1 00:00:01,080 --> 00:00:04,280 Speaker 1: Welcome to Stuff you Missed in History Class from how 2 00:00:04,320 --> 00:00:13,560 Speaker 1: Stuff Works dot com. Hello, and welcome to the podcast. 3 00:00:13,640 --> 00:00:17,000 Speaker 1: I'm Colly and I am Tracy, and say we're talking 4 00:00:17,000 --> 00:00:20,800 Speaker 1: about one of my favorite designers time. Yes, Yes, who 5 00:00:20,880 --> 00:00:23,200 Speaker 1: is that? Paul Quare. I thought it might if you 6 00:00:23,200 --> 00:00:25,880 Speaker 1: really want to friends it up, but I won't do 7 00:00:25,920 --> 00:00:28,200 Speaker 1: the full pronunciation throughout the podcast because it starts to 8 00:00:28,200 --> 00:00:34,360 Speaker 1: get a little fun feel. His famous quote from was 9 00:00:34,600 --> 00:00:37,960 Speaker 1: I am an artist, not a dressmaker. But he he's 10 00:00:38,000 --> 00:00:40,279 Speaker 1: one of those people that when you study him, you 11 00:00:40,320 --> 00:00:42,839 Speaker 1: wonder if he came off to people around him as 12 00:00:42,880 --> 00:00:45,640 Speaker 1: super conceited and blustering. Yeah, I was gonna say that 13 00:00:45,640 --> 00:00:48,559 Speaker 1: doesn't sound pretentious at all. But he also was a 14 00:00:48,600 --> 00:00:51,000 Speaker 1: really hard worker and he really did innovate, So maybe 15 00:00:51,040 --> 00:00:55,080 Speaker 1: his confidence was just all built off of knowing that 16 00:00:55,120 --> 00:00:58,320 Speaker 1: he was going to plow through and some actual success 17 00:00:58,480 --> 00:01:02,400 Speaker 1: and not just India statements. Yeah, and indeed, I mean 18 00:01:02,480 --> 00:01:05,000 Speaker 1: his work, which was often very outant guard for the times, 19 00:01:05,080 --> 00:01:08,400 Speaker 1: changed the fashion world in really significant ways. And people 20 00:01:08,440 --> 00:01:11,840 Speaker 1: may not know his name unless they're really into historical fashion, 21 00:01:12,240 --> 00:01:16,039 Speaker 1: but odds are you would recognize his designs. Um you 22 00:01:16,080 --> 00:01:19,280 Speaker 1: know his silhouettes tend to be very long and narrow skirts. 23 00:01:19,319 --> 00:01:22,640 Speaker 1: Sometimes pants topped off with these very dramatic tunics that 24 00:01:22,800 --> 00:01:26,160 Speaker 1: tended to be wider, so the top portion of the 25 00:01:26,200 --> 00:01:28,880 Speaker 1: silhouette tended to be wider than the bottom um and 26 00:01:28,880 --> 00:01:31,679 Speaker 1: they were really the height of fashion in the nineteen teens, 27 00:01:31,720 --> 00:01:35,319 Speaker 1: in the early heading into the early nies. A lot 28 00:01:35,360 --> 00:01:39,000 Speaker 1: of his his designs are actually done by other artists 29 00:01:39,000 --> 00:01:40,720 Speaker 1: at the time. He collaborated with a lot of them. 30 00:01:40,760 --> 00:01:43,200 Speaker 1: So if you look at drawings by Erte, a lot 31 00:01:43,240 --> 00:01:47,080 Speaker 1: of those are him, uh Aribe who he worked with him, 32 00:01:47,080 --> 00:01:51,040 Speaker 1: we'll talk about briefly. Uh those drawings that are sort 33 00:01:51,080 --> 00:01:55,000 Speaker 1: of famous and they're like just pre Flapper era people recognize, 34 00:01:55,040 --> 00:01:57,080 Speaker 1: but they may not realize that a lot of those 35 00:01:57,120 --> 00:02:00,400 Speaker 1: are Paul Poire and even the ones that aren't are 36 00:02:00,440 --> 00:02:02,920 Speaker 1: often influenced by the things that he was doing in fashion. 37 00:02:03,720 --> 00:02:07,320 Speaker 1: So he was born in eighteen seventy nine and Laisal. 38 00:02:08,280 --> 00:02:10,639 Speaker 1: His father was a cloth merchant, so he got a 39 00:02:10,720 --> 00:02:14,120 Speaker 1: lot of exposure to fashion in his early life while 40 00:02:14,200 --> 00:02:17,440 Speaker 1: his family was working class. Yeah, and his father sent 41 00:02:17,560 --> 00:02:19,480 Speaker 1: him at a very early age to apprentice with an 42 00:02:19,520 --> 00:02:22,040 Speaker 1: umbrella maker because as a working class family. They wanted 43 00:02:22,080 --> 00:02:25,119 Speaker 1: him to have a skill, uh, but young Paul would 44 00:02:25,120 --> 00:02:27,400 Speaker 1: actually gather the small scraps left over at the end 45 00:02:27,400 --> 00:02:29,560 Speaker 1: of the day, the little pieces of silk left over 46 00:02:29,600 --> 00:02:32,760 Speaker 1: from the umbrella cuttings, and he would make clothes for 47 00:02:32,840 --> 00:02:36,160 Speaker 1: his sister's dolls. So he was doing fashion in small 48 00:02:36,200 --> 00:02:38,880 Speaker 1: scale pretty early in his life. And that's the pretty 49 00:02:38,919 --> 00:02:44,440 Speaker 1: perfect use for umbrella scraps. In his fashion career officially 50 00:02:44,520 --> 00:02:50,560 Speaker 1: started Couturier Madeleine char bought twelve of his designs, and 51 00:02:50,600 --> 00:02:54,239 Speaker 1: shortly thereafter, Poire was hired by Couturier Jacques dou Sat 52 00:02:54,760 --> 00:02:57,239 Speaker 1: as a junior assistant, and he quickly worked his way 53 00:02:57,320 --> 00:03:00,160 Speaker 1: up to head of tailoring in that group, and he 54 00:03:00,240 --> 00:03:03,840 Speaker 1: was so successful in his position that he was eventually 55 00:03:03,880 --> 00:03:07,640 Speaker 1: tapped by Duse to take on jobs designing costumes for 56 00:03:07,680 --> 00:03:10,680 Speaker 1: stage actresses, and he made a really big name for 57 00:03:10,760 --> 00:03:14,760 Speaker 1: himself doing this. Um There's one particular garment that's often referenced, 58 00:03:14,760 --> 00:03:17,760 Speaker 1: which is a mantle he made for a play entitled Zaza, 59 00:03:17,919 --> 00:03:21,560 Speaker 1: which was worn by actress Gabrielle Jean, and it was 60 00:03:21,840 --> 00:03:25,120 Speaker 1: black tool layered over black taffida and it was painted 61 00:03:25,160 --> 00:03:29,320 Speaker 1: with white irises and it made a big splash, and 62 00:03:29,360 --> 00:03:34,440 Speaker 1: it was allegedly very impactful in terms of the emotional 63 00:03:34,520 --> 00:03:38,760 Speaker 1: moment of the scene in which it appeared, and Poiret 64 00:03:39,040 --> 00:03:41,120 Speaker 1: sort of started to realize that he could actually be 65 00:03:41,240 --> 00:03:43,720 Speaker 1: using the stage as a runway to showcase his own 66 00:03:43,760 --> 00:03:46,680 Speaker 1: designs and build a following. So he kind of became 67 00:03:46,720 --> 00:03:49,600 Speaker 1: famous for these garments he was making for actresses. It's 68 00:03:49,680 --> 00:03:52,320 Speaker 1: kind of double a double edged sword, though, because it's 69 00:03:52,520 --> 00:03:56,320 Speaker 1: rumored that when he was working with celebrated actress Sarah Bernhardt, 70 00:03:56,320 --> 00:03:59,480 Speaker 1: that he was overheard by the actress while he was 71 00:03:59,560 --> 00:04:02,839 Speaker 1: making on of her and she had him fired. But 72 00:04:03,320 --> 00:04:06,640 Speaker 1: that's again kind of a cloaked in rumor part of history. 