The V&A’s new exhibition units out to show that Marie Antoinette was a critical patron of the humanities, not only a frivolous spendthrift. However whereas Marie Antoinette Fashion reveals the final queen of France’s spectacular sartorial legacy, it additionally drives residence the miserable indisputable fact that the fashionable style world lacks originality.
As anticipated of a multi-sensory exhibition sponsored by Manolo Blahnik and centered on a historic determine related to extra (Whereas Antoinette by no means really stated “allow them to eat cake”, as queen she spent over £2.5 million in at present’s cash on clothes) the shows are wealthy and decadent.
Every room explains a special interval of her life utilizing her costume, jewelry and even scented replicas of Jean-Antoine Houdon’s busts of the queen. “Masquerade Ball” smells of beeswax candles, oak and physique odour, whereas, much less pleasantly, “Conciergerie Jail Cell” has notes of mildew, sewage and juniper.
Welcoming you to the exhibition is the grand corps – a corset-like bodice that now dominates runways and fast-fashion web sites alike. Additional alongside you discover extravagant bow-shaped jewelry (exhibited for the primary time since her loss of life 232 years in the past) that’s again in vogue with the rise of the coquette aesthetic.
The smallest room of the exhibition explores the queen’s final days. On the garnet-coloured wall there’s a line from a letter despatched on 6 October 1793 by Maria Carolina, the Queen of Naples and Marie’s older sister: “Every little thing that ends her torture is nice”. Immediately in entrance of the doorway hangs the guillotine blade thought to have been utilized in Marie Antoinette’s beheading. In a single show is her prayer ebook together with her ultimate word: “My God, have pity on me! My eyes haven’t any extra tears to cry for you my poor kids; adieu! Adieu!” There’s additionally a easy linen chemise, a typical undergarment worn by all Frenchwomen – a reminder of how far she had fallen.
The second a part of the exhibition explores the lasting results of Marie Antoinette’s model and affect: the corsetry, the cornflower prints, Baroque-inspired sneakers.
Within the ultimate room, John Galliano’s Marquise Masquée robe for Dior’s spring 1998 Couture assortment takes centre stage in all of its pastel inexperienced, shot silk taffeta glory. Across the room are different designers which have been impressed by Antoinette: Moschino with its autumn/winter 2020 Let Them Eat Cake assortment, Vivienne Westwood bridal for 2025 and Manolo Blahnik sneakers and designs pulled from the 2005 archive.
The Rococo and Baroque intervals had a style revival within the late twentieth century and a style for them doesn’t appear to be going away. However whereas these designs are lovely and a testomony to style artistry, they lack originality – following as a substitute a framework laid out virtually three centuries in the past by a lady whose model symbolised unattainable and unimaginable luxurious. Napoleon’s spouse, Empress Eugenie, had a costume commissioned out of the identical cloth featured in Marie Antoinette’s wardrobe. The Victorian interval sparked an increase for fancy costume costumes of the late queen of France. Now clothes impressed by her daring and divisive style decisions is at all times a click on away. Imitation has taken luxurious out of the model.
Style is cyclical. That’s evident via the comeback of seventies flares, 2000s low-rise trousers, sixties culottes. Maybe it’s time to acknowledge that we have now come to the tip of authentic style. The manufacturers that attempt to reinvent the wheel and try for uniqueness will create solely small fads. It’s exhausting to think about an exhibition devoted to Balenciaga X Crocs 200 years from now.
Marie Antoinette has left behind a legacy of magnificence and craftsmanship. However it’s a disgrace that the fashionable style world – the epitome of self-expression and creativity – has misplaced its originality. Every little thing is impressed; nothing is new.
[Further reading: Annie Ernaux’s clinical self-examination]