the palace of veRsailles presentsthe 18th centuryback    in fashionguide to the exhibitionand the grand trianon8 july – 9 ...
Grand trianon floor plan                                                                                                  ...
3.fashion in the 18th century                                                              in the late 1770s simplicity st...
Givenchy by                                                                                         Viviennealexander     ...
chanel BY                                                                                                                 ...
Balenciaga                                                                                                    Azzedine Ala...
the 1950s AND                                     Thierry                                              Jacques            ...
the grand                                                                           the cotelletrianon                    ...
maison martin                                                               fashion                                       ...
MaisonChristian Dior"doutzen kroes" dresshaute couture coll. F/W 2007-2008Shot pink silk taffeta dress based on Fragonard,...
Yohji                                                                                       rochas byyamamoto             ...
Jean Paul                                                                                           malachiteGaultier     ...
Haute couture autumn/winter 1995. Evening gown. Brocade busk with antique gold relief underlined by patinated metal and em...
design                                                                                                                    ...
ÉTABLISSEMENT PUBLIC DU CHÂTEAU,                DU MUSÉE ET DU DOMAINE DE VErSAILLES                Rp 834 - 78008 Versail...
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18th centure in versailles

  1. 1. the palace of veRsailles presentsthe 18th centuryback in fashionguide to the exhibitionand the grand trianon8 july – 9 OCTOBerorganised with the
  2. 2. 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, proposeSelf-guided architecture tour a modern reading of that extr avagant century. Eacha self-guided architectural tour takes you through the grand designer adapts the period to his/her sensibilit y. Sometrianon’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 andback 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. 3. 3.fashion in the 18th century in the late 1770s simplicity started replacing the pannier’s exaggerated shapes. adjusted dresses withwhen people think of 18 th century women’s fashion, pleated or hitched-up skirts eclipsed the french courtimages of figures with wide hips and narrow busts gown. straight linen or cotton chiffon gowns, animmediately 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 queenthe lower part of the body. whalebone corsets turned of France dared to wear percale for her afternoonwomen’s busts into upside-down triangles coming to outfits. tuckers and ankle-length skirts compriseda 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 popularwith fan-shaped figures wearing fancy dresses orgowns. 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 figuredfloral 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. butfantasies 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 1780s. 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 embroideredmeters 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. Captionsflounces, ruffles and a profusion of lace, gauze, 1. Men’s court suit, circa 1750-1760. Text based on Pascale Gorguet-Ballesteros articletrimming, 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 silkdresses provided fashion merchants, those designers thread, embroideryof ornament – madame alexandre and madame eloffe, patterns, woodenmerchants of versailles, and especially Rose bertin, buttons covered withfamous throughout europe, who took pride in embroidered taffeta. Galliera Collections.having marie-antoinette, the queen of France, as 5. see 18th century costumesa 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
  4. 4. Givenchy by Viviennealexander WestwoodMcqueen evening gown "vive la Cocotte" Coll.F/w 1999-2000 ready-to-wearhaute couture coll. F/w 1995-1996Passage 26. Redingote in turquoise faille silkmoiré with antique lace applications on pale grey No 85. historic model based on Boucher’slace 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 CollectionPeople have always been amazed English designer Vivienne Westwood isby the sophistication of 18th century often considered quirky and provocative,men’s clothes, which our contemporaries especially since her punk collectionsperceive as feminine. Alexander caused a scandal in the 1980s. In the wardrobes. Vivienne Westwood gave theMcQueen, then Givenchy’s artistic 1990s she turned to the charms of the Age of Enlightenment fresh impetus.director, revisited the men’s wardrobe 18th century. Passionate about cut andof the Age of Enlightenment to dress technique, she has used ribbons and You can also see her models in thewomen 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 coloursFrench court suit but here McQueen back to the forefront after years whenironically appropriates it for women. Japanese and Belgian designers intenseSilk was the most commonly used black dominated magazine pages andmaterial for court dresses. Here, thickfaille replaces taffeta; satin or velvetand antique silver lace replaces silverthread. 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
