in fashion


the palace of veRsailles presents

the 18 th century

back in fashion

guide to the exhibition

and the grand trianon

8 july – 9 OCTOBer

organised with the

Grand trianon floor plan

the 18 th century

back in fashion

couturiers and fashion designers

at the grand trianon

The Grand Trianon and the Musée Galliera, the fashion

museum of the City of Paris, present in a poetic

confrontation costumes from the 18 th century and

masterpieces of haute couture and fashion design from

the 20 th and 21 st centuries.

Self-guided architecture tour

a self-guided architectural tour takes you through the grand

trianon’s most notable places at the same time as the "18 th century

back in fashion" exhibition.

French court dress (detail) © EPV, J-M Manaï, C Milet

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 hairstyles

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.

Like mirrors reflecting each other, the garments

exhibited, from haute couture to ready-to-wear, propose

a modern reading of that extravagant century. Each

designer adapts the period to his/her sensibility. Some

quote the 18 th century shapes almost literally, while

others deconstruct them, expand their dimensions and

interpret them in a riot of shimmering silks, embroidery

and lace. The dresses of the queens and princesses of the

Enlightenment dialogue down the years with these

masterpieces of luxury and creativity.



fashion in the 18 th century

when people think of 18 th century women’s fashion,

images of figures with wide hips and narrow busts

immediately spring to mind. panniers – petticoats

stiffened with evenly-spaced whalebone stays – reshaped

the lower part of the body. whalebone corsets turned

women’s busts into upside-down triangles coming to

a point in the centre of the immense oval of the hips.

eighteenth-century prints and paintings show women

with fan-shaped figures wearing fancy dresses or

gowns. the "robe à la française", or sack-back dress,

a sort of large, open coat over a skirt with a floating,

pleated back, made of endless yards of fabric,

captures the imagination. made of silk featuring wavy

floral patterns, worn by marquise de pompadour,

it represents the quintessence of the rococo spirit

that characterised the middle of the century. but

fantasies about 18 th century women’s dress often

mix the image of the "robe à la française" with that

of the formal court gown, an unbelievable outfit

comprising a skirt over a huge pannier, a large top

with a wide neckline and a train that could be several

meters long with stays attached to the bottom.

paintings and prints show them overflowing with

flounces, ruffles and a profusion of lace, gauze,

trimming, spangles, silver strips and semi-precious

stones. in the second half of the 18 th century these

dresses provided fashion merchants, those designers

of ornament – madame alexandre and madame eloffe,

merchants of versailles, and especially Rose bertin,

famous throughout europe, who took pride in

having marie-antoinette, the queen of France, as

a customer – with an opportunity to give their

imaginations free reign.





1. Men’s court suit,

circa 1750-1760.

Shot taffeta, chain-stitch

embroidery, blue silk

thread, embroidery

patterns, wooden

buttons covered with

embroidered taffeta.

Galliera Collections.

2. Jacket and skirt (back),

circa 1785. Striped Gros

de Tours silk trimmed


a ribbon.

Galliera Collections.

in the late 1770's simplicity started replacing the

pannier’s exaggerated shapes. adjusted dresses with

pleated or hitched-up skirts eclipsed the french court

gown. straight linen or cotton chiffon gowns, an

evocation of lingerie and its intimate character,

turned into morning or afternoon wear. the queen

of France dared to wear percale for her afternoon

outfits. tuckers and ankle-length skirts comprised

negligées for noblewomen and elegant outfits for the

women of humbler means.

men wore "french" suits, which became so popular

they were soon known as "european" suits, made up

of coats, long-sleeved waistcoats and breeches, which

formed the basic combination for centuries to come.

early in the century the coats had wide underskirted

coat-tails, the pannier’s masculine counterpart, before

moving in the same direction as women’s clothing

towards a more slender look. fronts were waisted and

became longer with straight collars. a riot of refined

polychrome silk thread embroidery blossomed on these

coats but the sporty, simple english look’s influence

tempered that fancifulness in the 1780's. solid coats,

military lapels and dark colours counterbalanced

18 th century exuberance and heralded the following

century’s seriousness.

Text based on Pascale Gorguet-Ballesteros' article

in the exhibition catalogue.


3. French court dress,

skirt and stomacher,

circa 1750-1760.

Polychrome figured

silk purl, gold and

silver lamé.

Galliera Collections.

4. Duchess © RMN,

Gérard Blot.

see 18 th century costumes

dialoguing with contemporary models

throughout the "18 th century back

in fashion" exhibition.

