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At the Louvre, the Biggest Fashion Show in Paris

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At the Louvre, the Biggest Fashion Show in Paris

Sixteenth-century ornamental timepieces frame a crystal-studded metal bodysuit by Thierry Mugler. Gilded silver reliquaries with sculpted hands stand next to a pair of Hermès gloves. A ceramic hand warmer from Faenza, Italy, that looks like a book is twinned with a Chanel clutch that looks like a book.

This is “Louvre Couture,” the first fashion exhibition at the famed Paris museum in its 231-year history.

The last time haute couture caused so much excitement at the Louvre was in 1957, when, in the film “Funny Face,” Audrey Hepburn posed in front of the Winged Victory of Samothrace in a strapless red Givenchy gown and rushed down the Daru staircase, lifting a matching chiffon scarf over her head.

Forty-five fashion houses and designers — from Cristóbal Balenciaga to Iris van Herpen — have lent the museum 100 ensembles and accessories, dating from 1960 to 2025. They are arrayed not among the Louvre’s famous paintings and marble sculptures but throughout the nearly 100,000 square feet of its decorative arts department.

The department, whose unwieldy collection ranges from the Middle Ages to the early 19th century, is crammed with thousands of objects: medieval armor, Renaissance tapestries, carved ivories, bronzes, ceramics, imperial silverware and furniture.

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“It is not easy to enter our museum, especially our collection,” said Olivier Gabet, the director of the decorative arts department. “Our objective is to make more people, different people, younger people, happy, free and relaxed when they come here. We say to them: ‘OK, you love fashion. Fashion is a bridge to us.’”

With this exhibition, which opens on Jan. 24, the Louvre joins the ranks of institutions that have discovered how to use the popular culture of dress as a gateway into the world of art. And, more than ever, fashion is seducing French museums and artistic spaces.

Two weeks before the Louvre opened its exhibition on Jan. 24, Dolce & Gabbana opened a fashion spectacle of its own: “From the Heart to the Hands,” in the newly renovated Grand Palais. First opening in Milan last spring, the traveling costume retrospective features more than 200 creations of the house within immersive video installations and elaborate sets.

But this is not a museum exhibition. “This is an experience that is primarily joyful,” said Florence Müller, the creative director of the exhibition. “It is secondarily intellectual. It is not meant to be in a museum.”

Next month, the Musée du Quai Branly, a collection of African, Oceanic, American and Asian works, will open “Golden Thread,” an exhibition focusing on the art of using gold to adorn clothing and jewelry. In May, the Petit Palais, which belongs to the city of Paris, will mount “Worth: The Birth of Haute Couture,” a retrospective on the life and work of the British designer Charles Frederick Worth (1825-1895).

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Two fashion museums, one with collections belonging to the state (the Musée des Arts Décoratifs), the other to the city (Palais Galliera), have long featured dazzling permanent collections and temporary exhibitions. More recently, luxury groups like LVMH and Kering have opened their own art exhibition spaces. And Saint Laurent, Dior and Alaïa have all created permanent spaces to show their work.

“Museums and fashion have been dancing with each other for decades,” said Pamela Golbin, the former chief curator of fashion and textiles at the Musée des Arts Décoratifs. “Now there’s a real rapprochement. It is not always a successful pairing, but if it triggers an interest from the public — if it can see the art differently — it’s a great way to use the power of fashion.”

The defining example of this approach is, of course, the Metropolitan Museum of Art in New York, where the Costume Institute’s blockbuster shows are among the museum’s most visited every year. In acknowledgment of fashion’s ability to lure visitors, the Met is in the midst of a renovation that will relocate the fashion department from the basement, where it has historically been situated, to the former gift shop in the Great Hall, the majestic main entrance.

The Louvre, with 8.7 million visitors in 2024, doesn’t need fashion to boost attendance. On the contrary, it has capped its daily attendance to 30,000 to reduce overcrowding. Only 23 percent of visitors to the Louvre are French; the rest are foreigners. And 66 percent of its visitors are first-timers, almost all of whom line up to see the Mona Lisa.