73 00:04:06,680 --> 00:04:08,960 Speaker 1: Some histories of him will say that happen, some will not, 74 00:04:10,320 --> 00:04:13,400 Speaker 1: because at the same time, which was nineteen hundred, poire 75 00:04:13,560 --> 00:04:16,680 Speaker 1: also had to report for a military service, which was mandatory, 76 00:04:16,920 --> 00:04:19,880 Speaker 1: So it's entirely possible that the Bernhard stories just gossip 77 00:04:20,000 --> 00:04:23,279 Speaker 1: that took advantage of that timing. Regardless of how he 78 00:04:23,360 --> 00:04:25,880 Speaker 1: left the job to say, had been really encouraging of 79 00:04:26,040 --> 00:04:29,240 Speaker 1: his activity and his style, so it was pretty tragic 80 00:04:29,440 --> 00:04:33,640 Speaker 1: that he left the world for a while. Yeah, I mean, 81 00:04:34,400 --> 00:04:37,040 Speaker 1: any creative type that gets a lot of encouragement. That's 82 00:04:37,040 --> 00:04:39,839 Speaker 1: like a perfect situation. So to unfortunately step out of 83 00:04:39,839 --> 00:04:42,880 Speaker 1: that is not ideal. But he only had to do 84 00:04:43,120 --> 00:04:45,440 Speaker 1: his year of mandatory service and when he returned to 85 00:04:45,480 --> 00:04:48,760 Speaker 1: Paris in nineteen o one, he was hired almost immediately 86 00:04:48,800 --> 00:04:50,680 Speaker 1: by the House of Worth, and that was one of 87 00:04:50,720 --> 00:04:53,920 Speaker 1: the most prominent design houses in Europe. Um if you 88 00:04:53,960 --> 00:04:56,839 Speaker 1: look at fashion plates of the Victorian and Edwardian eras 89 00:04:57,320 --> 00:04:59,800 Speaker 1: many of them, many of the styles and fashions will 90 00:04:59,800 --> 00:05:03,240 Speaker 1: be edited the House of Worth. I mean they were huge, uh. 91 00:05:03,240 --> 00:05:05,479 Speaker 1: And at the time Poiret was hired into the firm, 92 00:05:06,080 --> 00:05:08,760 Speaker 1: Charles Frederick Worth, who had founded the fashion house, had 93 00:05:08,760 --> 00:05:11,880 Speaker 1: already passed away and his two sons, Jean Philippe and 94 00:05:11,880 --> 00:05:15,760 Speaker 1: Gaston had taken over. Unlike his time working under du Say, 95 00:05:15,839 --> 00:05:18,880 Speaker 1: he didn't get a lot of encouragement at Worth. Instead 96 00:05:18,920 --> 00:05:21,760 Speaker 1: of taking advantage of all this theatricality and dramatic style 97 00:05:21,880 --> 00:05:24,720 Speaker 1: that he had really cultivated, the brother's Worth put him 98 00:05:24,720 --> 00:05:28,320 Speaker 1: to work on pretty mundane stuff. He tried to inject 99 00:05:28,360 --> 00:05:30,719 Speaker 1: his style into what he was doing, but that was 100 00:05:30,800 --> 00:05:33,920 Speaker 1: not really what the Worth clientele were looking for. They 101 00:05:33,920 --> 00:05:36,520 Speaker 1: were used to getting stylish clothing that was guaranteed to 102 00:05:36,520 --> 00:05:41,560 Speaker 1: be seen as stylish and not just experimental stuff. They 103 00:05:41,600 --> 00:05:44,479 Speaker 1: were not ready for the avant garde. No. The good thing, though, 104 00:05:44,600 --> 00:05:48,160 Speaker 1: is that he did have an incredible confidence. Even through 105 00:05:48,200 --> 00:05:50,760 Speaker 1: the rough times at House of Worth. He was certain 106 00:05:50,760 --> 00:05:52,440 Speaker 1: that he was going to move on to better things, 107 00:05:53,000 --> 00:05:56,120 Speaker 1: and even when clients were complaining that he was making ugly, 108 00:05:56,120 --> 00:06:01,000 Speaker 1: crazy clothes, he was really un appable about it, which 109 00:06:01,000 --> 00:06:04,080 Speaker 1: is pretty impressive and astonishing. Uh. And in nineteen o 110 00:06:04,240 --> 00:06:06,680 Speaker 1: three he finally took his future into his own hands 111 00:06:06,680 --> 00:06:09,720 Speaker 1: and he opened his own shop. And because Pare had 112 00:06:09,800 --> 00:06:13,200 Speaker 1: charmed many clients, uh, he actually had a great many 113 00:06:13,200 --> 00:06:16,880 Speaker 1: fans in high places. The King of Portugal allegedly sent 114 00:06:16,960 --> 00:06:19,560 Speaker 1: two white mules to the designer for the opening of 115 00:06:19,640 --> 00:06:24,000 Speaker 1: his boutique in Ruabert and they stood outside on opening 116 00:06:24,080 --> 00:06:27,520 Speaker 1: day like the doors were just flanked by these two mules. 117 00:06:28,400 --> 00:06:33,800 Speaker 1: Kind of wonderfully odds. They're perfectly theatrical to his designs. 118 00:06:33,839 --> 00:06:37,920 Speaker 1: In three, broke with a major fashion rule by ditching 119 00:06:38,080 --> 00:06:42,479 Speaker 1: petticoats entirely. Yeah, I mean that's huge. We think of 120 00:06:42,480 --> 00:06:45,800 Speaker 1: it today and it seems like, well, you need a petticoat. 121 00:06:45,839 --> 00:06:48,359 Speaker 1: But you did then, Yeah, well, and that's that. This 122 00:06:48,600 --> 00:06:51,400 Speaker 1: was if you were out without a petticoat. It wasn't 123 00:06:51,440 --> 00:06:53,680 Speaker 1: just that your clothing didn't look right. You were being 124 00:06:53,760 --> 00:06:59,640 Speaker 1: immodest and indecent without petticoats on. Yeah. Uh. So he 125 00:07:00,000 --> 00:07:01,679 Speaker 1: carried on for a couple of years in his new shop, 126 00:07:01,720 --> 00:07:05,760 Speaker 1: and in five Pare married his wife, Denise, and the 127 00:07:05,800 --> 00:07:09,320 Speaker 1: pair had really known each other since childhood. She was 128 00:07:09,360 --> 00:07:11,400 Speaker 1: not exactly known to be like a great beauty. She 129 00:07:11,480 --> 00:07:14,320 Speaker 1: had really been kind of a simple girl from simple beginnings, 130 00:07:14,360 --> 00:07:18,080 Speaker 1: because remember his childhood started in very simple places. But 131 00:07:18,200 --> 00:07:20,600 Speaker 1: through her marriage with Paul, she really became something of 132 00:07:20,600 --> 00:07:24,120 Speaker 1: a style icon, and she served as his muse. Uh. 133 00:07:24,200 --> 00:07:26,760 Speaker 1: And she would wear her his fashions as the pair 134 00:07:26,800 --> 00:07:30,280 Speaker 1: toured Europe and eventually other places together. Um. And they 135 00:07:30,320 --> 00:07:35,119 Speaker 1: had five daughters together throughout their marriage and later in life. Uh. 136 00:07:35,160 --> 00:07:38,120 Speaker 1: Paul would say, sort of unkindly of Denise, she was 137 00:07:38,160 --> 00:07:40,920 Speaker 1: extremely simple, and all those who have admired her since 138 00:07:40,960 --> 00:07:43,480 Speaker 1: I made her my wife would certainly not have chosen 139 00:07:43,480 --> 00:07:46,760 Speaker 1: her in the state in which I found her angry. 