5. Pair of shoes,

circa 1730.

Leather embroidered

with silver thread.

Galliera Collections.




Givenchy by





F/w 1999-2000

haute couture coll.

Passage 26. Redingote in turquoise faille silk

moiré with antique lace applications on pale grey

lace pants ornamented with crystal beads and

a grey silk taffeta blouse.

Maison Givenchy Collection

People have always been amazed

by the sophistication of 18 th century

men’s clothes, which our contemporaries

perceive as feminine. Alexander

McQueen, then Givenchy’s artistic

director, revisited the men’s wardrobe

of the Age of Enlightenment to dress

women in precious evening gowns.

The lavishly ornamented model on

display is a literal quotation of men’s

French court suit but here McQueen

ironically appropriates it for women.

Silk was the most commonly used

material for court dresses. Here, thick

faille replaces taffeta; satin or velvet

and antique silver lace replaces silver

thread. Like in the 18 th century,

embroidery patterns adorn the front,

collar and wrists.


aides-de-camp room (1)

This all belonged to a group of secondary

rooms during the First Empire. Louis-Philippe

used it as an aides-de-camp room.

evening gown

"vive la Cocotte" Coll.


F/w 1995-1996

No 85. historic model based on Boucher’s

portrait of Madame de Pompadour;

pink Duchesse satin and lace.

Vivienne Westwood Ltd Collection

English designer Vivienne Westwood is

often considered quirky and provocative,

especially since her punk collections

caused a scandal in the 1980's. In the

1990's she turned to the charms of the

18 th century. Passionate about cut and

technique, she has used ribbons and

safety pins, become a master of

subversive historical assemblages and

brought frivolity and powdery colours

back to the forefront after years when

Japanese and Belgian designers' intense

black dominated magazine pages and

the empress’s boudoir (2)

At first, the boudoir communicated with

the neighbouring room through the door

on the right. Louis-Philippe had the door

left of the fireplace opened to connect it

to the apartment he had built for himself

in Louis XIV’s former kitchens.

wardrobes. Vivienne Westwood gave the

Age of Enlightenment fresh impetus.

You can also see her models in the

Aides-de-Camp Room (1), Topographical

Room (15) and Garden Room (17).


The mahogany tapestry loom

ornamented with gilt bronze (1810),

attributed to Alexandre MAIGRET,

comes from this room.


chanel BY

Karl Lagerfeld

18 th century


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

metal brooch ornamented by blue and white beads

and white porcelain flowers on a bed of white pearls

and mother-of-pearl; stiff tulle pleated skirt with a

pannier effect.

Background: Autumn/Winter 1992-1993

Haute Couture Collection, No. 97. Bridal

ensemble: jacket, gown, crinoline petticoat.

Jacket: ivory wool tweed, pearly white cellophane

lined with ivory satin, gilded chain. Dress:

satin-lined tweed; taffeta trimmed with a ribbon.

Maison Chanel Collection

Karl Lagerfeld, a collector and a

couturier, accumulated a comprehensive

collection of 18 th century furniture and

objects, eventually selling them

to purchase designer pieces and

contemporary works echoing his

stylistic renewal. He finds

Mademoiselle Chanel’s soft colours

in the delicacy of the Age of

Enlightenment. His mischievous but

knowledgeable take on a French court

gown, all in silk faille, is whimsically

punctuated under the breasts with

a blue satin ribbon like the light cotton

chiffon dresses at the end of the

century. His Watteau collection’s

unexpected poetry contrasts with

the Chanel label’s strict rigour.

Room of mirrors (3)

Louis XIV’s former Great Study, where the king

met with his privy council. From that period the

room has kept its cornice and mirrors embedded

in panelling carved with flower garlands.


Set of mahogany tables delivered to Empress

Marie-Louise in 1810: needlework table,

"letterbox" table, game table, tidy table and

drawing table.

The French court gown, also known in

English as the "robe volante", "robe à la

française" or sack-back gown, was a big,

flowing coat with a wide, pleated back

forming a short train. As the 18 th century

progressed it became tighter in front,

hugging the contours of the bust stiffened

by a whalebone corset. The back had a

double row of flat double pleats. The dress

became known as the "robe à la française"

throughout Europe, where it became

popular from the 1730's.

Wearing a French court dress was the sign

of a certain social status: putting one on

required the help of a servant, who had to

crawl underneath it to adjust the back

with laces on the inside.