Since Laurence des Cars became the museum’s director in 2021, she has struggled to woo returning visitors, a younger crowd and more Parisians into the Louvre. She has opened the museum on some evenings, organized concerts and theatrical performances and experimented with a dance-and-exercise circuit. The new fashion exhibition fits neatly into this strategy.

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Indeed, Ms. des Cars expresses so much admiration for the Met’s initiatives that some of her curators complain that she is Met-obsessed.

It is no accident that the Louvre — perhaps in a faint echo of the Met Gala — is twinning the new fashion exhibition with a fund-raising gala, Le Grand Dîner du Louvre, during Paris Fashion Week in March. Dinner will be served among the marble sculptures in the glass-roofed Cour Marly and will be followed by dancing under the pyramid. More than 30 tables were put up for sale, and the fund-raising goal of a million euros has already been exceeded, the museum said.

This exhibition is the natural next step for the Louvre, which has already tiptoed into the world of fashion. In 2022, it was one of six prestigious French museums that commemorated the 60th anniversary of the house of Saint Laurent by exhibiting 50 of his creations among their permanent collections. The Louvre put four of his embroidered and jeweled jackets near the French crown jewels in its gilded Apollo Gallery.

Currently, the small Musée National Eugène-Delacroix, which belongs to the Louvre, has an exhibition called “States of (Un)dress: Delacroix and Clothing,” which explores how carefully the artist chose the clothing in his paintings. And in March, Louvre-Lens, the satellite Louvre museum in northern France, will open an exhibition called “The Art of Dressing: Dressing Like an Artist,” examining what artists chose to wear and why, from the Renaissance to the present day.

“Art historians often have to know the history of clothing in order to know the history of art,” said Bruno Racine, the former head of France’s National Library who now heads the Palazzo Grassi in Venice, which belongs to the French billionaire François Pinault, founder of the Kering luxury group. “This is nothing artificial.”

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The Louvre can never match the Met when it comes to fashion. Unlike the Met, the Louvre is not a private museum but a hierarchical, state-run institution with a limited budget that takes its orders from the Culture Ministry and, ultimately, the French president.

And the Louvre has no clothes. The cruel irony is that France’s national textile collection does belong to the museum but to the Musée des Arts Décoratifs, which is housed inside the sprawling Louvre structure but is independent of the Louvre museum.

In a confidential memo to the culture minister Rachida Dati earlier this month, Ms. des Cars condemned the disastrous physical state of the museum, including water leaks and temperature variations that endanger artworks, overcrowding, insufficient toilet facilities and poor signage.

Even the glass pyramid showpiece designed by I.M. Pei and inaugurated in 1989 was “very inhospitable,” according to the memo, excerpted on Thursday in Le Parisien newspaper.

But for now, at least, the Louvre’s decorative arts department has one of the best stage sets for showing fashion — namely, the apartments of Emperor Napoleon III. The 40-foot-high Salon-Theatre oozes magnificent excess with crystal chandeliers, a fresco-filled ceiling and gold-leafed stucco ornamentation with vases of flowers and angels playing instruments.

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A mannequin wearing an embroidered red silk and cut-velvet ball gown with a deep ermine hem designed by John Galliano for Christian Dior is set in the center of the Salon. The gown matches the Salon’s red cut-velvet upholstery and drapes perfectly. She looks right at home.

Elaine Sciolino , a contributing writer for The New York Times in Paris, is the author of “Adventures in the Louvre: How to Fall in Love with the World’s Greatest Museum,” to be published in April 2025.

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Hunting For Lexapro Clocks, Viagra Neckties and Other Vintage Pharmaceutical Merch

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Hunting For Lexapro Clocks, Viagra Neckties and Other Vintage Pharmaceutical Merch

Zoe Latta, a co-founder of the fashion brand Eckhaus Latta, saw the clock on Instagram and started searching for pharma swag on eBay. “It was just a hole I got in,” she said. Latta soon rounded up some examples at “Rotting on the Vine,” her Substack newsletter, describing them as “silly byproducts of our sick sad world.”

