ART DEGO_FASHIONART DEC© FASHION B60 )2 BOOK=COM'Copyright © 2007 The Pepin Press BV All rights reserved. ‘No part of this book may be reproduced or transmitted in any form or by any means without permission in writing from The Pepin Press BV. The Pepin Press PO. Box 10349 001 EH Amsterdam, The Netherlands Tel-+3120.4202021 Fax +3120 420n§2 mail@pepinpress.com www pepinpress.com Concept & cover: Pepin van Roojen Project management, layout and text: Femke van Eijk Image restoration and textile patterns: Kirsten Quast Text editing: The Cambridge Editorial Partnership Translations: LocTeam, Barcelona (Italian, French, Spanish), Das Wort, Straelen (German), Michie Yamakawa, Tokyo (Japanese) ISBN 978 90 54961352 10987654321 207110 09 08 07 Manufactured in SingaporeCONTENTS SOMMAIRE INDICE INHALTSVERZEICHNIS INDICE Ex Introduction in English 6 Introduction en francais 8 Introduzione in italiano 10 Einfhrung auf Deutsch 2 Introduccién en espafol 4 BRI SOR 6 Patterns motifs motivi Muster motivos [itt 393 Free CD-Rom in the inside back cover CARP RAOPBOOR GOLAART DECO FASHION ‘The Art Deco style was named after the Exposition internationale des Arts (Décoratifs et industriels Madernes that was held in Paris in 1925. Art Deco ‘was a dynamic art movement that encompassed architecture, graphic art industrial and interior design, painting and fashion between wgogand 1939. The Art Deco movement was an amalgamation of different styles land included Cubism, Futurism, Modernism, Constructivism, Sauhaus, Wiener Werkstitte and Art Nouveau. Gut curtent styles were not the only souree of influence. The possibilities afforded by travel were increasing and Asia became an important source of inspiration. Archaeological discoveries in the 19205 generated enormous interest in the primitive ‘eultures of Egypt, Afica and Aztec Mexico, The Art Deco movement was rot notable for generating social or politcal statements ther, it was 4 teflection of positive and productive post Wotld War times. Art Deco perfectly combined the old and the utramadern. In 1909, the Russian impresario Serge! Diaghilev established the Ballets fusses in Paris, a company that brought together designers, musicians, choreographers and dancers. The Ballets Russes transformed traditional ballet into a theatrical explosion, combining revolutionary stage sets, ‘extraordinary costumes and experimental chareography. One of the mast famous designers was Léon Sakst, who created the sets and costumes for the Ballets Russes between 1910 and 1914 In 1910, the oriental settings of Rimsk-Korsakov's masterpiece Scheherazade shocked audiences and led toan oriental tend in fashion, Pari, with its extraordinary skils in tailoring and the production of luxurious textiles, has been the capital of fashion since the eighteenth century Local tailors across Europe and North America imitates French fashion. In the nineteenth century, mary fashion magazines became available, making Pars fashion even more accessible. n the first decade of the twentieth century, highly skilled tailors became well-known fashion designers and opened their own Haute Couture houses in Paris where tailored fashion was presented to elite customers. tthe same time, thanks to industrial developments it became easy to mass-produce clothing and so fashion gradually became accessible taal ‘The revolutionary changes in fashion were already set in motion by the tend of the nineteenth century. The crincline (a construction of severa! hhoops worn under the skirt) and the corset (a linen top with several vertical ris that was laced up tightly with a long cord) had dominated women's fashion for decades and had defined the curved shape of 2 woman's silhouette By the end of the nineteenth century, women were spending less time indoors. Outdoor activities required more flexible clothing: the crnoline disappeared, though the corset remained for some occasions. Horse iding, walking and hunting became very popular social pastimes, followed soon after by swimming, tennis, and driving, activities which became acceptable for women. ‘The Fitst World War had an enormousimpact on social structures Women hhad to step into traditionally male professions to replace men fighting, ‘so more comfortable and practical clothes became a necessity By the end (ofthe First World War, the corset had been rejected forever. ‘Anothes important influence in women's fashion was the upsurge of dance. Dance halls were opening in big cities. The Charleston, named after the city of Charleston, in South Carolina (North America), became 'a very popular dance. Women took up The Charleston and danced with ‘great expression, something that was extremely unusual atthe time and The Charleston was therefore considered scandalous and immoral. Between 1911 and 939, the silhouette changed to a narrow straight shape, similar to the Empire style (1795-1820). This sithouette accentuated the bust and intraduced a tubular shape from below the bust to the ankle In the 19205, clothes were accentuated from below the bust, nd this emphasis moved from the waist to below the hips. Skirts and dresses became shorter, with hems moving up from the ankle around 1910 to ‘mid-calf by 919, and a show of leg became publicly acceptable ‘The ideal look changed along with the silhouette. Voluptuousness and soundness went out of fashion and the ideal look was for a more boyish appearance. The hair was cut short in a bob (a straight line below the 13), the bust was flattened and, for the frst time in fashion history, the waist and hips were not accentuated 6 Introduction in English Although the ideal lock was a boyish one, women started to accentuate their femininity in another way Thanks to film and theatre actresses who used