The French court gown was nicknamed

the "Watteau dress" because the painter

Antonie Watteau (1684-1721) often

depicted his models wearing it.




by Nicolas


women’s ensemble

ready-to-wear coll.

s/s 2006

Azzedine Alaïa


ready-to-wear Coll.

s/s 1992

Lace-up bustier dress with white English

embroidery on petticoat

Azzedine Alaïa Archives Collection

Flesh-coloured embroidered organza jacket, flowery

ecru lace jacket, off-white organza satin jacket, ecru

lace corset and undergarments, embroidered satin

crêpe trousers.

Maison Balenciaga Collection

Cristòbal Balenciaga often quoted

Goya’s 18 th century: his use of lace –

usually black – and pink satin ribbons

recalls portraits of the Duchess of Alba.

Nicolas Ghesquière pays tribute to that

legacy by turning values and colour

codes upside-down: men’s clothing

where ruffly eggshell and cream lace is

omnipresent and transparency stresses

the martial look of young women

dressed as men.

The waistcoats fit tightly around the

bust. The underskirted coat-tails take

the form of the coat; the wrists adopt

the flounced pagoda sleeves' shape

characteristic of mid-18 th century

French court dresses; cropped trousers

replace breeches.

Azzedine Alaïa’s sensuous fashions

stress the womanly curves that inspire

him. All the designer keeps of the

libertine spirit in his streamlined

version of the 18 th century are tight

waists and full bosoms combined

with the false rigour of an army jacket

or the freshness of English embroidery

too prim and proper to really be

believable. This dress is squeezed,

laced-up top evokes whalebone

corsets, while the wide hips bring

panniers to mind. The waisted jacket

featuring big pockets with flaps recalls

a men’s coat.

White cotton and English embroidery

recall the "negligée" women wore,

which became walking or afternoon

dress by the late 18 th century.

the empress’s bedchamber (4)

The Empress’s Bedchamber still has the

décor of Louis XIV’s bedchamber, which it

had formerly been: Corinthian columns

dividing the room and panelling admirably

carved into a mosaic. During the Empire it was

divided to form a smaller bedroom and

a sitting room used by Empress Marie-Louise,

who commissioned the furniture you see today.


The bed, which was Napoleon’s at the

Tuileries Palace and where his successor

Louis XVIII, the brother of Louis XVI,

died in 1825.



the 1950's AND

Pierre Balmain





Comme des


"Antonia" evening


haute couture Coll.

s/s 1954

Orlon satin embroidered with a panel of gold

scrolls, pearly beads, red chiffon rose appliqué

patterns, embroidered leaves and two petticoats:

horse-hair and double ottoman.

Galliera Collections

The Age of Enlightenment had a

strong influence on Pierre Balmain.

The New Look Christian Dior

launched in 1947 featured narrow

waists and a voluminous skirts

supported by thick petticoats; elegant

women wore girdles and corsets that

reshaped their bodies. For evening

wear, lavish fabrics and embroidery

preciously dressed 20 th century figures

echoing Age of Enlightenment fashion.

Chapel room (5)

Originally built as a chapel, this room

became an antechamber in 1691 but many

of the original features were kept.

The back door opens onto an altar, the

"Infante" ball gown

ready-to-wear coll.

F/w 1992-1993

Barathea and pleated black tulle.

Maison Thierry Mugler Collection

Thierry Mugler’s glamorous world

swings back and forth between 1950's

Hollywood and Paris. The designer

goes to great demonstrative lengths to

intensify the feminine shapes

associated with dominating women:

ostentation, the theatrical display of

the female body and cruelty, notions

particular to the 18 th century of

Dangerous Liaisons. His collections

feature outfits the Marquise de

Merteuil would have loved. Thierry

Mugler’s collections offer gowns with

volumes recalling the panniers of

formal Court dress.

cornice decoration has bunches of grapes and

ears of wheat evoking the Eucharistic wine and

bread and paintings depict the Evangelists

Saint Mark and Saint Luke.

dress, circa 1898-1900

Figured black satin, black chantilly bobbin lace,

black silk chiffon; gold-printed ivory label:


Galliera Collections

Jacques Doucet (1853-1929) was born

into a family that had been making and

selling clothes since 1816. From 1898

to 1927 he headed one of the biggest

couture houses in Paris. Doucet

dressed the early 20 th century’s most

notable women but did not consider

himself as a designer and never joined

the Chambre syndicale de la couture.

