Paul Poiret: The King of Fashion, Part III

Summary

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Podcast Summary:

Dressed: The History of Fashion
Episode: Paul Poiret: The King of Fashion, Part III
Date: October 24, 2025
Hosts: April Callahan & Cassidy Zachary

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Overview:

The third and final installment of Dressed’s Paul Poiret series traces the final chapter of the legendary designer’s career and legacy. Hosts Cassidy and April journey through Poiret’s decline after World War I, exploring the impacts of global upheaval, personal tragedy, financial mismanagement, and changing tastes. They spotlight Poiret’s enduring influence on fashion, his relationships, and the remarkable efforts to preserve his legacy—most notably by his ex-wife, Denise. The episode draws on the current Paris exhibition "Fashion is a Feast," Palmer White’s biography, and rare archival stories, all delivered in the hosts’ spirited, insightful style.

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Key Discussion Points and Insights

Poiret at the Dawn of World War I

• Paris’ Last Pre-War Summer: Poiret’s career peaked in 1914. Other designers, like Lucile (Lady Duff Gordon), described it as “the last brilliant pre-war summer.” (03:16)
  • “Paris amused herself, spent recklessly, gave wonderful fêtes… and nobody saw the war clouds gathering…” (Lucile, qtd. by Cassidy, 03:20)
• Poiret’s Wartime Transition:
  • Called to the French military; dubbed the “Pasha of Paris” in American ads.
  • His atelier closed upon departure, with no new work produced until his return.
  • Public drama contrasted with private vulnerability; Poiret wrote movingly to his wife Denise:

    “I am about to leave. I am calmer than I expected to be. I feel resolute…” (Poiret, letter to Denise, 05:10)

• Role During War: Despite joining up, Poiret never saw battle—he served as regimental tailor, wore flamboyant self-styled uniforms, retained much of his independence, and socialized in nearby Paris.
  • “Although a private, as in his rank in the military, he remained pas par.” (April, 06:16)
  • Iconic image: “Sassy Poiret”—hand on hip, cigarette, uniform—a Vogue favorite. (06:49)

War, Grief, and the Struggle to Reclaim Fame

• Personal Tragedy: Poiret and Denise lost two of their five children during and after the war—a deep personal blow that left Poiret immersed in work post-war. (10:00)
• Design Renaissance (1919-1928):
  • Surged with creativity: 200 pieces a year, 3,000 photos recorded at the Musée des Arts Décoratifs.
  • Silhouettes ranged from crinolines to drop-waist “robe de style” dresses, revealing a tension between Poiret’s love of opulence and the era’s new simplicity.
    • “He walked alone, but he regarded his solitude as an indication that everybody else was out of step.” (White, qtd. by Cassidy, 13:35)

The Postwar World & Poiret’s Decline

• Changing Fashion Climate: The post-WWI demand for practical, comfortable clothing saw the rise of designers like Chanel, Vionnet, and Patou, shifting the spotlight from Poiret.
  • “In many ways, postwar fashion had finally caught up with Poiret… something for which Chanel often gets the credit.” (Cassidy, 16:18)
• Financial Downfall:
  • Chronic overspending, disastrous investments (notably the failed Oasis nightclub—$7 million in today’s money lost), and fraught business ventures (e.g., litigation with Josephine Baker over gifts).
  • “Pare could only make something beautiful if it was expensive. Truth, it seems that he had no spending limits.” (Marcel Rochas, qtd. by April, 19:05)
• Loss of Control: Forced to take on backers, denied creative freedom, sent to America for licensing deals (refused a $16,000 work boot contract).
  • “Can you imagine Poiret work boots?... The man did have standards.” (Cassidy, 21:00)

Final Years and Legacy

• Poiret’s Last Hurrahs:
  • 1925 Art Deco World’s Fair: extravagant (but ignored) river barge spectacles.
  • Forced to sell his prized art and business assets; eventually ousted from his own company (replaced by Marc Claude).
  • Reflects in memoirs on peace and finding solace, despite hardship:

    “I bear no resentment. I have accustomed myself to no longer being rich... I am alone, although I still have some friends and I have children whom I adore and who I think love me.” (Poiret’s memoirs, 26:18)

• Late-career Comebacks:
  • Led various ready-to-wear and couture ventures briefly—always with irrepressible creativity but increasingly out of step with mainstream taste.
  • Designed for department stores like Liberty of London, often ending deals due to clashes over payment and standards.
    • “He was out of touch with the present, but he was in conversation with the future… these bold, bulbous black velvet sleeves and a giant bustle could easily be on the 1980s runway…” (Cassidy, 29:19)
  • Final admission:

    “I can no longer make a living from couture… The time for beautiful fabrics and vibrant colors has passed. Women wear a uniform.” (Poiret, 30:24)

• Personal Dignity: Despite setbacks, he retained humor and a sense of worth.
  • “Just make sure you let everyone know I cannot sew.” (Poiret, 30:44)
• Death & Immediate Aftermath: Died in 1944, nearly forgotten. No mention found in the current Paris exhibition, though his influence was already being recognized by designers like Elsa Schiaparelli (who paid for his funeral), Christian Dior, and Lacroix.

