Iribe was part of a Parisian, bohemian clique, a cosmopolitan mix of personalities from the world of the arts and elite society.
Notable members were Misia Sert, her husband, Spanish painter, José-Maria Sert, Jean Cocteau and his lover, French actor, Jean Marais, Serge Lifar, a member of the Diaghilev ballet, and couturier, Coco Chanel.
It was a libertine group rife with emotional, and sexual intrigues—all fueled by drug use and abuse.
 The writer Colette harbored an instinctive distrust of Iribe.
She wrote: "he coos like a dove which makes it all the more interesting, because you will find in old texts that demons assume the voice of Venus."
Whenever Iribe approached her in greeting, Colette would demonstrate a mannerism described as a sign of exorcism.
 Iribe’s involvement with Coco Chanel was particularly intense.
Chanel found Iribe’s provocative wit and professional drive matched her own.
Theirs was a romantic liaison, and a bond of like souls who shared the same right-wing politics.
Chanel financed the publication of Iribe’s journal, Le Témoin in the 1930s.
Iribe was part of a Parisian, bohemian clique, a cosmopolitan mix of personalities from the world of the arts and elite society. Notable members were Misia Sert, her husband, Spanish painter, José-Maria Sert, Jean Cocteau and his lover, French actor, Jean Marais, Serge Lifar, a member of the Diaghilev ballet, and couturier, Coco Chanel. It was a libertine group rife with emotional, and sexual intrigues—all fueled by drug use and abuse.  The writer Colette harbored an instinctive distrust of Iribe. She wrote: "he coos like a dove which makes it all the more interesting, because you will find in old texts that demons assume the voice of Venus." Whenever Iribe approached her in greeting, Colette would demonstrate a mannerism described as a sign of exorcism.  Iribe’s involvement with Coco Chanel was particularly intense. Chanel found Iribe’s provocative wit and professional drive matched her own. Theirs was a romantic liaison, and a bond of like souls who shared the same right-wing politics. Chanel financed the publication of Iribe’s journal, Le Témoin in the 1930s.
Paul Iribe