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Marie Antoinette Style at the V&A is a rare opportunity to see what survives of the queen’s closet

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Marie Antoinette (1755 to 1793) is a cultural icon of monumental proportions. She was the last queen of France before the brutal and bloody French Revolution, and her life was ended by the revolutionaries’ guillotine blade.

Her legacy courses through the visual language of music videos, fashion catwalks and drag shows. Even the shapes and styles behind the current corset trend, popularised by the show Bridgerton, owe more to the era of the French queen than to the Netflix regency romp.

Yet, standing in front of a single, gently worn, and very small shoe at the Victoria and Albert Museum’s latest exhibition, Marie Antoinette Style, the French queen suddenly feels as fragile and little as the brittle silk of her surviving heeled pump.




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It is the tender fragility of the teenage queen that first greets visitors. The 16-year-old Dauphine smiles coyly in an animated version of Joseph-Siffred Duplessis’s 1772 portrait of the future queen. She is strikingly innocent, entirely oblivious to the tumultuous years which would define her legacy. It is a poignant moment for all who are aware of her tragic fate.

Joyful and incandescent youthfulness thrums from the first few spaces of the exhibition. A glittering mirrored hall filled with some of the most spectacular gowns of the period pulses with magical energy as a ball in Versailles’s hall of mirrors. The gowns that the visitor encounters, like the wedding ensemble of fellow European royal bride, Duchess Hedvig Elisabeth Charlotta, are tiny.

This is not, as many visitors may mumble, because everyone in the past was small (they were not), but because this was a court of teenage royals.

The garments chosen are a spectacular array of pastels, representing the diversity and complexity of styles worn at the French court. But these glistening, dazzling garments pale in comparison to the fragments of gowns which possibly once belonged to Marie Antoinette herself. Other than the shoes, a shift (the linen underwear worn closest to the skin) and a smattering of accessories, very few of Marie Antoinette’s own garments survive.

The revolutionaries who oversaw her downfall and execution in 1793 attempted to destroy her vast wardrobe. So fragments like the ivory silk one, encrusted with silver spangles, gems, velvet and metal embroidery are incredibly exciting. The scars of stitching from its former life as a court gown tantalisingly hint at how it might have formed the sweeping front section of a gown’s skirts.

The exhibition confidently places Marie Antoinette not as an exuberant and frivolous monarch, as she is so often seen, but as an intentional, frequently playful, and decidedly modern patron of the arts. Aside from the gowns, there is furniture, porcelain, jewellery, theatre props and some of the most recognisable and iconic portraits of the infamous French queen – many of which have never travelled to the UK before. It is in this section that the fervour of her celebrity becomes apparent.




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There is a bowl supposedly modelled after Marie Antoinette’s breast, complete with nipple, and which it is said is the origin of the coupe glass. There are also an astonishing amount of diamonds, including a copy of the jewels from the infamous affair of the diamond necklace. This audacious con saw a cardinal and a self proclaimed Comtesse steal a priceless necklace while posing as Marie Antoinette. Despite the Queen’s innocence, her reputation is ruined.

It is here that the darker side of her reign also begins to trickle into the exhibition. Her expenses were nowhere near as detrimental to the French economy as her husband’s warmongering, but Antoinette’s very visible and enviably luxurious life earned her the moniker of Madame Déficit. She became an easy target for an angry and starving population, who began to vilify her, depicting her as a harpy and falsely accusing her of torrid affairs.

This insidious shift is cleverly woven into the exhibition narrative. For instance, there is an opportunity for visitors to smell samples of the scents from the court by sniffing perfumed busts of the Queen’s head. Visitors enjoying the scents are then suddenly assaulted with the stench of her impending prison cell.

Marie Antoinette was not oblivious to the rising revolutionary tide. That innocent girl that we met at the start had grown into a sympathetic queen. She recycled her garments, gifting them to her staff, she adopted and released enslaved children, she gave endlessly to charities and turned down gifts which she felt were too extravagant.

And while her luxury consumption looked extravagant, her patronage was essential to the success of French industry. When she stopped wearing silks and turned her attention to simple cotton gowns, for instance, the silk weavers rioted. She was never going to win.

Despite these warning signs, it is impossible to prepare for the next space. The dominance of pastel pinks and greens is quickly supplanted by a deep, blood red. A blade from a guillotine dominates the space cut a few words of repetition here. But her death is not the end.

The remaining rooms celebrate her enduring appeal across art, culture and fashion. She was a fancy dress costume within decades of her death, and by the 20th century cinematic portrayals like Norma Shearer’s 1938 portrayal of the Queen cemented her pop culture position. But her legacy, fraught with misogynistic myth-making and uncomfortable stereotypes, gets lost in a celebratory atmosphere.