In 1875 he began amassing a large

collection of 18 th century French

furniture and artworks that had a

lasting influence on his own designs.

In 1912 he sold it in order to focus on

contemporary art.

the lord’s room (6)

The former Lord’s room became the King’s

and later the Empress’s First Antechamber.

It still has its 1691-1692 décor, including the

military trophy on the mantelpiece.

Ready-to-wear coll.

a/w 2010-2011

Coat and pants ensemble: cotton cloth and mixed

black fibres, shoulder pads, hips and sleeves

fastened to the inside by zips; shaped trousers,

black chenille braiding on the sides.

Galliera Collections

From the Middle Ages to the Age of the

Enlightenment, extensions, reductions

and other inventions attired and

transformed the body in the West.

Rei Kawakubo explores the relationship

between that historical and contemporary

fashion, from the removable – and

moveable – bum rolls in his famous

Spring/Summer 1997 collection, where

the outfits emphasized the figure, to his

Autumn/Winter 2010-2011 collection,

from which the outfit on display is taken.

With their zippered hoops and

removable quilting, his clothes evoke

a late 18 th century "Amazon" director

Tim Burton would have dreamed up.

The black coat is an improbable

combination of a woman’s pannier and

the buttoned-up lapels of certain

military coats from the second half

of the 18 th century.

10 11

the grand


the cotelle

gallery (16)

In 1687 Jules Hardouin-Mansart built

the Grand Trianon on the site of the

"Porcelain Trianon", which Louis XIV

had had built in 1670 to flee the stiff

formality Court etiquette and spend

time in private with his mistress,

Madame de Montespan. The king was

especially fond of the Trianon, where

he also came for short stays with his

family: the Grand Dauphin, Duchess

of Burgundy and Madame de

Maintenon. He successively occupied

three apartments, in the right wing

(1688-1691), the left wing (1691-1703)

and again in the right wing (1703-

1715). The rooms still have most of

their 17 th century wall decoration:

finely carved panelling painted white,

with no gilding.

Marie Leszczinska also liked the

Grand Trianon, where she lived in the

summer, but Marie-Antoinette

preferred the Petit Trianon, offered to

her by Louis XVI. All of the Grand

Trianon’s furniture was sold during

the French Revolution. Napoleon I

restored and remodelled the palace,

where he stayed many times with his

wife, Empress Marie-Louise. Louis-

Philippe went there with his family.

General de Gaulle brought the Grand

Trianon back to life in 1962-1965,

when he had major work done to turn

the north wing, called "Trianon-sousbois",

into apartments for the French

president and foreign heads of State

on official visits.

the peristyle (7)

The innovative "loggia" piercing

the Grand Trianon’s centre gives the

building its transparency and connects

the courtyard and gardens. French

doors on the courtyard side originally

closed this gallery, wrongly called a

peristyle ever since Louis XIV had it

built. A few years later they were

eliminated to emphasize the building’s

transparency. In 1810 Napoleon had

the peristyle glazed to facilitate

communication between his apartment

and that of the Empress.

This gallery, which shielded the upper

parterre’s flowers from cold weather,

is named after the artist Jean Cotelle,

who painted the views of the gardens

of Versailles and Trianon as they

looked in Louis XIV’s day: they are

precious documents because most

of the groves they depict have

disappeared or been changed.

the trianon


Trianon is the "Palais de Flore":

every room has a view of the gardens,

which are entirely devoted to flowers

here. Many varieties were chosen

for their colours and smells.

"The tuberoses make us flee Trianon

every evening," Madame de

Maintenon wrote in a letter on

8 August 1689. "The smell is so

strong it makes men and women

alike feel ill." All the décor, paintings

and woodwork sculptures are based

on the gardens.

the round

room (8)

This vestibule gave access to the first

apartment, which Louis XIV occupied

just three years, from 1688 to 1691.

The Corinthian columns, marble

paving and paintings date from that

period. A wooden drum to the right

of the fireplace conceals the staircase

musicians climbed to reach the gallery

in the room next door, where the

king’s souper took place.



Boué Sœurs

"romance" gown,

embroidery from the

lesage house,

winter 1925-1926

Machine-made black Chantilly lace, polychrome

taffeta and chiffon flowers, green and ochre wool

thread; modern backing; white label with orange


Galliera Collections

In 1899 Sylvie and Jeanne Boué opened

a fashion house that remained active

until 1935. The sisters' quest for

modernity did not stop them from

drawing inspiration from earlier

periods, in particular that of Louis XV.

