Documente Academic
Documente Profesional
Documente Cultură
95
$29.95 in Canada
0603
ART DECO FASHION
h I
ART DECO
FASHION
SUZANNE LUSSIER
BULFINCH PRESS
AOL Time Warner Book Group
Boston • New N •
Copyright © 2003 by The Board of Trustees of
Designed by Broadbase
Ville de Paris.
Printed in Singapore
CONTENTS
6 Introduction 52 Sportswear
18 Daywear 69 Shoes
22 Exoticism 70 Make-up
26 Evening Wear 74 Hair
46 Natalia Goncharova
48 Sonia Delaunay
ART DECO FASHION
NTRODUCTION
The Ballets Russes. .[and] . Leon Bakst give an exotic Constructivists in Russia. Meanwhile the Ballets
touch to the dresses of the Parisians, displaying Russes were founded in Russia by Sergei Diaghilev
slightly Cubist motifs in which feature fragments of who, wanting to rejuvenate ballet by introducing
broken mirrors and huge sequins, all of which recall exotic themes, sets and costumes, employed artists
the oriental bazaars.' This comment from the March and musicians from the international avant-garde.
1 924 issue of the Paris fashion magazine Art, Gout, Too unconventional for the conservative Russian
Beaute sums up in a few words the fashion of the public, the Ballets Russes moved to an ecstatic
1 920s: a unique combination of exoticism and reception in Paris in 1 909, a moment which histori-
modernity, which was at the core of the Art Deco ans mark as the catalyst of the Art Deco period.
movement. Pivotal in the development of Art Deco, the Ballets
The term Art Deco was employed for the first time Russes imbued fashion with its colourful and volup-
in 1 968 by the author Bevis Hillier. It identifies an tuous aesthetic through the genius of fashion
aesthetic in vogue between 1 909 and 939 which1 designer Paul Poiret; its influence in fashion would
was adopted in architecture, the decorative arts, be felt well into the 1 920s. Diaghilev s dance
textiles and fashion; it also influenced the fine arts, company would trigger a long-lasting vogue for
film and photography. Art Deco displayed stylized exoticism in dress and the use of luxurious materials,
motifs and shapes borrowed from national tradi- a vogue strengthened by the arrival in Paris of
tions, folk art and ancient cultures, and was strongly Russian emigres like Natalia Goncharova, and the
ideas; ballet, theatre, fashion illustration and cinema The first fashion designer to em:
the ethos of An Deco was
1
Paul Poiret.
also offered arenas for artistic expression which,
His artistic flair, coupled with his
ultimately, would influence mainstream fashion.
remarkable and highly individual cutting
The emancipation of women and the general skills, enabled him to translate the
liberalism that prevailed in the 1 920s were central to spirit of the period into revolutionary
the development of the Art Deco style. The growing garments. The sources of his inspiration
With freedom of movement a priority, designers such in the simplicity of Eastern garments
as Jean Patou, Madeleine Vionnet and Gabrielle that ultimately led him to establish the
foundations of modern fashion.
Chanel created the first real style for the modern
In 1908, when modernized
woman. Although there was a lively fashion industry
Directoire furniture was all the rage in
in Britain and the US, Paris remained the fashion
Paris, Poiret designed a collection of
capital of the world, and less famous but significant dresses inspired by the elegarr-
designers such as Lucien Lelong, Drecoll, Doucet, the First Empire. These high-waisted,
c.1911.
POIRET
towards the straighter silhouettes of costumes that bore all the hallmarks of
the coming decade. The Directoire the Art Deco movement. Their impact
dresses encapsulated the spirit of on the wider world of the arts, and
early Art Deco: his designs displayed especially on fashion, was instrumental
bright, acidic hues and used strong in pointing the way to more
juxtapositions of motifs, details and comfortable and colourful clothes.
combining stylized floral devices and techniques led Poiret away from the
geometric lines. This first major heavily ornate dresses of Art Nouveau
collection was immortalized by Paul to the linearity of Art Deco fashion.
Iribe in the album Les robes de Paul A white satin dress, made for Madame
'
Poiret (1908). Its daring design and Poiret for their visit to Berlin in 1911,
Japanese look launched a new style proved even more revolutionary than
in fashion illustration. the Directoire dresses. Consisting of a
One year later, the Ballets Russes hit pure, simple rectangle of white satin,
Paris like a storm. The public was it was the avant-garde prototype of
new avenues of exploration for the A yellow and black wool mantle
artists and designers of the Art Deco designed in 1913 illustrates how
movement, and for Paul Poiret in Poiret was able to combine with rare
particular. It inspired him to create the harmony the bold colours of Fauvism,
'sultan' style, loosely derived from the vision of Cubism and the exoticism
ankle, and worn under a short or long shoulders and joined on one side with
the first perfume and make-up shop, a costume for her banana
dance', c. 1926.
gallery, and a printing workshop,
Hubon - rjes
where he employed the painter Raoul
modernity.
THE 1920S 1 3
THE 1920s
7 IEFT
French, 1926.
V&A: T.342-1974. © ADAGP, Paris and DACS,
London 2002.
8 RIGHT
LONGCRMP (II)
Q
Elk
4 ,_ DemilUl
jj. .Vmriial el
Jrmsmi.
