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Poiret’s first hit was a sumptuous kimono-style coat that hinted at what was to come: simpler, more natural lines. Today, this designer’s work can appear lavish, but at the time Vogue extolled “the Poiret creed of simplicity.” This referred to the classical bent of his work; Poiret was a champion of the uncorseted, natural up-and-down lines of the body. The magazine recognized the designer as a prophet, writing: “He has made an epoch in the history of clothes and how to wear them—the first since Adam and Eve, for sin and clothes came in with them, and the need of figures goes out with Paul Poiret.” The push-and-pull between the constructed and the natural body wasn’t the only contradiction Poiret engaged with; the designer one famously crowed: “I freed the bust and I shackled the legs.” He was referring to the short-lived trend for the hobble-skirt, which soon ceded to the scandalous-at-the-time jupe-culotte. The costumes with wired lampshade tunics that Poiret created in 1913 for a play called The Minaret, crossed over the footlights and were adopted by the bon ton. Seven years later a journalist would write that “his famous tour de force of imposing his minaret tunic on an entire world of women is remembered by every one.” That is, until it became a relic of a bygone world.Officials Diet Coke Is Just A Fridge Cigarette Premium Shirt
Is it poetic justice, fate, or happenstance that explains the concurrence of the Worth and Poiret exhibitions? Poiret, who once worked for Worth, rejected the curvy, “upholstered,” and “correct” fashions of the older maison and became the anti-Worth, much as Gabrelle Chanel would become the anti-Poiret. At the same time as he was rebelling against the status quo, Poiret was a maverick in the sense that, as Vogue put it, he was “an artist who happens to work in the medium of women’s clothes…he is a law unto himself, ignoring the dictates of the mode.” Despite being surrounded by strong women like Sarah Berhardt and Isadora Duncan, Poiret seemed to ignore how women’s lives were changing. He appeared to view “the fairer sex” as languorous, decorative beings, who, while not being molded by a corset, could be transformed into some kind of fantastical vision. Vogue saw Poiret’s use of signature tassels and other “exotic” furbelows as a special “touch [that] makes for each of his creations a personality which the wearer assumes, as an actor enters an interesting role.” Poiret, however, was unable, or unwilling to take on a new role in the Roaring Twenties.
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