1917 Parade – projet de costume pour le prestidigitateur chinois Pablo Picasso (1881-1973) Period of creation: 1908-1918

The drawing presents a figure in elaborate theatrical attire, seemingly designed for a stage performance involving a Chinese magician or conjurer. The composition is straightforward: a full-length depiction centered against a plain background, emphasizing the costumes design rather than any narrative scene.
Here we see a stylized representation of clothing, not a realistic portrayal of a person wearing it. The figure itself is largely absent; only a faint outline suggests a body beneath the garments, reducing the individual to a mannequin for showcasing the costume’s details. This deliberate abstraction underscores the theatrical nature of the work and prioritizes the visual impact of the design over naturalistic representation.
The color palette is bold and restricted: predominantly red, yellow, and black. The red dominates the jacket, creating a sense of vibrancy and spectacle. Yellow accents highlight structural elements like the collar and crown, while black provides contrast and defines certain patterns. These colors contribute to an overall impression of exoticism and theatrical grandeur.
The costume itself is a complex layering of motifs. A tall, pointed crown adorned with stylized leaves or flames sits atop the head. The jacket features a prominent central panel decorated with swirling, curvilinear designs that evoke traditional Chinese ornamentation but are rendered in a simplified, almost geometric style. Below this, the trousers display a pattern of alternating stripes and diamond shapes, adding further visual complexity. A long tassel hangs from the collar, suggesting movement and theatrical flair.
The artist’s use of line is significant. Bold outlines define the major forms, while finer lines are used to suggest texture and detail within the patterns. The drawings simplicity – the lack of shading or subtle tonal variations – further emphasizes the decorative nature of the costume.
Subtly, the work hints at a fascination with Eastern cultures prevalent in early 20th-century European artistic circles. However, it’s not an attempt at accurate cultural representation; instead, its a distillation of perceived Chinese aesthetics into a stylized and theatrical form. The simplification and abstraction suggest a degree of distance from the source culture, transforming it into a visual trope for spectacle and exoticism. Ultimately, the drawing functions as a blueprint for a performance – a design intended to evoke wonder and illusion on stage.