;i ct jx JtMty. >6 it y~. CbcrUll- ;& Premcl.
yy Bar. -,4. If'trtb.
Et. .<>.» -« *
Garth da Boa To*. —W S-f.
9 ABOVE
Longchamp (II j. La Gazette du bon ton, Boue Sceurs. Photo Seeberger no. 1 29,
10 -
LAN VI
PARIS
et I'enfant: Patrimoine Lanvin.
tfa
tf>-
5U
3g «*
ART DECO FASHION
DAYWEAR
12
Illustration, 1925, from Art, Gout, Beaute
From The Golden Age of Style by Julian
War because of rationing, dresses on the hips and thighs, flared slightly
to 1 923, then rose to the knee until A more urban lifestyle demanded
1 928 when the designer Jean Patou comfortable and practical fab'
dropped the hems first from the back, such as jersey, mohair, gabarc
then on the sides. At the end of the alpaca, kasha - a soft, silky fabric
decade, the hems were down again. made of wool mixed with goat's hair -
and leaner silhouette, which was buttons, belts and double seams, all
saw shapeless dresses as limiting, and very straight and simple suits and
the women who wore them and found dresses. Brooches, buckles and clips
the designers had triumphed, and were worn on lapels, shoes, hats
14
Volants et fronces. French Vogue,
April 1929, p 23.
15-
Day dress. Printed chiffon.
La Samaritaine, 1929.
1964.
16
Auteuil grand steeple-chase.
Photo Seeberger, 1 7 June 1 928.
DAYWEAR 2
ART DECO FASHION
EXOTICISM
motifs.
pyjamas, or embroidered on
expensive dance dresses. Daywear 17
ensembles made of Chinese printed Myrbor, coat. White wool embroidered with
gold thread. French, c. 1925.
silks were designed by the ever-exotic
20
La Gazette du bon ton, no. 2, 1 922,
sketch XII.
21
Adieu! Evening coat by Worth. La Gazette
du bon ton, no. 4, 1 921 ,
plate 28.
EXOTICISM 25
of the 1920s.
By 1 925, the style had changed,
and fanciful, exotic elements were
discarded. Russian folk art was no
longer in vogue and had to give way
to sportswear and new, more sober,
Cubist styles.
:
EVENING WEAR
Night-life became the focus for post- Feathers, boas, layers and fringes
war exuberance and gave birth to the were added to accentuate movement.
most glamorous evening fashion of the More daring women wore hand-
new century. Throughout the 1 920s, painted silk pyjamas, with brocade
and in spite of the changing fashions, shawls or Indian gowns.
the legacy of the Ballets Russes Sleeveless gowns and the vogue for
remained evident in the exoticism and African art triggered a fashion for
luxury of the evening gowns and brace ets often worn high up
mantles, especially in the continuing on the arm. Ankle chains and long
use of shiny fabrics, sashes and strings of cultured pearls
^
EVENING WEAR 27
tm
SB
H
1
ill
EVENING WEAR 29
25 FAR LEFT
26 CENTRE LEFT
27 LEFT
28 RIGHT
Beaded dance dress (detail). French, 1 925.
V&A Grc 14- 1969
V !/
EVENING WEAR
31 BELOW
Cover for Art, Gout, Beaute:
29 OPPOSITE
in shades.
The 1 920s saw the triumph of two silhouette began to adopt pleats and
women in haute couture, Madeleine godets, designers started to use
Vionnet and Gabrielle Chanel. In Vionnet's bias cut, and shorter skirts
their own different ways, they both were now displaying her handkerchief
launched a new style for the modern points. During this time she designed
woman, Vionnet with a cut, Chanel her famous blouson dress, tied around
with a style. Freedom and movement the hips into a front bow.
were pivotal to their designs. Differing slightly from the current
the potential of its drape. She also however, extremely modern and
investigated the possibilities offered by sophisticated. Unlike the work of other
Japanese dress and the art of origami. fashion designers of the period, her
In the early 1 920s, she tried to cut a forays into modernity did not borrow
whole dress in the bias of the fabric, features from men's clothing, but
a technique until then only used for instead focused on the curves and
collars and flounces. Not only did forms of the female body.
the dress fit better, but it also fitted Often compared to Cubist sculpture,
differently. Bias-cut dresses soon Vionnet's designs were superbly
became her trademark. illustrated by the Futurist artist Ernesto
intensively with the fabrics, often letting supreme throughout the decade.
them dictate the shape or the effect.
J?
\
\
*N
y
34 RIGHT
\
V •
VIONNET 35
35 LEFT 36 kBOVE
Mf \
ART DECO FASHION
CHANEL
traditional motifs.
38 LEFT
39 RIGHT
French, 1 922.
V&A T 86- 1 974
H
.•'
-
it
/
-
i
id
- -1 '
-
'
I89
W$?0 "
yw
CHANEL 39
40
Chanel wearing costume
jewellery, 1 928
41
Chanel, day ensemble Black
wool jersey and silk satin
French, 1926
40 ART DECO FASHION
development of Art Deco fashion. and small stylized flowers. At the end
Directly involved in the design of of the 1 920s, patterns were applied
textiles and dress, or providing with stencils and fine spray jets, a
inspiration and ideas, they imbued technique derived from avant-garde
contemporary dress with a distinctly painting. The artists of the Wiener
modern and decorative identity.