cosmetics to enhance their appearance, make-up became fashionable. These changes in look and sthouette gave fashion designers the freedom to experiment. New draping, sewing and seaming techniques ‘were used, Sometimes, tne fabric was cut out and sewn together in away ‘that created geometric patterns of its own. Fashion designers started to Use new luxurious textiles, fur and jersey. New patterns were created in ‘geometrical lines and detals lke beads, feathers, tassels and jewellery ‘were integrated int clothes Accessories usually matched the outfit in colour and/or material. Hats became more round and cloche shaped. Bonnets, asymmetrical hats, and ‘small caps were used to complete the outfit. Scarves and shawis were ‘made of either semi-transparent fabrics oral kinds of fur. The 19205 was the decade of established Haute Couture houses and ready ‘to-wear fashion, Unfortunately the rames we know today are often not the most famous names of the Art Deco fashion period. Coco Chanel and Madeleine Vionnet are the Haute Couture houses that survived. However, less familar names tended to dominate 1920 fashion. English designer Charles Frederick Worth studied tailoring in England and came to Paris in 1845 He opened his fashion house in 1858 and is therefore considered to be the fist Haute Couture designer. His two sons became head of the business and design department. In the 19205, the House of Worth was well known for its use of luxurious fabrics and extravagant timings, Baron Christaff von Orecal, who started his salon in Vienna in 1902, counted among his clientele the ladies of the imperial Viennese court He expanded his business to Pars in 1905, named the house of Drecall, ‘which was run by Monsieur and Madame Besacon de Wagner. in the 19208, the house of Orecoll was famous fr its ultramodern straight look ‘with shart gowns and cloche hats, German fashion designer Gustav Beer opened his atelier in 1905 in Pats He was well nown fo his feminine designs in day and evening wear and Specialised in lingerie. As his success grew, he opened two ateliers —in [Niaza, aly and in Monte Car'o. 192g his house merged with Drecoll to become Drecol-Beer, ‘Maggie Rouff was the daughter of Monsieur and Madame Besacon de Wagner and started her career as a fashion designer at the house of Decal. n 1929, when the House of Orecoll changed into Drecol- Beer, ‘Maggle started her own atelier. She became a mult-talent, combining Haute Couture, ready-to-wear, lingerie, evening wear and sports wear tnder the same roof Her passion was for designing voluminous clothes with scarves, drapes and ruffes. She was a well-loved fashion designer for decades and the house of Maggie Rouff remained open until the ate 19605 Georges Dauillet worked together with Callot Soeurs (Marthe, Marie, Josephine and Regina Callot) before he opened 4s own fashion house in 1900. He was one of the most successful designers of the first two decades ofthe twentieth century famous for his highly detailed dresses with multiple layered cutly hems. Datuillet was one ofthe fist designers toexperiment with the straight silhouette and shorter skirts. When he died in 1929, fashion house merged with Jacques Doucet, to become Dotullet-Doucet. Jacques Doucet’s grandmother was a lace merchant and bonnet seller Doucet’s father expanded the firm with a hat line for men. in 187) Jacques Doucet opened his own atelier in Pars. He used a combination of feathers, sik flowers and ribbons, braid, beadwork, embroidery and lace to complete his designs. He was the first to use rare Venetian lace for complete dresses. the late 1920s Doucet’ designs becarne less popula Although he had an enormous interest in art, he could not change his‘own style and his designs fell out of fashion, Following his death in 1929, his fashion house merged with Georges Dazuillet. Paul Poiret was one of the mast famous designers of the twentieth Century. After his trainee period with Jacques Doucet in the 1890s {and the house of Worth in 1909, he opened his own atelier in Paris in ‘904, His oriental designs were revolutionary. Inspired by East Asia, Art Nouveau and the Ballets Russes, he created fashion never seen before. He promoted ‘lampshade’ tunics over long skits or harem pants, capes, kimono shaped gowns and turbans. With his designs, Poiret introduced sparkling gold, dazzling reds, brilliant greens and royal blues. in 1gh he introduced his own line of fragrances and cosmetics, along with home decorations. His atelier was closed from 1914 to 1918 while he was in the army. He reopened it after the end of the First World War, but he could ever equal his own earlier success. His designs were popular until 1g25, but other fashion designers, inspired by Paul Poiret, became the rising stars of the late 19205, [Nicole Groult was Paul Polrets sister She shared her brother's interest inart and theatre and was influenced by artists in many different fields She married interior designer and artist André Groult.In 1912 American Vogue published an article about her designs and in 1919 she introduced hher designs in the USA Although Paul Poiret achieved more fame, the fashion house of Nicole Groult survived while Paul Poivet was declared bankrupt and had ta clase. Lucien Lelong studied tailoring from 190 to 1913. His father owned his own textile firm and Lucien wanted to set up his own business too. His first attempt failed due to the Fist World War, but his second attempt in 1918 succeeded, He was one of the first designers to expand his line with lingerie and stockings and, although not an innovative designer at the time, he was the pioneer of ready-to-wear designs. He designed ready- made dresses available in his Paris boutique that only needed small adjustments