This area of the Objets d’art section of the Musée du Louvre is one of my favorites. Filled with reliquaries and items that once belonged to the kings and queens of France and many of the great cathedrals. In the center of the back room is the scepter of Charlemagne, don’t pass by without taking in this detailed masterpiece.
Other fantastic things to see in this room is a gold sweater and silk organza skirt trimmed with gold lace by Lebanese designer Rabih Kayrouz. At 16 he moved to Paris to study fashion and has a different approach when creating his collections by letting the fabric tell him what to do. In 2008 Kayrouz created his label and in 2019 he was awarded his Couture distinction with this collection. This ensemble was the last piece created for the autumn/winter 2019 collection and the sweater created with pieces of lace trim took 4 weeks of work by Cécile in his atelier. At the opening of the exhibit Kayrouz brought his beloved seamstress to see her piece of art inside the Louvre.
On the same platform is Karl Lagerfeld’s piece from the 2010 “Paris Byzance” Metiers d’Art collection.The special yearly collection reflects the highest standard of art and skills using stones, feathers, embroidery and accessories. Karl wanted to create a voyage between Paris and the Byzantium later known as Constantinople.
Incorporating the details of cabochons and adornments that was the sign of wealth and power of the Byzantine era. Just beyond the mannequins to the case that holds the sword of Charlemagne, also known as Joyeuse. Elements of the handle were created as early as the 9th century after the death of the Emperor. First used for the coronation of Philippe II Augustus it would be used for every coronation ending with Charles X with the exception of Henri IV.
The scrabble sheath from the late 12th century and restored several times is covered in purple velvet and embroidered with gold fleur-de-lis. Both pieces were modified by Biennais for the coronation of Napoleon when the velvet was briefly changed to green. Precious stones of the buckle and top of the shaft have changed over time but can be seen in many paintings of the French rulers from Louis XIV to Napoleon. One look at the Karl Lagerfelf dress and the belt, the influence can be easily seen.
Don’t miss the simple Yves Saint Laurent black velvet dress that appears to step right out of a medieval movie set. Created by the man himself that was a frequent visitor to the Louvre until the final weeks of his life in 2008. From the Autumn/Winter 1997-1998 collection The purple velvet dress is topped with a embroidered piece brought to life by the Lesafe atelier, a name found often in the exhibit. Reminiscent of a medieval crown much like the reliquary crown of Liège. A gift from King Louis IX, future Saint Louis to the Dominican convent of Liège in 1267. Behind each angel was a small box to hold a reliquary of a saint. The gilded silver is covered in precious stones, pearls and cut crystals and a stunning work of art.
One more not to miss in this section is a dress that just begs to be touched. A white crumpled silk taffeta beauty from Charles de Vilmorin that evokes medieval ivory work. The 28 year old designer might be mostly unknown by many but his designs were featured in the opening ceremonies of the 2024 Olympics and filled the Galeries Lafayette for the 2023 Christmas season.
One of the newest pieces of the entire exhibit, the dress was featured in the Autumn/Winter 2024-2025 collection, his second as a Haute Couture label. Inspired by ivory statuary like the nearby Descent of the Cross of the 13th century. Looking behind on the left side a small pouch was added when singer Chappel Roan wore the dress for a live performance in 2024.
The groundbreaking Louvre Couture exhibit continues to the center of a salle surrounded by large tapestries. The four mannequins in the center of the room are begging for a closer look. A souffle of green silk faille garners all the attention and the first we see of the John Galliano years of Dior.
The Autumn/Winter 2006-2007 dress was inspired by the 1942 black and white film The Devil’s Envoy by Marcel Carné set in 1485. The Medieval castle filled with courtiers spending hours at dances in period costumes in a trompette style. The headpiece features trumpets and the harlequin print, on the runway it extended down to the models feet.
The entire collection has a bit of everything and his full inspiration was Joan of Arc, Boticelli, Siouxsie Sioux, French actress Arletty all mixed with a goth punk and medieval edge. Another dress from the collection that closed out the show is also featured in the exhibit and one of my favorites.
