“Charles Frederick Worth – Inventing Haute Couture” Exhibition in Petit Palais. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: Petit Palais Palais / Paris Musees.
Figured silk with green satin ground and blue cut velvet motifs, machine-made cotton lace, green and blue shifting silk taffeta lining. Palais Galliera, Musée de la Mode de la Ville de Paris.
© Stanislas Wolff.
The princess line (no waist seam) and the position and size of the motifs of this exceptional tea gown complemented Countess Greffulhe’s elegant silhouette. The fabric, made by Tassinari & Chatel, in an electric green and navy colorway, features a medallion pattern taken from a 16th-century Ottoman velvet. The uniqueness of this piece provides insight into the dialogue between certain personalities and Charles Frederick, then Jean-Philippe Worth, despite the myth of couturiers always imposing their views on their clients.
The exhibition WORTH – Inventing Haute Couture, presented at the Petit Palais in Paris from May 7 to September 7, 2025, is not only the first major retrospective dedicated to the House of Worth, but a rare gesture of historical clarity. With over 400 pieces, including dresses, accessories, artworks, and archival material, it unfolds as a meticulous portrait of the man who didn’t just design gowns—he designed the modern fashion system itself.
The exhibition unfolds chronologically, housed in the grand galleries of the Petit Palais. The scenography is restrained and deeply intelligent. The first sections are dedicated to the founding years: the architectural crinolines, the bustled silhouettes, the intricate passementerie. Daywear and tea gowns are presented alongside evening dresses, opera coats, and mantles, offering an uninterrupted view of the day-to-evening wardrobe in the Second Empire and Belle Époque.
Fashion history often favours the convenient. But if there is one undeniable origin to haute couture as we understand it today—seasonal collections, signed garments, showrooms, international clientele—it begins with Worth. This is not myth. It is structure, enterprise, and legacy. And all of it is on view now, for the first and only time, in the city where it began.
THE HOUSE THAT DEFINED AN INDUSTRY
Worth, Day Dress, 1878-1880.
Silk faille and brocaded silk lampas, trimmed with lace, silk satin, and pearls.
Philadelphia Museum of Art, United States of America.
© 125th Anniversary Acquisition. Gift of the heirs of
Charlotte Hope Binney Tyler Montgomery, 1996, Philadelphia Museum of Art.
On the right:
Charles Frederick Worth, Day Dress with Bodice Transformation,
circa 1872. Skirt – Row of fringes on the front, gathered at the back. Day dress – Square neckline with elbow-length sleeves. The Metropolitan Museum of Art / Costume Institute, New York, United States. © The Metropolitan Museum of Art, Dist.
GrandPalaisRmn / image of the MMA
Silk velvet with silk appliqué and reverse appliqué (fur replacement).
Philadelphia Museum of Art, United States of America.
© Gift of Mrs. George B. Roberts, Philadelphia Museum of Art.
Nadar, Countess Greffulhe, 1886.
Photomechanical process, 29 × 16.8 cm.
Palais Galliera, Musée de la Mode de la Ville de Paris.
CCØ Paris Musées / Palais Galliera, Musée de la Mode de la
Ville de Paris.
Elisabeth de Riquet de Caraman-Chimay, Countess Greffulhe (1860-1952), has gone down in history as the model for Proust’s Duchesse de Guermantes. The Palais Galliera preserves the wardrobe of this ravishingly beautiful woman, with a consummate and very personal sense of style. The Robe aux Lys, with its large white lilies contrasting against the black velvet, and in which she was photographed on several occasions, is unique among Worth’s creations.
On the right:
Worth, Evening gown known as the “Robe aux Lis,” circa 1896.
Black silk velvet, ivory-white duchess silk satin inlays in the shape of a lily branch edged with a cord of gilded silver thread. Embroidered with pearls, sequins, rhinestones, and gilded silver thread.
Palais Galliera, Fashion Museum of the City of Paris.
CCØ Paris Musées / Palais Galliera, Fashion Museum of the City of Paris.
