Darlings, prepare yourselves for the most delicious tale of ambition, romance, and sheer audacity that graced Europe's salons.

Clutch your pearls and steady your champagne flutes, HIGH SOCIETEA, the newest segment from Decadent Material, dives deep into the juicy scandals, excesses, and outrageous anecdotes surrounding luxury, fine art, decorative arts, and ornamental objects from the world of high society across different eras.

Each article will dramatically recount a shocking true story or provide entertaining insights into the elite's decadent lifestyles and material culture obsessions.

We’re about to serve you the most delectable historical dish of scandal this side of Versailles. For Louis Vuitton month, we're plunging headfirst into the sumptuous world of Empress Eugénie de Montijo and her fateful liaison with the ambitious young trunk-maker, Louis Vuitton.

Oh, what a feast of imperial intrigue, crinoline, and violets we have for you!

Picture this, my sweets: It's 1854, and Paris is positively buzzing with the rustle of silk and the salacious whispers of court gossip. Our heroine, the ravishing Spanish-born Eugénie, has just pulled off the social coup of the century - marrying Emperor Napoleon III himself!

But what's a newly minted empress to do with a wardrobe that could clothe a small army and no proper way to transport it? Enter our dashing young malletier, Louis Vuitton. Back in 1854, when Vuitton first established himself as a malletier (trunk-maker) on Rue Neuve des Capucines in Paris, he was charged not only with crafting the Empress's luggage but with filling it too, "exquisitely packing the most beautiful clothes," to borrow her words.

Eugénie was so impressed that she appointed Vuitton as her official trunk-maker, instantly catapulting him from obscurity to the dizzying heights of Parisian high society. It's a match made in fashion heaven and mon Dieu, does Vuitton deliver.

This isn't just a tale of trunks and tiaras, oh no! It's a sumptuous feast of ambition, scandal, and luxury that forever transformed the fashion landscape. We'll explore every delicious detail - from Eugénie's extravagant travels to her jewels and her role as influencer and arbiter de elegance of decorative art.

Eugénie's endorsement was akin to a royal decree that elevated Vuitton's creations to the pinnacle of desirability. His flat-topped trunks, a stark departure from the impractical rounded designs of the past, featured innovative pick-proof locks and became the epitome of sophistication and practicality.

The trunks' signature shellac canvas print, with its distinctive pattern, quickly became a symbol of affluence and taste, turning every journey into a display of elegance. The Empress praised Vuitton's ability to pack "the most beautiful clothes in an exquisite way," highlighting his skill in catering to the whims of the ultra-rich.

Eugénie's lavish travels and unquenchable thirst for couture made her the perfect muse for Vuitton's avant-garde designs. Her wardrobe was a spectacle of opulence, curated by the illustrious couturier Charles Frederick Worth, who provided her with hundreds of gowns that she famously never wore twice.

Her style was so influential that colours like "Empress blue" and hairstyles dubbed "à l'impératrice" swept through Europe and America, further solidifying her status as a fashion icon.

Beyond her sartorial prowess, Eugénie was a formidable patron of the arts and a staunch advocate for French industries. She orchestrated grand events such as the Fêtes Impériales, where she showcased the finest French craftsmanship, including Baccarat crystal, Christofle silver, and Sèvres porcelain.

These gatherings were not just social events but platforms that promoted French culture and industry, even helping to launch the career of chef Auguste Escoffier, the progenitor of haute cuisine. We’re taking a look at the woman who elevated Louis Vuitton’s status so significantly.

“…Without Eugénie, what would Louis Vuitton's destiny have been? Eugénie quickly came to appreciate the qualities of the box maker/packer of Rue Neuve-des-Capucines. She became a loyal patron and was the first of the Louis Vuitton Company's "prestigious" clients. Perhaps ambition was the common bond between the child of the Jura who was making his way in Paris and the beautiful Spaniard who became empress for love of the emperor…”

Eugénie's life was not without its share of intrigue and scandal. Her bold presence on the international stage often courted controversy.

In 1868, her visit to the Dolmabahçe Palace in Constantinople nearly ignited an international incident when she was slapped by the Pertevniyal Sultan for perceived impropriety—a dramatic episode that underscored the cultural tensions of the time.

Her associations were equally provocative. She was known to frequent the studio of Rosa Bonheur, a celebrated animal painter and openly flamboyant lesbian and was also known for her love of fortune tellers and palm readers.

A fortune teller once predicted an imperial crown for Eugenia, a prophecy that seemed laughable at the time, as the only empires were Austria and Russia. However, her destiny was fulfilled when she married Napoleon III in 1853, becoming Empress of the French.

Eugénie's connection to such colourful characters only added to her enigmatic allure and highlighted her willingness to defy societal norms.

Despite the whispers and controversies, Eugénie's legacy endures as one of Louis Vuitton's 'Timeless Muses.' Her influence on fashion and the arts remains profound, a testament to her indomitable spirit and impeccable taste.

