Getting Dressed in Paris 2025, Part I

Summary

Podcast Summary: Dressed: The History of Fashion

Episode: "Getting Dressed in Paris 2025, Part I"

Hosts: April Callahan and Cassidy Zachary

Date: September 3, 2025

Main Theme & Purpose

In this episode, hosts April Callahan and Cassidy Zachary return from a summer hiatus to deliver a rich recap of their annual Dressed Fashion History Tour in Paris. This two-part special (with Part I covered here) explores the blockbuster fashion exhibitions of Paris in the summer of 2025, personal highlights from their tours, and expert insights into the social and cultural histories showcased through landmark museum displays. The hosts also unveil updates to the podcast format and tease exciting offerings for their listeners this fall.

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Episode Highlights by Topic & Timestamps

1. Welcome Back, Show Updates & New Offerings [01:12–05:18]

• Return from Hiatus: April and Cassidy explain their extended break, necessitated by summer travels and fashion history tours, expressing gratitude for listener patience.
• Format Change: Going forward, Dressed will release one new episode and one re-air ("Dressed Classic") per week to allow for expansion into classes, tours, and a newsletter ([03:00]).
• Upcoming Events & Classes:
  • Newsletter featuring "musings" and updates ([03:42]).
  • December 2025 Fashion History Tour of New York City ([04:10]).
  • Cassidy's upcoming online class "What Women Wore to the Revolution, Part 2" (1930s–1960s), launching in October ([04:25]).
  • April's class on the history of Schiaparelli ([04:48]).

Notable Quote:

"We're actually going to be switching the format of the show just a smidge...one new episode a week and one re-aired episode a week from our cache of Dressed classics."
— April Callahan [03:00]

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2. Summer 2025 in Paris: Blockbuster Exhibitions Overview [05:18–06:21]

• 2025 was exceptional for the sheer number of major fashion exhibitions in Paris.
• Plan for the episode: Discuss key exhibitions, highlight standout objects, and preview a surprise guest for Part II.

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3. Review: Louvre Couture Exhibition [06:21–16:36]

Key Points:

• Historical Milestone: The Louvre's first fashion exhibition in over 200 years, curated by Olivier Gabay.
• Exhibition Layout: 100 fashion objects were spread across 9,000 sqm of the decorative arts galleries, creating a "fashion history treasure hunt" ([10:43]).
• Strengths & Critiques:
  • Visual connections between high fashion and masterpieces across centuries.
  • First-time experiences for many with objects in dialogue across art and fashion.
  • Lacked explanatory wall text, making navigation initially confusing; required a special exhibition map.
  • The show focused on visual impact rather than social or cultural context.

Notable Quotes:

"If you have to have a map to find the fashion in the fashion exhibition—is this a successful exhibition? I'm just gonna throw that out there."
— April Callahan [14:08]

"Some people in our group really loved that fashion exhibition and said that was reason enough just to come to Paris."
— Cassidy Zachary [15:03]

Standout Objects:

• Alaïa dress combining chainmail and chiffon, paired with chainmail art ([11:41]).
• Thierry Mugler's 1995–96 silver and gold metal corset, displayed with gold clocks ([13:06]).
• Balenciaga toiles—rare chance to see the designer’s work-in-progress up close ([15:42]).

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4. Review: House of Worth at Petit Palais [16:36–26:10]

Key Points:

• Comprehensive Survey: Nearly 400 works showcased in an exceptional collaboration between the Palais Galliera and Petit Palais.
• Contextual Depth: The exhibition masterfully traced the evolution of Worth's fashion house through generations, blending garments with paintings, sketches, correspondence, and more.
• Standout Themes:
  • Fancy Dress Costumes: Lavish costumes for high-society balls, often incorporating real jewels and historic textiles ([19:24]).
  • Upcycling: Example of an 18th-century embroidered waistcoat incorporated into an innovative women's jacket ([20:00]).
• Craftsmanship: Praised for exemplary mannequin dressing and revealing the extraordinary quality of old haute couture fabrics.

Notable Quotes:

"This was the pinnacle of this art form of dressing mannequins for museum exhibitions...So beautifully done."
— April Callahan [24:15]

"The Worth exhibition zooms in on one creator and puts him in this incredible context as this creator of some of the most exceptional and coveted gowns..."
— Cassidy Zachary [17:51]

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5. Review: Poiret — "Fashion is a Feast" at Musée des Arts Décoratifs [28:36–35:32]

Key Points:

• Dedication to Paul Poiret: The museum’s first solo show on this pivotal designer, whose work is newly accessible thanks to the vast collection from his wife, Denise Poiret.
• Personal History: Garments not only from Poiret’s wife but also from Poiret himself and his children, offering unique intimacy ([32:14]).
• Highlights:
  • Multiple pieces from the 1907 “Les Robes de Paul Poiret” collection, notable for revolutionizing early 20th-century fashion by rejecting corsetry for neoclassical silhouettes ([33:05]).
  • Use of slanted boards for ultra-delicate dresses to preserve and display them.
  • Artefacts and illustrations emphasizing Poiret’s circle of collaborators and his own artwork ([34:17]).
• Critical Note: Exhibition skirted the complexities of Poiret’s later life and death; catalog provides more depth ([34:21]).

Notable Quotes:

"For me, it was. I didn't necessarily...I mean, there's certainly stuff that I learned...But again, just to be able to commune with those objects..."
— Cassidy Zachary [34:56]

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6. Review: Rick Owens & Fashion on the Move at Palais Galliera [35:32–43:17]

Rick Owens Show:

• Contemporary Focus: Retrospective of the avant-garde designer’s work, conceived as "fashion sculpture."
• Emotional Impact: Both hosts and museum-goers found the presentations deeply moving.
• Younger Audience: Praised for actively drawing in fashion students and young fans ([37:55]).
• References: Garments directly referencing Madame Grès and Leigh Bowery ([38:46]).

Fashion on the Move (Mu de Moment):

• Theme: Explores how fashion adapts to the moving body, especially sportswear.
• Object Rotation: Each iteration brings 180 new objects; this version emphasized ski wear and included a Schiaparelli skating costume ([42:37]).
• Favorite Objects: Motorist Blanket Breeches (protection for women in open-air cars, like an early Snuggie) ([41:35]).

