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When the Moulin Rouge first opened on October 6 1889, it drew audiences from across classes and countries.

The Moulin offered an array of聽蹿颈苍-诲别-蝉颈猫肠濒别聽(end-of-the-century) entertainments to Paris locals and visitors. Located in聽, its name, the 鈥渞ed windmill鈥�, alluded to Montmartre鈥檚 history as a rural idyll. The neighbourhood was also associated with artistic bohemia, crime, and revolutionary spirit. This setting added a certain thrill for bourgeois audiences.

From irreverent newcomer to a French institution, the Moulin Rouge has survived scandal, an inferno and found new ways to connect with audiences.

In 1889, the Moulin Rouge was not the only red landmark to open in Paris. The聽, built as part of the聽聽and originally painted red, had opened earlier that same year. What set them apart, however, was their popularity.

The Moulin Rouge was an instant hit, capitalising on the global popularity of a dance called聽. Dancers like Moulin Rouge headliner聽(鈥淭he Glutton鈥�, real name Louise Weber) were seen as more appropriate emblems for the city than the Tower, which many聽.

In an illustration from聽Le Courrier Fran莽ais聽newspaper, a dancer modelled on a photograph of La Goulue holds her leg aloft, flashing her underwear with the caption 鈥溾��.

Every aspect of the Moulin spoke to the zeitgeist, from its design to the performances, the use of electric lights that adorned its fa莽ade, and its advertising.

Its managers, the impresario team of聽, had a string of successful venues and businesses to their names. They recognised the importance of modern marketing, using print media, publicity photographs, and聽聽to spark public interest.

Among the most iconic images of the Moulin is聽. At its centre is La Goulue, kicking her legs amid swirling petticoats.

Found primarily in working-class dance halls from as early as the 1820s, the cancan became a staple of popular entertainment the world over.

Part of the dance鈥檚 thrill lay in the dancers鈥櫬犅燼nd titillation of spectators, as well as its anti-establishment energy. Women used the cancan to thumb their nose at authority via steps like the聽coup de cul聽(鈥渁rse flash鈥�) or聽coup du chapeau聽(removing men鈥檚 hats with a high kick).

The cancan was not the only attraction at the Moulin. There were themed spaces, sideshows, and variety performances ranging from belly dancers and conjoined twins to聽聽(鈥淭he Fartomaniac鈥�) who was a flatulist and the highest-paid performer. People watching was equally popular.

Over the years, the Moulin has been no stranger to controversy.

In its early years, it cultivated an air of misbehaviour and featured in pleasure guides for visiting sex tourists.

In 1893 it hosted the聽聽(Four-Arts Ball) held by students from local studios. Accusations of public indecency were made against the models and dancers in attendance, and violent protests followed after the women were arrested.

In 1907 the writer Colette appeared onstage at the Moulin in an Egyptian-inspired pantomime with her then-lover,聽. When the act culminated in a passionate kiss, a riot broke out.

Over time, the Moulin Rouge shows changed their format to keep pace with public taste, though the cancan remained. The venue hosted revues and operettas, and various stars including Edith Piaf, Ella Fitzgerald, Frank Sinatra and Liza Minnelli.

Famous guests have included British royalty: from Edward VII (while Prince of Wales) to his great-granddaughter, Queen Elizabeth II, and her son, Prince Edward.

Since its opening, the Moulin鈥檚 fortunes have waxed and waned.

In 1915 the Moulin Rouge聽聽but was rebuilt in 1921. Its famous windmill sails聽聽earlier this year but were swiftly repaired.

In the 1930s, it survived the Depression and rise of cinema (also聽听辞蹿听). It also survived the聽聽of Paris in the 1940s.

By the early 1960s,聽聽was managing the Moulin鈥檚 show after his father had revamped the venue as a dinner theatre destination. The younger Cl茅rico oversaw additions like a giant aquarium where dancers swam with snakes, and its now-famous 鈥渘ude line鈥� 鈥� a chorus of topless dancers 鈥� in its shows.

In 1963, the Moulin Rouge struck upon a winning formula: revues, all named by Cl茅rico with titles beginning with the letter 鈥淔鈥� 鈥� from聽Frou Frou听迟辞听Fantastique听补苍诲听Formidable. Since 1999, the revue聽贵茅别谤颈别聽(鈥淔airy鈥�, also a聽聽of stage extravaganza) has been performed almost without interruption.

Ticket sales were boosted thanks to Baz Luhrmann鈥檚 2001 film聽聽and more recently聽.

Since COVID, the Moulin Rouge management have diversified. The windmill鈥檚 interior has been聽聽and the Moulin鈥檚聽聽has performed on France鈥檚 televised New Year鈥檚 Eve celebrations. This year, the Moulin Rouge and its dancers were part of the聽, dancing in heavy rain.

Though people have come to appreciate the Eiffel Tower too, the Moulin Rouge can still argue its status as the pinnacle of live entertainment in the French capital: immediately recognisable, internationally visible, and quintessentially Parisian.

Dr Will Visconti's teaching and research at the University of Sydney spans French Studies, Italian Studies, History, Art History, Fashion, Gender & Sexuality, and Cultural Studies. This story was first published on聽. Hero image:聽Henri de Toulouse-Lautrec At the Moulin Rouge 鈥� The Dance, 1890. Photo: Henri de Toulouse-Lautrec/ Wikimedia Commons.