Birds of Paradise exhibition tracks beauty’s deadly trade

At the Musée du Quai Branly – Jacques Chirac, “Plumes from Paradise” follows a bird of paradise from New Guinea cosmologies to 19th-century European fashion—then into the activism that tried to stop the hunting. Through objects, images, and an immersive, darke

Bright red feathers hang in the air like a promise—then the exhibition makes you look closer. At the Musée du Quai Branly – Jacques Chirac. “Plumes from Paradise” traces the long journey of birds of paradise. from New Guinea. where they originate. to Europe. where their plumage was treated as almost supernatural.

The story isn’t just about fascination. It’s about what that fascination cost.

Birds of paradise comprise a family of 45 species found primarily in New Guinea. Known for vibrant plumage and unparalleled displays, they appear in local life with roles that go far beyond beauty. In many regions of New Guinea. bird-of-paradise feathers are used in ceremonies. dances. and communal gatherings—mounted on spectacular headdresses or worn on the body. They can indicate social status, group membership, or the role played during rituals. Ornaments made from dozens of carefully assembled feathers also reflect trade networks between communities. where braided plant fibers. shells. pigments. and feathers come together in ensembles whose elements hold specific meaning. The exhibition presents these adornments as both works of art and objects tied to social and spiritual life.

That careful symbolism becomes something else once the birds cross oceans.

Starting in the 16th century, the first birds of paradise began to appear in Europe. Often brought to the continent without their legs—removed during preparation—they fed a startling belief: that the animals lived permanently in the air and never touched the ground. Over time, naturalists and artists broadened their knowledge through scientific drawings, paintings, and illustrations. The exhibition traces this gradual discovery through old engravings. travelogues. and taxidermied specimens. showing how the birds became symbols of exoticism and an idealized nature—straddling the line between scientific observation and the imagination of “paradise.”.

For centuries, feathers and specimens moved into cabinets of curiosities and later into European natural history collections. Birds of paradise were sought after for their rarity and appearance. and some display cases echo the look of earlier collections. where taxidermied specimens. precious objects. and scientific documents sat side by side.

Then fashion took the fascination and turned it into a market.

Worn on hats. dresses. and accessories. bird-of-paradise feathers became—by the end of the 19th century—symbols of elegance and social distinction. Photographs, fashion illustrations, and period pieces document the trend in European capitals. Behind the glamour. the exhibition places the trade: birds are hunted in large numbers to supply European and American markets. while feathers are shipped between colonies. trading ports. and fashion workshops.

Paris emerges as a key node in that economy. With luxury industry fascination, entertainment, and haute couture for bird-of-paradise feathers, the feather becomes the heart of livelihoods. In Paris alone. during the first quarter of the 20th century. there were hundreds of feather workshops. suppliers. milliners. department stores. fashion houses. taxidermists. centers of learning. and entertainment venues that provided livelihoods for thousands of people.

The exhibition never lets that flourish linger without consequence.

Gradually, the dwindling numbers of certain species bring concern. Attitudes toward birds of paradise are changing, and the first criticisms of the feather trade begin to surface. In the early 20th century. animal welfare organizations began to organize. bringing the debate into the public sphere and marking the emergence of the first animal welfare movements. The exhibition links these shifts to a feminist movement that took shape in the same era.

Women such as the opera singer Lilli Lehmann. the ornithologist Florence Merriam Bailey. and the Duchess of Portland. Winifred Cavendish-Bentinck. appear as leading figures. While feathered hats dominated Belle Époque fashion, activists chose to boycott these accessories and publicly spoke out against bird hunting.

The museum frames the exhibition as a visual journey that keeps those connections in view—colonial history. global trade. and species extinction—so the question of exploitation doesn’t feel like a closed chapter. A living history runs through it, far removed from the static image of an ethnographic museum.

Even the bird’s symbolism is shown as something that changes with power. The bird of paradise has become the national emblem of New Guinea, appearing on the country’s flag since 1971. Today. many artists draw inspiration from birds of paradise to create works of art and raise public awareness about the vulnerability of these birds and their habitats. which are at risk of disappearing.

Inside the exhibition, contemporary perspectives—photographs, drawings, street art, and more—sit alongside older materials, placing the bird at the center of a story that still has a present tense.

The museum’s immersive design makes the transformation feel physical. In the darkness, the sounds of birds echo as a video showing courtship dances of birds of paradise welcomes visitors. Lighting effects highlight feathers. textures. and colors. while different shades used on the walls reflect changes in era and setting as visitors move through the exhibition. A chronological progression makes it easier to follow how perceptions evolved. Moving between spaces feels like traveling through several different worlds: a rainforest, scientific collections, or fashion studios.

And the exhibition keeps returning to one idea: feathers of paradise ultimately tell the story of birds as much as they do of humans. Behind colorful feathers and travel stories lie broader questions about fascination with rarity. the desire to collect. the exploitation of living creatures. and the way societies construct their imaginations around nature.

The Musée du Quai Branly – Jacques Chirac is also presenting a film series in conjunction with the exhibition.

The show runs at 37 Quai Branly, 75007 PARIS. Opening hours are Tuesday through Sunday, 10:30 a.m. to 7:00 p.m., until November 8, 2026. Mondays during school breaks (all regions) open from 10:30 a.m. to 7:00 p.m., and late-night hours on Thursdays run until 10:00 p.m. Full-price tickets cost €14, reduced-price tickets are €11, and admission is free for those under 26.

Quai Branly Jacques Chirac museum Plumes from Paradise birds of paradise New Guinea feathers trade animal protection feminist movement Lilli Lehmann Florence Merriam Bailey Winifred Cavendish-Bentinck fashion history colonial trade species extinction film series