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Fashion Victims: Dress at the Court of Louis XVI and Marie-Antoinette
A thoughtful, lavishly illustrated, and highly readable account of the fabulous French fashion world in the pre-Revolutionary period
This engrossing book chronicles one of the most exciting, controversial, and extravagant periods in the history of the reign of Louis XVI and Marie-Antoinette in 18th-century France. Kimberly Chrisman-Campbell offers a carefully researched glimpse into the turbulent era’s sophisticated and largely female-dominated fashion industry, which produced courtly finery as well as promoted a thriving secondhand clothing market outside the royal circle. She discusses in depth the exceptionally imaginative and uninhibited styles of the period immediately before the French Revolution, and also explores fashion’s surprising influence on the course of the Revolution itself. The absorbing narrative demonstrates fashion’s crucial role as a visible and versatile medium for social commentary, and shows the glittering surface of 18th-century high society as well as its seedy underbelly.
Fashion Victims presents a compelling anthology of trends, manners, and personalities from the era, accompanied by gorgeous fashion plates, portraits, and photographs of rare surviving garments. Drawing upon documentary evidence, previously unpublished archival sources, and new information about aristocrats, politicians, and celebrities, this book is an unmatched study of French fashion in the late 18th century, providing astonishing insight, a gripping story, and stylish inspiration.
This engrossing book chronicles one of the most exciting, controversial, and extravagant periods in the history of the reign of Louis XVI and Marie-Antoinette in 18th-century France. Kimberly Chrisman-Campbell offers a carefully researched glimpse into the turbulent era’s sophisticated and largely female-dominated fashion industry, which produced courtly finery as well as promoted a thriving secondhand clothing market outside the royal circle. She discusses in depth the exceptionally imaginative and uninhibited styles of the period immediately before the French Revolution, and also explores fashion’s surprising influence on the course of the Revolution itself. The absorbing narrative demonstrates fashion’s crucial role as a visible and versatile medium for social commentary, and shows the glittering surface of 18th-century high society as well as its seedy underbelly.
Fashion Victims presents a compelling anthology of trends, manners, and personalities from the era, accompanied by gorgeous fashion plates, portraits, and photographs of rare surviving garments. Drawing upon documentary evidence, previously unpublished archival sources, and new information about aristocrats, politicians, and celebrities, this book is an unmatched study of French fashion in the late 18th century, providing astonishing insight, a gripping story, and stylish inspiration.
352 pages, Hardcover
First published November 25, 2014
About the author
Kimberly Chrisman-Campbell
13 books79 followersDr. Kimberly Chrisman-Campbell is a fashion historian, curator, and journalist based in Los Angeles, CA.
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Displaying 1 - 13 of 13 reviews
March 16, 2015
Review originally posted at: http://vivelaqueen.blogspot.com/2015/...
In Fashion Victims: Dress at the Court of Louis XVI and Marie Antoinette, Kimberly Chrisman-Campbell delves into the aesthetics, evolution and multifaceted meanings of fashion in France from the 1770s through the revolution and its aftermath.
The book is separated into four distinct parts (Court and City, New and Novel, Fashion and Fantasy, Revolution and Recovery) and each part is further distinguished by chapters covering different aspects of fashion that fit under each part's theme. All four parts of the book are also supplemented by a short introduction that introduces the themes of each section.
In "Court and City," for example, Chrisman-Campbell discusses Marie Antoinette's penchant for fashion as well as her influence on the burgeoning fashion industry; the part also discusses the rise of "petite-maitresses," a term designated for women who were devoted to keeping up with the latest fashions, however rapidly changing or ridiculous they might be; and finally the role of the marchande de modes, such as the famous Rose Bertin, without whom the evolution of late 18th century fashion may not have been possible.
My favorite aspect of the book is Chrisman-Campbell's abundant use of various contemporary sources in her text. She quotes and analyzes material from fashion magazines, newspapers, memoirs, letters, revolutionary pamphlets and other sources; these sources give great insight into how fashion was viewed on a commercial, social and even personal level by the people who were directly impacted by it. I also greatly appreciated Chrisman-Campbell's insights into subjects that are not typically discussed in books about this period, such as chemise gowns and the chemise a la reine, the status of fashion for French emigres who fled during the revolution, extensive details about mourning fashion and its social customs, and the wave of "Anglomania" that crept into French fashions in the 1780s.
