For centuries, The Louvre has stood as the ultimate shrine to artistic mastery, where the greatest works of human creativity – from da Vinci’s Mona Lisa to the ancient Greek Venus de – are immortalised. Now, for the first time in its history, the museum has opened its doors to haute couture with “LOUVRE COUTURE. Art and fashion: statement pieces,” an exhibition that weaves together the opulent threads of fashion history with the museum’s vast collection of decorative arts. This unprecedented dialogue between antiquity and contemporary craftsmanship is not just a nod to fashion’s artistic merit; it is a decisive step in cementing couture’s place within the realm of high art.
An Exhibition of Unparalleled Scope
On January 24, 2025, the Louvre Museum in Paris unveiled its inaugural fashion exhibition, “LOUVRE COUTURE. Art and fashion: statement pieces,” a groundbreaking showcase running until July 21, 2025. The exhibition, curated by Olivier Gabet, director of the department of decorative arts at the Louvre, unfolds across nearly 9,000 square meters, enveloping visitors in an intricate visual conversation between fashion and the museum’s treasured artefacts. With over a hundred ensembles and accessories from 45 legendary fashion houses – among them Chanel, Dior, Balenciaga, and Iris van Herpen – LOUVRE COUTURE presents a striking meditation on how fashion has consistently borrowed from, challenged, and reinterpreted historical aesthetics.
Unlike conventional fashion exhibitions, which often segregate clothing from its historical milieu, LOUVRE COUTURE embeds haute couture directly into the museum’s collection. Visitors will find garments elegantly juxtaposed with Byzantine reliquaries, medieval ivories, Renaissance tapestries, and gilded furniture from the court of Louis XIV. This interweaving of mediums allows fashion to transcend its commercial roots and be examined in its most intellectual and artistic form.
In an official press release, Laurence des Cars, President-Director of the Musée du Louvre, wrote: “LOUVRE COUTURE is an auteur’s exhibition that presents an argument. It has been curated to highlight the continuity between the history of fashion, the collection, art and changing tastes. It also offers an original reinterpretation of the museum and the works it holds, at the completely unprecedented scale of an entire department. The exhibition is comprised of seventy-one different looks as well as around thirty accessories, which will take up temporary residence throughout 9,000 square meters of the museum’s rooms and galleries. The connections and influences uncovered by this innovative exhibition reveal the historical, artistic and poetic depths of fashion’s relationship with the decorative arts. What’s more, visitors will discover a new way of approaching some of the Louvre’s greatest masterpieces, from Byzantine to the 19th century: through the eyes of the fashion designers of today.”
Olivier Gabet, exhibition curator, is quoted saying: “As the Louvre is a world museum, it would have been unrealistic, and quite simply impossible, to attempt to encompass the whole of it on a project of this kind. However, the aim of this exhibition is no less ambitious. Since the 19th century, these objets d’art have been characterised within these walls simply as belonging to the Middle Ages, the Renaissance or the Modern era. This exhibition is intended to show the extent to which these works, just like paintings, photography, cinema, literature, sculpture and dance, serve as vibrant sources of inspiration for creators working in another essential area of contemporary artistic expression: fashion. Such connections can undoubtedly be surprising, and we have chosen to include a variety of examples, ranging from intellectual interest to emotional attachment, from direct visual cues to deeper symbolism. Sometimes the reference may be literal, and the archives of a fashion house might reveal that a designer was directly inspired by a piece.”
Across over 100 looks from houses including Dior Héritage, Vivienne Westwood, and Maison Schiaparelli, the exhibition reveals how designers have long treated the past as a playground – reinventing its artistry, silhouettes, and craftsmanship for the present. Karl Lagerfeld’s final Chanel collection drew from an 18th-century vernis Martin chest, translating gilded bronzes and painted scrolls into sequins and embroidery. Jean Paul Gaultier took the crinoline, once hidden beneath skirts, and made it the star – its wicker structure forming a sculptural exoskeleton.
A Historical Tribute
This exhibition, designed by Nathalie Crinière, throws out the traditional museum format. Instead of following a fixed path, visitors are encouraged to explore freely, moving between historical periods as art and fashion intersect in unexpected ways.
In the Byzantium and the Middle Ages section, gold, ivory, and gemstone-encrusted artworks are paired with lavish garments displayed on mirrored podiums. The effect is striking – each piece reflecting the era’s grandeur. A similar approach shapes the Renaissance section, where richly enamelled ceramics, intricate armour, and vibrant tapestries set the stage for fashion that captures the opulence and craftsmanship of the time.
