The 18th century back in fashion - guide to the exhibition and the grand trianon
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the palace of veRsailles presents the 18th century back in fashion guide to the exhibition and the grand trianon 8 july – 9 OCTOBer organised with the
Grand trianon floor plan
the 18th century
back in fashion
couturiers and fashion designers
at the grand trianon
The Grand Trianon and the Musée Galliera, the fashion
museum of t he Ci t y of Pa r is , pr e sen t in a p oe t ic
confrontation costumes from the 18 th century and
masterpieces of haute couture and fashion design from
the 20th and 21st centuries.
The 18 th century with its floating dresses, its voluminous
skirts, flounces and furbelows, its silhouettes of minor
marquis in three-piece suits and its immense hairst yles
have never ceased to inspire the world of haute couture.
The Enlightenment, the age of French Europe according
to the famous saying, continues to fascinate. The political
and cultural prestige of France was at its highest, when
wit, lightness and elegance metamorphosed into a
veritable art of fine living. Since 1800, the fashion world
has continued to refer back to the 18 th century for both
women’s and men’s clothing as well as for its textiles
and accessories.
French court dress (detail) © EPV, J-M Manaï, C Milet
L ike mir ror s r eflec t ing e ach other , the gar ment s
exhibited, from haute couture to ready-to-wear, propose
Self-guided architecture tour a modern reading of that extr avagant century. Each
a self-guided architectural tour takes you through the grand
designer adapts the period to his/her sensibilit y. Some
trianon’s most notable places at the same time as the "18th century
quote the 18 th century shapes almost liter ally, while
others deconstruct them, expand their dimensions and
back in fashion" exhibition.
interpret them in a riot of shimmering silks, embroidery
and lace. The dresses of the queens and princesses of the
Enlightenment dialogue down the year s with these
masterpieces of luxury and creativity.
1
3.
fashion in the 18th century in the late 1770's simplicity started replacing the
pannier’s exaggerated shapes. adjusted dresses with
when people think of 18 th
century women’s fashion, pleated or hitched-up skirts eclipsed the french court
images of figures with wide hips and narrow busts gown. straight linen or cotton chiffon gowns, an
immediately spring to mind. panniers – petticoats evocation of lingerie and its intimate character,
stiffened with evenly-spaced whalebone stays – reshaped turned into morning or afternoon wear. the queen
the lower part of the body. whalebone corsets turned of France dared to wear percale for her afternoon
women’s busts into upside-down triangles coming to outfits. tuckers and ankle-length skirts comprised
a point in the centre of the immense oval of the hips. negligées for noblewomen and elegant outfits for the
women of humbler means.
eighteenth-century prints and paintings show women 4.
1. men wore "french" suits, which became so popular
with fan-shaped figures wearing fancy dresses or
gowns. the "robe à la française", or sack-back dress, they were soon known as "european" suits, made up Captions
of coats, long-sleeved waistcoats and breeches, which 3. French court dress,
a sort of large, open coat over a skirt with a floating,
skirt and stomacher,
pleated back, made of endless yards of fabric, formed the basic combination for centuries to come.
circa 1750-1760.
captures the imagination. made of silk featuring wavy early in the century the coats had wide underskirted Polychrome figured
floral patterns, worn by marquise de pompadour, coat-tails, the pannier’s masculine counterpart, before silk purl, gold and
moving in the same direction as women’s clothing silver lamé.
it represents the quintessence of the rococo spirit
towards a more slender look. fronts were waisted and Galliera Collections.
that characterised the middle of the century. but
fantasies about 18th century women’s dress often became longer with straight collars. a riot of refined
4. Duchess © RMN,
mix the image of the "robe à la française" with that polychrome silk thread embroidery blossomed on these Gérard Blot.
of the formal court gown, an unbelievable outfit coats but the sporty, simple english look’s influence
tempered that fancifulness in the 1780's. solid coats, 5. Pair of shoes,
comprising a skirt over a huge pannier, a large top
circa 1730.
with a wide neckline and a train that could be several military lapels and dark colours counterbalanced
Leather embroidered
meters long with stays attached to the bottom. 2. 18th century exuberance and heralded the following with silver thread.
paintings and prints show them overflowing with century’s seriousness. Galliera Collections.
