Editing Paul Poiret (section)

==Career expansion==
Poiret established his own house in 1903. In his first years as an independent couturier, he broke with established conventions of dressmaking and subverted other ones.<ref name=":0" /> In 1903, he dismissed the petticoat, and later, in 1906, he did the same with the corset.<ref>{{Cite web|last=Sebakijje|first=Lena|title=Research Guides: Paul Poiret: Topics in Chronicling America: Introduction|url=https://guides.loc.gov/chronicling-america-paul-poiret/introduction|access-date=2020-07-12|website=guides.loc.gov|language=en}}</ref> Poiret made his name with his controversial kimono coat and similar, loose-fitting designs created specifically for an uncorseted, slim figure.<ref name=vogue/>

Poiret designed flamboyant window displays and threw sensational parties to draw attention to his work. His instinct for marketing and branding was unmatched by any other Parisian designer, although the pioneering fashion shows of the British-based [[Lucy, Lady Duff-Gordon|Lucile]] (Lady Duff Gordon) had already attracted tremendous publicity.<ref name="vogue" /> In 1909, he was so famous, [[Margot Asquith]], wife of British prime minister [[H. H. Asquith]], invited him to show his designs at [[10 Downing Street]].<ref name="vogue" /> The cheapest garment at the exhibition was 30 guineas, double the annual salary of a scullery maid.<ref name="vogue" />

[[Jeanne Margaine-Lacroix]] presented wide-legged trousers for women in 1910, some months before Poiret, who took credit for being the first to introduce the style.<ref>{{cite book|last1=Milford-Cottam|first1=Daniel|title=Edwardian fashion|date=2014|publisher=Shire Books|isbn=9780747814047|page=55}}</ref>

Poiret's house expanded to encompass interior decoration and fragrance.<ref name="vogue" /> In 1911, he introduced "Parfums de Rosine," named after his daughter, becoming the first French couturier to launch a signature fragrance, although again the London designer Lucile had preceded him with a range of in-house perfumes as early as 1907.<ref>Mazzeo, Tilar J., ''The Secret of Chanel No. 5'', (2010), p. 26; Bigham, Randy Bryan, ''Lucile – Her Life by Design'' (2012), pp. 46–47.</ref> In 1911 Poiret unveiled "Parfums de Rosine" with a flamboyant soiree held at his palatial home, attended by the cream of Parisian society and the artistic world. Poiret fancifully christened the event "la mille et deuxième nuit" (The Thousand and Second Night), inspired by the fantasy of a sultan's harem.<ref>Mazzeo, Tilar J., ''The Secret of Chanel No. 5'' (2010), p. 25</ref> His gardens were illuminated by lanterns, set with tents, and live, tropical birds. Madame Poiret herself luxuriated in a golden cage. Poiret was the reigning sultan, gifting each guest with a bottle of his new fragrance creation, appropriately named to befit the occasion, "Nuit Persane."  His marketing strategy, played out as entertainment, became the talk of Paris. A second scent debuted in 1912 – "Le Minaret," again emphasizing the harem theme.

In 1911, publisher Lucien Vogel dared photographer [[Edward Steichen]] to promote fashion as a fine art in his work.<ref name=niven>Niven, Penelope (1997). ''Steichen: A Biography''. New York: Clarkson Potter. {{ISBN|0-517-59373-4}}, p. 352</ref> Steichen responded by snapping photos of gowns designed by Poiret, hauntingly backlit and shot at inventive angles.<ref name=niven/> These were published in the April 1911 issue of the magazine ''Art et Décoration''.<ref name=niven/><ref>[https://gallica.bnf.fr/ark:/12148/bpt6k5408692r/f118.item Art et décoration : revue mensuelle d'art moderne, Paris, CMI Publishing (Levallois-Perret), January - June 1911], Gallica, Bibliothèque nationale de France</ref> According to historian Jesse Alexander, the occasion is "now considered to be the first ever modern [[fashion photography]] shoot," in which garments were imaged as much for their artistic quality as their formal appearance.<ref name = "Alexander 2008">Alexander, Jesse, "Edward Steichen: Lives in Photography," ''HotShoe'' magazine, no.151, December/January 2008, pp.66 – 67</ref> A year later, Vogel began his renowned fashion journal [[La Gazette du Bon Ton]], which showcased Poiret's designs, drawn by top illustrators, along with six other leading Paris designers – [[Louise Chéruit]], [[Georges Doeuillet]], [[Jacques Doucet (fashion designer)|Jacques Doucet]], [[Jeanne Paquin]], [[Redfern (couture)|Redfern]], and the House of [[Charles Worth|Worth]]. However, notable couture names were missing from this brilliant assemblage, including such major tastemakers as Lucile, [[Jeanne Lanvin]] and the [[Callot Soeurs]].

In 1911, Poiret launched the Les Parfums de Rosine, a home perfume division, named for his first daughter. [[Henri Alméras]] was employed as a perfumer by Paul Poiret as of 1923,<ref name=chavance>René Chavance. “Alméras ou le parfumeur.” Industrie de la parfumerie. 4.8 Aug. 1949: 299–301. Print.</ref> though certain sources suggest he had worked there since 1914.<ref>Jean Kerléo. “Henri Alméras.” Osmothèque. Institut supérieur international du parfum, de la cosmétique et de l'aromatique alimentaire, Versailles. 4 Feb. 2012. Lecture</ref>

Also in 1911, Poiret launched the Les École Martine, a home decor division of his design house, named for his second daughter. The establishment provided artistically inclined, working-class girls with trade skills and income.

In 1911 Poiret leased part of the property at 109 Rue du Faubourg Saint Honoré to his friend Henri Barbazanges, who opened the [[Galerie Barbazanges]] to exhibit contemporary art.<ref name=Kubisme>{{citation|ref={{harvid|Galerie Barbazanges ... kubisme.info}} |language=nl|url=http://www.kubisme.info/kt271.html |title=Gallery Barbazanges|work=kubisme.info|access-date=2016-01-22}}</ref> The building was beside Poiret's 18th century mansion at 26 Avenue d'Antin.<ref name=KluverCocteau>{{citation |last1=Klüver|first1=Billy|last2=Cocteau|first2=Jean|title=A Day with Picasso |url=https://books.google.com/books?id=SfhxxjUrXKAC&pg=PA91|pages=63–65|date=1999|publisher=MIT Press|isbn=978-0-262-61147-3}}</ref> Poiret reserved the right to hold two exhibitions each year. One of these was ''L'Art Moderne en France'' from 16 to 31 July 1916, organized by [[André Salmon]].<ref name=Kubisme/> Salmon called the exhibition the "Salon d'Antin". Artists included [[Pablo Picasso]], who showed ''[[Les Demoiselles d'Avignon]]'' for the first time, [[Amedeo Modigliani]], [[Moïse Kisling]], [[Manuel Ortiz de Zárate]] and [[Marie Vassilieff]].<ref name=KluverCocteau/> Poiret also arranged concerts of new music at the gallery, often in combination with exhibitions of new art. The 1916 Salon d'Antin included readings of poetry by [[Max Jacob]] and [[Guillaume Apollinaire]], and performances of work by [[Erik Satie]], [[Darius Milhaud]], [[Igor Stravinsky]] and [[Georges Auric]].<ref>{{citation |last=Davis|first=Mary E.|page=104|title=Erik Satie |url=https://books.google.com/books?id=fYvxAQAAQBAJ&pg=PA104|access-date=2016-01-23 |date=2007-06-15|publisher=Reaktion Books|isbn=978-1-86189-602-5}}</ref>