#poiret

[mote-historie]

Georges Lepape, Serais-je en Avance?, Manteau de Theatre de Paul Poiret, Gazette du Bon Ton, 1920

For sale: EditionOriginale

[steven-myself]

Art Deco - Wilfred Wong by Baldovino Barani x FACTORY Fanzine

[milksockets]

'poiret silk-crepe wide-brimmed hat, c. 1909' in the couture accessory - caroline rennolds milbank (2002)

[digitalfashionmuseum]

Peach pink silk dress, 1910-1912, French.

Designed by Paul Poiret.

Palais Galliera.

Robe en satin de soie rose voilé de tulle brodé crème, encolure en V, corsage croisé et à effet de fichu en tulle crème, ceinture formée d'u

[jenniedavis]

[chic-a-gigot]

L'Art et la mode, no. 20, vol. 48, 14 mai 1927, Paris. La Princesse Leïla Bederkhan qui vient de donner des séances de danses à la Comédie des Champs-Élysées est habillée par Poiret. Photos Presse-Paris. Bibliothèque nationale de France

Panic over short hairstyles below (English translation included):

Sur le danger des simplifications extrêmes…

C’était un philosophe subtil et fin celui qui écrivit un jour que le Bonheur, la Fortune, l’Amour même, tenaient souvent à un cheveu et se conduisaient par un fil…

Que de passions exaltées, de drames, de misère, de bonheur, de gloire, de succès, ont gravité autour de cette éternelle "bientôt!…" question des cheveux coupés et des robes courtes!

Cette mode tiendra-t-elle? Les modes féminines seront-elles encore longtemps régies par ces sacrifices capillaires? Et les têtes rases dicteront-elles encore leurs décisions, aux modistes parisiennes? Les jupes vont-elles diminuer encore? Cruel plébiscite, irritant problème…

Les hommes acceptent-ils d’un amour sincère et flatteur les cheveux courts? les robes réduites? Sans doute avons-nous encore en mémoire les fameux vers de Baudelaire sur les opulentes toisons. Sans doute reconnaissons-nous que certains visages féminins prennent à cette indigence une beauté droite et nette.

Mais, comme souligne avec esprit M. Pierre Lièvre, nous sentons aussi combien ce sectionnement uniformise et banalise un profil très cher. "Pourquoi envierait-on aujourd’hui celui qui accompagne une femme—la nuque tondue? On sait bien qu’elle ne peut plus se métamorphoser dans l’intimité. On la connaît exactement comme lui…"

Et c’est évidemment le plus dur reproche mérité par les élégances d’aujourd’hui. Les robes actuelles mettent bien autre chose encore "dans le domaine commun". La nuque n’est pas seule dévoilée!

Les bras jusqu’aux aisselles, les jambes jusqu’aux genoux, la gorge, le dos s’offrent aux regards admiratifs ou caustiques.

"Tous ces charmes", insiste M. Pierre Lièvre, sont publics. Les femmes n’ont plus de secrets. Et l’on ne peut pas dire que la beauté y gagne, car les vêtements qu’on leur fait pour mettre ainsi à la disposition de tous les regards ce qui ne devrait pas être, y sont d’une laideur qui offense. Dans les plus riches tissus et quelque soit le prix qu’on en demande, on leur taille des robes qui sont pauvres, tant la matière y est employée avec économie.

—

On the Danger of Extreme Simplification…

It was a subtle and astute philosopher who once wrote that Happiness, Fortune, and even Love often hang by a hair and are guided by a thread…

How many exalted passions, dramas, instances of misery, happiness, glory, and success have revolved around that eternal—and ever-imminent—question of bobbed hair and short dresses!

Will this fashion endure? Will women’s styles continue to be governed for much longer by these follicular sacrifices? And will shorn heads continue to dictate their terms to the milliners of Paris? Will skirts grow even shorter? A cruel plebiscite, an exasperating dilemma…

Do men embrace—with sincere and flattering affection—short hair? And abbreviated dresses? No doubt we still recall those famous lines by Baudelaire regarding "opulent fleeces." No doubt we acknowledge that certain female faces acquire, through this very sparseness, a beauty that is crisp and clean.

