Before there was Jean Paul Gaultier’s kimono bikinis and Tom Ford’s Gucci line of satin jackets with the cherry blossom embroidery, there was Paul Poiret’s jupes sultan or harem pants. In an article that is now published in Configurations, I locate Poiret’s harem pants and his larger 1911 fashion line at the intersection of modern white feminism, Orientalism, and the Machine Age. Analyzing the design and construction of key pieces in the collection, I show how his harem pants, Mandchou tunics, and hobble skirts are a kind of “machine art” and an early example of wearable virtual technology.
While the loose design of these garments freed European white women from crinolines and corsets and enabled proto-feminist physical and social mobilities, they were also technologies of racial virtuality. Vogue and other women’s and fashion magazines at the time breathlessly described Poiret’s collection as “modern magic”. Wearing his clothes, the magazines promised, would transport the woman from “the dull materialism of the temperate zone to . . . warmth, colour, and perfume in the tropics.” And as you can see from the photo above from an article Vogue ran a few years ago on Poiret’s influence, Poiret and his wife were all too happy to participate in virtual racial play. My article includes some amazing photographs of other pieces in the collection worn by some of the Poirets’ friends.
In some ways, this essay is a “one-off” for me. I don’t usually do this kind of historical research (though it is part of my larger interest in fashion’s virtual technologies) but once I discovered this collection and the “Thousand and Second Night” party he threw to introduce it to the fashion public, I had to write about it. Also, it was maybe the most fun research ever.
The full title of the essay is “Paul Poiret’s Magical Techno-Oriental Fashions (1911): Race, Clothing, and Virtuality in the Machine Age” and it’s in the Winter 2013 issue of Configurations: Journal of the Society for Literature, Science and the Arts 21.1. (Configurations is an academic journal that emphasizes the relationships between the arts and science and technology – very cool reading, this journal.)
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Paul Poiret, not a name oft heard in fashion today. Even as we see long closed houses being resurrected such as Vionnet, no house of Paul? I often used to look at galliano’s work at Dior and think of Poiret and his divine extremism yet now lost in time.
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