“Come, lovers of Paris, come to Passage Brady all filled with furs, to Passage du Grand-Cerf dressed in its delicate lace of ironwork, to Passage Sainte-Anne, whose guardian is a cat, to Passage du Havre, where one strolls before paintings of horses and piles of collar buttons… Come, and under these crystal canopies, far from the clamour outside, hear in the passing of time the beating heart of the city you love.”
Those words, by the novelist Maurice Bedel in his 1947 Les passages parisiens, still resonate today, such a quintessentially Parisian invention is the covered passageway. A 19th-century adaptation of the Arab souk, le passage parisien was more than just a precursor to the shopping mall, it was a vision of the ideal city: beautiful, industrious, genteel – and mud-free. But of the 20 or so covered passageways remaining in Paris, few have kept the spirit of their early years like Passage du Grand-Cerf, a circa-1825 arcade on the edge of the fashionable Montorgueil neighbourhood.
Little-known, though just minutes from the Pompidou Centre, Passage du Grand-Cerf, with its smaller, adjoining arcade, Passage du Bourg l’Abbé, is lined with workshop-boutiques of jewellery makers, designers, couturiers and carpenters. it’s a veritable oasis of craftsmanship à la française.
“It’s true we all kind of have the French touch here,” laughs Adrien Plotegher of the vintage glasses shop Pour vos Beaux Yeux (10 passage du Grand Cerf). “We are each in our small way representing forms of micro-innovation, that deserve to be discovered.” Indeed, in Passage du Grand-Cerf, a Paris one might have thought disappeared long ago lives on.
In 1825, the “Roulage du Grand Cerf” company building on rue Saint Denis, former terminus for the stage coaches of the Messageries Royales, or royal mail service, was demolished to make way for a new kind of covered arcade. The Napoleonic wars had bankrupted France, but with the Restoration of the monarchy in 1814 came an era of resurgent prosperity and creativity. Between 1815 and 1825, the number of patents sky-rocketed. The Passage du Grand-Cerf was designed for this new, industrious Paris, not only to showcase wares, but also for actual production and craft. A towering metal structure allowed for three full levels – space enough for boutiques, workshops and residences.
Just across Rue Saint Denis from the Passage du Grand-Cerf begins the Passage du Bourg l’Abbé, inaugurated in 1828. The pair of sculptures guarding its entrance confirm that Bourg l’Abbé shared a common vocation with Grand-Cerf: two proud caryatids there represent industry and commerce, and up top, in place of a coat of arms, figures a hive surrounded by honey bees. And for decades, they were buzzing indeed. Unfortunately, as the passages fell out of fashion, they fell into disrepair. By the 20th century, the state of the Grand-Cerf’s glass roof was so perilous the passageway had to be closed. Then, in 1985, a buyer came forward and undertook the major renovation needed to usher the historic arcade into a new era.
When jewellery craftsman Didier Guillemain set up his workshop here in 1998, some of the shops still had bare concrete floors. “It was pretty sauvage,” Guillemain recalls. “It was an odd mix of people. There were button makers, hat makers and fabric merchants that had come over from the Sentier (garment district) nearby.” For Guillemain, who had spent his career working in backroom ateliers for big fashion houses, the Grand-Cerf offered the chance for independence. “Here I could present my own creations directly to public, in the centre of Paris.”
And soon Guillemain had company. “Since the rents were low, the passage drew many young designers who normally couldn’t have afforded their own boutique – even today, it’s still very accessible compared to expensive commercial streets.” Guillemain’s neighbours include Eric Semain and Lydie Chabot, founders of Eric et Lydie (7 passage du Grand-Cerf), a highly successful vintage-style jewellery brand, made famous in part thanks to the patronage of French couture magnate Christian Lacroix. Another designer to get noticed by the fashion world for her jewellery designs is Cécile Boccara (8 passage du Grand-Cerf), who has collaborated with the likes of Valentino. Next door, at Marie et Benoit (6 passage du Grand-Cerf), two designers transform French military surplus into prêt-à-porter and home décor items.
