Poiret was proud of having introduced Paul Iribe to a wider audience through Les robes de Paul Poiret (1908). Distributed without charge to Poiret's elite clientele, the album, like Georges Lepape's Les choses de Paul Poiret published three years later, was exhibited at the Galerie Barbazanges, a commercial gallery on the premises of Poiret's couture house. It was Iribe who designed Poiret's rose motif, as depicted on "La Rose d'Iribe" dress and on the couturier's label.
In his memoirs, however, Poiret dismisses the implication that Iribe and Lepape were anything more than interpreters of his fully formed expressions. In his description of his collaboration with the two artists, they emerge as disseminators of his designs, representing his works through their talents as illustrators—never as creators of the designs themselves. The reality, however, was probably much more complicated.
The charming renderings by Iribe in Les robes de Paul Poiret and by Lepape in Les choses de Paul Poiret (and later in the Gazette du bon ton) convey a contextual reality for Poiret's exquisite creations. Comparing extant costumes to their representation, however, reveals that accuracy was sometimes sacrificed for dramatic intention. Nevertheless, Iribe's and Lepape's subtle stylistic elisions and exaggerations imbued Poiret's fashions with a seductive beauty not conveyed by the harsher documentary evidence of photography.