Peeling off the beautiful layers of fascinating & fantastic French fashion
The Adorned Body: French Fashion and Jewellery 1770-1910
Luxurious rich history French fashion
The splendour of French fashion, rich history and luxurious flair is captured in The Adorned Body: French Fashion and Jewellery 1770–1910, an exhibition co-organised by the Parisian Museum of Decorative Arts and the host, the Hong Kong Palace Museum.
Inspired by a doll’s wardrobe, the concept showcases grandiose fashion masterpieces by peeling off layers, from exterior accessories to intimate underwear.
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It features nearly 400 pieces from the late eighteenth to the early twentieth century, unveiling stories of the ever-evolving standard of beauty, cultural exchange and the transformative power of clothing on individuality and social status.
18th Century French fashion highlights
Upon entering, visitors are drawn to an extravagant silver court dress with wide hips, a typical characteristic of eighteenth-century French fashion, which serves as the opening highlight.
This ensemble, comprising a mantle, skirt and stomacher, is a testament to the meticulous craftsmanship of the period.
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The three detachable parts and the narrow double-layered sleeve cuffs were ornamented with lace, gems and other decorations.
The whole dress would be reassembled and sewn together each time it was worn. This underscores the intricate rituals of dressing that were a hallmark of court life.
Court life dress
What is hidden beneath the ample exterior is also worth noting. Stays were used to push up the chest and flatten the stomach. Before the existence of elastic and spandex, garters were needed to hold loose stockings in place.
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Often embroidered with romantic messages like the ones on display, “I run to you” and “stuck to your thigh,” these personal touches added a layer of intimacy to the superficial grandeur.
Intimate French style grandeur
Accompanying the dress is a lavish silver thread-embellished men’s suit. Decorated with non-functional buttons, this suit communicated the wealth and status of the wearer.
Reflective metallic details on the garment enhanced the wearer’s visibility and made him stand out at grand banquets even when lit only by candlelight.
Garment enhanced visibility
The court was filled with strict dress and etiquette rules. A sword, once a weapon, became a fashion accessory.
Gentlemen of high rank were required to carry a sword when visiting the king, but the threat of assassination was mitigated by another court protocol requiring swords be left at the door, rendering them impotent.
The true purpose was to enforce hierarchy and power dynamics.
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After a long night, the red indoor jacket would be an excellent choice for the master of the house to retire for the night.
Luxurious red jacket
After a long night, the red indoor jacket would be an excellent choice for the master of the house to retire for the night.
Made from the then-most sought-after Chinese silks with traditional floral motifs in the style of chinoiserie, this piece would be the exact opposite of understated luxury in today’s terms.
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The style gained popularity in eighteenth-century Europe through expanding trade in Asia, especially with China.
The craze continued into the Rococo period (1740-1770), which featured exuberant decorations, gold gilding, nature motifs, and asymmetrical designs.
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These cross-cultural exchanges significantly influenced and enriched French fashion. Imported goods from the Far East, such as walking dresses with Persian paisley patterns made with Indian silk, took the upper class by storm.
When desirable items were scarce, the other option was imitation, seen in the wig stand, which resembled Chinese blue and white porcelain.
Chinoiserie in French fashion
However, rooted in the French word Chinese, chinoiserie was often used to specify the whole of the Asian continent, including Japan, Korea, the Middle East, and even Persia, because there was a limited geographic concept.
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Mathieu Rousset-Perrier, heritage curator of the Museum of Decorative Arts, commented that there was a certain aspect of orientalism.
Still, ultimately, the trend stemmed from the French’s cultural curiosity and appreciation of the exotic.
One of the exhibition’s most exceptional features is its insights into menswear. Historically, men’s fashion evolved more slowly, with their power and wealth often displayed through female partners.
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The male suit’s origins trace back to Louis XIV’s court around 1660-1670. Men wore the habit à la française, which consisted of a vest, a long jacket, and breeches (shorts that ended right below the knees).
By the beginning of the nineteenth century, the modern male three-piece suit had taken shape, along with an important innovation – long trousers.
The jacket gradually became straighter, shorter and had a higher collar. Both garments have become a staple in men’s wardrobes, establishing themselves as essential in modern men’s fashion.
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Though men’s streetwear was mainly made of plain dark fabrics, middle-class men frequently wore brightly-coloured dressing gowns privately.
Fashionable French gentleman
The fashionable gentleman wore his indoor gown for practical reasons: to stay warm before bed or while hosting guests when indoor heating was impractical.
The loose T-shaped gown originated from the banyan robe imported from Persia to Europe, later adapted into a coat-like shape with a collar and belt.
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It provided comfort, often matched with slippers, a tie, a scarf and sometimes even a small hat, highlighting the era’s attention to detail.
A female version of the suit composed of a jacket and a matching skirt also emerged toward the end of the 1880s.
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One of the earliest models was worn by Alexandra of Denmark, Princess of Wales, wife of the future Edward VII of England. It was the first time pockets were ever added to women’s clothing!
The skirt was tailored to a new silhouette, using a bustle to create volume at the lower back, reminiscent of the profile of a goose.
The length was relatively short, stopping just above the ankle. Nicknamed the trotteur in French, it was perfect for leisure activities such as morning walks, picnics and travelling.
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By 1908, the set was officially named the dress suit by magazines, emphasising practicality yet elegance, using quality fabrics and intricate trimmings, reflecting the period’s focus on refinement and luxury.
In contrast to daytime and outdoor fashion, evening wear prioritises artistry over utility.
A piece such as the V-neck gold embroidered orange silk dress with a train created by Charles Frederick Worth (1825-1895) guaranteed to turn heads and provided for an unforgettable presence.
The English fashion designer who founded the House of Worth is known as the Father of Haute Couture.
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Dr Ingrid Yeung, the associate curator of the Hong Kong Palace Museum, commented that “he reshaped and dictated as a designer and entrepreneur [in revolutionising the business of fashion].”
Before his time, clients were the designers and tastemakers. Worth was the first to hire live models and sew brand labels into his clothes, elevating the designer’s status from a mere dressmaker.
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Additionally, he is credited with inventing the hoop skirt. Though not new in the history of fashion, it was called differently in different periods, such as panniers or crinoline.
Still, he created a lighter cage with steel, further liberating women’s movements and mobility under the splendid big gowns.
Fashion witnessed remarkable innovations at the turn of the century and after the revolutions. Synthetic dyes and advanced weaving techniques created mixed-textured fabrics, exemplified by the hand-painted blue silk dress with velvet detailing.
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The collapsible men’s top hat was designed for easy storage. And finally, something we now take for granted: having distinct right and left side shoes, improving comfort and fit.
These advancements reflect the period’s drive for not only aesthetics but everyday functionality.
Visitors are encouraged to immerse themselves in the historical context to complement the exhibition by enjoying excerpts from various period dramas.
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A particularly striking scene from Marie Antoinette (2006) shows the young future Queen of France being stripped of her Austrian clothes and dressed in French court attire, illustrating the powerful and crucial role clothing plays in shaping identity.
Text Shek Man / Photos Shek Man & Cammy Yiu