Lucien Lelong kept his status as one ofthe most innovative designers of the 19308 and 19405, and his designs before the Second World War inspired Christian Dior when he created his New Look Jean Patou's father was a leather maker and his uncle ran a fur business. He started working for his uncle in 1907 and five years later opened his fashion house Maison Parry in Pais. The First World War forced Maison Party to close but in 1919 Patou reopened it under his own name. in the early 19208, Patou's Russian style designs were very popular. His greatest innovation was the line of sports wear for which he created light and comfortable sweaters, skirts and blouses. He became inspired by Cubism ‘and Art Deco architecture, showing geometric shapes and patterns in his fabrics and designs. He also became famous for his bathing suits. In 1925, the created a separate corner in his store where whole outfits, complete ‘with accessories, were shown for different activites such as tennis, got ‘or hockey and swimming. Jean Patou was an able promoter of his own designs: he began to show his collections to the press, something that was only presented to a ‘elective group of elite clientele in the past. He was the first designer to brand his clothes with his own initials J and P. The house of Patou survived both World Wars and was responsible for training many of the next generation of talented designers. [Madeleine Cheruit, also known as Madame Wormser, opened her own fashion house in 1906. After the Fist World War, she became known for her heavily ornamented and embroidered evening dresses, In 1925, inspired by Cubism, she created hand: painted dresses with geometrical patterns. She was fascinated by the effect of light on fabrics, and her fascination resulted in the use of luminous taffeta, and glowing lamé Jeanne Vellet was the designer of the house of Martial & Armand. She made evening gowns, capes.and dinner dresses with elegance and fai, She combined jackets, sweaters and skirts in three-piece costumes. Famous vaudeulle and silent film actress Fanny Ward wore Martial & ‘Armand clothes. English designer John Redfern worked as a tallor in the 1850s in Cowes. ‘Around 1881, he expanded his business to London, Paris and later New ‘York and at the end of the nineteenth century started to design yachting, clothes and sport clothes. The house of Redfern became renowned for ‘travelling and yachting suits, and riding costumes. Redfern was a popular brand during the first three decades of the twentieth century but closed its doors around 1929 Philippe Hecht and Gaston Kauffmann founded their fashion house Philippe & Gaston in 1922. Theie success started with evening gowns and dinner dresses richly decorated with beads. Although less is known about ‘their work these days, Philippe & Gaston was a well-respected Haute Couture house at the time. ‘Madame Premet opened her fashion house in xgit.She was frst replaced bby Madame Lefranc and later by Madame Charlotte, the latter guiding the house into the 19208 and making the house of Premet a flour'shin enterprise. Madame Charlotte designed a simple black dress called “La Garonne’ that sold in the millions. Her'gamine look’ was both influential and popular. Madame Margaine-actobs stated her business in Paris in the late pineteenth century and became awel-respected fashion designer during the delle Epoque. Although she designed numerous clothes witha wasp ‘waist and S-shaped sihouettes, she understood that she had to change in the ultramodern times of the 19205. The house of Margaine-Lacroix closed in the ate 19305, ‘Suzanne Talbot was one of the mest famous Haute Couture designers of the 19208. 5he started her own atelier in 1917 in Paris where she combined new shapes together with geometric patterns and new materials. ‘Accessories were an important item in her collections and she combined ‘materials and fabrics to match the clothes. Suzanne Talbot died in the ‘early 1940s, and her fashion house disappeared with he. ‘Madame Agnés was. milliner wholearned her skils from Suzanne Talbot and Caroline Reboux. In the 19208, she was famous for her unusual way ‘of working, shaping the hats by cutting the brims while her customers, ‘wore the hats. She was influenced by Surrealism and gave her creations. a surrealist touch, CAA PoRACP BOOS a en aaLA MODE DE L’ ART DECO Le style art déco tive son nom de Exposition internationale des Arts dco: rotifs et industrels modermes qui se tient a Pars.en 1925 Lar deco est ur "mouvement artistique dynamique qui entre 1909 et 1939, englobe I'ar- chitecture, les arts graphiques, le design d'intérieur et industriel la pein- ture et la mode. Le mouvement at deco est un amaigame de differents styles et comprend le cubisme, le futurisme, le modernisme, le construc: tivisme, le Bahaus, la Wiener Werkstatte et Tart nouveau. Mais les styles ‘contemporains ne sont pas s9 seule source d'influence, Les voyages aug. rmentent les possibilités et [Asie devient une importante source d'ins- Piration, Les découvertes archéologiques des années 1920 générent un Interét énorme pour ia culture primitive de Egypte, de VAfrique et du Mexique aztéque. be mouvement art deco rest pas remarquable pour ‘avoir penéré des déclarations sociales ou politiques, mais est plutot un feflet de Pepoque positive et productive d'aprés la Premiere Guerre mon diale. art déco combine parfaitement ancien et Iultramoderne. En1g09, impresario russe Serge Diaghilev crée les Ballets russes Paris, Lune compagnie qui unit des designers, des musiciens, des choregraphes et des darseurs Les Ballets russes transforment le ballet traditionnel en Lune explosion théatrale combinant des décors de scene revolutionnaites, des costumes extraordinaies et une