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Why Paul Poiret’s Fashion Reign Was So Epic

Paul Poiret was the party boy of Paris who is the unsung hero of 20th century fashion. Poiret dressed Paris' finest before World War I, but as the years went on, his inability to adapt to '20s modernity led to the collapse of his company. PARIS, France - In one of those hyperbolic moments that delighted all who knew her, Diana Vreeland once claimed that Chanel "invented the twentieth century for women." The statement has a stirring ring but it is not true. It was Paul Poiret who created clothes that pointed to the future: a future all couturiers, including Chanel, tapped into in the twenties and thirties, a time when, ironically, Poiret, the great inventor and beacon of modernity, was out in the cold. Never able to reinvent himself, he remained there until his death as a neglected and forgotten pauper. Like Charles Worth, for whom he briefly worked, Poiret was a turn-of-the-century archetype of the grand couturier as dictator, a job both men seemed to enjoy as much as, if not more, than dressing women. Together, they set the tone for the role of the "great designer" still with us today. The tantrums, the refusal to accept legitimate criticism, the need for adulation: these and many other characteristics of the great designer sprang from the attitudes of these two extraordinary men who could understand and interpret the moods and needs of the women of their time more fully than most present day designers do, because they worked on a small scale where every client was known - and so were her dress attitudes and lifestyle. Paul Poiret, once described by Jean Cocteau as looking "like a huge chestnut," had the figure and mental attitude of a worker but his personality was more complex. He was heterosexual and he moved in the social circles of the women he dressed, including his wife, whom he used as a model. She attended grand social occasions in Poiret's most striking creations with the intention of attracting the attention of fellow guests who would, in considerable numbers, beat a path to her husband's maison de couture, determined to be a member of the coterie of smart women dressed by him, regardless of his very high prices. The fashionable world of Paris in the early years of the twentieth century, when Poiret's powers reached their zenith, is not easy for modern minds to understand. Inside the closed, upper class society of pre-World War I Paris, breeding and "class" are what opened the gilded doors of high society, along with a certain social notoriety. Actresses, dancers and even music hall performers, if they were in a liaison with a man rich and powerful enough to silence all but whispered criticism, were admitted by many couturiers, albeit on sufferance. Paul Poiret, with his eye for publicity, welcomed them - even the courtesans. This world of display became Poiret's playground, although it was not one into which he was born. His father owned a small textile business and the family was comfortably bourgeois. Born in 1879, a true Parisian, there was little in Poiret's early years that might suggest the glittering career to come - a career not without its problems, largely caused by the personality and ego of the man himself. But not entirely. Poiret was caught at one of the intersections of history where the signposts are not very helpful. His was a time when European culture was dominated by three geniuses: Poiret himself, Sergei Diaghilev and Marcel Duchamp. Add the Wiener Werkstatte and that was the cultural mix of the day, which moved not only fine art, but also design and applied art to a point where they could make the European statements that created the culture of the twenties for the rest of the world. And Poiret was very much part of this, though briefly. He was barely a player in the post-war scene, a legend for all the wrong reasons - his extravagance, arrogance and irresponsibility, rather than for his contribution to fashion and style… #paulpoiret #fashionhistory -- Subscribe and click the bell icon to be notified! My second channel about Runway History:    / @onemom   All the videos, images and musics used in this video belong to their respective owners and this channel does not claim any right over them. Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Music Credit: "Lost Empire" David Celeste Contact: [email protected]