Werkstatte did not innovate in the
Influenced by the ideas of the English sense that had a strong influence on
the synthesis of art and the design of In contrast to the Wiener Werkstatte,
everyday objects. The concept rapidly the Russian and Italian avant-garde
spread throughout Europe, and the based their involvement with fashion
r- ..,
'^^^w^mp^,**
ART DECO FASHION
43
Edward Steichen, photograph
of Madame Agnes, 1 925. From
In Vogue: 60 years of fashion
and celebrity from British Vogue
by Georgina Howell (Penguin,
London, 1978), p. 55.
44'
Fortunato Depero, waistcoat.
Woollen twill. Italian, 1923.
From Europe 191 0-1 939: Quand
I'art habillait le vetement by
Valerie Guillaume (Palais Galliera,
Paris, 1997), p. 38.
THE AVANT-GARDE 4
Like the Dadaists, the Futurists eventually became all-consuming, seams and zips, and by contrasting
worked with unusual fabrics and however, and they stopped producing colours and materials.
challenging shapes: ties made of fashion designs on the eve of the Soon, Stepanova and Popova
celluloid, wood or metal, asymmetrical Second World War. Nevertheless started to design their own fabrics.
shoes, trapezoidal bags, hats with their influence on fashion designed by Based on the straight line and the
incorporated radio headphones. the international avant-garde was circle, their designs featured huge
Their materials and techniques even — ense graphic elements which v\
as embroidery and collages of The Russian avant-garde started Rodchenko explored the concept of
geometrical and floral forms. In their designing textiles and dress for the the overall, in which he saw the
Manifesto for Women's Futurist Fashion country's elite around 1915; after epitome of ihe working-class dress.
( 1 920), they advocated the use of the Revolution costume became a For maximum functional,
paper, glass, aluminium, plants and symbol of new egalitarian values, designed it with detachable pockets
even live animals. as well as a powerful tool for social and sleeves. Stepanova applies
Like mobile works of art, the Futurists cohesion. The painters Popova, concept to sportswear, and added
enjoyed parading their clothes in the Rodchenko and Stepanova, adherents interchangeable coloured elerr^
streets of Florence, in a self-promoting of the newly formed Constructivist Their work was displayed at the
and provocative gesture. Their movement, decided to devote their 1 925 Exposition Internationale des
involvement with fashion was always work to the design of the new Arts Decoratifs et Industriels Mcc
explained in manifestos, mainly poetic Russian dress. in Paris, before an amazed audience.
and Utopian. The movement became Stepanova and Popova worked on However, their lack of experience in
increasingly nationalistic as Fascism the simplification of the dress. The the textiles industry forced them to stop
and the War hit Italy, and Futurism, use of boldly coloured geometric designing clothes shortly afterwards.
Natalia Goncharova
Natalia Goncharova had a iong stylist in her own right. Driven by her
her work with the avant-garde. Like she experimented with distorted,
many Russian refugees in Paris, she brightly coloured forms, which she
Between 1922 and 1926, Natalia of Russian folk art and Byzantine
worked for the House of Myrbor, mosaics was evident not only in her
owned by the Italian Marie Cuttoli. costumes for the Ballets Russes but
I
K
I
-
48 ART DECO FASHION
Sonia Delaunay
Ukrainian-born Sonia Terk left St
with the couturier Jacques Heim, hiring eclipsing all the other designers at the and included African, Oriental, Slavic,
Russian women to embroider fabrics to event. At the 1 925 Paris Exhibition antique and archaic motifs and
her designs. Sonia began to produce she displayed dresses, coats, hats, colours. Like the Constructivists Popova
her first embroidered coats, executed handbags, umbrellas and curtains in and Stepanova, Delaunay wanted to
in the 'point du jour' which she her 'Boutique simultanee', which express dynamism through the
developed from the traditional 'point became the focus of the whole juxtaposition of elementary forms in
de Hongrie', using wools or silks in exhibition. Her career was launched. contrasting colours. A known adept of
THE AVANT-GARDE 49
visual effects.
49 USOVE
Sonia Delaunay, jacket. Cotton,
50 RIGHT
51 FAR RIGHT
p. 103.
© l&M Services B.V Amsterdam 20021 105.
ART DECO FASHION '
\
SPORTSWEAR
The 1 920s saw the emergence of the tennis star Suzanne Lenglen to
Ballets Russes had already proved that and this had a strong influence on the
movement and elegance could be modernization of daywear fashion.
compatible, paving the way for a Dressed by Patou on the court as well
more comfortable fashion. as in town, Lenglen became the first
Fleeing the War in the seaside sports icon to promote a fashion label.
they needed freer, more comfortable experiments with cut and design.
yet elegant clothes. Jean Patou would Sonia Delaunay produced brightly
be the first designer to transcribe this embroidered beachwear, easily
new spirit into fashion: by combining recognizable in glamorous resorts
jersey with the strict lines of wartime because of its colour schemes and
clothes, he created the first stylish level of abstraction. Her astonishing
sportswear. Patou found in Chanel a Cubist designs influenced all the
English, c. 1925.
ensembles for beach and mountain,
but perhaps his most renowned design
53 • -!<3HT
was the all-white ensemble with the Suzanne Lenglen. Wimbledon July 1 922.
bright orange bandeau he created for
SPORTSWEAR
I
54 ART DECO FASHION
54 RIGHT
55
Petit gamin, crepe de Chine sports outfit
56
French sports costumes for the smart
spectator. British Vogue, early July 1 926
NAl
56 ART DECO FASHION
57
Just between the Parisienne and her frock.
