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the palace of veRsailles presents<br />
the 18 th century<br />
back <strong>in</strong> <strong>fashion</strong><br />
guide to the exhibition<br />
and the grand trianon<br />
8 july – 9 OCTOBer<br />
organised with the
Grand trianon floor plan<br />
the 18 th century<br />
back <strong>in</strong> <strong>fashion</strong><br />
couturiers and <strong>fashion</strong> designers<br />
at the grand trianon<br />
The Grand Trianon and the Musée Galliera, the <strong>fashion</strong><br />
museum of the City of Paris, present <strong>in</strong> a poetic<br />
confrontation costumes from the 18 th century and<br />
masterpieces of haute couture and <strong>fashion</strong> design from<br />
the 20 th and 21 st centuries.<br />
Self-guided architecture tour<br />
a self-guided architectural tour takes you through the grand<br />
trianon’s most notable places at the same time as the "18 th century<br />
back <strong>in</strong> <strong>fashion</strong>" exhibition.<br />
French court dress (detail) © EPV, J-M Manaï, C Milet<br />
The 18 th century with its float<strong>in</strong>g dresses, its volum<strong>in</strong>ous<br />
skirts, flounces and furbelows, its silhouettes of m<strong>in</strong>or<br />
marquis <strong>in</strong> three-piece suits and its immense hairstyles<br />
have never ceased to <strong>in</strong>spire the world of haute couture.<br />
The Enlightenment, the age of French Europe accord<strong>in</strong>g<br />
to the famous say<strong>in</strong>g, cont<strong>in</strong>ues to fasc<strong>in</strong>ate. The political<br />
and cultural prestige of France was at its highest, when<br />
wit, lightness and elegance metamorphosed <strong>in</strong>to a<br />
veritable art of f<strong>in</strong>e liv<strong>in</strong>g. S<strong>in</strong>ce 1800, the <strong>fashion</strong> world<br />
has cont<strong>in</strong>ued to refer back to the 18 th century for both<br />
women’s and men’s cloth<strong>in</strong>g as well as for its textiles<br />
and accessories.<br />
Like mirrors reflect<strong>in</strong>g each other, the garments<br />
exhibited, from haute couture to ready-to-wear, propose<br />
a modern read<strong>in</strong>g of that extravagant century. Each<br />
designer adapts the period to his/her sensibility. Some<br />
quote the 18 th century shapes almost literally, while<br />
others deconstruct them, expand their dimensions and<br />
<strong>in</strong>terpret them <strong>in</strong> a riot of shimmer<strong>in</strong>g silks, embroidery<br />
and lace. The dresses of the queens and pr<strong>in</strong>cesses of the<br />
Enlightenment dialogue down the years with these<br />
masterpieces of luxury and creativity.<br />
1
3.<br />
<strong>fashion</strong> <strong>in</strong> the 18 th century<br />
when people th<strong>in</strong>k of 18 th century women’s <strong>fashion</strong>,<br />
images of figures with wide hips and narrow busts<br />
immediately spr<strong>in</strong>g to m<strong>in</strong>d. panniers – petticoats<br />
stiffened with evenly-spaced whalebone stays – reshaped<br />
the lower part of the body. whalebone corsets turned<br />
women’s busts <strong>in</strong>to upside-down triangles com<strong>in</strong>g to<br />
a po<strong>in</strong>t <strong>in</strong> the centre of the immense oval of the hips.<br />
eighteenth-century pr<strong>in</strong>ts and pa<strong>in</strong>t<strong>in</strong>gs show women<br />
with fan-shaped figures wear<strong>in</strong>g fancy dresses or<br />
gowns. the "robe à la française", or sack-back dress,<br />
a sort of large, open coat over a skirt with a float<strong>in</strong>g,<br />
pleated back, made of endless yards of fabric,<br />
captures the imag<strong>in</strong>ation. made of silk featur<strong>in</strong>g wavy<br />
floral patterns, worn by marquise de pompadour,<br />
it represents the qu<strong>in</strong>tessence of the rococo spirit<br />
that characterised the middle of the century. but<br />
fantasies about 18 th century women’s dress often<br />
mix the image of the "robe à la française" with that<br />
of the formal court gown, an unbelievable outfit<br />
compris<strong>in</strong>g a skirt over a huge pannier, a large top<br />
with a wide neckl<strong>in</strong>e and a tra<strong>in</strong> that could be several<br />
meters long with stays attached to the bottom.<br />
pa<strong>in</strong>t<strong>in</strong>gs and pr<strong>in</strong>ts show them overflow<strong>in</strong>g with<br />
flounces, ruffles and a profusion of lace, gauze,<br />
trimm<strong>in</strong>g, spangles, silver strips and semi-precious<br />
stones. <strong>in</strong> the second half of the 18 th century these<br />
dresses provided <strong>fashion</strong> merchants, those designers<br />
of ornament – madame alexandre and madame eloffe,<br />
merchants of versailles, and especially Rose bert<strong>in</strong>,<br />
famous throughout europe, who took pride <strong>in</strong><br />
hav<strong>in</strong>g marie-anto<strong>in</strong>ette, the queen of France, as<br />
a customer – with an opportunity to give their<br />
imag<strong>in</strong>ations free reign.<br />
2<br />
1.<br />
2.<br />
Captions<br />
1. Men’s court suit,<br />
circa 1750-1760.<br />
Shot taffeta, cha<strong>in</strong>-stitch<br />
embroidery, blue silk<br />
thread, embroidery<br />
patterns, wooden<br />
buttons covered with<br />
embroidered taffeta.<br />
Galliera Collections.<br />
2. Jacket and skirt (back),<br />
circa 1785. Striped Gros<br />
