Paul poiret

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1911, Paul Poiret . Poiret,1920. Amante de la ornamentación y de la artesanía, se negó a seguir el juego y acabó cerrando su casa de Costura. Murió arruinado y olvidado. Paradojas del destino

Paul Poiret . Amante de la ornamentación y de la artesanía, se negó a seguir el juego y acabó cerrando su casa de Costura. Murió arruinado y olvidado. Paradojas del destino

Paul Poiret, diseñador francés que liberó el busto de la mujer, dio libertad a su cuerpo, pero encadenó sus piernas.

Más de dos temporadas llevan ya empujándonos para salir en pijama a la calle, metiéndonos por los ojitos pantalones de amplísimas formas ...

Poiret's "The Thousand and Second Night" (1911) party revolved around a fantastic evocation of the East. For the occasion, Poiret required his 300 guests to dress in oriental costumes. Those who failed to do so were given the choice of leaving or outfitting themselves in Persian-style clothes designed by the couturier, including the highly controversial "harem" trousers that formed part of his spring 1911 collection.  Now THAT is a party.

fue conocido como el tirano de la moda ya que hacia que las mujeres se pusieran lo que el consideraba

Evening gown (hobble skirt), 1915, in the style of Paul Poiret. Blue velvet bodice with black tulle sleeves.

Evening gown (hobble skirt), 1915, in the style of Paul Poiret. Blue velvet bodice with black tulle sleeves.

Paul Poiret Poiret designed for theatrical performances, which explains his more fanciful designs. His fluid cocoon shapes had ease and comfort. He took his cues from Grecian columns in creating dresses that fell supported from the shoulders with wide bateau necklines. He saw his work as art first. His simple flowing pieces were made in materials such as silk, velvet, lame, and brocades, in unusual colors and shapes that escalated them to luxuries.  Silk faille dinner dress, 1922-23

Paul Poiret Poiret designed for theatrical performances, which explains his more fanciful designs. His fluid cocoon shapes had ease and comfort. He took his cues from Grecian columns in creating dresses that fell supported from the shoulders with wide bateau necklines. He saw his work as art first. His simple flowing pieces were made in materials such as silk, velvet, lame, and brocades, in unusual colors and shapes that escalated them to luxuries. Silk faille dinner dress, 1922-23

Poiret Oriental gown, Spring 1913. I look like jaundice in yellow, but still love this.

Poiret Oriental gown, Spring 1913. I look like jaundice in yellow, but still love this.

Vers 1900 Paul Poiret commence à envisager la robe comme le moyen pour lui de concrétiser les désirs de changement de la jeune femme élégante qui est encore aux prises avec un carcan moral et son corset baleiné. Poiret lance la ligne Directoire: dès lors la taille est placée sous la poitrine, la jupe tombe jusqu'aux chevilles. Il n'y a plus raison d'adopter le corset. En libérant la femme du corset, ce grand rénovateur de la mode a inventé une nouvelle silhouette féminine.

Vers 1900 Paul Poiret commence à envisager la robe comme le moyen pour lui de concrétiser les désirs de changement de la jeune femme élégante qui est encore aux prises avec un carcan moral et son corset baleiné. Poiret lance la ligne Directoire: dès lors la taille est placée sous la poitrine, la jupe tombe jusqu'aux chevilles. Il n'y a plus raison d'adopter le corset. En libérant la femme du corset, ce grand rénovateur de la mode a inventé une nouvelle silhouette féminine.

Mantle | Paul Poiret (French, 1879-1944) | France, circa 1913 | Materials: wool, lined with silk chiffon |  Based on a deconstructed kimono, this mantle is composed of two rectangles folded on the shoulders and joined on one side with a stylised bow. It illustrates how Poiret was able to combine with rare harmony the bold colours of Fauvism, the vision of Cubism and the exoticism of Eastern garments. The striking costumes of the Ballets Russes had made Fauvism fashionable | VA Museum, London

Mantle | Paul Poiret (French, 1879-1944) | France, circa 1913 | Materials: wool, lined with silk chiffon | Based on a deconstructed kimono, this mantle is composed of two rectangles folded on the shoulders and joined on one side with a stylised bow. It illustrates how Poiret was able to combine with rare harmony the bold colours of Fauvism, the vision of Cubism and the exoticism of Eastern garments. The striking costumes of the Ballets Russes had made Fauvism fashionable | VA Museum, London

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