140 00:07:46,800 --> 00:07:49,680 Speaker 1: It's a little snarky, but things did not did not 141 00:07:49,760 --> 00:07:52,080 Speaker 1: a rosie with the two of them forever. But for 142 00:07:52,120 --> 00:07:53,880 Speaker 1: a while she was his muse, and I think she 143 00:07:53,880 --> 00:07:56,520 Speaker 1: became the style director of his design house for a while. 144 00:07:57,320 --> 00:08:01,400 Speaker 1: And you know, he really clearly loved the female form 145 00:08:01,400 --> 00:08:03,120 Speaker 1: and loved to dress it and wanted to free it 146 00:08:03,200 --> 00:08:06,400 Speaker 1: from a lot of the things that people were kind 147 00:08:06,400 --> 00:08:09,640 Speaker 1: of wadded up in terms of the rules of clothing. Yeah, 148 00:08:09,760 --> 00:08:12,720 Speaker 1: there were lots and lots of layers, and Denise is 149 00:08:12,760 --> 00:08:15,760 Speaker 1: a huge pardon kind of that movement towards a freer 150 00:08:15,920 --> 00:08:20,240 Speaker 1: mode of dress. In nineteen o six, Poire produced an 151 00:08:20,280 --> 00:08:24,040 Speaker 1: album of fashion designs. It was illustrated by Paul Iribe 152 00:08:24,160 --> 00:08:28,760 Speaker 1: called simply La Robe to Paul Plore. At this point 153 00:08:28,760 --> 00:08:32,720 Speaker 1: in his career, grease and clothing and Japanese kimonos and 154 00:08:32,800 --> 00:08:35,920 Speaker 1: certain caftin styles from Middle Eastern and North African cultures 155 00:08:35,920 --> 00:08:39,679 Speaker 1: were really influential in parries designed. He wanted to make 156 00:08:39,760 --> 00:08:43,400 Speaker 1: garments that used simple rectangles instead of really complicated shapes. 157 00:08:43,960 --> 00:08:47,200 Speaker 1: He developed lots of designs that celebrated the so called 158 00:08:47,320 --> 00:08:53,079 Speaker 1: direct War revival slot so very columnar, and nineteen o 159 00:08:53,200 --> 00:08:57,520 Speaker 1: six was also the year that he did something again controversial, 160 00:08:57,600 --> 00:09:00,280 Speaker 1: when he replaced the corset as a foundation garment for 161 00:09:00,360 --> 00:09:03,880 Speaker 1: his designs with a much less restrictive girdle. And this 162 00:09:03,960 --> 00:09:07,760 Speaker 1: is a huge deal. Um, this is like a kin 163 00:09:07,840 --> 00:09:10,080 Speaker 1: to women burning their brawls in the sixties, except it 164 00:09:10,080 --> 00:09:11,960 Speaker 1: was a man doing it for fashion well, and it 165 00:09:12,040 --> 00:09:15,960 Speaker 1: really happened. But you know, in terms of like the 166 00:09:16,000 --> 00:09:19,520 Speaker 1: cultural touchstowes that people think of, this is really big 167 00:09:19,559 --> 00:09:22,240 Speaker 1: to basically say the undergarments are stupid and wrong, let's 168 00:09:22,280 --> 00:09:26,000 Speaker 1: get rid of those. We're going for a more natural shape. Um, 169 00:09:26,080 --> 00:09:29,920 Speaker 1: no petticoats, no Corset's complete mayhem, really in terms of 170 00:09:30,840 --> 00:09:33,960 Speaker 1: what had gone before. Yeah, and again it wasn't just 171 00:09:34,040 --> 00:09:36,520 Speaker 1: about what the clothes looked like. It was about all 172 00:09:36,559 --> 00:09:39,560 Speaker 1: these ideas of modesty that were tied to it and 173 00:09:39,679 --> 00:09:43,440 Speaker 1: in decency and like what what good ladies of quality 174 00:09:43,480 --> 00:09:46,080 Speaker 1: wore when they were going out And he threw those 175 00:09:46,120 --> 00:09:48,760 Speaker 1: out the window. And he wasn't the only designer, we 176 00:09:48,760 --> 00:09:53,160 Speaker 1: should say, doing these things, like Vienna was doing similar stuff, 177 00:09:53,920 --> 00:09:56,240 Speaker 1: but he was kind of so outspoken about it, and 178 00:09:56,240 --> 00:09:57,880 Speaker 1: he had such a flair for the dramatic that he 179 00:09:57,960 --> 00:10:01,280 Speaker 1: got the most attention in the press since societally for 180 00:10:01,320 --> 00:10:04,680 Speaker 1: what he was doing. But when you mentioned the modesty 181 00:10:04,679 --> 00:10:07,840 Speaker 1: issue that brings us to a scandal that took place. Yes, 182 00:10:08,000 --> 00:10:11,480 Speaker 1: there was a scandal in nineteen o nine involving uh 183 00:10:11,640 --> 00:10:15,880 Speaker 1: Wire and British Prime Minister hh Askew and his wife. 184 00:10:16,559 --> 00:10:18,560 Speaker 1: The story goes that Lady asked With was a fan 185 00:10:18,640 --> 00:10:21,360 Speaker 1: of Quarre's work and invited him to show his designs 186 00:10:21,400 --> 00:10:25,120 Speaker 1: at ten Downing Street. As is sometimes the case with 187 00:10:25,160 --> 00:10:27,319 Speaker 1: fashion shows, things got a little bit out of hand. 188 00:10:27,920 --> 00:10:31,439 Speaker 1: Rumors started to spread of really wild happenings and models 189 00:10:31,480 --> 00:10:34,920 Speaker 1: running around the famed residence in various states of undress. 190 00:10:35,559 --> 00:10:39,920 Speaker 1: The scandal really nearly caused ask With resignation and it 191 00:10:40,000 --> 00:10:43,920 Speaker 1: came to be known as the Gowning Street scandal. And 192 00:10:43,960 --> 00:10:48,079 Speaker 1: then um, once that blew over and we moved forward 193 00:10:48,080 --> 00:10:50,840 Speaker 1: a little bit to nineteen eleven, we really hit what 194 00:10:51,040 --> 00:10:56,439 Speaker 1: is in the history of Paul Parre a huge, huge year. First, 195 00:10:57,000 --> 00:10:59,000 Speaker 1: he did something that had never been done before, which 196 00:10:59,080 --> 00:11:02,960 Speaker 1: is that he spanned his brand, and that's not something 197 00:11:02,960 --> 00:11:05,680 Speaker 1: we normally attribute to things that were going on in 198 00:11:05,720 --> 00:11:07,880 Speaker 1: the early nineteen hundreds, like the idea of a fashion 199 00:11:07,920 --> 00:11:11,280 Speaker 1: designer having a brand. Uh And he produced a fragrance 200 00:11:11,320 --> 00:11:14,440 Speaker 1: line that was named after his daughter Rosine, and it 201 00:11:14,480 --> 00:11:17,760 Speaker 1: was really successful and it eventually became fragrances and cosmetics 202 00:11:17,760 --> 00:11:21,160 Speaker 1: and continued to solve very very well. He also opened 203 00:11:21,200 --> 00:11:24,480 Speaker 1: a decorative arts school for underprivileged girls, which was called 204 00:11:24,559 --> 00:11:26,880 Speaker 1: a Cole Martin, and that was named after another of 205 00:11:26,920 --> 00:11:30,240 Speaker 1: his daughters. He used the artwork the girls produced to 206 00:11:30,240 --> 00:11:33,600 Speaker 1: create fabric prints, which they sold in a shop adjacent 207 00:11:33,640 --> 00:11:37,120 Speaker 1: to the school. This really delights me. Yeah, I feel 208 00:11:37,160 --> 00:11:40,240 Speaker 1: like it was the spoon flower of the kind of 209 00:11:40,320 --> 00:11:43,079 Speaker 1: and it really ended up becoming like a lifestyle brand 210 00:11:43,120 --> 00:11:45,760 Speaker 1: at that point because it also they also sold things 211 00:11:45,800 --> 00:11:49,760 Speaker 1: like stationary and you know, small little house items there 212 00:11:49,880 --> 00:11:53,200 Speaker 1: that had often used the designs of these girls. And 213 00:11:53,280 --> 00:11:57,240 Speaker 1: so his sort of home line became known as the 214 00:11:57,280 --> 00:12:02,480 Speaker 1: Martine Group after this school and the the attached store. 