Over a century ago, Paris was a very different city from the cosmopolitan centre we know today. Horse-drawn carriages meandered down the Champs-Elysées alongside the first motorcars, and the Eiffel Tower stood as a daring new landmark. These rare photographs, spanning the 1880s to 1925, capture the ebbs and flows of daily life and reveal a city in transition, negotiating the Industrial Revolution, cultural rebellions and global conflicts.
Click or scroll on to travel back in time and discover what the City of Lights looked like over 100 years ago...
Taken in the mid-1880s, this photo of Avenue de l'Opéra in the heart of Paris is a showcase of Haussmannian architecture, from the ornamental wrought-iron balconies to the dormer windows and Mansard roofs.
The aesthetic was named after Georges-Eugène Haussmann, the ambitious civil servant who Napoleon III, Emperor of the French, tasked with redesigning the city's overcrowded, medieval streets in 1853. The 17-year project signalled a period of radical reinvention for Paris. It saw 12,000 buildings demolished, modern sewer and water systems introduced, and the city plan carved up into the orderly avenues and districts we see today.
The city's dramatic renewal was followed by the Belle Époque era, a period between 1871 and 1914 defined by relative peace, prosperity and technological advancements.
It was during this time that Paris's most famous landmark, the Eiffel Tower, was built. Its intricate metal framework is pictured here in 1888 in an early phase of construction. The impressive landmark took two years, two months and five days to complete and was declared the tallest building in the world until New York City's Chrysler Building overtook it in 1930.
One reason for the tower's speedy construction was the arrival of the 1889 Exposition Universelle, also known as the World's Fair – an international exhibition of scientific, industrial and artistic innovations. Finished two months before the event, the Eiffel Tower was the fair's centrepiece.
In this photo, taken shortly after construction concluded, pedestrians pass beneath the vast structure. During the fair, which ran for almost six months, just under two million visitors scaled the landmark via its lift or stairs. In the background here is the ornate Dôme Central, one of numerous elaborate buildings made specially for the exhibition, which marked 100 years since the French Revolution.
Ranked among the world's most beautiful thoroughfares, the Avenue des Champs-Élysées is captured here in 1889 before the rise of the motorcar. Instead of lanes of traffic, horse-drawn carriages, carts and even a double-decker bus traverse the road, with the iconic Arc de Triomphe just visible in the distance.
Former marshland transformed into a royal road by King Louis XIV in the 1600s, it wasn't until the 19th century that the Champs-Élysées was established as the city's prime commercial artery, lined with the storefronts of the most prominent brands of the time.
The grand coaches that paraded along the Champs-Élysées may have been made by these metalworkers and woodworkers, photographed in a Parisian coach factory in 1890. On the right, you can glimpse what looks to be the woven seat and metal exterior of one of the vehicles.
The Industrial Revolution had a profound impact on Paris's landscape in the 19th century. By 1896, the centre of Paris was home to more than 2,000 factories, with many more in the suburbs. The influx of lower-class workers contributed to the swelling population, which grew from 1.2 million in 1851 to just under 2.5 million by 1891. Many of these new arrivals lived in makeshift housing in the outer districts.
A valuable addition to the city during this period was Les Halles, a vast covered market that became one of the area's most important commercial hubs. Its dramatic iron-and-glass design, which replaced an earlier, more informal marketplace, was the vision of French architect Victor Baltard.
This turn-of-the-century image captures the bustling chaos of Les Halles, and we can see shoppers browsing produce at a cheese stall, the floor scattered with straw. The sprawling pavilions sold everything from meat, fish and vegetables to flowers and curios. The market was so crucial to the day-to-day lives of city dwellers that it was dubbed 'the belly of Paris'.
The Moulin Rouge, one of the world's most recognisable entertainment venues, is pictured in this photo from around 1900. The daring cabaret in the bohemian district of Montmartre opened its doors on 6 October 1889.
The brainchild of showman Charles Zidler and entrepreneur Joseph Oller, the riotous music hall featured clowns, acrobats and tightrope walkers, as well as a mirrored dance floor where the French cancan was popularised. Its iconic red windmill references the venue's formerly rural location, which used to comprise rolling acres of vineyards and agricultural turbines.
