King Louis XIV: The Sun King or the Fashion King?

Louis XIV, The fashion king, the sun king
Portrait of Louis XIV, in Coronation Robes, 1701 by Hyacinthe Rigaud

QUESTION! Who was the Sun King?

It was King Louis XIV of the House of Bourbon of France, son of King Louis XIII and Anne of Austria. His birth was considered a miracle; hence, his name was Louis-Dieudonné. He was born in 1638; he had a vision for himself and for France. He became king at 5 after his father’s death, with his mother acting as regent. Louis XIV was the longest-reigning monarch of France, reigning for 72 years until 1715, a decade ahead of Queen Victoria. 

He held court at the Château de Versailles (1682), shifting his life and court from Paris. He believed in the divine nature of kings, and that he alone was answerable to God, and not to any man. He was a staunch, devout Catholic and banned protestantism.

He was called the Sun King, as the sun was his emblem. Just as the planets of our solar system revolve around the sun, so does the court of Louis XIV; they revolve around him. Another reason he was called the Sun King was that he was dressed as the sun when he performed the ‘Ballet de la Nuit’, or Ballet of the Night, in 1662. 

But why did I want to look into his fashion looks? 

This portrait is exactly the reason why. It got me wondering: was Louis XIV really a fashion king? Or were his portraits highly exaggerated? Let’s find out. 

Portrait of Louis XIV, in Coronation Robes, 1701 by Hyacinthe Rigaud

Louis XIV’s Fashion Lookbook

The young Dauphin Louis.

Louis XIV, then Dauphin of France, 1642, by Philippe de Campaigne

To Louis, fashion was a huge statement. He wanted to make France the centre of taste, rivalling that of Spain. His dedication to the strict conduct of fashion at his court cemented the French dominance in fashion in Europe. He also viewed fashion as economic propaganda, popularising French textiles and aesthetics.

Portraits of Louis XIV’s childhood often depicted the young king with an incredible fashion sense. He was very expressive, and it showed through the way he carried himself. He was the embodiment of aristocracy and power, and his personal fashion sense said it all.

In the portrait of the young Dauphin, before he ascended the throne, he was styled in the rich, traditional European style, which was significantly popular among the aristocrats during the 17th century. Unusual for a common child, but it set the stage for his dominance as an adult. 

Louis XIV in his Baroque fashion years. 

Louis XIV, 1701, by Hyacinthe Rigaud

As an adult, King Louis XIV was a man of the Baroque period, so it is without a doubt that this fashion era was marked by elaborate fabrics, heavy embroidery, lace and wigs, all of which support the theatrical lifestyle. So getting out of bed was a drama itself. He also set a standard for the court’s outfits and how they should be dressed and what was worn on what occasion. 

With the main theme of the Baroque period being a theatrical expression, Louis XIV did not sleep on such an opportunity.  His fashion mirrors the beauty of Baroque fashion: cuffed sleeve lace, a double-peaked wig and a lace cravat. All of which are extraordinary highlights in his portraits. And let’s not forget his elaborate coronation gown, lined with fur and embroidered with the famous Fleur-de-lis. Fashion for men was a different sight. Breeches were fitted at knee-length, often fastened with buckles. They were accompanied by knee stockings, which were also worn by Louis XIV.

In Kimberly Chrisman- Campbell’s essay ‘The King of Couture’, she states, “ The fashions he introduced were colourful, voluminous and ornamental, which were the antithesis of the austere Spanish style. One of the innovations was to mandate that new textiles appeared seasonally, twice a year, and fashion too changed seasonally in France. 

Louis XIV understood the importance of fashion and how it could affect his image during his reign. To be a man at court, he was dressed exquisitely to show his power and dominance and his ability to afford the luxuries demanded of him. 

Louis XIV, 1670 by Claude Lefebvre

He did not shy away from using bold colours, frilled sleeves and a heavily laced cravat. But the one thing that caught my eye was his high-heeled shoes. 

Kimberly Chrisman- Campbell, who studied extensively on the Sun King, stated, “He didn’t really need the heels for height, but he wore them because it was a sign of prestige and expense.”  

Louis XIV: The man with the red heels 

Looking closely at some of his portraits, his heels were curved, made of cork and marked with red- dyed leather, putting Christian Louboutin’s red soles to shame. The red symbolised power and prestige. So, if you think about it, he popularised ‘red’ in shoes way before Louboutin’s signature style. His shoes were not just the same old plain shoes; they were designed with bows and ornate buckles. He set the tone within his court with the high-heeled shoes, showcasing his power and his absolute control over the nation. 

Portrait of Louis XIV, in Coronation Robes, 1701 by Hyacinthe Rigaud

When looking at all of Louis XIV’s portraits, one can only sit in awe at how magnificently bold he presents himself; each passing generation can only wonder how he strolled around Versailles looking like a god. There is no denying that Louis XIV was a man with great taste and exemplary fashion sense; let’s just say if he were alive in this century, he would be taking the world by storm. He was often considered the king of trendsetting. He considered fashion a sign of economic status and cemented French fashion. Above all else, he transformed men’s fashion. We do not give Louis XIV enough credit for his daring and bold style. 

So I leave it up to you. Was the Sun King also the Fashion King?

Fashion Lookbook of the French Bourbon Consorts: Before the French Revolution- The Baroque Period and Early Rococo Era.

FASHION LAW JOURNAL INSIDER

Join designers, brand founders and fashion lawyers who get the biggest brand battles, IP fights and career moves in fashion law, straight to their inbox.

Cynthia Lydia Marbaniang

Staff Writer & Associate

milan fashion week
Previous Story

Milan Opens Tuesday, and Everybody Knows Who Should Be Nervous

Merch bootlegging
Next Story

Merch Bootlegging: Why Band and Festival T-Shirts Are a Trademark Minefield

Don't Miss

Fendi Adele S. r. l. v. Ashley Reed Trading, Inc. (2010)

Introduction The case of Fendi Adele S. r. l. v.…