Who painted Noix de coco?

Noix de coco was painted by Carven in 1959.

Where can I see Noix de coco?

Noix de coco is held by Palais Galliera - Musée de la Mode de la Ville de Paris.

Artwork

Noix de coco

Carven , 1959

Noix de coco is a drawing by Carven. It dates from 1959 and is held in the collection of the Palais Galliera - Musée de la Mode de la Ville de Paris.

About this work

Overview

The image presents a stylised figure wearing a long, belted coat characterised by a brown‑gray plaid pattern, complemented by sleek, pointed high‑heeled shoes.

Noix de coco, attributed to the French fashion house Carven and dated to around 1959, is a graphic illustration preserved in the Museum of Ethnography. The image presents a stylised figure wearing a long, belted coat characterised by a brown‑gray plaid pattern, complemented by sleek, pointed high‑heeled shoes. A secondary, simplified line drawing depicts the same coat folded flat, emphasizing its construction.

Subject & Meaning

The drawing captures a mid‑century women’s coat as both a wearable garment and a design object. By juxtaposing the dressed figure with the flattened pattern, the work highlights the relationship between fashion as personal attire and as a visual, almost architectural, form. The clean silhouette and restrained palette reflect the era’s move toward functional elegance.

Technique & Style

Executed in ink on paper, the illustration relies on bold contour lines and minimal shading to define texture and volume. The plaid motif is rendered through intersecting strokes, while the folded coat is reduced to a single, fluid line, illustrating Carven’s preference for clarity and precision. The overall aesthetic aligns with the streamlined modernism prevalent in 1950s fashion sketches.

History & Provenance

Created circa 1959, the piece entered the Museum of Ethnography’s collection as part of its broader acquisition of mid‑twentieth‑century fashion artifacts. The artist’s signature, rendered as the brand name Carven, authenticates the work as a product of the house’s design studio rather than an individual illustrator, situating it within the commercial context of post‑war French couture.