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Savchenko D.O., Tyurin I.N., Kovaleva O.V., Tkach D.G. [The experience of Poiret’s 1911 ball in shaping the digital immersive exhibition of authorial costume] Journal of Clothing Science, 2026, Vol. 11, No. 1. Available at: https://kostumologiya.ru/PDF/01IVKL126.pdf (in Russian).

The experience of Poiret’s 1911 ball in shaping the digital immersive exhibition of authorial costume

Savchenko Dmitry Olegovich
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
Center for Design and Costume
E-mail: savchenko-do@rguk.ru

Tyurin Igor Nikolaevich
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
E-mail: tyurin-in@rguk.ru
ORCID: https://orcid.org/0009-0008-0407-8880
RSCI: https://elibrary.ru/author_profile.asp?id=456419
SCOPUS: https://www.scopus.com/authid/detail.url?authorId=57202869610

Kovaleva Olga Vladimirovna
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
E-mail: kovaleva-ov@rguk.ru
ORCID: https://orcid.org/0000-0002-1160-5780
RSCI: https://elibrary.ru/author_profile.asp?id=743928

Tkach Dmitry Gennadievich
Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
E-mail: tkach-dg@rguk.ru

Abstract. Paul Poiret’s «A Thousand and Second Nights» ball (1911) is considered a transformative event in fashion history, largely ushering in the evolution of modern fashion show formats and a reimagining of women’s dress. In terms of silhouette and the flow of outer garments, the event marked a shift away from rigid corsets, freeing the woman’s body for more natural movement and breathing. Inspired by «A Thousand and One Nights», Poiret introduced bloomers and her famous lampshade tunic with fluid, free-flowing lines — a replacement for the established, rigid forms of previous decades. His figurative language demonstrated a departure from rigid canons and aligned with the growing feminist movement of the time. In terms of costume exhibition and fashion show direction, Poiret’s evening offered an experience of blending fashion with art, performance, and immersive techniques, transforming the presentation of clothing into a theatrical event with a visual narrative. This approach laid the foundation for a catwalk dramaturgy, in which designers used scenography, music, and choreography to reveal the collection’s message. At the same time, the evening’s orientalist theme sparked discussions about cultural appropriation: the limits of borrowing from non-European aesthetics, the risks of exoticization, and the possibilities of intercultural dialogue in haute couture. This article examines the cultural, artistic, and social impact of the 1911 event, analyzing its long-term impact on fashion show practices, the liberation of women in fashion, and the formation of a cross-cultural aesthetic in haute couture. Poiret’s innovations continue to inspire contemporary designers, making him a key figure in the evolution of the fashion show and in the history of costume.

Keywords: Paul Poiret; 1911 ball; evolution of fashion; orientalism; haute couture; fashion show; women’s emancipation; lampshade tunic; cultural appropriation; theatrical presentation of fashion; immersive fashion experience

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