Paul Poeiret Research Paper
Paul Poiret who at the height of his career in pre-World War I France was the undisputed "King of Fashion." His sweeping vision led to a new silhouette that liberated women from the corset and introduced the shocking colors and exotic references of the Ballets Russes to the haute couture. "The historic significance and influence of Poiret's work is breathtaking, and felt in fashion to the present day," said Harold Koda, Curator in Charge of the Metropolitan Museum's Costume Institute. "Poiret pioneered a seductive modernity based on woman's self-confident femininity, and envisioned a 'total lifestyle' that extended from how she dressed and what fragrance she wore to how she decorated her home – an approach reflected in the strategies of many of today's fashion
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houses." Presented in a series of tableaux, the garments on view will highlight the multiple facets of Poiret's astonishing inventiveness – including the beauty of his draped, unstructured fabrics and his fascination with the Ballets Russes, the Wiener Werkstätte, Orientalism and the 1001 Nights – and will be complemented by paintings, illustrations, furniture and examples of the decorative arts that explicate his expansive artistic vision. At the core of the exhibition will be a grouping of the stunning creations the Metropolitan acquired in the much-heralded 2005 auction of clothing from Poiret's estate. More than any other designer of the 20th century, Paul Poiret — who is credited both with liberating women by making the corset démodé and with restricting their gait with narrow-hemmed hobble skirts — elevated fashion to the status of art. Like the artists with whom he collaborated, Poiret's work was fueled by the dominant discourses of the day, including Classicism, Orientalism, Symbolism, and Primitivism. Known as the "King of Fashion," (the title of his 1931 autobiography) he introduced the vivid colors of the Fauvists and the exotic references of the Ballets Russes to the haute couture. Poiret's protean genius extended beyond fashion to the realms of art, theatre, architecture, and interior design. As well as discussing his design legacy, the exhibition will focus on Poiret's collaborations with such artists as Paul Iribe, Georges Barbier, and Georges Lepape. Poiret's designs will be presented in a series of vignettes evocative of the drawings of these artists for such fashion periodicals as Art, Goût et Beauté and La Gazette du Bon Ton.
The exhibition will include several garments from the May 2005 Paris auction of the private collection of Poiret's descendants, many of which had never been photographed or put on public display. The Metropolitan Museum acquired several of these garments – which were made for Poiret's wife Denise, who was his muse and wore his designs without concession to prevailing tastes – at the auction. While apprenticing in his teens to an umbrella maker, Paul Poiret entered the world of fashion when he sold some of his sketches to Madeleine Cheruit at her Paris fashion house. After stints with designers Doucet and Worth, he opened his own house in 1903 and was boosted by the patronage of Réjane, a famous actress of the period, among others. In his groundbreaking designs, he led the way to the chemise dress with his revival of Directoire silhouettes and his referencing of the simple cuts of ethnic costume. In 1911 he became the first fashion designer to create and market his own perfume, which he named after Rosine, his oldest
daughter. Also in 1911, he created a series of workshops for the production of fabrics, furniture, and a range of decorative objects as an extension of his overall aesthetic. He and his wife were renowned for their glamorous excess and sumptuous entertaining, marked by fêtes such as the now-legendary "Thousand and Second Night" party in June 1911 — at which guests were required to wear appropriate costume. Poiret spent the last decade of his life in debt, having been superseded by other designers including Coco Chanel and Jean Patou. As the famous, and perhaps apocryphal, story is told, of the 1920s chance encounter between the "King of Fashion" and young Coco Chanel: Poiret inquired of the black-clad Chanel, "For whom, madame, do you mourn?" to which Chanel replied, "For you, monsieur." Paul Poiret (20 April 1879, Paris, France-30 April 1944, Paris) was a fashion designer based in Paris before the First World War, during the Belle Epoque. He was taken on by the fashion designer Jacques Doucet as a draftsman. When he completed his apprenticeship with the House of Worth in 1904 he opened up his own fashion house, and by 1905-07 had produced a revolutionary style. He was famous for designing luxurious oriental and Art Deco gowns. He also launched the suspender belt, flesh-colored stockings, culottes, and the modern brassiere.[citation needed] About his creation of the hobble skirt, he said, "It was in the name of Liberty that I proclaimed the fall of
the corset and the adoption of the brassiere which, since then, has won the day. Yes, I freed the bust, but I shackled the legs." He also presented the first sheath and sack dresses. Moreover, Poiret was noted his use of vibrant primary colors, breaking from the soft colors common during the late Edwardian period."He was the first couturier to launch his own perfume[,] named Rosine, after his oldest daughter." Poiret's signature was the rose, which was a decorative motif on his label and appeared periodically on his creations (lapels and elsewhere). His rose most often designated a piece of which he was particularly proud. Paul Iribe, a graphic artist and jewelery designer was hired to design Poiret's label, which was a simple rose drawing accompanied by the text, "Paul Poiret a Paris." Poiret was notorious for throwing lavish parties and plays featuring his designs. For one of his famous parties, the June 24, 1911, The Thousand and Second Night (based on The Arabian Nights), he required his over 300 guests to dress in Oriental costuming. Improperly dressed guests were requested to either outfit themselves in some of Poiret's 'Persian' outfits or to leave. In 1909, Raoul Dufy was commissioned by Poiret to design stationery for the house, and also designed textile patterns used in Poiret's garments.
