She still has a hold over haute couture
Marie Antoinette has always fascinated lovers of fashion. The exhibition at the V&A does not try to answer the question “who” she was – We have plenty of letters that explain her character and outlook – but rather “what” she was in terms of the endless imitations of her, writes Christopher Walker.
Apart from the odd chair this is therefore very much an exhibition of clothes and shoes. An extraordinary array of objects, although those with a direct link to her are few and far between. The biggest part is a hall of fashion demonstrating the hold she still has over haute couture and the cinema. Well done V&A on getting Norma Shearer’s costume from the 1938 movie, the most expensive film ever made, as is fitting.
Indeed, it is very interesting to contrast attitudes towards her between the British and the French. In Paris she is still largely regarded as a vain and vapid spendthrift, but still remains an inspiration for “naughty but nice” fashion plates. Whilst in London we tend to concentrate on the fact she was married off as an innocent girl of 14, a sort of early victim of upmarket human trafficking, and on the grizzly end she came to.
Regarding the latter there are two fascinating exhibits. The guillotine blade which finished her off, and an early photograph of her death mask, the mask itself no longer survives.
All very poignant, but I must say I came away from this exhibition inclining to the French view. After all, a contemporary of hers, Catherine the Great, was married off at just 15 but developed a career of winning wars and making laws. Marie Antoinette just bought shoes. Does a girl really need 200 pairs of shoes a year?
Theres a lot in this exhibition, but also a lot that’s missing. Her lover Count Fersen doesn’t get a mention. And the famous sketch of her on the way to the guillotine would have added a lot. But there’s plenty still to be dazzled by.
Booking and full details: https://www.vam.ac.uk/shop/ticket?cgid=443
