Madeleine Vionnet 1920s


During the 1920s, when heavy beadwork and embroidery proliferated, Vionnet was committed to search for methods of ornamentation that took part in shaping the whole garment. May 30, 2017 - Explore perdide's board "fashion: 1920s - Madeleine Vionnet dresses", followed by 108 people on Pinterest.

Vionnet exp… Thus Vionnet's garments were given shape while maintaining smooth, uncluttered silhouettes, and the tucks of materials created a pattern on the fabric's surface. The illustrations that artist Thayaht produced for the Vionnet's approach explored women's modern lives and sought to express an adult, liberated femininity. Her work had been hugely influential in both Europe and the Americas during the period between the wars. Eschewing corsets, padding, stiffening, and anything that distorted the natural curves of a woman's body, she became known for clothes that accentuated the nat…

Vionnet encountered high fashion and learned its seasonal rhythms, while she experimented with the dressmaking skills she had acquired over the years. The rectangles hang down the body from these two points, to form two diamond forms of mobile fabric at front and back.
When Vionnet moved to the house of Doucet in 1907, she became more daring in her display of the female figure, inspired by avant-garde dancer Isadora Duncan's barefoot movements and by her own desire to strip fashion to its essential elements: fabric and body. Narrow pintucks were used to form her signature rose motif, its size subtly graduated to pull dresses toward the wearer's figure.

Thus the dress is stripped of dressmaking's usual devices to nip and sew the material for a "fit" with the body beneath; Vionnet instead used the movement released in the fabric to flow and drape around the wearer as she walked and danced. Date: spring/summer 1938. Vionnet set up her company, Vionnet et cie, in 1922, and with the support of her backers, she pursued a series of business schemes. For Vionnet minute attention to detail was paramount. She constantly tested the methods she had learned during her early career, and her attention to anatomy led to her use of bias cutting not just to allow material to cocoon the figure, but to produce sophisticated forms of decoration.

In Vionnet's hands the bias cut was a means to re-think the relationship between fabric and flesh.

Madeleine Vionnet, quoted in Milbank 1985.

Musée de la Mode de la Ville de ParisExplore Sacheverelle's photos on Flickr. Karen Tiede Studio Great costumes from history. Please help us improve.

"Cubism and Fashion," December 11, 1998–March 21, 1999.The Metropolitan Museum of Art. Both her bias cut and her urbanely sensual approach to couture remain a strong and pervasive influence on contemporary fashion, as evidenced by the collections of such past and present-day designers as This article is about the haute couture designer.

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Madeleine Vionnet 1920s