On 10 February, an exhibition opened at the Arts Décoratifs, the likes of which Paris has not seen for a long time, a focus on detail. Indeed, if the last exhibition at the Arts Décoratifs had shone thanks to the quantity of ancillary documents, filmic, musical or photographic, their new project is based above all on a rich and eclectic collection assembled by Loic Allio.
The latter takes us on a chronological journey through the centuries. We discover little by little that the unique object of the button quickly becomes a preponderant point in the construction of the garment, an object of beauty and no longer only practical. As the exhibition progresses, paintings mingle with buttons, then dresses, frock coats, men’s or women’s shoes and pieces by the greatest designers support the words of the panels, which are extremely well written and guide the visitor with a note of humour and a lot of poetry. For example, it is a pleasure to see many creations by Paul Poiret, who was rather neglected during the last exhibitions held in Paris. But the big names will not be absent; Christian Dior, Elsa Schiaparelli or Jean Paul Gauthier will inhabit the Stockmen throughout the exhibition. A delightful way to confront the mass of information gathered for this exhibition with real creations. Each step of the way is a real well of knowledge.
Fortunately, the exhibition’s purpose remains complete and intact, the button is highlighted, sometimes as a work of art, sometimes as an object of wealth, pure demonstration. Buttons are shown from all angles. With a collection of more than 3000 pieces, the visitor discovers, not without a certain amount of wonder, the diversity of this object which today seems more than commonplace. In diamond, elephant skin, bronze, the most extravagant designs follow one another, demonstrating a renewed inventiveness until the 1980s, at the dawn of the decline of the button. In many respects, this is an exhibition full of gentleness but also full of history. Buttons, as a medium of expression, rebellion or representation, bear the marks of the historical troubles that it made sense to wear at the time.
Unlike the Palais Galliera, where sometimes the exhibitions are a little short on content, the Musée des Arts Décoratifs has a large space for this purpose. It can thus offer content that is just as exciting as that of Galliera, which I never tire of praising, but more complete and extensive. In general, the exhibition Unbuttoning Fashion takes us back in time. A leap in time where we are taught French refinement, intimately linked to British fashion, but also where we are shown how detail draws its excessive importance from its contingency. For this is also what makes art beautiful and what has transformed the button into a work of art, giving full meaning to the expression that “from need comes creativity”.
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