The 18Th Century Back in Fashion

Home , 18th century, Corset, Crinoline, Jeanne Lanvin, Pannier (clothing), Petticoat

the palace of veRsailles presents the 18th century back in fashion

guide to the exhibition and the grand trianon

8 july – 9 OCTOBer organised with the Grand trianon floor plan the 18th century back in fashion

couturiers and fashion designers at the grand trianon

The Grand Trianon and the Musée Galliera, the fashion museum of the City of Paris, present in a poetic confrontation costumes from the 18th century and masterpieces of haute couture and fashion design from the 20th and 21st centuries.

The 18th 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 18th 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 Self-guided architecture tour a modern reading of that extravagant century. Each designer adapts the period to his/her sensibility. Some a self-guided architectural tour takes you through the grand quote the 18th century shapes almost literally, while trianon’s most notable places at the same time as the "18th century others deconstruct them, expand their dimensions and back in fashion" exhibition. (detail) © EPV, J-M Manaï, C Milet J-M Manaï, (detail) © EPV, 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. dress court French 1 3. fashion in the 18th century in the late 1770's simplicity started replacing the pannier’s exaggerated shapes. adjusted dresses with when people think of 18th century women’s fashion, pleated or hitched-up skirts eclipsed the french court images of figures with wide hips and narrow busts gown. straight linen or cotton chiffon gowns, an immediately spring to mind. panniers – petticoats evocation of lingerie and its intimate character, stiffened with evenly-spaced whalebone stays – reshaped turned into morning or afternoon wear. the queen the lower part of the body. whalebone corsets turned of France dared to wear percale for her afternoon women’s busts into upside-down triangles coming to outfits. tuckers and ankle-length skirts comprised a point in the centre of the immense oval of the hips. negligées for noblewomen and elegant outfits for the women of humbler means. eighteenth-century prints and paintings show women 1. 4. with fan-shaped figures wearing fancy dresses or men wore "french" suits, which became so popular gowns. the "robe à la française", or sack-back dress, they were soon known as "european" suits, made up Captions 3. French court dress, a sort of large, open coat over a skirt with a floating, of coats, long-sleeved waistcoats and breeches, which skirt and stomacher, formed the basic combination for centuries to come. pleated back, made of endless yards of fabric, circa 1750-1760. captures the imagination. made of silk featuring wavy early in the century the coats had wide underskirted Polychrome figured floral patterns, worn by marquise de pompadour, coat-tails, the pannier’s masculine counterpart, before silk purl, gold and silver lamé. it represents the quintessence of the rococo spirit moving in the same direction as women’s clothing Galliera Collections. that characterised the middle of the century. but towards a more slender look. fronts were waisted and

th became longer with straight collars. a riot of refined fantasies about 18 century women’s dress often 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 5. Pair of shoes, comprising a skirt over a huge pannier, a large top tempered that fancifulness in the 1780's. solid coats, circa 1730. military lapels and dark colours counterbalanced with a wide neckline and a train that could be several Leather embroidered th meters long with stays attached to the bottom. 2. 18 century exuberance and heralded the following with silver thread. century’s seriousness. Galliera Collections. paintings and prints show them overflowing with Captions flounces, ruffles and a profusion of lace, gauze, 1. Men’s court suit, Text based on Pascale Gorguet-Ballesteros' article trimming, spangles, silver strips and semi-precious circa 1750-1760. Shot taffeta, chain-stitch in the exhibition catalogue. stones. in the second half of the 18th century these embroidery, blue silk dresses provided fashion merchants, those designers thread, embroidery of ornament – madame alexandre and madame eloffe, patterns, wooden merchants of versailles, and especially Rose bertin, buttons covered with famous throughout europe, who took pride in embroidered taffeta. Galliera Collections. 5. having marie-antoinette, the queen of France, as see 18th century costumes a customer – with an opportunity to give their 2. Jacket and skirt (back), dialoguing with contemporary models imaginations free reign. circa 1785. Striped Gros th de Tours silk trimmed throughout the "18 century back with in fashion" exhibition. a ribbon. Galliera Collections. 2 3 Givenchy by Vivienne alexander Westwood Mcqueen

evening gown "vive la Cocotte" Coll. F/w 1999-2000 ready-to-wear haute couture coll. F/w 1995-1996 Passage 26. Redingote in turquoise faille silk moiré with antique lace applications on pale grey No 85. historic model based on Boucher’s lace pants ornamented with crystal beads and portrait of Madame de Pompadour; a grey silk taffeta blouse. pink Duchesse satin and lace. Maison Givenchy Collection Vivienne Westwood Ltd Collection