Fashion Victims is filled with gorgeous contemporary paintings, engravings,and illustrations as well as photographs of existing 18th century garments. The image reproductions are high quality and provide an excellent companion to Chrisman-Campbell's text. More important than the images, however, is the text itself. Fashion Victims is not just a pretty book: it is filled with interesting, insightful and in-depth scholarship by Chrisman-Campbell, who discusses everything from the details of elaborate court dresses to the scandal and acceptance of chemise a la reines to elaborate mourning customs to some of the strangest coiffures, like those made to celebrate smallpox vaccinations.
I highly recommend Fashion Victims, Dress at the Court of Louis XVI and Marie Antoinette by Kimberly Chrisman-Campbell to anyone interested in fashion history, 18th century fashion, Marie Antoinette, or the French Revolution. The book is currently in-print from Yale University Press.
[I received a copy of this book from the publisher upon my request.]
In Fashion Victims: Dress at the Court of Louis XVI and Marie Antoinette, Kimberly Chrisman-Campbell delves into the aesthetics, evolution and multifaceted meanings of fashion in France from the 1770s through the revolution and its aftermath.
The book is separated into four distinct parts (Court and City, New and Novel, Fashion and Fantasy, Revolution and Recovery) and each part is further distinguished by chapters covering different aspects of fashion that fit under each part's theme. All four parts of the book are also supplemented by a short introduction that introduces the themes of each section.
In "Court and City," for example, Chrisman-Campbell discusses Marie Antoinette's penchant for fashion as well as her influence on the burgeoning fashion industry; the part also discusses the rise of "petite-maitresses," a term designated for women who were devoted to keeping up with the latest fashions, however rapidly changing or ridiculous they might be; and finally the role of the marchande de modes, such as the famous Rose Bertin, without whom the evolution of late 18th century fashion may not have been possible.
My favorite aspect of the book is Chrisman-Campbell's abundant use of various contemporary sources in her text. She quotes and analyzes material from fashion magazines, newspapers, memoirs, letters, revolutionary pamphlets and other sources; these sources give great insight into how fashion was viewed on a commercial, social and even personal level by the people who were directly impacted by it. I also greatly appreciated Chrisman-Campbell's insights into subjects that are not typically discussed in books about this period, such as chemise gowns and the chemise a la reine, the status of fashion for French emigres who fled during the revolution, extensive details about mourning fashion and its social customs, and the wave of "Anglomania" that crept into French fashions in the 1780s.
Fashion Victims is filled with gorgeous contemporary paintings, engravings,and illustrations as well as photographs of existing 18th century garments. The image reproductions are high quality and provide an excellent companion to Chrisman-Campbell's text. More important than the images, however, is the text itself. Fashion Victims is not just a pretty book: it is filled with interesting, insightful and in-depth scholarship by Chrisman-Campbell, who discusses everything from the details of elaborate court dresses to the scandal and acceptance of chemise a la reines to elaborate mourning customs to some of the strangest coiffures, like those made to celebrate smallpox vaccinations.
I highly recommend Fashion Victims, Dress at the Court of Louis XVI and Marie Antoinette by Kimberly Chrisman-Campbell to anyone interested in fashion history, 18th century fashion, Marie Antoinette, or the French Revolution. The book is currently in-print from Yale University Press.
[I received a copy of this book from the publisher upon my request.]
March 16, 2016
I've been getting really into costuming lately, for reasons I honestly can't articulate, with the result that I have been getting a LOT of costuming books on inter-library loan. I'm pretty sure the people in my local ILL office think there's a new stage or something in town. Anyway, Fashion Victims came in sometime in March and I went through it pretty damn quickly.
Fashion Victims does a very good job of striking that elusive nonfiction balance between academic rigor and readability. Chrisman-Campbell quotes extensively from contemporary material and includes as many pictures as she can; many of them were the extant examples of clothing from the period, but where she couldn't include those, she instead put in contemporary illustrations from the emerging fashion magazines of the period.
The thesis of the book is that French court fashion was so intertwined with politics and the actual life of the nation that, in some senses, the relaxing of court fashion caused the revolution by blurring class lines and allowing the lower classes to dream of a better life. I don't know that I super agree with that, but Chrisman-Campbell does make a very intriguing case. Perhaps fashion as a reflection of the class lines blurring in other senses, a correlation instead of a causation? I don't know for sure.