Pharma swag feels somewhat like Marlboro Man merch — “like this very specific modality of our culture that’s changed,” Latta said, adding, “At first, I thought it was ironic and cheeky. But it’s also so dark.”

In particular, swag like the OxyContin mugs that read “The One to Start With. The One to Stay With” is regarded as highly collectible and highly contentious. Jeremy Wells, a newspaper owner and editor in Olive Hill, Ky., remembered, for example, seeing the mugs sold at a Dollar Tree in New Boston, Ohio, in the late 1990s or early 2000s. “At the same moment that the epidemic is blowing up,” he said.

“You can do a chicken-and-egg argument, and I doubt very seriously that those mugs made anybody get addicted,” he said. “But I do feel like things like those mugs did add to the mystique and the aura of seduction.” (After a protracted lawsuit, Purdue Pharma, the maker of OxyContin, has been dissolved and is on the hook to pay more than $5 billion in criminal penalties for fueling the opioid epidemic.)

“I was surprised to see how much this stuff was selling for in general — there is demand,” Latta said, pointing to a vintage Xanax photo frame listed for $230. Latta said she could imagine buying it for a friend who takes Xanax on planes (“if it was at a thrift store for under $10”) or maybe a pair of Moderna aviator sunglasses that she found, which seem to nod at Covid vaccines and the signature Biden eyewear, she said.

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Pharmacore — medical-branded pieces worn as fashion — has found new expression at the confluence of identity, medicine and commerce, and at a time when skepticism toward pharmaceuticals is at a high (see: the MAHA movement).

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He’s your ex, not your son. Unconditional love does not apply

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He’s your ex, not your son. Unconditional love does not apply

Goth Shakira wears a Blumarine jacket, vintage Jean Paul Gaultier top from Wild West Social House, Jane Wade bra and Ariel Taub earrings.

My ex-boyfriend, whom I just got out of a relationship with, had a pure heart and was a loyal lover. However, he lacked ambition and his family didn’t have the best values. I don’t see myself raising children with him because I don’t want my kids to be surrounded by his family. (I broke up with him on the night of his birthday because his sister got violent with me.) We dated for over a year and I’d always be the one to take care of the check when we’d go out on dates. He had no network, so we would always hang out with my friends and colleagues. Am I wrong for leaving him? Is his loyalty worth going through all that?

Girl. (“Girl” is a gender-neutral term of endearment, by the way.) I’m going to need you to take a deep breath, look at your gorgeous self in the mirror and relish in the fact that you have made the right decision.

First, let’s focus on the good. Loyalty and purity of heart are beautiful traits that many, many people on this earth have. When you find someone who does, and then combine that with your attraction and attachment to this person (along with the reality that many, many people also lack these traits), it makes sense that you’d be feeling like your ex is a rare find that you might not encounter again. However, you can care for someone, and also acknowledge the truth that the life they are setting themself up for is not the life you envision living — or, crucially, the life that you envision your children living. A long-term partnership is so much more than love. It requires a shared vision for fulfillment and happiness, based on compatible values. It necessitates a wholeness from both parties, wherein two individuals take ownership and accountability over their own success and well-being. It is loving to let someone go so they can live their life in peace and free of judgment, and even find someone else whose version of an ideal life more closely matches theirs. Most importantly, letting someone go who you know is not aligned with the life you want to live is a deeply self-loving act.