People have always been amazed English designer Vivienne Westwood is by the sophistication of 18th century often considered quirky and provocative, men’s clothes, which our contemporaries especially since her punk collections perceive as feminine. Alexander caused a scandal in the 1980's. In the wardrobes. Vivienne Westwood gave the McQueen, then Givenchy’s artistic 1990's she turned to the charms of the Age of Enlightenment fresh impetus. director, revisited the men’s wardrobe 18th century. Passionate about cut and of the Age of Enlightenment to dress technique, she has used ribbons and You can also see her models in the women in precious evening gowns. safety pins, become a master of Aides-de-Camp Room (1), Topographi- The lavishly ornamented model on subversive historical assemblages and cal Room (15) and Garden Room (17). display is a literal quotation of men’s brought frivolity and powdery colours French court suit but here McQueen back to the forefront after years when ironically appropriates it for women. Japanese and Belgian designers' intense Silk was the most commonly used black dominated magazine pages and material for court dresses. Here, thick faille replaces taffeta; satin or velvet and antique silver lace replaces silver thread. Like in the 18th century, aides-de-camp room (1) the empress’s boudoir (2) embroidery patterns adorn the front, collar and wrists. This all belonged to a group of secondary At first, the boudoir communicated with DON’T MISS rooms during the First Empire. Louis-Philippe the neighbouring room through the door The mahogany tapestry loom 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 th chanel BY 18 century Karl Lagerfeld fashion: the french court dress

Foreground: Spring/Summer 2005 Haute Couture Collection, No. 40. Evening gown: washed white faille silk, blue satin ribbon, bow, round gilded The French court gown, also known in metal brooch ornamented by blue and white beads and white porcelain flowers on a bed of white pearls English as the "robe volante", "robe à la and mother-of-pearl; stiff tulle pleated skirt with a française" or sack-back gown, was a big, pannier effect. flowing coat with a wide, pleated back Background: Autumn/Winter 1992-1993 forming a short train. As the 18th century Haute Couture Collection, No. 97. Bridal progressed it became tighter in front, ensemble: jacket, gown, crinoline petticoat. Jacket: ivory wool tweed, pearly white cellophane hugging the contours of the bust stiffened lined with ivory satin, gilded chain. Dress: by a whalebone corset. The back had a satin-lined tweed; taffeta trimmed with a ribbon. double row of flat double pleats. The dress Maison Chanel Collection became known as the "robe à la française" throughout Europe, where it became Karl Lagerfeld, a collector and a popular from the 1730's. couturier, accumulated a comprehensive th collection of 18 century furniture and Wearing a French court dress was the sign objects, eventually selling them of a certain social status: putting one on to purchase designer pieces and required the help of a servant, who had to contemporary works echoing his crawl underneath it to adjust the back stylistic renewal. He finds with laces on the inside. Mademoiselle Chanel’s soft colours in the delicacy of the Age of The French court gown was nicknamed Enlightenment. His mischievous but the "Watteau dress" because the painter knowledgeable take on a French court Antonie Watteau (1684-1721) often gown, all in silk faille, is whimsically depicted his models wearing it. punctuated under the breasts with a blue satin ribbon like the light cotton chiffon dresses at the end of the Room of mirrors (3) century. His Watteau collection’s DON’T MISS unexpected poetry contrasts with Louis XIV’s former Great Study, where the king Set of mahogany tables delivered to Empress the Chanel label’s strict rigour. met with his privy council. From that period the Marie-Louise in 1810: needlework table, room has kept its cornice and mirrors embedded "letterbox" table, game table, tidy table and in panelling carved with flower garlands. drawing table.

6 7 Balenciaga Azzedine Alaïa by Nicolas Ghesquière dress ready-to-wear Coll. s/s 1992 women’s ensemble Lace-up bustier dress with white English ready-to-wear coll. embroidery on petticoat s/s 2006 Azzedine Alaïa Archives Collection