UNDERWEAR
61
Le Monnier, beret. L'Art et la Mode, no. 1
January 1 921
62
Egyptian' hat. L'Art et la Mode, no. 1,
January 1 921
63
Kokoshnik. L'Art et la Mode, no. 1
May 1925.
HATS 5 ;
HATS
Paul Poiret - 'who hated hair' - put on, the points of the bicorne were
women in turbans and classical attached to the front or the sides of the
bandeaux, setting a trend for hugging crown, to suit the fashion for small and
headdresses and totally concealed more streamlined hats.
fashion. Wider hats were still worn for millinery than in dress: milliners created
a more feminine look, but they started hats inspired by Chinese toques,
to display a square and deep crown. Oriental turbans, Turkish, Egyptian and
Worn very low on the forehead, they Russian headdresses, such as the
who covered them with black veils, and reinterpreted by all the French
adopted for daywear by sophisticated gave its shape to the legendary tiara of
women. In 1920, following the the 1 920s, worn for balls, weddings,
general trend for asymmetrical hats, state and evening functions. The
the bicornes and tricornes began to kokoshnik was highly dramatic. Worn
evolve into the most extravagant low on the forehead, it drew attention
soft draped fabrics, showing aigle). The kokoshnik was also sewn
elongated and crooked points, on to turbans, toques and
•
covered with rich embroideries, tulle, The combination <
64 RIGHT
Mannequin, French. Cloche hat made by
Kilpin Ltd. Pink straw with applique trim
British, c.1925.
*
HATS 6
was often seen in 1 920s millinery, women. Made of felt, and gripping
especially in the creations of Madeleine the head tightly, the 'casque was
Panizon, Caroline Reboux and also made of lame or beaded net
65 BELOW Madame Agnes, who approached for evening-wear.
'1916'. From In Vogue: 60 years of millinery as sculpture. Madame Agnes, Alongside smaller hats, broad-
fashion and celebrity from British
herself an avant-garde fashion icon, brimmed, more romantic-looking hats
Vogue by Georgina Howell (Penguin,
London, 1978), p. 20. collaborated with Fernand Leger, ['capelines') were worn with light
NAL. Mondrian and the lacquer artist summer dresses or at the beach.
the 1 920s. It was already being worn A classic children's headdress since
in 1916, with its characteristic deep the beginning of the century, the
crown and small brim. Pulled down Basque beret was picked up in the
67 RIGHT
68 LEFT
69 RIGHT
: _e nationale de France
ART DECO FASHION
BAGS
too bulky.
For the :: : : :
-
ette
70 .:
Cylindrical purse made by J. AC. Black
lacquer and diamante. British, 1929.
71
Green felt bag with Egyptian motifs, gold
purse. English, c. 1920.
BAGS 6;
^^
W*
~r$ii? "' \*„ ^f •.
s
'
v.
'
-v.^ /
1
SHOES 69
led to the creation of colourful, Cubist- A. Rambaldi, kid shoe with painted design.
Monaco, c.1925.
The 1 920s produced the most inspired rubber shoes.
exciting shoes of the century, with a Bright colour mixes reached a peak Stead and Simpson, satin shoe with
hand-painted bird motif. British, 1922.
tremendous variety of cut, colour and for the 1 925 Paris exhibition, but
V&A: T.737B-1974.
ornamentation. With shorter skirts, legs modern fashion was already moving
Rayne, woman's shoe. Green velvet with
and feet were now on display and towards greater subtlety. Ferragamo satin heel and diamante fastening.
shoes became the focal point of had discovered that, by inserting a British, c. 1928. «A: 1142:2-1997
fashion. Women wanted coloured thin strip of steel inside the sole to 73 3ELOW
stockings and new shoes, especially support the arch, he could make a Le Botfier de L'Elegance. Art, Gout, Beaute,
inset. Later styles included tongues, crocodile and lizard shoes were
cutaways, T-bars and crossover straps. created by Perugia at the end of
The exotic influences of the early the decade.
1920s produced real 'walking
products. Theatre and film stars were all the attention. Eye make-up became
eyes blackened with mascara, with Lipstick colours ranged from extremely
eyebrows left unplucked, and no trace pale for highlighting fashionable
had their faces made-up in a new style In response to the vogue for sports
that recalled Japanese prints: white and fitness, beauty companies focused
powder, black kohl and mascara, on clean and healthy skin. Elizabeth
thinly drawn eyebrows and heart- Arden, Helena Rubinstein and Harriet
shaped deep-red mouths. That same Hubbard Ayer brought out cleansing
year, Polish-born Max Factor, now milks, creams, astringents, tonics and
based in Hollywood, developed the tanning lotions. By the mid-1 920s,
powder, rouge, eye shadow and with vulgarity, had become synonymous
lipstick. Following the different trends with elegance and confidence.
in fashion, the feminine face would Putting on powder and lipstick in
evolve from the pale and languid public now represented the ultimate
75
Baron Adolph de Meyer, advertisement for
76 RIGHT
^\
ty\
- ART DECO FASHION
Hair followed fashion very closely, angles and straight lines, captured the
progressing from the exotic styles of essence of the Art Deco look, and was
the early 1 920s, to short and straight, copied by thousands of women.
around 1 925, and then to short and By 1 927, the straight lines were
waved at the end of the decade. softening, in fashion as well as in
During the 1 920s, hair was cut hairstyling. Women were waving their
closer to the head, a trend that had hair, creating a more feminine style
begun shortly before the War. In that was to take off during the 1 930s.
