The Prince and the Dressmaker

A primary theme of The Prince and the Dressmaker is gender-expansive self-expression through the medium of fashion. “Gender expansive” refers not only to identities outside the gender binary but presentations that subvert or ignore prevailing gender norms—represented in the novel primarily by Sebastian, as well as several secondary characters whose clothing doesn’t conform to traditionally gendered stereotypes. Meeting Frances and becoming inspired by her designs for Crystallia provides a catalyst for Sebastian that propels his arc toward an expansive understanding of his own identity.

Creating the persona of Crystallia with the help of Frances’s designs allows Sebastian to access and express elements of his personality that he’s not yet ready reveal to his family and community. Crown Prince Sebastian is depicted in the first half of the novel as self-conscious and overly concerned with living up to others’ expectations. According to Juliana, Sebastian is different from the other princes she has met—he’s “sweet, [he’s] considerate. [He] listen[s] to people” (82). At the start of novel, Sebastian fears that this difference means he isn’t the type of prince that his family and his kingdom want—concerns that motivate him to keep parts of himself hidden. As Lady Crystallia, the character becomes more assertive and confident. Frances describes watching Crystallia as like seeing Sebastian but “more. Bigger. More amazing” (74). Sebastian reaches for the strength of Lady Crystallia in moments of internal crisis, as when he exclaims he “needs to go out in [Frances’s newest dress] right now” after Juliana shows interest in a betrothal (86).

Wang suggests Sebastian the Crown Prince and Lady Crystallia represent two parts of Sebastian the person. If Prince Sebastian can be too self-effacing, Crystallia can be overly assertive such as when Crystallia “forbid[s] [Frances] to leave” and demands she “return to [her] servant quarters, now!” (173). As much as Sebastian feels being Lady Crystallia is a risk, the Prince becomes miserable when attempting to cut off that facet of himself. All of these qualities make up Sebastian’s character, and his arc finds him embracing and integrating both parts as equally true by the end of the novel. Presenting as Sebastian, he pushes Frances’s to embrace her own true passion in her designs by pointing out her “name is on the dress but none of [her] in it” (246). Presenting as Lady Crystallia, the character engages in the vulnerability of a first kiss with Frances (264-65).

With the introduction of Lady Sophia in the opening scene, Wang establishes the traditional social mores of gender expression in the world of the novel as well as the idea that there are those willing to risk disrupting them. Wang depicts Lady Sophia, who “absolutely ruined her gown last night by going riding in the woods” (5)—a more traditionally masculine activity in the 19th century—as unrepentant over the ruined gown. She doubles down on her rebellion, telling Frances that she “hate[s] this as much as” Frances does and asking for a “ghastly” dress (6). Unlike the gleeful young women with “SQUEEEAAL!!” in large letters above them as they read the invitation to Sebastian’s ball, Lady Sophia rejects the gendered notion that a young woman’s highest prize should be marriage won by conforming to hegemonic strictures on gendered beauty. Instead, she requests a dress that expresses her boldness—her true self.

Wang’s climax underscores this theme by drawing the King and his men in the fashion show as confident and even coquettish in their gowns on the catwalk (257), presenting traditionally masculine characters joyfully embracing traditionally feminine clothing. King Leroy finds a new playful way of expressing his charisma and ability to command attention as he models and poses for the crowd (261), demonstrating his growth as a character and modeling a path toward greater empathy and an expansive, fluid view of gender identity and expression full of vibrancy, personal affirmation, and joy.