Marie Antoinette Style

We begin in the Hall of Mirrors. Home to many of the decadent balls held by the 18th century French aristocracy, it remains one of the most emblematic rooms in the Château de Versailles, Austrian-born Marie’s stomping ground once fulfilling her duties of a political marriage. Queen by the age of nineteen, she held no real authority within the French court, though she exercised her influence in the luxury trades, playing a significant role in the development of the popular Rococo fashion at the time. Now brought to South Kensington, the V&A recreates the luxe room in the first part of the exhibition, where it showcases some of the two-hundred and fifty objects never before seen beyond French borders. Soundtracked by a twinkling instrumental that seems to bounce off the reflective walls, Marie Antoinette Style begins by unraveling a tactile story through the artefacts held closest to the body, including Marie Antoinette’s clothes, jewellery, musical instruments, and furniture. 

Elaborate, opulent gowns of the robe à la française and robe à l'anglaise fashions take centre stage, characterised by their protruding skirts and delicate draping. Tautly encased in glass, a fragment from Marie’s own dress entailing embellished silk, adorned with intricately stitched sequins and gilded gemstones is displayed, along with her extensive jewellery collection that gives the phrase “diamonds are a girl’s best friend" a whole new meaning. Despite her aforementioned lack of political power, it could be said that she used her style of dress as an avenue of control amidst the complexities of court etiquette, leaning into the excess that made her an easy target for criticism within cultural discourse. From satin slippers to the tiniest of whalebone corsets, the exhibition enchants by painting a striking picture of the luxurious life lived by the ill-fated queen. 

After popularising Rococo’s more frivolous fashions such as skilfully painted hand-fans and the infamous pouf hairdos, the show moves to Marie Antoinette’s immortalisation. As Europe proceeded into the 19th century, she became a symbol of romanticised elegance, especially in the eyes of Empress Eugénie.  Though the second part of the exhibition is more pared-down, it still showcases brimming cabinets of ornate garments and painting-lined walls. Gauzy, diaphanous fabrics lived on in the same exaggerated silhouettes, morphing into costume and caricature, like the lingerie-style evening dress designed by Boué Soeurs. With jutting panniers and pink, silk roses, it presents an approach to the fashion of high-court fit for the 1920s amongst many other interpretations, from regal to gauche. Extending beyond clothes, a nook full of Art Deco artworks reference the late queen in a more modern epoch, such as George Barbier’s illustrations of a Marie-like sphynx. Whichever way you look at it, this is a woman who had influence.

Marie Antoinette’s mythology lends to her notoriety. Whether she prevails as a candescent fairytale or a cautionary allegory, both perpetuate our persisting obsession. In the exhibition’s finale, it steers us back to modern day with contemporary depictions of Marie. From Sofia Coppola’s legendary retelling of the young queen’s story to endless references amongst the world of high fashion, she never fails to evoke a poignant, daring image. 

Upon entrance, Kate Moss inhabits the role in Tim Walker’s portrayal at the Ritz, as she commits to languid splendour dressed in Alexander McQueen, complete with a towering, frilled headdress. The archival wardrobe of Sofia Coppola’s Oscar-winning movie Marie Antoinette is featured, including the iridescent pearl earrings Kirsten Dunst wore as the titular character. From Vivienne Westwood to John Galliano, many prolific designers have turned to Marie as their muse, lending to her status as a sumptuous style idol. In a room full of plush couture, her impact has proven to stay fiercely glamorous despite her pitiful end. 

Running until the 22nd of March 2026, Marie Antoinette Style is a show of decadence and rich history. “This is the design legacy of an early modern celebrity and the story of a woman whose power to fascinate has never ebbed.” says the exhibition curator, Sarah Grant. “Marie Antoinette’s story has been re-told and re-purposed by each successive generation to suit its own ends. The rare combination of glamour, spectacle and tragedy she presents remains as intoxicating today as it was in the eighteenth century.” No matter your stance on the divisive ruler, the exhibition is worth it purely as a feast for the eyes.