chorégraphie expérimentale. Lun des designers les plus celébres est Léon Bakst, qui congoit les décors et les costumes pout les Ballets russes entre 1910 et 1914. En 191, le cadre oriental du chef-d'auvre Schehérazade de Rimsk-Korsakov surprend le public et entraine une vague orientale dans ta mode. Laville de Pais, avecson extraordinaire savoir-fare en matierede couture el de production de tisus somptueux, est la capitale de la mode depuis le dix-huitieme siecle. Les tllleurs o'Europe et d'Amérique du Nord imi- ‘tent la mode francaise Audixneuvieme siécie, plusieurs revues de mode sont publiées, rendant la mode de Paris encore plus accessible. Dans la Premiére décennie du vingtiéme siéce, des talleurs hautement quall- ‘és deviennent des couturierscélabres et ouvrent leurs propres maisons ‘de haute couture 3 Paris od les clients de prestige peuvent profiter de la mode personnalisée. Au méme moment, race aux développement in dustrels, il devient facile de produlre en masse les vetementset la mode devient peu 3 peu accessible tous. Les changements révolutionnaires dans la mode s'amorcent déja dés la fin du dix-neuviéme siécle. La crinoline (une armature de baleines et de cercles 'acier portée sous Ia jupe) et le corset (un haut de lin avec plu sieurs baleines verticales qui était lacé serré 2 Taide d'un long cordon) avaient doming la mode féminine durant des décennies et avaient deter rminéla forme en courbes de la silhouette de la ferme. Vers ia fin du dix neuviéme sécle, les femmes passent moins de temps 3 Vintétieur Les activités en plein air nécessitent des vatements plus flexi- bles; a crinoline disparait, mals le corset demeure pour certaines occa sions. Léquitation, la marche et la chasse deviennent des passe-temps {us populaires puis viennent rapidement la nage, le tenniset la condulte ‘automobile, des activités que les femmes peuvent peu peu réalses a Premiere Guerre mondiale a une forte incidence sur les structures so- clales Les femmes doivent occuper des emploistraditionnellement mas- culins pour remplacer les hommes partis la querre des vétements plus Confortables et pratiques deviennient alors une nécessité. A la fin de la Premiere Guerre mondiale, le corset est abandonne pour de bon. Une autre influence importante sur la mode feminine est la recrudes- cence de la danse, Des salles de bal souvrent dans les grandes villes Le charleston, qu tire son nom de Ia ville de Charleston en Caroline du Sud (Amérique du Nord), devient une danse trés populaire. Les femmes i'ndoptent et dansent avec beaucoup dientrain, ce qui était extremement rare a epoque, et le charleston est alors considéré comme scandaleux et contra aux bonnes maeurs, Entre 191 et 1919, la silhouette se transforme et devient étroite et droite, ssemblable 3 cele du style Empire (r795-1820). Fle accentue la poitrine et présente une forme tubulaire entre le dessous du buste et a chevil. Dans les années 1920, les vétements sont accentués par une talle sous la poitrine, cette accentuation se déplace ensuite vers la taille naturelle puis sous les hanches. tes jupes et les robes deviennent plus courtes, eur Fongueur passe de la cheville ves 1910, jusqu’a mi:mollet en 1919, e lest _désorma's acceptable de montrer ses jambes en public. 8 Introduction en francais allure idéale change avec la silhouette. La voluptéet la rondeur ne sont plus ila mode et allure devient plutdt la garconne Les cheveux se por- tent courts et sont coupés aucarté (en ligne droite sous oreile) le buste Saplatitet, pour la premiére fois dans Instore dela mode, a taille et les hhanches ne sont plus accentuces. Bien que Vallure ideale soit a la gargonne, es femmes commencent & accentuer leur féminite autrement. Grace aux acrices de cinéma et de theatre qui se servent de cosmétiques pour aecentuer leut apparence, le maquilage devient ala mode, Ces changements dans Vallure et la sthauette donnent aux couturiers la liberte dexpérimenter. De nouvelles techniques pour draper, coudre et ourler sont utilisées, Parois, le tissu est coupe et cousu ensemble de maniére a ciger des motifs geométiiques originaux. Les couturiers com: imencent utiliser de nouveaux tissus somptueux la Fourrure et le jersey. De nouveaux styles aux formes geometriques sont crées avec des détails ‘els des perles, des plumes, des pompons et des bijoux qui sont integres dans les vetements. Les accessoiees slaccordent avec la couleur et le tissu de lensemble. Les chapeau deviennent plus ronds et en fotme de cloche, Des bonnets, ‘des chapeau asymetriques et des petites casquettes sont utilises pour ‘complete la tenue Les foulards et les écharpes sont fats de tssus semi- transparents ou de toutes sortes de fourrures Les années 1920 voient sétablt les maisons de haute couture et la mode du prét-d-porter. Malheureusement, les noms que nous connaissons aujourd hui ne sont souvent pas les plus celebres de la période de la ‘mode art déco, Coco Chanel et Madeleine Vionnet sont des maisons de hhaute couture qui ont survécu 3 cette épogue. Ce sont cependant des ‘home moins connus qui tendent & dominer Ia mode des années 1926. Le couturier anglais Charles Frederick Worth étudie a confection en An aleterre et arrive a Pars en *845. ll ouvre sa propre maison de mode en 1858 et il est par conséquent considere comme le premier des grands covturiers Ses deux fils prendront la releve, le premier pour seccuper {de la creation, le second pour prendre en charge la gestion des finances. Dans les années 1920, a Maison Worth est teconnue pour son utilisation détoffes somptueuses et de parements extravagants. Le Baron Christoff von Drecoll,qui ouve son salon de couture a Vienne-en 1902, compte parm ses cients les dames de la cour impsériale de Vienne lidéveloppe son affare et