Captions
flounces, ruffles and a profusion of lace, gauze, 1. Men’s court suit,
circa 1750-1760. Text based on Pascale Gorguet-Ballesteros' article
trimming, spangles, silver strips and semi-precious
Shot taffeta, chain-stitch in the exhibition catalogue.
stones. in the second half of the 18th century these
embroidery, blue silk
dresses provided fashion merchants, those designers thread, embroidery
of ornament – madame alexandre and madame eloffe, patterns, wooden
merchants of versailles, and especially Rose bertin, buttons covered with
famous throughout europe, who took pride in embroidered taffeta.
Galliera Collections.
having marie-antoinette, the queen of France, as 5.
see 18th century costumes
a customer – with an opportunity to give their 2. Jacket and skirt (back),
imaginations free reign. circa 1785. Striped Gros
dialoguing with contemporary models
de Tours silk trimmed throughout the "18th century back
with in fashion" exhibition.
a ribbon.
Galliera Collections.
2 3
Givenchy by Vivienne
alexander Westwood
Mcqueen
evening gown
"vive la Cocotte" Coll.
F/w 1999-2000
ready-to-wear
haute couture coll.
F/w 1995-1996
Passage 26. Redingote in turquoise faille silk
moiré with antique lace applications on pale grey No 85. historic model based on Boucher’s
lace pants ornamented with crystal beads and portrait of Madame de Pompadour;
a grey silk taffeta blouse. pink Duchesse satin and lace.
Maison Givenchy Collection Vivienne Westwood Ltd Collection
People have always been amazed English designer Vivienne Westwood is
by the sophistication of 18th century often considered quirky and provocative,
men’s clothes, which our contemporaries especially since her punk collections
perceive as feminine. Alexander caused a scandal in the 1980's. In the wardrobes. Vivienne Westwood gave the
McQueen, then Givenchy’s artistic 1990's she turned to the charms of the Age of Enlightenment fresh impetus.
director, revisited the men’s wardrobe 18th century. Passionate about cut and
of the Age of Enlightenment to dress technique, she has used ribbons and You can also see her models in the
women in precious evening gowns. safety pins, become a master of Aides-de-Camp Room (1), Topographi-
The lavishly ornamented model on subversive historical assemblages and cal Room (15) and Garden Room (17).
display is a literal quotation of men’s brought frivolity and powdery colours
French court suit but here McQueen back to the forefront after years when
ironically appropriates it for women. Japanese and Belgian designers' intense
Silk was the most commonly used black dominated magazine pages and
material for court dresses. Here, thick
faille replaces taffeta; satin or velvet
and antique silver lace replaces silver
thread. Like in the 18th century, aides-de-camp room (1) the empress’s boudoir (2)
embroidery patterns adorn the front,
collar and wrists. This all belonged to a group of secondary At first, the boudoir communicated with DON’T MISS
rooms during the First Empire. Louis-Philippe the neighbouring room through the door The ma hog any tap estr y l o om
used it as an aides-de-camp room. on the right. Louis-Philippe had the door ornamented with gilt bronze (1810),
left of the fireplace opened to connect it attributed to Alexandre MAIGRET,
to the apartment he had built for himself comes from this room.
in Louis XIV’s former kitchens.
4 5
chanel BY 18th century
Karl Lagerfeld fashion:
the french
court dress
Foreground: Spring/Summer 2005 Haute Couture
Collection, No. 40. Evening gown: washed white
faille silk, blue satin ribbon, bow, round gilded
The French court gown, also known in
metal brooch ornamented by blue and white beads
and white porcelain flowers on a bed of white pearls English as the "robe volante", "robe à la
and mother-of-pearl; stiff tulle pleated skirt with a française" or sack-back gown, was a big,
pannier effect. flowing coat with a wide, pleated back
Background: Autumn/Winter 1992-1993 forming a short train. As the 18th century
Haute Couture Collection, No. 97. Bridal
ensemble: jacket, gown, crinoline petticoat.
progressed it became tighter in front,
Jacket: ivory wool tweed, pearly white cellophane hugging the contours of the bust stiffened
lined with ivory satin, gilded chain. Dress: by a whalebone corset. The back had a
satin-lined tweed; taffeta trimmed with a ribbon. double row of flat double pleats. The dress
Maison Chanel Collection
became known as the "robe à la française"
throughout Europe, where it became
Karl Lagerfeld, a collector and a popular from the 1730's.
couturier, accumulated a comprehensive
collection of 18th century furniture and Wearing a French court dress was the sign
objects, eventually selling them of a certain social status: putting one on
to purchase designer pieces and required the help of a servant, who had to
contemporary works echoing his crawl underneath it to adjust the back
stylistic renewal. He finds with laces on the inside.
