Paul Poiret: the Perfume, Part II

Paul Poiret

le Catalogue Publicitaire des Parfums de Rosine (cover and page)

circa 1923

     Of this catalogue’s seventeen featured scents by Poiret, the compositional layout of le Mouchoir de Rosine (right inset) is, in opinion, one of its finest. The columnar arrangement of text and image, as well as the choice of dainty, effeminate typeface, exudes on behalf of the perfume the sense of an unfussy and to-the-point character, fiery red (though discreet) in determination and stature. The perfume’s deep orange casing itself, while unopened, stands tall with prominence and solidity, rather like a miniature Greek pillar fit to leg any great monument heralding a goddess. With its top off, the casing’s base transforms into the gilt pedestal of a wonderfully crafted bud of tissued flame, or indeed a plume of satin petals, inside of which is no doubt wrapped the precious flask of le Mouchoir. Floating to the left of the photograph and its supporting description is a monochromatic illustration of two flower heads, each cleverly mirroring the shape of the blossom-like tissue assemblage in the photograph while also drawing a visual parallel between the catalogue’s cover page (left inset) and those which follow, and therefore allowing a continuous and uninterrupted flow of reading ease. In all, there is a dreamy quality which delicately saturates the pages of this catalogue, whether seen as a whole or, as in this case, seen only by a page. Nearly one hundred years on this quality remains, hovering as a mist over leaves of paper and ink slowly fading with the inevitability of time.

the Wiener Werkstätte: Vally Wieselthier

Vally Wieselthier

Tobacco Box (ceramic)

circa 1922

     This artist’s œuvre is recognised by its long ‘swimming’ figural pieces, sometimes independent in dimensions (such as single elongated female heads) while at other times integrated as reliefs (usually high) on functional objects, such as ash trays and dishes. This tobacco box, by chance, features a low-relief registry of Wieselthier’s lovely pipe-chorkling characters, each floating in its own bubble of two-dimensional existence along with curling trundles of spindly budded foliage. Left unhinged and unfinished within, the box’s lid lifts off completely to reveal a chalky and almost brick-like grainy interior, raw in simplicity. The box’s feet and edges, however, are boldly painted in a simulated watercolour palette of deep runny blues, with the darkest concentration settling, naturally, at the bottom along the undulating and rococo-esque hemline. A definitive part of the Wiener Werkstätte ‘look’, Wieselthier's style defined one of the movement's main supportive pillars with a well-rounded edge of acceptance of the beauty found in willowy dancing figurines.

Freywille Foundations

Michaela Frey Team

Tropic Rosa Parrot Bangle

circa 1976

     Today known as Freywille, this esteemed Austrian jewellery house was originally recognised as ‘Michaela Frey’ or ‘Michaela Frey Team’ between the years 1951 and 1980, headed solely by its founder, Michaela Frey, until her passing away. Her iconic gold, frosted black and enamel bangles, such as this mint piece featuring chirruping blue and yellow parrots, are much sought after today as collectibles of Frey’s unique handling of sophisticated colouring and imagery as well as of the high level of craftsmanship individually exhibited through the structure of her whimsical and often historically-influenced compositions. At one point additionally designing enamelled bangles for Hermès (hence the similarities and resulting confusion), Frey continually expanded her own line of initial and irreplaceable ‘Freywille’ pieces which remain, then and now, as miniature testimonies of inherent class that, if unexpectedly stumbled across in a flee market or boutique, give way to instant happiness to the trained eye.

Thakoon Resort

Thakoon (Panichgul) Resort 2016

Look no. 12 (Iris-print dress)

(2015-16)

     This is, quite simply, a lovely creation fit for the form of a contemporary lady. It embodies every crucial style credential to which many flitting fashions attempt to adhere, but at which they usually fail. Framing the womanly shape (whether of a curvaceous, lean or slim nature) in an easy-on-the-eye, peek-a-boo japonisme-esque screen of irises, this dress dually overlays the seductive with the conservative by way of its smooth contours and pleated light-hearted airy material. It is a piece that may be worn no matter the weather, the occasion or the time of day, with its monochromatic vernacular acting to define it as a garment that undermines any so-called customs dictating which season may or may not call for certain types of clothing, and that instantly veils the body in an edgeless, glowing elegance that even a pair of dulled and dirtied trainers could not detract from. Proudly a piece of the present, this dress is of a quality that not only reigns highly in its current fil, but also in the relentlessly unchanged truth behind true and ageless style.