Running until 17th September, this unusual exhibition at the Musée des Arts décoratifs in Paris is dedicated to the history of hair and hairs in the Western world. Through over 600 works, this journey demonstrates how hairstyles and the grooming of human hair have contributed to the construction of appearances for centuries.
What do a 17th century Flemish oil painting of Queen Elizabeth Stuart, Courbet’s L’Origine du monde and a Pierre et Gilles photograph have in common? All three works tell us about our hair (and hairs) and how hairstyles and body hair grooming have helped shape self-expression in Western society.
Following La mécanique des dessous (2013), Tenue correcte exigée ! (2017) and Marche et démarche (2019), the musée des Arts décoratifs continues its exploration of the relationship between the body and fashion with this surprising and original fourth instalment.
Bringing together over 600 works and objects from the 15th century to present day, the retrospective is divided into five acts. A comprehensive journey allowing viewers to reflect on how the status of hair and body hair – sometimes wild and unruly, sometimes groomed and tamed – has changed over time.
Evolution of fashions and customs
The first part of the exhibition is historical, with a study on the evolution of women’s hairstyles. Medieval paintings remind us that wearing a veil was compulsory for women until the 15th century, before being abandoned in favour of extravagant and ever-changing hairstyles. Paintings from this period thus depict hairstyles “to the Hurluberlu” and “to the Fontange” after the name of Louis XIV’s mistress, then the high capillary constructions known as “poufs” as well as “the giraffe” and curls which were in vogue during the 19th century.
From these convoluted feminine hairstyles to the wigs of the Drag Race UK drag queens; from the beard as a symbol of male virility, to later being banned at court and ultimately becoming a hipster trademark – this exhibition depicts the evolution of fashions, perceptions, customs and societies. Over the course of this journey, we hear Ginette Garcin sing us a love song about hair, while discovering not only paintings, sculptures, razors, hair curlers, combs, wigs and various moustache clips, but also advertising posters and archive footage.
In addition to covering trends in all their extravagance, the exhibition also tackles the more symbolic aspects of hair and the various practices associated with it, such as hiding, removing and exposing body hair. Hairiness is rarely shown in ancient paintings, and is in many cases completely absent. The hairless body is synonymous with idealised bodies of ancient times, while the hirsute body is associated with virility. Towards 1910 to 1920, when women were starting to uncover their bodies, magazine adverts extolled the virtues of hair removal cream and razors to erase all evidence of body hair.
Hairstyles: a vehicle for creativity and protest
The exhibition also shines a light on the various trades and skills from the past and present day. Visitors can therefore retrace the steps of the leading figures in hair: Léonard Autier, Marie-Antoinette’s favourite hairdresser; the Carita sisters; and Alexandre de Paris, who styled the hair of princesses and celebrities, as well as contemporary studio hairdressers, whose incredible creativity is expressed on the haute couture runways.
A section devoted to hair in the fashion industry also evokes iconic hairstyles from the 20th century: from the 1920s pixie cut to the punk Mohawk, via the permed, cropped styles and beehives of the 1960s, hairstyles are used not only to convey a message or adhere to a fashion, but also as a means of liberation or expressing conviction. The last part of the exhibition showcases designers who have chosen to transform hair into a unique fashion object, such as Maison Martin Margiela’s coat made from wigs in tribute to Sonia Rykiel and the spectacular Black Lips wig designed by Charlie Le Mindu for Lady Gaga.
The exhibition draws to a close with a reality check for visitors, with the final wall drawing our attention to the Iranian women who are cutting off their hair as a symbolic protest against the ruling Islamist regime. The exhibition starts by highlighting how women were forced to wear the veil throughout medieval times and ends by flagging the current situation in Iran, proving that hair-related issues extend far beyond fashion. The circle is complete…
The Musée des Arts décoratifs (MAD Paris) in a few words
In the heart of Paris in the Louvre Palace, the Musée des Arts décoratifs houses one of the largest collections of decorative arts in the world. In recent years, this ancient museum has also become one of the most popular Parisian institutions following the success of its temporary exhibitions on fashion and design. From Dior to Schiaparelli, from Années 80 to this ground-breaking exhibitionon hair and hairs, MAD never fails to create a buzz. Its sense of impetus is shared by Maison Taittinger, the institution’s partner, which supports the museum’s work to enhance and develop its collections, to promote creation as well as to implement all its cultural and educational projects.