Outside, the Moulin Rouge had a garden theatre with shows, donkey rides and a supersized elephant statue, made famous in the 2001 film Moulin Rouge! starring Nicole Kidman. The surreal spectacle is captured here in the early 1900s.
Zidler and Oller reportedly purchased the elephant at the World's Fair in 1889, the same year the venue opened, and it became an emblem of the cabaret hall. By this time, Montmartre had become synonymous with escapism and freedom – a place that defied social norms. Its cabarets and café-concerts were subversive and satirical, and were also rare spaces where the bourgeoisie and working classes collided.
While the bright lights of Montmartre may have provided a fleeting distraction for poorer folks, the toil of daily life was often gruelling. Many sought work as labourers supporting Paris's ever-expanding infrastructure. One of the largest projects in the early 1900s was the creation of the city's metro system, overseen by civil engineer Fulgence Bienvenüe. The first line was completed in 1900, with more soon added.
The project was arduous, requiring thousands of labourers to work day and night. As you can see from this 1905 photograph, the working conditions were often claustrophobic and precarious.
Metro lines linking the suburbs to the centre increased the accessibility of Paris's commercial avenues and its growing number of department stores. One of the city's most famous retail spaces, still in operation today, is Printemps. Opened in 1865, it quickly became a Parisian institution.
The store was ravaged by a fire in 1881, but the rebuild was even more spectacular. Topped with a glass roof, the overhauled interior was declared a "cathedral of commerce", and became the first public building in Paris to be lit by electricity in 1883.
The turn of the century was an extraordinary time for scientific progress. There were exciting advancements in electricity, wireless telegraphy and astronomy, as well as chemistry.
Pictured here in her Paris lab around 1905, acclaimed chemist and physicist Marie Curie moved to the city in 1891 from her native Poland. Alongside her husband, Pierre Curie, she dedicated her time to the study of radioactivity. Their first laboratory was an old wooden shed in a courtyard of Paris's Advanced Industrial Physics and Chemistry Institute, but despite their humble workspace, the Curies discovered two new elements in 1898, radium and polonium. They received the Nobel Prize for Physics in 1903.
This ornate dining room, photographed in 1910, was part of an elaborate mansion on Rue de Longchamp. Situated in the 16th arrondissement, across the river from the Eiffel Tower, the neighbourhood's Haussmannian properties have been home to Parisian high society since the 19th century.
The 16th arrondissement, along with most of the other affluent districts of the time, is located in the west, upwind from what was then the poorer and more industrial east. Because of this, wealthy Parisians enjoyed less polluted air. It was also common for rich families of the time to have a brigade of servants who maintained the household and cared for their children.
Nature, as they say, is the great equaliser, and when floodwater submerged Paris in 1910 it had a devastating impact across its districts. In a rare 100-year flood, the Seine burst its banks due to oversaturated soil and an overwhelmed sewage system, leaving swathes of the city underwater for two months.
Thousands were evacuated, and those who stayed had to find novel ways of navigating the city, which now looked more like Venice. This photo shows workers and police using boats in the streets of the 7th arrondissement near the Palais Bourbon, the flooded seat of the National Assembly. Elsewhere, wooden walkways were built to help residents access parts of the city that had been cut off.
In the city's poorest areas, strife was part of everyday life long before the flood. The most deprived region was known as the Zone – a ring of land between the city centre and suburbs that was intended as a vacant military zone. Instead, it became a refuge for Paris's poorest, who had been pushed out of the city during its redevelopment. Shacks, sheds and caravans reclaimed this marginal no-man's land.
French photographer Eugène Atget documented living conditions in these improvised settlements in the early 1900s. He captured the makeshift home of this family in the Porte d'Asnières area in 1913. Many of the people residing here were day labourers and ragmen, who made a living collecting and selling refuse.
The peace of the Belle Époque era came to a sudden end in 1914 when Germany declared war on France. World War I, sparked by the assassination of Archduke Franz Ferdinand, heir to the Austro-Hungarian throne, sent shockwaves through Europe. Pictured here in the year war broke out, Parisian landmarks and statues were fortified with protective wooden frames and sandbags to shield them from German attacks.
