[ Transaction ] Journal of the Korean Society of Clothing and Textiles Vol. 35, No. 12 (2011) p.1409~1417 http://dx.doi.org/10.5850/JKSCT.2011.35.12.1409
The Symbolic Meanings of Louis XVI's Costumes in the Portraits
Ju-Ae Kim† Dept. of Clothing & Textiles, College of Nature Science, Gyeongsang National University Received September 9, 2011; Revised November 18, 2011; Accepted December 13, 2011
Abstract This study examines King Louis XVI costumes and his portraits according to symbolic meanings. This study analysis of costumes comes from portraits related various domestic and overseas literature, preliminary study papers, and web sites. Omnipotence, activity, nobility, openness and benevolence were distinguished in the symbolic meaning expressed in the portraits of King Louis XVI. Louis XVI in a portrait was drawn with god or expressed as a martyr and symbolically showed the omnipotence of god. Louis XVI was symbolized as almighty god by maximizing the authority and dignity of the king through the hands of justice that were used as a background or portrait accessory and a costume with the symbol of House of Bourbon. Kings of many generations were expressed as authoritative through portraits. However, Louis XVI showed a proletarian aspect in ordering portraits to reflect the daily working image of communicating with citizens. Active images such as the king riding a horse or administering the state affairs were emphasized in a political and military perspective; in addition, the benevolence of the king was symbolically presented through a family portrait. This symbolically signified that the king is a warm-hearted person who passionately takes care of state affairs and loves the people through a noble element coming from pastel colors and attributes of red colors. Historically, the political incompetence and indifference of kings was fragmentally emphasized; however, these portraits considered the king as one who tried to fulfill duties as the true king with a great interest in politics and the people. Key words: Louis XVI, Costume, Portrait, Symbolic meaning
I. Introduction of costume analysis and it is one of the accurate refer- ence as historial data. Although a portrait is a root of Louis XVI who has been evaluated as weak and important costume analysis, studies about portraits of foolish king and Queen Marie Antoinette who has been Queen Elizabeth (Bae, 2000), Queen Marie Antoinette recognized as representative figure of extravagance (Kim, 2011) and Queen Victoria (Linada, 2001) are in- historically are being revalued recently, and a research sufficient. Moreover, studies have been focusing on on kings has meaning as welcoming 100th year of esta- female costumes such as expressive effect of Marie blishment of Korea-France diplomatic relations. Rococo Antoinette costume (Kim & Trout, 2010), Marie Anto- culture was prevalent in the 18th century where kings inette costume based on formativeness (Kim, 2010), and existed and as the French Revolution broke out in the design of women costumes (Cho, 2006; Nam, 2009) latter part, it is a very important time in the political even though both male and female costumes must be aspect and the costume aspect. 18th century of Rococo considered to accurately analyze characteristics of cos- era became an opportunity of developing a portrait as a tumes of that time for a costume study with 18th cen- salon culture was in trend. a portrait, which is realistic tury as a background. Studies about male costumes of expression of precisely portrayed costumes, is the basics the 18th century are insignificant and especially analysis on male portrait does not exist. Studies on male cos- †Corresponding author E-mail: [email protected] tumes in addition to female costumes are necessary to
– 1409 – 2 Journal of the Korean Society of Clothing and Textiles Vol. 35 No. 12, 2011 completely understand costumes of one era and a study realize the Enlightenment philosophy and humanitari- about the king is important as data of male costume in anism. However, it could not be successfully reformed the 18th century as the king who played an important and it aggravated economy and overburdened tax of role in the 18th century, which went through many people as supporting the American Revolution. The changes, was a fashion leader. Therefore, this study is king tried to burden taxes to aristocrat class but aristo- to analyze symbolic meanings of costumes through a crats have opposed to it and convoked the Estates-Gen- portrait of kings that has never been covered. The pur- eral in 1789, and common people have claimed their pose of this study is to use it as basic data for studies rights and entered into enactment of