The Prince and the Dressmaker

“You know what, just make it ghastly. Make me look like the devil’s wench.”

Sophia’s disinterest in finding a socially acceptable husband lays the groundwork for the novel’s subversion of traditional gender norms and celebration of Gender Expansive Self-Expression Through Fashion. The strength of the phrase “devil’s wench” evokes the 19th-century society perspective that viewed any deviation from traditional norms as indecent or even sinful.

“The client is not the one who wears the dress. THE CLIENT IS THE ONE WHO PAYS.”

The tailor’s assertion evidences a perspective that prioritizes profit over innovation in fashion design. In the context of Lady Sophia (a minor under the control of her mother) it also highlights a traditional power dynamic in which a parent’s wishes supersede that of their children.

“They don’t have to love it, or understand it, but they’re going to remember it.”

In using “they” (referring to an unknown audience), Sebastian displays a boldness of spirit and desire to make an impact on society rather than cleave to its norms that belies the trepidation with which he moves around his parents. His statement also resonates with the Prince’s gender nonconformity—Sebastian isn’t looking for unconditional acceptance (something he doesn’t initially believe possible), but for freedom.

“I’m the king’s only son. If anybody found out the prince wore dresses, it would ruin the whole family.”

Wang presents a central tension for Sebastian between his desire to push back against Familial Expectation Reflecting Social Mores and his constant awareness of them. Early in the novel, he can’t imagine a world where his parents accept him, and thus Lady Crystallia becomes a secret kind of outlet—a way for him to live in both worlds without having to overtly defy his family.

“At some point I realized this was a real job somebody had and I wanted to be that person. The person who makes beautiful things.”

The repetition of the word “person” in Frances’s assertion emphasizes the connection and personal passion she feels for her craft, as well as her belief that the most important and meaningful part of a designer’s job is crafting something beautiful and innovative, not the amount of money it earns.

“Did you know my father is a military leader? And his father? And his father’s father? How am I supposed to live up to that?”

Sebastian phrases his fears as rhetorical questions, not expecting an answer, suggesting that he doesn’t believe there is one. The repetition of “father” suggests his feelings of inadequacy have roots in Familial Expectations Reflecting Social Mores.

“I’ve met a couple princes now and you’re just…you’re not like anyone else. You’re sweet, you’re considerate. You listen to people.”

Juliana’s surprise at Sebastian’s decency reveals that Sebastian isn’t the only one dealing with suffocating parental expectations. Her statement also portrays Sebastian as special, different from the other Princes she’s encountered, even beyond the events of the book.

“Hey! Do you realize who I am? I own half the electricity in Paris!”

Here Wang employs hypophora (in which a character asks a question and then immediately answers it to emphasize their point) to characterize Mr. DeFreines’s inflated sense of his own power. He represents a certain archetype of traditional masculinity. The reference to electricity situates the novel loosely withing the era of a newly modern Paris.

“I need to design a collection. Something that’s gonna make people want to look just like you.”

In this passage, Wang positions Lady Crystallia as Frances’s muse, inspiring her artistry and creativity. In doing so, Frances doesn’t consider Crystallia’s other identity as Sebastian to be an impediment to their collaboration, suggesting that she is the rare person in his life who wholly accepts the Prince for who he is, laying the foundation for the novel’s thematic interest in The Power of Friendship to Support Personal Integrity.

“I know, it just bothers me I’m not getting credit for it.”

The central conflict of Wang’s novel rests on the competing goals of the two protagonists—Frances wants to be seen and publicly acknowledged for her designs, and Sebastian initially wants to keep his identity as Lady Crystallia hidden from both his parents and the public. By placing Frances and Sebastian’s wants in opposition to each other, Wang creates dramatic tension that drives the story to its climax.

“It’s really working, Sebastian. Everything we dreamed of is really happening.”

Wang alludes to her story’s fairytale inspiration by referencing the language of fairytale (“everything we dreamed of”) in her dialogue. The repetition of “really” emphasizes Frances’s disbelief and excitement. Using the pronoun “we” unites the two protagonists, suggesting that success must come for them as a team.

“If you stopped sewing today you’re still the best friend I’ve ever had.”

