Louiseboulanger Evening Gown
- By The Museum at FIT
- In Objects
- Tagged with 1930s dress installation Louiseboulanger
- On 4 Jan | '2017
Photographs © Zach Hilty/BFA.com
“Women who dare to wear clothes that are strikingly original and about three seasons ahead of the style naturally gravitate to Louiseboulanger,” observed one guidebook. That would certainly describe the Countess Greffulhe, who was always a connoisseur of high fashion.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.
Louiseboulanger
Evening gown, late 1930s
Rayon crepe “Aziza,” velvet
GAL1964.20.29, gift of the Gramont family to the Palais Galliera
Evening gown, late 1930s
Rayon crepe “Aziza,” velvet
GAL1964.20.29, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Nina Ricci Evening Ensemble with Bolero
- By The Museum at FIT
- In Objects
- Tagged with 1937 bolero cape Countess Greffulhe dress feathers installation Nina Ricci silk
- On 3 Jan | '2017
L: © Zach Hilty/BFA.com
R: © Julien Vidal / Galliera / Roger-Viollet
Even as an older woman, the Countess Greffulhe always sought to attract the gaze of observers. In an early draft of Sodom and Gomorah, Proust attributed an anecdote told of her to the fictional Princesse de Guermantes, who says, “I shall know I’ve lost my beauty when people stop turning to stare at me” to which another character replies, “Never fear, my dear, so long as you dress as you do, people will always turn and stare.”
Left: Nina Ricci
Evening ensemble, dress and cape, circa 1937
Silk crepe, silk muslin, ostrich feathers
GAL1964.20.41ABC, gift of the Gramont family to the Palais Galliera
Right: Nina Ricci
Bolero, circa 1937
Silk crepe, silk muslin, ostrich feathers
GAL1964.20.41ABC, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Jeanne Lanvin
- By The Museum at FIT
- In Objects
- Tagged with 1936 1937 black coat Countess Greffulhe dress installation Jeanne Lanvin
- On 21 Dec | '2016
L: Photograph © Zach Hilty/BFA.com
R: Photo by Eileen Costa. © 2016 The Museum at FIT
The Countess Greffulhe clearly appreciated the sophisticated subtlety of Jeanne Lanvin, one of the greatest fashion designers of her era, whose work reached its height in the 1930s. Even in her seventies, the Countess continued to adopt advanced fashions, such as the coat on the right with almost Surrealist effects.
Left: Jeanne Lanvin
Evening gown, summer 1937
Tulle and crepe
GAL1964.20.38AB, gift of the Gramont family to the Palais Galliera
Right: Jeanne Lanvin
Day coat, 1936
Silk satin, wool, metal, fur
GAL1964.20.31, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Women Between the Wars
- By The Museum at FIT
- In Objects
- Tagged with 1930 1935 black Countess Greffulhe dress installation Jenny Maggie Rouff velvet
- On 15 Dec | '2016
L: Photograph © Zach Hilty/BFA.com
R: Photo by Eileen Costa. © 2016 The Museum at FIT
The period between the wars has been called “the golden age of the couturière.” On the evidence of her existing wardrobe, it appears that the Countess Greffulhe patronized many celebrated female designers, including Maggy Rouff, who was the daughter of the head designer at the House of Drécoll.
Élisabeth Greffulhe often wore black. Robert de Montesquiou described how “She appeared with the elegant energy and refined majesty of a gazelle that had encountered a length of black velvet, which she trailed behind her with infinite grace.”
Left: Maggie Rouff
Evening dress, circa 1930
Silk velvet
GAL1964.20.30, gift of the Gramont family to the Palais Galliera
Right: Jenny
Evening gown, circa 1935
Black viscose jersey and satin
GAL1964.20.37, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Egyptian-inspired Evening Ensemble
- By The Museum at FIT
- In Objects
- Tagged with 1925 Countess Greffulhe dress gold Marcel Proust
- On 7 Dec | '2016
Photographs © Zach Hilty/BFA.com
Marcel Proust was inspired by the Countess Greffulhe when he created the character of the Duchesse de Guermantes. But he also drew on elements of her style for another character, the Princesse de Guermantes. In one scene in The Guermantes Way, he placed the two women together: the former “typically French” in her “exquisite refinement,” the latter more “poetic” and “dressed up.” This evening ensemble, with its motif of hieroglyphics inspired by the discovery of Tutankhamun’s tomb, seems more in accordance with the style of the Princesse de Guermantes.
