Biography
Born in Normandy, France, Jean Patou was inspired at a young age to enter the world of fashion. His father, Charles Patou, owned a successful business as a tanner (Poland and Tredre 43-44). Despite being inspired by his father’s brilliant use of colorful leathers in book binding, Patou only worked with him for a short time, before striking out on his own (de la Haye). After a few failed ventures as a tailor, Patou succeeded in opening a dress shop in Paris, Maison Parry in 1912. Two years later, just as he was gaining some popularity, thanks to a generous American department store buyer who purchased his entire collection, World War I halted the fashion industry in Paris (Buxbaum). Patou ventured far from Paris and haute couture as a Captain in the French Zouave regiment (de la Haye). He fought for five years and the time he spent at war was said by his closest friends, to have had a profound influence on him (Poland and Tredre 44).
After the war, Patou came back with the confidence and leadership to start the House of Patou on 7 rue st. Florentin in Paris. His closest family members were his sister, Madeleine Patou, who was his first muse and his brother-in-law, Raymond Barbas, who was an important business partner throughout Patou’s career. His collections of 1920 and 1921 represented his worldly influences from his time in the war (Poland and Tredre 44). He drew from Russian influences and his use of scarves as girdles was published in Vogue on October 15, 1921 as one of his signature designs (Fashion: By His Girdles One may Know Jean Patou). Also signature to Patou was his sportswear for women, which was similar to Chanel, though he would never have admitted it. He used jersey, which was originally used for menswear, to design silhouettes that were easier to move in for the more modern and active woman that emerged in the 20’s. Designing for tennis player, Suzanne Lenglen, he set a new scandalous trend, calf-length skirts and a sleeveless cardigan. This new silhouette created a lot of press for Patou inlcuding a spread in Vogue featuring Lenglen ("Fashion: Suzanne Lenglen shows how to Dress for Tennis." Vogue Dec 01 1926). The new trend was called the garconne, which is the boyish slender look of the times (Poland and Tredre 43). He continued to gain success after opening his Coin Des Sports shop where he sold these shorter skirts as well as accessories for a wide range of women’s sports including, swimwear, riding, hunting and fishing (Poland and Tredre 44).
The free mindset of the 20’s influenced Patou from all directions. He saw a need for simple and functional women’s clothing but also saw trends like cubism and art deco as excellent inspirations. Some of his most famous designs were his cubist sweaters. The 1930’s, however, were harsh to Patou like many others. His extravagant lifestyle and love of gambling led to his decline and by 1936 he suffered an apoplectic fit and passed away. His brother-in-law and business partner, Raymond Barbas believed his traumatic experience in WWI was what eventually shortened his life (Poland and Tredre 45). Barbas helped carry on the House of Patou with the help of many designers throughout the 20th century including, Christian Lacroix, Marc Bohen and Karl Lagerfeld (Poland and Tredre 45).
After the war, Patou came back with the confidence and leadership to start the House of Patou on 7 rue st. Florentin in Paris. His closest family members were his sister, Madeleine Patou, who was his first muse and his brother-in-law, Raymond Barbas, who was an important business partner throughout Patou’s career. His collections of 1920 and 1921 represented his worldly influences from his time in the war (Poland and Tredre 44). He drew from Russian influences and his use of scarves as girdles was published in Vogue on October 15, 1921 as one of his signature designs (Fashion: By His Girdles One may Know Jean Patou). Also signature to Patou was his sportswear for women, which was similar to Chanel, though he would never have admitted it. He used jersey, which was originally used for menswear, to design silhouettes that were easier to move in for the more modern and active woman that emerged in the 20’s. Designing for tennis player, Suzanne Lenglen, he set a new scandalous trend, calf-length skirts and a sleeveless cardigan. This new silhouette created a lot of press for Patou inlcuding a spread in Vogue featuring Lenglen ("Fashion: Suzanne Lenglen shows how to Dress for Tennis." Vogue Dec 01 1926). The new trend was called the garconne, which is the boyish slender look of the times (Poland and Tredre 43). He continued to gain success after opening his Coin Des Sports shop where he sold these shorter skirts as well as accessories for a wide range of women’s sports including, swimwear, riding, hunting and fishing (Poland and Tredre 44).