de Tours silk trimmed<br />
with<br />
a ribbon.<br />
Galliera Collections.<br />
<strong>in</strong> the late 1770's simplicity started replac<strong>in</strong>g the<br />
pannier’s exaggerated shapes. adjusted dresses with<br />
pleated or hitched-up skirts eclipsed the french court<br />
gown. straight l<strong>in</strong>en or cotton chiffon gowns, an<br />
evocation of l<strong>in</strong>gerie and its <strong>in</strong>timate character,<br />
turned <strong>in</strong>to morn<strong>in</strong>g or afternoon wear. the queen<br />
of France dared to wear percale for her afternoon<br />
outfits. tuckers and ankle-length skirts comprised<br />
negligées for noblewomen and elegant outfits for the<br />
women of humbler means.<br />
men wore "french" suits, which became so popular<br />
they were soon known as "european" suits, made up<br />
of coats, long-sleeved waistcoats and breeches, which<br />
formed the basic comb<strong>in</strong>ation for centuries to come.<br />
early <strong>in</strong> the century the coats had wide underskirted<br />
coat-tails, the pannier’s mascul<strong>in</strong>e counterpart, before<br />
mov<strong>in</strong>g <strong>in</strong> the same direction as women’s cloth<strong>in</strong>g<br />
towards a more slender look. fronts were waisted and<br />
became longer with straight collars. a riot of ref<strong>in</strong>ed<br />
polychrome silk thread embroidery blossomed on these<br />
coats but the sporty, simple english look’s <strong>in</strong>fluence<br />
tempered that fancifulness <strong>in</strong> the 1780's. solid coats,<br />
military lapels and dark colours counterbalanced<br />
18 th century exuberance and heralded the follow<strong>in</strong>g<br />
century’s seriousness.<br />
Text based on Pascale Gorguet-Ballesteros' article<br />
<strong>in</strong> the exhibition catalogue.<br />
Captions<br />
3. French court dress,<br />
skirt and stomacher,<br />
circa 1750-1760.<br />
Polychrome figured<br />
silk purl, gold and<br />
silver lamé.<br />
Galliera Collections.<br />
4. Duchess © RMN,<br />
Gérard Blot.<br />
see 18 th century costumes<br />
dialogu<strong>in</strong>g with contemporary models<br />
throughout the "18 th century back<br />
<strong>in</strong> <strong>fashion</strong>" exhibition.<br />
5. Pair of shoes,<br />
circa 1730.<br />
Leather embroidered<br />
with silver thread.<br />
Galliera Collections.<br />
3<br />
5.<br />
4.
Givenchy by<br />
alexander<br />
Mcqueen<br />
Vivienne<br />
Westwood<br />
F/w 1999-2000<br />
haute couture coll.<br />
Passage 26. Red<strong>in</strong>gote <strong>in</strong> turquoise faille silk<br />
moiré with antique lace applications on pale grey<br />
lace pants ornamented with crystal beads and<br />
a grey silk taffeta blouse.<br />
Maison Givenchy Collection<br />
People have always been amazed<br />
by the sophistication of 18 th century<br />
men’s clothes, which our contemporaries<br />
perceive as fem<strong>in</strong><strong>in</strong>e. Alexander<br />
McQueen, then Givenchy’s artistic<br />
director, revisited the men’s wardrobe<br />
of the Age of Enlightenment to dress<br />
women <strong>in</strong> precious even<strong>in</strong>g gowns.<br />
The lavishly ornamented model on<br />
display is a literal quotation of men’s<br />
French court suit but here McQueen<br />
ironically appropriates it for women.<br />
Silk was the most commonly used<br />
material for court dresses. Here, thick<br />
faille replaces taffeta; sat<strong>in</strong> or velvet<br />
and antique silver lace replaces silver<br />
thread. Like <strong>in</strong> the 18 th century,<br />
embroidery patterns adorn the front,<br />
collar and wrists.<br />
4<br />
aides-de-camp room (1)<br />
This all belonged to a group of secondary<br />
rooms dur<strong>in</strong>g the First Empire. Louis-Philippe<br />
used it as an aides-de-camp room.<br />
even<strong>in</strong>g gown<br />
"vive la Cocotte" Coll.<br />
ready-to-wear<br />
F/w 1995-1996<br />
No 85. historic model based on Boucher’s<br />
portrait of Madame de Pompadour;<br />
p<strong>in</strong>k Duchesse sat<strong>in</strong> and lace.<br />
Vivienne Westwood Ltd Collection<br />
English designer Vivienne Westwood is<br />
often considered quirky and provocative,<br />
especially s<strong>in</strong>ce her punk collections<br />
caused a scandal <strong>in</strong> the 1980's. In the<br />
1990's she turned to the charms of the<br />
18 th century. Passionate about cut and<br />
technique, she has used ribbons and<br />
safety p<strong>in</strong>s, become a master of<br />
subversive historical assemblages and<br />
brought frivolity and powdery colours<br />
back to the forefront after years when<br />
Japanese and Belgian designers' <strong>in</strong>tense<br />
black dom<strong>in</strong>ated magaz<strong>in</strong>e pages and<br />
the empress’s boudoir (2)<br />
At first, the boudoir communicated with<br />
the neighbour<strong>in</strong>g room through the door<br />
on the right. Louis-Philippe had the door<br />
left of the fireplace opened to connect it<br />
to the apartment he had built for himself<br />
<strong>in</strong> Louis XIV’s former kitchens.<br />
wardrobes. Vivienne Westwood gave the<br />
Age of Enlightenment fresh impetus.<br />
You can also see her models <strong>in</strong> the<br />
Aides-de-Camp Room (1), Topographical<br />
Room (15) and Garden Room (17).<br />
DON’T MISS<br />
The mahogany tapestry loom<br />
ornamented with gilt bronze (1810),<br />
attributed to Alexandre MAIGRET,<br />