Charles Frederick Worth arrived in Paris in 1846 and quickly outgrew the role of a textile merchant’s clerk. By 1858, he had established Worth & Bobergh at 7 Rue de la Paix, a location that would become synonymous with the rise of the Parisian fashion empire. His early clientele included Princess Pauline von Metternich, wife of the Austrian ambassador to France, and Empress Eugénie, whose loyalty to Worth helped secure his place at the epicentre of imperial style.
But his contribution was not limited to cut or embellishment. Worth was the first to reverse the balance of power between designer and client. No longer a passive seamstress responding to instruction, the couturier became a creative authority. He created seasonal collections, presented his designs on live models, and, in a break from tradition, signed his name on the labels. The dress became a statement of authorship. The client became a vehicle for vision.
A LEGACY IN MOTION
1866-1868
Silk satin with lace and silk tulle.
Philadelphia Museum of Art, United States of America.
© 125th Anniversary Acquisition.
Gift of the heirs of Charlotte Hope Binney Tyler Montgomery, 1996,
Philadelphia Museum of Art.
Worth, Evening Dress, circa 1895
On the right:
Worth, Evening Dress, circa 1913
In the background:
Louis Béroud, The Opera Staircase, 1877. Oil on canvas, 65 × 55 cm. Carnavalet Museum – History of Paris. CCØ Paris Museums / Carnavalet Museum – History of Paris.
Worth, Evening dress known as “Robe aux Lis”, circa 1896.
Black silk velvet, ivory-white duchess silk satin inlays in the shape of a lily branch edged with a cord of gilded silver thread. Embroidered with pearls, sequins, rhinestones, and gilded silver thread.
Palais Galliera, Fashion Museum of the City of Paris.
CCØ Paris Musées / Palais Galliera, Fashion Museum of the City of Paris.
On the right:
Worth, Evening dress, 1894-1895.
Silk, satin, brocade, machine-made lace, trimmings.
Musée des Arts Décoratifs (MAD), Paris, France.
© Les Arts Décoratifs.
In the background:
Jean Béraud, An Evening, 1878.
Oil on canvas, 65 × 117 cm.
Orsay Museum, Paris, France.
© RMN Grand Palais (Orsay Museum) / Photo Hervé Lewandowski.
The Charles Frederick Worth exhibition follows a chronological narrative, beginning with the structured silhouettes of the Second Empire and continuing through to the softened lines of the 1920s. The garments on display—tea gowns, opera cloaks, walking suits, court dresses—speak of both innovation and control. Worth’s obsession with fabric, embellishment, and historical reference was total. Lace, silk, embroidery, passementerie—these were not decorative decisions but architectural ones.
The transition from the crinoline to the bustle is illustrated in extraordinary pieces from the 1860s and 1870s. Bustled gowns in faille and brocade with cascading layers of fringe and beaded embroidery present Worth’s idea of volume—not as weight, but as rhythm.
One entire section is devoted to the concept of the complete wardrobe—a vision of a woman dressed from morning tea to evening gala, her every movement choreographed through dress. Another area offers a glimpse into the operations of Rue de la Paix: workshops, staff refectories, pattern cutters, packers, even the in-house photography studio that documented every garment to prevent counterfeiting.
CLIENTS WHO SHAPED THE IMAGE
Worth, “Byzantine” dress worn by Countess Greffulhe at the wedding of her daughter Elaine to the Duke of Guiche on November 14, 1904, 1904.
Ecru cotton tulle embroidered with beads, sequins, and glass and metal cannetilles; gold lamé; rabbit fur (modern); beige silk taffeta lining.
Palais Galliera, Musée de la Mode de la Ville de Paris.
CCØ Paris Musées / Palais Galliera, Musée de la Mode de la Ville de Paris.
Much like an empress, Countess Greffulhe was the center of attention when her daughter Élaine married the Duke of Guiche in the Church of La Madeleine on November 14, 1904. This social event was covered by the French and international press. The hieratic character of this dress, adorned with dazzling embroidery, earned it the name ‘Byzantine’.