Notable Quotes:

"...The entire point of exhibition is to commune with the public and engage with the public, but who that public isn't always the same. So I think...to get the attention of these young people and get them to this museum was incredibly, really cool."
— Cassidy Zachary [37:55]

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7. Additional Highlights from the Paris Tour [45:03–51:43]

Not-to-Miss Institutions:

• Musée du Parfum (Fragonard): Insight into perfumery, including a private shopping experience for tour attendees ([45:41]).
• Galerie Dior: Immersive chronology of the House of Dior, featuring toiles and live artisans ([46:50]).
• Versailles Day: Special focus on the Petit Trianon and Marie Antoinette’s hamlet, with host lectures on 18th-century etiquette and fashion ([47:09]).
• Rue de la Paix Walking Tour: Guided stroll down Paris’s historic street of haute couture establishments ([49:19]).
• Crazy Horse Club: Classy, sensual cabaret experience, a highlight for many travelers ([50:28]).

Pro Tip:

"If you want to explore the garden, do not have lunch in the palace itself. Go down to the Grand Canal...there are two restaurants right there...not listed on the Versailles website because they're independently run."
— April Callahan [48:03]

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8. Teasers & What’s Next [51:43–end]

• Special Guest: Rebecca Devani, founder of Textile Tours, will join for Part II to share her perspective on Paris fashion history tours ([51:43]).
• Upcoming Content: In-depth episodes on Worth and Poiret are in the works, as is expanded social media visual coverage.
• Connect with Dressed: Follow @dressed558 on Instagram for photos and recaps.

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Memorable Moments & Quotes

• On the Louvre Show:
  • “It was almost like a fashion history treasure hunt.” — April [09:16]
• On the Worth Exhibition:
  • “Just looking at some of these fabrics and embellishments, things like this practically do not exist anymore.” — April [25:26]
• On the Rick Owens Show:
  • “You could really feel the emotion in the clothes themselves and the way that it was presented.” — April [37:01]
• On Young Visitors at the Museum:
  • “All you could tell they were all Rick Owens fans by the way they dressed. And that was so cool.” — Cassidy [37:55]
• On the Personal Impact of Fashion:
  • “By the end of the tour, like the last dinner, people are always crying because they don’t want to leave.” — April [40:29]

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Concluding Thoughts

April and Cassidy’s annual Paris recap delivers a passionate, behind-the-scenes look at some of the fashion world’s most anticipated exhibitions, balancing critique with contagious enthusiasm and seasoned historical insight. Their expertise as fashion historians, teachers, and guides brings each exhibition to life for listeners, offering both practical travel advice and a deeper appreciation of what it means to get dressed—whether in Paris or anywhere else.

For visual highlights and more updates, follow @dressed558 on Instagram. Stay tuned next week for Part II and a guest appearance by Rebecca Devani!

Transcript

[April Callahan]

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[Cassidy Zachary]

Learn [e-mail] the history of fashion is a production of Dressed media. With over 8 billion people in the world, we all have one thing in common. Every day, we all get dressed.

[April Callahan]

Welcome to Dressed the History of Fashion, a podcast that explores the who, what, when of why we wear. We are friends, fashion historians and your hosts, April Callahan and Cassidy Zachary.

[Cassidy Zachary]

April, it is so lovely to see your face. We have been on quite the hiatus this summer.

[April Callahan]

Yes, we have. That's because we've been up to so, so, so much this summer. We just at one point found it unmanageable to be running all over the world and then also making brand new episodes. So that is why we have been re airing episodes while we were up to other activities from Dressed.

[Cassidy Zachary]

Yes, Dressed listeners, thank you for your patience with us. This was probably a one month longer hiatus than we usually do, but yeah, we were doing our passion history tours of Paris and then we needed a little bit of a break. So thank you for your patience. We are back. We are refreshed. Perhaps a little out of practice.

[April Callahan]

Yeah, we were like, we're probably gonna be rusty on this episode, but then again, this is episode 558.

[Cassidy Zachary]

So you know, and hopefully you've had fun. Dress listeners, I always have fun going back through our archive and picking episodes to re air because I even forget the episodes that we have done throughout this eight years, eight seasons that we have been doing this show.

[April Callahan]

Yeah, me too, me too, me too. I'm always like, did we do that? Did we not do that? And then I'll go back and like, oh, we did.

[Cassidy Zachary]

Yes, yes we did. And dressed listeners, today is our now annual Dressed Fashion History Tour of Paris Recap. We are doing A two part episode for you about all of the amazing fashion history adventures we experienced this summer. But before we do that, we want to fill you in on a couple new Dressed happenings. April, do you want to share what is new in the dressed universe starting with our episode?

[April Callahan]

Sure. Okay. On the heels of said hiatus, we decided that we needed a little break and we were a little bit burnt out. We're actually going to be switching the format of the show just a smidge. It's going to be coming to you every week, every still. But it's going to be one new episode a week and one re aired episode a week from our cache of Dressed classics, as we like to call them. And that is just because we've been doing this for so long. And also we're building out all these other aspects of what we do. Then we just realized that we needed a little more time for that. And Cass, do you want to talk about what those other aspects are?

[Cassidy Zachary]

Yeah. So as you know, dress listeners, we just started doing our newsletter. So the newsletter is the place where once a month you will find musings from April and I's desks or armoires or closets, as we say Cassidy's closet, April's armoire. And then we also share with you the new Dressed happenings as well. So we have that newsletter. We are also always working on those classes and tours. And actually we are in the midst of planning a December 202025 fashion history tour of New York City. Especially exciting time of year because of all the Christmas lights that are going to be up. So that's going to come your way in December. If you're interested, please send us an email and get on the first to know list for that. And then all of you who took my what Women Wore to the Revolution class, Part one earlier this year. I know it's probably a little bit longer than promised, but I am bringing part two to you beginning in October. That class is available to sign up now if you want to learn about the evolution and revolution of women's fashion, the 1930s to the 1960s, that'll be once a week, starting Sundays in October.

[April Callahan]

Yes. And I am going to be doing maybe a one or two part class on the history of Schiaparelli.

[Cassidy Zachary]

So many exciting things coming your way in the fall, dress listeners, including all new episodes of Dress now coming your way once a week with that Friday Dress Classic episode re air. And yeah, we are so excited to be back dress listeners. And to bring you a recap of our fashion history Jam packed tours. April, we had so much fun in Paris this summer.

