Against Fashion

Total Page:16

File Type:pdf, Size:1020Kb

Against Fashion CONTENTS Acknowledgments viii AGAINST FASHION: THE AVANT-GARDE AND CLOTHING Fashion and Modernity 2 Romanticism: From Eccentricity to Artistic Dress 4 Rational, Artistic, and Aesthetic Dress in England 5 Henry van de Velde and Germany 11 Klimt and the Wiener Werkstatte 23 Futurism and Dress 29 The Russian Avant-Garde and Dress 45 SoniaDelaunay 63 Notes 69 TEXTS Elizabeth Cady Stanton The New Dress 80 Amelia Bloomer Dress Reform 82 E. W. Godwin A Lecture on Dress (1868) 83 George H. Darwin Development in Dress 96 Walter Crane Of the Progress of Taste in Dress in Relation to Art Education 105 Oscar Wilde Slaves of Fashion 111 Oscar Wilde Woman's Dress 113 Oscar Wilde More Radical Ideas upon Dress Reform 115 Oscar Wilde The Relation of Dress to Art: A Note in Black and White on Mr Whistler's Lecture 120 Josef Hoffmann The Individual Dress 122 Henry van de Velde The Artistic Improvement of Women's Clothing 125 Henry van de Velde A New Art Principle in Modern Women's Clothing 137 Friedrich Deneken Artistic Dress and Personalized Dress 143 Eduard Josef Wimmer-Wisgrill On the Becoming of Fashion 148 Lilly Reich Questions of Fashion 151 Giacomo Balla Male Futurist Dress: A Manifesto 155 Giacomo Balla The Antineutral Dress: A Manifesto 157 Volt (Vincenzo Fani) Futurist Manifesto of Women's Fashion 160 F. T. Marinetti, Francesco Monarchi, Enrico Frampolini, and Mino Somenzi The Futurist Manifesto of the Italian Hat 162 Ernesto Thayaht The Aesthetics of Dress: Sunny Fashion, Futurist Fashion 164 Ernesto Thayaht and Ruggero Michahelles Manifesto for the Transformation of Male Clothing 167 Renato di Bosso and Ignazio Scurto The Futurist Manifesto of the Italian Tie 170 Varst (Varvara Stepanova) Present-Day Dress—Production Clothing 172 Nadezhda Lamanova Concerning Contemporary Dress 174 Nadezhda Lamanova The Russian Fashion 177 Aleksandra Exter The Constructivist Dress 178 Guillaume Apollinaire The Fortnight Review: The Reformers of Dress 181 Blaise Cendrars On Her Dress She Has a Body 182 Sonia Delaunay The Influence of Painting on Fashion 183 Sonia Delaunay Artists and the Future of Fashion 186 Illustration Credits 189 Selected Bibliography 198 Index 202.
Recommended publications
  • Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2
    MIT 4.602, Modern Art and Mass Culture (HASS-D) Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2 PHOTOGRAPHY, PROPAGANDA, MONTAGE: Soviet Avant-Garde “We are all primitives of the 20th century” – Ivan Kliun, 1916 UNOVIS members’ aims include the “study of the system of Suprematist projection and the designing of blueprints and plans in accordance with it; ruling off the earth’s expanse into squares, giving each energy cell its place in the overall scheme; organization and accommodation on the earth’s surface of all its intrinsic elements, charting those points and lines out of which the forms of Suprematism will ascend and slip into space.” — Ilya Chashnik , 1921 I. Making “Modern Man” A. Kasimir Malevich – Suprematism 1) Suprematism begins ca. 1913, influenced by Cubo-Futurism 2) Suprematism officially launched, 1915 – manifesto and exhibition titled “0.10 The Last Futurist Exhibition” in Petrograd. B. El (Elazar) Lissitzky 1) “Proun” as utopia 2) Types, and the new modern man C. Modern Woman? 1) Sonia Terk Delaunay in Paris a) “Orphism” or “organic Cubism” 1911 b) “Simultaneous” clothing, ceramics, textiles, cars 1913-20s 2) Natalia Goncharova, “Rayonism” 3) Lyubov Popova, Varvara Stepanova stage designs II. Monuments without Beards -- Vladimir Tatlin A. Constructivism (developed in parallel with Suprematism as sculptural variant) B. Productivism (the tweaking of “l’art pour l’art” to be more socialist) C. Monument to the Third International (Tatlin’s Tower), 1921 III. Collapse of the Avant-Garde? A. 1937 Paris Exposition, 1937 Entartete Kunst, 1939 Popular Front B.