A more recent arrival is Fanny Roux de Badhilac, who opened her atelier-showroom Khara Tuki at 2 passage du Grand-Cerf. Inspired in her jewellery design by distant eras and cultures, de Badhilac felt at home the moment she saw the two neoclassical demoiselles watching over the passageway from the wall carvings above. “I loved this place right away,” she recalls. “It’s this historic ambiance, you feel the spirit of the decorative arts, this universal heritage passed down to us from antiquity.”
With around 17 artisans and designers running shops here today, Guillemain says the Passage du Grand-Cerf is once again the quartier artisanal it was intended to be. “It’s no coincidence that we were all drawn here,” agrees Marguerite Villotte, owner of L’Illustre Boutique (1 passage du Grand-Cerf), a gallery-boutique specializing in illustrative art and paper designs by French artists. “From the organic beauty shop (De Marseille et d’ailleurs, also 1 passage du Grand Cerf) to the jewellery shops creating everything themselves, there is a lot of Made in France here,” says Villotte. “And I think we all share a desire to preserve traditions and savoir-faire that have become rare today.”
Across Rue Saint Denis, Made in France is rapidly becoming the calling card of Passage du Bourg l’Abbé. The start-up Les Petits Frenchies opened a showroom at 15 passage du Bourg l’Abbé in May 2014 for their e-boutique dedicated to new French product trends. Seven months later, Maison Greffeuille opened at the Rue Saint Denis end of the passageway, bringing to Paris the agneau Allaiton, favourite lamb of such chefs as Michel Bras.
Also in December, at 17 passage du Bourg l’Abbé, designer Marilyn Feltz and her artist husband Alexis Gaffuri opened a boutique for her eponymous prêt-à-porter brand. “We created this project as a reflection of our tastes and passions,” says Feltz. “We wanted to celebrate ‘la couture Made in France’, and to showcase French savoir-faire.” Feltz’s breathtaking “Marlene” satin dress is made with 100 per cent Lyon silk. Her cardigans are knitted in the Pyrénées with mohair wool from a young French Angora-goat breeder. The delicate fabric of the “Belleville” ‘50s style dress comes from a Loire Valley weaver that has supplied haute couture houses for three generations.
Probably the most cheerful standardbearer for Made in France in either passageway is Feltz’s neighbour Ivan Lulli. Atelier Lulli (18 passage du Bourg l’Abbé) was founded in 1965 by Ivan’s Italian immigrant father, a gifted artisan who worked metal and wood. Growing up in his father’s workshop, Ivan proved to have an exquisite talent for cabinet-making. Over the last 38 years he has developed a dedicated clientele including actors and fashion designers. “His work is simply magnificent,” says Guillemain of Lulli. “With his know-how, his mastery, his artistry, his principled, rather cantankerous ways, for me he represents the French artisan.”
Not that Lulli has much competition. “Unfortunately, I’m the last woodworker in the centre of Paris, so people are often shocked when they stumble upon this place,” says Lulli. “The workshop is a magical place, we all had a father or grandfather who was a craftsman, and there’s always an ambience or aroma that stirs nostalgia in people visiting.”
Lulli’s atelier looks more like a museum than a functioning carpentry workshop, so impeccably preserved are the furnishings and tools. But even the Napoleon III-era wood lathe isn’t just there for show. One of Lulli’s creations leaning against the back wall catches the eye: a breathtaking tree of life Lulli sculpted to fit between the oak planks of a parquet floor, with leaves in mahogany, branches in wengé, and a trunk in zebrano. Lulli created an even larger version, several metres in length, for the floor of a wealthy client on Rue Saint Honoré.
For Lulli, it’s not just nostalgia that draws people to his workshop. “People feel a need to return to what’s important today, they want authenticity in their lives. Balzac once said, ‘The café counter is the people’s parliament.’ And workshops, like cafés, are places that bring people together.”
What future for these passages, these bastions of industry and artistry, these colourful corridors of life? It’s nice to imagine that the Passage du Bourg l’Abbé’s lovely old barometer, a jewel of French craftsmanship built by one M. Dutrou in 1862, gives us a clue – for lately, regardless of the actual weather, the arrow has remained stubbornly fixed in a single direction: ‘beau.’
L’ILLUSTRE BOUTIQUE, 1 passage du Grand Cerf, Tel: +33 1 77 16 35 82
Paris has plenty of haughty art galleries and interior decorating franchises, but Marguerite Villotte’s boutique/gallery dedicated to contemporary French illustrative art constitutes a new, welcome niche. Her short-run prints, charming stationery and cards by French artists will thrill art-lovers longing for something original.
