Dress
The influence of Sergei Diaghilev's Ballets Russes and specifically of Léon Bakst, its renowned costume and production designer, on the work of Poiret was elided and, on occasion, dismissed categorically by the couturier. However, the exuberant imagery of Diaghilev's theatrical productions was in perfect concordance with Poiret's love of vivid colors, dramatic effects, and fantastic exoticism.
This short evening dress with a zigzag pattern appears to conflate Near and Middle Eastern costume in its details but cites with astonishing closeness a costume designed by Bakst for Nijinsky. A sketch for Nijinsky's role as the Hindu prince in Diaghilev's Le festin (1909) shows a fitted tunic with cap sleeves worn over tight trousers. Poiret's design with a gold- lamé plastron-shaped insert at center front, which disrupts an angled decorative waistband, is a direct reference to Bakst's drawing. The designer, however, has modified Bakst's costume in other details. The sleeves in the original costume are excised, and the whole garment is elongated to calf length. Poiret has relaxed the line of Bakst's tunic and introduced a body-skimming ease. By pleating fullness along the bottom edge of the insert, he created movement in the skirt. Poiret underscored his evocation of royal India through his selection of a richly rainbow-patterned lamé that recalls the gold-shot silks of maharajahs.
This short evening dress with a zigzag pattern appears to conflate Near and Middle Eastern costume in its details but cites with astonishing closeness a costume designed by Bakst for Nijinsky. A sketch for Nijinsky's role as the Hindu prince in Diaghilev's Le festin (1909) shows a fitted tunic with cap sleeves worn over tight trousers. Poiret's design with a gold- lamé plastron-shaped insert at center front, which disrupts an angled decorative waistband, is a direct reference to Bakst's drawing. The designer, however, has modified Bakst's costume in other details. The sleeves in the original costume are excised, and the whole garment is elongated to calf length. Poiret has relaxed the line of Bakst's tunic and introduced a body-skimming ease. By pleating fullness along the bottom edge of the insert, he created movement in the skirt. Poiret underscored his evocation of royal India through his selection of a richly rainbow-patterned lamé that recalls the gold-shot silks of maharajahs.
Artwork Details
- Title: Dress
- Designer: Paul Poiret (French, Paris 1879–1944 Paris)
- Date: ca. 1925
- Culture: French
- Medium: silk, leather
- Credit Line: Gift of Mrs. Kenneth Maconochie, 1951
- Object Number: C.I.51.47
- Curatorial Department: The Costume Institute
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Paul Poiret (French, Paris 1879–1944 Paris)
spring/summer 1917
Attributed to Paul Poiret (French, Paris 1879–1944 Paris)
1924
Paul Poiret (French, Paris 1879–1944 Paris)
1920s
Paul Poiret (French, Paris 1879–1944 Paris)
1920
Paul Poiret (French, Paris 1879–1944 Paris)
fall/winter 1928–29
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