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Finding Futurist Fashion: Lost Links to Haute Couture Amanda L

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Finding Futurist Fashion: Lost Links to Haute Couture Amanda L Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Finding Futurist Fashion: Lost Links to Haute Couture Amanda L. Mitchell Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF THEATRE FINDING FUTURIST FASHION: LOST LINKS TO HAUTE COUTURE By AMANDA L. MITCHELL A Thesis submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2004 The members of the Committee approve the thesis of Amanda L. Mitchell defended on April 6, 2004. ____________________________ Laura Edmondson Professor Directing Thesis ____________________________ Mary Karen Dahl Committee Member ____________________________ Colleen Muscha Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Figures iv Abstract v INTRODUCTION 1 1. FUTURIST PERFORMANCE THEATRICS IN THE SERATA AND HAUTE COUTURE 12 2. COSTUMING THE STAGE: FASHION, FUTURISM, AND THE BALLETS RUSSES 31 3. SCHIAPARELLI LEADS THE WAY 55 CONCLUSION 75 WORKS CITED 79 BIOGRAPICAL SKETCH 83 iii LIST OF FIGURES 1.1 Umberto Boccioni’s famous caricature of a Futurist Serata 19 1.2 “Thousand and Second Night” fashion fete at the couture house of Paul Poiret 22 1.3 Paul Poiret and his wife in costume for “Thousand and Second Night” 28 2.1 Wooden puppets for Plastic Ballets, by Depero 34 2.2 Costumes for Depero's Machine of 3000 (1924) 35 2.3 Prampolini's costume sketch for a barman in Cocktail (1927) and production photos 36 2.4 A sketch of movements for Printing Press and costume rendering by Balla 38 2.5 Balla's sketch for the setting of Feu d'Artifice 44 2.6 Depero's costume renderings for Mimismagia (1916) 45 2.7 Model of Depero's La Chant du Rossignol set 46 2.8 Depero's costume renderings for La Chant du Rossignol 47 2.9 Program cover, star/constellation costume and production photo of Ode 48 2.10 Rendering and for Le Bal 49 2.11 La Chatte production photo (1927) 49 2.12 Costumes for La Chatte 50 2.13 Le Train Bleu costumes by Chanel (1924) 51 3.1 Balla and his daughters posing in Futurist clothing with his “plastic garden” 58 iv 3.2 Famous Futurist Waistcoats designed and constructed by Depero, worn by the artists and Marinetti 59 3.3 Optical illusion sweater/jacket renderings by Balla 62 3.4 Schiaparelli’s trompe l’oeil knit sweaters 63 3.5 Dali’s Lobster Phone and Schiap’s famous Lobster Dress (1937) 64 3.6 Bug buttons and necklace by Schiaparelli 66 3.7 Schiap hat renderings (1937) 67 3.8 Musical note dress by Schiap (1937) 68 3.9 Schiap’s overall for women (1928) 69 3.10 Rendering and prototype of Thayaht’s Tuta 70 v ABSTRACT This thesis explores the links between early twentieth-century haute couture and the Italian avant-garde movement, Futurism. Although a definite cause-to-effect relationship cannot necessarily be assigned, the artistic and aesthetic elements of Futurist fashion and costume design, coupled with the mode of theatrical presentation used in the Futurist Serata (Evening), are similar to the ideas inherent in haute couture at the beginning of the last century. This parallelism calls for a closer examination, as Futurist theories of performance, costume design, and fashion resonated outside the movement long after its own demise. My exploration considers the externally influential contributions and lasting impact Futurism has made beyond the movement’s own walls. I assess both Futurism’s direct and indirect interplay with haute couture through the comparison of theatrical elements inherent in both areas, analyze Futurist and haute couture interaction with theatrical costume design, and provide a thorough examination of Futurist fashion and its striking similarities to haute couture designs a mere ten years later. In the first chapter I analyze the similarities of performance characteristics and strategies in the Futurist Serata and early twentieth-century fashion show. In the second chapter I continue to explore the dramatic and performative nature inherent in both Futurism and haute couture by examining their intersections with theatrical costume design; the analysis culminates with the specific example of the Ballets Russes. Finally, in the third chapter I examine the work of one haute couture fashion designer that embodies many of the chief elements prescribed in several futurist manifestoes. Italian-born Elsa Schiaparelli, an innovative and provocative designer of the 1930s, provides an excellent example of the limit-testing and boundary-pushing the Futurists championed within the realm of performance-wear. vi INTRODUCTION The history of haute couture (high fashion) is, from its inception, closely aligned to the history of modern art. Just as nearly every other avenue of artistic expression bifurcated into conservative and avant-garde movements, modernist aesthetics, which called for a reexamination of traditional perceptions, dramatically challenged and transformed fashion