s'installe 4 Parisen 3g05,s0us lenom de I ma son Drecol,qui est drigée par Monsieur et Madame Besacon de Wagner. Danses années 1920, la maison Drecol est célébre pour son allure droite Ultramoderne avec des robes courtes et des chapeau cloches. Le couturieralleriand Gustay Beer ouvre son atelier en 1905 & Pais Hest célébre pour ses créations féminines en vétements de jour et robes de soirée et il se specialise dans [a lingerie fine. Comme sa popularité aug- mente, il ouvre deux atelies, un 3 Nizza,en tale et autre 3 Monte-Car JE 1939, +8 maison fusionne avec Drecell pour devenir Drecoll-Beet. ‘Maggle Rouff est la fille de Monsieur et Madame Besacon de Wagner tt elle débute sa carriére de céatrice de mode 3 la maison Drecol. En 1929, lorsque la maison Orecoll devient Drecoll-Reer, Maggie ouvre son propte atelier. Elle a de multiples talents, combinant sous un mame toit Ja haute couture, le prét--porter la lingerie, es tenues de soirée et les vélements pour le sport. Elle se passionne pour la création de véterents volumineux avec des écharpes, des drapes et des dentelles. lle est une Créatrice de mode trés prise durant des décennies et la maison Maggie Rouff reste ouverte jusqui lain des années 1960. Georges Detillet travalle avec les scours Callot (Marthe, Matle, ose phine et Regina Callot) avant d’ouvrir sa propre maison de mode er 1900, i est fun des couturiers les plus réputés des deux premieres décennies du vingtieme siécleconnu pour ses robes fortes en détals, 3 ourlets ondulés multiples. Dovullet est Yun des premiers couturiers 3 expérimenter avec la silhouette droite et les jupes plus courtes, Lorsqu'il meurt en 1929, s2 maison de couture fusionne avec cellede tacques Doucet pour devenir Oeeullet-Ooucet Lagrand mére de Jacques Doueet était commercanteendentelies et bon nets. Le pare de Doucet agrandit entreprise en lancant une collection de chapeaux pour hommes. En 871 Jacques Doucet ouvre son propre atelier 8 aris. combine les plumes, es fleurs et rubans de sole, es galons, les perles causues et fa dentelle pour compieter ses creations. lest le pre Imieraereer des robes entierement faites de rare dentelle venitienne. findes annees 1920, es creations deviennent mains populaires. Bien qu’ aiténormément d'interét pour Fart, est incapable de changer son style et ses creations ne sont plus 3 la mode. Aprés sa mort en 1929, 6a maison fusionne avec celle de Georges Deruillet, Paul Poitet est lun des couturiers les plus célebres du vingtiéme siécle, [Apres une période de formation chez Jacques Doucet dans les années 1890 eta la Maison Worth en 1900, il ouvte son propre atelier a Paris en 1904, Ses creations orientales sont revolutionnaires, Inspire par IExté: ‘me-Orlent, Art nouveau et les Ballets russes, lcrée une mode jamais vue ‘auparavant. Il popularise la tunique « abat-jour » par-dessus une jupe Jongue ou un pantaion oriental bouffant, la cape, la robe kimono et le turban. Avec ses creations, Polret presente or brillant, e rouge ebiouls- sant, le vert éciatant et le bleu royal. En 297, i lance sa propre collection de parfurs et de cosmétiques, ainsi que des articles de décoration inte fieure. Son atelier ferme entre 191g et 1918 lorsquillest envoyé 3 la guerre li teprend ses activités aprés Ia Premitre Guerre mondiate, mais il est Incapable d'atteindre le succes qu'il aalt avant la guerre. Ses créations. sont populaires jusquien 192s, mals ce sont d'autres couturiers inspires par Paul Poet qui deviennent les étolles montantes de afin des années, 1920. [Nicole Groult est la sceur de Paul Poiret. Elle partage les Intéréts de son frere pour art et le thestre et est influeneée par des artistes dans pl: sieurs domalnes. Elle épouse le décorateur et artiste André Groult. En 19u, la revue américaine Vogue publie un articie sur ses eréations de ‘mode et en 1919, elle lance ses creations aux Etats-Unis. Bien que Paul Poltet soit plus célébre, Ia maison de made de Nicole Groult survit alors ue Paul Poiret fat face 8 la ruine et doit cesser ses activités Lucien Lelong étudie la confection de 19111913 Son pre posséde sa pro- pre entreprise de textiles et Lucien veut lu auss lancer sa propre affair. Sa premigre tentative échoue & cause de la Premiere Guerre mondiale, ‘mais sa deuxieme tentative en 1918 est courannée de succes. lest lun ddes premiers couturiers 4 étendre ses eréations Is lingerie et aux bas, fet méme sil fest pas un couturier Innovateur & Fépoque, iLest un des plonniers en matiére de prét.a-porter.I cee des rabes qu'll vend dans sa boutique de Paris et qui ne requierent que des retouches minimes. Lucien Lelong demeure un des couturers les plus innovants des années 1930 et 19go et ses cations avant la Seconde Guerre mondiale inspirent Chris- tan Dior lorsquil crée lew new look », Le pire de Jean Patou travalle le cuir et son oncle dirge une affair de fourrures.licommence a travailler pour son oncle en »907 et cing ans plus tard, louvre sa propre maison de couture 3 Pars, la Maison Parry. La Pre- ‘migte Guerre mondiale force|a Malson Party 3fermer,maisen 199, Patou la rouvre sous son propre nom. Au début des années 1920, les créations de style russe de Patou sont tres populaires. Sa plus grande innovation fest une collection de tenues de sport pour laquelle il crée des pulls, des jupes et des blouses lgéres et confortables. i commence & sinspirer du ‘ubisme et de Farchitecture art déco,affichant des formes et des mats ‘géométriques dans ses tissus et ses creations. Il devient également céle- bre pour ses mailots de bain, En 1925 il aménage un coin de sa boutique 0 il off des ensembles complets avec leurs accessoires pour dverses activités comme le tennis, le golf ou le hockey et la natation. Jean Patou est un habile promoteur de ses