POUR VOS BEAUX YEUX, 10 passage du Grand Cerf, Tel: +33 1 42 36 06 79
A glasses shop like no other, PVBY resurrects forgotten overstock to offer authentic, never-worn, vintage frames dating back to 1880. Fashionistas will melt for original Ray Bans and Dior’s first creations; historians and cinephiles will swoon for the spectacles of Gandhi, Teddy Roosevelt or Marilyn Monroe.
GUILLEMAIN PARIS, 10 passage du Grand Cerf, Tel: +33 01 42 33 91 54
Holed away for years in the jewellery workshops of famous fashion houses, Didier Guillemain finally struck out on his own in 1998. Elegant, original, and decidedly avant-garde, Didier’s collections now sell at Galeries Lafayette and BHV, but he still warmly welcomes clients at his Grand-Cerf workshop.
MAISON GREFFEUILLE, 120 rue Saint-Denis, Tel: +33 1 42 36 73 61
The first gourmet boutique from the Aveyron family that made l’agneau Allaiton the favourite lamb of three-star chefs. Laurence Greffeuille offers such delights as artisan Roquefort cheese, genuine aligot potato purée, gâteau à la broche, and their stupendous lamb, to enjoy at home or as deliciously prepared sur place over lunch.
ATELIER LULLI, 18 passage du Bourg l’Abbé, Tel: +33 1 45 08 55 56
The last cabinet-maker in the heart of Paris, Ivan Lulli brings pride and artistry to a disappearing profession in a workshop founded by his father half a century ago. Lulli’s custom designs, made from the nest woods, have won him a clientele of discerning taste, from designer Pierre Cardin to actress Catherine Deneuve.
MARILYN FELTZ, 17 passage du Bourg l’Abbé, Tel: +33 1 40 26 39 48
Isn’t high-quality, handmade, affordable designer clothing a thing of the past? Marilyn Feltz proves otherwise, with her 100 per cent Made in France prêt-à-porter. Inspired by classic cinema silhouettes and assembled in central Paris using Calais lace, Lyons silk, and Pyrénées mohair, Marilyn’s collections celebrate French savoir-faire.
From France Today magazine
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Jeffrey T Iverson
A native of Saint Paul, Minnesota, and a graduate of NYU’s Institute of French Studies and School of Journalism, Jeffrey T. Iverson has called Paris home since 2000. His stories of maverick chefs, enlightened winemakers and prolific artists have notably appeared in France Today, Time, Centurion and Departures magazines.
Not all of us are “right-brained” enough to have a powerful visual imagination. So, when the tutor handles the illustration essay task, hands could get a little shaky. But, no worries! This type of essay is not about artistic visualisation nor it requires any kind of drawing experience. It is much more about the “big picture” vision and the ability to formulate examples supporting your claims/arguments. So…
What is an Illustration Essay?
Illustration essay is here to prove a particular thing exists. This particular essay type relies much more on a research than analysis in order to prove a particular point. It contains a great deal of description and provides the reader with vocal examples. The thesis is formulated in the introduction; then it is developed with the help of illustrative examples within the body paragraphs – just to be perpetuated in the conclusion by the end of the essay.
Writing the Illustration Essay
An illustration essay is also commonly referred to as an Example essay. Of all the different kinds of essays students write, this exists as the most straightforward, easiest essay to write. While other essays require very specific aspects, such as the Cause and Effect essay, an illustration essay is exactly what it sounds like: an illustration of a particular subject. If you’re wondering if it requires drawing, have no fear! In an illustration essay, the writer illustrates his or her points with clear, authentic examples—not pictures. The body paragraphs should contain research illustrating the thesis, and likely the Works Cited and/or Bibliography pages.