[April Callahan]

Yes. And as I have mentioned on the show before, and I said to people signing up, this was the year out of all this time that we have been doing this, that had the most fashion exhibitions up in Paris all at the same time. So what we're gonna do in this episode is we're gonna take you through some of these exhibitions that we saw. We're gonna talk about some of the objects that we love the most. We thought that important. And then we have a surprise guest joining us for part two of this episode.

[Cassidy Zachary]

Yes. And we'll talk more about that probably perhaps towards the end. So April mentioned fashion exhibitions. So as many of you probably already know, there were not one, not two, but three blockbuster fashion exhibitions in Paris this summer, all happening at the very same time. And today we are going to start by talking about the only very recently closed Louvre Couture exhibition exhibition at Paris's most iconic art museum. Of course, the Louvre, the most visited.

[April Callahan]

Art museum in the entire world.

[Cassidy Zachary]

Yes.

[April Callahan]

Welcoming something like between 8.5 and 9 million visitors a year.

[Cassidy Zachary]

Oh, my goodness. And actually the week before we got there, they were on strike, actually at the Louvre, because the workers were on strike because of the sheer volume of tourists visiting this summer. It was. And we'll talk a little bit more about that, perhaps. And just a little brief intro to this exhibition. So Louvre Couture was curated by Olivier Gabay and it was incredibly special for a number of reasons, not least of which is the fact that the exhibition represents the very first fashion exhibition in the museum's 200 plus year history. And April, I know you know this fun fact, but I had no idea that the Louvre, which was built in the late 12th century as a fortress, and then it later became palaces to many a French king before Louis XIV moved the royal court to Versailles. So that's kind of general history of the Louvre. But only after this did it become a museum. But I had no idea that it has been a public museum since the time of the French Revolution, which is so fascinating.

[April Callahan]

1693 was their first exhibition of paintings. And those paintings were all from the royal collection. Yes, but during the height of the revolution, they did have to shut it down as a public museum for quite obvious reasons.

[Cassidy Zachary]

And then after that, the museum really grew and grew over the years into what is now one of the most important important art museums in the world. It has amassed a prized and invaluable collection of art. But this collection has never, ever included fashion and in fact, all the fashion on view in this exhibition was on loan. So I don't know if the Louvre has any plans for amassing a fashion collection.

[April Callahan]

I haven't heard any rumors.

[Cassidy Zachary]

So, essentially, this exhibition interspersed 100 or so fashion objects throughout its massive decorative arts galleries. 9,000 square meters, or 90,000 square feet.

[April Callahan]

Basically, the Louvre is in wings, right? And each wing has multiple floors. So this area that Cass is talking about was one entire floor of that entire wing of the Louvre. No wonder there is a map for the exhibition.

[Cassidy Zachary]

Yes, and so all of the point of all of this was done with the express intention of, quote, newly illuminating the close historical dialogue that continues to take place between the world of fashion and the department's greatest masterpieces, from Byzantium to the Second Empire. And April, you and I will talk a little bit about our thoughts about this exhibition, maybe highlight some of our favorite objects. Was this the most in depth exhibition in terms of content? No, perhaps not. But it was quite beautiful and effective in its goal, which was really to make these visual connections between art and fashion. And I'd love to hear your thoughts, April, considering I believe you saw it six times.

[April Callahan]

Oh, I saw it so many times. And I will admit, and Cass, you know this, that the first time I saw this exhibition was before our guests joined us in Paris. And I was hella confused about what was going on with this massive square footage. They have paired fashion objects where they're garments or accessories, et cetera, et cetera, with decorative art objects that they're in dialogue with each other, they're similar, or they speak to each other in some way. This is an increasing trend that we see in the museum world these days. This is not the first exhibition to do this, but the fact that they were so dispersed was very challenging and confusing. So it was almost like a fashion history treasure hunt. Yes, which ended up being fine once you know that. But the problem is that when you walk into the exhibition, there is zero explanation of this. None. None in the wall text, nothing. And so when I first walked in, I obviously always pick up the exhibition brochure. And it took me a good probably 30 minutes of being in there to figure out that the exhibition brochure had a map in it. And it was not the map of the entire Louvre. That's an entirely different map. This was a map, just the exhibition, because it was so challenging to find the objects.

[Cassidy Zachary]

And I will say this too, because you went to literally map it out for our groups before they arrived, and you were very concerned because there were Thousands of people when you went. So not only was it challenging to find the objects, it was challenging to see the objects through these massive amounts of people. But what was so special for our group, and these are the experiences we bring you undressed as magical fashion historians. We got the very first entry, and no one was there, so we basically had all the galleries to ourselves. And it was such a special experience, especially for someone like me. And I know a lot of our guests who had never been to that wing of the Louvre, so to see those beautiful rooms. And then we had a much easier time finding the objects and kind of walking through the rooms because we weren't contending with massive amounts of people.

[April Callahan]

Yeah. I also developed my own personal route through the exhibition, and I marked it on everyone's maps.

[Cassidy Zachary]

Yes. Yes, you did. So what were some of your favorites?

[April Callahan]

I have to say that probably my top pick was a variant of a dress that we actually saw last year on our fashion history tour of Paris. And that was an Alaia dress that was a combination of what I would essentially call chainmail and chiffon. And this dress that we saw last year was at the foundation alie. And then there was a variant of it actually in the Louvre couture exhibition. And they had paired it with images of chainmail in the decorative art section, which I thought that was really interesting. And those dresses from that collection are just this spectacular example of craftsmanship. When you go from the little chainmail sections and then it's hand stitched to this really delicate black chiffon, you could just sit there and stare at the. The painstaking handcraft that goes into these dresses and the precision of it for hours. So I was really excited to see another variation of the dress that I had loved so much the summer before.

[Cassidy Zachary]

And I don't even think I saw that, because that was absolutely one of my highlights from last year's trip to the LI Museum. So I feel like I would have remembered it because this was, as we've said, a massive exhibition. And we should also note that all of the exhibition pieces on view are pretty much all contemporary fashion. I think the oldest dated to the 1960s.

[April Callahan]

No, there was that Dior dress at the very beginning. I think it was late 40s, early 50s.