Her life, a rich tapestry of elegance and audacity, continues to captivate and inspire, embodying the allure and decadence of the Second Empire. Through her patronage and style, she helped shape the luxury goods industry as we know it, leaving an indelible mark as an enduring icon of sophistication and innovation.

We’re diving into the juiciest story of this adventuress who plucked this malletier from obscurity and changed the face of luxury forever. A delicious tale of ambition, intrigue, crinoline, and violets!

This week on HIGH SOCIETEA X THE CURIO AESTHETE.

BACKGROUND & HISTORY

“…Cipriano made his children wear the same linen dresses winter and summer, and would not buy them silk stockings for parties. Nor would he keep a carriage, making them go everywhere by pony. It did them no harm – a sketch shows two tough, sturdy little girls. Eugenia adored her father, who shared her colouring (white skin, pale face, red hair and blue eyes) and never forgot her rides with him to Teba. Cipriano talked a good deal to her, especially about his hero Napoleon…”

Eugenia was born on May 5, 1826, in Granada, Spain, during an earthquake, which she later believed foretold her destined greatness. Her father, Don Cipriano de Guzmán y Palafox y Portocarrero, Count of Teba, hailed from one of Spain's oldest families, claiming descent from Visigoth kings.

Despite the family's noble lineage, Cipriano inherited little as a younger son, while his brother received the vast family estates.

Her mother, María Manuela Kirkpatrick, was a striking beauty with social ambitions. Born in Málaga in 1794, she was known for her intelligence and charm. María Manuela was the first Spanish hostess to popularize costume balls, which even Queen Isabella began to emulate. Her social prowess and connections were instrumental in navigating the complex political and social landscapes of the time.

Cipriano supported the Liberal revolt of 1820, which led to his imprisonment. His wife's eloquent pleas saved him from execution, and he was eventually allowed to live under house arrest in Granada.

Despite financial constraints, Cipriano instilled resilience in his daughters, Eugenia and her older sister Paca, by making them wear simple clothes and travel by pony. This upbringing fostered a sense of independence and strength in Eugenia.

In 1830, Cipriano was freed, and the family moved to a larger house in Granada. Following the death of Cipriano's brother, he inherited the title of Count of Montijo and vast estates. However, political unrest in Madrid, including riots and cholera outbreaks, prompted him to send his wife and daughters to Paris for safety.

PARISIAN LIFE AND SOCIAL ASCENDANCY

Arriving in Paris, a city bustling with cultural icons like Balzac, Alexandre Dumas, and Victor Hugo, Eugenia was exposed to a vibrant society. The city was a mix of narrow, winding streets and grand landmarks like the Place de la Concorde and the Palais de Luxembourg.

Eugenia quickly became known for her beauty and charm, frequently appearing in gossip columns. Despite being almost tone-deaf, she enjoyed theater and was a regular at court functions and fashionable receptions.

Eugenia's adventurous spirit sometimes shocked Madrid's conservative society. She was rumored to smoke cigars and was seen at bullfights dressed in a bullfighter's hat and bolero jacket, complete with red leather boots and a dagger.

Her boldness extended to disguising herself as a “gypsy” dancer during Seville's Easter fair, where she and a friend performed for English tourists.

Her interest in progressive ideas also set her apart. At sixteen, she was captivated by the socialist ideas of Charles Fourier, discussing his utopian visions during her mother's Sunday receptions. Her instinctive feminism and desire for social reform were evident, even if full-fledged feminism was not yet a concept of the time.

THE HUSBAND HUNT

“…In theory, since the Countess of Montijo and the Countess of Teba belonged to that close-knit international ruling class which in those days stretched from London to St Petersburg and from Stockholm to Naples, and whose common language was French, the doors of great houses in every European capital should have been open to them. No doubt, too, they expected to meet kindred spirits – some of whom might even be potential husbands – at all the fashionable spas and watering places. Yet in practice it turned out to be not quite so easy….”

Our adventress,Eugénie a Spanish beauty with blood as blue as the Côte d'Azur, found herself teetering on the brink of spinsterhood at the positively ancient age of 26. Can you imagine the scandal?

Now, Eugénie's mama, Doña Maria Manuela, was a woman possessed. With the tenacity of a bloodhound and the social ambition of a Medici, she dragged her daughter through every fashionable spa and glittering capital from London to St. Petersburg. Baden-Baden, Wiesbaden, Brussels – no stone was left unturned in this quest for a suitable husband. It was like a grand tour with a matrimonial twist.

Eugénie was mortified beyond belief, feeling like "a vulgar, gold-digging fortune hunter" being paraded around Europe by her overbearing matchmaking mother. The embarrassment! The ennui! But fear not, for fate had plans for our girl.In April 1849, they sashayed into Paris and, through some miraculous maneuvering (and a little help from Prince Felix Bacciochi), secured an invitation to the Elysée. There, our Eugénie caught the roving eye of none other than Louis-Napoleon Bonaparte.