constitution by for- about costume design for a historical play or about ming the National Assembly. When royalists have mobi- kings by considering symbolic meanings presented in lized the military, the crowd stormed the Bastile, which a portrait of kings. Costumes in a portrait have an im- symbolizes tyranny of the king, and the revolution portant meaning in analyzing a symbolic meaning of a broke out. In the middle of the 18th century, Russeau portrait, but the background expressed in a portrait also advocated the Enlightenment, which served a momen- has an important effect in understanding symbolic mean- tum of the French Revolution in 1789 (Bae et al., ing of a portrait. Thus, this study had included a back- 2008). Fight with powers who worried about spread of ground surrounding persons besides from costumes post revolution continued, and Napoleon suppressed expressed in a portrait. This study attempted analysis the revolt broke out along with conflict between revo- of costume from portraits related literatures, France' lutionary groups. Rococo culture disappeared along Rococo history, the history of costumes of the era of with fall of feudal aristocrats due to the French Revolu- Louis XVI of France, costume figures, and preliminary tion and the existing the bourgeois class, new intellec- study paper of symbolic meanings of costumes pre- tual class, and specialized work had appeared as new sented in the portraits (Bae, 2000; Kim, 2011), and web aristocrat, the new ruling class, and created a culture sites of Louis XVI's portraits etc. that reflects their preference on behalf of the old aristo- crats. Colors of the 18th century use soft colors of high II. Theoretical Background brightness compared to dark color tones of the 17th cen- tury, Blue color was in trend along with red color in the 1. Socio-Cultural Background 18th century as it has been considered as important and beautiful color as the color of the Virgin Mary and king Rococo style and a salon culture of aristocrats were since the 12th century (Michel, 2002). in trend in the 18th century when kings existed. France had a great influence in costumes of Europe as they 2. Characteristics of Costumes in Rococo Era represented European culture in the early 18th century, however, a practical English style rose at the latter half Unlike a natural costume style of the early Rococo along with collapse of French royal authority. There- era. disposition of the upper class of pursuing pleasure fore, this study included the background surrounding and artistic sense had developed French costume into persons besides from costumes presented in a portrait. fascinating and splendid as entering the middle of the Louis XV, succeeding Louis XIV, had rule for 30 years era. In the era of kings, an art form that is mainly for- including the regency period but he diminished royal med with concise and graceful classical decorations was authority with incompetent reign. In international polit- developed through influence of opposition to splendid ical aspect, the fight began in 1754 due to competition Rococo culture in the era of Louis XV and excavation between England and France over the New World was of ancient ruins such as Pompeii. Three-piece suits chan- progressed in Europe and America and it had ended ged gradually in the 1760s and 1770s. The more formal with victory of England. Under this situation, the king coat, with its large cuffs and pocket flaps, was increas- who succeeded the throne in 1774 after death of Louis ingly replaced by the frock coat in England (Payne et XV had tried reformation of criminal law in order to al., 1992). After 1770s, horizontal and vertical lines
– 1410 – The Symbolic Meanings of Louis XVI's Costumes in the Portraits 3 were used instead of complicated curves, and plant pat- rebound of Rococo and a form of preferring function- terns and motif of rocaille have returned to a natural ality and straightness was showing with the influence form of excluding excessive decorativeness. Diamond of military uniform of the British army. Vests in a high and cutsteel were in trend (Hong, 2006). Curvy silhou- grade silk or a woolen fabric material with diverse em- ettes became more straight as classicism based on broidery decorations were splendid, and a gilet of people's England was united with the elegant and splendid style in the late 18th century was spread from the com- Rococo style. Pastel colors and thin fabrics were pre- mon people to aristocrats. Tight culottes of knee length ferred for costumes. Flower patterns or stripes were and wide pantaloons of ankle length were worn. Citi- used, and tranquil patterns have emphasized feminine zens resisting against