Cuivre was painted by Marie-Louise Carven in 1958.

Where can I see Cuivre?

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

Artwork

Cuivre

Marie-Louise Carven , 1958

Cuivre is a drawing by Marie-Louise Carven. It dates from 1958 and is held in the collection of the Palais Galliera - Musée de la Mode de la Ville de Paris.

About this work

Overview

Created circa 1958 by French designer Marie‑Louise Carven, *Cuivre* is a graphic representation of a woman in a copper‑hued coat. The image belongs to the Museum of Ethnography’s collection and exemplifies Carven’s interest in streamlined, wearable forms that suited petite figures. Its title references the metallic tone that dominates the composition.

Subject & Meaning

The figure is shown from a three‑quarter angle, hands tucked into the coat’s pockets, short hair framing a slightly turned head. The posture conveys a relaxed confidence, while the copper coat, rendered in a single hue, emphasizes both the garment’s materiality and the warmth associated with the metal’s name.

Technique & Style

Carven employs bold, unembellished lines and limits shading, allowing the silhouette to define the form. The monochromatic copper palette unifies the composition, creating a cohesive visual field. This pared‑down approach highlights the garment’s shape and texture rather than decorative detail, reflecting a modernist aesthetic of clarity and economy.

History & Provenance

Founded in 1945, Carven’s fashion house quickly embraced ready‑to‑wear, a rarity among Parisian couturiers of the period. *Cuivre* was produced around 1958, during the designer’s expansion into accessible fashion. The work entered the Museum of Ethnography’s holdings, where it remains part of the institution’s representation of mid‑century fashion illustration.

Context

The late 1950s saw a shift toward practical, lightweight clothing for women, especially those of smaller stature—a niche Carven cultivated. By rendering a copper coat in a simplified drawing, the artist underscores the era’s move away from ornate couture toward functional elegance, aligning with broader post‑war trends in European fashion.