1917, Chanel cut her hair in a bob
to promote her sporty look. At that
Mary Pickford'.
77 - left
78 LEFT
79 - z
OW
Actress Yvonne Printemps, 1 929.
Hulton Archive/Getty Images.
i
76 ART DECO FASHION
FASHION ILLUSTRATION 77
FASHION
ILLUSTRATION
80 LEFT
81 RIGHT
Georges Lepape, Modes et Manieres
d'Aujourd'hui, 1912. From The Golden
Age of Style by Julian Robinson (Orbis
Publishing, London, 1976), p. 15.
Poiret's second album, Les choses
82
Pierre de Belay, 'creation executee pour
84
Eduardo Benito, La derniere lettre
85- Hi
FASHION
PHOTOGRAPHY
The development of fashion
photography is closely linked to the
improvement of photographic
techniques, and to the evolution of
Edward Steichen, Bakou et Patre. American, fashion designs. The most influential
c. 1 91 1 . Art et decoration, April 1911. were the Surrealist, Man Ray, and
George Hoyningen-Huene.
87
Hoyningen-Huene's sharp style and
George Hoyningen-Huene, models wearing
swimwear. Gelatin silver print. USA, 1930.
brilliant feel for light proved the perfect
H 723- 1987. means by which to express the
FASHION PHOTOGRAPHY 85
modernity of Cubist-inspired
beachwear, set against minimalist
88 LEFT
89 RIGHT
Edward Steichen, photograph of Madame
Agnes. British Vogue, September 1 926.
NAl.
ART DECO FASHION
CINEMA
Between the wars, and especially costumes and make-up to express leading actress. The paintings,
during the 1 920s, many fashion character and the drama of the scene. furniture and fabrics had all been
designers worked in cinema, creating To depict the cruelty of the main displayed at the 1925 exhibition.
new costumes or lending gowns from character, and to complement the Sonia worked on one more film, Le
their collections. The medium gave Cubist sets and geometrical light P'tit Parigot by Rene Le Somptier
them a unique opportunity to show effects, Poiret designed straight dresses ( 1 926), for which she created the
their designs in motion, and to a much and coats using bold, geometrical and costumes, the furniture and the fabrics.
larger audience. sharp, linear motifs. The headdress, an The whole movie is a testimony to her
Designing for the screen presented 'aigle' made of black drooping talent, and her creations can be seen
new challenges. The costumes had to feathers, and the black monkey fur of in every scene. For the leading actress,
be fluid and visually strong, faithful to the coat's collar, framed the actress's the dancer Lizica Codreanu, Sonia
the script, easy to read without either white face with a sombre halo of black created an extremely modern 'pierrot'
colour or sound, yet still reflect the spikes. For the men, Poiret designed costume, with multicoloured thunder
designers' style. waistcoats and plastic-coated overalls lights and a huge collar made of
An ardent believer in the synthesis of inspired by Futurist designs. superimposed circles of gauze. In
the arts, the director Marcel L'Herbier Poiret turned more and more to one of the scenes, Codreanu dances
brought the French artistic avant-garde costume design, for here he found an in front of an audience wearing
together for his film L'lnhumaine ( 1 924) outlet for his theatrical and eccentric 'simultaneous' dresses and scarves.
which told the story of a cruel and style. In 1 924, he designed the In 1925, Jeanne Lanvin designed
selfish woman. Robert Mallet-Stevens costumes for another heartless character beautiful 1 920s versions of Directoire
and Fernand Leger were responsible in Le Fantome du Moulin Rouge, using dresses for Abel Gance's Napoleon.
for the sets, Darius Milhaud composed violently coloured fabrics designed by She also created two white picture
the music, Pierre Chareau designed Dufy. From 1 91 2 to 1 929, he would dresses for Feu Mathias Pascal
the furniture and Raymond Templier the work on a total of twelve films. (L'Herbier, 1924). In 1929, Jean
jewellery, and Paul Poiret created the For his next film, [e Vertige ( 1 926), Patou designed a stunning bronze
costumes. Marcel L'Herbier asked Sonia and lame flaring dress and coat trimmed
In silent movies, costumes, make-up Robert Delaunay to design the with fur for the icon movie star Louise
and sets were the only means available costumes, fabrics and sets. Sonia Brooks in G.W. Pabst's 'Lulu'.
to express mood, character and plot. created 'simultaneous' robes for the Film productions began to capitalize
Influenced by the aesthetic of German actors and a straight dress of black increasingly on glamorous fashion.