A little bit about how the book itself is set up: it's divided into four parts with four distinct themes. The parts and their themes are, in order: Court and City, about the interplay of court fashion and city fashion, and the links between them; New and Novel, about the rapid evolution of fashion and the way new and novel became everyone's watchword; Fashion and Fantasy, about the way the French court appropriated various events and peoples and transformed and reflected them in their fashions; and Revolution and Recovery, about how fashion played into and was changed by the revolution and the aftermath. It's a really good read. If you're interested in costuming at all, maybe see if your local library can get hold of it for you.
Fashion Victims does a very good job of striking that elusive nonfiction balance between academic rigor and readability. Chrisman-Campbell quotes extensively from contemporary material and includes as many pictures as she can; many of them were the extant examples of clothing from the period, but where she couldn't include those, she instead put in contemporary illustrations from the emerging fashion magazines of the period.
The thesis of the book is that French court fashion was so intertwined with politics and the actual life of the nation that, in some senses, the relaxing of court fashion caused the revolution by blurring class lines and allowing the lower classes to dream of a better life. I don't know that I super agree with that, but Chrisman-Campbell does make a very intriguing case. Perhaps fashion as a reflection of the class lines blurring in other senses, a correlation instead of a causation? I don't know for sure.
A little bit about how the book itself is set up: it's divided into four parts with four distinct themes. The parts and their themes are, in order: Court and City, about the interplay of court fashion and city fashion, and the links between them; New and Novel, about the rapid evolution of fashion and the way new and novel became everyone's watchword; Fashion and Fantasy, about the way the French court appropriated various events and peoples and transformed and reflected them in their fashions; and Revolution and Recovery, about how fashion played into and was changed by the revolution and the aftermath. It's a really good read. If you're interested in costuming at all, maybe see if your local library can get hold of it for you.
July 31, 2015
If it were possible to give more stars, I would. The book is lavishly illustrated in excellent color and has a number of close-up views of paintings and other documentation and of the fabrics and clothes themselves. Campbell interweaves fashion, the influence of the court on clothing, the influence of fashionable clothing on the French economy, the evolution of the revolution and social change and social philosophy in a clear way despite the intricacies of their intertwinings. She includes new documents, never-before-published illustrations, and the latest historical research about the revolution to produce a book of interest to all those fascinated about this period, costume design, the textile and clothing trades, the tragedies of those caught up in the revolution, etc. Despite its cost, the book is well worth purchasing.
October 2, 2017
In Fashion Victims: Dress at the Court of Louis XVI and Marie Antoinette, Kimberly Chrisman-Campbell discusses the evolution, aesthetics, as well as the politics and social influence of fashion in France at the end of 18th century, during the French Revolution, and its aftereffects. She interweaves the influence of fashion of the French court with the clothing and textile trade, the French economy, and the social classes after the Revolution by sectioning the book into four main parts: “Court and City”, “New and Novel”, “Fashion and Fantasy”, and “Revolution and Recovery”, with each section being accompanied by an introduction and its own chapters.
Each section discusses the popular trends that swept across French society, such as the pouf à l’inoculation, set upon the head of a woman’s powdered coiffure to celebrate the success of the small pox vaccine. The sections also expand on mourning wardrobe, the influence French fashion trends had on American fashion, or “Fashions à l’Américaine"; and consistently argues the important role fashion played in the political and social change of the era. For example, in “Part I: Court and City”, Chrisman-Campbell eloquently discusses the evolution and evocation of fashion through three main female archetypes: the queen, the petite-maîtresse, and the marchande de modes. Three women, who each played key roles in the eventual blurring of the lines between who was allowed to wear what; and seeing the end of the sumptuary laws that reinforced the long standing social hierarchy.
Kimberly Chrisman-Campbell is an art historian specializing in fashion and textiles. She has a tentative focus on French painting and decorative arts of the seventeenth, eighteenth, and nineteenth centuries. The caliber of her work and expertise in the subject shine in her analysis of the dissemination of fashion of the 18th century and following, the dissemination of ideas. Her book stands out from others because not only does she discuss the fashion of French aristocracy and royalty, she encapsulates all of French society. Those who are fashion historians, who are interested in costume design, or lovers of the ancien régime or French history in general would enjoy this book. She is able to provide a discussion on the role of 18th century fashion in social and political change without making the reader feel like they are forced into a tedious, long history lesson. Although I feel like it's aimed at a limited audience, Fashion Victims is easy for anyone to follow along with and understand. Chrisman-Campbell is organized and writes clearly and concisely while adding appropriate color plates to accompany her research when possible.