[Cassidy Zachary]

Oh, okay. Interesting. And then also just intended to be high fashion objects. Right. From all the renowned fashion houses that you associate with high fashion. Really bringing that conversation of is fashion art into view. And one of my favorites, and I have to say, one of my favorite things about the whole exhibition were these Kind of Easter egg placements of accessories within glass cases, which I was not expecting. So if you weren't looking for them, you could miss them entirely because they essentially blended in and were behind these glass windows. But Thierry Mugler's 1995, 1996 fall winter silver and gold metal corset was in one of these cases, and it was among all these gold clocks. And so it was really just this interesting visual dialogue happening between this piece of what resembled armor, this armored corseted bodice with all of these gold clocks. So that was one of my favorite pieces.

[April Callahan]

I don't know. I'm gonna be very honest about this. If you have to have a map to find the fashion in the fashion exhibition. Is this a successful exhibition? I'm just gonna throw that out there.

[Cassidy Zachary]

I think it was their very first attempt at a fashion exhibition, and I think it'll. Hopefully they will do more. And hopefully, because it really was basic. It's as basic as you can get. It's. Here are beautiful fashion objects and beautiful galleries.

[April Callahan]

It was. It's. It wasn't about social context, cultural context, or relevance. It was a visual comparison. I would say the show was basically based on visuals and not much else besides that. So it just depends on, like, how you're coming to it, what you're looking for. Did they achieve their goal of bringing people into the decorative arts section of the Louvre?

[Cassidy Zachary]

Yes.

[April Callahan]

Yeah, they did.

[Cassidy Zachary]

And I will say that is. Some people in our group really love that fashion exhibition and said that was reason enough just to come to Paris. It was effective in that way, I think, as a visual display, but perhaps not offering the sort of content that you and I really love and the storytelling aspects of fashion. Although I will say, I want to say one more thing, because there were some really special pieces in that exhibit that I was not prepared for and not expecting. And that was the Balenciaga at tws, which were.

[April Callahan]

I missed that entirely.

[Cassidy Zachary]

Yeah.

[April Callahan]

Like, the entire. All the times that I went to that exhibition, never saw him.

[Cassidy Zachary]

Yeah, Balenciaga toiles from the great fabric architect Balenciaga. Seen so many of his designs in person. Never seen his toiles. So this is literally taking you behind the seams, and you're getting really this intimate glimpse into his work process. And what was so special is there was. They were of two of his most iconic pieces from the 1960s. This piece from 1967, that's this wreath around her head. If you saw the picture, there's a really iconic fashion image of her. And I wish I knew the name of this piece, but if you think of this silk, it's like a star hood. Ruched hood. Yeah. Framing the model's face. We gotta see that toile. And his handwriting's there. The pins are in there, the fabric swatches. So that was really special. But not as effective, I would say, is the next two exhibitions we're going to talk about. April.

[April Callahan]

Holy moly. Next up is an exhibition that I am not pessimistic about at all and, like, incredibly enthusiastic. And I loved it so much. Sophie, Maureen. Amazing, you guys. So what I'm speaking of here is this exhibition about the history of the House of Worth at the Petit Palais. And it was a collaboration between the Palais Galliera and the Petit Palais. And wow. What do you say about this? It had 400 works in it. It was one of the most comprehensive and in depth fashion exhibitions I have ever seen. And not only because of the garments in the exhibition, but basically how they form fleshed out the entire world of the House of Worth, starting with its founder, Charles Frederick Worth, who's more or less considered to be the founder of Haute Couture, which is the name of the exhibition in English, I think it's inventing Haute Couture or something like that. But also the subsequent generations of Worth men who then helmed the house. Wow. Cass, I have a lot more to say, but I'm gonna let you interject here.

[Cassidy Zachary]

I was just gonna say it's literally the exact opposite. Opposite of the Louvre Couture exhibition. Right. So the Louvre is this incredibly general, aesthetic focused exhibition. The Worth exhibition zooms in on one creator and puts him in this incredible context as this creator of some of the most exceptional and coveted gowns in 19th century and early 20th century fashion history. And does it in such an incredibly well researched, thoughtful, thought provoking way. Absolutely. Highly recommend getting your hand on the catalog for this one since that exhibition is now closed.

[April Callahan]

It's only in French, though. And as far as I know, Maureen told me that there. I don't think. I don't believe there are plans to do an English translation. Just saying which.

[Cassidy Zachary]

And I'm not a huge. I can read some French, but I got it for the images. Right. Because you're going to see the images of the garments that were on view in the exhibition. And a lot of that fashion ephemera that was also there I absolutely love. But I'm dying to hear what some of your favorite pieces are, April, because I've selected some of mine.

[April Callahan]

Oh. I have to say that okay. And here's the thing, dress listeners, Cass and I are going to talk about this exhibition, but we're not going to go in terribly deep detail about it because let's just say there might be a full episode coming your way soon. But I will say this. I think that some of my most favorite pieces, and I've had other people say this to me as well, were some of the fancy dress costumes.

[Cassidy Zachary]

Yes.

[April Callahan]

And by fancy dress, something that you would wear to a Halloween party or a costume ball. We call them costumes in the US but in other places we call it fancy dress. And Worth was renowned in addition to being haute couturier to creating haute couture level fancy dress. And his clients would come to him in droves for these very elaborate occasions, which were incredibly popular at this time.

[Cassidy Zachary]

And.

[April Callahan]

And some of his fancy dress costumes would have, like, real gold embroidery, real silver embroidery. Some clients would have their jewels taken out of their safety deposit box and sewn on to their costumes. So this was really special to see these things because it's something. It's an aspect of his work that scholars know about, but it's not necessarily something that you see a lot in museum exhibitions. And one in particular, for me, I thought that was super, super interesting, was he had taken the jacket or vest of an Abit Francais with its incredible 18th century embroidery all over it, and he had repurposed or upcycled that textile into a completely different silhouette that was more of like a carico or a riding jacket. So he'd taken it from menswear to womenswear using a textile that was probably over 100 years old because the embroidery on it was so exquisite. That was one of my favorite pieces. I was looking through my photos on my phone today or yesterday when we were preparing for this, and I was like, oh, you photographed that not just once when you were there. You photographed it every single time when you were there. I saw that exhibition multiple times, too. Yeah.