But, as Mr. Pierre Lièvre wittily points out, we also sense how deeply this shearing process tends to homogenize and trivialize a profile that was once so cherished. "Why would anyone today envy the man accompanying a woman whose nape has been shorn? One knows full well that she can no longer undergo a metamorphosis in the privacy of intimacy. One knows her exactly as he does…"

And this is, evidently, the harshest criticism that the fashions of today so richly deserve. Contemporary dresses expose something far more significant to the "public domain." It is not merely the nape of the neck that is laid bare!

Arms—right up to the armpits—legs up to the knees, the bosom, and the back are all offered up to gazes that may be either admiring or caustic.

"All these charms," ​​insists Mr. Pierre Lièvre, "are now public property. Women no longer possess any secrets." Nor can it be said that beauty gains anything thereby; for the garments fashioned for them—designed to thus expose to every gaze that which ought to remain concealed—are of a ugliness that offends. Crafted from the richest fabrics, and regardless of the price demanded for them, they are cut into dresses that appear impoverished—so sparingly is the material employed.

[fashionbooksmilano]

La moda

Storia della moda del XX secolo

The Kyoto Costume Institut

Taschen, Koln 2022, 353 pages, 16x22,5cm, ISBN 973 33 536110

euro 35,00

email if you want to buy [email protected]

L'abito che indossa una persona, si tratti di un kimono, un sari o un completo da manager, è un fattore essenziale per capirne la cultura, la classe sociale, la personalità e persino l'appartenenza religiosa. Il Kyoto Costume Institute cerca di sottolineare con le sue attività l'importanza di analizzare e comprendere l'abbigliamento dal punto di vista sociale, storico e artistico. Fondato nel 1978, il KCI possiede una delle collezioni di abbigliamento più grandi del mondo e partecipa regolarmente a mostre itineranti in tutto il mondo. La collezione è particolarmente ricca per quanto riguarda l'abbigliamento occidentale femminile del XX secolo, e annovera ogni tipo di abito e accessorio.

02/01/25

[alessandro55]

Inventive Paris Clothes 1909-1939

A Photographic Essay by Irving Penn

With Text by Diana Vreeland

Viking Press, New York 1977, 96 pages,  With 70 b&w full-page photographs, 27x27cm, ISBN 9780670400676

euro 120,00

email if you want to buy [email protected]

A superb collection of b/w photographs presented in essay format by influential fashion photographer Irving Penn. Best known for his classically elegant visual style and his long association with Vogue magazine, these photographs feature Paris fashions that appeared in Vreeland's exhibition "The Tens, The Twenties, The Thirties: Inventive Clothes/ 1909-1939" at the The Metropolitan Museum's Costume Institute, Dec. 14, 1973-May, 1974. The work of Paul Poiret, Madeleine Vionnet, Callot, Molyneux, Paquin, Coco Chanel and Elsa Schiaparelli are some of early 20th century French couture masters included in this look at fashion as it evolved from the Belle Epoque into the modern era, just before WWII.

 "The fashions of the 1910s, 1920s and 1930s were as glorious as they were socially reflective. Inspired by the exhibit organized by Diana Vreeland for the Metropolitan Museum of Art, Irving Penn's masterly picture essay captures the flavor of the times as well as literal details of design. Because of her participation in and astute observation of, the scene in which these fashions were born, Diana Vreeland in her text is able to provide a unique glimpse into the lives of each of the couturiers, and her captions to Penn's sensitive photographs are rich in detail. From the straight-line creations of Paul Poiret to the classically modern work of Gabrielle Chanel and the fanciful innovations of Elsa Schiaparelli, Penn has included the most remarkable material--designs that provided the principles from which all fashion to follow would grow."

13/03/25