Now, Louis-Napoleon wasn't exactly Adonis incarnate. He was described as a dumpy little man with legs too short for his body, giving him a crab-like waddle that would make a penguin look graceful.

His nose? Looked like a question mark. His eyes? Pale and fishy, hidden behind a goatee and a moustache with waxed antennae he twirled when nervous – how utterly provincial! And don't get me started on his fashion sense – sombre, ill-fitting clothes perpetually dusted with cigarette ash.

Hardly the stuff of romantic dreams. But what he lacked in looks, he made up for in charm and power. His smile could light up a room, and he possessed a sphinx-like benevolence that was simply magnetic. And our Eugénie, bless her calculating heart, saw beyond the unfortunate exterior to the glittering crown that could be hers.

Of course, the path to imperial glory wasn't smooth. There was that mortifying dinner party at Saint-Cloud – Eugénie and her mother, dressed to the nines in their most stately gowns and finest jewels, expecting a grand soirée, only to find themselves in an intimate setting with Louis-Napoleon and his wingman.

The nerve! They fled Paris, scandalized but not defeated, retreating to Brussels to lick their wounds.

Through it all, Eugénie played her cards like a master. She refused to be just another conquest, holding out for nothing less than a wedding ring. And why not? As she so succinctly put it,

"After the first night it no longer matters much whether a man is handsome or ugly, and at the end of the first week it's always the same thing."

But here's the truly fascinating part: Eugénie was no mere social climber. She was a fervent Bonapartist, ready to devote herself to the imperial cause. Can you believe she even offered financial assistance to Louis-Napoleon before his coup in 1851? Talk about putting your money where your mouth is!

In the end, it was Eugénie's political fervour and her thirst for power that sealed the deal. She saw in Louis-Napoleon not just a husband, but a chance to shape history. And shape it she did, my dears. From a desperate spinster-in-waiting to the Empress of France, a glow-up indeed.

Remember, in the game of love and power, it's not necessarily about the hand you're dealt, but how you play your cards. Our adventuress played a royal flush, transforming herself from a mere noble's daughter to the arbiter of fashion and politics in the glittering Second Empire.

MARRIAGE SCANDAL

“…..And If her father was supposed to have been some sort of Spanish grandee, her mother (about whose private life there are lurid rumours) was not even faintly aristocratic but the daughter of a bankrupt Scottish fruit and wine merchant in Malaga….”

The scandal immediately followed the beautiful new empress upon her debut in French society and these rumours continued to intensify leading up to the wedding. It had been whispered that she was an adventuress – what today we would call a gold-digger.

The entire fashionable world knew that for years Eugénie and her mother had been trawling the capitals of Europe in search of a rich husband. The emperor’s inner circle is horrified: his foreign minister was threatening to resign. But here's where it gets juicy, the clever Prosper Mérimée, Eugénie's confidant, pulled a masterstroke.

Mérimée cleverly obtained a certificate of Doña Eugenia's noble birth from Spanish heralds to enhance her background in the official announcement of her marriage. He procured a certificate from Spanish heralds confirming her noble lineage.

Suddenly, Eugénie wasn't just a pretty face – French people were to learn that their ruler was marrying the daughter of a distinguished Spanish nobleman, rather than just an ordinary Napoleonic officer on half-pay.

His full title was. ‘Don Cipriano Guzmán y Palafox Fernandez de Cordoba, Layos y la Cerda, Viscount of la Calzada, of Palencia de la Valduerna; Count of Teba, of Banos, of Mora, of Santa Cruz de la Sierra, of Fuentiduena, of Ablitas, of San Esteban de Gormas and Casarubios del Monte; Marquis of Moya, of Ardales, of Osera, of Barcarotta, of la Algaba, of la Baneza, of Villanueva del Fresno, of Valdunquillo, of Mirallo and Valderrabano; and Duke of Peñaranda.’

Quite a mouthful, isn't it? Irrelevant as this string of archaic titles might seem today, they meant a surprising amount in romantic, mid-nineteenth-century France, to the innumerable readers of Alexandre Dumas’s novels, with their thirst for a chivalrous past.

In the romantic atmosphere of mid-nineteenth-century France, filled with readers who admired chivalrous pastimes, these ancient titles carried significant weight. But it made those Legitimists and Orleanists sit up and take notice. As we say in Nigeria “everything na packaging”

Of course, not everyone was thrilled about this match. The whispers in the salons of Paris were positively venomous! "Foreign adventuress," they sneered. At a ball at the Tuileries on January 12, some uppity madame – Mme Drouyn de Lhuys, to be precise – dared to suggest Eugénie and her mother had no right to sit among the ministers' wives.

But the Emperor, smitten as he was, swooped in like a knight in shining armour and invited Eugénie to join the imperial family on the dais. Madame Drouyn was left in tears – serves her right, amebo.