propres créations il commence 3 présen- ter ses collections ia press, alors que par le passé. on ne présentait sa collection qu'a un groupe de cients de prestige. lest le premier couturier 4 gniffer ses vetements avec ses propre initials Jet Pa maison Patou ‘survit aux deux Guettes mondiales et est responsable de a formation de plusieurs couturierstalentueux dela génération qui a Suivi. iWWWITAO BOOK ‘Madeleine Cheruit, également connue sous te nom de Madame Worm- Ser, cuvte a propre maison de couture en 1908. Aprés la Premire Guerre mondiale, elle se fait connaitre par ses robes du soir abondamment or nementées et brodées. En 1925, inspirée par le cubisme, elle crée des ro bes peintes la main avee des motifs géométriques. lle est fascinée par Fetfet de lumiere dans les tssus, ce qui acamme résultat utilisation de taffetas brillant et de lames rutlants. Jeanne Vellet est Ia créatrce de fa maison Martial & Armand. Elle pro- ‘duit des robes du sor, des capes et des robes de cocktail avec beaucoup. elegance et dallute tlle combine les vests, les pulls et les jupes dans des tilleur trois piéces La célebreactrice de variétéset ducinéma muet Fanny Watd porta des vetements Martial & Armand, Le couturier anglais John Redfern travaille comme talleur dans les an- Inées 1850 a Cowes, Vers 188, développe son affare a Londres, Paris, et plus tard New York, et 3 la fin du dixneuvidme siecle, commence 3 cer des vétements pour la navigation de plaisance et le sport. La maison Redfern devient célebre pour ses costumes destinés a a navigation et a Faquitation, Redfern est une marque populaire durant les trois premieres décennies du vingtieme sil, mais elle ferme ses portes vers 1929, Philippe Hecht et Gaston Kauffmann fondent la maison Philippe & Gas- ton en 1922, Leur succés commence grace 4 des robes du soir et des robes de cocktail ichement décorées de perles Bien quelle soit mains connue Aaujourd hui, Philippe & Gaston est une malson de haute couture trés res pectée a époque, ‘Madame Premet ouvre sa maison de couture en 191. Elle est dabord remplacée par Madame Lefrane, puis par Madame Charlotte, qui dtige la ‘maison dans les années 1920 et fait de a maison Premet une entreprise florissante. dadame Charlotte crée une robe noire simple appelée « ta Gargonne » qu se ven par milions.Son look « gamine » est tes influent et popular. ‘Madame Margaine-tactoix lance son entreprise 3 Pats 3 la fin du dix: rneuvieme siécle et devient une creatice de mode tres respectée durant 1a Belle Epoque. Bien quelle crée de nombreux vétements 8 taille de gué- peet ala silhouette en, elle comprend quelle doit adapter a 'époque lltramoderne des années 1920. La maison de Margaine-Lacroix ferme a la findes années 1930, Suzanne Talbot est une des plus célabres eréatrices de la haute coutu: te des années 1920. Elle ouvre son propre atelier en 1917 & Pars od elie combine de nouvelles formes avec des motifs géométriques et de nou: ‘eaux materiaux, Les accessoires ont une grande importance dans ses collections et elle combine les materiaux et les tssus pour les assorti aux vétements. Suzanne Talbot meurt au début de 1940 et sa maison de ‘couture disparat avec elle. ‘Madame Agnés est une modiste qul apprend son métier de Suzanne Ta: bot et Caroline Reboux. Dans les années 1920 elle est cblebre pour sa ‘mange peu commune de concevoir les chapeau en entaillant les bords pendant que les clients les portent. Ele est influence parle surréalisme ‘et donne a ses créations une touche surréalise, oO hulosie Arie haaiteme a erls diesART DECO FASHION 0 stile art Déco prende il nome dallExpasition Internationale des Arts Décoratifset industries Modernes, tenuta a Patig nel 1925, Forta tra 1909 € il 1939, /Art Deco é stata una corrente atistica molto dinamica che si estendeva ai campi dellarchitettura, delle arti grafiche, del design Industriale e dl interi, della pittura e della moda. Tale movimento era lun eclettico amalgama di diversi stil, quall il Cubismo, i Futurismo, i ‘Modernismo, il Costruttvisme, ia Bauhaus, la Wiener Werkstatte ¢ Art ‘Nouveau, ma non era influenzato soltanto dagii stil dellepoca. Le cre: ‘sent possbilta di viaggiare dellepoca resero Asia un importante fonte di ispirazione, e le scoperte archeologiche deg ann) Venti suscitarono lun enoeme interesse per le culture primitive delgitt, delfAficae del ‘Messico azteca. i movimento Art Déeo non s distinse per le sue prese dt posizione socal o poiitiene, ma fu piuttosto una manifestazione dello Spirto postive e produttivo del primo dopoguerra, seppe contugare alla perfezione Vantico eIultramaderno. ‘Nel 1908, impresario russo Serge! Diaghilev fondo a Parig Ballets Rus 425, una compagnia che runiva designer, musicst, coreografe balleri. | Ballets Russes trasformarono il baletto tradizionale in un'esplosione ‘teatrale, coniugando scenografierivoluzionarie, straordinari costumi © coreografie sperimentali.Uno dei lato artisti pli famast fu Léon Bakst, autore delle scene e dei costumi dei Gallets Russes ta il1910€ il 1914. Nel 1910, lk scenar orientaleggianti creat peri capolavoro di imskil-Kor- ‘sakoy la Scheherazade, destarono sensazione e imposero una tendenza alorientate nella moda. Grazie alle sue straordinarie risorse nel campo sartorial e della produ lone di tessuti dl usso,Pargi era ia capitale mondiale della moda fn dat XVII secolo, | arti de! resto d'Europa © deilAmerica del Nord imitavano la moda francese. Nel XIX secolo, a diffusione delle rivste di moda rese ancor pit accessbil la moda parigina. Nel prime decennio del XX secolo, ‘arti di alto livello divennera stist ¢aprirono a Parig le proprie Case di Haute Couture, in cul presentavano i loro modellia una clientelaselezio- rata. Al contempo, gi sviluppiteenolagie| emplifcarono