[Cassidy Zachary]

How could you not? There was just so much to see. What was really cool about his fancy dress costumes in particular is a lot of those are documented with photographs because they were wore at these really fancy, well documented parties that often have photographers. So you got to see the costume in the exhibition paired with the photograph.

[April Callahan]

And also maybe learn a little bit about who the client was that wore it.

[Cassidy Zachary]

Yes. Yeah. Yes. So one of my favorite pieces. And again, this was so unexpected. And I always love going into a fashion exhibition and learning something. And I learned so much in the Worth exhibition. And I know quite a lot about him. So this exhibition is really cool in that they really combed the archives and brought really cool stuff to the surface that I just had no idea about. And that includes these. These pair of vezitz that were on exhibition, on view. April. Do you know what I'm talking about? What a vezit does?

[April Callahan]

It's like a. It's like a cape. Cape or a caplet.

[Cassidy Zachary]

Yes. So there's this one coat in particular from 1880, and it's a visite and it's meant to be worn over a bustle. But this was no ordinary coat because it stood out to me immediately because I'd never seen anything like it. So for one, the fabric was blue and white with vertical line detailing and with fringe all along the neckline and down the opening of the front, which extended to the floor and then all along the sleeves. And it was looked like it was part of the material. So the end of the material had been frayed. I can't remember the name of this technique, but it was very distinctive in that it was clearly not European. So you talked about upcycling, April, and him having obviously a collection of garments. So he obviously had collection of fabrics that were not European. This was clearly an African, Northern African textile, which I thought was fascinating. And again, something I had no idea about. Also distinctive were these sleeves of this capelet or cloak, because they were basically bent and sewn to be that way so that it looked like the wearer's arms were stiff. Right. And I was very confused by this until I read the label, which explained that these were not real sleeves, which I thought was interesting. And that actually this capelet, as you said, your arms would have been concealed inside.

[April Callahan]

And we have seen this in contemporary fashion in various permutations in the last couple of decades. I think Margiela did it, Loewe did it. We see this again and again. False sleeves or extra legs on garments that. Nothing new. Friends, the father of haute couture did it too.

[Cassidy Zachary]

And we'll be posting so much social media content, a couple reels this week, so maybe we will include these two pieces from this exhibition. Did you have any other favorites you want to highlight?

[April Callahan]

I would like to just say this exhibition, and I referenced this earlier, that it fleshed out the world of worth. Right. But we're talking about not just the garments, but there were paintings, portraits, sketches, documents, correspondence, fashion show invitations. It just was a complete snapshot. And one thing that I do really want to give a massive shout out to is whoever dressed all these Mannequins.

[Cassidy Zachary]

Yes.

[April Callahan]

Because this was the pinnacle of this art form of dressing mannequins on for museum exhibitions. Some of you may not know, but this is a whole art form in and of itself. Dressing one dress archival on some of these mannequins can take days, days and days. And we're talking about multiple decades of the house of Worth's work. So all of these silhouettes, starting from the 1860s and all the way into the 1920s, these are completely different silhouettes and these all have different requirements. So it was so beautifully done. So beautifully done. So huge shout out to the team probably at Palais Galliara that did all this mounting. And also too, one of the other things that I loved about the exhibition is how we got to see the quality of the materials that were used in these garments, which we're talking haute couture here. So it's the best of the best. And just looking at some of these fabrics and embellishments, things like this practically do not exist anymore. That level of quality. So to be able to see them up close, really, really great.

[Cassidy Zachary]

Yes. And you gotta see again, just a massive exhibition started in the 1850s, right when he first opened his first haute couture house with his partner before going out on his own all the way up to, I believe, that it ends in the 1950s when the company officially closed. That was really special too, because we're so familiar with Charles Frederick worth in the 19th century and when he was at the height of his fame and probably more relevant by the 20th century, they lose their cutting edge after his death, but seeing his 20th century pieces up close was really special as well. So just bravo. Congratulations everyone and thank you so much for this gift of an exhibition.

[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

Up next is an exhibition that is still open. Dress listeners, if you want to make your way to Paris before January 11, 2026, you can go see the exhibition Pas Paris Fashion is a Feast, which is on view. And Cass, I'm gonna let you launch into this to begin because Poire is your favorite fashion designer.

[Cassidy Zachary]

Yes. And actually, if it must be said, this entire trip was planned around the opening of this exhibition.

[April Callahan]

That is true.

[Cassidy Zachary]

We were gonna go in May and then it was like Poiret is opening at the end of June. Guess we're pushing it. So that was. Yeah. So incredibly excited about this exhibition created by Marie Sophie Caron de la Carrier. So this exhibition is at the Musee des Arts Decoratives, which is right next to the Louvre.

[April Callahan]

It's part of the Louvre, technically speaking.

[Cassidy Zachary]

Oh, interesting. And we go there almost every year. They have wonderful fashion exhibitions and this is the museum's first dedicated to Poiret, who is one of the great innovators and artists of fashion history. And it's really surprising that it's their first exhibition, especially when you learn that the museum houses a massive collection of Poiret's works. And actually, I just got my hands on the English version of the catalog, which will be printed in the US I believe, in January. So absolutely get it, because it features all of their collection. At the back of the book, you can see every single Poiret piece they have, and they have over a hundred, which is just incredible. Poiret, of course, is not a name new to our listeners. He is absolutely one of my favorite designers. April and I have mentioned him many times on the show. He is the subject of one of our very first episodes. And again, we are not going to talk too much about this exhibition here, because we are going to be doing another Poiret episode coming your way in the next couple of weeks, Gonna revamp that 2018 episode, because we have learned so much more about Poiret in the seven years since that first aired. So definitely want to expand on that and give him the room and breath he deserves because he's just such an important fashion designer in so many ways.

[April Callahan]

We're pulling a Taylor Swift. We are going to re record and update our parade episode, which was, I don't know, literally re recorded that on the very first day that we were in the studio ever.

[Cassidy Zachary]

So we won't go too. Too much detail here. April, do you have some opening thoughts?