Expressionist cinema, L'Herbier's team satin with colourful, stylized flowers Working in a colourless cc
used bold sets and extravagant appliqued on bronze lame for the designers had to rely on shiny and
^
CINEMA ;
90 LEFT
explore the white and black spectrum, could only afford one or two haute-
from white-platinum to shiny black. couture dresses, so some actresses
sharpness in costume and coiffure, designers and paid for them with their
92 bei
Sonia Delaunay, costume worn by Lizica and this would establish new own money. Mary Pickforc
Codreanu in Le P'tit Parigot (1 926). From references in haute couture and known to go to Paris regularfy, and
Designing Dreams: Modern Architecture in
mainstream fashion. there buy 50 haute-couture designs
the Movies by Donald Albrecht (Thames
and Hudson. London, 1987), 55.
American movie stars had a huge which she would wear indiscriminately
p.
influence on fashion, and they helped in movies and in real life. American
CINEMA 89
and
fm
Erte were amongst the first costume 93 RIGHT
It ran for six months, with the aim of bewildered and slightly disturbed.
and Paul Poiret on the board, fashion the displays established the mannequin
was given a prominent place, as a potent subject for artistic
displayed their wares in four different children were dressed by Lanvin, and
locations. Madame Agnes displayed her toques
The Pavilion de I'Elegance, created decorated with lacquered motifs by
by designer Armand Rateau, hosted Jean Dunand.
designs by Lanvin, Callot Soeurs, While the Pavilion de I'Elegance
Jenny, Paquin, Vionnet and Worth. was reserved for traditional haute-
event by designer Andre Vigneau. along the pont Alexandre III. Jacques
Life-size replicas of fashion-illustration Heim's models, dressed with Sonia s
red, purple, gold, silver, bronze, black but somehow dated fashion of the
94 ABOVE
Mannequins in evening clothes In leanna
Paquin in the 'Pavilion oV I [ lecjum < at the
1925 Exhibition. Gelatin silver prinl
garments and accessories were
refreshingly modern, and became the
focus of the exhibition.
decade.
95
Jeanne Paquin, 'Chimere' evening gown.
Beaded silk. French, 1925.
96-
Cover of Paris, arts decoratifs, 1 925:
Guide pratique du visiteur de Paris et de
\' exposition Paris, 1925.
,
fait.
UBRAIRIE HACHETTE
) )
LyMHER.READING
Bouillon, Jean-Paul, Art Deco, I 903- 940 I Japonisme et Mode (exh. cat., Palais Galliera,
Damase, Jacques, Sonia Delaunay: Fashion ie dessin sous toutes ses coutures: croquis,
and Fabrics (London, 1 99 1 illustrations, modeles 1760-1994
(exh. cat., Palais Galliera, Paris, 1995)
Dars, Celestine, A Fashion Parade: The
Seeberger Collection (London, 1 977) les plus belles robes de la Cinematheque
francaise (exh. cat., Pavilion des Arts,
de la Haye, Amy and Shelley Tobin, Chanel:
Paris, 2001)
The Couturiere at Work (London, 1 994)
Paul Poiret et Nicole Groult: Maltres de la
Demornex, Jacqueline, Vionnet (Paris, 1 990)
Mode Art Deco (exh. cat., Palais Galliera,
Emmanuelle Toulet, Le cinema au rendezvous Paris, 1986)
des arts: France, annees 20 et 30
Robinson, Julian, The Golden Age of Style
(Paris, 1995)
(London, 1976)
Guillaume, Valerie, Europe, 1910-1939:
Touches d'exotisme: I4e-20e siecles (exh.
Quand I'art habillait le vetement
cat., Musee de la Mode et du Textile,
(Paris, 1997)
Paris, 1998)
Guilleminault, Gilbert et al, Les annees folles:
Vassiliev, Alexandre, Beauty in Exile
le roman vrai de la I 1 le Republique
(New York, 2000)
(Paris, 1956)
Volker, Angela, Textiles of the Wiener
Harrison, Martin, Shots of Style: Great
Werkstatte 1910-1932 (London, 1990)
Fashion Photographs Chosen by David
Bailey (exh. cat., Victoria and Albert Worsley, Harriet, The Hulton Getty Picture
Museum, London, 1985) Collection: Decades of Fashion
(London, 2000)
Hillier, Bevis, The World of Art Deco
(exh. cat., Minneapolis Institute of Art, Lydia Zaletova et al, Costume Revolution:
Minneapolis and London, 1 97 1
Textiles, Clothing and Costume of the Soviet
Union in the Twenties (exh. cat., Venice;
Howell, Georgina, In Vogue: 60 years of
English edn London, 1989)
fashion and celebrity from British Vogue
(London, 1978)
INDEX -
74 beaded 29, 92
NDEX hair style
at the Paris 1 925 Exhibition 90
fabrics:
cinema costumes 86-8
theatre costumes 36-7, 37 Constructivist 44
Chanel No 5 72 for daywear 15, 20, 37, 39, 48, 50
Page numbers in italic refer to the illustration Chareau, Pierre 86 Delaunay 'simultaneous' 48-5 50, 86 1 ,
captions on those pages. chemise-dress 1 1 for evening wear 10, 11, 26, 26, 29, 29,
Chinese influences 22, 54, 59, 66 31, 37,46, 92
abstract art: fashion and 70 cinema: costume design 86-8, 87-9 Futurists and 42, 44
Adrian (Gilbert Adrian) 89 influence on fashion 8, 70, 88-9 lacquered 29, 90
African art: influence of 20, 22, 26, 48, 66 cloche hat 60,61, 62 sportswear 54, 54
Agnes, Madame 29, 42, 61 , 90 coats 50 underwear 57
Antoine, 'coiffeur' 74, 75 Cocteau, Jean 36, 37 Wiener Werkstdtte fabrics 2 1
applique decorations 18, 26, 46, 48, 60, 86 Codreanu, Lizica 86, 88 Factor,Max, cosmetics 70, 70
Arden, Elizabeth, cosmetics 70, 72 collars 29, 31, 59, 86 Le Fantome du Moulin Rouge (film, 1924) 86,87
L'Art et la Mode (magazine) 58, 61 ,79 Collot, Marthe, milliner 65 fashion illustration 8,11, 70, 77-8 85 1 .