And oh, the pornographic smear campaign! It was enough to make Marie-Antoinette's ghost blush. Rumours flew that Eugénie had manipulated her way into the Emperor's bed and heart.

The British ambassador, Lord Cowley, bless his stuffy heart, even reported that Napoleon had been "captured by an adventuress." Foreign Secretary Lord John Russell huffed about it being a lowering of imperial dignity.

But Eugénie, clever minx that she was, knew how to play to the crowd. When offered a diamond necklace worth 600,000 francs from the municipality, she demurely declined, asking instead for the money to be used to endow an orphanage for girls. Well played, darling!

THE WEDDING

“…The pearls women wear on their wedding day symbolise the tears that they are going to shed.’Some romantic historians see these words as only too prophetic of what Eugenia would suffer as empress of the French…”

Let's set the stage, It's January 1853, and Paris is abuzz with whispers and raised eyebrows. Eugénie, this Spanish rose with Bonapartist blood coursing through her veins, is about to ascend to the throne of France.

As the congregation at Notre Dame gazed upon the dignified bride, Doña Eugenia de Montijo, Countess of Teba, made a striking figure in her white velvet gown adorned with diamonds.

This wedding to Napoleon III marked the beginning of her life as Empress of the French. Our adventuress has finally ensnared her prize – the Emperor Napoleon III himself! Can you imagine the shock waves rippling through the salons?

Eugénie wasn't just any bride. She'd been marinating in the Napoleonic cult since her cradle days. Her father’s influence and a healthy dose of Stendhal had turned her into a Bonapartist zealot. The girl was practically swaddled in violets – the very symbol of the cause. She'd wear them in her hair, pinned to her waist, and she even employed a shepherd to scour the Sierra Nevada for these precious blooms when they became scarce. Insanity!! I know!

The wedding itself, on January 30, was a spectacle of mixed emotions. Some found the decorations at Notre Dame garish (honestly, can you ever have too much gilt?), while others noted the lack of cheers.

But Eugénie sailed through it all with grace, curtseying and smiling like the empress she was born to be.

In the end, my dears, Eugénie got what she wanted – a crown, a cause, and a chance to leave her mark on history. She saw her role as Empress as a platform to exercise influence on a vast scale – quite ambitious for a woman of her time.

From a Spanish nobleman's daughter to Empress of the French – now that's what I call social climbing par excellence!

THE WEDDING DRESS

Eugénie's wedding dress, created in 1853, was a remarkable creation of its time. It was part of a lavish trousseau consisting of 52 dresses and highlighted the exceptional craftsmanship of French textile artisans.

Made from luxurious silk and richly embellished with point Alençon lace flounces, the gown likely required around 30 meters of fabric, a typical length for high-fashion garments of that era.

Additionally, it featured a white velvet gown encrusted with diamonds. Her outfit included a triple-layered skirt edged with rare old English lace, a fitted bodice adorned with sapphires and orange blossoms, and Empress Marie-Louise’s sapphire girdle. Jewel-studded gloves complemented her extravagant appearance.

Afterlife:

The Transformation of Empress Eugénie's Wedding Gown

This remarkable garment, once a symbol of imperial splendour, found new life in an unexpected form: as a set of religious vestments.

The transformation of this grand gown into religious vestments is a fascinating tale of resourcefulness and devotion. According to the oral tradition of St Michael's Abbey, the fabric was carefully unpicked and repurposed by Brother Zerr and possibly others.

This account is supported by various documentary and pictorial sources, though one intriguing report suggests that the Duchesse de Mouchy, one of the Empress's ladies, crafted at least one of the chasubles.

The resulting set of vestments comprises a chasuble, tunicle, dalmatic, three stoles, and a chalice veil. Each piece is primarily constructed from ivory or white ribbed silk or velvet épinglé, meticulously sewn together.

Interestingly, calculations based on the existing pieces suggest that only about 7 meters of silk were used in their creation, indicating that not all of the original gown was repurposed. This discrepancy might be explained by the challenges of working with the irregularly shaped pieces of the original bodice or potential damage to some sections during the unpicking process.

The transformation of Eugénie's wedding gown represents more than just a practical reuse of valuable fabric. It symbolizes a profound shift from the secular to the sacred, from a celebration of earthly union to items used in divine worship. This repurposing also offers a unique glimpse into the material culture of the Second French Empire and the practices of textile conservation and reuse in the 19th century.

While the complete story of the gown's transformation may never be fully known, the surviving vestments stand as a tangible link to a bygone era of imperial grandeur and a testament to the enduring value placed on fine textiles.

They continue to fascinate historians, textile experts, and the public alike, bridging the gap between imperial fashion and religious devotion in a truly remarkable way.

