The exhibition L'Étoffe de l'artiste at the Museum Bourdelle in Paris explores how clothing has shaped and reflected the identities of artists from the late 18th century to the 20th century. On display are items such as Gustav Klimt's blue blouse and Rosa Bonheur's jacket, described in the exhibition catalog by co-curator Lili Davenas as "clothes that were recently worn and soaked in sweat." These garments are not just historical relics but also serve as witnesses to the evolving status of artists, reflecting their personal identities and creative expressions. A key moment in this transformation was October 22, 1798, when a financial law in France officially recognized painters, engravers, and sculptors as "artists," elevating their status from that of mere artisans to individuals whose work emphasized personal expression and heritage. This shift is reflected in the clothing of artists, such as the workshop cap, which became popular in the 19th century. Inspired by self-portraits of old masters like Raphael, Leonardo da Vinci, and Rembrandt, the cap symbolized the artist's identity and professional status. Male artists often used clothing to signify their success and social standing. For example, Paul Delaroche wore a fur-lined coat to reflect his wealth and status. In contrast, 19th-century impressionists like Claude Monet, Frédéric Bazille, and Edgar Degas followed contemporary male fashion trends, favoring a "respectable outfit" that aligned with the image of a modern dandy. A notable example is the portrait of young Auguste Renoir in a black jacket by Frédéric Bazille in 1867, which exemplifies the "perfection of the toilet" praised by poet Charles Baudelaire. This contrasts with the common stereotype of the poorly dressed bohemian artist. Female artists often faced judgment based on their appearance, as seen in Lucien Métivet's 1902 drawing Some Female Painters published in the magazine Femina, which mocked certain female artists. However, some female artists, like Rosa Bonheur, rejected traditional feminine fashion in favor of practical clothing that allowed them to work comfortably. Bonheur even obtained a "disguise permit" to wear pants and added embroidery to her jacket, a style reminiscent of Gustav Klimt's blue blouse, which may have been influenced by his partner, seamstress Emilie Flöge.