215 00:12:03,160 --> 00:12:06,640 Speaker 1: Just really cool. Uh. And then he invented around in 216 00:12:06,760 --> 00:12:10,200 Speaker 1: nineteen eleven, what was called the Robe de Minute, and 217 00:12:10,280 --> 00:12:13,559 Speaker 1: this is again one of those things that is so 218 00:12:13,640 --> 00:12:16,079 Speaker 1: simple but really mind blowing for the time. It was 219 00:12:16,120 --> 00:12:18,679 Speaker 1: basically a simple column of silk cut almost like a 220 00:12:18,679 --> 00:12:21,640 Speaker 1: T shirt, and it allegedly took only thirty minutes to assemble, 221 00:12:22,960 --> 00:12:25,680 Speaker 1: so compared to the structured Edwardian fashions that were still 222 00:12:25,720 --> 00:12:28,440 Speaker 1: pretty prominent at the time. This was basically like walking 223 00:12:28,480 --> 00:12:30,440 Speaker 1: around in a nightgown. So to show up at an 224 00:12:30,480 --> 00:12:33,520 Speaker 1: evening party in this which was usually what his wife did, 225 00:12:33,679 --> 00:12:36,880 Speaker 1: she was like wearing his really kind of cutting edge 226 00:12:36,920 --> 00:12:39,079 Speaker 1: designs before anyone else did, which is why she became 227 00:12:39,120 --> 00:12:41,920 Speaker 1: a fashion icon. Really was pretty brazen and took a 228 00:12:41,920 --> 00:12:46,440 Speaker 1: lot of bravado and it was um ultra revolutionary. But 229 00:12:46,480 --> 00:12:48,760 Speaker 1: again we should point out that it's not on its own. 230 00:12:48,840 --> 00:12:50,800 Speaker 1: He's not the only one doing these sorts of things. 231 00:12:51,200 --> 00:12:54,040 Speaker 1: This is also around the time that Italian designer Mariano 232 00:12:54,120 --> 00:12:58,720 Speaker 1: Fortuny was producing his really ultrasimple Grecian style silhouettes that 233 00:12:58,760 --> 00:13:02,360 Speaker 1: took advantage of his seek and famous silk bleating techniques. 234 00:13:02,440 --> 00:13:07,160 Speaker 1: So there was this um aesthetic developing in fashion circles 235 00:13:07,200 --> 00:13:12,480 Speaker 1: for simpler but really beautiful garments um in this Grecian 236 00:13:12,760 --> 00:13:16,439 Speaker 1: columnar style. Yeah, and if you're not really familiar with 237 00:13:16,440 --> 00:13:20,199 Speaker 1: with what Edwardian fashions look like, we can just they 238 00:13:20,200 --> 00:13:23,840 Speaker 1: were very fitted and think of Titanic. Yeah, think of Titanic, 239 00:13:24,080 --> 00:13:28,040 Speaker 1: very fitted, many layers of underpinnings underneath that there's the 240 00:13:28,160 --> 00:13:31,520 Speaker 1: lackling on. Yeah, fussy is a great word, like you 241 00:13:31,880 --> 00:13:34,480 Speaker 1: really had to have help to get into your clothes, 242 00:13:34,600 --> 00:13:38,160 Speaker 1: and not so much the case even though the lines 243 00:13:38,200 --> 00:13:40,640 Speaker 1: were simpler. I think people think of Edwardian clothing is 244 00:13:40,679 --> 00:13:43,800 Speaker 1: being simpler because it's the next phase after Victorian, which 245 00:13:43,800 --> 00:13:48,080 Speaker 1: was very fussy and everything had a Brazilian tassels on it. Um, 246 00:13:48,160 --> 00:13:51,640 Speaker 1: the clothing got the lines got simpler and sharper, but 247 00:13:51,880 --> 00:13:54,760 Speaker 1: and there wasn't as much crazy embellishment. But all those 248 00:13:54,840 --> 00:13:58,680 Speaker 1: layers were still there, so you still had on your bloomers, 249 00:13:58,720 --> 00:14:00,840 Speaker 1: your pantaloons, and a chamis and a course it and 250 00:14:00,960 --> 00:14:04,040 Speaker 1: possibly a corset cover and then a gown, possibly an undergown, 251 00:14:05,200 --> 00:14:07,640 Speaker 1: you know, petty coach, I mean all. And he basically 252 00:14:07,640 --> 00:14:09,760 Speaker 1: got rid of all of that, said just wear a 253 00:14:09,800 --> 00:14:14,320 Speaker 1: simple silk sheath. It's fine, I mean, and everybody was like, what, 254 00:14:14,520 --> 00:14:20,160 Speaker 1: that's bold to do? What? He was sparked by an 255 00:14:20,160 --> 00:14:23,840 Speaker 1: interest in exoticism after traveling to Moscow in nineteen eleven. 256 00:14:24,560 --> 00:14:27,480 Speaker 1: This was a huge influence on his work from this point. 257 00:14:27,920 --> 00:14:31,520 Speaker 1: Shortly after he came back to Paris on June nineteen eleven, 258 00:14:31,640 --> 00:14:35,960 Speaker 1: he hosted the historically famous party called the thousand and 259 00:14:36,040 --> 00:14:38,920 Speaker 1: Second Night. There was allegedly a new translation of The 260 00:14:38,920 --> 00:14:41,080 Speaker 1: thousand and one Night's making the round in Paris at 261 00:14:41,120 --> 00:14:43,880 Speaker 1: the time, although we haven't really been able to confirm that. 262 00:14:44,120 --> 00:14:48,080 Speaker 1: In time for this episode, guests were required to attend 263 00:14:48,160 --> 00:14:51,560 Speaker 1: in Persian styled clothing or they had to be Uh, 264 00:14:51,600 --> 00:14:53,840 Speaker 1: they had to allow the host to dress them once 265 00:14:53,880 --> 00:14:57,640 Speaker 1: they got there. Uh. This was actually a ploy on 266 00:14:57,800 --> 00:15:00,320 Speaker 1: Poires part. He was dressing his guests in his new 267 00:15:00,360 --> 00:15:03,360 Speaker 1: line of designs that were inspired by his travels um 268 00:15:03,400 --> 00:15:06,160 Speaker 1: specifically a production of Scheherazade he saw at the Ballet 269 00:15:06,200 --> 00:15:10,320 Speaker 1: Russ and his newfound interest in Orientalism. And it's it's 270 00:15:10,400 --> 00:15:13,920 Speaker 1: really sort of where I think this party and this 271 00:15:14,000 --> 00:15:17,800 Speaker 1: line of clothing is really where his style kind of 272 00:15:17,840 --> 00:15:21,160 Speaker 1: gets put under the magnifying class in terms of the future. 273 00:15:21,200 --> 00:15:23,240 Speaker 1: Like that's what a lot of people associate with him, 274 00:15:23,400 --> 00:15:26,320 Speaker 1: or is that line of clothing, And that's actually where 275 00:15:26,320 --> 00:15:29,600 Speaker 1: he debuted the harem pants that he became famous for 276 00:15:29,920 --> 00:15:33,520 Speaker 1: and the lampshade dresses that he is also known for today. 