Art, Gout, Beaute (magazine) 6, 18, 31 , 54, Constructivists 6, 44, 48 fashion magazines 78-9, 82, 85
69,79 corsets 57 fashion photography 42. 70, 72, 72, 82-5,
Atelier Martine 12, 92 cosmetics see make-up 82, 85
avant-garde art: fashion and 6, 8, 11, 22, 36, costume jewellery 20, 37, 39 Fauves and Fauvism 6, 1 1 , 77
40-51,40-50,54,90-2 Crawford, Joan 89 feathers 26, 31, 58, 59
Ayer, Harriet Hubbard 70 Cuban heels 69 ostrich feathers [aigle] 59, 86
Cubism: influence of 6, 1 1 , 1 3, 20, 25, 32, 44, Ferragamo, Salvatore 69
Baccarat, glassware 72 52, 66, 69, 82-5, 86, 90 Feu Mathias Pascal (film, L'Herbier 1 924) 86
bags 44, 48, 66, 66 Cuttoli, Marie 46 flapper dress (Voisin) 26
Baker, Josephine 12, 7 flechette brooches 62
Bakst, Leon 6, 10, 1 1 , 78 dancewear 26, 29, 69 folk art 6, 1 1 , 46
Balla, Giacomo 43 daywear 18-21, 18-20, 22, 57, 59 footwear see shoes
Ballets Russes 6, 70, 11, 22, 26, 46, 52, 54, 82 Chanel 37, 39 Fouquet, Jean, jeweller: necklace and bracelet 29
36-7, 37
Le Train Bleu Delaunay 48-5 1 , 49, 50 fur 26, 86, 90
Barbier, Georges 26, 3 32, 79 1 , Poiret 14, / Futurism 6, 32, 42. 43-4, 86
beachwear 49, 52, 61 69, 85 , sportswear influences 8, 20, 25, 37, 52, 54
beaded fabrics 29, 92 Vionnet 33 Gance, Abel 86
Beaton, Sir Cecil: Fashion; An Anthology 35 De Lempicka, Tamara: Autoportrait 6 Garbo, Greta 74, 89
Belay, Pierre de 78 Delaunay, Robert 48, 86 garconne look 37, 61 , 62, 70
Benito, Eduardo 79, 80 Delaunay, Sonia 40, 48-51, 49, 50, 52, 79 garters 56, 57
Benton, Travis 89 film costumes and sets 86, 88, 89 La Gazette du bon ton (magazine) 16. 19,24,
berets 58,61-2 at the Paris 1 925 Exhibition 90-2 26, 35, 65, 78,80
bias cut styles 32 Depero, Fortunato 42, 43 Gish, Lillian 89
Black, J. A. C, purse makers 66 Diaghilev, Serge (Sergei) 6, 36, 46 Goncharova, Natalia 6, 46, 46
black: fashion colour 20, 37, 39, 58, 59, 86 Dimitri of Russia, Grand Duke 36 Guerlain, perfumes 72
blouson dress 32 Directoire style and dresses 8-1 1 , 8, 59, 86
boas 26, 88 Doucet, Jacques 8 hair styles 74, 75
body painting 44 Drecoll, fashion house 8 hand-knitted garments: Chanel and 37
bosoms: flattening of 57 Ducharne, textiles manufactures 29 handkerchief points 32
Boucheron, jewellers 90 2, 86, 92
Dufy, Raoul 1 hats 25, 44, 58. 59-65, 60-5
Les Boue Soeurs / 6 Dunandjean 29, 61, 90 cinema headdresses 86
boule collars 29 Dupas, Jean 79 Heim, Jacques 48,90
brassieres 57 Helena Rubin 70 '
Brooks, Louise 74, 75, 86 Egypt, Ancient: influence of 22, 22, 58, 59, 66, hemlines see skirls, length of
Byzantine mosaics 46 66,69 L'Herbier, Marcel 86. 89
Elizabeth Arden cosmetics 70, 72 Hillier, Bevis 6
Callot Soeurs 90 embroideries 18, 22, 26, 32, 44, 48, 52, 69 hips: fashion focus 1 8
camisoles 57 traditional Russian 24-5, 36, 44, 46, 48, 59 Hollywood 89
capelines (broad-brimmed hats) 61 Erte (Romain de Tirtoff) 79, 89
Cartier, Pierre, jeweller 90 evening wear 22, 26-31, 26, 29, 31, 37, 57,
casque hats 6 61,69, 91, 92
Chanel, Gabrielle (Coco) 8, 20, 32, 36-9, 39, Directoire dresses /0, 1 1
Jenny (Madame Jeanne Sacerdote) 90 (1925) 44, 48, 50. 69, 74, 86, 90-3. 91.92 69
jewellery 20, 26, 29, 37, 39, 59, 69, 86 fashion centre 8, 13,90 Steichen, Edward 82
jumpers 37 Russian emigres 6, 24, 36, 46, 59 Bakou et Patre 82