The Preservation of Poiret’s Work and Memory

• Denise Poiret’s Crucial Role:

  • After their divorce, Denise preserved Poiret’s creations, letters, and memorabilia—essential to later revivals and exhibitions.
    • “She saw her ex-husband’s great greatness even when he perhaps had lost sight of it himself.” (Cassidy, 38:01)
  • Helped Palmer White write the definitive biography, unlocked archives for future generations, and donated major collections to museums.
    • “Up went the lids of trunks and baskets, open flew the doors to cupboards and closets…” (White, qtd. by April, 37:10)
  • Her preservation enabled landmark exhibitions (like the 1974 Musée Jacquemart-André show, which deeply inspired Christian Lacroix).

• Lasting Influence:

  • Poiret’s legacy was rekindled by fashion historians, exhibitions (e.g., The Met in 2007, "Fashion is a Feast" in Paris), and contemporary designers.
  • “From you comes a principal part of everything that now makes our country the world’s center for feminine beauty and grace.” (Jacques Doucet, letter to Poiret, read by Cassidy, 40:36)

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Notable Quotes & Memorable Moments

• On Poiret’s transitional moment at the outbreak of WWI

  “France needs men today, not artists.”
  Poiret to John Wanamaker (04:39)

• On Poiret’s attitude to his art and finances

  “Paré could only make something beautiful if it was expensive… he had no spending limits.”
  Marcel Rochas, qtd. by April (19:35)

• On his refusal to compromise

  “He walked alone, but he regarded his solitude as an indication that everybody else was out of step.”
  Palmer White, qtd. by Cassidy (13:35)

• On Denise’s role in his legacy

  “She gave me her help at once, with enthusiasm… Out too came the packets of letters, personal diaries, photos and newspaper clippings.”
  Palmer White, qtd. by April (37:10)

• On Poiret’s resilience and wit

  “Just make sure you let everyone know I cannot sew.”
  Poiret, about his unemployment application (30:44)

• On enduring belief in his talent

  “I only feel sorry for the city that can find no use for great artists like myself.”
  Poiret, 30:49

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Key Timestamps

• 03:08 – Peak Poiret, last pre-war Paris, war begins
• 04:39 – Poiret’s dramatic departure and personal letters
• 06:01 – Military “service”: tailor, self-styled uniforms, “Sassy Poiret”
• 09:39 – The first ready-to-wear experiments
• 10:00 – Family tragedy and turn to prolific design
• 13:35 – Poiret’s postwar opulence vs. changing tastes
• 16:18 – Chanel era rises, Poiret’s influence fades
• 18:19 – Financial disasters: Oasis nightclub loss
• 19:35 – Josephine Baker controversy
• 21:10 – “Poiret work boots” licensing story
• 22:26 – Last parties, loss of his mansion
• 24:02 – Forced sales: art collection, Rosine perfume
• 27:09 – Poiret’s reflective memoirs
• 29:19 – Ready-to-wear for department stores
• 30:24 – Final resignation: “I can no longer make a living from couture…”
• 33:24 – Last exhibition; Poiret’s death (April 28, 1944)
• 37:10 – Denise’s essential archival work
• 40:36 – “Thank you, Denise,” Doucet’s letter, and closing tributes

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Conclusion

Cassidy and April close with moving reflections on the many-layered legacy of Poiret—a genius whose vision was sometimes too bold for his era, but whose impact shaped the foundations of modern fashion. Central to his story is Denise, the woman who inspired, archived, and resurrected his life’s work, ensuring his place in history. The episode underlines how fashion’s legends are preserved as much by the people who love and remember them as by their inventions on the runway.

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This episode offers a rich, human portrait of Paul Poiret—artist, showman, exile, and eternal dreamer—reminding listeners to see fashion history as a tapestry woven from both brilliance and heartbreak, and to consider how “the art of dress might inspire you next time you get dressed.”

Transcript

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[April Callahan]

Uh, Limu is that guy with the binoculars watching us?

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[Cassidy Zachary]

Liberty Mutual Insurance Company and affiliates Excludes Massachusetts the History of Fashion is a production of dressed media. With over 8 billion people in the world, we all have one thing in common. Every day, we all get dressed.

[April Callahan]

Welcome to Dressed the History of Fashion, a podcast that explores the who, what, when of why we wear. We are friends, fashion historians and your.

[Cassidy Zachary]

Hosts, April Callahan and Cassidy Zachary. Hello dress listeners and welcome to the promised conclusion of our Paul Pourre saga. My Paul Pourri saga. April was just asking me if this really was a minisode.

[April Callahan]

I was promised a minisode and then I saw the notes and I was like, this is not a minisode. This is a whole full third part.

[Cassidy Zachary]

To say I warned you all in the first episode that he cannot be contained. It's such a huge story. I love Pari so much. I really appreciate everyone for giving me the three episodes and also coming along with me on this journey as we explore this larger than life figure, Papa Ray, who reigned over fashion at the dawn of the 20th century, only to fall from grace in the years following the First World War. And he really never regained his former influence or glory until the years after his death, where there have been numerous biographies exhibitions dedicated to his work, including Fashion is a Feast, which is currently on View until January 2026 at the Musee des Arts Decoratives in Paris.