comes from this room.<br />
5
chanel BY<br />
Karl Lagerfeld<br />
18 th century<br />
<strong>fashion</strong>:<br />
the french<br />
court dress<br />
Foreground: Spr<strong>in</strong>g/Summer 2005 Haute Couture<br />
Collection, No. 40. Even<strong>in</strong>g gown: washed white<br />
faille silk, blue sat<strong>in</strong> ribbon, bow, round gilded<br />
metal brooch ornamented by blue and white beads<br />
and white porcela<strong>in</strong> flowers on a bed of white pearls<br />
and mother-of-pearl; stiff tulle pleated skirt with a<br />
pannier effect.<br />
Background: Autumn/W<strong>in</strong>ter 1992-1993<br />
Haute Couture Collection, No. 97. Bridal<br />
ensemble: jacket, gown, cr<strong>in</strong>ol<strong>in</strong>e petticoat.<br />
Jacket: ivory wool tweed, pearly white cellophane<br />
l<strong>in</strong>ed with ivory sat<strong>in</strong>, gilded cha<strong>in</strong>. Dress:<br />
sat<strong>in</strong>-l<strong>in</strong>ed tweed; taffeta trimmed with a ribbon.<br />
Maison Chanel Collection<br />
Karl Lagerfeld, a collector and a<br />
couturier, accumulated a comprehensive<br />
collection of 18 th century furniture and<br />
objects, eventually sell<strong>in</strong>g them<br />
to purchase designer pieces and<br />
contemporary works echo<strong>in</strong>g his<br />
stylistic renewal. He f<strong>in</strong>ds<br />
Mademoiselle Chanel’s soft colours<br />
<strong>in</strong> the delicacy of the Age of<br />
Enlightenment. His mischievous but<br />
knowledgeable take on a French court<br />
gown, all <strong>in</strong> silk faille, is whimsically<br />
punctuated under the breasts with<br />
a blue sat<strong>in</strong> ribbon like the light cotton<br />
chiffon dresses at the end of the<br />
century. His Watteau collection’s<br />
unexpected poetry contrasts with<br />
the Chanel label’s strict rigour.<br />
Room of mirrors (3)<br />
Louis XIV’s former Great Study, where the k<strong>in</strong>g<br />
met with his privy council. From that period the<br />
room has kept its cornice and mirrors embedded<br />
<strong>in</strong> panell<strong>in</strong>g carved with flower garlands.<br />
DON’T MISS<br />
Set of mahogany tables delivered to Empress<br />
Marie-Louise <strong>in</strong> 1810: needlework table,<br />
"letterbox" table, game table, tidy table and<br />
draw<strong>in</strong>g table.<br />
The French court gown, also known <strong>in</strong><br />
English as the "robe volante", "robe à la<br />
française" or sack-back gown, was a big,<br />
flow<strong>in</strong>g coat with a wide, pleated back<br />
form<strong>in</strong>g a short tra<strong>in</strong>. As the 18 th century<br />
progressed it became tighter <strong>in</strong> front,<br />
hugg<strong>in</strong>g the contours of the bust stiffened<br />
by a whalebone corset. The back had a<br />
double row of flat double pleats. The dress<br />
became known as the "robe à la française"<br />
throughout Europe, where it became<br />
popular from the 1730's.<br />
Wear<strong>in</strong>g a French court dress was the sign<br />
of a certa<strong>in</strong> social status: putt<strong>in</strong>g one on<br />
required the help of a servant, who had to<br />
crawl underneath it to adjust the back<br />
with laces on the <strong>in</strong>side.<br />
The French court gown was nicknamed<br />
the "Watteau dress" because the pa<strong>in</strong>ter<br />
Antonie Watteau (1684-1721) often<br />
depicted his models wear<strong>in</strong>g it.<br />
6<br />
7
Balenciaga<br />
by Nicolas<br />
Ghesquière<br />
women’s ensemble<br />
ready-to-wear coll.<br />
s/s 2006<br />
Azzed<strong>in</strong>e Alaïa<br />
dress<br />
ready-to-wear Coll.<br />
s/s 1992<br />
Lace-up bustier dress with white English<br />
embroidery on petticoat<br />
Azzed<strong>in</strong>e Alaïa Archives Collection<br />
Flesh-coloured embroidered organza jacket, flowery<br />
ecru lace jacket, off-white organza sat<strong>in</strong> jacket, ecru<br />
lace corset and undergarments, embroidered sat<strong>in</strong><br />
crêpe trousers.<br />
Maison Balenciaga Collection<br />
Cristòbal Balenciaga often quoted<br />
Goya’s 18 th century: his use of lace –<br />
usually black – and p<strong>in</strong>k sat<strong>in</strong> ribbons<br />
recalls portraits of the Duchess of Alba.<br />
Nicolas Ghesquière pays tribute to that<br />
legacy by turn<strong>in</strong>g values and colour<br />
codes upside-down: men’s cloth<strong>in</strong>g<br />
where ruffly eggshell and cream lace is<br />
omnipresent and transparency stresses<br />
the martial look of young women<br />
dressed as men.<br />
The waistcoats fit tightly around the<br />
bust. The underskirted coat-tails take<br />
the form of the coat; the wrists adopt<br />
the flounced pagoda sleeves' shape<br />
characteristic of mid-18 th century<br />
French court dresses; cropped trousers<br />
replace breeches.<br />
Azzed<strong>in</strong>e Alaïa’s sensuous <strong>fashion</strong>s<br />
stress the womanly curves that <strong>in</strong>spire<br />
him. All the designer keeps of the<br />
libert<strong>in</strong>e spirit <strong>in</strong> his streaml<strong>in</strong>ed<br />
version of the 18 th century are tight<br />
waists and full bosoms comb<strong>in</strong>ed<br />
with the false rigour of an army jacket<br />
or the freshness of English embroidery<br />
too prim and proper to really be<br />
believable. This dress is squeezed,<br />
laced-up top evokes whalebone<br />
corsets, while the wide hips br<strong>in</strong>g<br />