Mademoiselle Chanel’s soft colours
in the delicacy of the Age of The French court gown was nicknamed
Enlightenment. His mischievous but the "Watteau dress" because the painter
knowledgeable take on a French court Antonie Watteau (1684-1721) often
gown, all in silk faille, is whimsically depicted his models wearing it.
punctuated under the breasts with
a blue satin ribbon like the light cotton
chiffon dresses at the end of the Room of mirrors (3)
century. His Watteau collection’s DON’T MISS
unexpected poetry contrasts with Louis XIV’s former Great Study, where the king Set of mahogany tables delivered to Empress
the Chanel label’s strict rigour. met with his privy council. From that period the Marie-Louise in 1810: needlework table,
room has kept its cornice and mirrors embedded "letterbox" table, game table, tidy table and
in panelling carved with flower garlands. drawing table.
6 7
Balenciaga Azzedine Alaïa
by Nicolas
Ghesquière
dress
ready-to-wear Coll.
s/s 1992
women’s ensemble
Lace-up bustier dress with white English
ready-to-wear coll. embroidery on petticoat
s/s 2006 Azzedine Alaïa Archives Collection
Flesh-coloured embroidered organza jacket, flowery
ecru lace jacket, off-white organza satin jacket, ecru
Azzedine Alaïa’s sensuous fashions
lace corset and undergarments, embroidered satin stress the womanly curves that inspire
crêpe trousers. him. All the designer keeps of the
Maison Balenciaga Collection libertine spirit in his streamlined
version of the 18th century are tight
Cristòbal Balenciaga often quoted The waistcoats fit tightly around the waists and full bosoms combined
Goya’s 18th century: his use of lace – bust. The underskirted coat-tails take with the false rigour of an army jacket
usually black – and pink satin ribbons the form of the coat; the wrists adopt or the freshness of English embroidery
recalls portraits of the Duchess of Alba. the flounced pagoda sleeves' shape too prim and proper to really be
Nicolas Ghesquière pays tribute to that characteristic of mid-18th century believable. This dress is squeezed, White cotton and English embroidery
legacy by turning values and colour French court dresses; cropped trousers laced-up top evokes whalebone recall the "negligée" women wore,
codes upside-down: men’s clothing replace breeches. corsets, while the wide hips bring which became walking or afternoon
where ruffly eggshell and cream lace is panniers to mind. The waisted jacket dress by the late 18th century.
omnipresent and transparency stresses featuring big pockets with flaps recalls
the martial look of young women a men’s coat.
dressed as men.
the empress’s bedchamber (4)
DON’T MISS
The Empress’s Bedchamber still has the carved into a mosaic. During the Empire it was The bed, which was Napoleon’s at the
décor of Louis XIV’s bedchamber, which it divided to form a smaller bedroom and Tuileries Palace and where his successor
had formerly been: Corinthian columns a sitting room used by Empress Marie-Louise, Louis XVIII, the brother of Louis XVI,
dividing the room and panelling admirably who commissioned the furniture you see today. died in 1825.
8 9
the 1950's AND Thierry Jacques Comme des
Pierre Balmain Mugler Doucet garçons
"Antonia" evening "Infante" ball gown dress, circa 1898-1900 Ready-to-wear coll.
gown ready-to-wear coll. a/w 2010-2011
Figured black satin, black chantilly bobbin lace,
haute couture Coll. F/w 1992-1993 black silk chiffon; gold-printed ivory label: Coat and pants ensemble: cotton cloth and mixed
s/s 1954 "DOUCET/21 RUE DE LA PAIX/PARIS" black fibres, shoulder pads, hips and sleeves
Barathea and pleated black tulle. Galliera Collections
Maison Thierry Mugler Collection fastened to the inside by zips; shaped trousers,
Orlon satin embroidered with a panel of gold black chenille braiding on the sides.
scrolls, pearly beads, red chiffon rose appliqué
Jacques Doucet (1853-1929) was born Galliera Collections
patterns, embroidered leaves and two petticoats: Thierry Mugler’s glamorous world
horse-hair and double ottoman. into a family that had been making and
swings back and forth between 1950's From the Middle Ages to the Age of the
Galliera Collections selling clothes since 1816. From 1898
Hollywood and Paris. The designer Enlightenment, extensions, reductions
to 1927 he headed one of the biggest
goes to great demonstrative lengths to and other inventions attired and
The Age of Enlightenment had a couture houses in Paris. Doucet
intensify the feminine shapes transformed the body in the West.