[April Callahan]

And if you have been listening to part one and two, you know that we were inspired to create these episodes after visiting the exhibition and throughout today's episode, we will continue to reference the many wonderful objects that are contained within the exhibition, as well as the exhibition catalog for it, but also all these other interesting sources. There's Palmer White's 1973 biography of Pare, which was written with express consent in aid of his wife Denise, who, correct me if I'm wrong, Cass loaned some of his diaries or writings or memoirs.

[Cassidy Zachary]

Yes, yes. And we'll talk more about that in a minute. For sure, we'll cite from some of those. But picking up where we left off last episode, Poiret's influence reached its greatest height in 1914. In a year that fellow fashion designer Lucille Lady Duff Gordon referred to as, quote, the last brilliant pre war summer. Lucille might well have been writing about Poiret when she wrote, quote, paris amused herself, spent recklessly, gave wonderful fetes, laughed dance and made love as though she had not a care in the world. And nobody saw the war clouds gathering until they burst with shattering suddenness. In one week, Paris was a change city, end quote. So World War I broke out in July of 1914, and Paris and Poiret would never be the same again.

[April Callahan]

Prowet, like so many men, was immediately called to arms and publicly his departure to join the French military was done with all the fanfare that one might expect from the Pasha of Paris. This is a new one to me. I had never heard this one before. He was actually dubbed this in a nationally syndicated advertisement in America. Nonetheless, also around the same time, the American department store magnate John Wanamaker published bits of his conversation with Par on the eve of his departure to war, when he found Par at his atelier dressed in uniform and surrounded by his weeping staff. This is it. Makes my heart hurt.

[Cassidy Zachary]

Yeah. And Albe Poiret, who told Wanamaker, I am going to join my regiment. France needs men today, not artists.

[April Callahan]

To which Wanamaker responded, but you have nothing ready? No models that I may show to America?

[Cassidy Zachary]

No, the atelier is closed. It shall remain closed with nothing touching until I return, if I do return. So a little dramatic as to be expected from Poiret. As we learned last episode, there is also very much a public and a private Poiret. And in his biography on Poiret, Palmer White shares a letter Poiret wrote to Denise on the eve of reporting to duty, which expressed is what is no doubt real vulnerability and courage in the face of an uncertain future. And he writes, I am about to leave. I am calmer than I expected to be. I feel resolute and hope not to be easily shaken. Fine examples of French humanity are to be seen everywhere. It is not a mobilization. It is a mass gathering of a sacred mission. We are a splendid nation. And he continues to write, don't worry about my safety. At the front, I'll be as well off as anyone. I am determined to do my full duty and if I die in battle, you'll know I went down fighting because I'm sure now I'll not flinch. End quote. And he goes on that after getting his will in order and ensuring his family is taken care of in the event he should not return that he felt a great sense of peace.

[April Callahan]

Reflecting on his time in the military, Paquet admits he only ever played a, quote, mediocre and very minor role in the war. And because of his professional occupation, he was given the job of regimental tailor and actually never saw the front lines. He seems to have had a fair amount of freedom, or at least he took a lot of liberties. White points out during the war that, quote, although a private, as in his rank in the military, he remained pas par. He ordered his chauffeur to bring the Renault torpedo car from Paris and ignoring military garb, dressed himself in a self styled uniform made to order in the finest fabric.

[Cassidy Zachary]

Are we surprised? We're not surprised. And actually, even though he did dress in a self styled uniform, I am sure there is a fantastic image of Poiret in the exhibition in his military uniform. April this has always been one of our favorite images. We always call him Sassy Poiret. In this photograph he's posing in his uniform, but he has his hand on one hip and it's jaunty to the side and he has a cigarette dangling out of his mouth. And it's actually published in an article in Vogue that is about French fashion designers who have been called to military service. Poiret was by no means alone in this cause and he was joined by other designers who were enlisted and that included Charles Frederick Wirth's grandson and successor, Jacques Worth, who was later decorated with the Croix de Guerre and Chevalier de la Legion d' Honneur for his war service.

[April Callahan]

So let's just say Paret did not take a head into a battle approach during his time in the military. He moved out of the army barracks and into a nearby hotel. And at one point he was stationed near Paris where he was actually able to see his family. And he even began producing designs for the Vogue fashion fete, which was held in New York City in 1915. And this was actually a fundraiser. It was to support women and children in war zones. Poirier's designs for the Vogue fashion fete reflect his incorporation of these so called war crinoline silhouette, which was really an a line silhouette with a very wide skirt that flared away from the body. And this was something very new for this time.

[Cassidy Zachary]

And actually it's surprising because he actually collaborated with other French fashion designers in producing the Silhouette. It was collectively instituted by himself and other designers during this period in 1914, 1915, specifically to assert their authority at a time when American fashion designers, long in the shadows of Paris, had been empowered by the closures of so many French fashion houses during the war. France was at threat of being invaded during this time, and so American designers saw this as an opportunity to become design authorities in their own right. And this was their time to shine. Or so they thought, because this threat of the French invasion and all of these things was very short lived.

[April Callahan]

But this is also perhaps what inspired Palkare to put some added efforts into expanding his brand's presence in the United States. And this included preparing to launch a Ready to Wear line in the US to fill the demand for French fashion abroad. However, due to wartime restrictions, only a few of these Pare Ready to Wear garments were ever produced. There is an amazing catalog which included that photo of Pare in his military uniform. So it was a very short lived endeavor. It never became a full fledged project.