panniers to m<strong>in</strong>d. The waisted jacket<br />
featur<strong>in</strong>g big pockets with flaps recalls<br />
a men’s coat.<br />
White cotton and English embroidery<br />
recall the "negligée" women wore,<br />
which became walk<strong>in</strong>g or afternoon<br />
dress by the late 18 th century.<br />
the empress’s bedchamber (4)<br />
The Empress’s Bedchamber still has the<br />
décor of Louis XIV’s bedchamber, which it<br />
had formerly been: Cor<strong>in</strong>thian columns<br />
divid<strong>in</strong>g the room and panell<strong>in</strong>g admirably<br />
carved <strong>in</strong>to a mosaic. Dur<strong>in</strong>g the Empire it was<br />
divided to form a smaller bedroom and<br />
a sitt<strong>in</strong>g room used by Empress Marie-Louise,<br />
who commissioned the furniture you see today.<br />
DON’T MISS<br />
The bed, which was Napoleon’s at the<br />
Tuileries Palace and where his successor<br />
Louis XVIII, the brother of Louis XVI,<br />
died <strong>in</strong> 1825.<br />
8<br />
9
the 1950's AND<br />
Pierre Balma<strong>in</strong><br />
Thierry<br />
Mugler<br />
Jacques<br />
Doucet<br />
Comme des<br />
garçons<br />
"Antonia" even<strong>in</strong>g<br />
gown<br />
haute couture Coll.<br />
s/s 1954<br />
Orlon sat<strong>in</strong> embroidered with a panel of gold<br />
scrolls, pearly beads, red chiffon rose appliqué<br />
patterns, embroidered leaves and two petticoats:<br />
horse-hair and double ottoman.<br />
Galliera Collections<br />
The Age of Enlightenment had a<br />
strong <strong>in</strong>fluence on Pierre Balma<strong>in</strong>.<br />
The New Look Christian Dior<br />
launched <strong>in</strong> 1947 featured narrow<br />
waists and a volum<strong>in</strong>ous skirts<br />
supported by thick petticoats; elegant<br />
women wore girdles and corsets that<br />
reshaped their bodies. For even<strong>in</strong>g<br />
wear, lavish fabrics and embroidery<br />
preciously dressed 20 th century figures<br />
echo<strong>in</strong>g Age of Enlightenment <strong>fashion</strong>.<br />
Chapel room (5)<br />
Orig<strong>in</strong>ally built as a chapel, this room<br />
became an antechamber <strong>in</strong> 1691 but many<br />
of the orig<strong>in</strong>al features were kept.<br />
The back door opens onto an altar, the<br />
"Infante" ball gown<br />
ready-to-wear coll.<br />
F/w 1992-1993<br />
Barathea and pleated black tulle.<br />
Maison Thierry Mugler Collection<br />
Thierry Mugler’s glamorous world<br />
sw<strong>in</strong>gs back and forth between 1950's<br />
Hollywood and Paris. The designer<br />
goes to great demonstrative lengths to<br />
<strong>in</strong>tensify the fem<strong>in</strong><strong>in</strong>e shapes<br />
associated with dom<strong>in</strong>at<strong>in</strong>g women:<br />
ostentation, the theatrical display of<br />
the female body and cruelty, notions<br />
particular to the 18 th century of<br />
Dangerous Liaisons. His collections<br />
feature outfits the Marquise de<br />
Merteuil would have loved. Thierry<br />
Mugler’s collections offer gowns with<br />
volumes recall<strong>in</strong>g the panniers of<br />
formal Court dress.<br />
cornice decoration has bunches of grapes and<br />
ears of wheat evok<strong>in</strong>g the Eucharistic w<strong>in</strong>e and<br />
bread and pa<strong>in</strong>t<strong>in</strong>gs depict the Evangelists<br />
Sa<strong>in</strong>t Mark and Sa<strong>in</strong>t Luke.<br />
dress, circa 1898-1900<br />
Figured black sat<strong>in</strong>, black chantilly bobb<strong>in</strong> lace,<br />
black silk chiffon; gold-pr<strong>in</strong>ted ivory label:<br />
"DOUCET/21 RUE DE LA PAIX/PARIS"<br />
Galliera Collections<br />
Jacques Doucet (1853-1929) was born<br />
<strong>in</strong>to a family that had been mak<strong>in</strong>g and<br />
sell<strong>in</strong>g clothes s<strong>in</strong>ce 1816. From 1898<br />
to 1927 he headed one of the biggest<br />
couture houses <strong>in</strong> Paris. Doucet<br />
dressed the early 20 th century’s most<br />
notable women but did not consider<br />
himself as a designer and never jo<strong>in</strong>ed<br />
the Chambre syndicale de la couture.<br />
In 1875 he began amass<strong>in</strong>g a large<br />
collection of 18 th century French<br />
furniture and artworks that had a<br />
last<strong>in</strong>g <strong>in</strong>fluence on his own designs.<br />
In 1912 he sold it <strong>in</strong> order to focus on<br />
contemporary art.<br />
the lord’s room (6)<br />
The former Lord’s room became the K<strong>in</strong>g’s<br />
and later the Empress’s First Antechamber.<br />
It still has its 1691-1692 décor, <strong>in</strong>clud<strong>in</strong>g the<br />
military trophy on the mantelpiece.<br />
Ready-to-wear coll.<br />
a/w 2010-2011<br />
Coat and pants ensemble: cotton cloth and mixed<br />
black fibres, shoulder pads, hips and sleeves<br />
fastened to the <strong>in</strong>side by zips; shaped trousers,<br />
black chenille braid<strong>in</strong>g on the sides.<br />
Galliera Collections<br />
From the Middle Ages to the Age of the<br />
Enlightenment, extensions, reductions<br />
and other <strong>in</strong>ventions attired and<br />
transformed the body <strong>in</strong> the West.<br />
Rei Kawakubo explores the relationship<br />
between that historical and contemporary<br />
<strong>fashion</strong>, from the removable – and<br />
moveable – bum rolls <strong>in</strong> his famous<br />
Spr<strong>in</strong>g/Summer 1997 collection, where<br />
