The First Lady

The role of the first lady takes on different forms throughout history: we retrace it through historical portraits, up to the one of Melania Trump taken by Régine Mahaux. 

Melania Trump presents her official portrait as a First Lady. A porcelain smile, slightly cracked. Her eyes piercing the lens.

No longer the complaint wife, the faded shadow of a man—the President of the United States. But the first lady, the woman.The suit is a shining armor. Her hands, sharp claws, ready to seize power. Washington serves as her backdrop; its obelisk becomes both a warning and a promise. Power, the coveted goal. 

From silent model to first lady, a resounding evolution. Or perhaps, a silent revolution.

However, let us retrace the history of some ‘First Ladies’ of the past. Joséphine de Beauharnais, the Creole rose whose destiny intertwined her exotic fragrance with that of Napoleon. Empress of France, a woman of charm and taste, Joséphine adored diaphanous gowns, embroidered fabrics, and sumptuous jewelry. She was the one who launched the fashion of the ‘Empire’ style, with its linear cuts and soft colors that paid homage to classicism. A refined elegance, perfect for a sovereign who, despite not being of royal blood, managed to win the heart of an empire. 

Baron François Pascal Simon Gérard, Portrait of the Empress Giuseppina of Beauharnais, 1807-1808

François Gérard’s work fully captures her essence: a portrait of understated magnificence, where the white dress—symbol of purity and royalty—blends with her figure, creating an image of ethereal beauty. The slight gesture of her hand and her gaze turned toward the horizon suggest a complex personality, capable of dreaming of a future of glory. 

Let us continue with Theodora, wife of Justinian—the Byzantine empress, a mosaic of power and beauty. Coming from humble beginnings, Theodora became the Augusta of a vast empire, wielding unprecedented political and cultural influence. Her love for splendor, luxurious fabrics, and elaborate jewelry is reflected in the mosaics of Ravenna, where she is depicted wearing a shimmering diadem and a royal cloak. An image of majesty and authority, she stands as a symbol of a woman who carved her own path in a world ruled by men.

The mosaics of San Vitale burst with color and intricate detail, a tribute to the magnificence of the Byzantine court. Theodora, portrayed in a grand procession of noblewomen, takes center stage with her proud and confident gaze. Gold, jewels, and richly adorned garments enhance her figure—a symbol of absolute power, both political and religious. 

Processions of Theodora and Justinian, detail, Basilica of San Vitale, Ravenna, 547

In the 16th century, we find Catherine de’ Medici—the Black Lady, the clever regent of France. A descendant of one of the most powerful families in Europe, she was a woman of authority, capable of navigating the intricate web of French politics. Her style was austere yet elegant. She favored black, the color of mourning and the royal court, but also a symbol of power and command. She was the one who introduced the corset to France, shaping the female silhouette into a new, more rigid and aristocratic form. 

The portrait of Catherine de’ Medici by Germain Le Mannier is a valuable source for understanding the role and image of this historical figure in 16th-century France. The painting is not merely a portrait but a propaganda tool and a statement of Medici power on French soil. 

Catherine’s face, though marked by a bit of melancholy, primarily conveys determination and awareness of her status. Her direct and intense gaze exudes authority and control. There is no sign of fragility or submission—only the will to impose herself in a complex political and social landscape.

Portrait of Caterina de' Medici, 1547-1556

Her attire, with its opulence and grandeur, is a clear marker of her rank. Velvet, pearls, embroidery, a high collar, and fur cuffs all evoke aristocracy and power. The jeweled belt further emphasizes her wealth and elevated status.

The intentionally understated background highlights Catherine as the focal point of the image. Secondary elements, such as the book and the fan, hint at intellectual pursuits and refinement but do not detract from the central subject: the sovereign herself.

In the 17th century, France was introduced to Maria Theresa of Spain—Infanta of Spain and Portugal, and Archduchess of Austria.

Maria Theresa, an enlightened sovereign and mother of sixteen children, embodied the ideal of a strong and pragmatic woman, capable of balancing state duties with family ties. Her style was simple yet refined. She preferred comfortable clothing, suited to a busy and dynamic life. An unembellished elegance, a symbol of a woman who, despite wearing a crown, never forgot she was a mother. 

Martin van Meytens, Portrait of Maria Theresa of Habsburg, Francis I, Holy Roman Emperor, and their thirteen children, 1754

Martin van Meytens’ portrait celebrates her figure surrounded by her children. Maria Theresa looks serene and authoritative, the emblem of a close family and a solid empire. The painting exalts the Habsburg dynasty, but also an intimate, family portrait that reveals the human side of a woman in power.

Five women, five stories, five different styles, but all linked by an aura of power and charm. Five ‘First Ladies.’

Opening image: Régine Mahaux, Official portrait of the First Lady Melania Trump. Courtesy The White House

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