[Cassidy Zachary]

And there's a handful of garments that survive in museum collections. I think at the museum. FIT has this silk coat, but yeah, I don't think it never came to fruition.

[April Callahan]

It's more the catalog that exists of the record of this project than the garments. The garments are more or less sample garments and they're out there, a couple of them here and there.

[Cassidy Zachary]

So despite never seeing battle, the war nonetheless brought tragedy to Denise and Par with the death of two of their five children, which is just so sad. Their older daughter, Rosine, died of an ear infection only because she wasn't able to receive proper medical care during the war. And their infant son, Gaspard, who was born in 1918, died of the flu pandemic that swept through Europe after the war, which took millions of lives on top of the already millions of lives lost in one of the most catastrophic wars in history. So this is just a horrific period. And to cope, Poiret threw himself into his work. And after the war, he was really determined to restore his brand to its pre war glamour and prestige. He designed multiple collections, up to 200 pieces a year with really a renewed vigor.

[April Callahan]

The massive extent of Poirot's output between the years of 1919 and 1928 is well documented throughout the exhibition at the Musee d' Art Decretif features numerous photographs from a collection of 3,000 images of Paris Designs that are housed at the museum. And the photographs are part of a much larger collection of some 70,000 images known as Model des Pose. And these were really intended to serve as official documents and records of the work of French fashion designers in an effort to combat unlicensed copying of their designs. We talked a bit about this in our last episode and it was really quite rampant and, and a cause that Poiret dedicated himself to fighting as early as the nineteen teens.

[Cassidy Zachary]

And several of Poirier's designs from this period, so from like 1919 into the 1920s are on display in the exhibit. And they really reveal his commitment to that signature aesthetic that we've talked about many times that he honed in the pre war periods. So they reflect his characteristic historical influences and cultural blendings, while also reflecting a more relaxed post war silhouette with dresses that moved away from the body.

[April Callahan]

Ye. And while Pare was designing some pieces in the shapeless drop waist silhouette that we most associate now with the 1920s, his designs demonstrate a wide variety of silhouettes. We have dresses that have drop waist, we have dresses that have a natural waist or no waist. He had dresses with narrow skirts, a line skirts, and those with the wide full crinoline and pannier supported skirts a la the war crinoline silhouette. And this later would become known as the robe to Steve.

[Cassidy Zachary]

And then not on view in the exhibition are the bustle dresses he produced during this period.

[April Callahan]

Little did you know.

[Cassidy Zachary]

Yes, exactly. And I actually love these later pieces from his career. I've never seen a lot of these 1920s. I'm less familiar with his work from this period. These dresses are made up in incredibly expensive, luxurious fabrics. You have rich velvets, brocades. Some have exquisite floral embroidery or delicate patterns of beads. And they really reveal that Poiret had lost none of his art. Artistry of design in the post war era. They're exquisitely beautiful. They're so Poiret and they are so out of place with the direction of fashion in the post war era where dress customs had dramatically simplified. But Poiret did not care. And as Palmer White notes, Poiret was quote, convinced of his divine right to beauty and he refused to adapt to the changing pace of fashion. So sure was he of his influence. As White says, quote, he walked alone, but he regarded his solitude as an indication that everybody else was out of step foreign.

[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

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[April Callahan]

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[Cassidy Zachary]

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[April Callahan]

Women went to work in the millions during World War I and their clothing had adapted accordingly. The times of elaborate toilets and ensembles were over and there were new standards in elegance with fashionable women wanting to maintain clothing that was comfortable, practical and also effortlessly chic. And a lot of these ideas were embodied by the work of designers including Madeline Vionnet, Gabrielle Chanel and Jean Patou, all of whom stars were on the rise in this post World War I era.

[Cassidy Zachary]

And there is of course great irony to be found in the fact that Poiret's work before the war really laid the groundwork for the modern fashion designs of the 1920s with their shortened hems, with their relaxed waistlines. As we know from Poiret's designs detailed across these past three episodes, Poiret had been producing similar silhouettes in the pre war era. These post war designs can really be viewed as an evolution of those shapeless columnar silhouettes Poiret had introduced as early as 1907. But in many ways, in the post war era, fashion had finally caught up with Poiret and his forward looking design. Something for which Chanel often gets the credit. Right. But the 1920s would be her and other designers time to shine. And Poiret's relevance as a fashion powerhouse slowly faded.

[April Callahan]

And we emphasize slowly because this was not something that happened overnight. The gradual decline of Poiret's influence can be a attributed to more than his refusal to adopt Chanel era simplicity, as a lot of accounts and even scholars might suggest. Ultimately, it was his refusal to adapt to a more stringent financial situation that secured his demise and cast. This is something that I felt was barely footnoted within the Musee Decoratif exhibition. Yeah, they mention it in one label, in one sentence on a wall text and that's it.

[Cassidy Zachary]

And I will say again, and you've heard me mention many times, the exhibition catalog has a fantastic essay on this period which we'll reference in a bit. Yeah. Yes, I agree.

[April Callahan]

Yeah. In his memoirs, Poirot talks time and time again about his love of spending money. And this was as true in terms of his businesses as it was his personal life. And even as he emerged from the war with his reputation int, elections continued to be allotted in the press and he still had a high profile clientele. But he also had huge debts after the war. And this debt just kept mounting after a series of bad financial decisions.

