Louvre Couture

Christian Dior, John Galliano Spring/Summer Haute Couture collection 2005, embroidered moiré silk and velvet in front of a portrait of Empress Eugénie

Couture in the Louvre is attracting a wide spectrum of visitors. Mannequins wearing creations from 45 fashion houses serve to liven up some of the less visited galleries, with fabulous results.

Donatella Versace Autumn/Winter Collection 2002/3 Brocade minidress
with a gold lace hem.

The Louvre exhibition playfully associates garments with objets d'art.  Above, Donatella Versace's yellow strapless dress reflects the silk of the chair made for Louis XVI's brother, the comte d'Artois for his Turkish room. The fringes echo each other and give an air of exoticism. The creation by Chloé below is reminiscent of oriental lacquer-work and forms a dialogue with the Chinese study decor.

Chloé, Karl Lagerfeld Autumn/Winter Collection 1976/7 Hand-painted silk crepe chiffon

 The Director of the Louvre, Laurence des Cars, and the head of the Objets d'Arts department, have put their heads together and found some brilliant combinations. The 99 mannequins on display are mainly to be found in the Richelieu wing, less busy than the Denon wing, where the Mona Lisa draws huge crowds. Artists have often been inspired by the art work in museums, so it is very fitting that they have been put back together for this exhibition- for example the rococo furniture which obviously inspired Moschino's 'desk' dress, where the frontal ornamentation consists of drawer handles and locks: 

Moschino, Jeremy Scott Autumn/Winter collection 2022/3 Moiré silk
with brass handles and locks 

Jean Paul Gaultier's reversing of roles with the crinoline structure outside the fabric of the dress makes for a curious contrast in the Napoleon III apartments:

Jean Paul Gaultier Autumn/Winter collection 2008-9

Without using a crinoline, but with a profusion of 600 metres' of tulle, Valli's fluffy creation fits well into the Napoleon 3rd bower:

Giambattista Valli Autumn/Winter collection 2018-9 polyester tulle

In the same opulent 19th century surroundings, a silver ball gown (literally!) by Moschino matches the splendour of the crimson and gold decor:

Jacquemus, Simon Porte Jacquemus Autumn/Winter collection 2023-4
Metallic flowers and crystals

Among the mediaeval objets d'art, the folds of a white silk taffeta ball gown by Vilmorin contrast with a 14th century ivory statuette of the virgin Mary:

Charles de Vilmorin Autumn/Winter collection 2024/5 gathered silk taffeta and metal

Any traces of polychrome have long disappeared, leaving the beautiful shape of the folds in Mary's robe:

Virgin and Child France, 14th century Ivory

Castelbajac, who designed the new vestments for Notre Dame cathedral, playfully introduces Bambi into an Autumn suit, set among the tapestries of the Hunts of Maximilian, Holy Roman Emperor. The stuffed toy antler headdress might be rather difficult to wear at a party:

Jean-Charles de Castelbajac Collection "Go! Go! Diva" Autumn/Winter 2010/11

Some items are a little harder to find, like Christian Louboutin's mediaeval-looking boot, tucked inside a case with 15th century gilt bronze statuettes and a gilt copper monstrance:

Christian Louboutin Autumn/Winter collection 2007-8 Leather boot with metal nails

The same may be said of his baroque handbag with a seaside feeling, nestled against an aquatic Renaissance plate:

Christian Louboutin leather purse with rhinestones, shells and ostrich feathers
Autumn/Winter collection 2018-9

The contrasting materials used by Japanese designer Jun Takahashi reflect the curiosities of the Renaissance:

Undercover, Jun Takahashi Autumn/Winter collection 2017-8

A man's doublet, adapted for a woman, with a honeycomb organza skirt, might be compared with the men's hunting gear in the tapestries:

Detail from The hunts of Maximilian, after Bernard Van Orley Brussels, 1531-33

A pretty white embroidered dress by a Canadian designer echoes the floral decoration of the tapestries:

Erdem Moralioglu Ready to wear collection Spring/Summer 2024

The dress in fact was a tribute to Deborah Mitford, eccentric Duchess of Devonshire and was inspired by Chatsworth House. Also echoing the floral borders on the tapestries, an Alexander Macqueen dress appears to be bursting out with flowers at the edges:

Alexander McQueen "Sarabande" collection Spring/Summer 2007

   boned silk moiré with silk flowers 

                                                       

American designer Thom Browne uses gender fluidity to produce a demure but subversive "cricket" ensemble. The wide skirt makes reference to the wide hooped skirts of the time of Marie-Antoinette, but as part of a man's suit:

Thom Browne Ready to wear Spring/ Summer Collection 2020

A man's jacket by Louis Vuitton combines the elegance of eighteenth century France with a pair of modern white shorts:

Nicolas Ghesquière for Louis Vuitton Spring/Summer collection 2018
silk brocade frock coat with polyester jersey shorts

Nearby, the blue silk chair made by J.B. Boulard in 1786 for Louis XVI's gaming room at Fontainebleau reflects the luminous jacket above:

Straight-backed beechwood chair with rewoven silk  J.B. Boulard 1786

It is fitting that the impressive collection of furniture left to the Louvre in 1973 by Mme Carven is joined by a Carven creation- a raglan-sleeved ivory-coloured silk coat:

Louise Trotter for Carven Ready to wear collection Spring/Summer 2025

Also seen among the Grog-Carven donation, is an ensemble by Margiela, where the silver coins on the skirt echo the knobs on the neo-classical furniture by celebrated ébéniste Leleu:

Margiela Autumn/Winter collection 2014-5 with furniture by Jean-François Leleu 1760-75

The late Vivienne Westwood conjured up the luxury of the eighteenth century, with a taste of modern glamour, in her "London" Collection: 

Vivienne Westwood Ready to wear collection Autumn/Winter 2012-3

The exhibition designers (Agency Nathalie Crinière)  have cleverly created neutral spaces against the windows so as not to make the galleries too "busy". The lighting is very subtle. Mirrors are used to enhance the displays.  In the mediaeval section, a golden evening dress is embroidered with crosses:

Gianni Versace Autumn/Winter collection 1997-8 gold metal mesh fabric

Gianni Versace was inspired by the "Glory of Byzantium" exhibition at the New York Metropolitan in 1997. An exquisite reliquary of the True Cross is in a nearby showcase:

True Cross reliquary with sliding panel Meuse Valley circa 1160-70 gilt silver and enamel

With its pure lines, a Balenciaga mannequin provides a startling modernist contrast with its 18th century surroundings:

Demna for Balenciaga  Autumn/Winter collection 2021-2 

There are many representations of angels in the Louvre. Some are in this display, where Jonathan Anderson's tunic dress has sprouted wings. An angel candle-holder from the collection of Charles Stein looks on:

Loewe, Jonathan Anderson Autumn/Winter collection 2023-4

The opulence of the age of Louis XIV is evoked in creations by Saint Laurent and Dior, with a portrait of the sun king in the background. The ornate ceiling is reflected in the mirrored floor:

John Galliano for Dior Autumn/Winter collection 2006-7  and Yves Saint Laurent
Autumn/Winter collection 1984-5

A crisp black and white silk evening dress by Christian Dior opens the Exhibition:

Christian Dior Spring/Summer collection 1949

The Louvre Couture Exhibition is on until 24th August, 2025. 

The Louvre is open from 9am to 6pm, except Tuesdays. 

Late opening on Wednesdays and Fridays until 9pm.

 Metro Palais Royal.

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