HER POLITICS

“…..the poor foolish woman can’t conceal her joy at being Régente’”
The Queen Of Holland, 1865

Eugénie wasn't content to merely sit pretty on her gilded throne. While the public thought she was all about "smart parties and fashion, dresses and jewellery," our girl was secretly scribbling away in her notebooks, plotting a revolution in crinolines.

She idolized powerful women like Queen Elizabeth I, Maria Theresa of Austria, and Catherine the Great. Can you imagine the soirées she could have thrown with that guest list?

Picture this: It's 1865, and Napoleon's off gallivanting in Algeria. Who does he leave in charge? Eugénie! And didn't she just relish being "Madame la Regente"? She wielded her power with such finesse that even her critics had to admit she showed "remarkable tact and good sense." The Queen of Holland, bless her heart, cattily remarked, "the poor foolish woman can't conceal her joy at being Régente." Well, why should she, darling?

But here's where it gets deliciously scandalous. Eugénie wasn't just pushing papers. She was pushing boundaries! When some stuffy minister tried to deny Julie-Victoire Daubié her baccalauréat because of her sex, Eugénie swooped in like an avenging angel and overruled him.

And the postal service? She forced them to employ women! The audacity!

Now, let me tell you about the time she stabbed herself with a knife at a party. At a reception hosted by her mother, some pompous fool named Nárvaez claimed women would flee at the sight of a bayonet.

Eugénie, quick as a flash, grabbed a knife and stabbed her arm! Talk about making a point in the most dramatic way possible. But of course, not everyone appreciated Eugénie's moxie.

Some crusty old historians called her "une femme néfaste." Ferdinand Loliée had the gall to criticize her for acting on emotion rather than reason. But when Bismarck calls you "the only man in Paris," you know you're doing something right.

Eugénie, my dears, was a woman ahead of her time. She may have worn a crown, but she was the queen of breaking barriers. Her power was unmatched in France since the sixteenth century, and she played a pivotal role in the growing movement for women's emancipation.

And let's not forget her open-mindedness! In an era when many turned up their noses at anyone different, Eugénie embraced openly queer people.

Eugénie wasn't just tolerating the queer community; she was embracing them with the enthusiasm of a debutante at her first ball. In an era when most people fainted at the mere whisper of anything "different," our empress was practically hosting a fabulous LGBTQ+ gala at the Tuileries Palace.

She had a friendship with Ethel Smyth & Rosa Bonheur. Ethel Smyth, the openly lesbian composer would cycle to Farnborough Hill in - wait for it - tweed knickerbockers! The scandal! The outrage! The fashion faux pas! But did Eugénie care? Not. She was too busy arranging for Ethel to serenade Queen Victoria herself.

Talk about using your influence for good. And when Ethel got herself thrown in the clink for smashing an MP's window (how très chic of her), Eugénie didn't even bat an eye. She was practically planning the "Welcome Home from Prison" party.

My absolute favourite tidbit is about Rosa Bonheur. An artist, a lesbian who lived in the forest of Fontainebleau with a friend (and a lion, a yak, and a gazelle, no less!), caught Eugénie's eye.

Rosa was known for cropping her hair so short that, even in a skirt it was hard to tell she was a woman. When the stuffy old boys' club refused Rosa the Légion d'honneur because she was a woman, the empress was having none of it.

In June 1865, Eugénie marched right out to Rosa's little château of By, barely giving the artist time to throw on a dress. They chatted about paintings and women's equality, and then, Eugénie pinned that Légion d'honneur cross right on Rosa's lapel and sealed it with a kiss.

And when it came to the suffragette movement, Eugénie wasn't just on board - she was practically steering the ship in her finest Parisian couture, She had Mrs. Pankhurst over for lunch like they were old gal pals gossiping over crumpets and discussed feminist ideologie.

Enter Lucien Daudet, an openly gay dilettante who charmed his way into Eugénie's inner circle. This son of a famous writer and one of Marcel Proust's young friends (oh, the literary connections!) showed up unannounced at Villa Cyrnos in 1899, on a bicycle and before you could say "faux pas," he'd become practically an adopted son.

He even brought Jean Cocteau to meet her. Cocteau, being the artistic soul he was, couldn't help but wax poetic about her "heavenly blue eyes" and that deep Spanish laugh that, in his words, "conjured up the bull-ring."

Through it all, our adventuress maintained an air of regal dignity that would make even the most poised debutante green with envy. Despite facing more drama than one thought possible- betrayals, false accusations, vilification - she kept her chin up and her lips sealed tighter than a corset, never uttering a word in her defence.

As Ethel Smyth so eloquently put it, "Can anything transcend the dignity of that long, iron silence?" Even in her vilification, she exuded strong, silent, and supremely stylish vibes.

In essence, Eugénie was the original #GirlBoss, serving looks and progressive ideals with equal fervour. She proved that one could be draped in diamonds and still fight for the common woman,(I guess lol) and that one could host royalty and revolutionaries with the same warmth.