  5. 5. chanel BY 18th centuryKarl Lagerfeld fashion: the french court dressForeground: Spring/Summer 2005 Haute CoutureCollection, No. 40. Evening gown: washed whitefaille silk, blue satin ribbon, bow, round gilded The French court gown, also known inmetal brooch ornamented by blue and white beadsand white porcelain flowers on a bed of white pearls English as the "robe volante", "robe à laand 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 backBackground: Autumn/Winter 1992-1993 forming a short train. As the 18th centuryHaute Couture Collection, No. 97. Bridalensemble: jacket, gown, crinoline petticoat. progressed it became tighter in front,Jacket: ivory wool tweed, pearly white cellophane hugging the contours of the bust stiffenedlined with ivory satin, gilded chain. Dress: by a whalebone corset. The back had asatin-lined tweed; taffeta trimmed with a ribbon. double row of flat double pleats. The dressMaison Chanel Collection became known as the "robe à la française" throughout Europe, where it becameKarl Lagerfeld, a collector and a popular from the 1730s.couturier, accumulated a comprehensivecollection of 18th century furniture and Wearing a French court dress was the signobjects, eventually selling them of a certain social status: putting one onto purchase designer pieces and required the help of a servant, who had tocontemporary works echoing his crawl underneath it to adjust the backstylistic renewal. He finds with laces on the inside.Mademoiselle Chanel’s soft coloursin the delicacy of the Age of The French court gown was nicknamedEnlightenment. His mischievous but the "Watteau dress" because the painterknowledgeable take on a French court Antonie Watteau (1684-1721) oftengown, all in silk faille, is whimsically depicted his models wearing it.punctuated under the breasts witha blue satin ribbon like the light cottonchiffon 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 Empressthe 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
  6. 6. Balenciaga Azzedine Alaïaby NicolasGhesquière dress ready-to-wear Coll. s/s 1992women’s ensemble Lace-up bustier dress with white Englishready-to-wear coll. embroidery on petticoats/s 2006 Azzedine Alaïa Archives CollectionFlesh-coloured embroidered organza jacket, floweryecru lace jacket, off-white organza satin jacket, ecru Azzedine Alaïa’s sensuous fashionslace corset and undergarments, embroidered satin stress the womanly curves that inspirecrêpe trousers. him. All the designer keeps of theMaison Balenciaga Collection libertine spirit in his streamlined version of the 18th century are tightCristòbal Balenciaga often quoted The waistcoats fit tightly around the waists and full bosoms combinedGoya’s 18th century: his use of lace – bust. The underskirted coat-tails take with the false rigour of an army jacketusually black – and pink satin ribbons the form of the coat; the wrists adopt or the freshness of English embroideryrecalls portraits of the Duchess of Alba. the flounced pagoda sleeves shape too prim and proper to really beNicolas Ghesquière pays tribute to that characteristic of mid-18th century believable. This dress is squeezed, White cotton and English embroiderylegacy 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 afternoonwhere 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 recallsthe martial look of young women a men’s coat.dressed as men.the empress’s bedchamber (4) DON’T MISSThe Empress’s Bedchamber still has the carved into a mosaic. During the Empire it was The bed, which was Napoleon’s at thedécor of Louis XIV’s bedchamber, which it divided to form a smaller bedroom and Tuileries Palace and where his successorhad 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
  7. 7. the 1950s AND Thierry Jacques Comme desPierre 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 mixeds/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 Collectionspatterns, embroidered leaves and two petticoats: Thierry Mugler’s glamorous worldhorse-hair and double ottoman. into a family that had been making and swings back and forth between 1950s From the Middle Ages to the Age of theGalliera 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 andThe 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 relationshipThe New Look Christian Dior notable women but did not consider ostentation, the theatrical display of between that historical and contemporarylaunched in 1947 featured narrow himself as a designer and never joined the female body and cruelty, notions fashion, from the removable – andwaists and a voluminous skirts the Chambre syndicale de la couture. particular to the 18th century of moveable – bum rolls in his famoussupported by thick petticoats; elegant In 1875 he began amassing a large Dangerous Liaisons. His collections Spring/Summer 1997 collection, wherewomen wore girdles and corsets that collection of 18th century French feature outfits the Marquise de the outfits emphasized the figure, to hisreshaped 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 andechoing 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 andChapel room (5) the lord’s room (6) the buttoned-up lapels of certain military coats from the second halfOriginally 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 theThe back door opens onto an altar, the Saint Mark and Saint Luke. military trophy on the mantelpiece.10 11
  8. 8. the grand the cotelletrianon 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 Grand12 13
  9. 9. maison martin fashion margiela accessoiresBoué 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 1770s-1780s powderedthread; modern backing; white label with orange hair was topped by hats, poufs or big bonnets ornamentedweave. Martin Margiela’s 1991 and 1993 with feathers, gauze, birds and other fanciful decorationGalliera Collections abundantly illustrated in the nascent fashion press. Spring/Summer collections offer a contemporary take on theIn 1899 Sylvie and Jeanne Boué opened Eighteenth-century accessories have not inspired 18th century by re-employinga fashion house that remained active contemporary designers as much as clothes, but today’s a 1950s dress he found at the fleauntil 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 patinadrawing inspiration from earlier alongside 18th century objects suggest. and worn-out look as raw materials,periods, in particular that of Louis XV. intelligently deconstructed theThe "period dress" they invented at the pieces and transformed themsame 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 MISSwas replaced by Louis XIV’s last imperial family and important guests. The purple breccia fireplace dating fromapartment, which Louis XV transformed The furniture dates from that period. Louis XV.into reception rooms in 1750. Napoleon14 15
