1909 - 1926

ORIENTALISM

In the summer of 1909 the Ballets Russes (Russian Ballet), the company formed by impresario Sergei Diaghilev, first performed in Paris with great success.

The cut of this evening mantle by the House of Worth is reminiscent of a kimono and shows the enduring influence of Japan. 1909

Shows in other European cities followed over the next 10 years and everywhere the bright colors of the ballet’s sets and costumes made a huge impact — “exotic” feathers such as turbans and harem pants were adapted for fashionable dressing.

While Paul Poiret claimed to have used bright colors before the Ballets Russes, the French couturier, the so-called Pasha of Paris, is most associated with this trend.

Tamara Platnovna Karsavina danced the title role in Igor Stravinsky's ballet The firebird, a huge success when launched in Paris in 1911.

Poiret continued a long tradition of using motifs from Middle Eastern and Asian cultures in Western design that went back at least as far as the Renaissance.

During the 19th century North Africa and Japan were prominent sources of inspiration and continued to be in the 20th century.

Ideas of which countries belonged to the “Orient” changed over time, but they were usually associated with a richer, freer, and more sensuous way of life.

In 1911 Paul Poiret organized a costume party with the theme "The One Thousand and Second Night" to promote his new designs.

HARLEM DANCER

The identity of the women in this 1925 photograph — titled Dancer, taken in Harlem in New York City — is known, but she is wearing a costume similar to a Ballets Russes design.

Dyed ostrich feathers tower over a headdress perhaps in spired by traditional Persian dress.

Other than the baggy pants, her outfit is heavily embroidered with beads and spangles.

1909 - 1926

東方風(fēng)格

1909年夏天，由意大利掌門Sergei Diaghilev組建的芭蕾舞團（俄羅斯芭蕾舞團），在巴黎的初次表演就大獲成功。

接下來的十年間，陸續(xù)在歐洲其他城市演出，芭蕾舞團色彩明亮的造型與服飾帶來轟動影響 -- “異國情調(diào)”羽毛裝飾如頭巾，燈籠褲成為時尚著裝的一部分。

保羅 波烈（Paul Poiret）宣稱在芭蕾舞團之前就經(jīng)常使用明亮色彩，法國的系列（所謂的巴夏在巴黎）與這個潮流最相關(guān)。

波烈在西方設(shè)計中持續(xù)使用悠久傳統(tǒng)的中東與亞洲文化主題，這些主題來源至少可以追溯到文藝復(fù)興時期。

Paul Poiret created one of his best know designs, a tight "hobble" skirt and a lamp shade tunic held out with wire. 1914

十九世紀(jì)的北非與日本是之后二十世紀(jì)的主要靈感來源。

“東方”文化隨時間而變化，但通常它們都與更豐富，更自由，更感性的生活方式相聯(lián)系。

Peggy Guggenheim in Paul Poiret dress

哈萊姆舞女

這張1925年照片中女性的身份，叫“舞者”，拍攝自眾所周知的紐約哈林姆區(qū)，但她的穿著與芭蕾舞團的設(shè)計非常相似。

染色的鴕鳥羽毛安在頭飾上，或許是受到傳統(tǒng)波斯服飾的影響。

除了寬松的褲子以外，她的服飾都是用珠子與亮片加上大量刺繡完成的。