strong influence on Pierre Balmain. dressed the early 20th century’s most
associated with dominating women: Rei Kawakubo explores the relationship
The New Look Christian Dior notable women but did not consider
ostentation, the theatrical display of between that historical and contemporary
launched in 1947 featured narrow himself as a designer and never joined
the female body and cruelty, notions fashion, from the removable – and
waists and a voluminous skirts the Chambre syndicale de la couture.
particular to the 18th century of moveable – bum rolls in his famous
supported by thick petticoats; elegant In 1875 he began amassing a large
Dangerous Liaisons. His collections Spring/Summer 1997 collection, where
women wore girdles and corsets that collection of 18th century French
feature outfits the Marquise de the outfits emphasized the figure, to his
reshaped their bodies. For evening furniture and artworks that had a
Merteuil would have loved. Thierry Autumn/Winter 2010-2011 collection,
wear, lavish fabrics and embroidery lasting influence on his own designs.
Mugler’s collections offer gowns with from which the outfit on display is taken.
preciously dressed 20th century figures In 1912 he sold it in order to focus on
volumes recalling the panniers of With their zippered hoops and
echoing Age of Enlightenment fashion. contemporary art.
formal Court dress. removable quilting, his clothes evoke
a late 18th century "Amazon" director
Tim Burton would have dreamed up.
The black coat is an improbable
combination of a woman’s pannier and
Chapel room (5) the lord’s room (6) the buttoned-up lapels of certain
military coats from the second half
Originally built as a chapel, this room cornice decoration has bunches of grapes and The former Lord’s room became the King’s of the 18th century.
became an antechamber in 1691 but many ears of wheat evoking the Eucharistic wine and and later the Empress’s First Antechamber.
of the original features were kept. bread and paintings depict the Evangelists It still has its 1691-1692 décor, including the
The back door opens onto an altar, the Saint Mark and Saint Luke. military trophy on the mantelpiece.
10 11
the grand the cotelle
trianon gallery (16)
In 1687 Jules Hardouin-Mansart built Trianon back to life in 1962-1965, This gallery, which shielded the upper and woodwork sculptures are based
the Grand Trianon on the site of the when he had major work done to turn parterre’s flowers from cold weather, on the gardens.
"Porcelain Trianon", which Louis XIV the north wing, called "Trianon-sous- is named after the artist Jean Cotelle,
had had built in 1670 to flee the stiff bois", into apartments for the French who painted the views of the gardens
formality Court etiquette and spend president and foreign heads of State of Versailles and Trianon as they
time in private with his mistress, on official visits. looked in Louis XIV’s day: they are
Madame de Montespan. The king was precious documents because most the round
especially fond of the Trianon, where of the groves they depict have
he also came for short stays with his disappeared or been changed. room (8)
family: the Grand Dauphin, Duchess
of Burgundy and Madame de the peristyle (7)
Maintenon. He successively occupied
three apartments, in the right wing
(1688-1691), the left wing (1691-1703)
the trianon This vestibule gave access to the first
apartment, which Louis XIV occupied
and again in the right wing (1703- The innovative "loggia" piercing gardens just three years, from 1688 to 1691.
1715). The rooms still have most of the Grand Trianon’s centre gives the The Corinthian columns, marble
their 17th century wall decoration: building its transparency and connects paving and paintings date from that
finely carved panelling painted white, the courtyard and gardens. French period. A wooden drum to the right
with no gilding. doors on the courtyard side originally Trianon is the "Palais de Flore": of the fireplace conceals the staircase
Marie Leszczinska also liked the closed this gallery, wrongly called a every room has a view of the gardens, musicians climbed to reach the gallery
Grand Trianon, where she lived in the peristyle ever since Louis XIV had it which are entirely devoted to flowers in the room next door, where the
summer, but Marie-Antoinette built. A few years later they were here. Many varieties were chosen king’s souper took place.
preferred the Petit Trianon, offered to eliminated to emphasize the building’s for their colours and smells.
her by Louis XVI. All of the Grand transparency. In 1810 Napoleon had "The tuberoses make us flee Trianon
Trianon’s furniture was sold during the peristyle glazed to facilitate every evening," Madame de
the French Revolution. Napoleon I communication between his apartment Maintenon wrote in a letter on
restored and remodelled the palace, and that of the Empress. 8 August 1689. "The smell is so
where he stayed many times with his strong it makes men and women
wife, Empress Marie-Louise. Louis- alike feel ill." All the décor, paintings
Philippe went there with his family.