277 00:15:33,880 --> 00:15:36,440 Speaker 1: The lampshade dresses. Really, when you say that, I think 278 00:15:36,480 --> 00:15:38,360 Speaker 1: sometimes people that might not know have a hard time 279 00:15:38,400 --> 00:15:42,240 Speaker 1: picturing it. They really were these tunic style dresses that 280 00:15:42,320 --> 00:15:45,000 Speaker 1: had wire in the hymn to pull them out from 281 00:15:45,000 --> 00:15:48,080 Speaker 1: the body, so it looked like a lampshade um. And 282 00:15:48,120 --> 00:15:51,480 Speaker 1: these less confining shapes actually became incredibly popular, and they 283 00:15:51,560 --> 00:15:54,600 Speaker 1: kept part a very busy filling client orders. Even though 284 00:15:54,640 --> 00:15:58,160 Speaker 1: they were completely crazy and way beyond what had been 285 00:15:58,160 --> 00:16:01,400 Speaker 1: going on in fashion previously, people just really jumped on it. 286 00:16:01,440 --> 00:16:03,360 Speaker 1: They loved it. Well, if you had a chance not 287 00:16:03,440 --> 00:16:06,800 Speaker 1: to be in of course, with all those layers clothing. Yeah, 288 00:16:06,920 --> 00:16:09,640 Speaker 1: because we've we've talked a lot before about how what 289 00:16:09,680 --> 00:16:12,560 Speaker 1: people think of is. Of course it's often not how 290 00:16:12,600 --> 00:16:15,040 Speaker 1: they were actually worn. Right. It was not really a 291 00:16:15,040 --> 00:16:18,160 Speaker 1: tight lacing thing that we think of today, but it 292 00:16:18,240 --> 00:16:20,600 Speaker 1: was still a lot of clothing. All that stuff that 293 00:16:20,640 --> 00:16:24,640 Speaker 1: you're wearing is really heavy, and and once you get 294 00:16:24,640 --> 00:16:26,840 Speaker 1: out of all of that and realize that you can 295 00:16:26,880 --> 00:16:29,920 Speaker 1: walk around your life without twenty five pounds of fabric 296 00:16:30,000 --> 00:16:32,800 Speaker 1: hanging off of your body, it's pretty liberating. Well, and 297 00:16:32,840 --> 00:16:34,960 Speaker 1: it's also worth mentioning. I think that this was all 298 00:16:35,000 --> 00:16:38,680 Speaker 1: happening in the summer, like the idea of suddenly being 299 00:16:39,120 --> 00:16:41,720 Speaker 1: free of all of that extra clothing in the hottest 300 00:16:41,760 --> 00:16:44,240 Speaker 1: time of the year, which it would have been for 301 00:16:44,320 --> 00:16:47,400 Speaker 1: Europe at the time. Um, that's got to be pretty appealing, 302 00:16:47,480 --> 00:16:51,960 Speaker 1: and I'm sure that factored into the success the quick 303 00:16:52,400 --> 00:16:56,960 Speaker 1: acceptance of these very new styles in Poire and Denise 304 00:16:57,000 --> 00:16:59,240 Speaker 1: traveling to the United States, where they were received with 305 00:16:59,320 --> 00:17:02,360 Speaker 1: great though i by the fashion crowd. He gave a 306 00:17:02,400 --> 00:17:04,840 Speaker 1: series of lectures in Manhattan and the two of them 307 00:17:04,880 --> 00:17:07,800 Speaker 1: towards department stores and showed off all the latest designs 308 00:17:07,800 --> 00:17:10,960 Speaker 1: from their collection. It's interesting to know I was looking 309 00:17:11,000 --> 00:17:13,680 Speaker 1: at something while I was prepping for this that said 310 00:17:13,720 --> 00:17:17,719 Speaker 1: that he found, um, American women too thin and not 311 00:17:17,840 --> 00:17:20,800 Speaker 1: very fashionable, but they seemed so eager. He was fine 312 00:17:20,800 --> 00:17:23,960 Speaker 1: with it. He was we can work with this. Also 313 00:17:24,000 --> 00:17:26,480 Speaker 1: in nineteen thirteen, he turned once again to his roots 314 00:17:26,480 --> 00:17:30,359 Speaker 1: in the theater, and most notably he designed costumes for 315 00:17:30,600 --> 00:17:35,080 Speaker 1: Jacques Rochepin's Lamonarette and he once again saw the opportunity 316 00:17:35,119 --> 00:17:37,560 Speaker 1: to use the stage as a runway, and he put 317 00:17:37,640 --> 00:17:40,160 Speaker 1: his lampshade two knicks front and center. So even though 318 00:17:40,200 --> 00:17:41,600 Speaker 1: it had been a couple of years at that point, 319 00:17:41,600 --> 00:17:43,600 Speaker 1: those were still very popular and he was still pushing 320 00:17:43,600 --> 00:17:47,240 Speaker 1: them uh, and you know, doing very very well as 321 00:17:47,320 --> 00:17:52,159 Speaker 1: a theatrical designer. But then nineteen fourteen changed everything for 322 00:17:52,200 --> 00:17:54,800 Speaker 1: the House of Quare. He had come to be known 323 00:17:54,840 --> 00:17:58,520 Speaker 1: as La magnifique for his innovative and original creations, but 324 00:17:58,680 --> 00:18:01,959 Speaker 1: World War One by him once again called into military service, 325 00:18:02,280 --> 00:18:05,119 Speaker 1: this time as a military tailor, and he said to 326 00:18:05,240 --> 00:18:09,119 Speaker 1: have streamlined the production of uniforms during that time. But 327 00:18:09,320 --> 00:18:12,680 Speaker 1: because he was busy with his service and wasn't producing 328 00:18:12,680 --> 00:18:16,080 Speaker 1: any new designs, his fashion house was using the handful 329 00:18:16,119 --> 00:18:18,160 Speaker 1: of ideas that he had left behind when he went 330 00:18:18,240 --> 00:18:20,600 Speaker 1: back to the army, so they were kind of just 331 00:18:20,920 --> 00:18:24,640 Speaker 1: recycling this handful of concepts that he had to try 332 00:18:24,640 --> 00:18:26,720 Speaker 1: to push out new stuff, but they really without him 333 00:18:26,720 --> 00:18:30,720 Speaker 1: at the helm a bit of a struggle in while 334 00:18:30,760 --> 00:18:33,320 Speaker 1: he was still serving. He was able to return to 335 00:18:33,400 --> 00:18:36,080 Speaker 1: Paris for a little bit of time to design a 336 00:18:36,080 --> 00:18:40,040 Speaker 1: new collection, but two tragedies struck his family right at 337 00:18:40,040 --> 00:18:43,520 Speaker 1: the same time. His daughter Rosine died after contracting an 338 00:18:43,520 --> 00:18:47,600 Speaker 1: ear infection and his daughter Gaspar died from the Spanish flu. 339 00:18:47,800 --> 00:18:50,800 Speaker 1: The new collection didn't happen because of these two events. 