Yesterday was a big day for me, giving two new presentations at Costume College. The first presentation was entitled “The King of Fashion: Paul Poiret, The Early Years”, a survey of Paul Poiret as a couturier/designer during the years 1898 through 1914. Researching for this presentation was not the easiest and it seemed to raise more questions than answers. Poiret was certainly a force in fashion during the years from 1906 through 1914 and although he continued to work intermittently through the First World War and into the 1920s, it was never quite the same.

One of the most interesting aspects in researching Poiret was that he was not only a fashion designer (dictator, as some critics would charge), but he was one of the first “lifestyle designers” where they worked in all aspects design to include perfume, shoes, furniture,  rugs, textiles, and even interior design.

Poiret’s designs and his claims were sometimes questionable, if not controversial and nowhere is this more evident when in 1905-1906 he set out to introduce styles that ran counter to what was in fashion at the time. Most notable was his advocating a Nouveau Directoire style based on draping rather than carefully constructed flat patterns. This meant flowing fabrics, cut into rectangles and seamed with straight seems. The precisely tailored, form-fitting styles characteristic of the early 1900s were rejected in favor of loose, flowing lines and this meant the elimination of the corset as a major foundation garment.

From s-bend corset to…

The s-bend corset was a complete abomination to Poiret, declaring that women had been turned into “decorated bundles” who believed that they must hide their bodies under layers of fabrics. Poiret characterized the corset’s demise as “liberation”:

It was in the name of Liberty that I brought about my first revolution, be deliberately laying siege to the corset.

But if there was to be no corset, what then? Poiret is largely silent on this subject and I was unable to uncover anything definitive except that it women were now to wear a form of girdle and bra that functioned as a “corset light” but was flexible enough to allow a full range of movements. It’s an area that could definitely needs further research.

Turning to Poiret’s Nouveau Directoire style, it was definitely a reaction characteristic of fashion change. Below are some illustrations from a catalog that Poiret put out in 1908:

And here are the dresses themselves:

The above is just a small part of what I presented and I hope to present a revised and improved version for next year’s Costume College. I will say that the presentation was a pleasure to give although I wound up ending early (better than running over, I guess) but that’s OK. Stay tuned for more. 🙂