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276:. Iribe and DeMille were ideally paired collaborators sharing a penchant for luxury replete with all the entailing visual drama. DeMille allowed Iribe complete creative freedom. In Hollywood, Iribe practiced the same design sensibilities for which he was renowned in Paris. His depiction of Egypt for DeMille's 1923
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where his charming vignettes of the latest modes helped promote the designs of couturiers such as Paul Poiret. The appeal of these illustrations lay in their depiction of stylish women pursuing the everyday activities of an affluent life style. Iribe's design career was a prolific one, contributing
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process, whereby stencils and metal plates are used allowing for colors to be built up and gradually nuanced according to the artist's vision. The fashion plate, in use for some time, was in essence an advertising tool—a piece of artwork used to create desire for the newest clothing looks aimed at
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in the design of extravagant jewelry pieces commissioned by the
International Guild of Diamond Merchants. The collection, executed exclusively in diamonds and platinum, was exhibited for public viewing and drew a large audience; some three thousand attendees were recorded in a one-month period.
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harbored an instinctive distrust of Iribe. She wrote: "he coos like a dove which makes it all the more interesting, because you will find in old texts that demons assume the voice of Venus." Whenever Iribe approached her in greeting, Colette would demonstrate a mannerism described as a sign of
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recognized Iribe's talent and brought him in to create drawings, which would compellingly represent the new models in his collection. These illustrations were later compiled into an album, ”Les Robes de Paul Poiret racontée par Paul Iribe” published in 1908. The book created a controversy, as
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contained art solely by Iribe himself. It was re-figured into a strident platform for aggressive patriotism, an ultra-nationalist voice fueling an irrational fear of foreigners and preaching anti-Semitism. Jews are invariably presented as the stereotypical aggregate of menacing “hook-nosed”
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Iribe's second wife was
Maybelle Hogan, an heiress who had previously been married to Francis C Coppicus, a theatrical and musical manager. They had two children, Pablo (born in 1920) and Maybelle (born 1928). They separated in 1928, as a result of Iribe's involvement with Coco Chanel.
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344:("The Witness"), was published from 1906 to 1910. It was a compendium of social and political satire with artwork by Iribe and contributions by other well-known illustrators of the day. Broadcasting a demonstrable French nationalism, the major illustrations in
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were always executed in three colors, the blue, white and red of the French flag. The back cover was invariably an advertisement for French commerce—boosterism for French made goods and industry. Signing his work “Jim,” a caricature drawn by the then unknown
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debuted on
December 10, 1933, and sixty-nine issues were printed until its demise on June 30, 1935. Iribe's illustrations were prolific, rendered in dark monotones of black and white punctuated by vivid red. Unlike its earlier version, this second run of
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was particularly intense. Chanel found Iribe's provocative wit and professional drive matched her own. Theirs was a romantic liaison, and a bond of like souls who shared the same right-wing politics. Chanel financed the publication of Iribe's journal,
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made a wry observation: “Iribe’s album disgusts mothers.” Contentious opinion, however, fueled a public debate providing Poiret with the publicity that ultimately brought him success. Poiret's success also proved a triumph for Iribe.
508:. In a stage production of “Le Cadet des Courtas" the same year, she wore a piece of jewelry Iribe had designed in 1910, a luxury turban brooch shaped as an aigrette and inlaid with emerald and pearl. They were divorced in 1918.
179:. Their modernist style, informed by both the vitality of the revolutionary art movements of the era, and by the flat planes and minimalism identified with Japanese painting served to revitalize the popularity of the
318:(1927), DeMille assigned Leisen as head designer. Now working with Leisen, Iribe made a serious design error for one of the sets and DeMille let him go. "Iribe left Hollywood without any hope of returning there."
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Iribe was a man prone to anger, shouting matches, and fist fights when contradicted and did not endear himself to colleagues. He engaged in a sustained feud with DeMille's key costume designer,
531:, on September 21, 1935, when he suddenly collapsed and died while playing tennis. Chanel witnessed his death, and felt his loss deeply, grieving over him for a protracted period of time.
