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French fashion

History

17th century, the Barroque and Classicim

France is a leading country in the fashion design industry, along with Italy, Germany,

the United Kingdom, Japan and the USA. Fashion is an important part of the country's

cultural life and society, and the French are well known for good taste. Haute couture and

the prêt-à-porter, among other fashion styles, remain part of French traditional life. France

has many famous designers.

French design became prominent during the 15th century through today. The fashion

industry has been an important cultural export of France since the 17th century and the

modern haute couture where originated in the 1860s.

Paris acts as the center of the country's fashion industry. Along with New York City,

London and Milan, it is considered a leading fashion capital. Paris is home to many

premier fashion designers including Chanel, Pierre Cardin, Céline, Chloe, Dior, Givenchy,

Jean Paul Gaultier, Hermès, Lanvin, Rochas, Vuitton, and Yves Saint Laurent.

Many French cities, including Lyon, Marseille, Toulouse, Lille, Strasbourg, Bordeaux,

Nantes or Rennes, host important luxury districts and avenues. In recent centuries, these

cities have transformed into developed cities and heavy producers and costumers of

luxury goods. Île-de-France, Manosque, La Gacilly (near Rennes), and Vichy lead the

cosmetic industry, basing well-known international beauty houses as L'Oreal, Lancôme,

Guerlain, Clarins, Yves Rocher, L'Occitane, Vichy, etc.

The cities of Nice, Cannes, St. Tropez, among others of the French riviera, are well

known as places of luxury, annually hosting many international media celebrities and

personalities, potentates, and billionaires.

History

17th century, the Barroque and Classicim

The association of France with fashion and style (la mode) is widely credited as

beginning during the reign of Louis XIV [3] when the luxury goods industries in France

came increasingly under royal control and the French royal court became, arguably, the

arbiter of taste and style in Europe. The rise in prominence of French fashion was linked

to the creation of the fashion press in the early 1670s (due in large part to Jean Donneau

de Visé), which transformed the fashion industry by marketing designs to a broad public

outside the French court and by popularizing notions such as the fashion "season" and

changing styles.

Over his lifetime, Louis commissioned numerous works of art to portray himself,

among them over 300 formal portraits. The earliest portrayals of Louis already followed

the pictorial conventions of the day in depicting the child king as the majestically royal

incarnation of France. This idealisation of the monarch continued in later works, which

avoided depictions of the effect of the smallpox that Louis contracted in 1647. In the

1660s, Louis began to be shown as a Roman emperor, the god Apollo, or Alexander the

Great, as can be seen in many works of Charles Le Brun, such as sculpture, paintings,

and the decor of major monuments.

The depiction of the King in this manner focused on allegorical or mythological

attributes, instead of attempting to produce a true likeness. As Louis aged, so too did the

manner in which he was depicted. Nonetheless, there was still a disparity between

realistic representation and the demands of royal propaganda. There is no better illustration of this than in HyacintheRigaud's frequently-reproduced Portrait of Louis XIV of

1701, in which a 63-year-old Louis appears to stand on a set of unnaturally young legs.

Rigaud's portrait exemplified the height of royal portraiture in Louis's reign. Although

Rigaud crafted a credible likeness of Louis, the portrait was neither meant as an exercise

in realism nor to explore Louis's personal character. Certainly, Rigaud was concerned with

detail and depicted the King's costume with great precision, down to his shoe buckle.[7]

However, Rigaud's intention was to glorify the monarchy. Rigaud's original, now housed in

the Louvre, was originally meant as a gift to Louis's grandson, Philip V of Spain. However,

Louis was so pleased with the work that he kept the original and commissioned a copy to

be sent to his grandson. That became the first of many copies, both in full and half-length

formats, to be made by Rigaud, often with the help of his assistants. The portrait also

became a model for French royal and imperial portraiture down to the time of Charles X

over a century later. In his work, Rigaud proclaims Louis's exalted royal status through his

elegant stance and haughty expression, the royal regalia and throne, rich ceremonial