On the right:
Worth, Evening cape, between 1895 and 1900.
Gray satin and silk chiffon. Mauve and green cotton canvas flowers and metallic thread trimmed with silk. Ivory silk satin lining.
Palais Galliera, Musée de la Mode de la Ville de Paris.
CCØ Paris Musées / Palais Galliera, Musée de la Mode de la Ville de Paris.
This cape was worn by the great-great-grandmother of the donor, Eugénie Baliol Brett (1814-1904), Viscountess Esher.
Although Queen Victoria wasn’t overly fond of French fashion, British aristocracy appreciated Worth’s ballgowns and court reception dresses. The cape’s wide flat back pleat evokes the 18th century’s French dress, demonstrating Worth’s fondness for this period. The frilly trims are typical of Jean-Philippe Worth’s designs.
In the middle:
Louise Breslau, Madeleine Cartwright, 1887.
Oil on canvas, 215 × 124 cm.
Petit Palais, Museum of Fine Arts of the City of Paris.
CCØ Paris Museums / Petit Palais, Museum of Fine Arts
the City of Paris.
Madeleine Cartwright, an affluent patron of the arts from New Orleans, arrived in Paris in the early 1880s. She actively participated in the social life of the capital, attending all the popular places. She also held costume balls, dinners and musical evenings, which were attended by many artists. Depicted in a casual, unconventional pose, Madeleine Cartwright is portrayed full-length in the privacy of her precious interior, wearing a resplendent lace, silk and satin gown by the House of Worth.
Worth & Bobergh, City dress, 1868-1869.
Silk faille.
Palais Galliera, Fashion Museum of the City of Paris.
CCØ Paris Musées / Palais Galliera, Fashion Museum of the City of Paris.
On the right:
André Taponier, Portrait of Andrée Joséphine Carron,
wife of Prince Mohamed Aga Khan III, wearing a Worth dress and Cartier jewelry, June 1930.
Cartier Archives, Paris, France.
© Cartier.
The Begum Aga Khan wears a tiara created by Cartier Paris in 1923 and a necklace made for Prince Aga Khan in 1930.
In the background: Exhibition interior. Photo: Runway Magazine.
Worth, Tea-Gown or Indoor dress worn by Mrs Brice, 1894.
Lavender and damask silk satin with vermiculated pattern.
Museum of the City of New York, United States.
© Museum of the City of New York.
This type of large, pointed guipure collar, draped over the sleeves in the style of Louis XIII, was very fashionable in the early 1890s. The voluminous sleeves drawn in at the wrists are typical of the period. This tea gown was worn by Mrs Calvin Stewart Brice.
On the right:
Charles-Emile-Auguste Carolus-Duran, Mrs William Astor, 1890.
Oil on canvas, 212.1 × 107.3 cm.
The Metropolitan Museum of Art / European Paintings, New York, United States.
CCØ The Metropolitan Museum of Art, New York.
Worth’s clientele reads like a diplomatic guest list: Italian aristocrats, British duchesses, American heiresses. Among the most celebrated were Countess Greffulhe, Franca Florio, Lady Curzon, and Empress Elisabeth of Austria (known to many as Sissi). Their gowns—restored for this exhibition—are more than fashion; they are historical theatre.
One of the most striking is the “Robe aux Lys,” a black velvet evening dress with ivory satin lilies and golden embroidery, worn by Countess Greffulhe, whose persona famously inspired Marcel Proust’s Duchesse de Guermantes. Another highlight is the Byzantine gown, worn to her daughter’s wedding in 1904—a masterpiece of symbolism and status, layered in pearls, gold thread, and reverence.
RESTORATION AND DIALOGUE: THE CHANEL CONNECTION
Palazzo Pitti / Galleria del Costume, Florence, Italy.
© Museo della Moda e del Costume, Palazzo Pitti, Gallery degli Uffizi, Florence. Minister of Culture.