[Cassidy Zachary]

Speaking of, Poiret invested heavily in an outdoor nightclub called the Oasis that he opened in the gardens of his couture house. It was this nightclub that people could come and enjoy in the evenings. But in Poiret's words, it was, quote, a fiasco that lasted one season. He lost $500,000 in the endeavor, which is around a whopping $7 million today. So no small sum. And this was not the only promising endeavor turned disaster in these years. He was also the first to outfit Paris's new it girl, Josephine Baker, after her Paris debut in 1926. This is something you've heard us reference multiple times now. But this relationship actually ended in a very public legal battle for unpaid bills in the hundred of thousands of francs. And now was Poirier suddenly demanding money for all the clothes he had gifted Josephine during their rumored love affair? Maybe, maybe we actually have it on. Very good authority from a fashion historian in touch with the Poiret family that he and Josephine were indeed lovers. Much to the shock, I have to say, of our tour guide on the Museetes art decorative exhibition. It's not something that is well.

[April Callahan]

So Poiret ultimately lost the lawsuit. She won because the court deemed them as gifts. Right. And you can't ask for a gift back. And actually, Poiret's financial situation became so dire during this period that he was forced to take on financial backers to support his company. And therefore it's little surprise that Paret and his business associates didn't see eye to eye on money or a ton of other matters. As fellow fashion designer Marcel Rochas aptly noted after the fact quote, Pare could only make something beautiful if it was expensive. Truth, it seems that he had no spending limits. And it was Pae's feeling and attitude that putting spending limits on him stifled his creativity. His business associates felt different. And in an attempt to curb his spending and probably to get them out of their hair, his associates sent him on a tour of America where they had set up potential licensing deals with a series of manufacturers in the biz of mass producing products. However, his business associates were furious when Poiret turned down a $16,000 deal, which in today's money would be around $300,000 with an American manufacturer of get this dressed listeners.

[Cassidy Zachary]

Work boots.

[April Callahan]

Boots.

[Cassidy Zachary]

I just always felt this was so interesting because can you imagine Poiret work boots? We know that Poiret was not opposed to mass manufacturing, but the man did have standards.

[April Callahan]

If it had happened, they probably would have been fabulous and crazy expensive. But if you really think about it, this is honestly a story as old as time in terms of the fashion business. Because when profit minded administrators gain control over a company's operations, creativity is frequently devalued. The first thing that's cut in the service of the bottom line. Creativity is seen as secondary to making money.

[Cassidy Zachary]

And as you and I know, the same exact thing happened to Lady Lucille Duff Gordon in the post war area.

[April Callahan]

Yeah, so there's a little bit of irony in the fact that Par received the very prestigious Legend and Heure award for his contributions to France's economy. At the same time, around the same time that he was also forced to sell his 18th century mansion and to move into smaller premises in honor of his very much beloved Maison de Couture and its surrounding gardens. Poiret threw one final bash there on Christmas Eve 1924. But the festivities made clear that Paret dreamed of a bygone era of Paris that no longer existed when uninvited persons crashed the party and made off with some of his guests belongings. Finally, finally acknowledged that the Tide had turned.

[Cassidy Zachary]

Although it must be said, he is not one to admit defeat. And for the 1925 very famous Exposition International des Art Decoratives et Indust Industrial Moderne, the world fair where the term Art Deco was coined, Poiret spent a small fortune decking out three river barges entitled Amour or Love, which featured designs by La Maison Martin Delice or Delights, which was dedicated to La Maison Rosine, and finally Orgues, or Organs, which was named after his current potpourri fashion collection of the same name.

[April Callahan]

In the aurgue barge hung 14 wall hangings hand painted by Paris old friend Raoul Duffy that illustrated his latest fashion collection. And two of these were on view in the exhibition at Musee des Arcs Decoratives, which is incredibly special. I had never seen these before. We have only ever seen photos of them. And on another barge was Paris quote unquote perfume piano, where each key connected to a fan would spray guests with a different rosine scent. Okay, this sounds fabulous to us now, especially in this age of experimental branding by way of companies. However, at this time, Parisian society simply did not show up.

[Cassidy Zachary]

No, they did not. Which is quite, quite sad. And Poiret himself blames poor management and the lack of advertisement. But it was becoming more and more apparent that there was no longer a market at this time for this sort of over the top extravagance as there had been in that pre war era.

[April Callahan]

This same year, 1925, Par was forced to sell much of his prized art collection, which included many of the early works by seminal artists, including Duffy, Matisse, Modigliani and also Picasso. It really was a priceless collection. And Palmer White writes that, quote, the sale netted Parquet a little less than the cost of one barge and a half. It was not long before he was also forced to sell the entities of Rosine, his perfume and cosmetics company, and also Martin, which was essentially the interior decoration arm of his business. In the meantime, the board of directors had greatly also reduced Pahr's role in the company company, even going so far as to prohibit his employees from speaking to him.

