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At Metropolitan Museum's Costume Institute Celebrates Paul Poiret, Visionary Artist-Couturier of Early 20Th Century

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At Metropolitan Museum's Costume Institute Celebrates Paul Poiret, Visionary Artist-Couturier of Early 20Th Century riGWS rOS ©3 S G The Metropolitan Museum of Art Communications Department 1000 Fifth Avenue, New York, NY 10028-0198 tel 212-570-3951 fax 212-472-2764 email communications@metmuseum. org For Immediate Release Contact: Elyse Topalian or Nancy Aronson Chilton "Poiret: King of Fashion" at Metropolitan Museum's Costume Institute Celebrates Paul Poiret, Visionary Artist-Couturier of Early 20th Century Gala Benefit May 7 with Honorary Chair François-Henri Pinault and Co-Chairs Cate Blanchett, Nicolas Ghesquière, and Anna Wintour Exhibition dates: May 9-August 5, 2007 Exhibition location: Special exhibition galleries, first floor Press preview: Monday, May 7, 10 a.m.-l p.m. Paul Poiret - who at the height of his career in pre-World War I France was the undisputed "King of Fashion" and whose sweeping vision led to a new silhouette that liberated women from the corset and introduced the shocking colors and exotic references of the Ballets Russes to the haute couture - will be celebrated with a landmark exhibition at The Metropolitan Museum of Art from May.9 through August 5, 2007. He has not been the focus of a major museum exhibition in more than 30 years. "The historic significance and influence of Poiret's work is breathtaking, and felt in fashion to the present day," said Harold Koda, Curator in Charge of the Metropolitan Museum's Costume Institute. "Poiret pioneered a seductive modernity based on woman's self-confident femininity, and envisioned a 'total lifestyle' that extended from how she dressed and what fragrance she wore to how she decorated her home - an approach reflected in the strategies of many of today's fashion houses." Presented in a series of tableaux, the 50 ensembles on view will highlight the multiple facets of Poiret's astonishing inventiveness - including the beauty of his draped, unstructured fabrics and his fascination with the Ballets Russes, the Wiener Werkstätte, Orientalism and the 1001 Nights - and will be complemented by illustrations, furniture and examples of the decorative arts that explicate his expansive artistic vision. At the core of the exhibition will be a grouping of the stunning creations the Metropolitan acquired in the much- heralded 2005 auction of clothing from Poiret's estate. The exhibition is made possible by Balenciaga. Additional support is provided by Condé Nast. (more) Paul Poiret (1879 - 1944) Page 2 To celebrate the opening of the exhibition, the Museum's Costume Institute Benefit Gala will take place on Monday, May 7, 2007. François-Henri Pinault will serve as Honorary Chair of the Gala. Co-Chairs will be actress Cate Blanchett, Nicolas Ghesquière, Creative Director of Balenciaga, and Anna Wintour, editor-in-chief of Vogue. More than any other designer of the 20th century, Paul Poiret - who is credited both with liberating women by making the corset démodé and with restricting their gait with narrow-hemmed hobble skirts - elevated fashion to the status of art. Like the artists with whom he collaborated, Poiret's work was fueled by the dominant discourses of the day, including Classicism, Orientalism, Symbolism, and Primitivism. Known as the "King of Fashion" (the title of his 1931 autobiography), he introduced the vivid colors of the Fauvists and the exotic references of the Ballets Russes to the haute couture. Poiret's protean genius extended beyond fashion to the realms of art, theatre, architecture, and interior design. As well as discussing his design legacy, the exhibition will focus on Poiret's collaborations with such artists as Paul Iribe, Georges Barbier, and Georges Lepape. Poiret's designs will be presented in a series of vignettes evocative of the drawings of these artists for such fashion periodicals as Art, Goût et Beauté and La Gazette du bon ton. In addition, two video installations will display animations showing the radical modernity of Poiret's dress construction techniques. The exhibition will include several garments from the May 2005 Paris auction of the private collection of Poiret's descendants, many of which had never been photographed or put on public display. The Metropolitan Museum acquired more than 20 of these garments - which were made for Poiret's wife Denise, who was his muse and wore his designs without concession to prevailing tastes - at the auction. While apprenticing in his teens to an umbrella maker, Paul Poiret entered the world of fashion when he sold some of his sketches to Madeleine Cheruit at her Paris fashion house. After stints with designers Doucet and Worth, he opened his own house in 1903 and was boosted by the patronage of Réjane, a famous actress of the period, among others. In his groundbreaking designs, he led the way to the chemise dress with his revival of Directoire silhouettes and his referencing of the simple cuts of