Josephine at Malmaison: An Imperial Wardrobe

I continued my stroll in Josephine’s footsteps at Château de Malmaison with a visit to her garderobe – wardrobe. Here I discovered that the elegant sophistication of her decor, which I shared with you in my post Josephine at Malmaison: Retreat of an Empress, was also mirrored in her personal attire. This exhibit of her clothing was a wonderful example of the French Empire mode of fashion. A style that just so happened to be named after her the reign of her second husband, Napoleon I.

French Empire

This style was a drastic departure from the stiffly corseted and elaborately adorned fashions of the pre-revolutionary period. Women of means now no longer wanted to be associated with the aristocracy. Therefore, they chose a more natural look, one based on the classical ideals of ancient Greece. High-wasted or ‘Empire waist’ dresses with long, loosely flowing skirts defined the Empire silhouette. And they were made from light fabrics, such as muslin, silk and batiste. For formal occasions, such as the coronation of Napoleon and Josephine, heavier fabrics, like velvet, were also also used.

Yet underneath these Grecian gowns, Josephine wore the most basic of undergarments. The first layer consisted of a simple cotton shift or chemise, which also doubled as a nightgown. Over this, a bodice and a sleeveless petticoat with an embroidered hem was worn.

And then the dress was donned. French Empire dresses usually consisted of a muted colour palette: whites, creams and soft pastels. Because these colours symbolized purity and innocence, they were most commonly worn by youger women.  The light colours also reflected one’s social status for only a woman of leisure could afford to wear a gown that could be so easily stained. Meanwhile, a more mature lady would tend towards richer colours, including black. Shots of colour might also be found in accessories, such as a shawl, sac à main – handbag – or perhaps an embroidered pair of shoes.

State of Dress

In this era, a lady would change her outfit a number of times over the course of a day. She would transition from a state of informal ‘Undress’ through semi-formal ‘Half Dress’ up to formal ‘Full Dress’ as the day progressed. A woman’s activity also dictated her mode of dress. Spending a morning at home or going out for a promenade required ‘Undress’. While dinner or a trip to the opera necessitated ‘Half Dress’. And for the most formal of events, such as attending balls or the imperial court, ‘Full Dress’ was required. This often included the wearing of a train, which would be pinned up for dancing. These were, of course, the most elaborate of gowns, and Josephine’s, the ultimate. For metres of intricate embroidery of silver and gold embellished her silk and velvet trains.

An Imperial Inventory

And each of these imperial pieces, from a silk stocking to fur-lined winter boots, was catalogued in a red leather journal which matched the cases of the empress’ toiletries. A necessity, I’m sure. For shallow drawers lined the walls of Josephine’s generously-sized garderobe from floor to ceiling. It was the ultimate walk-in closet. And a reminder that, in that era, one folded clothing for storage, rather than hanging it as we do today.

Of all of the incredible pieces on display that day, I found the silk stocking to be the most intimate. It’s signature red monogram denoted the humanity of Josephine, it’s imperial owner. And it’s hand-stitched seam, the signature of its common seamstress.

Stay tuned for a look at Napoleon’s side of the house in my next post.

Musée National du Château de Malmaison  Avenue du Château de la Malmaison, 92500 Rueil-Malmaison, France

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