The history of the bow in the fashion world

Romantic, bon-ton, mischievous, bows seem to be the decorative element of the season, as some of the most important brands in the fashion world have well demonstrated in their recent collections: above all Prada, Chanel, Saint Laurent and Versace. Back on the scene to embellish shirts, dresses and pumps, they have always been the emblem of femininity.

The origin of the bow, which has undergone all sorts of stylistic evolutions in fashion, is to be found in oriental culture: it represented a gift in offering to the deities and it is no coincidence that, even today, when wrapping a gift to a loved one, a bow is used as the final ornament. It was only in the 17th century, however, that it became an indispensable fashionable detail, thanks to a veritable craze involving the European courts.

At Versailles, where it was inevitable in every application on fabrics, wigs, shoes and jewellery, it became a symbol par excellence of luxury and beauty. It is said that the Sun King was crazy about it and considered it a symbol of beauty and opulence to such an extent that, to please him, the famous court jeweller, Gilles Légaré, decided to use woven ribbons to embellish his creations: the fashion for bow brooches with the nocks pointing downwards was born.

They were later named “Sévigné” in honour of Madame se Sévigné, another French noblewoman who rose to court fame because she scandalously liked to wear them with diamonds on her chest. A fashion, that of the bow, capable of crossing centuries and revolutions without showing either royal or social sunsets. Not everyone knows, in fact, that some of the most famous bow fashions of the 20th century are linked precisely to the era of the courts. An example? Brigitte Bardot, who in turn was inspired by 1950s pin-ups, used to wear a bow sash in her hair in a sensual and mischievous way.

Well, the trend of bows in the hair started again at the French court, thanks to the stylistic quirks of the Duchess de Fontages, one of Louis XIV‘s favourite ladies, a skilful charmer and forerunner of style. Not only a feminine accessory: in the 19th century, the bow became a distinctive feature of intellectuals. Poets, artists, and musicians used it as an identifying accessory to the point that today, the most anarchic bow of all, the lavallière, is still considered a symbol of freedom and emancipation.

This is well known by Yves Saint Laurent who first chose this very bow to apply to his most innovative women’s collections and, later, to his more daring and fluid men’s creations. Chanel and Dior loved bows so much that the latter even wanted it on the packaging of one of his most iconic perfumes: Miss Dior. The bow seems to conquer admirers even in the most unsuspected profiles: it is said that the very strict iron lady, Margaret Thatcher, could not do without it, often wearing it on her infamous blouses, perhaps to soften her intransigent image.

Playful, sensual, even political, and incredibly timeless, bows are back today on the catwalks, and in the shops, of luxury brands: Donatella Versace chooses them in satin to embellish bags, clips, shoes and frames the enigmatic metallic Medusa in them. Miuccia Prada prefers them unstructured to flutter over sleeveless dresses. Dolce and Gabbana include them in their haute couture men’s collections as an aristocratic symbol of timeless elegance. The bow, today as then, still has much to tell and the designers seem intent on prolonging its fortunes for a long time to come.

Ph: Godey’s lady’s book, 1840, CC0 1.0, via Flickr