Here is how to approach each of the sections of your illustration essay:
This paragraph opens the illustration essay. It typically contains anywhere from 5 to 15 sentences; a number of sentences depend upon the density of the topic being explained in the essay. It should begin with a hook – a sentence to gain and keep the reader’s attention. Hooks may also be referred to as “attention getters”. Examples of hooks include:
- Interesting facts
- Relevant statistics
- Rhetorical question
- Personal anecdote
Following the hook should be several background sentences. These sentences provide key information the audience may need to fully understand the concept being illustrated in the essay. Such information could include defining important vocabulary, providing historic or social context, or relevant personal background for individuals discussed in the paper. Information plays a fundamental role when it comes to putting up a piece of content, whether it ‘s an informative essay or not. Finally, the last sentence of the introduction paragraph should be the thesis statement. It’s a good idea to craft your thesis statement before you begin any research; a well-written thesis should be able to guide your research and make it more effective. What makes a good thesis? So glad you asked!
A thesis sentence should be both clear and argumentative. For an illustrative essay, a thesis statement should focus on identifying the subject to be illustrated and the way the writer plans to support the illustration.
A body paragraph’s purpose is to support the thesis. Each paragraph should contain a different piece of evidence that proves the writer’s thesis has merit. All body paragraphs follow a universal format involving five basic sentence types:
- Topic Sentence. This sentence identifies the topic of the paragraph and how it relates to the thesis statement.
- Background sentence(s). Depending upon the complexity of the subject identified in the topic sentence, the writer may need one to three or more background sentences.
- Research sentences. These sentences can be direct quotations or paraphrases of important ideas found during the research process. Any research sentences supporting the topic should be cited according to your teacher’s preference.
- Analysis. Analysis sentences explain how the research sentences are relevant to the topic sentence and thesis sentence. These sentences often use analysis words such as shows, portrays, illustrates, proves, and communicates.
- Conclusion/Transition. This sentence wraps up the paragraph and transitions the reader to the next idea in the following paragraph.
Now, here is where the “illustration” part comes in. You need to support each body paragraph statement with examples, proving or supporting your claim. Two examples covering each statement works the best. There is no need to dive too deep into examples – just lay them out as you outline your body paragraphs.
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Beginning the conclusion paragraph means that you’re almost done! Conclusion paragraphs are typically the shortest paragraphs in an illustration essay. Its purpose is to reiterate the main points within each body paragraph and prove to the reader that the writer proved his or her point within the essay. While these paragraphs are short, they are important; it is the last impression the reader has – so make it a good one!
Conclusion paragraphs should be strongly worded and confident. However, they should not introduce any new information; focus only one what’s already been presented as evidence in the essay.
Tips from our writers – free takeaways!
Transitions can really help move an argument along in an illustration essay. Transitions are words that act as connectors in a sentence; they connect one idea to another. They can show similarity, contrast, or illustration among other connections. Want your illustration essay to shine? Consider incorporating the following transitions to improve the flow of the essay:
- For example
- For instance
- As an illustration
- To illustrate
- In this case
- In contrast
Transitions can link similar ideas in the same body paragraph or link different examples between body paragraphs.
As with all essay writing assignments, it’s important to begin early and stay on-task. Keep to a writing schedule, beginning with an idea outline to organize your thoughts and help guide your research.
Check out this no-frills outline:
- Thesis: Cats make the best pets because they are loving, intelligent, and independent
- Body Paragraph 1: Prove cats are loving
- Example 1: they are loving to their owners (well, maybe not all of them)
- Example 2: they are loving to other animals (except dogs, of course)
- Body Paragraph 2: Prove cats are intelligent
- Example 1: capability to train cats
- Example 2: ability of cats to solve problems and play
- Body Paragraph 3: Prove cats are independent
- Example 1: cats can entertain themselves
- Example 2: they are born hunters
- Conclusion: Wrap it up with strong statements – prove your initial point
Illustration Essay Sample
Be sure to check the sample essay, completed by our writers. Use it as an example to write your own essay. Link: Illustration Essay on Social Statuses
Drawing the line (figuratively)
Taking the time to outline and narrow your research focus makes finding information much, much easier! But it is not always necessary to verse an outstanding illustrative essay. The best way to prove your point is to show a real-life example. Nothing really works better than cases and situations taken straight from your life experience (almost like the narrative essay, right?) People with colorful life experience tend to be the best in the illustrative essay “business”.
Remember: you have many resources available to you to help you earn the grade you want. Stick to a good writing schedule and take a rough draft to your professor for constructive criticism. Visit the campus writing center if you have one, or send your essay to our professional writers service for editing. Revisit and revise your draft at least once—perfection is a process!