[April Callahan]

Yeah, sure. First, I just want to point out that one of the reasons why the Musee das Aptica motif has so many Pare garments is that many of them in the collection belong to Denise Par, who was Pare's wife. And when they divorced, she took her entire wardrobe with her. So in the 1970s, there were donations that were made to the museum moving forward into the early 2000s, I think there was also an additional auction of some of her personal garments as well. So that is very special. And one of the things that I loved the most about this exhibition is not only did we get to see examples of dresses that we have known about being in museum collections, we got to see them in person. But also Denise's garments, Paul Pore's own wardrobe is part of this exhibition and also their children. Children's wear was not necessarily a formal part of the business per se, but we get to see examples of the clothing that Papa Ray designed for his children. So that was an incredibly intimate aspect to the exhibition, which is something that you don't usually get to see in fashion exhibitions.

[Cassidy Zachary]

Yeah. And I think this exhibition was just really, really special just in terms of the objects. Right. Communing with these objects that I have only ever seen depicted in books illustrated. I think one of the most special elements of the Exhibition is Poiret's 1907 collection. How many pieces, and thanks to Denise, Poiret's wife, how many pieces survive from this incredibly important exhibition in the history of the revolution of fashion? Right. These are those garments that are in the neoclassical style that were worn without corsets and that just stood in direct contrast to that. That espen silhouette of the era, and then just so incredibly beautiful. And they were depicted in Paula Reeb's Les Robe de Pas Paris. And to see them in person. And there were several. Not one, not two. I think there's five or six pieces from Les Robes.

[April Callahan]

The Josephine dress is in there. The 1811 dress is in there. I can't remember the title of the one that's like the red gown that has the brocade gold and red bodice. But if you guys are giant fashion nerds. Exactly. The dresses that we're talking about. And it was so cool to see them in person. A lot of them are too special and delicate to even dress on a mannequin. So they had them on slanted boards so they could lay flat, still be seen.

[Cassidy Zachary]

Yeah. So more on Poiret coming your way in the next couple of weeks, dress listeners.

[April Callahan]

Yeah. And also, too, I just want to say, so much art also in this exhibition, just like worth. So we have fashion illustrations from the many myriad of artists and illustrators that he collaborated with. I think the exhibition did a really good job at emphasizing the fact that Poiret's entire kind of world, the scope of his world, involved a lot of collaborators who were highlighted in the exhibition. But one of the things that I also really love the most is some of Pare's own paintings were in the exhibition, including self portraits of himself, one of which was done shortly before his.

[Cassidy Zachary]

Death, which did not happen in the exhibition.

[April Callahan]

It did not. Apparently, Pare never died because the Exhibition ends in 1926 or something, and they never. They barely make any reference to the fact that he died during World War II, during the Nazi occupation of Paris. And also, too, I just want to say, you already know this, Cass. I feel like Paris life was so spectacular and just like, full and robust. There's a little bit of an element of romance surrounding his bigger narrative of his life that doesn't necessarily come through in the exhibition.

[Cassidy Zachary]

Yes, I agree. I will say that the exhibition catalog does a much better job of parsing that out. So if you'd want to engage with that. This was a very. I don't want to say general, because it was in no way general introduction to Poire. I think for you and I too, we know so incredibly much about. For me, it was. I didn't necessarily. I mean, there's certainly stuff that I learned that I didn't know and I'll talk about in the episode. But again, just to be able to commune with those objects and dress listeners, you have until January of 2026. And I highly recommend. Yes, highly recommend. Getting Out There.

[April Callahan]

Two floor exhibition in Musee des Arts. So you think we're done? Oh, no. We're still going to museums out here in Paris this summer. Next up are two exhibitions that we saw in one day at the same museum, which is the Palais Galliera. The Palais Galliera is the city of Paris's fashion museum and quite arguably probably the greatest fashion collection in the entire world. Something like a total of 300,000 individual pieces that have come together over the years from different collections being merged, and they are all now under the umbrella of the Palais Gallera. So this museum is entirely dedicated to fashion, and that is it. So we saw two exhibitions. First up, the Rick Owens show, curated by our friend Alexandra Samson and Pass Dressed guest. And obviously Rick Owens is a contemporary designer who is alive and well and working today. So this is a little bit of a departure for fashion exhibitions. Usually the designers have. Have since passed. But I loved this show and it was a little bit unusual in a couple different ways. First of all, I found it exceptionally emotional. You could really feel the emotion in the clothes themselves and the way that it was presented. And that may be because Rick was so intimately involved in the curation of the show, which basically covers his work starting in LA in the early 1990s. And before that, he had been working as a pattern cutter and pattern drafter. In so many ways, this exhibition emphasizes the fact that Rick's work is almost like fashion sculpture. And the way that the show was curated drives home that point. Yeah. Anyway, those are my initial thoughts. I have more, but I'm gonna let you speak to this.

[Cassidy Zachary]

I would say this show is epic. It's really done on a grand scale. There's levels to this show. So you go in and you immediately look up, which I think is a really interesting way to experience the objects and not necessarily a typical way. Right. Usually you're on ground level with them, so you see layers and layers of his work, which I thought. And it was done in. I also. Was it color coordinated, would you say?

[April Callahan]

Some of it was, but it was more thematically arranged.

[Cassidy Zachary]

I would say it was done on a very grand scale and it's across several different rooms. And something that really pleased me about this exhibition, and I want to applaud Alexandra on especially, is the amount of young people that were at this exhibition. And I thought that was so incredibly cool. I'm talking about teenagers, maybe early 20s. All you could tell they were all Rick Owens fans by the way they dressed. And that was so cool. Because the entire point of exhibition is to commune with the public and engage with the public, but who that public isn't always the same. So I think for this exhibition to get the attention of these young people and get them to this museum was incredibly, really cool.

[April Callahan]

The coolest of the Parisian fashion school kids every day.

[Cassidy Zachary]

Yes.

[April Callahan]

And also too lots of fashion history references on the part of Rick. One of the dresses was literally titled as a reference to the couturier Madame Gray, who was also very much thought that she did living sculpture. That's how she felt about her work. And also we see a direct reference to Leigh Bowery's work as well. And we did a recent episode just a few months ago about Leigh Bowery, who was an Australian designer who lived and worked in London and very avant garde club kid. But as soon as I saw that one particular piece and I didn't even read the label, and I was like, that is Rick referencing a Leigh Bowery performance. And if you see the exhibition, you'll know what it is. If you have listened to the Leigh Bowery episode. But that show is still open again until January 4, 2026, so you still have a chance to see that in Paris as well.

