L’uniforme de marin est réglementé dès 1858, désormais c’est la Marine qui fournit les vêtements destinés aux officiers ou matelots. C’est ainsi que se crée un vestiaire intemporel, constitué de vareuses, pantalons à ponts, tricots rayés, cabans, ornés de rubans ou de la fameuse ancre, devenue un véritable symbole. Les uniformes d’officiers sont quand à eux revêtus de magnifiques galons et broderies, hiérarchisés selon le grade.L’uniforme se popularise, et passe rapidement des marins aux classes bourgeoises, grâce a l’essor des loisirs, vers la fin des années 1830.
Grâce aux peintures et fictions romantiques, se répand une vision du marin comme symbole d’aventure et d’évasion. Le développement des chemins de fers entraîne la vogue des vacances à la mer, pour les vacanciers le costume du marin apparaît comme plus seyant, et teinté d’exotisme.
En 1846, afin d’exalter la puissance de la Royal Navy, la reine Victoria impose à ses fils l’uniforme marin miniature, qui se propagera jusqu’à devenir un classique de la garde-robe enfantine. Dans les stations balnéaires, vareuses et cols bleus se multiplient sur les garçonnets issus de familles aisées, jusqu’à devenir imagerie populaire, on se souvient du portrait d’Edouard VII de Winterhalter, ou des vêtements du jeune Tadzio dans Mort à Venise de Visconti.
De 1830 à 1870, le costume de marin est détourné a des fins frivoles, en effet, il devient inévitable dans les bals masqués, dont le couru bal de l‘Opéra. Les gravures de modes du 19ème montrent hommes et femmes arborant canotiers et rayures, qui renvoient une image carnavalesque du héros des mers.

Naval uniforms were regulated since 1858 and from then on, the Navy provided the clothes to its enlisted officers and seamen and established a timeless wardrobe collection ranging from pea-jackets, sailor pants, striped knits and clothes adorned with fancy cords or the famous anchor, which became a veritable nautical symbol. The officers’ uniforms were designed with elaborate braids and embroidery, classified according to rank.The uniform became popular and its influence spread to the bourgeois class, owing to the rise of recreational activities towards the end of the 1830s.
Through paintings and romantic fiction, the image of the mariner became largely associated with adventure and escapism. Moreover, the development of the railroad system eventually led to a lifestyle trend that resulted in seaside getaways. The vacationeers were taken to sporting sailor outfits which they considered to be more fetching and imbued with exoticism.
In 1846, in order to glorify the supremacy of the Royal Navy, Queen Victoria made his sons wear miniature sailor suits expanding its influence until it became a classic staple in children’s wear. In beach resorts, sailor jackets and the blue jean collar became increasingly common among little boys from well-to-do families and proceeded to become a notable imagery as evidenced in Winterhalter’s portrait of Edward VII or the clothes of the young Tadzio in Visconti’s Death in Venice.
From 1830 to 1870, the sailor costume became subject to frivolous diversions. It was consistently present in masquerade balls, including the renowned Bal d’Opéra. The etchings depicting 19th century fashion showed men and women wearing boat hats and nautical stripes that gave the sea-roving hero a carnivalesque appeal.

Brassaï, Conchita et les marins (1920-1930)

Dès la fin du 19ème, l’incursion du costume marin dans le vestiaire féminin apparaît comme un symbole d’émancipation, et de libération. Sous le règne des corsets et des montagnes de dentelles, l’adoption du costume marin est signe de provocation . En effet si l’uniforme marin est incontournable chez les premiers communiants ou les fils de bonne famille, il est fort rare dans la garde-robe des femmes.
Avec la contestation du dimorphisme sexuel à l’orée du 20ème siècle, les femmes audacieuses adoptent le pantalon, comme George Sand, ou Colette. Le pantalon et la jupe longue se propagent grâce à l’essor des loisirs et des transports, et offrent une alternative plus confortables aux toilettes encombrantes. Les tenues blanches pullulent sur les bords de mers, le bonnet et le col marin sont repris, de même que les rayures. Gabrielle Chanel répond à cette aspiration à une fonctionnalité nouvelle, en confectionnant ses tailleurs marins dans une matière plus confortable, le jersey.
Le costume marin offre ainsi souplesse et élégance, mais la véritable révolution se trouve dans le costume de bain. Rayé et portants les attributs traditionnels du costume marin, il se constitue d’un buste large et d’un caleçon arrivant au dessus du genoux, innovation considérable, car les femmes montrent enfin leur jambes.

Depuis, le costume marin n’a cessé de hanter l’imaginaire des couturiers, qui jouent avec ses codes. Yves Saint Laurent, Yohji Yamamoto, ou encore Christian Dior, n’ont cessé de revisiter la garde-robe du marin, au service de la femme, et en réactualisant l’imaginaire collectif. Chez Jean-Paul Gaultier, la marinière devient véritable manifeste, simple pull ou tenue de soirée. L’exposition présente une époustouflante sélection de pièces de couturiers, des Corto Maltese de Ricardo Tisci pou Givenchy, à l’univers pop et déjanté de Jean-Charles de Castelbajac. En conciliant tradition et avant-garde, le Musée de la Marine dépoussière l’image du marin, véritable icône de mode, la marinière en étendard.

By the end of the 19th century, the invasion of the sailor costume in feminine clothing became a symbol of women’s liberation. Its adoption into fashion was set out to rebel against the reigning multitude of corsets and mountains of lace. Indeed, the navy uniform was a familiar sight among those who received their First Communion or the sons of well-bred families, and yet, it was rarely worn by women.
But with the rise of sexual androgyny at the start of the 20th century, women like George Sand and Colette, dared to wear trousers. The pants and the long skirt rose in popularity thanks to the growing interest in leisurely pursuits and the rapid development of transportation, and were a more comfortable alternative to cumbersome clothes. White outfits swarmed the shores; the bonnets, navy collars and stripes were brought back to the scene. In response to this new-found practicality, Gabrielle Chanel tailored her navy-inspired designs using fabric that guaranteed wearable comfort–the jersey.
The sailor costume offered elegance and grace but the real revolution was brought about with the creation the bathing suit. Designed with stripes and other marked attributes of the sailor suit, it had a wide bust and knee-length pants which was a substantial innovation since the women could finally expose their legs.

Since then, the sailor suit has never ceased to stir the imagination of designers who want to try their creative hand in sailor-themed fashion. Yves Saint Laurent, Yohji Yamamoto or even Christian Dior continue to revisit the sailor silhouette to cater to its female clientele and come up with fresh new takes on the nautical look. With Jean-Paul Gaultier, the sailor girl has made her presence known in a simple pullover or an evening outfit. The exhibit shows a spectacular collection of designer pieces from Corto Maltese to Ricardo Tisci for Givenchy, to the outrageous pop style of Jean-Charles de Castelbajac. In reconciling tradition with the avant-garde, the Musée national de la Marine revamps the image of the sailor, a true fashion icon, with the sailor woman at the helm.