General de Gaulle brought the Grand
12 13
maison martin fashion
margiela accessoires
Boué Sœurs
In the 18th century accessories, like clothes, fulfilled two
women’s ensemble purposes: they were vectors of fashion and conspicuous
s/s 1993 Coll. displays of luxury. Jewels and jewellery were inseparable
"romance" gown,
from women’s formal court dress.
embroidery from the Re-use of a waistcoat from a theatre costume:
lesage house, black velvet, black cotton cloth lining, braiding The panoply of accessories was much richer than it is today:
winter 1925-1926 applications of gilded metallic threads;
removable lace sleeves, fans, gloves, mittens, purses, clutch
long straight skirt in striped black and white
bags and precious shoes, often made with embroidered silk,
Machine-made black Chantilly lace, polychrome chiné wool.
taffeta and chiffon flowers, green and ochre wool Galliera Collections rounded out women’s outfits. In the 1770's-1780's powdered
thread; modern backing; white label with orange hair was topped by hats, poufs or big bonnets ornamented
weave.
Martin Margiela’s 1991 and 1993 with feathers, gauze, birds and other fanciful decoration
Galliera Collections abundantly illustrated in the nascent fashion press.
Spring/Summer collections offer
a contemporary take on the
In 1899 Sylvie and Jeanne Boué opened Eighteenth-century accessories have not inspired
18th century by re-employing
a fashion house that remained active contemporary designers as much as clothes, but today’s
a 1950's dress he found at the flea
until 1935. The sisters' quest for beads, bows and brilliants reflect a certain amount
market and old stage costumes.
modernity did not stop them from of continuity, as the contemporary items in these showcases
The designer, using their patina
drawing inspiration from earlier alongside 18th century objects suggest.
and worn-out look as raw materials,
periods, in particular that of Louis XV.
intelligently deconstructed the
The "period dress" they invented at the
pieces and transformed them
same time as Jeanne Lanvin took up
from stage costumes into clothes.
certain 18th-century codes: pannier,
lace and fabric flowers.
the emperor’s family room (9)
At first this room housed a theatre that turned them into a room for meetings of the DON’T MISS
was replaced by Louis XIV’s last imperial family and important guests. The purple breccia fireplace dating from
apartment, which Louis XV transformed The furniture dates from that period. Louis XV.
into reception rooms in 1750. Napoleon
14 15
Maison
Christian Dior
"doutzen kroes" dress
haute couture coll.
F/W 2007-2008
Shot pink silk taffeta dress based on Fragonard,
veiled with candy pink tulle
Maison Christian Dior Archives Collection
Since 1997 Dior’s couturier shows,
lavish spectacles in their own right,
have blurred the traditional
boundaries between fashion and
stage costumes, offering mirror
images of 18th century styles –
outfits of fairies and princesses
that would make the queens and
favourites in our history books
turn green with envy.
You can also see Maison Dior
models in the Chapel Room (5)
and the Malachite Room (13).
queen of the belgians'
bedchamber (10)
DON’T MISS
This room, formerly the bedchamber Louis-Philippe turned it into reception The gilded wooden bed JACOB-
and drawing room of Louis XIV’s third rooms and an apartment for his son-in- DESMALTER delivered in 1809 for
apartment, was used as a dining room law and his daughter, the queen of the Empress Josephine at the Tuileries
under Louis XV and the First Empire. Belgians. Palace. Enlarged and modified for this
16 room in 1845. 17Yohji rochas by
yamamoto olivier theyskens
men’s ensemble, women’s ensemble
ready-to-wear, A/w 2006
s/s 2011
Jacket and skirt made for the release of Sofia
4 pieces: 1 shirt + 1 waistcoat + 1 pair of Coppola’s film Marie-Antoinette; grey tulle,
breeches + 1 jabot; grey and white. fake hair, crinoline.