Ia produsione Industriaie di massa di capi d'abbiglamento, rendendo la moda sempre plu accessible a tut Alla fine del XiX seco, vi erano gia le premesse per cambiament! tivo luzionari nella moda fernminile. La crinolina (una struttura formata da diversi cerchi che siindossava sotto la gonna) cil corsetto (un busto di tessuto prowvisto di costole vertical che si chiudeva strettamente con un lunge Iaecie) avevano infiuenzato la moda per decenni, defnendo Ia fr ima delle curve della siIhouette femminile Alla fine del XIX secolo,tuttava, le donne trascorrevano meno tempo in casa. Le ativta allaria aperta richiedevano indumenti pi Messi: pet tanto,la crinolina scomparve del tutto, anche se il corsetto resto in uso per alcune accasioni, Uequitazione la caccia¢ le passeggiate a pied di- \ennero passatempi diffusi seguite presto dal nuato, dal tennis © dalla {uida dell automobile attvita che entrarono nell ambitocel socialmente ‘accettabile anche per le donne. La Prima Guerra Mondiale ebbe un impatto dirompente sulle strutture ‘social Le donne erano costette a praticare profession tradizionalmente rmaschil per sostituire gli uomin’ impegnati al fronte,e un abb gliamento pid comodo e pratico divenne una necessita Alla fine del confit, jl cor- fetto era ormial solo un ricordo del passato. Un altro elemento che influenza notevoimente la moda fernminile fu la dliffusione del ballo. Nelle molte sale da ballo che aprivono nelle grandi Gitta si afferm6 il Charleston, che prendeva il nome dalfomonima citta della Carolina del Sud (Stati Unit) Le donne si appassionarono 3 questo balla eul mavimenti eneygici ed espressivi sana estremamente incon sueti per Fepoca, tanto che allinizio il Charleston suscita scandaloe ven- re considerato immoral. Tra ihgn e il 1919, la sithouette degli abiti femminili divenne dirtta & sottle, simile a quella dellepoca dello stile Impero (1795-1820). Questa ‘nuova linea sottolineava il busto, ald sotto del quale diventava tubolare fino allecaviglie. Negli anni Venti comincio ad accentuare la forma de. all abiti nel punto sottostante al busto,e gradualmente enfasi si sposte dalla vita alla zona sotto ai lanchi, Le gonne e | vestit si accorclarono, risalendo dalfaltezza della cavigliaintorno al 310 a meta polpaccio ver- so il 919, e mettere in mostra parte delle gambe divenne socialmente 10 _Introduzione in italiano aceettabile. Il fisieo femminile ideale si modifcd insieme alla silhouette. Le curve ro tonde e voluttuose divennero fuori moda, sosttuite da un look pit: ma scolino. | capeli si portavano alla maschietta, con un tagllo squadrato subito sotto orecchio, iusto s appiatte, per la prima volta nella storia della moda, si smise del tutta di mettere i rsalto la vitae i fanchi Nonostante questo look pid maschile, le donne trovarono comungue I ‘moda di evidenziar la propria femminiita. Grazie alla fama di attic de! cinema e del teatro che si servivana di cosmetici per migliorare il proprio aspetto,truccarsi divenne di moda, ‘Questi cambiamenti neifimmagine ferminile e nella linea degli abiti cffrirono nuove e vaste possiblit di sperimentazione per gi sts. Si mpiegarono cosi nuove tecniche ci drappeggio dei tessutidiconferione e di rifritura. A vote, il tessuto veniva tagiato e cucito in modo che i taglio stesso creasse motiv geometric. Inoltre,sicomincib a usare nuovi, opulent tessuti,insieme alle peliceee ai tessuto di magla Si erearena uovi moti decorativi dalle inee geomettche e si cominciarono a im Dreziosie gli abiti con dettagli come perline, piurne, nappe e gio Dj solito gli accesseri erano coordinati con Fabbigllamento dal punto di vista del colore e/o dei materiale implegato.{ cappelll assunsero linee pid arrotondate o a “cloche" Labbigliamento era integrato da cuffete, Cappelli asimmetrcie berret e si conferionavano sciarpe e foulard di tessutisemitrasparentiodi diversi tp’ di peliccia, Giianni Venti furono i decennio sia delle case i Haute Couture atferma: te, sia del prét-s-porter. Purtroppo, | nomi che oggi conosciamo spesso ‘en cortispondone a quelli pid famosi delfepoca dellArt Déco. Coco Cha ‘el e Madeleine Vionnet sono le sole grandi case di mode soprawvissute fino alfepoca attuale, mentre la moda degli anni Venti € dominata da ‘nomi ogi meno familar Formatosi come sarto i Inghilter‘a lo stillsta inglese Charles Frederick Worth giunse a Pari nel 1845, April suoateierin questacitta nel 858, € viene quindi considerat il primo stilista di Haute Couture. | suoi due Fgh divennero direttori del reparto commerciale e di quello di design. Negl Anni Venti a Maison Worth era nota perl suo impiego di tessut i gran |ussoe di finitur stravagart Barone Christoff von Drecoll, che april suo salone di moda a Vienna nel 1902, vantava tra le sue clienti le dame della corte imperialeaustriaca, Net 1905 apri una filiale parigina, chiamata Maison Drecoll, che era gestita dda Monsieur e Madame Besacon de Wagner Negi anai Vert Ia Maison Drecol si distingueva perl suo look divito ultramoderng, vestiti corte ‘cappella doche. lo stilists tedesco Gustav Beer apr il suo atelier parigine nel 10s. a ‘oto per stoi modeliida giorno e da sera caatterizzat da unaccentuata ‘femminilits,esispecializo in bianchetia intima. Con Faccrescersi del suo successo, ape altri atelier a Nizza, in Italia e a Montecario, Nel 1929, il uo atelier si fuse con la Maison Drecoll,diventando la Maison Drecoll-Beet. Maggie Roulf, fila di Monsieur e Madame Besacon de Wagner, initi® la sua cartier distilista presso ia Maison Drecoll Nel 1929, quando la casa Drecoll divenne la Drecol-Bees, Magaie apr il suo atelier personale. La sua produzione era eclettca,¢ comprendeva Haute Couture, prét-d-por- ‘abit da sera e abbigltamento sporti. |Inome di questa stlistaerale- gato ad