340 00:18:51,359 --> 00:18:54,160 Speaker 1: No new designs came from the Poire brand until after 341 00:18:54,200 --> 00:18:56,960 Speaker 1: the war was over. This was really a turning point 342 00:18:57,119 --> 00:18:59,760 Speaker 1: in Paris life, although it wasn't apparent how much I 343 00:19:00,000 --> 00:19:03,800 Speaker 1: Acted had until later. So once he returned to his 344 00:19:03,840 --> 00:19:06,800 Speaker 1: work in fashion after the war in nineteen nineteen, he 345 00:19:06,880 --> 00:19:09,800 Speaker 1: picked up exactly where he left off, designing these high 346 00:19:09,840 --> 00:19:12,639 Speaker 1: waisted gowns that were inspired by other cultures and that 347 00:19:12,720 --> 00:19:16,080 Speaker 1: featured a lot of dramatic detail. He continued to produce 348 00:19:16,119 --> 00:19:19,040 Speaker 1: his same style of design, but because his aesthetics seemed 349 00:19:19,080 --> 00:19:21,639 Speaker 1: to have really frozen at the period right before he 350 00:19:21,720 --> 00:19:24,119 Speaker 1: left a serve in World War One, his block was 351 00:19:24,200 --> 00:19:27,520 Speaker 1: too outdated. Coco Chanelle had arrived on the scene with 352 00:19:27,520 --> 00:19:31,919 Speaker 1: her Little Black Dress in nine and the overworked theatricality 353 00:19:31,920 --> 00:19:35,719 Speaker 1: of Pire's designs was immediately seen as old fashioned and 354 00:19:35,760 --> 00:19:38,480 Speaker 1: out of mood. So that same year that Chanelle debuted 355 00:19:38,480 --> 00:19:42,239 Speaker 1: the Little Black Dress, ve Pire, who was desperate at 356 00:19:42,240 --> 00:19:45,080 Speaker 1: that point to save his fashion house, sold the rights 357 00:19:45,119 --> 00:19:48,159 Speaker 1: to his company to financial backers. He still worked there, 358 00:19:48,160 --> 00:19:50,959 Speaker 1: but he didn't own it, and his design really struggled. 359 00:19:51,480 --> 00:19:54,280 Speaker 1: He continued to attempt to innovate, but it seemed like 360 00:19:54,320 --> 00:19:57,520 Speaker 1: he didn't have the inspiration, so it was very forced 361 00:19:58,480 --> 00:20:01,440 Speaker 1: and his design when will describe his designs at the time, 362 00:20:01,480 --> 00:20:03,920 Speaker 1: they sound like they're kind of overworked, in a little 363 00:20:03,960 --> 00:20:09,000 Speaker 1: bit lacking uh. And in an effort to rekindle public 364 00:20:09,040 --> 00:20:12,280 Speaker 1: interest in his work because he wasn't bringing in customers, 365 00:20:12,320 --> 00:20:16,720 Speaker 1: he staged this huge spectacle of three decorated barges on 366 00:20:16,760 --> 00:20:20,520 Speaker 1: the banks of the sin for an art Decoratif's exhibits, 367 00:20:21,240 --> 00:20:24,480 Speaker 1: and you know, it was this huge, big event for 368 00:20:24,560 --> 00:20:28,800 Speaker 1: part of his housewear line. But because his theatricality, which 369 00:20:28,800 --> 00:20:31,480 Speaker 1: served him really well in times of plenty, it nearly 370 00:20:31,480 --> 00:20:34,080 Speaker 1: bankrupted him. Went in this period when he didn't have 371 00:20:34,119 --> 00:20:36,200 Speaker 1: that much ready money and it was, you know, a 372 00:20:36,680 --> 00:20:39,800 Speaker 1: period of struggle for the designer. So he couldn't pull 373 00:20:39,840 --> 00:20:42,479 Speaker 1: off those same big, crazy things that he had been 374 00:20:42,480 --> 00:20:45,560 Speaker 1: doing before because it was too expensive and people weren't 375 00:20:45,560 --> 00:20:48,119 Speaker 1: into what he was doing anymore now, especially once you 376 00:20:48,160 --> 00:20:52,159 Speaker 1: get into the twenties and the thirties, people were not 377 00:20:52,320 --> 00:20:58,280 Speaker 1: about extravagance anymore. So this is really a downward turn. 378 00:20:58,400 --> 00:21:01,480 Speaker 1: After then, after twenty three is of marriage, Denise Poire 379 00:21:01,640 --> 00:21:05,520 Speaker 1: filed for divorce in nine, claiming that he was just 380 00:21:05,640 --> 00:21:10,080 Speaker 1: relentlessly cruel to her, and the following year in nineteen 381 00:21:10,119 --> 00:21:12,920 Speaker 1: twenty nine, the backers who had bought the Parre Design 382 00:21:12,960 --> 00:21:16,280 Speaker 1: House just four years before, closed the shop's doors. They 383 00:21:16,280 --> 00:21:18,600 Speaker 1: had already had it with the spending and they knew 384 00:21:18,600 --> 00:21:21,240 Speaker 1: that they couldn't sustain the business, and they sold off 385 00:21:21,280 --> 00:21:25,520 Speaker 1: every asset as scrap, which is sort of heartbreaking, like 386 00:21:25,560 --> 00:21:30,479 Speaker 1: it was literally sold by weight. Sad. It's really upsetting, um, 387 00:21:30,520 --> 00:21:33,679 Speaker 1: But we didn't lose everything. Uh. Parre was also unfortunately 388 00:21:33,680 --> 00:21:35,720 Speaker 1: forced to sell most of his personal assets, so the 389 00:21:35,760 --> 00:21:37,960 Speaker 1: furniture and paintings that he had had in his town 390 00:21:37,960 --> 00:21:40,119 Speaker 1: house at the time were sold off and he had 391 00:21:40,160 --> 00:21:43,399 Speaker 1: to move to a much smaller apartment. At this point, 392 00:21:43,440 --> 00:21:45,919 Speaker 1: he turned to writing for a couple of years. He 393 00:21:46,040 --> 00:21:49,480 Speaker 1: published on Dressing This Age in nineteen thirty and his 394 00:21:49,520 --> 00:21:53,680 Speaker 1: autobiography King of Fashion in nineteen one. The publications didn't 395 00:21:53,680 --> 00:21:56,399 Speaker 1: get him back on his feet, and by nineteen thirty 396 00:21:56,400 --> 00:22:00,600 Speaker 1: three he was designing dresses in department stores Four Housewives. Yeah, 397 00:22:00,680 --> 00:22:02,560 Speaker 1: quite a step back from what he had been doing, 398 00:22:03,119 --> 00:22:06,200 Speaker 1: and by six he was discovered working in a bar. 399 00:22:06,840 --> 00:22:09,440 Speaker 1: But people that talked to him found him as confident 400 00:22:09,440 --> 00:22:11,080 Speaker 1: as ever. He really thought he was going to make 401 00:22:11,119 --> 00:22:16,160 Speaker 1: a comeback in fashion. Paul Parret died in nine in poverty. 402 00:22:16,520 --> 00:22:19,639 Speaker 1: He had been living on public assistance, and Elsa Shipparelli, 403 00:22:19,800 --> 00:22:22,520 Speaker 1: who he had befriended and encouraged when she was young 404 00:22:22,560 --> 00:22:26,040 Speaker 1: and starting out, paid for his burial. And so even 405 00:22:26,080 --> 00:22:28,760 Speaker 1: though it seems that he has a sad ending, it 406 00:22:28,880 --> 00:22:33,840 Speaker 1: kind of turns around later after he's gone for a bit. Uh. 407 00:22:33,880 --> 00:22:37,359 Speaker 1: In May of two thousand five, Denise's wardrobe, which it 408 00:22:37,400 --> 00:22:39,960 Speaker 1: turned out had actually been carefully preserved by the family, 409 00:22:40,080 --> 00:22:42,480 Speaker 1: so thank goodness, it was not sold off in that 410 00:22:42,520 --> 00:22:46,320 Speaker 1: bulk um clear out that the backers had done was 411 00:22:46,359 --> 00:22:50,080 Speaker 1: auctioned off. And when this happened, it suddenly put paris 412 00:22:50,119 --> 00:22:52,840 Speaker 1: designs back in the public eye. And so even though 413 00:22:52,880 --> 00:22:54,800 Speaker 1: he had been marginalized at the end of his life, 414 00:22:54,840 --> 00:22:58,119 Speaker 1: the interest in his work was like instantly reignited. People 415 00:22:58,119 --> 00:23:01,720 Speaker 1: saw these designs and it was like, how did we 416 00:23:01,760 --> 00:23:03,800 Speaker 1: ever forget this person? Like how did we let this 417 00:23:03,880 --> 00:23:07,840 Speaker 1: fall into obscurity. Then in two thousand and seven, the 418 00:23:07,880 --> 00:23:11,000 Speaker 1: exhibit Quire King of Fashion opened at the Met to 419 00:23:11,320 --> 00:23:14,600 Speaker 1: great fan bare in praise. Uh. And while Pari is 420 00:23:14,680 --> 00:23:18,159 Speaker 1: long gone, his impact on fashion still remains. He was, 421 00:23:18,240 --> 00:23:21,080 Speaker 1: of course the first couturier that used draping rather than 422 00:23:21,119 --> 00:23:24,680 Speaker 1: tailoring to create gowns. Uh, you know, freeing women from 423 00:23:24,680 --> 00:23:27,520 Speaker 1: restrictive coursets that have been de rigger up to that point. 