the outfits emphasized the figure, to his<br />
Autumn/W<strong>in</strong>ter 2010-2011 collection,<br />
from which the outfit on display is taken.<br />
With their zippered hoops and<br />
removable quilt<strong>in</strong>g, his clothes evoke<br />
a late 18 th century "Amazon" director<br />
Tim Burton would have dreamed up.<br />
The black coat is an improbable<br />
comb<strong>in</strong>ation of a woman’s pannier and<br />
the buttoned-up lapels of certa<strong>in</strong><br />
military coats from the second half<br />
of the 18 th century.<br />
10 11
the grand<br />
trianon<br />
the cotelle<br />
gallery (16)<br />
In 1687 Jules Hardou<strong>in</strong>-Mansart built<br />
the Grand Trianon on the site of the<br />
"Porcela<strong>in</strong> Trianon", which Louis XIV<br />
had had built <strong>in</strong> 1670 to flee the stiff<br />
formality Court etiquette and spend<br />
time <strong>in</strong> private with his mistress,<br />
Madame de Montespan. The k<strong>in</strong>g was<br />
especially fond of the Trianon, where<br />
he also came for short stays with his<br />
family: the Grand Dauph<strong>in</strong>, Duchess<br />
of Burgundy and Madame de<br />
Ma<strong>in</strong>tenon. He successively occupied<br />
three apartments, <strong>in</strong> the right w<strong>in</strong>g<br />
(1688-1691), the left w<strong>in</strong>g (1691-1703)<br />
and aga<strong>in</strong> <strong>in</strong> the right w<strong>in</strong>g (1703-<br />
1715). The rooms still have most of<br />
their 17 th century wall decoration:<br />
f<strong>in</strong>ely carved panell<strong>in</strong>g pa<strong>in</strong>ted white,<br />
with no gild<strong>in</strong>g.<br />
Marie Leszcz<strong>in</strong>ska also liked the<br />
Grand Trianon, where she lived <strong>in</strong> the<br />
summer, but Marie-Anto<strong>in</strong>ette<br />
preferred the Petit Trianon, offered to<br />
her by Louis XVI. All of the Grand<br />
Trianon’s furniture was sold dur<strong>in</strong>g<br />
the French Revolution. Napoleon I<br />
restored and remodelled the palace,<br />
where he stayed many times with his<br />
wife, Empress Marie-Louise. Louis-<br />
Philippe went there with his family.<br />
General de Gaulle brought the Grand<br />
Trianon back to life <strong>in</strong> 1962-1965,<br />
when he had major work done to turn<br />
the north w<strong>in</strong>g, called "Trianon-sousbois",<br />
<strong>in</strong>to apartments for the French<br />
president and foreign heads of State<br />
on official visits.<br />
the peristyle (7)<br />
The <strong>in</strong>novative "loggia" pierc<strong>in</strong>g<br />
the Grand Trianon’s centre gives the<br />
build<strong>in</strong>g its transparency and connects<br />
the courtyard and gardens. French<br />
doors on the courtyard side orig<strong>in</strong>ally<br />
closed this gallery, wrongly called a<br />
peristyle ever s<strong>in</strong>ce Louis XIV had it<br />
built. A few years later they were<br />
elim<strong>in</strong>ated to emphasize the build<strong>in</strong>g’s<br />
transparency. In 1810 Napoleon had<br />
the peristyle glazed to facilitate<br />
communication between his apartment<br />
and that of the Empress.<br />
This gallery, which shielded the upper<br />
parterre’s flowers from cold weather,<br />
is named after the artist Jean Cotelle,<br />
who pa<strong>in</strong>ted the views of the gardens<br />
of Versailles and Trianon as they<br />
looked <strong>in</strong> Louis XIV’s day: they are<br />
precious documents because most<br />
of the groves they depict have<br />
disappeared or been changed.<br />
the trianon<br />
gardens<br />
Trianon is the "Palais de Flore":<br />
every room has a view of the gardens,<br />
which are entirely devoted to flowers<br />
here. Many varieties were chosen<br />
for their colours and smells.<br />
"The tuberoses make us flee Trianon<br />
every even<strong>in</strong>g," Madame de<br />
Ma<strong>in</strong>tenon wrote <strong>in</strong> a letter on<br />
8 August 1689. "The smell is so<br />
strong it makes men and women<br />
alike feel ill." All the décor, pa<strong>in</strong>t<strong>in</strong>gs<br />
and woodwork sculptures are based<br />
on the gardens.<br />
the round<br />
room (8)<br />
This vestibule gave access to the first<br />
apartment, which Louis XIV occupied<br />
just three years, from 1688 to 1691.<br />
The Cor<strong>in</strong>thian columns, marble<br />
pav<strong>in</strong>g and pa<strong>in</strong>t<strong>in</strong>gs date from that<br />
period. A wooden drum to the right<br />
of the fireplace conceals the staircase<br />
musicians climbed to reach the gallery<br />
<strong>in</strong> the room next door, where the<br />
k<strong>in</strong>g’s souper took place.<br />
12<br />
13
Boué Sœurs<br />
"romance" gown,<br />
embroidery from the<br />
lesage house,<br />
w<strong>in</strong>ter 1925-1926<br />
Mach<strong>in</strong>e-made black Chantilly lace, polychrome<br />
taffeta and chiffon flowers, green and ochre wool<br />
thread; modern back<strong>in</strong>g; white label with orange<br />
weave.<br />
Galliera Collections<br />
In 1899 Sylvie and Jeanne Boué opened<br />
a <strong>fashion</strong> house that rema<strong>in</strong>ed active<br />
until 1935. The sisters' quest for<br />
modernity did not stop them from<br />
draw<strong>in</strong>g <strong>in</strong>spiration from earlier<br />
periods, <strong>in</strong> particular that of Louis XV.<br />
The "period dress" they <strong>in</strong>vented at the<br />
same time as Jeanne Lanv<strong>in</strong> took up<br />
