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~-Ll D.~---Advisor College of Human Ecology Lucy R ART DECO INFLUENCES ON WOMEN'S DRESS FROM 1915 TO 1925 A Thesis Presented in Partial Fulfillment of the Requirements for the degree Master of Science in the Graduate School of the Ohio State University by Robyn Gibson-Quick, B.Ed. * * * * * The Ohio State University 1990 Master's Examination Committee: Approved by Gwendolyn S. O'Neal . Nancy A. Rudd -~-ll_d.~---Advisor College of Human Ecology Lucy R. Sibley To my best friend ii ACKNOWLEDGMENTS I would like to convey my appreciation to Dr. Lucy Sibley for her insight, guidance, and words of encouragement throughout the research. Thanks go to the other members of my committee, Dr. Gwendolyn O'Neal and Dr. Nancy Ann Rudd, for their comments and suggestions. The assistance of the curators and their staff at the Ohio State University Historic Costume and Textiles Collection, the Mary C. Doxsee Collection for Historic Costume and Textiles at the Ohio University, the Western Reserve Historical Society, Cleveland, the Kent State University Museum and the Cincinnati Art Museum, is gratefully acknowledged. To my husband, Shayne, I offer a special thanks for your encouragement, patience and belief in my abilities. iii VITA November 8, 1957 . Born - Sale, Victoria 1979 . B. Ed., Melbourne College of Advanced Education, Melbourne, Victoria 1979 . Elementary Teacher, Woodville Primary School, Werribee, Victoria 1980-1986 . Art/Craft Specialist, Altona North Primary School, Melbourne, Victoria 1988-1989 . Graduate Teaching Associate, Department of Textiles & Clothing, Ohio State University, Columbus, Ohio 1989-1990 . Graduate Administrative Associate, Historic Costume & Textiles Collection, Department of Textiles & Clothing, Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Human Ecology Studies in Historic Costume ]. v TABLE OF CONTENTS ACKNOWLEDGMENTS iii VITA iv LIST OF FIGURES vii LIST OF TABLES ix LIST OF PLATES x CHAPTER PAGE I. INTRODUCTION 1 Statement of Problem 6 Research Questions 8 Research Objectives 9 Justification 9 Assumptions . 10 Limitations 11 Definitions 11 II. REVIEW OF LITERATURE 13 Aesthetic Model of Fashion 13 Art Movement Model 15 The Relationship between Art & Dress 17 The Art Deco Style 31 The Art Deco Era 37 History of 1915 to 1925 Dress 51 Summary .... 61 Research Hypotheses 62 III. METHOD ..... 64 Sampling Procedures 64 Instrument Selection & Development 67 Data Collection . 71 v IV. PRESENTATION OF FINDINGS . 74 1. Review of Selection Process 75 2. Presentation of Analyses 77 Capes 78 Coats 92 Evening Dresses 109 Day Dresses 134 Summary 158 3. Discussion of Hypotheses 159 Linearity 159 Geometry . 161 Structural Design 165 Color 168 Applied Design . 170 Geometric/Stylized Motifs 173 Surface Texture 175 Metallic Surfaces 178 Summary 180 V. SUMMARY 183 Introduction 183 Major Findings 187 Implications 193 Recommendations 196 Conclusions 198 LIST OF REFERENCES 200 APPENDICES A. Typical Art Deco Motifs . 206 B. Questionnaire for Identification of Art Deco Garments . 208 C. Dress Features for Analysis of Art Deco Influences 210 D. Art Deco Trait Checklist 213 E. Glossary 215 Vl LIST OF FIGURES FIGURES PAGE 1. Schematic of the interrelationships between art and dress . 28 2. Paul Iribe's illustration for the album 'Les Robes de Paul Poiret', 1908 41 3. Cover and inside page of the album 'Les Choses de Paul Poiret' illustrated by Georges Lepape, 1911 43 4. Costume for the ballet 'La Peri' by Leon Bakst, 1911 45 5. Detail of Cleveland evening cape 81 6. Detail of Ohio State evening cape 84 7. Frank Lloyd Wright's leaded glass doors for D. D. Martin House, Buffalo, N.Y. 88 8. Radiator cover by Edgar Brandt 90 9. Glass 'fountain' by Rene Lalique for interior of the Parfumerie Francoise at the Paris 1925 Exhibition . 91 10. Detail of Cincinnati evening coat 97 11. Detail of Ohio State evening coat 100 12. Erte's costume for Gaby Deslys 102 13. Cover of the catalogue for the 9th Salon de la Artistes Decorateurs, 1914 by Charles-Louis Schmeid . 104 14. Three-legged corner cabinet by Emile-Jacques Ruhlmann 106 vii 15. Leather binding by Pierre Legrain . 108 16. Wrought iron, aluminum and applied copper firescreen by Paul Feher . 110 17. Detail of Kent State evening gown 114 18. Detail of Kent State evening dress 118 19. Detail of Cleveland evening dress . 120 20. Erte's street suit from April 25 issue of ~~~E~~~~ ~~~~~~ . 123 21. Knotted rug by Bruno da Silva Bruhns 127 22. 'Les Amants' by Jean Dunand . 129 23. Elevator doors of the Chrysler Building, New York 131 24. Glass vase manufactured by Charles Schneider . 133 25. Detail of Cincinnati ensemble 137 26. Detail of Cincinnati afternoon dress 140 27. Detail of Ohio day dress 143 28. Illustration by Georges Lepape for the album 'Les Choses de Paul Poiret', 1911 146 29. Picasso's costume for the Chinese conjuror in the ballet 'Parade' 147 30. Carpets designed by Maja Andersson Wirde 149 31. Ebony chair overlaid in shagreen designed by Clement Rousseau 152 32. Morocco binding by Soudee . 