The last room dedicated to the Middle Ages has a few pieces that always evoke few comments. From a 3D printed dress to a large bronze head that once walked the runway, this is a little strange, but also the closest link to the Middle Ages of any other pieces we have visited thus far.
The bright blue, long-sleeved shirt by Loewe, at first glance, may look like something you can find at your nearest mall. Featured in the autumn/winter 2023-2024 runway men’s collection of Jonathan Anderson for Loewe, the model strutted the runway without pants and fur boots. A second piece from this collection is reflected in the Renaissance section.
Irish designer Jonathan Anderson, who has also been named the new head of Dior, is a lover of the Middle Ages and mythology, and this is reflected in this shirt. The back of the shirt buttons from top to bottom, and under the shirt is a set of gold wings attached to the body by leather straps. That isn’t as easy to see on the mannequin, but it adds depth to the rather stunning piece.
The small works of art in this room reflect the art of the reliquary. Created by the goldsmiths of the Middle Ages to hold precious pieces of the saints of the church. The first reliquaries of the early 2nd and 3rd centuries were more humble and placed in boxes or directly into furniture. The craftsmanship of the Byzantine period, along with the importance of holy relics, led to an explosion in the craft.
First designed as sarcophagi or caskets that can be seen in Catholic churches today, they became more intricate, taking the shape of busts, feet, angels, and moonstones. Exquisite details on each of these, from the smallest statuettes of saints to the recreation of Gothic structures, to enamel and gems perfectly placed.
On a marble column next to the Loewe design is a copper angel dating to the early 15th century. The Flemish copper figure once held a candle and is dressed in a long tunic with its wings coming out from its back. A winged reliquary once belonging to Anne of Brittany and a treasure of the Saint Esprit, dating to 1491, once held a piece of Saint Sebastian. Gilded silver and polychromed wood of his sweet little face, complete with rosy cheeks.
A majority of the exhibition is filled with Haute Couture, but here and there we find a few prêt-à-porter pieces. The house of Hermès is known more for its famous handbags than fashion, but we see a playful piece designed by Nadège Vanhée for the spring 2021 ready-to-wear collections. Capitalizing on Hermés' attention to detail, the horn and lambskin dress worn over a form-fitting silk knit dress that could be imagined on the beaches of the south of France. When the show opened, it featured an ivory-colored dress topped with a bone horn piece, and, like a few other items in the show, had changed due to the fragility of the fabric. Today, it retains the same look in chocolate brown, a slightly richer hue.
The design is also reminiscent of the Medieval period and can be seen in the tapestry of "L'Adoration of the Magi" held in salle 525. Created in 1570 in Belgium by Franz Geubels, examine the clothing of the two standing figures closely. The theme of the Magi can be traced back to the beginning of the Middle Ages. During the last centuries of the Byzantine period, the theme and depiction of figures began to follow a single direction.
Each figure represents an age and also a part of the world. Melchior, the oldest of the three with a beard, is always the one presenting the gold to the Virgin and represents the Orient. Gaspar, a middle-aged European magi, holds the frankincense, while the youngest Balthasar represents the African continent and is occasionally depicted with darker skin, accompanied by the myrrh. From the choir wall in Notre Dame to every depiction in the Louvre on canvas to tapestry, they always depict the three men in this fashion.
The sculpture created by Iris van Herpen transcends the boundaries of fashion. The “Cathedral Dress” was first seen in the 2012 spring Haute Couture micro collection. Dutch artist Iris van Herpen spent her formative years reading, studying art and architecture, and surrounded by the churches of Northern Europe. Graduating in 2006 from the Artez Art Institute, she worked for Alexander McQueen before creating her own house in 2011.
Fascinated by nature photography and the microscopic details, she brings them to life in a way that is more akin to a constructed sculpture. In 2011, van Herpen used 3D imaging for the first time by a fashion designer, creating a dress that resembled a torso skeleton.
Working with Materialise, a 3D printing company, the Cathedral dress was created and then placed in a copper electroplating bath to achieve the desired color, evoking the patinated copper often found in the great Gothic cathedrals of Europe. Look closely at every curve and bend, reminiscent of a skeleton of a body, just as much as the bones of a cathedral spire. This isn’t the last we'll see of the genius that is Iris van Herpen in the Louvre exhibit.