Evening ensemble (no label), circa 1925
Bolero: gold and green lame, metallic lace, pink silk crepe de chine lining
Dress: gold and silver metallic lace, silk tulle embroidered with metallic threads
Foundation: Gold and green lamé
GAL1964.20.23ABC, gift of the Gramont family to the Palais Galliera
Bolero: gold and green lame, metallic lace, pink silk crepe de chine lining
Dress: gold and silver metallic lace, silk tulle embroidered with metallic threads
Foundation: Gold and green lamé
GAL1964.20.23ABC, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Evening Dress circa 1925
- By The Museum at FIT
- In Objects
- Tagged with 1925 dress Duchesse de Guermantes ivory Marcel Proust tulle
- On 5 Dec | '2016
Photograph © Zach Hilty/BFA.com
The frocks of the 1920s were a far cry from the elaborate evening gowns in which Élisabeth Greffulhe had once astonished Parisian society. Yet memories of fashions past inevitably occur. For example, Proust once described the Duchesse de Guermantes wearing a gown ornamented with “innumerable spangles.” He wrote, “I did not believe that any other woman could usurp that spangled bodice, any more than the flashing aegis of Minerva.”
Evening dress (no label), circa 1925
Ivory tulle, embroidered with beads and sequins, silk muslin
GAL1964.20.20, gift of the Gramont family to the Palais Galliera
Ivory tulle, embroidered with beads and sequins, silk muslin
GAL1964.20.20, gift of the Gramont family to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.
L: © Stéphane Piera / Galliera / Roger-Viollet
R: Photograph © Zach Hilty/BFA.com
Photograph © Zach Hilty/BFA.com
This grand evening gown in ivory silk was designed by Jenny Sacerdote, a couturière whose clothes were described in the fashion press as being characterized by “this new spirit which we call modern.”
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
Jenny
Evening gown, circa 1924-25
Silk satin, silk muslin, embroidery
GAL1964.20.19, gift of the Gramont family to the Palais Galliera
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.Pierre Bulloz Evening Dress
- By The Museum at FIT
- In Objects
- Tagged with 1913 dress installation Pierre Bulloz silk
- On 21 Nov | '2016
Photograph © Zach Hilty/BFA.com
This beautiful black evening dress, embroidered with black and violet sequins, shows how the Countess Greffulhe retained her dramatic signature style, while also adapting to evolving fashions in the twentieth century.
Pierre Bulloz
Evening dress, circa 1913
Silk satin, chiffon, and tulle, embroidered with sequins, tassels with glass faceted pearls
GAL1980.189.12, gift of the duc de Gramont to the Palais Galliera
Evening dress, circa 1913
Silk satin, chiffon, and tulle, embroidered with sequins, tassels with glass faceted pearls
GAL1980.189.12, gift of the duc de Gramont to the Palais Galliera
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.
© L. Degrâces et Ph. Joffre / Galliera / Roger-Viollet
At the wedding of her daughter Élaine, the Countess Greffulhe wore this sensational “Byzantine empress” gown, ensuring that press attention focused on the mother of the bride. Indeed, the bride’s dress was hardly mentioned at all. According to La Vie Parisienne, “As luck would have it, Madame Greffulhe reached the top of the steps a long time before her daughter and was able to remain there for about a quarter of an hour, in full view of everyone.” The dress bears a Worth label, but in his memoirs, Paul Poiret claimed to have designed it.
Proust’s Muse, The Countess Greffulhe runs through January 7, 2016 at The Museum at FIT in NYC.
Worth
“Byzantine dress,” 1904
Lamé taffeta, silk and gold thread, silk tulle, embroidered with glass pearls and metal sequins, fur (originally sable, replaced during restoration in the 1980s with rabbit).
GAL1978.20.2, gift of the duc de Gramont to the Palais Galliera
“Byzantine dress,” 1904
Lamé taffeta, silk and gold thread, silk tulle, embroidered with glass pearls and metal sequins, fur (originally sable, replaced during restoration in the 1980s with rabbit).
GAL1978.20.2, gift of the duc de Gramont to the Palais Galliera
This exhibition was developed by the Palais Galliera, Fashion Museum of the City of Paris, Paris Musées.