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Art Nouveau PDF
Art Nouveau PDF
Seributua
ART
discussions about the demarcation lines between Art
Nouveau and the styles that preceded and followed it: Arts
and Crafts and Modernism. In fact it combined features of
both: the exquisite hand workmanship and use of natural
Lorem Ipsum
ART
discussions about the demarcation lines between Art
Nouveau and the styles that preceded and followed it: Arts
and Crafts and Modernism. In fact it combined features of
both: the exquisite hand workmanship and use of natural
Lorem Ipsum
The extent to which the theatre played a role in fashion publicity was revealed by
journalists reactions when directors dressed actresses to conform with the play rather
than for display. The impecunious Nora in Ibsens A Dolls House (1889) was criticized as
dowdy, while the flower-seller-turned-lady Eliza Doolittle in Shaws Pygmalion (1913) was
seen as distressingly vulgar.19 Equally controversial were theatrical spectacles presenting
styles that were too extreme for everyday wear, but which nevertheless changed the direc-
tion of fashion. In 1910 Jeanne Paquin designed costumes for the actress Cora Lapercerie
in Xantho chez les courtisanes, written by Laperceries husband Jacques Richepin. For
this comedy set in Ancient Greece, Paquin reinterpreted classical chitons with drapery
pulled tight around the body. These designs both showed off the leading ladys figure and
Advertising showcard for presented an exaggeration of the fashionable narrow silhouette.20 In 1912 Paquin made
Hixopad heel tips.
Colour lithography on card, up the costumes for Rue de la Paix, a comedy set in rival fashion salons, one of which
30 x 20cm. London, 1911.
The National Archives:
produced garments in conventional good taste, and the other the decors of the harem.21
Copy 1 315/65359 The costumes designed by Paul Iribe, one of Poirets favoured illustrators, promoted en-
The extent to which the theatre played a role in fashion publicity was revealed by
journalists reactions when directors dressed actresses to conform with the play rather
than for display. The impecunious Nora in Ibsens A Dolls House (1889) was criticized as
dowdy, while the flower-seller-turned-lady Eliza Doolittle in Shaws Pygmalion (1913) was
seen as distressingly vulgar.19 Equally controversial were theatrical spectacles presenting
styles that were too extreme for everyday wear, but which nevertheless changed the direc-
tion of fashion. In 1910 Jeanne Paquin designed costumes for the actress Cora Lapercerie
in Xantho chez les courtisanes, written by Laperceries husband Jacques Richepin. For
this comedy set in Ancient Greece, Paquin reinterpreted classical chitons with drapery
pulled tight around the body. These designs both showed off the leading ladys figure and
Advertising showcard for presented an exaggeration of the fashionable narrow silhouette.20 In 1912 Paquin made
Hixopad heel tips.
Colour lithography on card, up the costumes for Rue de la Paix, a comedy set in rival fashion salons, one of which
30 x 20cm. London, 1911.
The National Archives:
produced garments in conventional good taste, and the other the decors of the harem.21
Copy 1 315/65359 The costumes designed by Paul Iribe, one of Poirets favoured illustrators, promoted en-