aristocrats wearing culottes at the feeling. Blue color that has been in trend since the 18th time of the French Revolution have worn pantaloons. century was preferred color of Europeans as it was used in fabric and clothes the most. Red color in har- 3. Life of the Louis XVI and Costume Analysis mony with nature, which gives strong energy, has been used as meanings of activity, passion, courage, health, Louis XVI, full name of Louis Auguste, was born affection, and revolution. Before the 18th century, dull from the House of Bourbon and he ruled French king- blue color with grayish tinge was used by blue collar dom from 1774 to 1792. He worked hard to reform the and the upper class wore vivid, deep, and dark blue col- French society but he was last Louis to be executed by ors rather than light blue or sky blue. However, light decapitation after abdicated with the French Revolu- blue began to gain popularity in a place in the early 18th tion. The king is the grandson of Louis XV and he was century and it was spread to aristocrat and bourgeois born as the third son of Louis de France and Marie classes since the middle of the 18th century. ‘Burning Antoinette Josephe de Saxe. The king was married to opera house’ color that aristocrats of the late 18th cen- Marie-Antoinette, the princess of Habsbur Haus of Aus- tury was a red color like the flames and achromatic col- tria in 1770. Hereby, House of Bourbon and Habsbur ors were mainly used in the time of revolution. Use of Haus, which used to fight over succession of Austria, splendid surface ornaments over a decorative material became one and were to rise as the central power of was standing out as luxuriousness of surface repre- Europe. He was accessed when power of king became sented high status in costumes of the 18th century. Cos- weak after death of Loius XV and became the king of tumes of this time formed strong contrast between France in 1774. The young king earned favorable com- extremely splendid court costumes and frugal cos- ments as a gentle and austere person compared to van- tumes of common people. A costume was a visible ity and extravagance of Loius XIV and XV, and he came symbol of social status and it showed that a wearer's sta- to throne with expectations and blessings as a new tus is high when it is more detailed. High hat decora- hope of France which was going through disorder with tions with feathers were in trend for both male and many problems. The king was sensitive, keen, and fru- female at this time and a shoes buckle covering the gal. He especially liked hunting and read quite a lot. He entire top of the foot appeared in the 1770s, and it sometimes made precise machines by himself with out- became the basic item of outfit until the 1790s. Archi- standing craftsmanship. The king did not enjoy extrav- tecture, furniture, and pottery of the East influenced agant life compared to previous kings and he only love European artists and craftsmen as an opportunity for his wife only without paramour. He was recognized as Europeans to contact with architecture, furniture, and kind, honest, and hope of a new generation to many pottery artists of the Orient has increased. For the case people but it was inadequate to win through the crisis of menswear, splendid decoration was reinforced in the of that time. After accession, he tried to abolish tax middle of the 18th century and a habit à la francaise exemption privilege of aristocrats and to realize equal- that is embroidered with a gold thread on expensive ity of taxation in order to overcome financial crisis and fabrics such as silk and velvet was in trend. Later, sim- to promote reform of governmental affairs. Eventually, plification tendency was shown in menswear due to the French Revolution has begun with the storming of
– 1411 – 4 Journal of the Korean Society of Clothing and Textiles Vol. 35 No. 12, 2011 the Bastile. The king failed to escape to an overseas Gold has been mainly used by king and feudal aristo- country, received a trial in 1793, and was executed. The crats and as a symbol of religion of Europe and politi- king squarely maintained his dignity as king to the last cal reign since gold has been representing god. Gold even in the difficult times before execution. After the color representing god and gold representing eternity revolution, the French monarchy fell and Republic was are showing omnipotence of the absolute. A gold crown born. Around 1780s, the king selected a frac habit representing royal authority and a scepter of lily flower (frock coat) as an official costume of a court for simpli- decoration representing political power are showing off fication of costumes and called it as frac