The "period dress" they invented at the

same time as Jeanne Lanvin took up

certain 18 th -century codes: pannier,

lace and fabric flowers.

maison martin


women’s ensemble

s/s 1993 Coll.

Re-use of a waistcoat from a theatre costume:

black velvet, black cotton cloth lining, braiding

applications of gilded metallic threads;

long straight skirt in striped black and white

chiné wool.

Galliera Collections

Martin Margiela’s 1991 and 1993

Spring/Summer collections offer

a contemporary take on the

18 th century by re-employing

a 1950's dress he found at the flea

market and old stage costumes.

The designer, using their patina

and worn-out look as raw materials,

intelligently deconstructed the

pieces and transformed them

from stage costumes into clothes.



In the 18 th century accessories, like clothes, fulfilled two

purposes: they were vectors of fashion and conspicuous

displays of luxury. Jewels and jewellery were inseparable

from women’s formal court dress.

The panoply of accessories was much richer than it is today:

removable lace sleeves, fans, gloves, mittens, purses, clutch

bags and precious shoes, often made with embroidered silk,

rounded out women’s outfits. In the 1770's-1780's powdered

hair was topped by hats, poufs or big bonnets ornamented

with feathers, gauze, birds and other fanciful decoration

abundantly illustrated in the nascent fashion press.

Eighteenth-century accessories have not inspired

contemporary designers as much as clothes, but today’s

beads, bows and brilliants reflect a certain amount

of continuity, as the contemporary items in these showcases

alongside 18 th century objects suggest.

the emperor’s family room (9)

At first this room housed a theatre that

was replaced by Louis XIV’s last

apartment, which Louis XV transformed

into reception rooms in 1750. Napoleon

turned them into a room for meetings of the

imperial family and important guests.

The furniture dates from that period.


The purple breccia fireplace dating from

Louis XV.




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 18 th 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)

This room, formerly the bedchamber

and drawing room of Louis XIV’s third

apartment, was used as a dining room

under Louis XV and the First Empire.


Louis-Philippe turned it into reception

rooms and an apartment for his son-inlaw

and his daughter, the queen of the



The gilded wooden bed JACOB-

DESMALTER delivered in 1809 for

Empress Josephine at the Tuileries

Palace. Enlarged and modified for this

room in 1845.




rochas by

olivier theyskens

men’s ensemble,


s/s 2011

4 pieces: 1 shirt + 1 waistcoat + 1 pair of

breeches + 1 jabot; grey and white.

Yohji Yamamoto Archives Collection.

Yohji Yamamoto based his Spring/

Summer 2011 menswear fashion

show entirely on the late 18 th century

men’s wardrobe. The rigour and

simplicity of bewigged men’s outfits

recall the 1780's, when Anglomania,

synonymous with comfort and

naturalness, reigned supreme.

In contrast, black and white

houndstooth wool and sensuous

beige leather turn pannier dresses

into half-tamed contemporary

city wear.

You can also see a Yohji Yamamoto

model in the Lord’s Room (6).

women’s ensemble

A/w 2006

Jacket and skirt made for the release of Sofia

Coppola’s film Marie-Antoinette; grey tulle,

fake hair, crinoline.

Galliera Collections

When Olivier Theyskens was art

director at Rochas he offered a

recomposed version of an 18 th century

woman’s outfit, turning the dress into

a short jacket and a skirt. The collared

jacket takes the form of the redingote

dress, a masculine version of the "robe

à l’anglaise"; the skirt rests on an early

18 th century bell-shaped pannier. The

flounces at the wrists evoke the lace that

was sewn onto court dresses' sleeves.

American actress Kirsten Dunst wore

this dress during a Vogue photo shoot.

music room (11)

Former antechamber of Louis XIV’s

apartment, where the king’s souper

took place. Napoleon turned it into the

Officers' Room and Louis-Philippe into

the Billiard Room.

The panelling is among the palace’s oldest.

Above the doors, notice the shutters of the

gallery where musicians played during the



The chairs covered in Beauvais upholstery

made for this room.

18 19

Jean Paul



room (13)

women’s ensemble

haute couture

s/s 1998, "les marquis

touaregs" coll.

Pannier jacket, lamé, tulle, flounces, ruches, bows.