The exhibition moves into the Grand Siècle, with the Conseil d’État rooms showcasing the extravagance of Louis XIV’s reign through art and couture. Then, the 18th-century period rooms offer an immersive experience, where clothing, accessories, and interior design merge to recreate a world of aristocratic elegance.
In the Napoleon III Apartments, 19th-century fashion takes centre stage in a dramatic display of bold silhouettes, elaborate embroidery, and deep, luxurious colours – perfectly in sync with the ornate surroundings. The mood then shifts to the Neoclassical era, where the clean lines of empire-waist gowns, inspired by ancient Greece and Rome, contrast sharply with the excess of earlier styles. This minimalist aesthetic still resonates today, influencing designers like Lanvin and Chloé.
Lavish evening gowns adorned with feathers, intricate beadwork, and sculpted silhouettes capture a time when fashion wasn’t just about clothing – it was a statement.
By weaving history and haute couture together, the exhibition proves that while styles change, the desire to express power, beauty, and identity through fashion remains timeless.
Fashion’s Place in the Museum: A Cultural Reckoning
The Louvre’s embrace of haute couture signals a profound shift in the cultural perception of fashion. For decades, fashion exhibitions were relegated to institutions like the Costume Institute at The Met or the Victoria and Albert Museum, largely treated as spectacles rather than serious artistic investigations. The inclusion of fashion in a museum of the Louvre’s stature is a tacit acknowledgement that couture is more than just a luxury commodity – it is a vital form of artistic expression.
This shift reflects broader changes within the art world. As museums seek to diversify their programming and appeal to wider audiences, the boundary between “high” and “decorative” arts has begun to blur. LOUVRE COUTURE follows in the footsteps of blockbuster fashion exhibitions such as Alexander McQueen: Savage Beauty at The Met in 2011 and Christian Dior: Designer of Dreams at the V&A in 2019, both of which shattered attendance records. By situating haute couture within the Louvre’s halls, the exhibition not only elevates fashion but also revitalises the way audiences engage with the museum’s permanent collection.
The Asian Market: A Strategic Move
Beyond its artistic implications, LOUVRE COUTURE also represents a strategic move to engage the ever-growing Asian luxury market. Asian tourists, particularly those from China, Japan, and South Korea, comprise a significant portion of the Louvre’s international visitors. Many of these consumers view fashion as both a cultural touchstone and a form of investment, making the exhibition an attractive draw.
By integrating haute couture into its exhibition repertoire, the Louvre positions itself at the nexus of art, fashion, and commerce. Luxury brands – many of which are already deepening their ties with Asian consumers – stand to benefit from this intersection. The exhibition also aligns with the broader trends in the region, where institutions like China’s Palace Museum have begun staging fashion exhibitions that bridge traditional craftsmanship with contemporary design.
The Economics of Fashion in Museums
It would be remiss not to consider the financial implications of fashion exhibitions. Blockbuster fashion shows are among the most lucrative museum endeavours, often attracting younger and more diverse audiences.
This commercial aspect does not detract from the exhibition’s artistic integrity but rather underscores fashion’s unique ability to merge artistry with economic viability. In many ways, LOUVRE COUTURE is a case study in how museums can innovate without compromising their mission, leveraging fashion’s mass appeal while fostering a deeper appreciation for its craftsmanship and historical significance.
A Critical and Public Triumph
The response to LOUVRE COUTURE has been overwhelmingly positive. Visitors have lauded the exhibition’s thoughtful curation and the way it seamlessly integrates fashion into the broader artistic narrative of the museum. One attendee remarked via Reddit, “The pieces are scattered throughout the Richelieu and Sully wings. The way they set them up was very respectful to these fashion pieces as art.”
Critics have also praised the exhibition for its intellectual rigour. The New York Times highlighted how “the most visited museum in the world is wooing a new crowd by injecting glamorous new cool into its fussiest department.”
BurdaLuxury’s Lens
LOUVRE COUTURE marks a pivotal moment in the intersection of art and fashion. It is not simply an exhibition but a statement – one that redefines fashion’s place within the museum and challenges traditional notions of artistic hierarchy. By bringing couture into the Louvre, the exhibition affirms that fashion, like painting or sculpture, is a discipline of profound creativity and historical resonance.