Flesh-coloured embroidered organza jacket, flowery Azzedine Alaïa’s sensuous fashions ecru lace jacket, off-white organza satin jacket, ecru lace corset and undergarments, embroidered satin stress the womanly curves that inspire crêpe trousers. him. All the designer keeps of the Maison Balenciaga Collection libertine spirit in his streamlined version of the 18th century are tight Cristòbal Balenciaga often quoted The waistcoats fit tightly around the waists and full bosoms combined th Goya’s 18 century: his use of lace – bust. The underskirted coat-tails take with the false rigour of an army jacket usually black – and pink satin ribbons the form of the coat; the wrists adopt or the freshness of English embroidery recalls portraits of the Duchess of Alba. the flounced pagoda sleeves' shape too prim and proper to really be th Nicolas Ghesquière pays tribute to that characteristic of mid-18 century believable. This dress is squeezed, White cotton and English embroidery legacy by turning values and colour French court dresses; cropped trousers laced-up top evokes whalebone recall the "negligée" women wore, codes upside-down: men’s clothing replace breeches. corsets, while the wide hips bring which became walking or afternoon where ruffly eggshell and cream lace is panniers to mind. The waisted jacket dress by the late 18th century. omnipresent and transparency stresses featuring big pockets with flaps recalls the martial look of young women a men’s coat. dressed as men.

the empress’s bedchamber (4) DON’T MISS The Empress’s Bedchamber still has the carved into a mosaic. During the Empire it was The bed, which was Napoleon’s at the décor of Louis XIV’s bedchamber, which it divided to form a smaller bedroom and Tuileries Palace and where his successor had formerly been: Corinthian columns a sitting room used by Empress Marie-Louise, Louis XVIII, the brother of Louis XVI, dividing the room and panelling admirably who commissioned the furniture you see today. died in 1825.

8 9 the 1950's AND Thierry Jacques Comme des Pierre Balmain Mugler Doucet garçons

"Antonia" evening "Infante" ball gown dress, circa 1898-1900 Ready-to-wear coll. gown ready-to-wear coll. a/w 2010-2011 Figured black satin, black chantilly bobbin lace, haute couture Coll. F/w 1992-1993 black silk chiffon; gold-printed ivory label: Coat and pants ensemble: cotton cloth and mixed s/s 1954 "DOUCET/21 RUE DE LA PAIX/PARIS" black fibres, shoulder pads, hips and sleeves Barathea and pleated black tulle. Galliera Collections Maison Thierry Mugler Collection fastened to the inside by zips; shaped trousers, Orlon satin embroidered with a panel of gold black chenille braiding on the sides. scrolls, pearly beads, red chiffon rose appliqué Jacques Doucet (1853-1929) was born Galliera Collections patterns, embroidered leaves and two petticoats: Thierry Mugler’s glamorous world horse-hair and double ottoman. into a family that had been making and swings back and forth between 1950's From the Middle Ages to the Age of the Galliera Collections selling clothes since 1816. From 1898 Hollywood and Paris. The designer to 1927 he headed one of the biggest Enlightenment, extensions, reductions goes to great demonstrative lengths to The Age of Enlightenment had a couture houses in Paris. Doucet and other inventions attired and intensify the feminine shapes strong influence on Pierre Balmain. dressed the early 20th century’s most transformed the body in the West. associated with dominating women: The New Look Christian Dior notable women but did not consider Rei Kawakubo explores the relationship ostentation, the theatrical display of launched in 1947 featured narrow himself as a designer and never joined between that historical and contemporary the female body and cruelty, notions waists and a voluminous skirts the Chambre syndicale de la couture. fashion, from the removable – and particular to the 18th century of supported by thick petticoats; elegant In 1875 he began amassing a large moveable – bum rolls in his famous Dangerous Liaisons. His collections women wore girdles and corsets that collection of 18th century French Spring/Summer 1997 collection, where feature outfits the Marquise de reshaped their bodies. For evening furniture and artworks that had a the outfits emphasized the figure, to his Merteuil would have loved. Thierry wear, lavish fabrics and embroidery lasting influence on his own designs. Autumn/Winter 2010-2011 collection, Mugler’s collections offer gowns with preciously dressed 20th century figures In 1912 he sold it in order to focus on from which the outfit on display is taken. volumes recalling the panniers of echoing Age of Enlightenment fashion. contemporary art. With their zippered hoops and formal Court dress. removable quilting, his clothes evoke a late 18th century "Amazon" director Tim Burton would have dreamed up. The black coat is an improbable combination of a woman’s pannier and Chapel room (5) the lord’s room (6) the buttoned-up lapels of certain military coats from the second half th Originally built as a chapel, this room cornice decoration has bunches of grapes and The former Lord’s room became the King’s of the 18 century. became an antechamber in 1691 but many ears of wheat evoking the Eucharistic wine and and later the Empress’s First Antechamber. of the original features were kept. bread and paintings depict the Evangelists It still has its 1691-1692 décor, including the The back door opens onto an altar, the Saint Mark and Saint Luke. military trophy on the mantelpiece.