424 00:23:28,000 --> 00:23:30,359 Speaker 1: And in fact, you know, in getting rid of all 425 00:23:30,400 --> 00:23:33,600 Speaker 1: of those fussy layers, he just completely changed fashion forever. 426 00:23:33,960 --> 00:23:36,919 Speaker 1: Like now you know, of course garments are draped and 427 00:23:37,359 --> 00:23:39,680 Speaker 1: you know, if you watch Project Runway, you see people 428 00:23:39,680 --> 00:23:41,800 Speaker 1: that do a lot of draping techniques to create these 429 00:23:41,840 --> 00:23:45,159 Speaker 1: really flowing, beautiful gowns. That's still happening, and he was 430 00:23:45,200 --> 00:23:48,520 Speaker 1: the first that really did it commercially. He's also the 431 00:23:48,560 --> 00:23:52,080 Speaker 1: person that debuted the idea of nude stockings instead of 432 00:23:52,119 --> 00:23:56,520 Speaker 1: black tights. Yeah, just quite revolutionary. And now we have 433 00:23:56,560 --> 00:23:58,440 Speaker 1: options for both, but at the time it was black 434 00:23:58,480 --> 00:24:01,240 Speaker 1: tights or nothing. Both are neither both or neither or 435 00:24:01,280 --> 00:24:04,040 Speaker 1: just not having coodrin. And he, as I said, was 436 00:24:04,080 --> 00:24:06,600 Speaker 1: the first designer who really had a brand, so fragrance 437 00:24:06,640 --> 00:24:09,199 Speaker 1: home design lifestyle products. He was doing this in the 438 00:24:09,240 --> 00:24:12,680 Speaker 1: early nineteen hundreds, like what Ralph Laurendos today would never 439 00:24:12,720 --> 00:24:17,280 Speaker 1: have happened without this kind of idea. Sparking and fashion 440 00:24:17,320 --> 00:24:19,879 Speaker 1: marketing was also something that he really pioneered. He was 441 00:24:19,960 --> 00:24:21,720 Speaker 1: a person that was out there doing his own pr 442 00:24:21,800 --> 00:24:25,760 Speaker 1: telling people how great he was promoting his brand, which 443 00:24:25,840 --> 00:24:28,520 Speaker 1: no fashion houses were doing that way at the time. 444 00:24:28,920 --> 00:24:31,639 Speaker 1: Some have said that we would not have the avant 445 00:24:31,680 --> 00:24:34,320 Speaker 1: garde designers of today if there had been no Pore. 446 00:24:35,359 --> 00:24:37,919 Speaker 1: Imagine a world without Jean pil Jean Paul Gautier. I 447 00:24:37,960 --> 00:24:39,600 Speaker 1: think you don't want us to do that. I wouldn't. 448 00:24:39,600 --> 00:24:46,880 Speaker 1: I would cry, I love and pants for ladies. Yes, um, yeah, 449 00:24:47,080 --> 00:24:49,919 Speaker 1: that wasn't really happening Prior to that. There were some 450 00:24:49,960 --> 00:24:53,159 Speaker 1: sporting costumes in late Victorian an early Edwardian era, but 451 00:24:53,520 --> 00:24:55,920 Speaker 1: it usually involved bloomers that were cut a little more 452 00:24:55,960 --> 00:24:59,399 Speaker 1: like pants under a full dress, so you could do 453 00:24:59,520 --> 00:25:02,879 Speaker 1: sporting things and not expose anything, but you still have 454 00:25:03,040 --> 00:25:06,600 Speaker 1: on aajillion layers and yards and yards and yards of fabric. 455 00:25:07,000 --> 00:25:11,159 Speaker 1: So he just completely revolutionized the way we dress. And 456 00:25:11,240 --> 00:25:14,240 Speaker 1: it's sort of interesting because we think today of tour 457 00:25:15,200 --> 00:25:17,639 Speaker 1: um as being other. I think most people on the 458 00:25:17,640 --> 00:25:19,560 Speaker 1: street don't think of that as being, you know, the 459 00:25:19,640 --> 00:25:22,280 Speaker 1: thing that really influences their day to day fashion. But 460 00:25:22,400 --> 00:25:25,159 Speaker 1: he was kind of doing this influencing even though it 461 00:25:25,280 --> 00:25:29,480 Speaker 1: was in more tour circles and it's echoed out you know. 462 00:25:29,560 --> 00:25:33,440 Speaker 1: Since then, it reminds me of Downton Abby And there's 463 00:25:33,480 --> 00:25:39,320 Speaker 1: an episode in which Lady Sybil comes to dinner. Yes, yes, Paul, 464 00:25:41,680 --> 00:25:43,920 Speaker 1: I love, I love, I love his work. I highly 465 00:25:44,000 --> 00:25:48,639 Speaker 1: encourage anybody to um go googling and looking for pictures 466 00:25:48,680 --> 00:25:51,520 Speaker 1: of it, because some of it's just mind blowing. He 467 00:25:51,640 --> 00:25:53,800 Speaker 1: also did do some really really skinny skirts that were 468 00:25:53,800 --> 00:25:55,960 Speaker 1: hard to walk in. Yeah, we won't forgive him of 469 00:25:56,280 --> 00:25:58,600 Speaker 1: we were talking about that earlier. But we have all 470 00:25:58,600 --> 00:26:00,879 Speaker 1: of these getting read of restricted layers and getting rid 471 00:26:00,880 --> 00:26:02,400 Speaker 1: of course it's and getting rid of all these things 472 00:26:02,400 --> 00:26:05,439 Speaker 1: that bind people, and but then having these skirts that 473 00:26:05,480 --> 00:26:09,280 Speaker 1: were so so tight that you couldn't really walk in them. 474 00:26:09,320 --> 00:26:12,239 Speaker 1: I have a theory that is unsubstantiated. I haven't done 475 00:26:12,240 --> 00:26:14,520 Speaker 1: the research to prove or disprove it, but I wonder 476 00:26:14,640 --> 00:26:19,359 Speaker 1: because he was so influenced by Asian cultures such as 477 00:26:19,359 --> 00:26:23,959 Speaker 1: he knew them um And you know, it's considered very 478 00:26:24,080 --> 00:26:27,600 Speaker 1: um much a part of like Geisha culture to take 479 00:26:27,640 --> 00:26:30,400 Speaker 1: the very tiniest steps. It's part of like the delicate 480 00:26:30,400 --> 00:26:32,479 Speaker 1: and graceful way that Geisha move and their shoes are 481 00:26:32,480 --> 00:26:35,040 Speaker 1: actually designed to kind of promote this sort of movement, 482 00:26:35,040 --> 00:26:36,560 Speaker 1: and I wonder if he was trying to mimic that 483 00:26:36,640 --> 00:26:39,879 Speaker 1: a little bit in a more western style. But I 484 00:26:39,920 --> 00:26:43,800 Speaker 1: don't know. I'm I'm just speculating it. I hate skirts 485 00:26:43,840 --> 00:26:46,440 Speaker 1: like that because I am tall lady. I take very 486 00:26:46,520 --> 00:26:50,800 Speaker 1: giant steps all the long, striker. I have two skirts 487 00:26:50,840 --> 00:26:53,040 Speaker 1: that I bought at the same time, not realizing when 488 00:26:53,080 --> 00:26:54,800 Speaker 1: I tried them on that they were going to cause 489 00:26:54,800 --> 00:26:57,359 Speaker 1: me not to be able to do that. I have 490 00:26:57,480 --> 00:26:59,680 Speaker 1: never worn them since getting them home from the store. 