Yohji Yamamoto Archives Collection. Galliera Collections
Yohji Yamamoto based his Spring/ When Olivier Theyskens was art
Summer 2011 menswear fashion director at Rochas he offered a
show entirely on the late 18th century recomposed version of an 18th century
men’s wardrobe. The rigour and woman’s outfit, turning the dress into
simplicity of bewigged men’s outfits a short jacket and a skirt. The collared
recall the 1780's, when Anglomania, You can also see a Yohji Yamamoto jacket takes the form of the redingote
synonymous with comfort and model in the Lord’s Room (6). dress, a masculine version of the "robe
naturalness, reigned supreme. à l’anglaise"; the skirt rests on an early
In contrast, black and white 18th century bell-shaped pannier. The
houndstooth wool and sensuous flounces at the wrists evoke the lace that
beige leather turn pannier dresses was sewn onto court dresses' sleeves.
into half-tamed contemporary American actress Kirsten Dunst wore
city wear. this dress during a Vogue photo shoot.
music room (11)
Former antechamber of Louis XIV’s The panelling is among the palace’s oldest. DON’T MISS
apartment, where the king’s souper Above the doors, notice the shutters of the The chairs covered in Beauvais upholstery
took place. Napoleon turned it into the gallery where musicians played during the made for this room.
Officers' Room and Louis-Philippe into meal.
the Billiard Room.
18 19Jean Paul malachite
Gaultier room (13)
women’s ensemble Louis XIV’s former room of the Setting
haute couture Sun, was turned into a bedchamber for
s/s 1998, "les marquis the Duchess
of Burgundy. Under Napoleon, it
touaregs" coll.
became the Emperor’s Room, where
Pannier jacket, lamé, tulle, flounces, ruches, bows. Tsar Alexander I’s gifts of malachite
Jean Paul Gaultier Maison Collection were displayed, hence its name,
the Malachite room.
Jean Paul Gaultier takes delight
Dress displayed:
in mixing up men’s and women’s
Christian Dior Maison
wardrobes. In his spring/summer Autumn/winter 2004/2005 haute couture dress.
1994 collection the iconoclastic
couturier put men’s French denim
jackets on women. The spring/ topographical
summer 1998 "Les Marquis Touaregs" the cool
collection combined a new vision
room (14) room (15)
of Marie-Antoinette’s century with
a relaxed, casual, contemporary
attitude.
The Duchess of Burgundy used this
The Cool Room owes its name to room, which was designed in the
its northern exposure. This is where perspective of the gallery next door,
Napoleon held his cabinet meetings called the Cool Room in the 17th century,
and Charles X bid farewell to his as her main drawing room. Under the
ministers on 31 July 1830. Empire it was known as the Emperor’s
Main Drawing Room and used to hold
louis-philippe’s family room (12) Models displayed: cabinet meetings until the Restoration.
Semi-linen French court dress and
"robe à l’anglaise".
Dress displayed:
Louis-Philippe had two smaller rooms evenings. Brion furnished it in the spirit Vivienne Westwood
combined to create this large one, where of the times: game and needlework tables, Ready-to-wear Spring-Summer 1991.
the king and his family, who enjoyed padded chairs and sofas upholstered in
staying at Trianon, gathered in the yellow figured fabric with blue patterns.
20 21Haute couture autumn/winter 1995. Evening gown. Brocade busk with antique gold relief underlined by patinated metal and embroidered on large matching skirt. Christian Lacroix Maison Collection. © Marcio MADEIRA / Zeppelin. Christian Lacroix women’s ensemble spring/summer 1994 3 pieces: 1 top + 1 skirt + 1 necklace. Evening gown, pastel flowered damask patchwork busk embroidered with jewels, taffeta gingham skirt, iridescent lace appliqués, embroidered birds, butterflies and bouquets. Christian Lacroix quotes the 18th century through the lens of the 1940s, 50s and 60s for theatre and opera costumes as well as haute couture collections. In 1987 he turned his models into marquises who looked good enough to eat. The designer’s passionate interest in art informs his mythology, where dresses are sometimes paintings that are visited and revisited as though they were hanging in an ideal imaginary museum. the garden room (17) The Garden Room’s six windows open billiard room under Napoleon. The door out onto the little staggered rows and the left of the fireplace leads to the Trianon- perspective of the Grand Canal. This was sous-Bois wing. a game room under Louis XIV and a 22 23
design
Credits: photo on left: © Andy Julia; photo on right: Photography: Chloé Le Drezen / Hair-Make-up: Luc Drouen @Mod's Hair / Costume: Atelier Les Vertugadins
Around the exhibition
Useful game-booklet
competition
information
!
