1880-1936 Jean Patou

[DosViolines]

JEAN PATOU BLACK SILK EVENING DRESS, 1930S
the black silk crepe with cut-work bodice, low rear decolleté, trimmed with a sequin flower

christies

 

[DosViolines]

Jean Patou (France, Normandy, 1880 - 1936)
Woman's Afternoon Dress, 1929
Costume/clothing principle attire/entire body, Printed and patterned semi-sheer lamé, a) Dress center back length: 55 in. (139.7 cm); b) Belt length: 31 in. (78.74 cm)

lacma.org

 

[DosViolines]

Jean Patou (France, Normandy, 1880 - 1936)
Woman's Dress, 1937-1938
Costume/clothing principle attire/entire body; Costume/clothing underwear/entire body, Silk crepe with rhinestones, a) Dress center back length: 53 3/4 in. (136.53 cm); b) Slip center back length: 37 1/2 in. (95.25 cm)

lacma.org

 

[superbeautiful]

I did a project on Jean Patou and short while ago. Joy was actually very close in populaity as Chanel No. 5 was back in the day.

 

[SomethingElse]

Olive-green wool day dress, circa 1949, labelled and numbered 65138, with interesting cut-out detailing to the front bodice and pocket.

kerrytaylorauctions.com

 

[SomethingElse]

Black wool crêpe cocktail gown, 1950s, labelled and numbered 73040, with corsetted inner bodice, the black wool jersey with intricate basket-weave effect to front and back bodice over tapering skirt, satin bows to the shoulders.

kerrytaylorauctions.com

 

[SomethingElse]

c. 1924, Silk, embroidered with glass bugle beads and imitation baroque pearls, lined with georgette, and fastened with metal hooks and eyes.

This sleeveless dress has a low square neckline, which was popular in the the mid 1920s. Its straight bodice is embroidered with a design that reveals the influence of Egyptian patterns. Jean Patou (1880-1936) was born in Normandy, France, the son of a tanner. His uncle owned a fur business, which Patou joined. In 1914 he opened a small dressmaking business, Maison Parry, in Paris and sold his entire opening collection to an American buyer. His career was interrupted by the First World War of 1914-1918, but in 1919 he reopened his salon, this time under his own name. His collections continued to be a great success. Along with 'Coco' Chanel he was considered a leading exponent of the 'garçon' look, creating smart, workmanlike and well-tailored clothes. Throughout the 1920s he also consistently championed the shorter length of skirt that did much to stimulate the demand for stockings. His long-waisted evening dresses with their emphasis on luxurious design and rich decoration were worn by famous actresses, such as Louise Brooks, Constance Bennett and Mary Pickford. Patou died in 1936, and his brother-in-law, Raymond Barbàs, took over the business. In 1963 the artistic direction of the company was taken over by Michael Goma.

vam.ac.uk

 

[SomethingElse]

About 1930, silk georgette.

imamuseum.org

 

[SomethingElse]

c. 1922.

beverleybirks.com

 

[SomethingElse]

c. 1927.

beverleybirks.com

 

[DosViolines]

Jean Patou (France, Normandy, 1880 - 1936)
Woman's Cloche, 1929
Fur felt, feathers

lacma.org

 

[DosViolines]

Jean Patou, Paletot en toile de laine rayée rouge et noir, 1922 (c) R.Briant et L.Degrâces / Galliera / Roger-Viollet

evene.fr

 

[DosViolines]

Tenue de sports d'hiver Jean Patou. Paris, novembre 1927.
© Laure Albin-Guillot / Roger-Viollet

parisenimages.fr

 

[DosViolines]

Robe de Jean Patou, couturier français. Paris, vers 1925. RV-27904
© Laure Albin-Guillot / Roger-Viollet

parisenimages.fr

 

[DosViolines]

Ensemble du soir de Jean Patou, couturier français. Paris, vers 1925.
© Laure Albin-Guillot / Roger-Viollet

parisenimages.fr

 

[DosViolines]

Robe de mariée Jean Paou, couturier français. Paris, janvier 1928. ND-13667
© Laure Albin-Guillot / Roger-Viollet

parisenimages.fr

 

[MUXU]

thank you all for the pictures!
i still love his 30s bias cut dresses, so wonderful!

 

[DosViolines]

Robe du soir de Jean Patou, vers 1925

Durant les Années folles, l'imagination des couturiers était sans borne, leur soif d'exotisme sans limite. On retrouve cette source d'inspiration dans cette robe de Jean Patou qui évoque la Chine, avec son paysage chimérique constitué de strass et de perles brodées sur du satin noir.

Photo © L. Degrâces et P. Ladet / Galliera / Roger-Viollet
linternaute.com

 

[DosViolines]

Evening gown. Attributed to Jean Patou. Circa 1926.

Evening gown of silk tulle embroidered overall with antiqued silver and gold sequins and gold and silver beads in a custom designed geometric ovoid motif graduating in size as it descends the body. The sleeveless tubular body expands into a flared skirt as the lozenges increase in scale forming a zigzag hemline with the lower part of the lowest row of ovoids.

This is a great example of art deco clothing using a simple pure form decorated with geometric shapes which enhance and emphasize the sculptural quality of the dress. In addition, the increasing size of the ovoids in the surface pattern are integral to the construction. Whereas the great Parisian couturiers of the 1920s all made great deco dresses with dramatic geometric surface patterns, I only know of examples by Vionnet and Patou which integrate the surface pattern with the construction. Vionnet’s examples are mathematical but Patou’s seem to be the result of careful trial and error. In this case, the size of the wearer determined the number and size of lozenges at the bust line. The hips indicated their increase in scale. The increase in scale as the skirt flaired allowed for more flexibility. This relationship of pattern to size can be seen in the great black and green Patou owned by KCI and illustrated in their catalogue Masterpieces from the collection of the Kyoto Costume Institute.

Another technical feature of this dress which is highly unusual and may help document an attribution is the changing color of the tulle ground. Behind the ovoids, the tulle is a natural cotton ? silk? However, the ground between the ovoids has been painted black.

marilynglass.com

 

[DosViolines]

Jean Patou Swimwear

George Hoyningen-Huené captures a model on the brink of a dive in this photograph, which appeared in the July 6, 1929, Vogue. She wears a white belted jersey tunic over black swim trunks by Jean Patou, a signature two-piece style of the era. With her knees bent and her arms parallel to her back, her stance is exactly on target—as is the composition of this spare, classic black-and-white shot.

condenaststore.com