The perfect pairing with this dress is just a few short steps away. Within are a few of the beautiful reliquaries in the Louvre collection. It’s easy to glance over these, especially when you see one after another, but take one moment and look just a bit closer. A moonstrance is a reliquary that uses rock crystal or glass to display a relic of a saint and is often created to resemble the moon. The moonstrance we see here was likely created in Germany at the start of the 15th century. Flamboyant Gothic details in gilded copper, such as figurines, feature prominent Christian engravings. A spire holding the Virgin and child on the lid is topped with a crucifix with the smallest engravings. Below, two bells hang near gargoyles that guard the once-precious relic held inside. Other figures include the four evangelists, John, Luke, Matthew, and Mark. The six lobes at the bottom are also engraved with various scenes, including Christ carrying the cross, Christ between two columns, the Virgin and Child standing on a crescent moon, and the Virgin and the angel of the Annunciation.
The link between van Herpen’s Cathedral dress is also clearly seen in another reliquary in the same case, this one complete with a rose window. A Flemish creation dating to the 14th century, complete with amazing small details. The center of translucent enamel evokes the Divine light of a Gothic cathedral, green on one side with John the Baptist in the center medallion and the Virgin and Child surrounded by blue enamel on the opposite side.
At the top, the small figure with great detail is that of Saint James the Greater. One of the twelve apostles and closely tied to Saint Jacques de Compastela, the pilgrimage to Spain and the sight of his tomb. Often depicted holding his walking stick, carrying his bag, and wearing his hat bearing a scallop shell. You can follow that same shell through the streets of Paris, which will lead you to the Tour Saint Jacques and eventually to Spain if you feel adventurous.
The last design in this room may raise a few questions, such as how you would wear this next design. The Daniel Roseberry spring/summer 2023 design for Schiaparelli includes a large bronze bust that wasn’t even the most shocking piece in the collection. Elsa Schiaparelli established her house in 1927, creating a style that combined the avant-garde and surrealism. While Roseberry stated that he never wanted to copy what she did, he did bring the shock value into the haute couture house and continues to push the limits almost a hundred years later.
Before the 2023 show even began, famous faces walked the steps of the Petit Palais, making headlines on social media around the world before the catwalk even opened. Kyle Jenner stepped out of the car with a large tiger coming out of her chest, and Doja Cat was covered in head-to-toe red Swarovski crystals. This is precisely what Haute Couture is meant to do. Push boundaries, create fantasies and illusions, and in this day and age, flood social media.
Inspired by Dante’s Inferno and the first canto, Roseberry brought the three animals met along the way from the pages to the runway. A lion for pride and violence, a leopard for lust and malice, and the she-wolf for avarice. Each of the heads was sculpted with foam and was unbelievably lifelike. The bronze head from the runway, which barely garnered any attention after the wild animals, is featured in the Louvre. A large bronze headpiece inspired by the Gaston Lachaise bronze statue in the Jardin des Tuileries. The Standing Woman was created in 1932 and placed in the garden in 2008, nestled under the canopy of trees near the Grand Bassin.
The last form of religious reliquaries, and the most stylized, is often adorned with precious jewels and shaped like a bust of the dearly departed figure. The bust of Saint Ferdinand dates to the beginning of the 16th century, at least his head does. Beautifully decorated in silver, his tunic and crown are topped with eight florets and cabochons. Saint Ferdinand, king of Castile and León,n was born in 1199. Ferdinand’s reign was marked by his remarkable military victories and deep devotion to the Christian faith. He is especially celebrated for his pivotal role in the Reconquista, the centuries-long Christian campaign to reclaim Spain from Moorish rule.
Ferdinand was canonized as a saint in 1671 by Pope Clement X, a recognition of his exceptional life and virtues. His feast day, celebrated on May 30, serves as a reminder of the significant role he played in shaping the history of Spain and his lasting impact on both the Christian faith and the kingdom he ruled.
While Ferdinand’s rule was primarily focused on the military and religious spheres, his life was also closely intertwined with other European monarchs. He was the nephew of Blanche of Castile, the mother of King Louis IX of France, and the cousin of Louis IX himself. This connection to the French royal family further emphasized his influence within the Christian world of medieval Europe, linking him to one of France’s most celebrated saints.