Paul Poiret finally exhibits in Paris… but why now?
It was not until 2025 that Paris finally devoted an exhibition to Paul Poiret. The Musée des Arts Décoratifs pays tribute to the couturier from June 25, lifting the veil on a body of work as flamboyant as it was revolutionary.
Paul Poiret: the designer who (really) changed fashion
Long before Coco Chanel established herself as a figure of sartorial emancipation, Paul Poiret had already broken the straitjacket of the corset in 1906. At the time, this almost subversive gesture embodied a radical vision: that of a woman freer in her body, in her movements, and therefore in her place in society.
Trained by Jacques Doucet, Poiret quickly established his own aesthetic, where bright colors, flowing volumes and oriental influences intertwine. His creations, inspired by Mariano Fortuny,Isadora Duncan and the Ballets Russes, shocked as much as they fascinated. He boldly combines fauvism, graphic design and an almost theatrical approach to fashion.
A long-awaited exhibition
Scheduled to run from June 25, 2025 to January 11, 2026, the exhibition “Paul Poiret: la mode est une fête” promises to be dense, immersive, but above all necessary. It will unveil drawings, period photos and posters, not forgetting the designer’s major collaborations, notably with painter Raoul Dufy. We’ll also come across his olfactory and gastronomic universe, two fields he was well ahead of his time.
This monograph – the first in Paris – also asks: Why now? In a context where fashion is rethinking its link to history, bodily freedom and inclusivity, Poiret’s return acts as a mirror. For while his dresses were made to “liberate”, they also embodied a very elitist vision of femininity.
A rediscovery under tension
At a time when Paris is multiplying exhibitions of forgotten or redefined designers, Poiret’s exhibition could well rekindle a debate on the memory of fashion figures. Forgotten, then relaunched (often unsuccessfully) by various fashion houses, Poiret remains a divisive but unavoidable figure.
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