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“The goal is to demonstrate how fashion designers are inspired by art, not necessarily by paintings,” says curator Olivier Gabet of the show-stopping Louvre Couture, now on show at Musee Louvre, Paris. He gives Natasha Fraser a tour of the magnificent exhibition he masterminded and chooses his favorite pieces of couture.
BY NATASHA FRASER | CABANA TRAVEL | 28 MARCH 2025
A brilliant exhibition means going several times and craving to return. Louvre Couture, curated by Olivier Gabet, exemplifies this. “The goal is to demonstrate how fashion designers are inspired by art and not necessarily by paintings,” says Gabet who is in charge of the Louvre’s Decorative Arts Department. “And also allow different generations to discover our museum’s myriad of treasures, in an informal manner.”
Forty-five fashion houses have lent creations: highlights include Balenciaga’s steely armour dress in juxtaposition with 16th-century French armour; John Galliano’s silk velvet and ermine-hemmed evening gown, resplendent in the Louvre’s Napoleon III apartment and Dolce & Gabbana’s Byzantine-inspired embellished marvel.
I’m particularly moved by Alexander McQueen’s python armadillo shoe lurking among clay pots, Gianni Versace’s slinky crusader chain dress, embossed with crosses and Karl Lagerfeld’s Lesage feathered huntswoman for Chanel’s Paris-Edinburgh Metiers d’arts collection (2012.) Still, when I accompany Olivier Gabet as he chooses his top outfits – “ones that best represent Louvre Couture,” Gabet clarifies – he chooses another Chanel.
And that’s what happens at the Louvre’s very first fashion exhibition in its 231-year history, the beauty stirs within and becomes deeply personal. It’s Tuesday morning – the Louvre is closed to the public – and we begin with Donatella Versace’s printed silk ready-to-wear outfit (2018) flanked by furniture and tapestry in Louis XVIII’s bedroom.
Donatella Versace's printed silk
“This collection (2018) was an homage to her brother, Gianni Versace, who I always felt was underestimated as a designer,” Gabet opines. “His creations that often focused on great works of art were very intuitive, giving an unexpected element.” Gabet likes the headscarf. “It gives a Dolce Vita charge,” he says.
Alexander McQueen’s Givenchy wool and tulle extravaganza
After entering Napoleon’s throne room, we are faced with Alexander (Lee) McQueen’s Givenchy haute couture wool and tulle extravaganza (1997).
“This marks Lee’s first Givenchy show, deemed a critical disaster,” reveals Gabet. “I actually felt it was interesting and captured his fascination with Napoleon, and Lee’s immense cultural vision.”
Jean-Charles de Castelbajac's camouflage suit
Surrounded by magnificent medieval tapestries, we discover no. 28, Jean-Charles de Castelbajac’s mini camouflage suit with Bambi motif and its attention-grabbing headgear – a pair of stag antlers in synthetic fur (2010.)
“Jean-Charles defines fashion pioneer and should be more recognized,” states Gabet. “This captures his admiration for 1950s American cartoons and his rock ‘n roll links to Warhol, the Velvet Underground, the Sex Pistols and Malcolm McLaren’s partnership with Vivienne Westwood."
Azzedine Alaia’s leather and metal dress
Flanked by Italian Renaissance bronze statues, Gabet's next choice is by Azzedine Alaia. “He really was a master who took months perfecting each design,” says Gabet. “This is where every couturier stops, in awe. That artisanal quality that Alaia weaved into his work that was both sculpted and wearable.”
John Galliano's Dior ball dress
In Louvre Couture’s Baroque and 18th-century area, Galliano’s Dior ball dress (2006) feels grand and galleon-like. “Galliano is one of the greats, up there with Yves Saint Laurent and Lagerfeld,” opines Gabet. “This incredible creation reminds me of Louis XIV, Versailles and that sensational moment in French art history.”
Jonathan Anderson’s embroidered Loewe trapeze dress
Boasting a grand pug dog, this trapeze dress is seamlessly married with an 18th-century Meissen china dog and François Boucher-inspired tapestry.
“This is witty and reveals Jonathan Anderson’s heightened sensitivity,” enthuses Gabet.
Densely sequined Chanel coat dress
Drawing attention to Karl Lagerfeld’s encyclopedic knowledge of the 18th-century, Gabet chooses his spectacular, densely sequined Chanel haute couture coat dress (1997), which is enhanced by a pair of unusual Chinoiserie commodes. “Embroidered by Lesage, it’s Karl, it’s Coco and here it feels very Louvre,” he says.
Giambattista Valli haute couture evening gown
For his final choice, we stroll back to Napoleon III’s apartment. It’s Giambattista Valli’s haute couture evening gown: made from 600 meters of aquamarine sun-pleated tulle (2018.) “When I chose this dress, someone from Giamba’s studio called and said, ‘pink is his signature’ but i find this otherworldly, suiting a Roman based in Paris.”
the edit
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