10 11 the grand the cotelle trianon gallery (16)

In 1687 Jules Hardouin-Mansart built Trianon back to life in 1962-1965, This gallery, which shielded the upper and woodwork sculptures are based the Grand Trianon on the site of the when he had major work done to turn parterre’s flowers from cold weather, on the gardens. "Porcelain Trianon", which Louis XIV the north wing, called "Trianon-sous- is named after the artist Jean Cotelle, had had built in 1670 to flee the stiff bois", into apartments for the French who painted the views of the gardens formality Court etiquette and spend president and foreign heads of State of Versailles and Trianon as they time in private with his mistress, on official visits. looked in Louis XIV’s day: they are Madame de Montespan. The king was precious documents because most the round especially fond of the Trianon, where of the groves they depict have he also came for short stays with his disappeared or been changed. room (8) family: the Grand Dauphin, Duchess of Burgundy and Madame de the peristyle (7) Maintenon. He successively occupied three apartments, in the right wing the trianon This vestibule gave access to the first (1688-1691), the left wing (1691-1703) 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 th their 17 century wall decoration: building its transparency and connects paving and paintings date from that finely carved panelling painted white, the courtyard and gardens. French period. A wooden drum to the right with no gilding. doors on the courtyard side originally Trianon is the "Palais de Flore": of the fireplace conceals the staircase Marie Leszczinska also liked the closed this gallery, wrongly called a every room has a view of the gardens, musicians climbed to reach the gallery Grand Trianon, where she lived in the peristyle ever since Louis XIV had it which are entirely devoted to flowers in the room next door, where the summer, but Marie-Antoinette built. A few years later they were here. Many varieties were chosen king’s souper took place. preferred the Petit Trianon, offered to eliminated to emphasize the building’s for their colours and smells. her by Louis XVI. All of the Grand transparency. In 1810 Napoleon had "The tuberoses make us flee Trianon Trianon’s furniture was sold during the peristyle glazed to facilitate every evening," Madame de the French Revolution. Napoleon I communication between his apartment Maintenon wrote in a letter on restored and remodelled the palace, and that of the Empress. 8 August 1689. "The smell is so where he stayed many times with his strong it makes men and women wife, Empress Marie-Louise. Louis- alike feel ill." All the décor, paintings Philippe went there with his family. General de Gaulle brought the Grand

12 13 maison martin fashion margiela accessoires Boué Sœurs

In the 18th century accessories, like clothes, fulfilled two women’s ensemble purposes: they were vectors of fashion and conspicuous s/s 1993 Coll. "romance" gown, displays of luxury. Jewels and jewellery were inseparable from women’s formal court dress. embroidery from the Re-use of a waistcoat from a theatre costume: lesage house, black velvet, black cotton cloth lining, braiding The panoply of accessories was much richer than it is today: winter 1925-1926 applications of gilded metallic threads; removable lace sleeves, fans, gloves, mittens, purses, clutch long straight skirt in striped black and white bags and precious shoes, often made with embroidered silk, Machine-made black Chantilly lace, polychrome chiné wool. taffeta and chiffon flowers, green and ochre wool Galliera Collections rounded out women’s outfits. In the 1770's-1780's powdered thread; modern backing; white label with orange hair was topped by hats, poufs or big bonnets ornamented weave. Martin Margiela’s 1991 and 1993 with feathers, gauze, birds and other fanciful decoration Galliera Collections Spring/Summer collections offer abundantly illustrated in the nascent fashion press. a contemporary take on the In 1899 Sylvie and Jeanne Boué opened 18th century by re-employing Eighteenth-century accessories have not inspired a fashion house that remained active a 1950's dress he found at the flea contemporary designers as much as clothes, but today’s until 1935. The sisters' quest for market and old stage costumes. beads, bows and brilliants reflect a certain amount modernity did not stop them from The designer, using their patina of continuity, as the contemporary items in these showcases drawing inspiration from earlier th and worn-out look as raw materials, alongside 18 century objects suggest. periods, in particular that of Louis XV. intelligently deconstructed the The "period dress" they invented at the pieces and transformed them same time as Jeanne Lanvin took up from stage costumes into clothes. certain 18th-century codes: pannier, lace and fabric flowers. the emperor’s family room (9)

At first this room housed a theatre that turned them into a room for meetings of the DON’T MISS was replaced by Louis XIV’s last imperial family and important guests. The purple breccia fireplace dating from apartment, which Louis XV transformed The furniture dates from that period. Louis XV. into reception rooms in 1750. Napoleon

14 15 Maison Christian Dior

"doutzen kroes" dress haute couture coll. F/W 2007-2008

Shot pink silk taffeta dress based on Fragonard, veiled with candy pink tulle Maison Christian Dior Archives Collection

Since 1997 Dior’s couturier shows, lavish spectacles in their own right, have blurred the traditional boundaries between fashion and stage costumes, offering mirror images of 18th century styles – outfits of fairies and princesses that would make the queens and favourites in our history books turn green with envy.