houses." Presented in a series of tableaux, the garments on view will highlight the multiple facets of Poiret's astonishing inventiveness – including the beauty of his draped, unstructured fabrics and his fascination with the Ballets Russes, the Wiener Werkstätte, Orientalism and the 1001 Nights – and will be complemented by paintings, illustrations, furniture and examples of the decorative arts that explicate his expansive artistic vision. At the core of the exhibition will be a grouping of the stunning creations the Metropolitan acquired in the much-heralded 2005 auction of clothing from Poiret's estate. More than any other designer of the 20th century, Paul Poiret — who is credited both with liberating women by making the corset démodé and with restricting their gait with narrow-hemmed hobble skirts — elevated fashion to the status of art. Like the artists with whom he collaborated, Poiret's work was fueled by the dominant discourses of the day, including Classicism, Orientalism, Symbolism, and Primitivism. Known as the "King of Fashion," (the title of his 1931 autobiography) he introduced the vivid colors of the Fauvists and the exotic references of the Ballets Russes to the haute couture. Poiret's protean genius extended beyond fashion to the realms of art, theatre, architecture, and interior design. As well as discussing his design legacy, the exhibition will focus on Poiret's collaborations with such artists as Paul Iribe, Georges Barbier, and Georges Lepape. Poiret's designs will be presented in a series of vignettes evocative of the drawings of these artists for such fashion periodicals as Art, Goût et Beauté and La Gazette du Bon Ton.
The exhibition will include several garments from the May 2005 Paris auction of the private collection of Poiret's descendants, many of which had never been photographed or put on public display. The Metropolitan Museum acquired several of these garments – which were made for Poiret's wife Denise, who was his muse and wore his designs without concession to prevailing tastes – at the auction. While apprenticing in his teens to an umbrella maker, Paul Poiret entered the world of fashion when he sold some of his sketches to Madeleine Cheruit at her Paris fashion house. After stints with designers Doucet and Worth, he opened his own house in 1903 and was boosted by the patronage of Réjane, a famous actress of the period, among others. In his groundbreaking designs, he led the way to the chemise dress with his revival of Directoire silhouettes and his referencing of the simple cuts of ethnic costume. In 1911 he became the first fashion designer to create and market his own perfume, which he named after Rosine, his oldest
daughter. Also in 1911, he created a series of workshops for the production of fabrics, furniture, and a range of decorative objects as an extension of his overall aesthetic. He and his wife were renowned for their glamorous excess and sumptuous entertaining, marked by fêtes such as the now-legendary "Thousand and Second Night" party in June 1911 — at which guests were required to wear appropriate costume. Poiret spent the last decade of his life in debt, having been superseded by other designers including Coco Chanel and Jean Patou. As the famous, and perhaps apocryphal, story is told, of the 1920s chance encounter between the "King of Fashion" and young Coco Chanel: Poiret inquired of the black-clad Chanel, "For whom, madame, do you mourn?" to which Chanel replied, "For you, monsieur." Paul Poiret (20 April 1879, Paris, France-30 April 1944, Paris) was a fashion designer based in Paris before the First World War, during the Belle Epoque. He was taken on by the fashion designer Jacques Doucet as a draftsman. When he completed his apprenticeship with the House of Worth in 1904 he opened up his own fashion house, and by 1905-07 had produced a revolutionary style. He was famous for designing luxurious oriental and Art Deco gowns. He also launched the suspender belt, flesh-colored stockings, culottes, and the modern brassiere.[citation needed] About his creation of the hobble skirt, he said, "It was in the name of Liberty that I proclaimed the fall of
the corset and the adoption of the brassiere which, since then, has won the day. Yes, I freed the bust, but I shackled the legs." He also presented the first sheath and sack dresses. Moreover, Poiret was noted his use of vibrant primary colors, breaking from the soft colors common during the late Edwardian period."He was the first couturier to launch his own perfume[,] named Rosine, after his oldest daughter." Poiret's signature was the rose, which was a decorative motif on his label and appeared periodically on his creations (lapels and elsewhere). His rose most often designated a piece of which he was particularly proud. Paul Iribe, a graphic artist and jewelery designer was hired to design Poiret's label, which was a simple rose drawing accompanied by the text, "Paul Poiret a Paris." Poiret was notorious for throwing lavish parties and plays featuring his designs. For one of his famous parties, the June 24, 1911, The Thousand and Second Night (based on The Arabian Nights), he required his over 300 guests to dress in Oriental costuming. Improperly dressed guests were requested to either outfit themselves in some of Poiret's 'Persian' outfits or to leave. In 1909, Raoul Dufy was commissioned by Poiret to design stationery for the house, and also designed textile patterns used in Poiret's garments.