessary accessory and were often carried in specially designed, decorated containers called patch boxes. While worn by both sexes, women generally adopted the fashion with greater enthusiasm and complexity. This era normalized a degree of visible artifice, moving away from previous centuries that had viewed such cosmetic enhancements with suspicion.
Practical Use and Hidden Meanings
The original purpose of the patches was purely functional: to conceal blemishes and scars common during the period. Smallpox, which affected a significant portion of the population, often left permanent pockmarks on the face that the patches effectively disguised. Patches were also used to cover marks from other ailments, including those resulting from mercury-based treatments for conditions like syphilis.
The patches quickly transitioned from a tool of necessity into a deliberate fashion statement and a coded language of flirtation among the aristocracy. The specific material, shape, and placement of the patch conveyed precise social or romantic messages. Patches were often cut into fanciful shapes like crescent moons, stars, diamonds, and hearts, adding to their decorative appeal.
The location of the mouche was given a suggestive name that communicated the wearer’s mood or intentions. A patch near the eye was called l’assassin (“the passionate”), while one on the chin was la galante (“the gallant”). Placement on the nose was l’impudent (the impudent) and one beneath the lower lip la discrète (the discreet). In England, the patches also took on political significance, with Whig and Tory supporters wearing them on opposing sides of the face.
The End of the Mouche Trend
The popularity of the beauty patch began to fade toward the close of the 18th century. This decline was part of a larger cultural shift that rejected the overt artificiality and extravagance associated with the preceding French monarchical era. New philosophical movements, often linked to Enlightenment ideals, promoted a preference for perceived sincerity and simplicity in dress and appearance.
The aesthetic ideal moved toward a more “natural” look, emphasizing a fresh complexion with minimal visible makeup. Heavy face paint and elaborate artifice, including the patches, became associated with an outdated, decadent style. Their presence became increasingly rare and was no longer a common practice among the fashionable elite after the late 1700s.