You can also see Maison Dior models in the Chapel Room (5) and the Malachite Room (13).

queen of the belgians' bedchamber (10) DON’T MISS This room, formerly the bedchamber Louis-Philippe turned it into reception The gilded wooden bed JACOB- and drawing room of Louis XIV’s third rooms and an apartment for his son-in- DESMALTER delivered in 1809 for apartment, was used as a dining room law and his daughter, the queen of the Empress Josephine at the Tuileries under Louis XV and the First Empire. Belgians. Palace. Enlarged and modified for this 16 room in 1845. 17 Yohji rochas by yamamoto olivier theyskens

men’s ensemble, women’s ensemble ready-to-wear, A/w 2006 s/s 2011 Jacket and skirt made for the release of Sofia 4 pieces: 1 shirt + 1 waistcoat + 1 pair of Coppola’s film Marie-Antoinette; grey tulle, breeches + 1 jabot; grey and white. fake hair, crinoline. Yohji Yamamoto Archives Collection. Galliera Collections

Yohji Yamamoto based his Spring/ When Olivier Theyskens was art Summer 2011 menswear fashion director at Rochas he offered a th show entirely on the late 18th century recomposed version of an 18 century men’s wardrobe. The rigour and woman’s outfit, turning the dress into simplicity of bewigged men’s outfits a short jacket and a skirt. The collared recall the 1780's, when Anglomania, You can also see a Yohji Yamamoto jacket takes the form of the redingote synonymous with comfort and model in the Lord’s Room (6). dress, a masculine version of the "robe naturalness, reigned supreme. à l’anglaise"; the skirt rests on an early th In contrast, black and white 18 century bell-shaped pannier. The houndstooth wool and sensuous flounces at the wrists evoke the lace that beige leather turn pannier dresses was sewn onto court dresses' sleeves. into half-tamed contemporary American actress Kirsten Dunst wore city wear. this dress during a Vogue photo shoot.

music room (11)

Former antechamber of Louis XIV’s The panelling is among the palace’s oldest. DON’T MISS apartment, where the king’s souper Above the doors, notice the shutters of the The chairs covered in Beauvais upholstery took place. Napoleon turned it into the gallery where musicians played during the made for this room. Officers' Room and Louis-Philippe into meal. the Billiard Room. 18 19 Jean Paul malachite Gaultier room (13)

women’s ensemble Louis XIV’s former room of the Setting haute couture Sun, was turned into a bedchamber for s/s 1998, "les marquis the Duchess touaregs" coll. of Burgundy. Under Napoleon, it became the Emperor’s Room, where Pannier jacket, lamé, tulle, flounces, ruches, bows. Tsar Alexander I’s gifts of malachite Jean Paul Gaultier Maison Collection were displayed, hence its name, the Malachite room. Jean Paul Gaultier takes delight in mixing up men’s and women’s Dress displayed: Christian Dior Maison wardrobes. In his spring/summer Autumn/winter 2004/2005 haute couture dress. 1994 collection the iconoclastic couturier put men’s French denim jackets on women. The spring/ topographical summer 1998 "Les Marquis Touaregs" the cool collection combined a new vision room (15) of Marie-Antoinette’s century with room (14) a relaxed, casual, contemporary attitude. The Duchess of Burgundy used this The Cool Room owes its name to room, which was designed in the its northern exposure. This is where perspective of the gallery next door, Napoleon held his cabinet meetings called the Cool Room in the 17th century, and Charles X bid farewell to his as her main drawing room. Under the ministers on 31 July 1830. Empire it was known as the Emperor’s louis-philippe’s family room (12) Main Drawing Room and used to hold Models displayed: cabinet meetings until the Restoration. Semi-linen French court dress and "robe à l’anglaise". Dress displayed: Louis-Philippe had two smaller rooms evenings. Brion furnished it in the spirit Vivienne Westwood combined to create this large one, where of the times: game and needlework tables, Ready-to-wear Spring-Summer 1991. the king and his family, who enjoyed padded chairs and sofas upholstered in staying at Trianon, gathered in the yellow figured fabric with blue patterns.