491 00:27:00,000 --> 00:27:03,480 Speaker 1: Are you pants or things that don't have a hymn 492 00:27:03,480 --> 00:27:07,000 Speaker 1: that keeps me from walking? There? You go? Do you 493 00:27:07,040 --> 00:27:11,000 Speaker 1: also have listener mail? You know it? Uh? This listener 494 00:27:11,000 --> 00:27:13,800 Speaker 1: mail is from our listener Gotti, and it is so 495 00:27:14,119 --> 00:27:15,840 Speaker 1: cute and it made me giggle so much that I 496 00:27:15,840 --> 00:27:19,560 Speaker 1: had to share it. And Goddy writes, Dear Holly and Tracy. 497 00:27:19,640 --> 00:27:21,919 Speaker 1: Despite being a fourth year art major in college, I 498 00:27:21,920 --> 00:27:24,560 Speaker 1: listened to your podcast while interning in the accounting department 499 00:27:24,560 --> 00:27:27,479 Speaker 1: of a pool equipment wholesale company. That's a little bit 500 00:27:27,480 --> 00:27:30,760 Speaker 1: of a departure from your studies. Yesterday, before work was done, 501 00:27:30,880 --> 00:27:33,800 Speaker 1: I listened to the episode on Marjorie Camp. Great episode. 502 00:27:33,840 --> 00:27:35,840 Speaker 1: She led quite the fascinating life for her time and 503 00:27:35,880 --> 00:27:38,840 Speaker 1: even in a modern context. After listening, I went home 504 00:27:39,000 --> 00:27:40,720 Speaker 1: ate dinner and crashed on my bed. I was so 505 00:27:40,800 --> 00:27:42,600 Speaker 1: tired from the previous nights all night or that I 506 00:27:42,600 --> 00:27:45,320 Speaker 1: didn't even bother changing or turning off the light. Today, 507 00:27:45,359 --> 00:27:47,240 Speaker 1: I woke up in a frantic panic, knowing that I 508 00:27:47,280 --> 00:27:49,640 Speaker 1: had a reading assignment for my eight am British Lit 509 00:27:49,640 --> 00:27:52,240 Speaker 1: class and not enough time to complete it. I pulled 510 00:27:52,280 --> 00:27:54,520 Speaker 1: up my syllabus and found that, much to my delight, 511 00:27:54,560 --> 00:27:57,840 Speaker 1: the reading assignment was Marjorie Camp's autobiography. I went to 512 00:27:57,880 --> 00:28:00,280 Speaker 1: class confident that while I couldn't quote the test, I 513 00:28:00,280 --> 00:28:02,480 Speaker 1: could still engage in the conversation more fully than my 514 00:28:02,520 --> 00:28:05,760 Speaker 1: fellow classmates. Unfortunately, thanks to some delays in class, we 515 00:28:05,800 --> 00:28:08,200 Speaker 1: spend our time finishing up an analysis of the prologue 516 00:28:08,200 --> 00:28:12,120 Speaker 1: of the Canterbury Tales. Thanks anyways, and fingers cross for tomorrow. 517 00:28:12,440 --> 00:28:16,000 Speaker 1: That's so cool. I'm so glad there's some benefit out there. Yeah, 518 00:28:16,080 --> 00:28:19,280 Speaker 1: I'm only sad that they spent it on the prologue 519 00:28:19,400 --> 00:28:22,480 Speaker 1: or Canterbury Tales, only because I think I had to 520 00:28:22,520 --> 00:28:24,760 Speaker 1: read that in college or in high school and then 521 00:28:24,760 --> 00:28:27,640 Speaker 1: in like at least two different college courses, and so 522 00:28:27,680 --> 00:28:30,880 Speaker 1: I just didn't want to hear anymore about the Canterbury 523 00:28:30,880 --> 00:28:33,760 Speaker 1: Tales prologue. There are many, many other parts of the 524 00:28:33,760 --> 00:28:37,359 Speaker 1: Canterbury Tales to read instant. Yeah, the prologue gets studied 525 00:28:37,359 --> 00:28:41,160 Speaker 1: a bunch and with reason, but yes, I think sometimes 526 00:28:41,160 --> 00:28:43,120 Speaker 1: to the exclusion of some of the other really interesting 527 00:28:43,160 --> 00:28:46,080 Speaker 1: parts of it. Yes, three times in an introductory ways 528 00:28:46,480 --> 00:28:49,440 Speaker 1: is too many times for the prolog to the Canterbury Tales. 529 00:28:49,720 --> 00:28:51,680 Speaker 1: If you want, you please don't write to me and 530 00:28:51,800 --> 00:28:53,760 Speaker 1: saying that you've done in depth work on it and 531 00:28:53,760 --> 00:28:55,840 Speaker 1: you're angry. But I'm not saying you don't do that. No, 532 00:28:56,000 --> 00:28:58,800 Speaker 1: it's valid study. But I'm just saying three introductions to 533 00:28:58,840 --> 00:29:03,240 Speaker 1: the Canterbury Tales prolog is too many. Tracy was introduced out. 534 00:29:03,640 --> 00:29:05,520 Speaker 1: If you would like to write to us, you can 535 00:29:05,560 --> 00:29:09,000 Speaker 1: do so at History Podcast at Discovery dot com. You 536 00:29:09,040 --> 00:29:11,000 Speaker 1: can also check in with us on Twitter at Misston 537 00:29:11,120 --> 00:29:14,760 Speaker 1: History or at Facebook dot com slash History class Stuff. 538 00:29:15,160 --> 00:29:18,480 Speaker 1: We're also on Tumbler at Msston History dot tumbler dot com, 539 00:29:18,560 --> 00:29:21,040 Speaker 1: and you can also find us on Pinterest. If you 540 00:29:21,040 --> 00:29:22,880 Speaker 1: want to learn a little bit more about the topic 541 00:29:22,960 --> 00:29:25,480 Speaker 1: we discussed today. You can go to our website and 542 00:29:25,520 --> 00:29:28,080 Speaker 1: type in the words amazing parties in the search bar, 543 00:29:28,440 --> 00:29:30,240 Speaker 1: and you will pull up ten of the most amazing 544 00:29:30,280 --> 00:29:33,760 Speaker 1: parties of all time, which includes Paul Parre's thousand and 545 00:29:33,800 --> 00:29:36,560 Speaker 1: second Night Shindig Awesome. If you would like to learn 546 00:29:36,920 --> 00:29:39,760 Speaker 1: more about that, or about anything else your mind can conjure, 547 00:29:39,840 --> 00:29:41,400 Speaker 1: you can do so at our website, which is how 548 00:29:41,440 --> 00:29:46,800 Speaker 1: Stuff Works dot com. For more on this and thousands 549 00:29:46,800 --> 00:29:59,840 Speaker 1: of other topics, it has to works dot com. Audible 550 00:30:00,000 --> 00:30:03,040 Speaker 1: dot com is the leading provider of downloadable digital audio 551 00:30:03,040 --> 00:30:06,320 Speaker 1: books and spoken word entertainment. Audible has more than one 552 00:30:06,400 --> 00:30:09,120 Speaker 1: hundred thousand titles to choose from to be downloaded to 553 00:30:09,160 --> 00:30:12,600 Speaker 1: your iPod or MP three player. Go to audible podcast 554 00:30:12,680 --> 00:30:15,640 Speaker 1: dot com slash history to get a free audio book 555 00:30:15,680 --> 00:30:17,880 Speaker 1: download of your choice when you sign up today.