in the first decades of the twentieth century. Prior to this period, the act of designing garments was viewed as artisanal rather than artistic. With the emergence of modern Aestheticism, the Arts and Crafts Movement, and several other revolutionary reform movements, however, it was now acceptable for dressmakers to design and create, rather than just construct. Like musicians and painters, fashion designers also freely explored their medium and treated it as an artistic expression. As curator of the 1998 exhibit Addressing the Century: 100 Years of Art & Fashion, Peter Wollen suggests one variable that explains the early twentieth-century art/fashion connection is the complex two-way relationship between painting and couture. He asserts that “dress designers thought in terms of visual tableaux and looked to art for inspiration, while artists painted portraits of clients who wore the clothes they had acquired from the couturier,” which means a particular awareness of human anatomy and aesthetically flattering images is a skill shared by both designer and painter, who, in turn, inhabit the same visual domain (9). This intriguing intersection of fashion and art, as well as the re-categorization of fashion as art, was widely explored by haute couture and avant-garde movements alike. This project explores links between the avant-garde and fashion, specifically in relation to the modernist movement of Futurism. The Italian Futurist movement, which was begun in 1909 by poet Filippo Tommaso Marinetti, flourished for at least ten years with residual activity that lasted throughout the century. As an historical movement, Futurism is often divided into three phases of activity. The premier surge lasted until about the end of the First World War, the second phase until the Second World War, and the final phase of the movement ended 1 approximately with Marinetti’s death in 1944.1 The following discussions in this thesis, however, focus on the first fifteen years of Futurism. Far from just an artistic movement, Futurism was both art and a self-conscious ideology; it emphasized a vision of total social change. Marinetti’s founding manifesto called for the exaltation of speed, action, violence and conflict; rebellion against the decaying past and staunch morals of the bourgeoisie; abhorrence of the stagnant Italian culture; and an ardent verve for the magnificence and illustriousness of industrialization and technological advancement. Dozen upon dozens of published manifestos and advertisements reemphasized and propagated each of these ideals directly to a mass public. In fact, in their text Futurism, Caroline Tisdall and Angelo Bozzolla provide an analogy that compares the launch and presentation of Marinetti’s cultural movement to a modern political campaign, which included the use of “newspapers, saturation advertising, theatres and stadiums, whistle- stop tours, a stream of propaganda for his members and of abuse for their detractors, a blaze of publicity whenever a Futurist was lucky enough to be put on trial, and instant documentation of all these events” (9). Among other avant-garde movements, Futurism stands out as a movement purposefully campaigned to and among the masses. The shocking and radical Futurist Serata (evening) not only advertised Futurist ideology, but it also acted as a mobile gallery that showcased a multiplicity of artistic efforts through provocative performance. In fact, the Futurists employed performance to disseminate all of their radical ideas about the collision of art and life. Marinetti best describes and takes ownership of this reckless collision when he writes, “Thanks to us the time will come when life will no longer be a simple matter of bread and labour, nor a life of idleness either, but a work of art” (qtd. in Goldberg 30).2 Thus, to the Futurists, the world was a canvas. Futurists unearthed the potential for art in nearly every aspect of life imaginable. They left no domain unexplored if it helped to campaign and spread Futurism’s ideals of a cutting-edge Italian society. Artistic endeavors included painting, sculpture, photography, architecture, poetry, literature, cinema, music, culinary arts, and clothing design. Several Futurists worked in more than one discipline, which allowed for artistic cross-pollination and encouraged experimentation in simultaneous performance 2 techniques. They searched constantly for any active interchange between art and life that could result in dynamic progression and modernist advancement. Fashion was to prove a particularly rich medium for exploration, as it paralleled the movement’s mission in a variety of ways. In fact, nowhere else in the movement does the Futurists’ concept of artistic interplay mix so evidently with their idolatry of speed, change, and mass consumption. Judith Clark explains this magnetic attraction: Marinetti looked for echoes of his vision, for sites of inspiration, of what he described as ‘devine speed’.
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