  10. 10. MaisonChristian Dior"doutzen kroes" dresshaute couture coll. F/W 2007-2008Shot pink silk taffeta dress based on Fragonard,veiled with candy pink tulleMaison Christian Dior Archives CollectionSince 1997 Dior’s couturier shows,lavish spectacles in their own right,have blurred the traditionalboundaries between fashion andstage costumes, offering mirrorimages of 18th century styles –outfits of fairies and princessesthat would make the queens andfavourites in our history booksturn green with envy.You can also see Maison Diormodels in the Chapel Room (5)and the Malachite Room (13).queen of the belgiansbedchamber (10) DON’T MISSThis 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 forapartment, was used as a dining room law and his daughter, the queen of the Empress Josephine at the Tuileriesunder Louis XV and the First Empire. Belgians. Palace. Enlarged and modified for this16 room in 1845. 17
  11. 11. Yohji rochas byyamamoto olivier theyskensmen’s ensemble, women’s ensembleready-to-wear, A/w 2006s/s 2011 Jacket and skirt made for the release of Sofia4 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 CollectionsYohji Yamamoto based his Spring/ When Olivier Theyskens was artSummer 2011 menswear fashion director at Rochas he offered ashow entirely on the late 18th century recomposed version of an 18th centurymen’s wardrobe. The rigour and woman’s outfit, turning the dress intosimplicity of bewigged men’s outfits a short jacket and a skirt. The collaredrecall the 1780s, when Anglomania, You can also see a Yohji Yamamoto jacket takes the form of the redingotesynonymous with comfort and model in the Lord’s Room (6). dress, a masculine version of the "robenaturalness, reigned supreme. à l’anglaise"; the skirt rests on an earlyIn contrast, black and white 18th century bell-shaped pannier. Thehoundstooth wool and sensuous flounces at the wrists evoke the lace thatbeige leather turn pannier dresses was sewn onto court dresses sleeves.into half-tamed contemporary American actress Kirsten Dunst worecity 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 MISSapartment, where the king’s souper Above the doors, notice the shutters of the The chairs covered in Beauvais upholsterytook 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 19
  12. 12. Jean Paul malachiteGaultier room (13)women’s ensemble Louis XIV’s former room of the Settinghaute couture Sun, was turned into a bedchamber fors/s 1998, "les marquis the Duchess of Burgundy. Under Napoleon, ittouaregs" coll. became the Emperor’s Room, wherePannier jacket, lamé, tulle, flounces, ruches, bows. Tsar Alexander I’s gifts of malachiteJean 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 Maisonwardrobes. In his spring/summer Autumn/winter 2004/2005 haute couture dress.1994 collection the iconoclasticcouturier put men’s French denimjackets on women. The spring/ topographicalsummer 1998 "Les Marquis Touaregs" the coolcollection combined a new vision room (14) room (15)of Marie-Antoinette’s century witha relaxed, casual, contemporaryattitude. 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 holdlouis-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 Westwoodcombined 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 instaying at Trianon, gathered in the yellow figured fabric with blue patterns.20 21
  13. 13. Haute 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.ChristianLacroixwomen’s ensemblespring/summer 19943 pieces: 1 top + 1 skirt + 1 necklace.Evening gown, pastel flowered damask patchworkbusk embroidered with jewels, taffeta ginghamskirt, iridescent lace appliqués, embroidered birds,butterflies and bouquets.Christian Lacroix quotes the18th century through the lens of the1940s, 50s and 60s for theatre andopera costumes as well as hautecouture collections. In 1987 heturned his models into marquiseswho looked good enough to eat.The designer’s passionate interestin art informs his mythology, wheredresses are sometimes paintings thatare visited and revisited as thoughthey were hanging in an idealimaginary museum.the garden room (17)The Garden Room’s six windows open billiard room under Napoleon. The doorout 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 a22 23
  14. 14. design Credits: photo on left: © Andy Julia; photo on right: Photography: Chloé Le Drezen / Hair-Make-up: Luc Drouen @Mods Hair / Costume: Atelier Les VertugadinsAround the exhibitionUseful game-booklet competitioninformation ! à gagner de e une rob et un e princess eau » ! etExhibition from 8 July to kit « chât Encore Eux – © Vivienne Westwood Spring/Summer 1996, Marcio MADEIRA - Zeppelin/J. M. Manaï/Ch. Milet/Thinkstock vous proposent9 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 postingExhibition accessible with Available at information points a photo of your clothes, hairstyles or accessories inspired by this era. Athe Passeport ticket or the ticket and the exhibition entrance. panel of judges, made up of fashion professionals and The Cherry Blossomfor 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.frFree for European Unionresidents under 26. exhibition catalogue THE 18TH CENTURY BACK IN FASHIONvogue at Versailles Mises en résonance avec les chefs-d’œuvre des collections du musée Galliera, les créations des plus grands couturiers contemporains témoignent dune 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 tocommissioner’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 MODEinterviews 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 publishedwww.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.
  15. 15. 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.frsponsored 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.In media partnership with

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