à gagner de
e
une rob et un
e
princess eau » !
et
Exhibition from 8 July to
kit « chât
Encore Eux – © Vivienne Westwood Spring/Summer 1996, Marcio MADEIRA - Zeppelin/J. M. Manaï/Ch. Milet/Thinkstock
vous proposent
9 October 2011. Open every le livret‑jeu
de l’exposition
« Le xviiie au goût du jour ‑
day except Monday from
Couturiers et créateurs de mode
au Grand Trianon »
jusqu’au 9 octobre 2011
organisée avec le Musée
And you, what’s your 18th century style?
noon to 6:30pm
s
ant
enf
les
ur
Po
(last admission at 6pm). The Palace of Versailles, together with l’Express Styles and Le Bon Marché
www.bubblemag.fr www.chateauversailles.fr 1
Rive Gauche, is organising a design competition: by showing just a detail
Free for children four to 12.
or the full outfit, you too can revisit the Age of Enlightenment by posting
Exhibition accessible with Available at information points a photo of your clothes, hairstyles or accessories inspired by this era. A
the Passeport ticket or the ticket and the exhibition entrance. panel of judges, made up of fashion professionals and The Cherry Blossom
for the Trianon Palaces and With a game-contest to win Girl and Miss Pandora bloggers, will decide on the three best styles.
Marie-Antoinette’s Estate. a real tailor-made princess’s
To take part, post a photo of your style on:
dress or a "palace kit".
www.concoursdestyle.chateauversailles.fr
Free for European Union
residents under 26. exhibition
catalogue
THE 18TH CENTURY BACK IN FASHION
vogue at Versailles
Mises en résonance avec les chefs-d’œuvre des collections du musée Galliera, les
créations des plus grands couturiers contemporains témoignent d'une commune
fascination pour un XVIIIe siècle fantasmé : Lagerfeld invite Watteau et ses robes
LE XVIIIE AU GOÛT DU JOUR
à la française chez Chanel, Galliano fait défiler chez Dior des princesses de contes
de fées, Westwood redonne vie à des courtisanes et marquises plutôt délurées...
Setting up the exhibition,
Riche d’un superbe portfolio mêlant gravures et pièces des XVIIIe, XIXe, XXe et
XXIe siècles, ce catalogue constitue un véritable hommage au style des Lumières
et à Versailles, berceau de la mode.
Harmonizing with the masterpieces from the Galliera museum, creations by
the greatest contemporary couturiers reveal a shared fascination for an
idealized 18th century: Lagerfeld invites Watteau and his robes à la française
into Chanel’s House, Galliano has fairytale princesses model for Dior, Westwood
brings to life saucy marquises and courtesans… With a wealth of engravings
and pieces from the 18th, 19th, 20th and 21st centuries, this catalogue is a hymn to
commissioner’s guided tour,
the style of the Age of Enlightenment and Versailles, the birthplace of fashion.
LE XVIIIe
AU GOÛT DU JOUR
COUTURIERS
ET CRÉATEURS DE MODE
interviews with designers: extend
AU GRAND TRIANON
THE 18TH CENTURY BACK IN FASHION
COUTURIERS AND FASHION DESIGNERS IN THE GRAND TRIANON
ISBN : 978-2-85495-450-0
-:HSMIPE=^ZYZUU:
your visit to the exhibition at
23 e
Bilingual (French-English)
96-page work published
www.vogue.fr/vogue-a-versailles
by Éditions Artlys
Available at the Palace of win:
Versailles RMN shops and
>A photo session with
www.boutique-chateauversailles.fr the magazine l’Express Styles
>A fashion lesson with
Gilles Rosier,
>Le Bon Marché Rive Gauche
gift cards,
> or maybe cameras.ÉTABLISSEMENT PUBLIC DU CHÂTEAU,
DU MUSÉE ET DU DOMAINE DE VErSAILLES
Rp 834 - 78008 Versailles cedex
Information and booking: 01 30 83 78 00 00
www.chateauversailles.fr
sponsored by Exhibition
commissioner
Olivier Saillard
Director of the Galliera
Museum, City of Paris Fashion
Museum
Pascale Gorguet-Ballesteros,
head curator at the Museum,
City of Paris Fashion Museum
Laurent Cotta,
in charge of contemporary
design at the Galliera Museum,
City of Paris Fashion Museum
The texts for this brochure were
written by Laurent Cotta, Pascale
Gorguet-Ballesteros, Delphine
Jaulhac, Anne de Nesle, Olivier
Saillard.
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