Franca Florio (1873-1950), wife of the Sicilian businessman and shipowner Ignazio Florio, entertained many prominent figures at her Palermo palace. In May 1902 she was appointed lady-in-waiting to Queen Elena, wife of Victor-Emmanuel III.
This court cloak, created for the occasion, was also worn in Vienna in 1904 at the court of Franz Joseph, and in Berlin at the court of Wilhelm II. Organza flowers adorn the edge of the train.
Worth, Evening Dress, circa 1895.
Cream, black, and yellow pekin silk, brocaded and woven floral design, yellow silk muslin, black satin ribbon; beige silk faille lining.
Palais Galliera, Musée de la Mode de la Ville de Paris, France.
CCØ Paris Musées / Palais Galliera, Musée de la Mode de la Ville de Paris.
This dress was worn by the wife of Henri Viguier, president
of the Bazar de l’Hôtel de Ville, née Renée Normant. Manifesting Worth’s love of the 18th century, it is made in Tassinari & Chatel’s Reine des fleurs (Queen of Flowers) fabric, whose design was taken from Madame du Barry’s bedroom in Versailles. The pattern was also available in pink.
On the right:
Worth, Lady Curzon’s court dress, circa 1900. Cream silk bodice, skirt, and train with zardozi embroidery in silver and gold metallic thread. Fashion Museum Bath, United Kingdom. © Fashion Museum Bath / Photo Peter J Stone.
In the background: Exhibition interior. Photo: Runway Magazine.
Green faille and silk tulle.
Philadelphia Museum of Art, United States of America.
© 125th Anniversary Acquisition. Gift of the heirs of Charlotte Hope Binney Tyler Montgomery, 1996, Philadelphia museum of Art. This dress ‘à transformation’ features two bodices, one with long sleeves for daytime (shown here), the other lowcut and sleeveless for evening.
In the background: Exhibition interior. Photo: Runway Magazine.
A significant portion of this Charles Frederick Worth exhibition owes its condition to the restoration ateliers of CHANEL, who also serve as the main sponsor of the event. The collaboration is more than financial. It is conceptual.
CHANEL—still the oldest operating haute couture house in Paris—recognizes Worth not simply as a predecessor, but as a structural ancestor. While Gabrielle Chanel dismantled the corset and elevated minimalism, she also adopted Worth’s business model: a couturier who controls image, clientele, and legacy. The exhibition reflects this connection not through grand statements, but through quiet technical excellence. Restoration work by CHANEL’s specialists returned many of these fragile pieces to presentable condition, ensuring that the garments could once again command the space they were designed for.
BEYOND MYTH
24.7 × 19.2 cm.
Palais Galliera, Fashion Museum of the City of Paris.
CCØ Paris Musées / Palais Galliera, Fashion Museum of the City of Paris.
In the background:
Ceiling of the Petit Palais. Photo: Runway Magazine.
Palais Galliera, Fashion Museum of the City of Paris. Paris, France.
CCØ Paris Museums / Palais Galliera, Fashion Museum of the City of Paris.
In 1926, Worth’s loyal client, Princess Murat, set her sights on two evening gowns with motifs by Jean Dunand that resembled those of a Japanese lacquered screen. Although fish and animals were common in his work, the fish motif, inspired by the Far East, was representative of his designs in the 1920s and 1930s.
In the background: Moodboard and looks for the fashion show / presentation of Charles Frederick Worth.
Photo: Runway Magazine.
Perhaps most remarkable: WORTH – Inventing Haute Couture will only take place in Paris. Many of the works are on loan from private collections, and the terms of exhibition are absolute: they will not tour. There will be no London or New York reprise. If one wishes to understand how fashion became industry—and how couture became institution—one must come to the city where it happened.
There is no virtual alternative. No digital surrogate. Just silk, velvet, lace, and structure—on display in a Beaux-Arts building that once hosted the 1900 Exposition Universelle.
That, in itself, is an act of quiet defiance. In an age of virtualization, Worth remains tangible.
And that may be the most contemporary gesture of all.