20 21 Christian Lacroix

women’s ensemble spring/summer 1994

3 pieces: 1 top + 1 skirt + 1 necklace. Evening gown, pastel flowered damask patchwork busk embroidered with jewels, taffeta gingham skirt, iridescent lace appliqués, embroidered birds, butterflies and bouquets.

Christian Lacroix quotes the 18th century through the lens of the 1940s, 50s and 60s for theatre and opera costumes as well as haute couture collections. In 1987 he turned his models into marquises who looked good enough to eat. The designer’s passionate interest in art informs his mythology, where dresses are sometimes paintings that are visited and revisited as though they were hanging in an ideal imaginary museum.

the garden room (17)

The Garden Room’s six windows open billiard room under Napoleon. The door out onto the little staggered rows and the left of the fireplace leads to the Trianon- perspective of the Grand Canal. This was sous-Bois wing. a game room under Louis XIV and a

22 / Zeppelin. MADEIRA Collection. © Marcio skirt. Maison Christian Lacroix matching large on embroidered metal and patinated by underlined relief gold antique with busk Brocade gown. 1995. Evening autumn/winter couture Haute 23 Around the exhibition

Useful game-booklet information

à gagner ! design une robe de princesse et »un ! « et kit château

Exhibition from 8 July to t/Thinkstock competition vous proposent le livret jeu de l’exposition‑ 9 October 2011. Open every e « Le xviii au goût du jour ‑ Couturiers et créateurs de mode au Grand Trianon » jusqu’au 9 octobre 2011 day except Monday from organisée avec le Musée And you, what’s your 18th century style? noon to 6:30pm

www.bubblemag.fr www.chateauversailles.fr Encore Eux – © Vivienne Westwood Spring/Summer 1996, Marcio MAD EIRA - Zeppelin/J. M. Manaï/Ch. Mile 1 (last admission at 6pm). Pour les enfants The Palace of Versailles, together with l’ Express Styles and Le Bon Marché Free for children four to 12. 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 Exhibition accessible with Available at information points a photo of your clothes, hairstyles or accessories inspired by this era. A the Passeport ticket or the ticket and the exhibition entrance. panel of judges, made up of fashion professionals and The Cherry Blossom for the Trianon Palaces and With a game-contest to win Girl and Miss Pandora bloggers, will decide on the three best styles. Marie-Antoinette’s Estate. a real tailor-made princess’s dress or a "palace kit". To take part, post a photo of your style on: Free for European Union www.concoursdestyle.chateauversailles.fr residents under 26. exhibition catalogue

vogue at Versailles CENTURY BACK IN FASHION TH

Mises en résonance avec les chefs-d’œuvre des collections du musée Galliera, les THE 18 créations des plus grands couturiers contemporains témoignent d'une commune fascination pour un XVIIIe 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 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 GOÛT AU DU JOUR Setting up the exhibition, and pieces from the 18th, 19th, 20th and 21st centuries, this catalogue is a hymn to E the style of the Age of Enlightenment and Versailles, the birthplace of fashion. e

LE XVIII LE XVIII AU GOÛT DU JOUR COUTURIERS commissioner’s guided tour, ET CRÉATEURS DE MODE AU GRAND TRIANON

THE 18TH CENTURY BACK IN FASHION COUTURIERS AND FASHION DESIGNERS IN THE GRAND TRIANON ISBN : 978-2-85495-450-0 interviews with designers:-:HSMIPE=^ZYZUU: extend 23 e your visit to the exhibition at Bilingual (French-English)

96-page work published www.vogue.fr/vogue-a-versailles by Éditions Artlys 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 Les Atelier / Costume: Hair @Mod's Luc Drouen Hair-Make-up: / Le Drezen Chloé Photography: on right: photo Julia; Andy : © left on photo Credits: Available at the Palace of win: Versailles RMN shops and > A photo session with www.boutique-chateauversailles.fr the magazine l’Express Styles

> A fashion lesson with Gilles Rosier,

> Le Bon Marché Rive Gauche gift cards,

> or maybe cameras. ÉTABLISSEMENT PUBLIC DU CHÂTEAU, DU MUSÉE ET DU DOMAINE DE VErSAILLES Rp 834 - 78008 Versailles cedex Information and booking: 01 30 83 78 00 00 www.chateauversailles.fr