[Cassidy Zachary]

Yeah. And I will say you were talking about how emotive and emotional this exhibition was. And we haven't talked too much about all of our lovely guests. We were there for week one. We did two weeks of this tour this year. The first week I was there, April does a second week, which we'll talk about later. But I had an emotional moment with one of our guests that was so incredibly special because we were both in there together looking at these epic objects and feeling them right together. And that's just one of those really special things about our tour in general as we all get to come together over this shared love of fashion and fashion History. And we all have this shared understanding of its effect and value. So. So I just wanted to mention that happened in this exhibition and happens all throughout our tour, honestly. Yeah, yeah.

[April Callahan]

By the end of the tour, like the last dinner, people are always crying because they don't want to leave.

[Cassidy Zachary]

And again, this was just one of two exhibitions on view at the Palais. We also went down into the basement and saw Mu de Moment, or Fashion on the Move, which is the third installation of this exhibition. And we have been lucky enough to see all three over the years. I think it opened in 2020, the first one curated by our dear friend Marin Arzeluz, who is then director of the Palais Galliera. And this exhibition has, over all these years, explored how fashion has adapted to the moving body from the 18th century to the present. So in each rendition, they rotate the objects. So there was 180 new objects on view in this exhibition. Really a focus on sportswear and really something I love as address listeners with my what Women Wore to the Revolution class, because it really is about the evolution and revolution of modern fashion, which is so cool. I had a favorite piece in this exhibition that was the Motorist Blanket breeches. April. Did you see those?

[April Callahan]

I think everybody on both tours paused at those when they're like, what? Incredibly charming. You have to remember that early cars were often open air, so you need a protection from the elements in the cold. And so it was like a heavy wool blanket breeches that you're supposed to wear while you were in the car.

[Cassidy Zachary]

So basically it had room for your skirt so you could pull it up, and then two openings at the bottom for your feet to go through and then go over your lap. So kind of like a Snuggie type garment.

[April Callahan]

And also, too, one of the things that I've loved about each incarnation of the Modomon Wall exhibition is that they have a side exhibition that pertains to that theme as well. And one year it was about resort wear or things for the beach. And this time when we were there, it happened to be about ski wear, which was its own thing. And there were some amazing objects in there. I particularly loved the Hermes complete jumper ski suits.

[Cassidy Zachary]

Yes.

[April Callahan]

In the 1930s, I think there was one for men and also one for women. But my favorite piece in that exhibition is, by no big surprise here by Schiaparelli. And it was an ice skating costume. So it was this icy blue wool knit that was like boucle. It had lots of texture in it with a little skirt. It had white stripes on it. And it had matching gloves.

[Cassidy Zachary]

It was adorable.

[April Callahan]

And SCAP started out as doing sportswear when she founded her House in 1927 1928. So that is the DNA of the house. Before it was a couture house, they were doing luxury sportswear. So I loved that piece.

[Cassidy Zachary]

And it is still open until October 12th, so you have some time to get there and see this third and final part of this exhibition that will close on October 12th. Eczema isn't always obvious, but it's real. And so is the relief from Ebglis. After an initial dosing phase, about 4 in 10 people taking EBG achieved itch relief and clear or almost clear skin at 16 weeks. And most of those people maintain skin that's still more clear at one year with monthly dosing. EBGLIS Lebricizumab LBKZ a 250mg 2ml injection, is a prescription medicine used to treat adults and children 12 years of age and older who weigh at least 88 pounds or 40 kilograms with moderate to severe eczema, also called atopic dermatitis that is not well controlled with prescription therapies used on the skin or topicals or who cannot use topical therapy. Ebglis can be used with or without topical corticosteroids. Don't use if you're allergic to Eglis. Allergic reactions can occur that can be severe. Eye problems can occur. Tell your doctor if you have new or worsening eye problems. You should not receive a live vaccine when treated with Ebglis before starting Epglis. Tell your doctor if you have a parasitic infection searching for real relief. Ask your doctor about ebglis and visit epgliss.lily.com or call 1-800-lilyrx or 1-800-545-5979. Martha listens to her favorite band all the time. In the car, gym, even sleeping. So when they finally went on tour, Martha bundled her flight and hotel on Expedia to see them live. She saved so much she got her seat close enough to actually see and hear them. Sort of. You were made to scream from the front row. We were made to quietly save you more Expedia made to travel Savings vary in subject to availability. Flight inclusive packages are atoll protected.

[April Callahan]

We have gone into detail about some of these exhibitions that we've seen. These are not the only places that we visited. We always go to the Musee du Parfum, which is run by the incredible French company Fragonard, which has a multi generational history it's still owned by the family. One of those perfumiers that. That started in Grasse, where they still have their factories. And they also have a museum component to it too, that has little exhibits about the history of perfume making. And then at the very end, my personal favorite part is the private shopping experience.

[Cassidy Zachary]

Yes.

[April Callahan]

At the end that if you take the tour, you are in a different retail space than the public, I guess I would say. And let's just say there's deep discounts.

[Cassidy Zachary]

Yes. Always a highlight, as is the Galerie Dior. La Galerie Dior Museum, which is of course the museum dedicated to the late, great, famed French haute couturier Christian Dior. It's at the site of his original haute couture house, opened in 1946. Of course, he came across the scene. Meteoric rise to success after his 1947 sensational New look collection. This museum, you've heard us talk about it many times, a absolute must if you're in Paris, because it tells the entire history of the house and Christian Dior and then all the designers who have followed in his footsteps and continue to helm the house to this day. Incredibly well done. My favorite part is always the toile room, where you see toiles of the pieces over the last 70 years. And there's always Dior artisans at work, which is just so special. Either they're stopping perfume bottles, building a handbag. This year they were setting a sleeve into a Dior barcode.

[April Callahan]

I think one year they were also making the packaging. So they have people that work in these different aspects of the business come in and work in the museum for a couple days a week. It's quite interesting. Preserving the savoir faire.

[Cassidy Zachary]

Yes. Always such a highlight, as is our day spent at Verdict Versailles.

[April Callahan]

And this year we finally timed it perfect.

[Cassidy Zachary]

We did.