The caution was warranted, as Paris experienced devastating bombings over the next four years. The onslaught was so bad that the French government commissioned the construction of a fake Paris, in the hope it would fool German pilots during night air raids.
The invasion of Belgium in 1914 and the presence of the encroaching German Army in northeast France resulted in an influx of Belgian and French refugees arriving in Paris.
This 1914 photograph depicts nurses tending to new arrivals in a makeshift relief station set up in the customs room of the Gare du Nord train station in the heart of Paris. A bed of straw provides a place for the weary refugees to lay their heads, while blankets are being dispatched by the nurses. German forces got to within around 30 miles (48km) of Paris, but the invasion never reached the City of Lights.
Despite the ongoing war, Paris remained a vibrant intellectual centre. Many of its great thinkers were directly or indirectly involved in war efforts, yet the city still served as a space for reflection and artistic expression.
Pictured here on the far right in 1916 is artist Pablo Picasso, whose neutral Spanish citizenship excluded him from fighting, alongside other luminaries including French poet and artist Max Jacob, playwright Jean Cocteau and Chilean painter Manuel Ortiz de Zárate. The group stands outside Café de la Rotonde, which was a hub for creatives of the era who had swapped Montmartre for Montparnasse, a district on the left bank of the Seine.
Following an armistice in November 1918, World War I officially ended in June 1919 with the signing of the Treaty of Versailles in Paris, and life slowly began to return to normal in the city. French vehicle manufacturer Renault, which had repurposed its Boulogne-Billancourt factory in the suburbs of Paris to produce shells and Renault FT tanks during the war, turned its focus back to motorcars.
This photo from 1920 shows a production line of trucks on the left, alongside rows of convertible cars. The age of the automobile had arrived, and motorcars gradually became household essentials.
The Roaring Twenties signalled a new era of liberation and cultural freedom in Paris. The city's deeply ingrained café culture was reignited, and Montparnasse became a breeding ground for creative movements like surrealism and dadaism, as well as a meeting place for intellectuals.
Professional Franco-Russian chess player Alexander Alekhine is shown here in the aforementioned Café de la Rotonde in 1922, playing simultaneous chess games. Members of the Lost Generation, a group of American expat writers who came of age during World War I, were also patrons of the café. Among them were The Great Gatsby author F Scott Fitzgerald and novelist Ernest Hemingway.
Paris has a long history of providing sanctuary to political refugees. This photo shows Russian Grand Duchess Marie Pavlovna alongside the Dowager Empress Marie Feodorovna. Both were forced into exile after the Russian Revolution in 1917, which saw the monarchy overthrown.
After fleeing her homeland, the Grand Duchess discovered a talent for dressmaking and reinvented herself as a designer. The former royals are pictured in 1923 at Kitmir, Pavlovna's embroidery atelier in Paris, where she employed dozens of Russian refugees. Pavlovna developed a close relationship with fashion mogul Coco Chanel, and Kitmir was even contracted by the brand to create embroidery for Chanel's 1922 collection.
The birthplace of cabaret, Paris continued to draw stars from around the world during the 1920s Jazz Age. This image shows six members of the Ziegfeld Follies, a lauded American theatre group, posing in front of the Arc de Triomphe in 1924. The troupe had been invited to Paris to perform at the New Moulin Rouge Revue to much acclaim.
The Follies' shows encompassed comedy routines, dance numbers, solos and fashion spectacles. The group was the brainchild of theatre producer Florenz Ziegfeld Jr, and helped launch the careers of Broadway legend Marilyn Miller and actresses Barbara Stanwyck and Paulette Goddard.
The 1920s signalled a shift in traditional societal constraints, and women in particular embraced more diverse employment opportunities than before. Even the city's closely guarded artisanal textile industries were disrupted.
Photographed here in 1925, 17-year-old Marguerite Loger was the first female artisan to be employed by the Manufacture des Gobelins, producers of ornate Parisian tapestries and carpets since the 15th century. It was a highly skilled job that required years of study, and workers could typically finish little more than a square yard of carpet per year.