habit. The king absolute authority and sense of existence. A gold neck- wears a vest with splendid embroideries and a simple lace with a large and splendid medal of the Order of the gilet. A coat was used to show off authority and luxuri- Holy Spirit that crosses the shoulder is strongly show- ousness, and fur was decorated in the entire inner part ing presence of the absolute through its material and size. or the edge of the coat. Aristocratical culottes that the The king is bearing the sword Joyeuse for coronation, king wore formed a contrast to simple pantaloons. Inter- which is the sword of Charlemagne bequeathed to French ests in hair ornaments were high at this time and men kings for generations. Like this, all decorative elements also used various wigs such as bob wig, catogan wig, are symbolizing signified and omnipotent image of the back wig, pigtail wig, and ramillie wig. Both male and king by emphasizing sacred, noble, and absolute status. female scattered flour of various colors as an etiquette The king in
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Fig. 1. Official portrait. Roi de Fig. 2. Coronation costume. Fig. 3. Louis XVI & Minerva. Fig. 4. Painting of satirization, France et de Navarre, From Ham. (2010). http://naver- From Louis XVI. (2009). http:// 18C. 1776. cast.naver.com arts.search.naver.com From Louis XVI. (2009). http:// From Hong. (2010). p. 143. arts.search.naver.com king is expressed equally as god, symbolizes the king is 1788) and discussing a foreign policy in
Fig. 5. Gilet, 1793. Fig. 6. The discussion of a Fig. 7. 3 colored badge, 1791. Fig. 8. The Order of the From Shinjinbutsuouraisha. (2011). foreign policy, 1817. From Louis XVI. (2009). http:// Holy Spirit, 1786. p. 30. From Ham. (2010). http://naver- arts.search.naver.com From Louis XVI. (2010). http:// cast.naver.com imagesearch.naver.com
– 1413 – 6 Journal of the Korean Society of Clothing and Textiles Vol. 35 No. 12, 2011 attention, and it expressed true side of the king as a bility was also expressed through gold thread patterns ruler through diverse activities of managing state affairs. on a costume as gold color represents nobility apart from The king's active sides are well expressed through con- secular king. fident and imposing pose of Louis XVI that harmonizes
Fig. 9. Louis Auguste, 1769. Fig. 10. Louis XVI King of Fig. 11. Blue coat, 1775. Fig. 12. Paler violet color, From Shinjinbutsuouraisha. (2010). France, 1774. From Ben. (2010). http://ko.wiki- 1778. p. 30. From Adrien. (2005). p. 39. pedia.org/wiki/ From Iby. (2009). p. 68.
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4. Openness who cares about family with strong family love by showing the king as the father of one family being
Fig. 13. Cherbourg harbor, Fig. 14. Showing compassion Fig. 15. Group portrait, 1782. Fig. 16. Parting scene of a 1786. to people, 1788. From Hong. (2010). p. 145. family, 1793. From Louis XVI. (2009). http:// From Louis XVI. (2010) http:// From Hong. (2010). p. 155. arts.search.naver.com imagesearch.naver.com
– 1415 – 8 Journal of the Korean Society of Clothing and Textiles Vol. 35 No. 12, 2011 cone hat with a large feather or shoes with splendid Antoinette's esthetic side of artistic taste was empha- jewel buckles that the king wears showed authority and sized but Louis XVI was differentiated through sym- it played a role of leading fashion. Like this, the king bolically highlighting omnipotence. A symbolic meaning was presented as omnipotent by expressing authority at presented through activity, nobility, openness and bene- the full by using symbols to the point of surpassing the volence in the queen was also expressed in Louis XVI's limit of authority a man can have. Kings of many gen- portraits. While the king had symbolically expressed erations were expressed as authoritative and dignified openness of one's status through interchange with peo- in portrait paintings. However, Louis XVI have showed ple, the queen had shown openness in selection of clothes open aspect as ordering to paint their daily working that is diverging from a traditional custom of men and image of communicating with citizens. active sides such women or a traditional costume form. as the king riding a horse or administer the affairs of state were emphasized in political and military perspec- Refernces tive. Nobility was expressed through wearing clothes of pastel colors such as pink and blue besides from Adrien, G. (2005). Marie-Antoinette. New York: Assoulin. accessories and benevolence of the king was symboli- Bae, S. J. (2000). A study on the symbolism shown by the cally presented through a portrait of family. Blue color costumes in the portraits of Elizabeth I. Korean Journal of Human Ecology, 3(1), 73−87. along with sophisticated pastel colors was especially in th Bae, S. J., Hyun, S. H., Baek, J. H., Oh, H. A., Jung, K. H., trend in the 18 century, but Louis XVI often preferred Kim, E. S., Chun, J. Y., Yoon, B. Y., Choi, J. E., & Lee, soft pastel colors or red colored clothes rather than blue K. A. (2008). 