The meaning I glean from your words is this: It’s not so much that you yearn for him romantically and fear you made a mistake simply because your life is empty without him. (In fact, it sounds like you were the one adding a lot of value to his otherwise limited existence through your resources.) It seems that you feel guilty for leaving him behind as you went on to pursue a better life for yourself. That kind of feeling is more caretaking, and dare I say maternal, than loving (at least the kind associated with romantic partnership). He’s your ex, not your son. Unconditional love is only healthy and appropriate in the context of a parent-child relationship, and that’s not the situation here. People who engage in romantic relationships with men — women, femmes, gay men, etc. — are socialized to be ever-forgiving, to have infinite patience and compassion. The lines get blurred when you do feel kindness and genuine compassion for someone you care about. It can be difficult to discern when you’re being too harsh, and when you’re just setting a healthy boundary. Society makes it difficult for us in that way. But we don’t have to succumb to that pressure.

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You can’t fall in love with someone’s potential. If a person, especially a man, shows up to a relationship as someone you can’t envision spending an extended period of time with, then that’s not your person. Not only is it impossible to truly “fix” or “change” anyone, it’s simply not an efficient or productive use of your precious energetic and material resources. Of course, we all change over time, and hopefully in positive ways. But that change needs to be self-directed, coming from within each individual. “Change” exerted on another through force robs the receiving party of the dignity of authoring their own life path. Even the verbiage of your question indicates that you’ve already extended a lot of generosity and patience toward someone who didn’t feel like working toward social and financial independence, and setting boundaries with their family should have been a top priority. I can sense your exhaustion underneath the guilt. That’s the root of the matter. And what matters is you.

I can sense your exhaustion underneath the guilt.

Loss is just space. It can hurt and feel empty at first. But it also allows you the room you need to expand your world with abundance, not shrink it and drain it into scarcity. Affirm in your heart and in your mind that love itself is an infinite resource. If you channel the patience and generosity that you once put into your ex into a life where you are fulfilled to the utmost, the right person (or people) will find you.

And, girl. Some time from now, when you are loved by a man who takes his own dignity seriously, and supports you in the feminine energy of rest and calm that you deserve to experience and embody, you will be so grateful to this current version of you that had the courage to let go. I’m proud of you.

Photography Eugene Kim
Styling Britton Litow
Hair and Makeup Jaime Diaz
Visual Direction Jess Aquino de Jesus
Production Cecilia Alvarez Blackwell
Photo Assistant Joe Elgar
Styling Assistant Wendy Gonzalez Vivaño

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She Had Seen Her in Photos. Then They Met in Real Life.

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She Had Seen Her in Photos. Then They Met in Real Life.

The kiss finally happened at a Halloween party Chatterjee hosted at her apartment, while the two were watching “American Psycho” on the couch at 3 a.m., when everyone else had gone out for food. “We’re sitting so close our legs are touching and I’m freaking out,” Braggins said.

“I looked at Abby, and I was like, ‘I’d rather kiss you than watch this,’” Chatterjee said. So they did. About a month later, they were official.

On April 10, Braggins suggested they take a trip to Home Goods in Brooklyn. When they ended up at Coney Island Beach instead, Chatterjee was none the wiser. It was an early morning, so the two, along with the dog they adopted together, Willow, enjoyed having the beach to themselves.

Braggins ran ahead with Willow and crouched behind some rocks. When Chatterjee got a glimpse of Willow, there was a bandanna tied around her neck. It said, “Will you marry me?” Braggins pulled out a shell with a ring in it. The answer was yes.

A few days before, Chatterjee had proposed to Braggins amid a gloomy, cloudy sky on top of the Empire State Building.

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The two were married on April 21 at the New York City Marriage Bureau, in front of three guests, by Guohuan Zhang, a city clerk. Afterward, they celebrated at Bungalow, an Indian restaurant in the East Village, with a few more friends.

Though Chatterjee’s parents were not present at the wedding, one of the couple’s most meaningful moments came in 2023, when Braggins traveled to India to meet Chatterjee’s family for the first time. Chatterjee had never brought a partner home before, and she had warned Braggins that same-sex relationships were still not widely accepted there. But by the end of the trip, Chatterjee’s mother had embraced Braggins as family, telling her, “I have two daughters now.”

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