She was living proof that being regal and radical, fashionable and feminist weren't mutually exclusive.

EUGÉNIE:

THE ORIGINAL INFLUENCER

Eugénie de Montijo, the Empress of the French, who was not just a royal figure but a pioneering influencer in the realms of fashion and culture! Born during an earthquake that she believed foretold her remarkable destiny, Eugénie quickly embraced her role as Empress upon marrying Napoleon III.

This union positioned her as a key player in a rapidly evolving sociopolitical landscape, where her influence would reshape Paris into the epicenter of luxury and style.

Eugénie revitalized court life, which had languished since the 1830 revolution. Her transformation into the imperial hostess breathed new life into the Tuileries, where formal dinners were served on exquisite silver-gilt tableware and guests dined off old Sèvres porcelain.

While she may have been indifferent to the food, her focus on the social and cultural aspects of her role left an indelible mark on the cultural landscape of France.

Unlike the low-profile Louis-Philippe, known as the "Citizen King," Napoleon III and Eugénie embraced grandeur and ceremony, which boosted the Parisian luxury trade. Together, they recreated the opulent court of Napoleon I, surpassing even the Tsar's in splendor.

The Maison de l’Empéreur was revived with elaborate ceremonies and a staff adorned in gold-embroidered uniforms, while the Imperial Guard paraded daily, echoing the majestic past. These displays reinforced France's status as a monarchy and a major European power, much to the delight of the public.

FASHION ICON AND TRENDSETTER

Franz Xaver Winterhalter, *The Empress Eugénie Surrounded by her Ladies-in-Waiting*, 1855, oil on canvas, 300 x 420 cm (Musées Nationaux du Palais de Compiègne, France)

Each woman portrayed can be recognized by name, and their arrangement in the composition illustrates the rank of their positions. Eugenie presents the symbolic bouquet of violets to her bestie, the Princess of Essling, who held the role of grande maîtresse.

Eugénie's impact on fashion was unparalleled since the days of Empress Josephine. Unlike her predecessors, who left little mark on style, Eugénie made her fashion choices a benchmark for elegance.

Her clothing was emulated throughout Europe, the Americas, and even in the Sultan of Turkey's harem.

Initially indifferent to high fashion, she soon realized the importance of her public image and began to dress elegantly for her numerous official engagements.

Eugénie's hairstyles, such as the 'à l’Impératrice,' became widely imitated, and her choice of accessories, like cashmere shawls and broad-brimmed straw hats, further cemented her status as a fashion leader.

BLING

Eugénie's jewelry collection was a magnificent assembly of historical gems and masterful craftsmanship, reflecting her status as Empress and her impeccable taste.

Her collection included pieces like Marie Antoinette's diamond earrings and the Regent Diamond, showcasing her deep connection to French royal history.

The Legendary Jewelry Cabinet

Eugénie's neo-rococo style jewelry cabinet was a masterpiece in itself. Crafted by the finest cabinetmakers of the era, it was likely made by the house of Grohé, known for supplying furniture to the imperial household. The cabinet featured:

Intricate marquetry work
Gilt-bronze mounts
Multiple drawers of varying sizes
Secret compartments for her most precious pieces

The cabinet was prominently displayed in Eugénie's private apartments in the Tuileries Palace, specifically in her boudoir, where she would often receive close friends and confidantes.

Crown Jewels and Historic Pieces

Crown of Empress Eugénie: Created for the 1855 Exposition Universelle in Paris, this gold crown was adorned with 2,490 diamonds and 56 emeralds, featuring eagle and palmette motifs. Despite the lack of a coronation ceremony, the crown symbolized her imperial status and was later donated to the Louvre.

Marie Antoinette's Diamond Earrings: These earrings were a cherished link to the former queen, embodying Eugénie's admiration for Marie Antoinette and her connection to French royal history.

The Regent Diamond: A centerpiece of the French Crown Jewels, this legendary diamond was often worn by Eugénie as a brooch, highlighting its brilliance and historical importance

Bonaparte Diamond: Part of Eugénie's crown, this diamond remained in the family and was recently recovered, illustrating the enduring legacy of her collection.

Personal Jewelry Collection

Eugénie's personal collection was diverse, showcasing her refined taste and the artistic trends of her time.

While the exact number of pieces in Eugénie's personal collection remains unknown, contemporary accounts suggest it was vast. It included:

Naturalist Motifs: She favored jewelry with designs inspired by nature, such as roses, feathers, and vine leaves. These pieces were crafted by master jewelers like Oscar Massin and Lemonnier, known for their lifelike and intricate designs.

Colombian Emeralds: Her collection included numerous Colombian emeralds, stored in a neo-Rococo jewelry cabinet. These emeralds were set in various pieces, including tiaras, necklaces, and bracelets, often paired with diamonds to enhance their vibrant green hue.