[Cassidy Zachary]

Can you imagine? He really is essentially treated like a pariah in a company that he built. This is his company. And this is just a disastrous period in Poirier's life. Things are not going well in his public life, his business life, and they're also not going well in his personal life either. After 23 years of marriage, he and Denise divorce in 1928. And to top it all off, in 1929, he is forced out of his own company. And this is something I actually did not know before reading the exhibition catalog. He is replaced by a man by the name of Mark Claude, who would go on to head the Poirier Couture house until it finally closed its doors in 1932. So someone else headed the Poiret label until 1932. But again, he's not going down without a fight, everyone. And this would not be the last we heard from Poirot, because he really worked tirelessly throughout the 1930s to reinvent his business and regain his former glory. And as I referenced earlier, there is a fantastic essay in the exhibition catalog by Marie Pierre Robert, fittingly titled the Couturier's Last Master Strokes. And this essay really explores his lesser known business ventures of the 1930s, where he really, really worked tirelessly and hard to make his business successful again.

[April Callahan]

It is thanks to this essay that we learn that after losing his company, Paro left Paris to the refuge of one of his many homes, this one in the country where he spent time painting and with the encouragement of his daughter Martine, also wrote his memoirs, in which he candidly shared, quote, I bear no resentment. I have accustomed myself to no longer being rich. I live in a pretty countryside in the Hee de France, and if sometimes there is gloom within my room, my window opens vastly upon a superb view. It lets in air and light and the heat of the sun and the freshness of night enter freely. I am alone, although I still have some friends and I have children whom I adore and who I think love me. End quote. And this was published in 1930 in French as En habion le poque. In English, that's loosely translated to dressing the era or dressing the time. And the memoirs were actually an international success. The following year they were published in English and sold in the US and the uk, where the book was aptly retitled the King of Fashion.

[Cassidy Zachary]

And the VA republished this maybe a decade ago, so you can still get your hands on a copy of this. It's affordable so that you can read the King of Fashion. I highly recommend it. And as Robert notes in her wonderful essay on Poiret, during this period, she says, Paul Poiret was 51 years old, and for the wider public his name was still synonymous with good taste in luxury. The unfortunate designer would not admit defeat, declaring to the press, what are my plans? I don't have any, but I intend to create. And create he did, thanks to the silk manufacturer April do the honors.

[April Callahan]

Chateau Lan Mouly Roselle.

[Cassidy Zachary]

Poiret was reinstated as the head of an haute couture house in the summer of 1931. But he did not have the rights to use his name, which is just crazy. So the couture house was named for Passy 1017 after the telephone number. And Poiret made a promising debut. But again, as Robert notes, Poirier's style was, quote, seen as outdated and impractical for the demands of the modern wardrobe. He was just not giving in. And by the end of the year, Poiret was out of the couture house. After only producing two collections.

[April Callahan]

In 1932, Poiret opened a modest boutique slash couture house called Elle, where he produced made to order designs. But that venture did not last long. The same year, he expanded his prospects to ready to wear design, signing contracts for four collections a year with both Breton department store in Paris and Liberty of London, who were thrilled to bring Poiret's designs to a wider demographic. But both collaborations did not last long. Of course, this was due to Poiret's demanding temperament and monetary demands.

[Cassidy Zachary]

He was constantly asking for his paycheck in advance, and then more of a paycheck.

[April Callahan]

Yeah. And there are several photographs of Poiret's designs for these department stores, and they reflect his signature aesthetic, which is, of course, a variety of luxurious fabrics and materials. They still included this playfulness in terms of the silhouette, and they should be considered works of art.

[Cassidy Zachary]

I mean, his aesthetic is so signature and so beautiful in what he's producing. It's just not in line with contemporary fashion standards.

[April Callahan]

I mean, we see it differently today, right?

[Cassidy Zachary]

Yes, Exactly. And in 1935, Pare launched Les Croissieres de la Mode, which is a new collection made in his apartment. And at least one dress survives from this collection. It's a floor length black gown with a beautiful chintz floral bouquet patterning. And as with a lot of Poiret's designs at this time, time, he's out of touch with the present. But he's in conversation with the future. And this gown has these bold, bulbous black velvet sleeves and a giant bustle, and could easily be on the 1980s Runway shows by Yves Saint Laurent or Christian Lacroix. However, like everything Poirier is doing in the 1930s, this new line, sadly did not succeed. And he does finally accept defeat. He tells a journalist in 1936, I can no longer make a living from couture. The time for beautiful fabrics and vibrant colors has passed. Women wear a uniform. They no longer have time to love and to dress themselves, end quote. But ever the romantic, Poiret did add, however, there has never been a time a society that has placed as much emphasis on dreams.

[April Callahan]

Newspapers around this time were unkind to Pare and made light of it when he eventually had to seek unemployment. However, it does seem that Pare was the one to have the final light laugh when the unemployment agent insisted that he put dressmaker on his unemployment application as his profession, Pavre responded, just make sure you let everyone know I cannot sew.

[Cassidy Zachary]

No, he could not. And really, despite these circumstances, Poiret kept a good sense of humor. He also kept his pride. And when one journalist asked, monsieur Poiret, do you feel that fate has been cruel to you? Do you feel sorry for yourself? He responded, no, no, why should I? I only feel sorry for the city that can find no use for great artists like myself, end quote. He also, it must be said, did not lose his expensive tastes. And Poirier's nephew actually recounts this story to Cecil Beaton about a luncheon he spent with his uncle in the 1930s. This is a time when Poirier was broke, but he still had, quote, innumerable chilled bottles of champagne from the remains of his wine cellar. And Beaton wrote that, quote, they drank the champagne and conveniently forgot.

