Another of Uzanne's interests was female fashion, about which he wrote a number of books and articles that were later translated into English.
Specifically, he was focused on the image of the Parisienne, the women of Paris.
Uzanne is perceived by some to have had a desire to revive French national pride; he shared the nationalistic feelings of other members of the generation who had experienced the defeat by Prussia in 1870.
This was reflected in their efforts to promote a renewal of the decorative arts.
Silverman mentions that Uzanne believed that married bourgeois women should not only decorate the walls of their homes, but also "cultivate luxury and art in an ornament ignored by their aristocratic predecessors: their undergarments".
Uzanne felt that the eroticism of the theatrical atmosphere was no longer what it had been and had become "more moral, more bourgeois".
His first and perhaps most famous book on fashion was L'Éventail (1882, translated as The Fan in 1884), a "delightful" illustrated story about the hand fans.
He admitted that his book "in no way a work of powerful wisdom and erudition", but simply the first in a projected series of "little books for the boudoir".

"Among the jewels of female ornamentation, the fan is the priority because, in the land of grace and spirit, still shines in the front row."

— Hiner 2011, p. 145 (cf.
Octave Uzanne, L'Éventail, 1882, p. 6)
His second book about fashion, L'ombrelle – le gant – le manchon (1883, translated in the same year as The Sunshade, Muff, and Glove), was also illustrated in rococo style by Paul Avril; in one of its lines Uzanne emphasized a female clothing accessory: "The muff!",
he said, "Its name alone has something adorable, downy, and voluptuous about it."
Later he published Les ornements de la femme (1892), that reproduced in one volume the combined texts of L'Éventail and L'ombrelle – le gant – le manchon.
His 1898 work Monument esthématique du XIXᵉ siècle : Les Modes de Paris, translated as Fashions in Paris, was according to the review in The New York Times "... the most complete and exhaustive work on the subject of French fashions that has yet appeared".
However, in this book he wanted to re-establish the intimate and feminine culture of the rococo—but during his life he became influenced by modernism— and also he criticized the "sartorial severity" of the femme nouvelle.

An example of the historical novel is La Française du siècle (1886, published in English as The Frenchwoman of the Century in 1887), where Uzanne suggests that the effect of the Revolution on the woman of the period was "lamentable and disastrous": "All French spirit, grace, and finesse seemed to have been submerged in the bloody deliriums of the crowd."
In a couple of chapters of the book he described the France of the late Eighteenth Century, during the French Revolution; some of its pages exhibited the "frivolity of women" during those years.
For example, in a chapter on one of the stages of the French Revolution—known as the Directory— he included descriptions of customs such as the bals des victimes: to these dancing assemblies, held at the Hôtel Richelieu, only admitted "aristocrats who could boast a relative guillotined during the Terror"; he wrote that women cut their hair, as if they would be guillotined—some even carried a red ribbon around their neck.
Uzanne disclosed that the five Directors who had established themselves at the Luxembourg formed a kind of Court-society, and gave frequent entertainments: the queens of this society were de Staël, Hamelin, Bonaparte and Tallien.

Some moralists have pretended that the costumes of women have almost always undergone the same variations as their virtue.
This is possible, and the study might be made in an amusing parallel; but carry, if you will, before the tribunal of fashion the cause of the merveilleiises of the Directory, the sincere friends of art will still recognise that amongst these pagan women pleasure obtained a brilliant victory over decency, and that their extreme grace made their absence of dignity forgotten.

— Th
Another of Uzanne's interests was female fashion, about which he wrote a number of books and articles that were later translated into English. Specifically, he was focused on the image of the Parisienne, the women of Paris. Uzanne is perceived by some to have had a desire to revive French national pride; he shared the nationalistic feelings of other members of the generation who had experienced the defeat by Prussia in 1870. This was reflected in their efforts to promote a renewal of the decorative arts. Silverman mentions that Uzanne believed that married bourgeois women should not only decorate the walls of their homes, but also "cultivate luxury and art in an ornament ignored by their aristocratic predecessors: their undergarments". Uzanne felt that the eroticism of the theatrical atmosphere was no longer what it had been and had become "more moral, more bourgeois". His first and perhaps most famous book on fashion was L'Éventail (1882, translated as The Fan in 1884), a "delightful" illustrated story about the hand fans. He admitted that his book "in no way a work of powerful wisdom and erudition", but simply the first in a projected series of "little books for the boudoir".
"Among the jewels of female ornamentation, the fan is the priority because, in the land of grace and spirit, still shines in the front row."
— Hiner 2011, p. 145 (cf. Octave Uzanne, L'Éventail, 1882, p. 6)
His second book about fashion, L'ombrelle – le gant – le manchon (1883, translated in the same year as The Sunshade, Muff, and Glove), was also illustrated in rococo style by Paul Avril; in one of its lines Uzanne emphasized a female clothing accessory: "The muff!", he said, "Its name alone has something adorable, downy, and voluptuous about it." Later he published Les ornements de la femme (1892), that reproduced in one volume the combined texts of L'Éventail and L'ombrelle – le gant – le manchon. His 1898 work Monument esthématique du XIXᵉ siècle : Les Modes de Paris, translated as Fashions in Paris, was according to the review in The New York Times "... the most complete and exhaustive work on the subject of French fashions that has yet appeared". However, in this book he wanted to re-establish the intimate and feminine culture of the rococo—but during his life he became influenced by modernism— and also he criticized the "sartorial severity" of the femme nouvelle.
An example of the historical novel is La Française du siècle (1886, published in English as The Frenchwoman of the Century in 1887), where Uzanne suggests that the effect of the Revolution on the woman of the period was "lamentable and disastrous": "All French spirit, grace, and finesse seemed to have been submerged in the bloody deliriums of the crowd." In a couple of chapters of the book he described the France of the late Eighteenth Century, during the French Revolution; some of its pages exhibited the "frivolity of women" during those years. For example, in a chapter on one of the stages of the French Revolution—known as the Directory— he included descriptions of customs such as the bals des victimes: to these dancing assemblies, held at the Hôtel Richelieu, only admitted "aristocrats who could boast a relative guillotined during the Terror"; he wrote that women cut their hair, as if they would be guillotined—some even carried a red ribbon around their neck. Uzanne disclosed that the five Directors who had established themselves at the Luxembourg formed a kind of Court-society, and gave frequent entertainments: the queens of this society were de Staël, Hamelin, Bonaparte and Tallien.
Some moralists have pretended that the costumes of women have almost always undergone the same variations as their virtue. This is possible, and the study might be made in an amusing parallel; but carry, if you will, before the tribunal of fashion the cause of the merveilleiises of the Directory, the sincere friends of art will still recognise that amongst these pagan women pleasure obtained a brilliant victory over decency, and that their extreme grace made their absence of dignity forgotten.
— Th
Octave Uzanne