[April Callahan]

Because we always run out of time when we're at Petit Trianon and Marie Antoinette's hamlet. And this year we did it right. We finally gave more time and everybody was really, really able to take the time that they. To explore the grounds and the gardens and the hamlet and the. Her Petit Trianon itself. And those gardens. So in addition to the palace, it must be said.

[Cassidy Zachary]

Yes. And those are really. That's a really special day too, because there's not one, but two April and Cassidy lectures on 18th century etiquette at Versailles, which is always really fun. And then we also do a lecture on Marie Antoinette's fashion history, which is always a highlight as well. And actually, if you tune into our dress Classic episode on Friday, you can learn all about that French etiquette that we were just talking about. So be sure to listen in on that if you want to learn more.

[April Callahan]

Yes. And also too, I have figured something out, Cass, and this is actually something you and I have not talked about yet, but we will. Well, we're going to talk about it right now. So there are restaurants at Versailles, right? There's a couple of them in the palace. One is very fancy and very expensive. The other one is Angelina's. And one of Cassidy and I's favorite parts about Versailles are the gardens that are out back. Now the thing about this is if you are in the palace initially and then you exit the palace to go out into the garden, you cannot come back into the palace per se if you want to eat at one of those restaurants. Pro tip recommendation are the two very nice independent restaurants that are down by the Grand Canal and those are not listed on the Versailles website because they're independently run by other business owners. So if you want to explore the garden, do not have lunch in the palace itself. Go down to the Grand Canal. It's right by where the little rowboats are and where the swans are and those two restaurants right there. And there's also little cafes where you can go up and get like sandwiches and stuff too. But those other two are sit down restaurants. So next year, Cass, I have sorted it out. Yes, sorted it out. We're gonna eat there next year.

[Cassidy Zachary]

Yes. And so other experiences again, fashion history jam packed tour dress listeners. Another of April and Cassidy exclusive tour that you get in France with us is our Rue de la Paix walking tour. This is where we take you down Paris's famed street of a thousand luxuries. Once the home of the most famous names in fashion including Charles, Frederick Worth, Jacques Doucet, Schiaparelli. Schiaparelli still is around the corner, as is Cartier. It's those original businesses that are still there that's always such a highlight. And especially this year because we started there and then we went to the Worth exhibition after which was really, really.

[April Callahan]

Cool because we went to the original location of the House of Worth and then we turned around and went to the Worth exhibition, which is great. Yes. And as is also our optional thing that we do every year which is a traveler favorite, which is going to Crazy Horse. And if you all don't know Crazy Horse, it is a bot de nuit or maybe a cabaret, but not like the Moulin Rouge. The this is an entirely different animal. It is nude or Mainly nude, we will say. But it's incredibly classy. Let's just say it's sensual. Right? I would describe it as.

[Cassidy Zachary]

Yes.

[April Callahan]

And even from its very foundation in the early 1950s, it was always incredibly classy. It was the next door neighbor to the couture house of Cristobal Balenciaga. So that's what we're talking about here. And if you go and you visit it, there's. There's lists on the walls in the theater, which is very small. It's very intimate. Of the very, very famous people that have been guests at Crazy Horse and of course, lists of all the dancers as well. But the list of guests at Crazy Horse is fascinating.

[Cassidy Zachary]

Yes, absolutely. Always a good time and always have so much fun. And we had people this year really dress up and go all out with colored wigs. Jaylen, I'm talking about you. We had so much fun. We had so much fun that night.

[April Callahan]

So it's always just Crazy Horse girls are. Girls are known for wearing colored wigs. So there was a reference point there. Yeah.

[Cassidy Zachary]

Dress listeners, there's so much more to say, especially if you attended our trip. You will have noted that we have left out several aspects of things we did do, and we did this intentionally. And that is because we have, as April mentioned, a very special guest joining us for part two next week. April, do you want to do a little introduction?

[April Callahan]

Yes. Well, does she even need an introduction at this point? Just saying, because she's been mentioned so many times on the show. Rebecca Devani is going to finally join us as a guest because she was my co host on the second week of the tour. So we're going to be talking about her contributions, her very significant contributions to these tours and what she does with her business, textile tours, tours of Paris on a regular basis. So you will finally get to meet her, quote, unquote, in person if you weren't there for this year's tours or last year's tours or any of the past tours.

[Cassidy Zachary]

Yeah. So very excited for Rebecca to finally be joining us. And that does it for us today, Dressed listeners. If you want to follow the social media content connected to this week's episode, head to dressed558. Until next week, dressed listeners. May you revel in the fashion history of Paris. Next time you get dressed, please head.

[April Callahan]

To restpodcast on Instagram or Rest podcast without the underscore on Facebook to check out the visual content associated with each week's episodes.

[Cassidy Zachary]

And remember, we always love hearing from you. So if you'd like to write to us. You can do so@hello dressedhistory.com dressedhistory.com is also our website where you can sign up for our monthly daily newsletter, our in person tours and online fashion history courses. And you can check out whatever else we have up our finely tailored sleeves.

[April Callahan]

We get so many questions from you all about our recommendations for fashion history books, so if you are interested you can always find a link in our show notes to our Bookshop bookshelf. So that address is bookshop.org shop forward/dressed and there you can find over 1150 of our favorite fashion history titles.

[Cassidy Zachary]

And do you love Dressed but want to skip the ads? You can now sign up for ad free listening with any tier on our Dressed History Patreon.

[April Callahan]

We are also excited to now be part of the Airwave Network and their premium ad free history subscription Airwave History plus available on Apple Podcasts. The subscription brings dressed and also 27 other popular history podcast ad free for just $5.99 per month. More information on Patreon and Airwave is available at the link in our bio.

[Cassidy Zachary]

Thank you as always for tuning in and more Dressed coming your way very soon. The History of Fashion is a production of dressed media.

[April Callahan]

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[Cassidy Zachary]

We are one of the original film podcasts. That can't be true. There was like two other film podcasts when we began. Brian, how long we do in the show? You and I first sat down and did a version of the show over 20 years ago.

[April Callahan]

My God.

[Cassidy Zachary]

Two episodes each week.

[April Callahan]

One we review movies and the first episode the second one different top five every week. Movies that made you cry. Worst movie accents Most disturbing movies. All right, the Film Ball.

[Cassidy Zachary]

Check it out wherever you find a fine podcasts. That's right.

[April Callahan]

The Film Vault going on 20 plus years.