It is undeniable that her cultural significance is massive. But so many of the visual signals designers nod to are just as false as the fake news generated during her fall from grace. For instance, the tall white wigs are a Hollywood invention. Marie Antoinette always wore her own, natural blonde hair pristinely pomaded and powdered.

It is disappointing that, while the myth-making from her lifetime is robustly challenged in the exhibition, the perpetuation of those myths in artistic responses to her legacy were largely overlooked. In this section, the fashion of John Galliano or costumes from the 2006 Sophia Coppola film or Hulu’s The Great, while wonderful to see, lacked the deeper critical engagement of the early sections of the exhibition.

The exhibition is a visual treat, and the opportunity to see rarely displayed objects make it a must see. But the imagined Marie Antoinette we leave at the end of the exhibition is a far cry from the real young woman that smiled shyly as we entered. Marie Antoinette may be immortalised in the cultural imagination, but I am not convinced she would recognise herself.


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Serena Dyer does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

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Opinion

The Irish Times view on presidential nominations: Too narrow a field

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Only a few days ago, it still seemed possible that voters would have a choice of up to six candidates in next month’s presidential election. But when nominations closed at noon on Wednesday, only three names had made it on to the ballot paper. That reflected the narrowing that had taken place over the previous four days.

First, Sinn Féin announced that it would be supporting Catherine Connolly rather than putting forward a candidate of its own. That was followed by businessman Gareth Sheridan’s failure to secure the requisite support from local authorities.

There was a flurry of excitement in the final hours before nominations closed, as Maria Steen edged ever closer to the 20 signatures from members of the Oireachtas which the Constitution requires. But the conservative campaigner ultimately fell two names short.

As a result, the electorate now finds itself presented with the smallest field of candidates since the presidential election of 1990.

That is regrettable. A broader, more varied choice would surely have led to a more vigorous and wide-ranging debate, which in turn would have stimulated public interest and potentially increased voter turnout.

Steen’s supporters have been quick to blame her failure to secure a nomination on the main political parties, whom they accuse of shutting down democratic choice.

The charge is unfounded; between them, Connolly, Jim Gavin and Heather Humphreys command the support of nearly every party in the Oireachtas – almost 85 per cent of its members. The suggestion that parties with candidates in the field should ease the path of potential opponents reached absurd levels on Tuesday when it was suggested that Connolly herself might sign Steen’s nomination papers.

It should not shock anyone that political parties pursue their own electoral advantage in order to achieve the objectives they were set out up to accomplish. That, after all, is the proposition they presented to their voters.

Where Ireland differs from most of its international counterparts is in the number of Independents it elects. As a result, there were more than enough Independent TDs and Senators available to ensure Steen’s nomination. They chose not to do so, presumably for a variety of different reasons. That is why she did not succeed.

The fact that she came so close is largely due to the efforts of Peadar Tóibín, leader of Aontú, one of the smallest parties in the Oireachtas. In the end, he fell short, in part because the campaign itself began too late and ran out of time.

But there are lessons here for those who believe Irish political discourse is too narrow and that some voices are excluded. The remedy to that lies not in the kindness of opponents but in effective, organised and sustained political work.

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Opinion

The Irish Times view on textile waste: what a load of rubbish

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Ireland is the second largest producer of textile waste per head in Europe, second only to Belgium. We each consume 53kg of textiles each year – more than double the European average. To put the figure in context, a T-shirt weighs between 100 and 250 grams, and a winter duvet can weigh 3 kg.

It’s a lot of clothes, bedding and curtains to throw out and most of it goes in the bin, with only a third being recycled via clothes banks and charity shops. Given the dubious distinction of being one of the worst offenders when it comes to textile waste you might assume that we would quickly and wholeheartedly embrace new rules to reduce textile waste adopted by the European Parliament earlier this month.

Under the new directive, producers who make textiles available in the EU will have to cover the cost of their collection, sorting and recycling. The rules will apply to all producers, including online sellers, irrespective of whether they are established in an EU country or outside it.

The measures will be implemented through a producer responsibility scheme similar to the Re-turn system for drink bottles and cans set up by packaging and drinks companies.

Member states have 30 months from the directive’s entry into force to establish a scheme. There is, of course, no reason why it cannot be done sooner and every reason why it should be.

But if the Re-turn scheme is any guide, the Government will be in no rush when it finds itself caught between industry lobbying and fears the measure may push up prices.