ethnic costume. In 1911 he became the first fashion designer to create and market his own perfume, which he named after Rosine, his oldest daughter. Also in 1911, he created a series of workshops for the production of fabrics, furniture, and a range of decorative objects as an extension of his overall aesthetic. He and his wife were renowned for their glamorous excess and sumptuous entertaining, marked by fêtes such as the now-legendary "Thousand and Second Night" party in June 1911 - at which guests were required to wear appropriate costume. Poiret spent the last decade of his life in debt, having been superseded by other designers including Coco Chanel and Jean Patou. As the (more) Paul Poiret Page 3 famous, and perhaps apocryphal, story is told, of the 1920s chance encounter between the "King of Fashion" and young Coco Chanel: Poiret inquired of the black-clad Chanel, "For whom, madame, do you mourn?" to which Chanel replied, "For you, monsieur." Credits and Related Publication "Poiret: King of Fashion" is organized by Harold Koda, Curator in Charge, and Andrew Bolton, Curator, both of the Metropolitan Museum's Costume Institute. Additional support is given by Jean-Hugues de Chatillon, creative consultant for the exhibition. Animations are created by Softlab. Mannequin adaptations are by Beyond Design. A book, Poiret, published by The Metropolitan Museum of Art and distributed by Yale University Press, will accompany the exhibition, which will also be featured on the Museum's Web site (www.metmuseum.org). The design for the 2007 Costume Institute gala benefit will be created by Jean- Hugues de Chatillon and Raul Avila. ### May 7, 2007 VISITOR INFORMATION Hours Fridays and Saturdays 9:30 a.m.-9:00 p.m. Sundays, Tuesdays-Thursdays 9:30a.m.-5:30p.m. Met Holiday Mondays in the Main Building: February 19, May 28. July 2. September 3. October 8, 2007 Sponsored by Bloomberg 9:30 a.m.-5:30 p.m. All other Mondays closed; Jan. 1, Thanksgiving, and Dec. 25 closed Recommended Admission (Includes Main Building and The Cloisters on the Same Day) Adults $20.00, seniors (65 and over) $15.00, students $10.00 Members and children under 12 accompanied by adult free Advance tickets available at www.TicketWeb.com or 1-800-965-4827. For More Information (212) 535-7710; www.metmuseum.org No extra charge for any exhibition. riGWS r©l©9S© The Metropolitan Museum of Art Communications Department 1000 Fifth Avenue, New York, NY 10028-0198 tel 212-570-3951 fax 212-472-2764 email [email protected] For Immediate Release Contact: Elyse Topalian Nancy Chilton Poiret: King of Fashion May 9-August 5, 2007 Gallery Texts Introduction A creative dressmaker is accustomed to foresee, and must be able to divine the trends that will inspire the day after to-morrow. He is prepared long before women themselves to accept the accidents and incidents that occur on the trajectory of evolution. Paul Poiret, The King of Fashion (1931 ) Every decade has its seer or sibyl of style, a designer who, above all others, is able to divine the desires of women. In the 1910s, this oracle of the mode was Paul Poiret, known in America as "The King of Fashion." Dress history credits Poiret with freeing women from corsets and with originating such startling creations as "hobble" skirts, "harem" pantaloons, and "lampshade" tunics. But these details have served to detract from Poiret's more significant achievements. Working with fabric directly on the body, Poiret pioneered a radical approach to dressmaking that relied on the skills of draping rather than those of tailoring and pattern making. Looking to antique and regional dress types, Poiret advocated clothing cut along straight lines and constructed of rectangles. It was an approach that effectively established the paradigm of modern fashion, changing the direction of costume history irrevocably. Poiret's modernity, however, and its impact on modernism, that is to say "stylistic" modernism in its most restricted and traditional definition of an industrial, mechanical aesthetic, has been overlooked because of his narrative and decorative strategies. His orientalist sensibilities, expressed through his use of lavish materials, opulent embroideries, vivid color co-ordinations, and bold, emphatic silhouettes, have placed him outside of modernist discourse. But Poiret's modernity, expressed through the structural simplicity of his clothing, signifies a pivotal moment in the emergence of modernism. Equally significant is his vision of the modern woman, epitomized by his wife and muse, Denise. Slim, youthful, and uncorseted, she was the prototype of la garçonne. Poiret used her slender figure as the basis for his radically reductive designs. In 1913, he told Vogue, "My wife is the inspiration for all my creations, she is the expression of all my ideals." If Poiret was the prophet of modernism, Denise was its most compelling incarnation. Photograph of Paul Poiret with his wife and muse, Denise, 1911 Poiret and The Art of The Fashion Plate Poiret's vision of modernity embraced not only fashion but also its representation.
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