Multiple parures
At least a dozen tiaras
Numerous necklaces, including several important rivières
Countless brooches, many convertible to pendants or hair ornaments
Several pairs of girandole earrings
Bracelets, both rigid bangles and flexible designs
Numerous rings, including several important colored stones

NOTABLE PIECES AND THEIR STORIES

Pearl and Diamond Tiara

Part of a suite of jewelry commissioned for her marriage, this tiara featured 1,998 diamonds and large pearls, including the Regent Pearl.
It was once part of Empress Marie Louise's collection.
Created by Alexandre-Gabriel Lemonnier, this tiara featured graduated pear-shaped pearls interspersed with diamond scrolls.
It was one of Eugénie's favorite pieces and can be seen in several official portraits.

Clover-Leaf Brooch

A personal favorite, this brooch was made of emeralds set with diamond dew drops.

It was one of the first gifts from Napoleon III to Eugénie, symbolizing their union.

The Emerald and Diamond Parure

Purchased in 1853 from the Parisian jeweler Moiana
this set initially included a necklace, earrings, and a brooch featuring 15 significant emeralds.
Over time, Eugénie likely added to this parure, explaining the extensive emerald collection seen in the 1872 Christie's sale.

The Ruby Dragon Brooch

A gift from her husband, this whimsical piece featured a dragon set with rubies and diamonds.
It showcased Eugénie's love for both important gems and fanciful designs.

Lilac Spray Brooches by Mellerio

Created by the renowned Parisian jeweler Mellerio dits Meller
Designed as delicate lilac flowers with diamond-set leaves
Showcased Eugénie's love for naturalistic jewelry designs

Ruby, Diamond and Pearl Necklace

Featured large rubies interspersed with diamonds and pearls
Likely convertible, with detachable elements for versatile wear
Exemplified the opulent style of the Second Empire period

Diamond Marguerite (Daisy) Brooches

Multiple daisy-shaped brooches set entirely with diamonds
Reflected Eugénie's fondness for floral motifs
Could be worn individually or grouped together for a more dramatic effect

Diamond Orchid Corsage Brooch

Six Diamond Drops
Exotic-inspired design featuring an orchid bud
Set with numerous diamonds, including six large pear-shaped diamond drops
Showcased the era's fascination with botanical themes in jewelry

Diamond Anchor Brooches

Pair of anchor-shaped brooches set with diamonds
Symbolized hope and steadfastness
Possibly a gift from her husband, Napoleon III

Blue Diamond Anchor Brooches

Similar to the diamond anchor brooches, but featuring rare blue diamonds
Extremely valuable due to the scarcity of blue diamonds
Demonstrated Eugénie's access to exceptionally rare gemstones

Ruby, Pearl and Diamond Brooch

Featured three large drop pearls
Accented with rubies and diamonds
Exemplified the combination of colored gems and pearls popular in the 19th century

Pearl and Diamond Fringe Pendants

Set of three pendants, each with large pearls and diamonds
Could be worn as hair ornaments or attached to other jewels
Later owned by Mrs. Ernest G. Raphael (née Sassoon)

Fontenay Diamond Tiara/Diadem

Created by the French jeweler Fontenay
Featured scrolling diamond-set motifs
One of Eugénie's most iconic and frequently worn tiaras

Emerald and Diamond Parure, including:

Emerald and Diamond Tiara: Featured large emeralds set in diamond surrounds
Emerald and Diamond Necklace: Matching the tiara, with multiple emerald drops
Emerald and Diamond Cross Pendant: Could be attached to the necklace or worn separately
This parure was later gifted to Queen Victoria Eugenia of Spain

Diamond Bow Brooch

Large bow-shaped brooch entirely set with diamonds
Showcased the neoclassical influences in 19th-century jewelry design
Eventually acquired by the Louvre Museum

Emerald and Diamond Bracelet

Featured large emeralds surrounded by diamonds
Recently auctioned, attracting significant interest from collectors
Provides tangible evidence of the quality of Eugénie's emerald collection

Pearl and Diamond Stomacher

Described in the Christie's auction as "of the finest oriental pearls"
Large and elaborate piece designed to adorn the front of a bodice
Showcased the Empire's wealth through the use of numerous large pearls

Sapphire and Diamond Parure

Included a tiara, necklace, and earrings
Featured large sapphires surrounded by diamonds
Sold at the 1872 Christie's auction

These pieces represent only a fraction of Eugénie's extensive collection. Each item not only showcases the empress's personal taste but also reflects the pinnacle of 19th-century jewelry craftsmanship and design.

The collection included pieces from the most prestigious jewelers of the time, including Bapst, Mellerio, and Fontenay, and featured an array of precious gemstones including diamonds, emeralds, rubies, sapphires, and pearls.

After the fall of the Second Empire, Eugénie took her jewelry into exile, where she sold many pieces at a public auction, spreading her jewels across the world and solidifying her legacy as a style icon.