abitivolumingsicorvedat da sclarpe, ample pieghe e aricclature. Restd una delle firme pit amate dal pubblico per decenni,ela sua Casa di ‘mode prosegui la sua ativta fino ala fine degli anni Sessanta. Georges Deeullet collabord con le Sorelle Callot (Marthe, Mari, Joséphi- nee Regina Callot prima di apritei suo atelier nel 1900, Uno degli stlsti cdi magaiore successo del primi went'anni del XX secolo, era famoso pert 540 abit ricchi ) dettagh e contraddistinti da ori arricciati multistrat. Drauillet fu uno dei primi stilsti a sperimentare nuovi model dalla si- thouette dritta e dalla gonna pid corta, Alla sua morte, nel1g29, la sua ‘asa di moda si fuse con quella di Jacques Doucet, diventando|a Deell- Jet-Doucet.einen eigenen Modesalon eréffnete. Deuillet war berdhmt fr seine wundervall verzierten Kielder mit mehrlagigen, gekruselten Saumen. Doch er zahite nicht nur 2u den erfolgreichsten Designern der ersten beiden Jahraehnte des ewanzigsten Jahrhunderts, er war auch einer der ersten Modeschépfer, die mit einer geraden Sithouette und kurzeren Rocken experimentierten, Nach seinem Tod im Jahr 1929 fusionierte sein ‘Modehaus mit Jacques Doucet 2u Deeuillet- Doucet. Bereits lacques Doucets Grofmutter handelte mit Spitze und Damenhia- ten -ein Unternehmen, das Doucets Vater um eine Linie fir Hercenhuite ‘erweiterte, 1871 eroffnete Jacques Doucet einen eigenen Salon in Paris. ‘Seine Mode war bekannt fur die Verwendung von Federn, Seidenbiten, Bandetn, Borten, Perlarbeiten, Stickereien und Spitzenbesatz. AuBerdem setzte er als Erster seltene venezianische Spitze 2ur Herstellung ganzer kKleider ein. Ende der zwanziger Jahre des 20. Jahrhunderts sank sein Stern jedoch, und trotz seines groBen interesses fir die Kunst gelang es ihm nicht, seinen Stil zu andern, was seine Mode zunehmend in Verges senheit geraten lie8. Nach seinem Tod im Jahr 1929 fusionierte sein Mo- ‘dehaus mit dem von Georges Dowillet Paul Poirat war einer der berilhmtesten Modeschdpfer des 20. Jahrhun- ‘derts. Nach seiner Lehre bei Jacques Doucet (nach 1890) und im Haus Worth (um 1900) eroffnete er 1904 einen eigenen Salon in Paris. Seine orientalisch angehauchten Kreationen galten als revolution3t:Inspiriert vom Ferren Osten, dem Art Nouveau und den Ballets Russes, entwarf er tine bis dahin nie gesehene Mode mit »Lampenschirms-Tuniken ber angen Rocken oder Haremshosen, mit Capes, kimonoartigen Gewan. dein und Turbanen, AuBerdem fuhrte er glitzernde Gold-, glanzende Rot.,Jeuchtende Grin- und kriftige Blautone in die Mode ein und brach te 1911 seine ejgene Parfim- und Kosmetikmarke sowie eine Kollektion ‘von Heimtextilien auf den Markt. Wahrend Poirets Dienstzet in der fran: osischen Armee (1934 bis 1918) blieb sein Modeateller geschlossen und Bffnete erst nach dem Ende des Ersten Weltkriegs erneut seine Pforten Allerdings konnte der Modedesigner nicht mehr an seine fruheren Erfol- {ge anknipfen, und obwoh! seine Entwarfe bis 1925 auBerst popular blie- ben, entwickelten sich andere, von Paul Poiret insprierte Modeschopfer zu den aufstrebenden Stars der Modewelt gegen Ende der zwanziget Jahre, Paul Poirets Schwvester Nicole Groult, die mit dem Innenarchitekten lund Kanstler André Groult vetheiratet war, tellte das Interesse tres Bruders fur die Kunst- und Theaterwelt und lie8 sich von Kunstler der Lnterschiedlichsten Sereiche inspirieren. im Jahr 1gi2 veroffentiichte die amerikanische Vogue einen Actikel uber ihre Entwiire, und bereits 1919 brachte sie ihre Mode erstmals in die Vereinigten Staaten. Obwohl Paul Poiret beruhmter war als seine Schwester,Konnte sch das Modehaus Ni- cole Groult am Markt behaupten, wahrend Paul Poiret Konkurs anme'- den und schlieBen musste. lucien Lelong absolvierte zwischen 197 und 1913 eine Schneiderlehre, a sein Vater eine eigene Textlfirma besa8, wuchs auch in Lucien der ‘Wunsch nach einem eigenen Unternehmen, Sein erster Versuch schlug aufgrund des Ersten Weltktiegs fehl. doch der zweite Aniauf brachte 1918 den gewanschten Erfolg. Lelong zahlte zu den ersten Modeschopfern, die ‘te Kollektionen um Lingerie und Strumpfmode erweiterten, Obwohl er nicht als besonders innovati galt, war er ein Pionier auf dem Gebiet der Konfektionskleidung: Er entwarf fertig geschnelderte Kieidungssticke, die in seiner Pariser Boutique erhaitich waren und mit wenigen Veran- SEESWW WTA OB OOKICOM 126 | Anon. 1926 | Jean Patou 1926 | Anon. 1926ee ari ecAnnand Alcs tenad eshaatau | Philippe & Gastih Ww + = ie wb ae a ws - CRARRIO-BOOLKGOLDBODSGOLS LAO CAAe Marti 1926 180.309. 3 ie ag aodi on Oe ne ci)VARATAOPBOOD32GOLSugin beating «ar1926 1 Edward WMolynetixterme CRAPO BOLI GOLAVAR OPBON (SOLS‘Anon. 1936 —i ' ce | Spr ys nrstzEts a eed a —_WW WTA OB OOK ICOMME oo 209 EEF — is | He | yMos) + &i IN _ rl] L TV La ha [ ] yn ye266 Anon, 1928© 44 -' A Ss Ry / 928 AN WINDD3 [N\(o af eo yoy7y, B GAVFBOLA CAARTIO-BAECARAUAOPBOOLIRGOLAhay, oh yt ) A aCAA LAOPBOOLS0GELSAS iy) CARP SOPBOOLSGOLSWW WAT AOLB OOK “COM)WWWAT AOE OOKSCOM|NcRedfern 1929CAAATIO*BODRGOQI308 Anon.1938i, sa tee ee Z, LLL a= << SRS SDezuillet-Doucet 1929] a, Si Th Btn) “6 ae : eS imd thee io S meee 336 Drecoll-Beer 192 11929= &WN ore CRARROBOOLZ EQUICARAUAOPBOOLRGOLYVARATAOPBOOLIGOLS 354 Marti1929WWWATAOLB OOK NC OM)CARARAIO-BE|| || \| II \ })\\ yr by A \,ee Betis CAA RAOPBOOUS GOLDCARP RNOPBOOLS OLACARARTAO-BOOMG 364 Martirg20VI \ WWWATA OB OOK =COM|ONS aVAR PLAOPBOOLI EMA.CARPTAOPBOOLILGOLACARP AOP BODENLf / CARP AOPBOOLIGOLSCARAT? BOOKS QCA| | CARARAOPBOOLIGOLA\CARP TAOP BOOKA QABoGOL WAR AUTAOPBOOFrom left to right (LR), top to middle and bottom (FM, 8) ag Sx evening desc made of aieret fbr Be Whitecbredeed dress wth long twisted bon bel Sik pas ais with round Yoke. 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