Jean Paul Gaultier Maison Collection

Jean Paul Gaultier takes delight

in mixing up men’s and women’s

wardrobes. In his spring/summer

1994 collection the iconoclastic

couturier put men’s French denim

jackets on women. The spring/

summer 1998 "Les Marquis Touaregs"

collection combined a new vision

of Marie-Antoinette’s century with

a relaxed, casual, contemporary


louis-philippe’s family room (12)

Louis-Philippe had two smaller rooms

combined to create this large one, where

the king and his family, who enjoyed

staying at Trianon, gathered in the

evenings. Brion furnished it in the spirit

of the times: game and needlework tables,

padded chairs and sofas upholstered in

yellow figured fabric with blue patterns.

Louis XIV’s former room of the Setting

Sun, was turned into a bedchamber for

the Duchess

of Burgundy. Under Napoleon, it

became the Emperor’s Room, where

Tsar Alexander I’s gifts of malachite

were displayed, hence its name,

the Malachite room.

Dress displayed:

Christian Dior Maison

Autumn/winter 2004/2005 haute couture dress.

the cool

room (14)

The Cool Room owes its name to

its northern exposure. This is where

Napoleon held his cabinet meetings

and Charles X bid farewell to his

ministers on 31 July 1830.

Models displayed:

Semi-linen French court dress and

"robe à l’anglaise".


room (15)

The Duchess of Burgundy used this

room, which was designed in the

perspective of the gallery next door,

called the Cool Room in the 17 th century,

as her main drawing room. Under the

Empire it was known as the Emperor’s

Main Drawing Room and used to hold

cabinet meetings until the Restoration.

Dress displayed:

Vivienne Westwood

Ready-to-wear Spring-Summer 1991.

20 21



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

18 th 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

out onto the little staggered rows and the

perspective of the Grand Canal. This was

a game room under Louis XIV and a

billiard room under Napoleon. The door

left of the fireplace leads to the Trianonsous-Bois


22 23

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.

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 XVIII e siècle fantasmé : Lagerfeld invite Watteau et ses robes

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...

Riche d’un superbe portfolio mêlant gravures et pièces des XVIII e , XIX e , XX e et

XXI e 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 18 th 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 18 th , 19 th , 20 th and 21 st centuries, this catalogue is a hymn to

the style of the Age of Enlightenment and Versailles, the birthplace of fashion.

23 e







Around the exhibition



Exhibition from 8 July to

9 October 2011. Open every

day except Monday from

noon to 6:30pm

(last admission at 6pm).

Exhibition accessible with

the Passeport ticket or the ticket

for the Trianon Palaces and

Marie-Antoinette’s Estate.

Free for European Union

residents under 26.

vogue at Versailles

Setting up the exhibition,

commissioner’s guided tour,

interviews with designers: ISBN : 978-2-85495-450-0 extend


your visit to the exhibition at


Free for children four to 12.

Available at information points

and the exhibition entrance.

With a game-contest to win

a real tailor-made princess’s

dress or a "palace kit".






vous proposent

le livret‐jeu

de l’exposition

« Le xviii e au goût du jour ‐

Couturiers et créateurs de mode

au Grand Trianon »

jusqu’au 9 octobre 2011

organisée avec le Musée



Encore Eux – © Vivienne Westwood Spring/Summer 1996, Marcio MADEIRA - Zeppelin/J. M. Manaï/Ch. Milet/Thinkstock

à gagner !

une robe de

princesse et un

kit « château » !

Pour les enfants

Bilingual (French-English)

96-page work published

by Éditions Artlys

Available at the Palace of

Versailles RMN shops and

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




> A photo session with

the magazine l’Express Styles

> A fashion lesson with

Gilles Rosier,

> Le Bon Marché Rive Gauche

gift cards,

> or maybe cameras.

And you, what’s your 18th century style?

The Palace of Versailles, together with l’ Express Styles and Le Bon Marché

Rive Gauche, is organising a design competition: by showing just a detail

or the full outfit, you too can revisit the Age of Enlightenment by posting

a photo of your clothes, hairstyles or accessories inspired by this era. A

panel of judges, made up of fashion professionals and The Cherry Blossom

Girl and Miss Pandora bloggers, will decide on the three best styles.

To take part, post a photo of your style on:



Rp 834 - 78008 Versailles cedex

Information and booking: 01 30 83 78 00 00

sponsored by



Olivier Saillard

Director of the Galliera

Museum, City of Paris Fashion


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


In media partnership with

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