certa<strong>in</strong> 18 th -century codes: pannier,<br />
lace and fabric flowers.<br />
maison mart<strong>in</strong><br />
margiela<br />
women’s ensemble<br />
s/s 1993 Coll.<br />
Re-use of a waistcoat from a theatre costume:<br />
black velvet, black cotton cloth l<strong>in</strong><strong>in</strong>g, braid<strong>in</strong>g<br />
applications of gilded metallic threads;<br />
long straight skirt <strong>in</strong> striped black and white<br />
ch<strong>in</strong>é wool.<br />
Galliera Collections<br />
Mart<strong>in</strong> Margiela’s 1991 and 1993<br />
Spr<strong>in</strong>g/Summer collections offer<br />
a contemporary take on the<br />
18 th century by re-employ<strong>in</strong>g<br />
a 1950's dress he found at the flea<br />
market and old stage costumes.<br />
The designer, us<strong>in</strong>g their pat<strong>in</strong>a<br />
and worn-out look as raw materials,<br />
<strong>in</strong>telligently deconstructed the<br />
pieces and transformed them<br />
from stage costumes <strong>in</strong>to clothes.<br />
<strong>fashion</strong><br />
accessoires<br />
In the 18 th century accessories, like clothes, fulfilled two<br />
purposes: they were vectors of <strong>fashion</strong> and conspicuous<br />
displays of luxury. Jewels and jewellery were <strong>in</strong>separable<br />
from women’s formal court dress.<br />
The panoply of accessories was much richer than it is today:<br />
removable lace sleeves, fans, gloves, mittens, purses, clutch<br />
bags and precious shoes, often made with embroidered silk,<br />
rounded out women’s outfits. In the 1770's-1780's powdered<br />
hair was topped by hats, poufs or big bonnets ornamented<br />
with feathers, gauze, birds and other fanciful decoration<br />
abundantly illustrated <strong>in</strong> the nascent <strong>fashion</strong> press.<br />
Eighteenth-century accessories have not <strong>in</strong>spired<br />
contemporary designers as much as clothes, but today’s<br />
beads, bows and brilliants reflect a certa<strong>in</strong> amount<br />
of cont<strong>in</strong>uity, as the contemporary items <strong>in</strong> these showcases<br />
alongside 18 th century objects suggest.<br />
the emperor’s family room (9)<br />
At first this room housed a theatre that<br />
was replaced by Louis XIV’s last<br />
apartment, which Louis XV transformed<br />
<strong>in</strong>to reception rooms <strong>in</strong> 1750. Napoleon<br />
turned them <strong>in</strong>to a room for meet<strong>in</strong>gs of the<br />
imperial family and important guests.<br />
The furniture dates from that period.<br />
DON’T MISS<br />
The purple breccia fireplace dat<strong>in</strong>g from<br />
Louis XV.<br />
14<br />
15
Maison<br />
Christian Dior<br />
"doutzen kroes" dress<br />
haute couture coll.<br />
F/W 2007-2008<br />
Shot p<strong>in</strong>k silk taffeta dress based on Fragonard,<br />
veiled with candy p<strong>in</strong>k tulle<br />
Maison Christian Dior Archives Collection<br />
S<strong>in</strong>ce 1997 Dior’s couturier shows,<br />
lavish spectacles <strong>in</strong> their own right,<br />
have blurred the traditional<br />
boundaries between <strong>fashion</strong> and<br />
stage costumes, offer<strong>in</strong>g mirror<br />
images of 18 th century styles –<br />
outfits of fairies and pr<strong>in</strong>cesses<br />
that would make the queens and<br />
favourites <strong>in</strong> our history books<br />
turn green with envy.<br />
You can also see Maison Dior<br />
models <strong>in</strong> the Chapel Room (5)<br />
and the Malachite Room (13).<br />
queen of the belgians'<br />
bedchamber (10)<br />
This room, formerly the bedchamber<br />
and draw<strong>in</strong>g room of Louis XIV’s third<br />
apartment, was used as a d<strong>in</strong><strong>in</strong>g room<br />
under Louis XV and the First Empire.<br />
16<br />
Louis-Philippe turned it <strong>in</strong>to reception<br />
rooms and an apartment for his son-<strong>in</strong>law<br />
and his daughter, the queen of the<br />
Belgians.<br />
DON’T MISS<br />
The gilded wooden bed JACOB-<br />
DESMALTER delivered <strong>in</strong> 1809 for<br />
Empress Joseph<strong>in</strong>e at the Tuileries<br />
Palace. Enlarged and modified for this<br />
room <strong>in</strong> 1845.<br />
17
Yohji<br />
yamamoto<br />
rochas by<br />
olivier theyskens<br />
men’s ensemble,<br />
ready-to-wear,<br />
s/s 2011<br />
4 pieces: 1 shirt + 1 waistcoat + 1 pair of<br />
breeches + 1 jabot; grey and white.<br />
Yohji Yamamoto Archives Collection.<br />
Yohji Yamamoto based his Spr<strong>in</strong>g/<br />
Summer 2011 menswear <strong>fashion</strong><br />
show entirely on the late 18 th century<br />
men’s wardrobe. The rigour and<br />
simplicity of bewigged men’s outfits<br />
recall the 1780's, when Anglomania,<br />
synonymous with comfort and<br />
naturalness, reigned supreme.<br />
In contrast, black and white<br />
houndstooth wool and sensuous<br />
beige leather turn pannier dresses<br />
<strong>in</strong>to half-tamed contemporary<br />
city wear.<br />
You can also see a Yohji Yamamoto<br />
model <strong>in</strong> the Lord’s Room (6).<br />
women’s ensemble<br />
A/w 2006<br />
Jacket and skirt made for the release of Sofia<br />
Coppola’s film Marie-Anto<strong>in</strong>ette; grey tulle,<br />
fake hair, cr<strong>in</strong>ol<strong>in</strong>e.<br />
Galliera Collections<br />
When Olivier Theyskens was art<br />
director at Rochas he offered a<br />
recomposed version of an 18 th century<br />
