1879-1944 Paul Poiret

[ilaughead]

The yellow dress in 54. Lovely. Poiret seems really influential--even now. Cavalli's F/W 06/07 collection had some really Poiret-esque coats in it.

[MissMagAddict]

Vogue UK May 2007
Form Master
by Judith Watt


scanned especially for this thread by JR1

[MissMagAddict]

US Vogue May 2007


scanned by polka_dot for tFS US Vogue May 2007 thread

[ilaughead]

Thank you so much for those, MissMagAddict!

[MissMagAddict]

US Vogue May 2007
Fashioning the Century by Hamish Bowles
Natalia Vodianova
Styled by Grace Coddington
Photographed by Steven Meisel




scanned by polka_dot for tFS US Vogue May 2007 thread

[MissMagAddict]

Fashioning the Century (continued)



scanned by polka_dot for tFS US Vogue May 2007 thread
one page scanned by MMA

[DosViolines]

Thanks for posting the article and edit

A shame they didn't use any actual Poiret pieces ...oh well.

[DosViolines]

Attributed to Paul Poiret
French, 1879-1944
"Persian" Coat, ca. 1926
Silk; velvet, and metallic
thread; plain weave;
embroidered

A repeating pattern of heraldic birds and the tree of life lends a vaguely Byzantine air to this evening coat, probably designed by Paul Poiret, one of the Parisian couturiers who maintained an interest in exoticism throughout his career.

tirocchi.stg.brown.edu

[MissMagAddict]

scanned by MMA

[ilaughead]

Thanks, MissMagAddict!

In the article, it says something about "the hobble skirt" What's that? Are they the skirts with tapering in at the knees and then flared below the knees?

[DosViolines]

nytimes

April 22, 2007
Style
Hip Hip, Poiret

By ALIX BROWNE; Photographs by LUCIANA VAL and FRANCO MUSSO

“The fashion of tomorrow has always seemed to me more lovely than the fashion of today,” wrote Paul Poiret in his 1931 autobiography, “King of Fashion.” By then, the designer’s illustrious reign had all but faded (he died in 1944 penniless and appropriately bitter), but his heyday in Paris before the First World War would guarantee his legacy. In the simplest of terms, he was a draper rather than a tailor, credited with liberating fashion from an exaggerated corseted silhouette that made a woman look like an hourglass — or as he put it, as if she were “hauling a trailer.” He was also the father of a certain opium-den chic, prone to heady metallic embroideries and the color red, an Oriental streak that was probably attributable to his belief that in a previous life he was an Oriental prince. Now the king is back.

A Poiret retrospective opens at the Costume Institute at the Metropolitan Museum of Art on May 9, an event already much anticipated in the fall collections, where his influence was apparent on everyone from Proenza Schouler to Prada. (The clothes on these pages will be hitting the sales floor right about when the show closes on Aug. 5.) All the attention would not have been lost on Poiret, who made little distinction between designer and despot. “He must follow out his idea, cost what it may,” he wrote of himself in the third person. “He will not be followed the first year, but he will be copied the next.” And the next.


Oscar de la Renta embroidered coat with chinchilla trim, $16,800. At Bergdorf Goodman. Philip Treacy cloche.


Lanvin satin dress, $3,198. At Barneys New York. Eugenia Kim cloche. Jade-and-gold earrings from Fred Leighton.


Proenza Schouler beaded and embroidered dress with maribou trim, showpiece only, cloche and boots. Carolina Amato opera-length gloves.


Yves Saint Laurent cloqué-lurex dress, $2,920. At Yves Saint Laurent stores. Antique cuffs from Fred Leighton.


Givenchy astrakhan-and-fox-fur coat, $15,580. At Barneys New York. Donna Karan Collection embroidered skirt, $4,000. At Donna Karan stores. Philip Treacy for Donna Karan Collection feather hat. Bally spectator pumps.


John Galliano velvet dress, about $12,400. At Bergdorf Goodman. Saks Fifth Avenue. Paul Poiret vintage evening coat (1910) and vintage headpiece (1920s), both price upon request, from Mark Walsh Leslie Chin, (914) 963-1694. Lanvin Mary-Janes.


Thakoon sequined drop-waist dress, $5,095. At Bergdorf Goodman. Wolford fishnet stockings.

Fashion associate: Melissa Ventosa Mar tin. Prop styling by George Xenos at Marek and Associates. Hair by Dennis Lanni for Bumble and bumble. Makeup by Frank B. at the Wall Group. Manicure by Roseann Singleton for Ar t Depar tment. Model: Tayla Collins.

[DosViolines]

Originally Posted by ilaughead

In the article, it says something about "the hobble skirt" What's that? Are they the skirts with tapering in at the knees and then flared below the knees?

Yes, you answered your own question
There's even a wikipedia page on it...

[ilaughead]

Originally Posted by DosViolines

Yes, you answered your own question
There's even a wikipedia page on it...

Thank you!

I guess I'm just a genius or something.

And thanks for the New York Times article, too!

[Spike413]

That Vogue editorial is superb....one of their best in a while.

I cannot wait to see the exhibit to see what Koda and crew have pulled together. I have high hopes after last year's Anglomania exhibit that this years will not disappoint.

[Pastry]

^i know! isn't that ed surprsingly well put-together?! for vogue...

As a matter of fact, I'm so in love with the page that has the Lacroix design on it, I am going to illustrate it.