    [Show full text]
  • Vkhutemas Training Anna Bokov Vkhutemas Training Pavilion of the Russian Federation at the 14Th International Architecture Exhibition La Biennale Di Venezia
    Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia VKhUTEMAS Training Anna Bokov VKhUTEMAS Training Pavilion of the Russian Federation at the 14th International Architecture Exhibition la Biennale di Venezia Curated by Strelka Institute for Media, Architecture and Design Anton Kalgaev Brendan McGetrick Daria Paramonova Comissioner Semyon Mikhailovsky Text and Design Anna Bokov With Special Thanks to Sofia & Andrey Bokov Katerina Clark Jean-Louis Cohen Kurt W. Forster Kenneth Frampton Harvard Graduate School of Design Selim O. Khan-Magomedov Moscow Architectural Institute MARCHI Diploma Studios Moscow Schusev Museum of Architecture Eeva-Liisa Pelknonen Alexander G. Rappaport Strelka Institute for Media, Architecture and Design Larisa I. Veen Yury P. Volchok Yale School of Architecture VKhUTEMAS Training VKhUTEMAS, an acronym for Vysshie Khudozhestvenno Tekhnicheskie Masterskie, translated as Higher Artistic and Technical Studios, was conceived explicitly as “a specialized educational institution for ad- vanced artistic and technical training, created to produce highly quali- fied artist-practitioners for modern industry, as well as instructors and directors of professional and technical education” (Vladimir Lenin, 1920). VKhUTEMAS was a synthetic interdisciplinary school consisting of both art and industrial facilities. The school was comprised of eight art and production departments - Architecture, Painting, Sculpture, Graphics, Textiles, Ceramics, Wood-, and Metalworking. The exchange
    [Show full text]
  • Utopian Clothing: the Futurist and Constructivist Proposals in the Early 1920S Flavia Loscialpo, Southampton Solent University A
    Journal Clothing Cultures, 1.3, October 2014 Utopian clothing: The Futurist and Constructivist proposals in the early 1920s Flavia Loscialpo, Southampton Solent University Abstract ‘Can fashion start from zero?’ is a question that, as observed by theorists, historians and curators, ultimately haunts those radical sartorial projects embodying a ‘new’ vision of the world. In the experimental overalls designed at the beginning of the twentieth century by Thayaht in Italy and Stepanova, Rodchenko and Popova in Russia, it is possible to follow and progressively unfold the aspiration to a total renovation and reorganization of life. The differences between the artistic contexts to which these artists belong – Italian Futurism and Russian Constructivism – have often induced critics to discuss their sartorial proposals separately, overlooking their points of convergence. Within this article, the overalls by Thayaht and the Russian Constructivists are instead analysed in relation to each other, as agents of change, or rather as instances of a ‘utilitarian outrage’. In examining their biographies, the article questions the newness of these creations, the rhetoric of the ‘new’ that accompanied them and their status as ‘anti-fashion’ projects. Combining material culture with cultural history, it argues that their iconoclasm and utopian potential resides precisely in their proposing a rationalization of clothing, and in ‘questioning the very fashion project itself’, in both its symbolic and tangible presence. Finally, on the basis of archival research and interviews conducted at the Thayaht-RAM Archive, Florence, the characterization of Thayaht’s tuta as a Futurist creation, which has often been taken for granted, is reconsidered and problematized further. 1 Keywords Futurism Constructivism Utopia overall Thayaht Rodchenko Stepanova Modernism On alternative futures In the ideal society outlined in Utopia by Thomas More (1516), people wear practical clothes that are ‘quite pleasant’, ‘allow free movement of the limbs’ and are suitable for any season.
    [Show full text]
  • Challenging Tradition
    CHALLENGING TRADITION: BAUHAUS, DE STIJL, and RUSSIAN CONSTRUCTIVISM (Kandinsky, Mondrian, Breuer, Tatlin, and Stepanova) WASSILY KANDINSKY Online Links: Wassily Kandinsky - Wikipedia, the free encyclopedia Der Blaue Reiter - Wikipedia, the free encyclopedia Quotes from Wassily Kandinsky http://www.smarthistory.org/Kandinsky-CompositionVII.html Theosophy - Wikipedia, the free encyclopedia Arnold Schoenberg - Wikipedia, the free encyclopedia Helen Mirren on Kandinsky – YouTube Kandinsky Drawing 1926 – YouTube Schonberg and Kandinsky - YouTube FRANZ MARC Online Links: Franz Marc - Wikipedia, the free encyclopedia Meditation on Blue Horses by Franz Marc - YouTube PIET MONDRIAN Online Links: Piet Mondrian - Wikipedia, the free encyclopedia De Stijl - Wikipedia, the free encyclopedia http://www.smarthistory.org/de-stijl- mondrian.html Gerrit Rietveld - Wikipedia, the free encyclopedia Theo van Doesburg - Wikipedia, the free encyclopedia Bauhaus Online Links: Accommodation inside the Studio Building at Bauhaus Bauhaus - Unesco Site Bauhaus – Wikipedia Bauhaus: Design in a Nutshell Architecture - Dessau Bauhaus - YouTube KAZIMIR MALEVICH Online Links: Kazimir Malevich - Wikipedia, the free encyclopedia Suprematism - Wikipedia, the free encyclopedia Tabula rasa - Wikipedia, the free encyclopedia Plays: Victory over the Sun, Introduction and Costume Design Victory over the Sun - Wikipedia, the free encyclopedia Malevich's White on White compared with Monet - Smarthistory VLADIMIR TATLIN and the RUSSIAN CONSTRUCTIVISTS Online Links: Vladimir Tatlin - Wikipedia, the free encyclopedia Constructivism (art) - Wikipedia, the free encyclopedia Tatlin's Tower - Wikipedia, the free encyclopedia Naum Gabo - Wikipedia, the free encyclopedia Stepanova's Results from the First Five Year Plan Rodchenko - Spatial Construction No. 12 (with video) – MOMA Rodchenko's Lines of Force - Tate Modern Vassily Kandinsky. Picture with an Archer, 1909 The Russian artist Vassily Kandinsky (1866-1944) was among the first to eliminate recognizable objects from his paintings.