The free mindset of the 20’s influenced Patou from all directions. He saw a need for simple and functional women’s clothing but also saw trends like cubism and art deco as excellent inspirations. Some of his most famous designs were his cubist sweaters. The 1930’s, however, were harsh to Patou like many others. His extravagant lifestyle and love of gambling led to his decline and by 1936 he suffered an apoplectic fit and passed away. His brother-in-law and business partner, Raymond Barbas believed his traumatic experience in WWI was what eventually shortened his life (Poland and Tredre 45). Barbas helped carry on the House of Patou with the help of many designers throughout the 20th century including, Christian Lacroix, Marc Bohen and Karl Lagerfeld (Poland and Tredre 45).
Critical Analyses
The freedom women began to demand during the “Roaring Twenties,” including exercising, showing their legs and sunbathing, created a gap in the fashion industry that Patou knew how to fill (Poland and Tredre 44). It has been said by historians that Patou was known for being a playboy who never married and may have had such a great understanding of the modern woman because he was with so many of them. He objectified them in a way that allowed him to view their needs as well as create designs that appealed to men (Poland and Tredre 43).
Much of Patou’s success came from his boldness in marketing and in his lifestyle, balanced with the simplicity and expert tailoring in his designs (Poland and Tredre 43). He is often “credited as the Inventor of Haute Couture Sportswear (Muller 36).” He created press frenzy when he was the first European designer to bring 6 American models to present his collection in 1924 (Poland and Tredre 44). The twenties were really the beginning of the marketing and advertising industry that we know today. Patou was ahead of his time however, in branding himself by monogramming his garments with JP, in order to protect his designs from knock offs. Creating this signature logo of his initials began a trend that has become essential to marketing campaigns and growing a company brand. His clothing was about status and even though many women who wore his activewear did not exercise in it at all, they got to show off to their friends that they wore JP designs (Poland and Tredre 44).
Patou’s perfume creations were another status symbol that helped to continue his legacy through to the present. His most successful was Joy stated to be “the most expensive scent in the world (Poland and Tredre 45).” Each bottle contained 10,600 jasmine flowers and 336 roses (Poland and Tredre 45). Patou spent much of his career trying to break out of Chanel’s overwhelming shadow. It was stated that in 1929 he premiered a bias cut, white satin, evening gown as a statement to Chanel’s little black dress and said, “I shall fight with all my influence to banish the much too simple little black frock from the ranks of fashionable (Poland and Tredre 45).” He set the trend for the early thirties by lowering the hemline all the way back to the ankle (Poland and Tredre 45). Jean Patou is forever an icon in fashion because of his bold choices and excellent ability to create a sought-after brand.
Much of Patou’s success came from his boldness in marketing and in his lifestyle, balanced with the simplicity and expert tailoring in his designs (Poland and Tredre 43). He is often “credited as the Inventor of Haute Couture Sportswear (Muller 36).” He created press frenzy when he was the first European designer to bring 6 American models to present his collection in 1924 (Poland and Tredre 44). The twenties were really the beginning of the marketing and advertising industry that we know today. Patou was ahead of his time however, in branding himself by monogramming his garments with JP, in order to protect his designs from knock offs. Creating this signature logo of his initials began a trend that has become essential to marketing campaigns and growing a company brand. His clothing was about status and even though many women who wore his activewear did not exercise in it at all, they got to show off to their friends that they wore JP designs (Poland and Tredre 44).
Patou’s perfume creations were another status symbol that helped to continue his legacy through to the present. His most successful was Joy stated to be “the most expensive scent in the world (Poland and Tredre 45).” Each bottle contained 10,600 jasmine flowers and 336 roses (Poland and Tredre 45). Patou spent much of his career trying to break out of Chanel’s overwhelming shadow. It was stated that in 1929 he premiered a bias cut, white satin, evening gown as a statement to Chanel’s little black dress and said, “I shall fight with all my influence to banish the much too simple little black frock from the ranks of fashionable (Poland and Tredre 45).” He set the trend for the early thirties by lowering the hemline all the way back to the ankle (Poland and Tredre 45). Jean Patou is forever an icon in fashion because of his bold choices and excellent ability to create a sought-after brand.
Analyses of Future Trends
Early in his career he was heavily influenced by the era of freedom and opportunity that was the 1920s. He was an innovator of fashion and made contributions to fashion that are still greatly appreciated today. In a Time Magazine special article from April 2, 2012, author, Chris Gayomali states, “But the most enduring part of the French designer's legacy may be his contribution to men's fashion. In the 1920s, Patou created the first designer tie, cutting patterns from silk fabrics historically reserved for women’s wear. His innovation turned the accessory — which before then was more of an afterthought — into a focal point for a man's attire, influencing future tie makers from Christian Dior to Paul Smith (All-time Top Icons).” The breadth of different designs that Patou has influenced is vast. Many designers have carried on the success of his house and in doing so were influenced by his vision, these included Karl Lagerfeld, Marc Bohan and Christian Lacroix.