woman’s outfit, turn<strong>in</strong>g the dress <strong>in</strong>to<br />
a short jacket and a skirt. The collared<br />
jacket takes the form of the red<strong>in</strong>gote<br />
dress, a mascul<strong>in</strong>e version of the "robe<br />
à l’anglaise"; the skirt rests on an early<br />
18 th century bell-shaped pannier. The<br />
flounces at the wrists evoke the lace that<br />
was sewn onto court dresses' sleeves.<br />
American actress Kirsten Dunst wore<br />
this dress dur<strong>in</strong>g a Vogue photo shoot.<br />
music room (11)<br />
Former antechamber of Louis XIV’s<br />
apartment, where the k<strong>in</strong>g’s souper<br />
took place. Napoleon turned it <strong>in</strong>to the<br />
Officers' Room and Louis-Philippe <strong>in</strong>to<br />
the Billiard Room.<br />
The panell<strong>in</strong>g is among the palace’s oldest.<br />
Above the doors, notice the shutters of the<br />
gallery where musicians played dur<strong>in</strong>g the<br />
meal.<br />
DON’T MISS<br />
The chairs covered <strong>in</strong> Beauvais upholstery<br />
made for this room.<br />
18 19
Jean Paul<br />
Gaultier<br />
malachite<br />
room (13)<br />
women’s ensemble<br />
haute couture<br />
s/s 1998, "les marquis<br />
touaregs" coll.<br />
Pannier jacket, lamé, tulle, flounces, ruches, bows.<br />
Jean Paul Gaultier Maison Collection<br />
Jean Paul Gaultier takes delight<br />
<strong>in</strong> mix<strong>in</strong>g up men’s and women’s<br />
wardrobes. In his spr<strong>in</strong>g/summer<br />
1994 collection the iconoclastic<br />
couturier put men’s French denim<br />
jackets on women. The spr<strong>in</strong>g/<br />
summer 1998 "Les Marquis Touaregs"<br />
collection comb<strong>in</strong>ed a new vision<br />
of Marie-Anto<strong>in</strong>ette’s century with<br />
a relaxed, casual, contemporary<br />
attitude.<br />
louis-philippe’s family room (12)<br />
Louis-Philippe had two smaller rooms<br />
comb<strong>in</strong>ed to create this large one, where<br />
the k<strong>in</strong>g and his family, who enjoyed<br />
stay<strong>in</strong>g at Trianon, gathered <strong>in</strong> the<br />
even<strong>in</strong>gs. Brion furnished it <strong>in</strong> the spirit<br />
of the times: game and needlework tables,<br />
padded chairs and sofas upholstered <strong>in</strong><br />
yellow figured fabric with blue patterns.<br />
Louis XIV’s former room of the Sett<strong>in</strong>g<br />
Sun, was turned <strong>in</strong>to a bedchamber for<br />
the Duchess<br />
of Burgundy. Under Napoleon, it<br />
became the Emperor’s Room, where<br />
Tsar Alexander I’s gifts of malachite<br />
were displayed, hence its name,<br />
the Malachite room.<br />
Dress displayed:<br />
Christian Dior Maison<br />
Autumn/w<strong>in</strong>ter 2004/2005 haute couture dress.<br />
the cool<br />
room (14)<br />
The Cool Room owes its name to<br />
its northern exposure. This is where<br />
Napoleon held his cab<strong>in</strong>et meet<strong>in</strong>gs<br />
and Charles X bid farewell to his<br />
m<strong>in</strong>isters on 31 July 1830.<br />
Models displayed:<br />
Semi-l<strong>in</strong>en French court dress and<br />
"robe à l’anglaise".<br />
topographical<br />
room (15)<br />
The Duchess of Burgundy used this<br />
room, which was designed <strong>in</strong> the<br />
perspective of the gallery next door,<br />
called the Cool Room <strong>in</strong> the 17 th century,<br />
as her ma<strong>in</strong> draw<strong>in</strong>g room. Under the<br />
Empire it was known as the Emperor’s<br />
Ma<strong>in</strong> Draw<strong>in</strong>g Room and used to hold<br />
cab<strong>in</strong>et meet<strong>in</strong>gs until the Restoration.<br />
Dress displayed:<br />
Vivienne Westwood<br />
Ready-to-wear Spr<strong>in</strong>g-Summer 1991.<br />
20 21
Christian<br />
Lacroix<br />
women’s ensemble<br />
spr<strong>in</strong>g/summer 1994<br />
3 pieces: 1 top + 1 skirt + 1 necklace.<br />
Even<strong>in</strong>g gown, pastel flowered damask patchwork<br />
busk embroidered with jewels, taffeta g<strong>in</strong>gham<br />
skirt, iridescent lace appliqués, embroidered birds,<br />
butterflies and bouquets.<br />
Christian Lacroix quotes the<br />
18 th century through the lens of the<br />
1940s, 50s and 60s for theatre and<br />
opera costumes as well as haute<br />
couture collections. In 1987 he<br />
turned his models <strong>in</strong>to marquises<br />
who looked good enough to eat.<br />
The designer’s passionate <strong>in</strong>terest<br />
<strong>in</strong> art <strong>in</strong>forms his mythology, where<br />
dresses are sometimes pa<strong>in</strong>t<strong>in</strong>gs that<br />
are visited and revisited as though<br />
they were hang<strong>in</strong>g <strong>in</strong> an ideal<br />
imag<strong>in</strong>ary museum.<br />
the garden room (17)<br />
The Garden Room’s six w<strong>in</strong>dows open<br />
out onto the little staggered rows and the<br />
perspective of the Grand Canal. This was<br />
a game room under Louis XIV and a<br />
billiard room under Napoleon. The door<br />
left of the fireplace leads to the Trianonsous-Bois<br />
w<strong>in</strong>g.<br />
22 23<br />
Haute couture autumn/w<strong>in</strong>ter 1995. Even<strong>in</strong>g gown. Brocade busk with antique gold relief underl<strong>in</strong>ed by pat<strong>in</strong>ated metal and embroidered on large match<strong>in</strong>g skirt. Christian Lacroix Maison Collection. © Marcio MADEIRA / Zeppel<strong>in</strong>.