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[April Callahan]

At the end of his life, Pauhrei was reduced to living with his eldest sister in Paris. But he still had grand dreams of opening a fashion and decorative art School. In 1944, he wrote to a former Martin student, Alice Ruddy, who he stayed in touch with, quote, I very much want you to come back to work for me. But this time as a teacher, rather than as a student. Drop a list of those girls you think would be interested and come to see me and talk about it. There is a great future in it for all of you. At this time, he painted to earn the little income that he had, and his friends also organized exhibitions of his artwork, at least on two separate occasions.

[Cassidy Zachary]

The last was actually just before he passed away in 1944, in the last days of World War II. And these exhibition was held at the Galerie Charpentier on the Faubourg St Honore, fittingly, the very same street where, almost 40 years earlier, Poiret had dazzled all of Paris. This same street was the site of one of his couture houses. And at this exhibition, held in 1944, Poiret was surrounded by friends, family, even some of his Martine students. He was noticeably weakened by the Parkinson's disease that wracked him later in life. And sadly, he would actually die not too long after this exhibition. He passed away on April 28, 1944, at the age of 65. And this really is such a tragic end to a man who had once reigned over the world of fashion, enrapturing all those he met with his personality in his mesmerizing and intoxicating vision for women's fashion.

[April Callahan]

And by all accounts, Cass and I could not find a mention of Paris death in the exhibit at Musee des Arts de Creatif. I don't think we were the only ones. I've had other fashion historians remark on this. We found it a bit strange. There is, however, an entire section dedicated to the work of the many designers who found inspiration in his work after his death. And one of these designers is Elsa Schiaparelli, whom he mentored and encouraged as a fledgling young fashion designer in the 1920s. And this is perhaps why it was Elsa Schiaparelli who actually paid for Papa Gay's funeral. Another designer, Christian Dior, once said that Paher quite, quote, changed fashion completely. And Christian Lacroix wrote a moving essay in the exhibition catalog about the profound influence Poiret had on his own approach to design, which similarly reflects a collage of cultures and historical periods.

[Cassidy Zachary]

Poiret also had a profound influence on Azzedine Alaia, who was a consummate collector of fashion history. You've heard us mention his collection time and time again. And he was really important in reviving Poiret's legacy and memory in the decades after his death. And this is in the early 2000s, when he's interviewed by numerous fashion magazines, newspapers, about an exhibition he had of Poiret's designs. And this is all done in celebration of a highly anticipated 2005 auction of 600 pieces of Poiret's work. And at this auction, private collectors competed with museums for a piece of Poiret fashion history.

[April Callahan]

The large number of pieces that the Metropolitan Museum of Art acquired at that auction are what no doubt inspired the museum's blockbuster 2007 exhibition retrospective of Povaret's work that Hamish Bowles heralded in vogue as securing, quote, his legacy as one of fashion's great visionaries. This is a reputation further confirmed by his massive retrospective of his work, which is currently on view in Paris. Fashion is a feast and in turn, this has inspired art. Our now three part deep dive into Poe undressed.

[Cassidy Zachary]

But arguably none of this would have been possible this podcast these exhibitions without the foresight of one woman, and it was her who, so many years ago first inspired Poiret to quote, preach and follow the creed of simplicity and effectively rechart the course of women's fashion in the process. And of course I am speaking about Denise, who in 1928, after divorcing Poiret, took everything he had ever made for her and safely tucked it away for the next 40 plus years. And it was not until Palmer White came knocking on her door in the mid-1960s, so two decades after Poiret had died and his legacy really all but forgotten, that the genius of Poire Poiret would inspire the world once again.

[April Callahan]

White writes, quote When I first saw her, the woman who'd inspired the feminine silhouette of this century was 79 years of age, straight as a stalk, supple as her granddaughters, out tending the garden of her little house high on a hill overlooking the Seine Valley, she gave me her help at once, with enthusiasm. Up went the lids of trunks and baskets, open flew the doors to cupboards and closets, and there, sometimes in all their glory, sometimes faded and threadbare, were the original coats and gowns Pare had created for her. Out too came the packets of letters, personal diaries, photos and newspaper clippings. Patiently she explained and gave me the memoranda. She wrote and telephoned Pare's relatives and former students, employees, friends, friends and even enemies, all of whom I went to see and have to thank in in.

[Cassidy Zachary]

The introduction of his book. He lists all of these people, which included Arete and Josephine Baker and all of these names that we recognize, who all contributed to reviving Poiret's legacy for this biography and to my knowledge, Poiret kept no archive of his own, which does not surprise me actually. So for Denise to have taken all these pieces and preserved them even after their divorce means that she saw her ex husband's great greatness even when he perhaps had lost sight of it himself. And it really is a powerful testament to one woman's belief in the worth and artistry of her ex husband, whom she still clearly cared for, however flawed he may have been. And not only did Denise consult on White's book, she provided a large part of the Poiret pieces that were on display in the 1974 exhibition Poiret Le Magnifique, curated by Julian Caine and Yvonne de l' Andre and held at the Musee Jacquemar Entre. And the exhibition was attended by a then 23 year old Christian Lacroix, who wrote about his experience in his essay for the exhibition catalog for this current exhibition of Poiret's work and of attending the exhibit, he writes, quote, we went along like worshippers attending mass in celebration.