현대패션과 서양복식문화사 [Contemporary color. This symbolically signified that the king is a warm- fashion & historic costume in the west]. Seoul: Soohaks. hearted person who passionately takes care of state affairs Ben, K. (2010, November 24). Louis XVI of France (1775). Wikipedia. Retrieved July 27, 2011, from http://ko.wiki- and loves its people through a noble element coming pedia.org/wiki/%ED%8C%8C%EC%9D%BC:Louis from pastel colors and attributes that red color has. His- XVIofFrance(1775).jpg#filehistory torically, incompetence and indifference in politics of Boyer, M. F. (2006). Marie Antoinette. London: Thames & kings were emphasized fragmentally, but active and Hudson. open sides of the king were expressed in portrait paints. Caroline, W. (2007). Queen of fashion. New York: Picador. Cho, J. M. (2006). A study on the fashion design influenced This is something that could not be found in a portrait by the Rococo women's costume: Focus on the details. of kings expressed as authoritative, which focused on Unpublished master's thesis, Sungshin Women's Uni- disorderly behaviors of kings with women or establish- versity, Seoul. ing palaces for prestige of a royal family, and it consid- Cho, K. H., & Lee, H. S. (2004). 패션미학 [Fashion aesthetics]. ered the king as the one who tried to fulfill one's duties Seoul: Soohaksa. Ham, G. G. (2010, May 11). Louis XVI. Naver cast. Retrieved as the true king with great interest in politics and people June 27, 2011, from http://navercast.naver.com/contents. more than any other kings. nhn?contents_id=2627 In case of item, omnipotence of the king was maxi- Hong, J. Y. (2006). Antique jewelry. Seoul: Sumaksae. mized through a large size of clock, sable fur, and the Hong, S. I. (2010). Versailles. Seoul: GNC Media. entire symbols of House of Bourbon. Nobility of the Iby, E. (2009). Maria Teresa. Innsbruck: ALPINA Druck upper class was symbolized through splendid embroidery GmbH. Johann, W. G. (2003). Color theory (H. C. Jang, Trans.). Seoul: on a silk habit à la francaise, and a gilet had empha- Minnumsa. (Original work published 1810) sized active aspect through a plain and simple material. Kim, J. A. (2011). The Symbolic meanings of Queen Marie With pastel colors that were in trend in 18th century and Antoinette's costumes in the portraits. Journal of Korean development of exclusive fabrics, esthetic taste of the Society of Design Culture, 17(1), 143−154. era was directly reflected as elegant pastel colors and Kim, J. A., & Trout, B. L. (2010). The expressive effects of Queen Marie Antoinette's costume in the movies. Journal luxurious costumes that were frequently used in royal cos- of the Korean Society of Clothing and Textiles, 34(12), tumes. 2039−2050. In the precedent study about portraits, the Queen Marie- Kim, Y. J. (2010). A study on the formative characteristics
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of Rococo costume through Marie Antoinette's costume. Michel, P. (2002). Blue, history of color: From the Virgin Unpublished doctoral dissertation, Hongik University, Mary to Levi's (B. M. Ko & Y. S. Kim, Trans.). Seoul: Seoul. Hangilart. (Original work published 2001) Linada, N. (2001). From princess to empress: The transfor- Nam, J. H. (2009). A study of the fashion design influenced mation of the monarchy in the portraits of Queen Victo- by the Rococo women's costume: Centered on work pro- ria 1819-1901. Unpublished doctoral dissertation, New duction by pleats. Unpublished master's thesis, Dakook York University, New York. University, Seoul. Louis XVI. (2009). Naver digital art gallery. Retrieved July Payne, B., Winakor, G., & Farrellbeck, J. (1992). The his- 13, 2011, from http://arts.search.naver.com/service.naver? tory of costume: From ancient Mesopotamia through sm=sbx_hty&where=arts_list&query=%EB%A3%A8 the twentieth century. New York: Harper Collins. %EC%9D%B4+16%EC%84%B8 Shinjinbutsuouraisha. (2010). 王妃 マリアント ネット [Queen Louis XVI. (2010). Naver digital art gallery. Retrieved July Marie-Antoinette]. Tokyo: Author. 13, 2011, from http://imagesearch.naver.com/search.naver? Shinjinbutsuouraisha. (2011). 世界の王室物語 [Royal fam- where=idetail&query=%EB%A3%A8%EC%9D%B416% ilies in history illustrated with the portraits]. Tokyo: EC%84%B8&sm=isv_hty&ie=utf8&rev=13 Author.
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