153 33. Frank Lloyd Wright's Barnsdale (Hollyhock) house, Los Angeles, designed in 1917 155 34. Three knotted rugs manufactured by Bruno da Silva Bruhns . 157 viii LIST OF TABLES TABLE PAGE 1. Summary of Art Deco characteristics expressed in dress . 70 2. Summary of secondary criteria for selection of Art Deco garments . 76 3. Summary of linearity trait distribution 160 4. Summary of geometry trait (geometric forms) distribution . 163 5. Summary of geometry trait (structural design) distribution . 166 6. Summary of color trait distribution 169 7. Summary of geometry trait (applied design) distribution . 172 8. Summary of geometry trait (motifs) distribution . 174 9. Summary of surface texture trait distribution . 177 10. Summary of metallic surface treatment trait distribution . 179 ix LIST OF PLATES PLATES PAGE I. Black satin evening cape£~~£~ 1920 from the Western Reserve Historical Society, Cleveland, Ohio , 79 II. Teal velvet evening cape £i~£~ 1920 from The Ohio State University Historic Costume and Textiles Collection, Columbus, Ohio 83 III. Gray satin evening coat designed by Leffingwell's of New York, Chicago and Paris £ire~ 1915 from the Cincinnati Art Museum, Cincinnati, Ohio 94 IV. Backview of gray satin evening coat 95 V. Gold and black lame evening coat £iE£~ 1920 from the Kleibacker Collection on loan to The Ohio State University Historic Costume and Textiles Collection, Columbus, Ohio 98 VI. Formal black satin evening gown £i~£~ 1925 from The Kent State University Museum, Kent, Ohio 112 VII. Mauve evening dress designed by Hattie Carnegie £ire~ 1925 from The Kent State University Museum, Kent, Ohio . 115 VIII. Informal black evening dress £i~£~ 1925 from the Western Reserve Historical Society, Cleveland, Ohio 119 IX. Orange dress and coat ensemble £i~£~ 1925 from the Cincinnati Art Museum, Cincinnati, Ohio 135 x X. Green and gold afternoon dress £i~£~ 1921/23 from the Cincinnati Art Museum, Cincinnati, Ohio 138 XI. Informal black and green day dress ci~ca 1925 from the Mary C. Doxsee Collection for Historic Costume and Textiles at The Ohio University, Athens, Ohio . 141 xi CHAPTER I INTRODUCTION Arts Decoratifs or Art Deco is the eclectic decorative style which dominated the period between the First and Second World Wars. It was an evolving style, which did not start nor cease at a particular moment in history, For convenience, Kery (1986) suggests the beginning date could be / 1908; the apogee, 1925; and the final year, 1939, However the term "Art Deco" was not coined until the 1960s when Bevis Hillier (1968) used it to describe the works of leading European designers and artists who exhibited in the celebrated L'Exposition Internationale des Arts Decoratifs et Industriels Modernes held in Paris in June 1925. It is somewhat surprising that Art Deco should be so readily associated with the period between the wars since Behling (1979) observed that the beginnings of the movement are visible as early as 1904 in designs by Josef Hoffmann and Charles Rennie Mackintosh. The works of these artists were not precursors of Art Deco but full-blown Modernist works. They were hardly distinguishable from some designs of the 1 2 1920s (Arwas, 1980) . In fact, according to Brunhammer (1983), "Art Deco, with its favourite themes and colors, was fully present in the work of the Weiner Werkstatte before the First World War" (p. 10) . These designers represented the extreme avant garde of the twentieth century design movement. The essence of the Art Deco style, clear clean lines, angular geometric shapes, and bright acid colors, is more generally observed after 1908, although there is still some discrepancy between researchers as to the exact year the Art Deco style came into being. For the purpose of this research, however, it will be assumed that the Art Deco style began around 1908/9, reached its culmination in 1925, and its decline in 1939. The majority of Art Deco literature concentrates on the year 1925 and the period immediately after since that year witnessed the culmination of the Art Deco movement at the Exposition des Arts Decoratifs. This was historically significant since it was the first major world fair to be exclusively concerned with the display and promotion of original works in the decorative arts (Robinson, 1988). Although experimental forms of Art Deco had been developing during the latter part of the first decade of the twentieth century, they had been somewhat erratic. As early as 1907, the General de L'Exposition Internationale and several influential art authorities confirmed the belief that 3 European design was on the verge of a new era of artistic achievement by proposing that an International Exhibition of Decorative Arts should be held in Paris in 1914 (Arwas, 1980) . The outbreak of World War I forced this exhibition to be postponed for over a decade. However most literature has ignored the fact that Art Deco was an evolving decorative style.
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