Wang presents Frances as a character that derives her sense of identity in her design work. In her relationship with Sebastian, she encounters a person who sees her as a person, beyond her marketable skills or what she can do for him.

“You ungrateful child….”

Wang employs cliché in King Leroy’s dialogue, suggesting that the King fears Sebastian is deviating from prescribed roles for being a “grateful” child. Like Sebastian, the King too carries the weight of Familial Expectation Reflecting Social Mores, as well as the worry of a parent trying to understand his son.

“I could be made king any time! If anything happened to my father, that’s it for me. I can’t take any chances.”

The King’s sudden illness increases the weight of obligation Sebastian feels to carry on his family’s royal legacy. His Familial Expectations Reflecting Social Mores forces him to reckon with his fears that the kingdom will never accept him as he is worried becoming King would be a death sentence for Crystallia. 

“Are you going to lock me up in a basement to keep me from telling everyone who you are?”

As their conflict escalates, Frances evokes the image of a lock—the opposite of a key, the symbol of the trust Sebastian has in her. The conflict Wang creates between Sebastian and Frances’s competing desires forces each of them to make a choice between staying hidden or living the life as their true selves—a choice that will set them on a trajectory toward self-acceptance, completing their arcs and highlighting The Power of Friendship to Support Personal Integrity.

“They’re going to make such beautiful babies!”

The seamstresses excited words to Frances reflect conversative social mores and traditional gender roles that center heteronormative marriage and procreation as the center of one’s life. Frances runs from the encounter, both because she’s in love with Sebastian, but also out of fear that he’s doing exactly what his parents expect of him, without considering him as a person.

“My father wants to market this line to the masses. He’s a powerful man. And associating with him can make you very powerful as well.”

Peter sums up his own characterization here, fixating on profit and influence over creative artistry and innovation. His pitch to Frances reflects his own values—the things that motivate him. Wang employs short, choppy sentences in his dialogue to create urgency and impact.

“You’d be very lucky to be on the arm of someone like me.”

Prince Marcel acts as a foil to Sebastian in the narrative—flaunting his privilege, using his rank and power to get his way, viewing relationships as transactional and a means to acquire economic and social capital. In contrast, Sebastian feels conflicted and dubious about his position in the kingdom and cares deeply for those in his life and those who look to his family for leadership. 

“All those girls who’ve been throwing themselves at him must feel like such idiots right now.”

The incidental character of the boorish man gives voice to the traditional misogyny and gender essentialism that Sebastian fears will keep the kingdom from accepting someone with gender expansive self-expression as King. Wang gives readers a glimpse of intolerance to emphasize the eventual happy ending.

“If you know so much about my son, why was he confused about himself? What was he missing?”

In an attempt to understand Sebastian, Leroy misconstrues a gender nonconforming identity as confusion or deficiency, but the thing Sebastian is missing is actually the chance to fully be himself with those he loves. The insight Frances offers provides King Leroy with an epiphany—Sebastian isn’t confused about himself; he fears his father’s rejection of that self—leading him to complete his arc.

“I have to admit, I’m not very good at this lifestyle. I didn’t know I’d have to do so much gardening.”

In an emotionally challenging chapter, Wang injects moments of self-deprecating levity through dialogue consistent with Sebastian’s voice. Structurally, this moment in the monastery provides a crossroads for Sebastian’s character—will he stay hidden or will he go back to Paris to find Frances and embrace his true self?

“See, all you needed was a little guidance.”

Peter’s dialogue in the novel’s resolution reflects the patronizing tone signature to his character. His willingness to take credit for Frances’s success despite the fact that she succeeded by rejecting his guidance relegates Peter to the position of the fool, providing comic relief rather than menace as Wang’s protagonists arrive at their happy ending. 

“When I first learned the truth, I thought Sebastian’s life would be ruined. But seeing you, I realized everything would be fine. Because someone still loved him.”

In his final speech to Frances, King Leroy describes his own character arc from a place of fear for his son through confusion and finally, to love and acceptance. As he reckons with his own Familial Expectations Reflecting Social Mores, he identifies the ways he’s tried to make his son fit into them rather than embracing him for the person he is.