The Single Use Plastic directive came into effect in 2019 but the Irish deposit-based scheme for recycling drink bottles and cans launched in February 2024. Many other European countries brought them in 20 years ago.

Despite initial teething problems, the Re-turn scheme has been supported by the public and has helped the industry meet its EU-mandated recycling targets. There is no reason to believe consumers will not support a textile recycling scheme sooner rather than later.

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Opinion

High seas drama: Áine Ryan on a Tory Island ferry crossing she would rather forget

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It’s hard to believe it is 30 years since we were weather-bound on Tory Island. It was mid-August 1995 and a group of us from a less exposed island down the coast had decided to explore this outpost off Donegal. Part of the attraction was that it still boasted a monarchical regime whose king may not have worn a crown but boy could Patsy Dan Rodgers, the King of Tory, make music and talk the talk.

Of course, we had an anointed leader of our community with us too: The Priesht, who for the sake of diplomacy shall remain anonymous due to certain shenanigans on the deck of the boat on our return journey to Magheroarty.

The memory of that summer sojourn and the number of 16-hand reels and singing sessions until dawn came bouncing back during a recent rocky August voyage from Clare Island, my home for a time.

Ironically it happened to be on the same ferry, the Tormore, which was the Tory ferry in the mid-1990s but is now among the fleet of ferries servicing the Co Mayo island.

It was two days after Storm Floris swept in across the horizon and the seas were still recovering from her wrath. No surprise that the unseasonable weather had caused campers to run for shelter, day-trippers to cancel their planned voyages, islanders to batten down the hatches and boatmen to tighten their ropes and check their anchorages.

It also ensured that this long-time nervous sailor was hyper-vigilant of the trajectory of the storm as I obsessively checked all the apps from Wind Guru to Magicseaweed and, of course, our very own Met Éireann.

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Two days later I was armed in rain gear and a look of terror on my face as I boarded the ferry with the tail end of Floris still blowing gusts of up to 65km/h.

As always, in rough sea conditions, I am more than happy to make a holy show of myself. So on this occasion I sat inside the door of the cabin, threw my arms over the back of the seat in front of me, bent my head, closed my eyes and started box-breathing.

The journey from Clare Island to the mainland is usually about 30 minutes but on occasions when the sea is lumpy and the wind is belligerent, the wise skippers “tack” into the wind or run from it, meaning the voyage is a little longer.

Every 10 minutes or so I rose from my crouched position and peered out the porthole to check for the welcome sight of land. The relief was short-lived when I finally saw the outline of the cliffs which frame Roonagh.

Suddenly, our craft slowed down and drew to a halt. Apparently, there was swell rolling into the little harbour and another island ferry, the Clew Bay Queen, was inside tied up to the pier. For safety, we needed to wait outside until she exited.

Lord almighty but that was a long 15 minutes as the Tormore’s engines revved and screeched and rocked and rolled under the cliffs awaiting a safe passage inside to the pier.

To make matters worse, what do you think swam across my memory but the trauma of that very rough voyage from Tory?

Unlike Clare Island, with its big hill, An Cnoc Mór, Tory is low-lying, nine miles off the coast and has little shelter from the whims of the ocean.

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Back in August 1995 when the winds suddenly blew up and word spread about the ferry being cancelled, we gave little thought to it. The craic was too good. There was another night of madness to be enjoyed.

However, when bleary-eyed and sleep-deprived the following morning we were told the Tormore would be departing for the mainland an hour later, it was a whole different story.

Ironically, it was us islanders who were the worst passengers. Being seasoned sailors, it must have been the experience of an ocean which appeared to have a very different modus operandi when attacking our northern coastline with strong winds. Certainly the other tourists who knew little about the Atlantic’s vagaries appeared more sane than our gang.

Turns out it wasn’t a very good idea for The Priesht to have indulged in a full Irish breakfast. Half way across he provided an entertaining spectacle of kneeling on the deck, vomiting into a bucket while one of our group threw a towel over his head, for modesty’s sake.

Every now and then he’d peep out from under his cowl and cause much mirth, shouting: “Well, that’s the fried egg” and “Here comes the black pudding.”

Three decades later with my stomach hovering in my throat, my sense of relief was visceral as our ferry turned into the pier and the crew tied its ropes.

Afterwards, I stood overlooking the pier and watched the Tormore bounce back out of the harbour with her new load of passengers. This sturdy craft has carried islanders and visitors along the wild west coast in all sorts of weather but for this seafarer the Beaufort scale must be in a benevolent mood with high pressure dominating and I don’t mean my heart rate.

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