Salon d'Automne ( 1 924) 48 Madame Agnes 42, 85
Kilpin Ltd., milliners 60 Salon de la Mode 78, 79 Stepanc
Kitmir, House of 24, 36 Paris 1925 Exhibition see Paris, Exposition js 57
kokoshnik headdress 25, 58, 59 Internationale... streamlined dresses 79
Patou, Jean 8, 20, 52, 86 suits 37
lacquer: applied to fabrics 29, 90 Pavilion de I'Elegance (Paris 1925 Exhibition) 90, Swanson, Gloria 89
Lalique, Rene: perfume bottle 72 91 swimwear 36-7, 44, 54. 82
Lamanova, Nadejda 46 pearls 26 Sybil, Marchioness of Cholmondeley 35
Lanvin, Jeanne 14, 15, 6, 29, 72, 86, 90 1 perfumes 1 2, 72
Leblanc, Georgette 87 Perugia, 'shoe designer' 69 tango, the: and fashion 29 49 74
Leger, Fernand 61,86 Pickford, Mary 74, 88, 89 tassels 26
Lelong, Lucien 8 picture dresses 14, 15-16 Templier, Raymond 86
lempicka see De Lempicka pochettes 66 textile designs 1
Lenglen, Suzanne 52, 52 Poiret, Paul 6, 8-12, 12, 40, 54, 77-8, 79, Balla's modifiants 43
Lepape, Georges 77, 79, 80, 82 82, 86 Constructivist 44
Les choses de Paul Poiret (album) 78 1 1 , daywear 14, 15. 18, /9 Delaunay 'simultaneous' 48-5 1 , 49, 50.
Lesage, embroiderer 32 Directoire dresses 8, 1 1 , 59 79, 86
Liberty & Co., department store (London) 22 evening dresses 10, 1 1 , 26 exotic 22, 22
lingerie see underwear film costumes 86, 87 Futurist 42, 43-4
Lulu (film, Pabst 1 929) 86 925 Exhibition 90, 92
at the Paris 1 geometrical patterns 18, 20, 44
Lynn, Emmy 89 Rosine perfume72 Goncharova 46, 46
Popova, Liubov-Sergeevna 44, 48 Thayaht, Ernesto (Michahel e
MacKaill, Dorothy 70 Printemps, Yvonne 75 theatre -
Madame Agnes 29, 42, 61 , 90 £e P'« Parigof (film, Le Somptier 1926) 86, 88 tiaras Z:
make-up 1 2, 70-3, 70, 72 pyjamas 22, 26, 54, 57 ties: Futurist 44
Mallet-Stevens, Robert 86 Tirtoff, Romain de se-^
Man Ray 82, 85, 90 Ramboldi, A., shoemaker 69 Les tissus d'ari (tunic) 22
mannequins: female 37, 50, 90 Rateau, Armand 72, 90 toques 59, 90
man made 60, 90, 9 / Rayne, shoes 69 trouser suits 37
Mansouroff, Paul36 Reboux, Caroline, milliner 61 turbans 59
Manuel, Jacques 89 Rodchenko, Alexander 44 Ma: Thayaht design 43
Maria of Russia, Grand Duchess 24, 36 Rodier, Maison Rodier textiles 29
Martin, Charles 79 Rodrigues, Madeleine 87 underwear 56, 57
Marty, Andre 26, 65, 79 Rubinstein, Helena, cosmetics 70 United States: fashion industry 8, 89
Matisse, Henri 78 Russian emigres (in Paris) 6, 24, 36, 46, 59
Max Factor, cosmetics 70, 70 Russian influences 6, 22-5, 44, 46, 48, 58, 59 Van Cleef & Arpels, jewellers 90
men's styles 43 veils 59, 62
Oriental influences 11, 1 8, 22, 26, 46, 48, sleeves: flared 20 Woizikovski, Leon 37
59,78 slimness: the quest for 72, 79 women: social emancipation 8, 13 79
overalls: as design concept 43, 44 slips 57 Worth, Charles Frederick: Petit Gamin spc
Snischek,Max 40 54
Pabst, G. W. 86 Sokolova, Lydia 37 Worth, House of 8, 24. 90
Panizon, Madeleine, milliner 61 Le Somptier, Rene 86
Paquin, Jeanne 90, 9/, 92 sportswear 36-7, 44, 49, 52-5, 52, 54, 55 Zdanevich, Ilia see lliazd
Paris: Exposition Internationale des Arts Decoratifs influence of on daywear 8, 20, 25, 37, 52, 54 zips 44
BOSTON PUBLIC LIBRARY
r v
V?v N
Ul * 3 9999 04719 177 8
ArtDeco 1910-1939
Charlotte Benton, Tim Benton
Bulfinch Press
Printed in Singapore
\
ISBN 0-8212-2832-3
90000
II
780821"228326"