{"id":5608,"date":"2025-05-23T17:20:54","date_gmt":"2025-05-23T15:20:54","guid":{"rendered":"https:\/\/magazine.lineapelle-fair.it\/?p=5608"},"modified":"2025-05-29T15:23:43","modified_gmt":"2025-05-29T13:23:43","slug":"5608","status":"publish","type":"post","link":"https:\/\/magazine.lineapelle-fair.it\/en\/trend-en\/5608\/","title":{"rendered":"Things we can say about the Louvre Couture exhibition in Paris"},"content":{"rendered":"

We have been at Louvre Couture, the exhibition that from January 24th to August 24th 2025 (its closure has been delayed for a month) establishes a dialogue between Objects d\u2019Art and Objects de Mode in an exhibiting project in which pieces of clothing and accessories are not mere guests, but act as protagonists that truly set up a conversation with the works which enrich the rooms of the Parisian museum. The result is extraordinarily beautiful. Maybe, even too much<\/strong><\/em><\/p>\n

by Luca Fumagalli<\/p>\n

 <\/p>\n

It was supposed to end next July 21st. Its closure has been delayed for a month, until August 24th. A decision aimed at celebrating its success and at, essentially, confirming its project vision. Louvre Couture<\/strong> is the exhibition that, for the first time, takes place in one of the most important museums in the world; and it is not just a mere guest, but it acts as a protagonist of a true art exhibition<\/strong>. Its subheading is representative of this particular and impactful aim: Objets d\u2019Art, Objets de Mode<\/strong>. The result consists of a long tour path that is able to create strong relationships between different degrees of artistic beauty and – maybe, in the end – appears to be disorientating, if not extremely stunning, in the way it fills the visitor\u2019s eyes.<\/p>\n

The exhibition, in a few words<\/strong><\/h3>\n

Almost 9.000 square meters of setting-up space for this exhibition, inside the rooms of the D\u00e9partment des Objets d\u2019Art<\/strong> of the Louvre. 65 dresses\/creations<\/strong> designed by the most renowned and influential brands that illustrate the highest creative fashion level in the 20th century and in this early third millennium, accompanied by 30 accessories<\/strong> circa. This is all located inside the museum\u2019s original permanent exhibition, giving life to \u201ca tight<\/strong>, original, historical and poetical conversation <\/strong>with the masterpieces of the D\u00e9partment, from Byzantium to the Second Empire\u201d, as written in a note published by the Louvre. And when we say \u201cinside<\/strong>\u201d we want to remark that this expression needs to be taken very seriously, even literally.<\/p>\n

Almost like a treasure hunt<\/strong><\/h3>\n

The entrance at Louvre Couture<\/a> – once you reach the D\u00e9partement des Objets d\u2019Art – doesn\u2019t sufficiently prepare you for what awaits you during the next two hours of your visit. To welcome us there is a dress designed by Christian Dior<\/strong>, which dates back to the summer Haute Couture collection of 1949. Wonderful in its simple cut, but essentially perfect; in the undeniable handcraft mastery of the workmanship; in the chromatic contrast between black and white.<\/p>\n

Right next to the dress, a play of grey and silver cubes on which stands out the name of the exhibition tells us about its designed path. It seems almost like a strict approach, if not minimal. But, crossed the threshold, everything changes and \u201cthe encyclopedic immensity of the Louvre<\/strong>\u201d – as it is said in a note written of the Parisian museum – overwhelms us, plunging us into what – in many rooms – seemed just like a treasure hunt<\/strong>.<\/p>\n

Beauty as a form of dialogue<\/strong><\/h3>\n

Essentially, it can be considered\u00a0 a treasure hunt because the dresses are physically next to the decorative works – as, for example, the tapestries – that, in a certain way, more resemble them in terms of artistic, figurative or stylistic references.\u00a0 \u201cConsidering art history and fashion, the points of connection are countless<\/strong>. Common methods, knowledge of the oldest techniques, figurative culture and the subtle play of references often emerge, as if from the catalogue raisonn\u00e9 of the museum would be possible to reach the moodboard of fashion\u201d, as stated by the Louvre.<\/p>\n

Words that actually come to life when staring at the Byzantine mosaic<\/strong> fragment placed in relation with a dress from the Mosaico Sartoriale collection (winter 2013-2014) of Dolce e Gabbana<\/strong>; truly an example of a kind of dialogue that sometimes is easy to understand, while sometimes seems to be much more complex. This happens because of the incredibly rich beauty that characterizes the rooms of the Louvre, capable of slightly suffocating <\/strong>the visitor and of diverting attention <\/strong>from the dresses or the accessories which, as a consequence, end up blending with the artworks – only within certain display cases – they are paired with.<\/p>\n

On one hand, this effect seems to us capable of making the visitor gain consciousness about the fact that art and fashion are two different expressions of the same language<\/strong>. On the other one, we were struck by a peculiar sensation of confusion<\/strong>. An extremely beautiful one, but still confusing.<\/p>\n

Fashion as a form of art\u00a0<\/strong><\/h3>\n

It is certain that, regarding dresses and accessories of a very high artistic level, Louvre Couture absolutely doesn\u2019t betray its project. The true beauty of the exhibition is represented by the opportunity to close up admire – except for a room in which the dresses are located on a high-ground installation, that makes them not really visible and enjoyable – the craftsmanship mastery and knowledge with which they are tailored.<\/p>\n

From the impressive Dame de Fer<\/strong> by Balenciaga (2023-2024) to a frock coat<\/strong> designed by Louis Vuitton in 2018, it\u2019s truly simple to remain speechless, due to the fineness and perfection in terms of details. That is the case, but it is only one among the 90 and more that are present in the exhibition, of the Vuitton bag<\/strong> designed by Marc Jacobs for winter 2009-2010. A sensational inlay composed of embroideries and patchwork of metals, fabrics, lurex, lizard skin and snake leather. So beautiful, so artistic that – exhibited in a single display case located in a room full of jewels from the museum – at first glance we had missed it.<\/p>\n

Post scriptum<\/strong><\/h3>\n

All that said, it is important to underline that Louvre Couture needs to be indubitably visited, in order to understand how deeply the relationship between fashion and museums is developing. But, it is necessary to express one last thought. Thanks to the incredible richness that characterizes heritage of the Louvre, after more than two hours deep into this extraordinary abundance, you can leave the museum by resting your eyes on the Nik\u00e9 of Samothrace<\/strong>. You can remain silent in front of its dramatic dynamism, surrender to awe and astonishment at its essential sobriety: and be moved because of these emotions.<\/p>\n

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