1879-1944 Paul Poiret

[SomethingElse]

Printed Partial Dress, c. 1915.

whitakerauction.com

 

[DosViolines]

Poiret Black Silk Tulle Evening Dress
French, late 1920s
Double-layered, the fitted sleeveless bodice with scalloped waistline, the top layer of flared skirt with two curvilinear bands of imperial jade lace, elbow length rear cape of single layer of tulle trimmed with same, chemise underdress of double-layered silk chiffon with tulle flounced hem, size 6, labeled: Paul Poiret a Paris and linen label 6638 M. White/Helene Tervenche(?).

doylenewyork

 

[SomethingElse]

For Paul Poiret by André Perugia (French, 1893-1977). Le Bal Shoes, 1924. Multicolored seed-bead embroidered portraits. Leather with polychrome seed-bead embroidery.

studio-international.co.uk . metmuseum.org

 

[SomethingElse]

I think the shoes are Perugia designed to Poiret's specifications.

Afternoon Dress and Hat, c. 1923, (Dress) Silk crepe de chine and velvet with silk and metallic thread embroidery; (hat) silk with leather appliqué and metallic thread embroidery.

philamuseum.org

 

[Miss Galliano]

still gorgeous work...

 

[DosViolines]

Paul Poiret (1880 - 1944)
Woman's Dinner Dress, circa 1924
Costume/clothing principle attire/entire body, Silk chiffon trimmed with grosgrain and metallic ribbons and braid; silk satin underdress

lacma.org

 

[SomethingElse]

Opera Coat, 1912. Yellow satin, pale blue silk overlaid with gold filé embroidery, and black silk velvet.

metmuseum.org

 

[SomethingElse]

"Pré Catelan" Evening Coat Worn by Denise Poiret, 1918. Black silk and gold striped lamé.

metmuseum.org

 

[SomethingElse]

"Bouclier" Day Dress, 1925. Navy wool, red wool, and ivory cotton with applied red ribbon and printed trompe l'oeil placket with button motif.

metmuseum.org

 

[SomethingElse]

Nightdress Worn by Denise Poiret, ca. 1920. Pink cotton.

metmuseum.org

 

[SomethingElse]

"Paris" Evening Coat Worn by Denise Poiret, 1919. Brown silk velvet with placket of red and blue wool and couched gilt-silver cording.

metmuseum.org

 

[SomethingElse]

"Irudrée" Evening Gown, ca. 1927. Gold lamé.

metmuseum.org

 

[SomethingElse]

"Bois de Boulogne" Dinner Dress Worn by Denise Poiret, 1919. Textile design by Raoul Dufy (French, 1877–1953) Textile manufacture by Bianchini-Férier (French, founded 1880) Printed polychrome silk, black silk tulle, and black silk broadcloth.

metmuseum.org

 

[SomethingElse]

"Théâtre des Champs-Élysées" Evening Gown Worn by Denise Poiret, 1913. Gown of ivory silk damask and ivory silk tulle overskirt with rhinestone embroidery; headdress of green and black silk gauze with rhinestone embroidery.

metmuseum.org

 

[SomethingElse]

"La Perse" Coat Worn by Denise Poiret, 1911. Ivory and blue-black block-printed cotton velvet with brown rabbit trim.

metmuseum.org

 

[eugenius]

i don't know if anyone would be interested, but the uber-nerd that i am, i took a ton of close-up photos of the clothes. i would post them all if i knew people were interested. anyone?

Can you post them? Please...

 

[j´adore dior]

*Please do not quote images*
metmuseum.org

This coat must have been one the styles that inspired Roberto Cavalli´s fall 2006 collection, my favourite Cavalli collection so far

 

[DosViolines]

More info and images the dress from post #154

“Théâtre des Champs-Élysées” Gown, 1913. Ivory silk damask, ivory silk net, and ivory China silk with rhinestone trim.

This particular model, worn by Paul Poiret’s wife, Denise, to the premiere of Le Sacre du printemps, was named after the recently opened Théâtre des Champs-Élysées, where the Diaghilev and Stravinsky collaboration was inaugurated. Theater played an important role in the imaginative life of Poiret. The performing arts inspired many of his flights of fancy, and the theater provided him with an opportunity to introduce his more overtly fantastical styles into society through designs worn on stage by such great actresses of the day as Mlle Spinelly and Eve Lavallière as well as by his more adventurous clients of artistic and bohemian sensibility who populated the audience. Opening night at the theater, with its formal dress, provided a venue where extravagant display was not only appropriate but de rigueur.

With its raised-waist tunic effect and ivory tonalities, “Champs-Elysées” alluded to historical, eighteenth-century Neoclassical styles. However, the simple white gown depicted by such painters as Joseph-Marie Vien has been reinterpreted by Poiret in a richly patterned silk damask and silk tulle. Double bands of lead-crystal rhinestones articulate the high waist and reinforce the tulle overskirt with a subtle hooplike support. Unlike his “Minaret” lampshade tunic forms, which were high in front and low in back, the designer gave an asymmetrical cant to the hem and reasserted the angled drape of the gown’s surplice neckline.

Posted by Harold Koda and Andrew Bolton

blog.mode

 

[GBArt]

From the days when style was style. B)

http://graphics8.nytimes.com/images/2007/05/11/arts/11poir.2.jpg

 

[GBArt]

Sorry about the repost.

I should have known you guys would already have this totally covered. B)