It’s been awhile since we’ve been to No. 11- with all the renovations going on, it’s simply not been possible but the interior work has been completed so now is the time and with Helldorado weekend coming up, there even more of an incentive to go out. 🙂
First day in Tombstone is always a bit rough on me, with the altitude change… but here’s the newly restored rooms at No. 11 in natural light. I know the main room’s colors are brave, but remember there’s draperies to make, large pieces of furniture to be brought in, and pictures to be hung and it will balance it all out. I love the original chandeliers that our contractor reworked for us, that awful nasty ceiling fan is gone. 🙂
Luscious blush and salmon vintage silk flosses from Elizabeth Emerson Designs, the packaging is beautiful and the threads are lovely to work with!
There’s always a client gown that I’m stitching on in here, hopefully missing all the pins in the process!
It’s Sunday and all my teaching duties at Costume College 2019 are complete! It’s been a busy past two days with teaching three classes and meeting up with old friends, some who we haven’t seen in a year or more. Our classes were well attended and hopefully we were able to impart some useful information. More importantly, we also learned some new things from the many thoughtful questions posed by our students and in some areas, we’re rethinking some of our opinions. The old adage “never say never” has never been more true when applied to fashion and fashion history and it seems that just when we thought we’d gotten a handle on a certain subject, something comes along to challenge us.
We’re looking forward to 2020 at Costume College and it’s our goal to work up more classes with compelling content. Looking forward to seeing you there next year!
Paul Poiret has always been fascinating to us and his designs and innovations never fail to amaze. At the same time, Poiret is also a cautionary tale on the dangers of not adapting to a changing zeitgeist (the spirit of a particular historical period). Poiret was a bit of showman and he utilized all manner of publicity in order to advance his innovations such as eliminating the corset-created silhouette as an essential design element (even though other couturiers were working on similar designs at the same time such as Jeanne Paquin) and the introduction of the jupe-culotte.
Paul Poiret, Jupe Culotte, 1911; Metropolitan Museum of Art (1983.8a, b)
Poiret was also instrumental in introducing a simpler, less structured silhouette starting with the Directoire style in 1906:
The First World War disrupted the French fashion industry and Poiret was no exception. Called up for military service, Poiret was assigned to work on simplifying the production of uniforms and while he was successful in this area, his fashion house barely kept itself afloat financially. After the war, Poiret tried to pick up where he’d left off in 1914 but the fashion world had moved on with an emphasis on more simple designs such as those created by Coco Chanel. Poiret’s designs failed to catch on and combined with financial mismanagement and a nasty divorce from his wife Denise, he was ultimately forced to close his fashion house in 1929. In future posts, we’ll delve into some of Poiret’s post-WWI designs and the overall decline of Poiret’s influence as a designer.