Three other pieces round out this room, together they tell a story and individually they are spectacular and will share all the details in the coming days.
To the left of the Galliano Dior is a coat by Belgian designer Dries van Noten. Descending from a long line of tailors the one time stylist blends a bit of European history with punk and a dash of Japanese influence in each of his collections. The spring/summer 2017 pret à porter looks included tapestries and textiles at times reproduced and printed on cotton like this coat and trousers.
Belgium is highly regarded for the tapestries of the 16th century, a fact that was not missed by van Noten. While these four pieces are surrounded by tapestries, there is one in the collection that closely resembles the coat. Quite a few rooms away a large Bruges tapestry hangs and is rarely noticed. The Verdure à larges feuillages portant des oiseaux is a beautiful example, so lovely it was stolen by head art looter of WWII Herman Goering.
The provenance of the piece states it was purchased by Goering in 1941 from Madame Meunier-Batifaud at the Charpentier gallery where it can be spotted in a photo. Goering had it shipped with other looted items to his home Carinhall outside of Berlin where it was discovered after the war by Rose Valland. It is currently in the Louvre collection awaiting the day the proper descendant can retrieve it.
In the center of the Moyen Age section of the exhibit on one side we find the green souffle whimsical dress by John Galliano for Dior in 2006 and just behind a newer but classic silhouette of Dior.
This beautiful dress by Maria Grazia Chiuri from the autumn/winter 2018-2019 runway embraced the classic shape Christian Dior is known for. An intersection of feminine softness with a tiny nod to the founder.
The house of Dior can be found in each section of the Louvre Couture exhibit and features multiple designers in the house's history. Christian Dior himself opens the show with the Musée du Louvre dress from the 1949 “trompe l’oeil” collection which still displays the New Look he made famous in the golden age of Haute Couture.
Coming out of the dark years of WWII, a return to glamour was needed. While some designers, one that was known for her collaboration with the bad guys, tried to continue her unstructured designs Dior knew women wanted to step back into femininity. The 1947 New Look featured small waists, structured bodices, more rounded shoulders in beautiful fabrics with flowing and narrow skirts. In the almost 80 years of the house of Dior and a succession, six designers have taken the helm, each have kept the New Look and the original aesthetics of the house in each of their collections.
Chiuri has always found great inspiration in the art of the Louvre and entire collections have been inspired by paintings and sculptures held within its walls. For this 2018 dress, a 16th century Flemish tapestry hanging within the Dior office was the inspiration for three pieces. The Concert which features figures surrounded by flowers and birds. The Dior atelier recreated the flowers printed on silk with hand embroidered animals and a few flowers including one close to the heart of founder Christian Dior. His beloved lily of the valley was added to give the 16th century design a one of a kind feature that Dior wore in his lapel every single day.
The classic lines of this dress transports you back to 30 avenue Montaigne and in front of the master himself. Visit the tapestry that inspired it a short walk away in salle 509.
The Louvre has more than 400 tapestries in its collection with a fraction of those on display. However the most well known tapestry is kept across the river in the Cluny museum. La Dame à la Licorne, or the Lady with the Unicorn is a set of six 15th & 16th century tapestries depicting an allegory of each of the five senses.
The last design in this salle is a one of a kind coat by Marine Serre from her pret a porter autumn/winter collection of 2023-2024. The young French designer interned with Alexander McQueen before his death and later Dior and Balenciaga. Her first collection was unveiled in 2017 at just 26 years old and received the LVMH Young Creators Award.
Her collections are often a mix of repurposed items and appeals to a younger market. The coat on display begs for a closer inspection. Serre found tapestries and rugs in a flea market in the south of France and created this amazing coat. The arms are made up of copies of the Lady with the Unicorn sight tapestry.
Dogs, flowers, animals and a woman that could be a Manet model make up the panels of the coat. Serre wanted camouflage for a woman in an apocalyptic world. Under is a jumpsuit covered with her crescent moon icon, the same adopted by Henri II and Diane de Poitiers.
The Louvre recently announced that the exhibition extended through August 24.
Going to miss it? Check out my YouTube video and Podcast where I will share every single detail.