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Poiret's design aesthetic promoted clothing with a relaxed line, emphatically denouncing the corseted look so long in vogue as the mandated female silhouette. In “Portraits-Souvenirs,”
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of The United States. In a corollary illustration, her prostrate figure is lying at the feet of a gravedigger readying to bury the grandeur of France; the gravedigger is
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Back in Paris, a consolation prize awaited Iribe. His wife
Maybelle gave him his own design establishment dedicated to the decorative arts located on the fashionable
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Brandeis
University, Brandeis Special Collections Spotlight, The Robert D. Faber University Archives and Special Collections, retrieved, December 5, 2011
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Iribe was part of a
Parisian, bohemian clique, a cosmopolitan mix of personalities from the world of the arts and elite society. Notable members were
171:. His reputation grew, and it was said, “no one could sketch an event more tellingly.” He was one of a talented group of like illustrators including
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an audience of the fashionable and moneyed. Iribe's work is primarily distinguished by the illustrations he executed for style journals such as
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Iribe favored the liberal display of fluid forms, more in concordance with the design elements which were the hallmark of the
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By 1933, friends of Chanel and Iribe were convinced that the two were engaged to be married and that a wedding was imminent.
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movement—poufs, lamé textiles; walls hung with tapestries, and carpeted floors. He was hostile to the new school of
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131:), Jules Jean Iribe (1836–1914). Iribe received his education in Paris. From 1908 to 1910 he studied at the
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In 1924 Iribe was given free rein in a film project for which he was director, set designer and costumer,
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772:, by Raymond Bachollet, Daniel Bordet, Anne-Claude Lelieur. Published by Art Books Intl Ltd, 1984.
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Vaughan, Hal, "Sleeping With The Enemy, Coco Chanel's Secret War," Alfred A> Knopf, 2011, p. 78
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Vaugan, Hal, "Sleeping With the Enemy, Coco Chanel's Secret War," Alfred A. Knopf, 2011, p. 79-80
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magazine, designing fabrics, furniture, rugs and doing interior design work for wealthy clients.
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Vaughan, Hal, "Sleeping With the Enemy, Coco Chanel's Secret War," Alfred A. Knopf, 2011, p. 79
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Vaughan, Hal, "Sleeping With the Enemy, Coco Chanel's Secret War," Alfred A. Knopf, 2011, p. 63
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Vaughan, Hal, "Sleeping With The Enemy, Coco Chanel's Secret War," Alfred A. Knopf, 2011, p. 81
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was not a
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The drawings, political polemics, featured the identifiable likeness of Iribe's lover
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gave it a scathing review, calling the film absurd, and the direction “amateurish.”
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543:, by Paul Iribe. Published by Se trouve a Paris chez Paul Poiret, couturier, 1908.
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and also contributed drawings and caricatures for French satirical papers such as
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Charles-Roux, Edmonde, "Chanel and her world," Hachette-Vendome, 1981, p. 242-243
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At age seventeen Iribe provided illustrations for the popular
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Exposition of 1925: “the alliance between Art and the cube.”
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In 1911, Iribe married actress and variety entertainer
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was well received and brought him instant recognition.
555:, by Paul Iribe. Published by Etablissements Nicolas.
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re-imagined as the iconic symbol of French liberty,
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614:"Chanel Fashion, News, Photos and Videos - Vogue"
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357:In 1910; his likeness of actress
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892:French people of Basque descent
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423:. One such rendering shows
323:Rue du Faubourg Saint-Honoré
235:Association with Paul Poiret
394:Coco Chanel: muse and model
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877:French fashion journalists
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143:Illustrator and designer
139:and the College Rollin.
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268:In 1919 Iribe was in
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193:La Gazette du Bon Ton
119:Early life and career
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429:Neville Chamberlain
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310:Changing Husbands
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489:Coco Chanel
480:Coco Chanel
476:Serge Lifar
472:Jean Marais
415:Coco Chanel
403:Coco Chanel
252:Paul Poiret
245:Paul Poiret
228:Coco Chanel
213:Art Nouveau
113:Coco Chanel
83:Nationality
52:8 June 1883
841:Categories
817:Paul Iribe
803:Paul Iribe
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576:References
468:Misia Sert
409:and patron
387:Le TĂ©moin
162:Le Sourire
109:Paul Iribe
48:1883-06-08
23:Paul Iribe
619:August 3,
527:, on the
500:Marriages
494:Le TĂ©moin
382:Le TĂ©moin
374:Le TĂ©moin
365:1933–1935
355:Le TĂ©moin
346:Le TĂ©moin
342:Le TĂ©moin
336:1906–1910
330:Le TĂ©moin
291:starring
270:Hollywood
264:Hollywood
125:AngoulĂŞme
56:AngoulĂŞme
738:July 30,
525:La Pausa
425:Marianne
420:Marianne
221:Art Deco
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58:, France
484:Colette
186:pochoir
156:Le Rire
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87:French
535:Works
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129:BĂ©arn
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407:muse
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