Each section discusses the popular trends that swept across French society, such as the pouf à l’inoculation, set upon the head of a woman’s powdered coiffure to celebrate the success of the small pox vaccine. The sections also expand on mourning wardrobe, the influence French fashion trends had on American fashion, or “Fashions à l’Américaine"; and consistently argues the important role fashion played in the political and social change of the era. For example, in “Part I: Court and City”, Chrisman-Campbell eloquently discusses the evolution and evocation of fashion through three main female archetypes: the queen, the petite-maîtresse, and the marchande de modes. Three women, who each played key roles in the eventual blurring of the lines between who was allowed to wear what; and seeing the end of the sumptuary laws that reinforced the long standing social hierarchy.
Kimberly Chrisman-Campbell is an art historian specializing in fashion and textiles. She has a tentative focus on French painting and decorative arts of the seventeenth, eighteenth, and nineteenth centuries. The caliber of her work and expertise in the subject shine in her analysis of the dissemination of fashion of the 18th century and following, the dissemination of ideas. Her book stands out from others because not only does she discuss the fashion of French aristocracy and royalty, she encapsulates all of French society. Those who are fashion historians, who are interested in costume design, or lovers of the ancien régime or French history in general would enjoy this book. She is able to provide a discussion on the role of 18th century fashion in social and political change without making the reader feel like they are forced into a tedious, long history lesson. Although I feel like it's aimed at a limited audience, Fashion Victims is easy for anyone to follow along with and understand. Chrisman-Campbell is organized and writes clearly and concisely while adding appropriate color plates to accompany her research when possible.
January 6, 2023
This book definitely joins my list of fashion history books that are academic, yet incredibly accessible, which are books that are a pleasure to read and make my nerdy heart very happy. In 2021 I read a lot of these kind of books, but not so much in 2022. This one was probably the best book I read in 2022 - there's a lot of information, but it's presented so well, with categories clearly laid out and developing throughout the book so by the end you get a complete picture of fashion in the late 18th century, both within the court and how it was worn and disseminated outside of the court. I'd definitely recommend to anyone interested in 18th century fashion history and more social/cultural history. This is the type of book I'd aspire to write: accessible to non-academic audiences, but so indepth and rich in information.
March 24, 2026
A solid book but I have a few critiques
1. Not all fashions and clothing pieces are explained, which makes for confusion in a book on fashion. If you invoke the pierrot jacket without explaining what it is this will confuse your audience. A glossary may have helped.
2. Chrisman-Campbell loves the term "politically correct" which is a term that has so many meanings it has to be defined to be used (much like orientalism means different things when speaking about France or England or Russia). How is fashion politically correct or incorrect? Explaining this would have been a great addition to her argument.
3. Not a very strong conclusion.
Still very interesting and beautifully printed.
1. Not all fashions and clothing pieces are explained, which makes for confusion in a book on fashion. If you invoke the pierrot jacket without explaining what it is this will confuse your audience. A glossary may have helped.
2. Chrisman-Campbell loves the term "politically correct" which is a term that has so many meanings it has to be defined to be used (much like orientalism means different things when speaking about France or England or Russia). How is fashion politically correct or incorrect? Explaining this would have been a great addition to her argument.
3. Not a very strong conclusion.
Still very interesting and beautifully printed.
December 12, 2020
A detailed, well-researched book about the history of fashion during the late 18th century to early 19th century—a time span of 25-30 years but with a fantastic legacy. It isn’t only centred on the historical figures like Marie-Antoinette and her courtiers but also the dressmakers and textile merchants. If you’re interested in this time period of history or fashion history, read this book.
May 23, 2022
This book was brilliant for writing research. It details the different styles and trends of fashion in 18th century France along with examining how fashion related to and ultimately changed with the revolution.
November 12, 2017
Absolutely fascinating look at the importance of dress and its relationship to power on the evening of the French Revolution.
March 20, 2020
Beautiful paintings, very detailed history of the lead up to the French Revolution.
March 16, 2015
Fascinating, beautifully illustrated book covers the end of the ancien regime into the middle of the Revolution. Great explanations of the fine points of court dress, modistes vs. other fashion makers, the lack of ready-made clothes, lengths and types of mourning at the court, etc. Superb.
October 31, 2015
Excellent book--great text and lovely photos with good color reproduction and clarity. There were many photos I had not seen in other books, which was a plus.
Displaying 1 - 13 of 13 reviews