While Patou has influenced many designers, it is clear that the silhouettes and trends he innovated during his short career have withstood the test of time. Almost a decade after his death, around WWII, Patou’s sports skirts were reinvented for an even more active woman, a baseball player (Skarda). Patou’s sportswear from the decade earlier no doubt influenced these new even shorter and more feminine All-American Girl’s Professional Baseball League uniforms (Skarda). Though the league only lasted during the war, women’s sportswear continued to develop well beyond where Patou started. Today we have an entire industry devoted to women’s active wear, which includes powerhouse companies like Under Armor, Puma and Nike. Patou’s original bathing suit designs are still seen today but are considered tank tops and shorts more than bathing suits (Women's Coldblack® Tank.) Presently, Ralph Lauren has a two piece swimsuit for sale online that has clear influences of Patou, from the full tank to the pleated skirt (Solid Shirred Tubini Top - Sale Swim - RalphLauren.com.)
Patou’s most recognized contributions can still be seen in the professional sport of women’s tennis. In the 20’s he shocked everyone with his designs for Suzanne Lenglen at Wimbledon because her skirt was hemmed to her calf and her cardigan was sleeveless. In comparison to today’s sportswear, the movement of these “scandalously short skirts (Poland and Tredre 43),” were pretty limited, but at the time they meant freedom for more active woman. Woman’s tennis outfits continue to be highly publicized, especially when it comes to the Williams’ sisters. Venus and Serena have become known for their skin baring outfits and seek to be comfortable and sexy on the court (Skarda). Venus even designs her own outfits under the brand, EleVen, and stated after a match, "Lace has never been done before in tennis, and I've been wanting to do it for a long time. The illusion of just having bare skin is definitely for me a lot more beautiful (Skarda)." Patou was the first to shock the tennis world and Venus definitely won’t be the last.
Thanks to the bold fashion designs for the modern woman of the twenties', Patou’s legacy can be appreciated by today’s modern women and designers. He opened the door to a sportswear industry that was just as much about looking incredible and showing off a designer label as was about being comfortable and active.
While Patou has influenced many designers, it is clear that the silhouettes and trends he innovated during his short career have withstood the test of time. Almost a decade after his death, around WWII, Patou’s sports skirts were reinvented for an even more active woman, a baseball player (Skarda). Patou’s sportswear from the decade earlier no doubt influenced these new even shorter and more feminine All-American Girl’s Professional Baseball League uniforms (Skarda). Though the league only lasted during the war, women’s sportswear continued to develop well beyond where Patou started. Today we have an entire industry devoted to women’s active wear, which includes powerhouse companies like Under Armor, Puma and Nike. Patou’s original bathing suit designs are still seen today but are considered tank tops and shorts more than bathing suits (Women's Coldblack® Tank.) Presently, Ralph Lauren has a two piece swimsuit for sale online that has clear influences of Patou, from the full tank to the pleated skirt (Solid Shirred Tubini Top - Sale Swim - RalphLauren.com.)
Patou’s most recognized contributions can still be seen in the professional sport of women’s tennis. In the 20’s he shocked everyone with his designs for Suzanne Lenglen at Wimbledon because her skirt was hemmed to her calf and her cardigan was sleeveless. In comparison to today’s sportswear, the movement of these “scandalously short skirts (Poland and Tredre 43),” were pretty limited, but at the time they meant freedom for more active woman. Woman’s tennis outfits continue to be highly publicized, especially when it comes to the Williams’ sisters. Venus and Serena have become known for their skin baring outfits and seek to be comfortable and sexy on the court (Skarda). Venus even designs her own outfits under the brand, EleVen, and stated after a match, "Lace has never been done before in tennis, and I've been wanting to do it for a long time. The illusion of just having bare skin is definitely for me a lot more beautiful (Skarda)." Patou was the first to shock the tennis world and Venus definitely won’t be the last.
Thanks to the bold fashion designs for the modern woman of the twenties', Patou’s legacy can be appreciated by today’s modern women and designers. He opened the door to a sportswear industry that was just as much about looking incredible and showing off a designer label as was about being comfortable and active.