The auction was held at Christie's King Street location in London. It attracted aristocrats, wealthy industrialists, and jewelry dealers from across Europe, creating a buzz in high society circles.

While the full list of attendees is not known, it's believed that representatives from major jewelry houses like Garrard and Boucheron were present, as well as agents acting on behalf of various European royal families.

Additional Significant Lots

Beyond the emeralds previously mentioned:

Lot 45: A diamond tiara convertible to a necklace, featuring over 1,000 stones
Lot 78: A pearl and diamond stomacher, described as "of the finest oriental pearls"
Lot 112: A sapphire and diamond parure, including a tiara, necklace, and earrings

The Rothschild Acquisitions

Baron Edmond de Rothschild's purchases at and after the 1872 sale were significant:

Two emerald and diamond clusters (Lots 98 and 100)
A pair of cabochon emerald drops (Lot 87)
Several other emerald pieces acquired privately after the auction

These acquisitions formed the foundation of the Rothschild emerald collection, parts of which were sold by Christie's in 1989 and 2019.

Cultural Patronage and Legacy

Eugénie's influence extended beyond fashion; she played a significant role in promoting French arts and culture.

Her support of charitable causes and involvement in the restoration of historical monuments, including the completion of the Louvre, enriched the cultural life of France. She engaged with local artists, fostering a vibrant artistic community at court.

For a deep dive into her residences and decorative arts tastes click here

THE END OF AN EMPIRE

After France's defeat in the Franco-Prussian War and the fall of the Second Empire, Napoleon III and Empress Eugénie were exiled to England, settling in Chislehurst, Kent.

Napoleon III died in 1873, In Napoleon’s will he wrote to his wife ‘I hope that my memory will be dear to her and that when I am dead she will forgive me whatever sorrows I may have caused her.’

It was a belated apology for decades of blatant unfaithfulness.

Their son died in 1879 during the Zulu War in South Africa.

She remained in mourning for the rest of her life, often remarking, “I died in 1879.”

However, in the late 1890s, Eugénie found renewed vitality; she learned to ride a bicycle in her seventies and spent each summer sailing along the Mediterranean on her steam yacht, Thistle.

Eugénie was ageing well, climbing Vesuvius when she was eighty and sailing with Sir Thomas Lipton on board his famous, ocean racing yacht Erin on at least one occasion. She never tired of travel, her cure for depression, and set out for India on a liner in 1903, although illness forced her to turn back at Ceylon. She welcomed new inventions with enthusiasm.

Meeting a young scientist called Marconi, she lent him Thistle to try out his experiments between Nice and Corsica. When his system of wireless communication was established in Canada, she was the first person after Edward VII to whom he transmitted a message.

**Kaiser Wilhelm II of Germany visiting ex-Empress Eugenie, widow of Napoleon III of France, on her yacht Thistle (colour litho)**

She also became interested in the use of radium as a medicine and was fascinated by aviation, reading everything available on the subject – in 1908 she went to a flying display at Aldershot by Colonel Cody, being photographed with him. She even went to the cinema.

Always practical, Eugénie installed a wireless on her yacht, as well as an electric light and a telephone at Farnborough Hill. She also acquired a gramophone, which Filon thought ‘one of the most perfect I ever heard’; she told him, ‘it enables me to listen to entire operas without leaving my home’.

She bought a car, too, a large black and green Renault, engaging a somewhat erratic chauffeur to drive it – on one occasion the vehicle and its passengers had to be rescued from a ditch by a steam roller, while in 1913 he was fined for speeding although his employer disliked going at speed.

When the war started in 1914, she understood it would be lengthy and harsh and demonstrated her support by assigning her yacht Thistle to the Royal Navy. She also converted a section of Farnborough Hill into a small hospital which she funded entirely on her own. To her surprise, she later discovered the substantial amounts she had donated to hospitals in France, all done in absolute secrecy.

Additionally, she provided shelter to Prince Victor Napoleon and his family when they had to escape from Belgium. Her actions demonstrated her generous nature, as seen in her treatment of different religious groups with equal respect and her strong condemnation of xenophobia.

on 10 July she suddenly felt exhausted and in pain, and had to be put to bed without undressing. It quickly became apparent that she was failing. Having received the last sacraments, Eugénie died on July 11, 1920, at age 94 at 8.30 – in a room that had once been her sister Paca’s bedroom, and in Paca’s old bed. Her last words were, ‘I am tired – it is time that I went on my way.’ The coffin was taken to the station in the king of Spain’s state coach, with an escort of halberdiers and footmen carrying tapers.

As we sip our Champagne and nibble on our petits fours, let's raise a glass to Empress Eugénie - the woman who turned interior design into high art, who made palaces feel like home, and who proved that true style is, indeed, eternal. She may have lost an empire, but darlings, she gained immortality in the world of decorative arts.

*This article is not an endorsement of empire, monarchy, imperialism or Bonapartism

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