Mises en résonance avec les chefs-d’œuvre des collections du musée Galliera, les<br />
créations des plus grands couturiers contempora<strong>in</strong>s témoignent d'une commune<br />
fasc<strong>in</strong>ation pour un XVIII e siècle fantasmé : Lagerfeld <strong>in</strong>vite Watteau et ses robes<br />
à la française chez Chanel, Galliano fait défiler chez Dior des pr<strong>in</strong>cesses de contes<br />
de fées, Westwood redonne vie à des courtisanes et marquises plutôt délurées...<br />
Riche d’un superbe portfolio mêlant gravures et pièces des XVIII e , XIX e , XX e et<br />
XXI e siècles, ce catalogue constitue un véritable hommage au style des Lumières<br />
et à Versailles, berceau de la mode.<br />
Harmoniz<strong>in</strong>g with the masterpieces from the Galliera museum, creations by<br />
the greatest contemporary couturiers reveal a shared fasc<strong>in</strong>ation for an<br />
idealized 18 th century: Lagerfeld <strong>in</strong>vites Watteau and his robes à la française<br />
<strong>in</strong>to Chanel’s House, Galliano has fairytale pr<strong>in</strong>cesses model for Dior, Westwood<br />
br<strong>in</strong>gs to life saucy marquises and courtesans… With a wealth of engrav<strong>in</strong>gs<br />
and pieces from the 18 th , 19 th , 20 th and 21 st centuries, this catalogue is a hymn to<br />
the style of the Age of Enlightenment and Versailles, the birthplace of <strong>fashion</strong>.<br />
23 e<br />
www.bubblemag.fr<br />
www.chateauversailles.fr<br />
COUTURIERS<br />
ET CRÉATEURS DE MODE<br />
AU GRAND TRIANON<br />
THE 18 TH CENTURY BACK IN FASHION<br />
COUTURIERS AND FASHION DESIGNERS IN THE GRAND TRIANON<br />
1<br />
Around the exhibition<br />
Useful<br />
<strong>in</strong>formation<br />
Exhibition from 8 July to<br />
9 October 2011. Open every<br />
day except Monday from<br />
noon to 6:30pm<br />
(last admission at 6pm).<br />
Exhibition accessible with<br />
the Passeport ticket or the ticket<br />
for the Trianon Palaces and<br />
Marie-Anto<strong>in</strong>ette’s Estate.<br />
Free for European Union<br />
residents under 26.<br />
vogue at Versailles<br />
Sett<strong>in</strong>g up the exhibition,<br />
commissioner’s guided tour,<br />
<strong>in</strong>terviews with designers: ISBN : 978-2-85495-450-0 extend<br />
-:HSMIPE=^ZYZUU:<br />
your visit to the exhibition at<br />
www.vogue.fr/vogue-a-versailles<br />
game-booklet<br />
Free for children four to 12.<br />
Available at <strong>in</strong>formation po<strong>in</strong>ts<br />
and the exhibition entrance.<br />
With a game-contest to w<strong>in</strong><br />
a real tailor-made pr<strong>in</strong>cess’s<br />
dress or a "palace kit".<br />
exhibition<br />
catalogue<br />
THE 18 TH CENTURY BACK IN FASHION<br />
LE XVIII E AU GOÛT DU JOUR<br />
et<br />
vous proposent<br />
le livret‐jeu<br />
de l’exposition<br />
« Le xviii e au goût du jour ‐<br />
Couturiers et créateurs de mode<br />
au Grand Trianon »<br />
jusqu’au 9 octobre 2011<br />
organisée avec le Musée<br />
LE XVIII e<br />
AU GOÛT DU JOUR<br />
Encore Eux – © Vivienne Westwood Spr<strong>in</strong>g/Summer 1996, Marcio MADEIRA - Zeppel<strong>in</strong>/J. M. Manaï/Ch. Milet/Th<strong>in</strong>kstock<br />
à gagner !<br />
une robe de<br />
pr<strong>in</strong>cesse et un<br />
kit « château » !<br />
Pour les enfants<br />
Bil<strong>in</strong>gual (French-English)<br />
96-page work published<br />
by Éditions Artlys<br />
Available at the Palace of<br />
Versailles RMN shops and<br />
www.boutique-chateauversailles.fr<br />
Credits: photo on left: © Andy Julia; photo on right: Photography: Chloé Le Drezen / Hair-Make-up: Luc Drouen @Mod's Hair / Costume: Atelier Les Vertugad<strong>in</strong>s<br />
w<strong>in</strong>:<br />
design<br />
competition<br />
> A photo session with<br />
the magaz<strong>in</strong>e l’Express Styles<br />
> A <strong>fashion</strong> lesson with<br />
Gilles Rosier,<br />
> Le Bon Marché Rive Gauche<br />
gift cards,<br />
> or maybe cameras.<br />
And you, what’s your 18th century style?<br />
The Palace of Versailles, together with l’ Express Styles and Le Bon Marché<br />
Rive Gauche, is organis<strong>in</strong>g a design competition: by show<strong>in</strong>g just a detail<br />
or the full outfit, you too can revisit the Age of Enlightenment by post<strong>in</strong>g<br />
a photo of your clothes, hairstyles or accessories <strong>in</strong>spired by this era. A<br />
panel of judges, made up of <strong>fashion</strong> professionals and The Cherry Blossom<br />
Girl and Miss Pandora bloggers, will decide on the three best styles.<br />
To take part, post a photo of your style on:<br />
www.concoursdestyle.chateauversailles.fr
ÉTABLISSEMENT PUBLIC DU CHÂTEAU,<br />
DU MUSÉE ET DU DOMAINE DE VErSAILLES<br />
Rp 834 - 78008 Versailles cedex<br />
Information and book<strong>in</strong>g: 01 30 83 78 00 00<br />
www.chateauversailles.fr<br />
sponsored by<br />
Exhibition<br />
commissioner<br />
Olivier Saillard<br />
Director of the Galliera<br />
Museum, City of Paris Fashion<br />
Museum<br />
Pascale Gorguet-Ballesteros,<br />
head curator at the Museum,<br />
City of Paris Fashion Museum<br />
Laurent Cotta,<br />
<strong>in</strong> charge of contemporary<br />
design at the Galliera Museum,<br />
City of Paris Fashion Museum<br />
The texts for this brochure were<br />
written by Laurent Cotta, Pascale<br />
Gorguet-Ballesteros, Delph<strong>in</strong>e<br />
Jaulhac, Anne de Nesle, Olivier<br />
Saillard.<br />
In media partnership with