[April Callahan]

Of the 1974 exhibition. Helmut Newton captured Denise for Reality magazine the same year. Mirror, then 88. Denise sits front and center, smiling, surrounded by 11 mannequins, aka models wearing some of Paque's now iconic pieces, including the sorbet gown and also the La Paz coat, which had the textile design, of course, which is a collaboration with Raoul Duffy. Denise would donate many of these pieces to the Muse after the exhibition and a few of them are currently on display in Fashion is a feature, including the green wig she playfully dons in that Helmut Newton photo spread.

[Cassidy Zachary]

I loved seeing that wig. I had no idea he did colorful wigs.

[April Callahan]

He did them sometimes for the models when they would go on those tours. And he wasn't the only fashion designer doing this. Lucille Lady Duff Gordon did it too. I am now digressing. So other pieces on view in the Musee Decatif exhibition were acquired at that previously mentioned 2005 exhibition, all 600 pieces of which came from Denise's personal wardrobe, put to auction by her grandchildren who had inherited it. So it is super important that we give Denise all of her due as his not only eternal model and muse, but also really his archivist.

[Cassidy Zachary]

Exactly. And Pari really did acknowledge her significance in a letter he wrote to her on the eve of his departure to War in 1914. He writes, I want to thank you, Denise, for the assistance you've always given me and for all your moral support. Thank you for your dignity, your patience, your staunchness, your faithfulness and the confidence you've had in me, which clearly continued after his death. But it is with another letter that I want to conclude today's episode and this three part series. And it's not from Pare, but actually written to him by his one time boss, mentor and dear friend, Jacques Doucet, who wrote to him in the 1920s with praise of what he really had achieved, achieved throughout his career. And he says, I wish to tell you how richly you deserve your decoration and acknowledge that in our profession of making women beautiful, your efforts have been immense and that we owe you an incalculable debt. You have remade fashion. From you comes a principal part of everything that now makes our country the world's center for feminine beauty and grace. End quote. And I very much want to mirror these sentiments today, over 100 years later where so many, many of the modern fashion and modern fashion industry is indebted to Poire's vision. And I also can't help but think of how immensely proud, but perhaps not surprised at all Poiret would be of this recognition of his work today, where he of course continues to inspire us and will certainly continue to inspire generations well into the future. So thank you Paul Par. Thank you Denise Par thank you April listeners for indulging me this deep dive into the man, the myth, the legend, the king of fashion. Paul Paris so that does it for us today. Dress listeners, until next time, may you contemplate Pare as the quote unquote fool who dreamed of putting art into his dresses and how the art of dress might inspire you next time you get dressed.

[April Callahan]

The registration for our New York City Fashion History Day tours is in full swing for December 3rd, 4th and 5th. We love to think of these day tourists as mix and match separates where you can join us for one, two or all three days. We will be visiting museum fashion exhibitions. We will go behind the scenes, quote unquote, to world class fashion collections. We're going to meet museum curators, past dressed guests and expert costume designers along the way. This second 2025 edition of our New York City offerings takes us to the very first time to the Metropolitan Opera for private tours of their current exhibition and into the Opera's costume workshops for a one of a kind experience created exclusively for Dressed.

[Cassidy Zachary]

And we're actually going to meet the Tony Award winning costume designer Clint Ramos, who I don't know if you saw April, he commented on one of our posts this week, but he's excited to meet all of us in person. So that's going to be really cool. And even if you can't Join us in person as a Dressed Podcast listener, the Metropolitan Opera is thrilled to offer an exclusive 20% discount for tickets to select performances this December and January. There are restrictions that apply, but you can use the promo code dressed or visit metopera.org dressed to redeem this special offer and secure your seats. You can also call ticket services at 212-362-6000 or visit the Met's box office to get your tickets there. And just a little hint Dressed listeners, we are in the works for our Paris 2026 tours. So if you want more information on that and beyond the first to Know list, send us an [e-mail] and those.

[April Callahan]

Will be coming your way July 2026. Save the date, please head to restpodcast on Instagram or Rest Podcast without the underscore on Facebook to check out the visual content associated with each week's episodes.

[Cassidy Zachary]

And remember, we always love hearing from you, so if you'd like to write to us, you can do so at. Hello DressedHistory.com DressedHistory.com is also our website where you can sign up for our monthly newsletter, our in person tours and online fashion history courses. And you can check out whatever else we have up our finely tailored sleeves.

[April Callahan]

We get so many questions from you all about our recommendations for fashion history history books. So if you are interested you can always find a link in our show notes to our Bookshop Bookshelf. So that address is bookshop.org shop dressed and there you can find over 150 of our favorite fashion history titles and.

[Cassidy Zachary]

Do you love Dressed but want to skip the ads? You can now sign up for ad free listening with any tier on our Dressed History Patreon.

[April Callahan]

We are also excited to now be part of part of the Airwave Network and their premium ad free history subscription Airwave History plus available on Apple Podcasts. The subscription brings dress and also 27 other popular history podcasts ad free for just 5.99 per month. More information on Patreon and Airwave is available at the link in our bio.

[Cassidy Zachary]

Thank you as always for tuning in and more dress coming your way very soon. The History of Fashion is a production of dress media.

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