Since the 18th century, the distinctive costume traditionally associated with the figure of the torero has stirred passions. It catches the eye and arouses the interest of those who encounter it. Inspired by the clothing of the Bourbon court, it reflects a strong identity, imbued with diverse influences. Between customs and aristocratic practices, the costumes evolved under the influence of the aesthetics of toreros from the common people.
It was in the 19th century, notably through Georges Bizet’s opera Carmen, with the character Escamillo, that the figure of the torero transformed into the toréador.
On the sand as on the stage, light radiates from every movement, giving the costume’s patterns a spark of life.
Discover in this “exhibition dossier” unique pieces highly appreciated by the Spanish painter Francisco de Goya, from the private collection of Alberto Perales in Madrid, as well as archives from the fashion house Christian Lacroix dating from 1987 and 1989. Like Picasso or Cocteau, the Arlesian couturier was fascinated by these costumes with their vibrant colors, entirely embroidered in gold, which he saw in the amphitheater twice a year and which would later become a recurring and identifying element of his style.
Toreros and toréadors have greatly inspired other designers, such as Yves Saint-Laurent, who in 1977 and 1979 succumbed to the charms of this proud character and interpreted the habit de lumière in his own way. He endowed the modern woman with the power attributed to this noble and popular figure, symbolizing a sophisticated and sensual androgynous archetype while challenging the gender norms dictated by Western society.
Painters, filmmakers, photographers, directors, and more recently Instagrammers, capture beyond prejudices these male bodies dressed in silk stockings and metallic embroidery enhanced with cut stones and sequins, the last remnants of a fantasized baroque 18th century.