    [Show full text]
  • Checklist of the Judith Rothschild Foundation Gift
    Checklist of The Judith This checklist is a comprehensive ascertained through research. When a For books and journals, dimensions Inscriptions that are of particular his- record of The Judith Rothschild place of publication or the publisher given are for the largest page and, in torical or literary interest on individual Rothschild Foundation Gift Foundation gift to The Museum of was neither printed in the book nor cases where the page sizes vary by books are noted. Modern Art in 2001. The cataloguing identified through research, the des- more than 1/4,” they are designated Coordinated by Harper Montgomery system reflects museum practice in ignation “n.s” (not stated) is used. irregular (“irreg.”). For the Related The Credit line, Gift of The Judith under the direction of Deborah Wye. general and the priorities of The Similarly, an edition size is some- Material, single-sheet dimensions in Rothschild Foundation, pertains to all Museum of Modern Art’s Department times given as “unknown” if the print which the height or width varies from items on this checklist. To save space Researched and compiled by of Prints and Illustrated Books in par- run could not be verified. City names one end to the other by more than and avoid redundancy, this line does Jared Ash, Sienna Brown, Starr ticular. Unlike most bibliographies are given as they appear printed in 1/4” are similarly designated irregular. not appear in the individual entries. Figura, Raimond Livasgani, Harper and library catalogues, it focuses on each book; in different books the An additional credit may appear in Montgomery, Jennifer Roberts, artists rather than authors, and pays same city may be listed, for example, Medium descriptions (focusing on parentheses near the end of certain Carol Smith, Sarah Suzuki, and special attention to mediums that as Petersburg, St.
    [Show full text]
  • Revolution: New Art for a New World (2016)
    SLOVO, VOL. 29, NO. 1 (WINTER 2017), 94-96. DOI: 10.14324/111. 0954-6839 .060 Revolution: New Art for a New World (2016) Documentary, 85 min. Directed by MARGY KINMONTH. Written by MARGY KINMONTH. Cast: Daisy Bevan, Sean Cronin, Alex Enmarch, James Fleet, Ernest Gromov, Tom Hollander, Matthew Macfadyen, Tom Rose, Eleanor Tomlison. United Kingdom and Russia: Foxtrot Films Language: English. Director Margy Kinmonth’s latest film is the pinnacle of her exploration of the secrets of Russian art spanning over more than three decades. Revolution: New Art for a New World is a spectacular documentary made to commemorate the Bolshevik Revolution of 1917 and to demonstrate the crucial importance of art for the creation of the new regime. With the remarkable breadth and depth of its scope, the film creates an exhilarating depiction of one of modern history’s most tumultuous periods and immerses its viewers into the inseparable mixture of art and politics that shaped humanity’s future for decades to come. Revolution: New Art for a New World is Margy Kinmonth’s fourth film about Russia, following Nutcracker Story (2008), Mariinsky Theatre (2008), and the BAFTA nominated Hermitage Revealed (2014), a declaration of love to Russia’s most famous museum. After first visiting Russia in 1981, Kinmonth found the country to be an infinite source of inspiration, and managed to create lasting connections there, which proved invaluable for the creation of Revolution. Gaining exclusive access to the vast collections of the State Tretyakov Gallery, the State Russian Museum and the State Hermitage Museum, Kinmonth shows on the widescreen both works by celebrated artists, such as Marc Chagall, Wassily Kandinsky and Kazimir Malevich, and hidden gems by lesser-known avant-garde masters: Gustav Klutsis, Aleksandr Rodchenko, Varvara Stepanova, and Liubov Popova.
    [Show full text]
  • Cultural Syllabus : Russian Avant-Garde and Radical Modernism : an Introductory Reader
    ———————————————————— Introduction ———————————————————— THE RUSSIAN AVANT-GARDE AND RADICAL MODERNISM An Introductory Reader Edited by Dennis G. IOFFE and Frederick H. WHITE Boston 2012 — 3 — ——————————— RUSSIAN SUPREMATISM AND CONSTRUCTIVISM ——————————— 1. Kazimir Malevich: His Creative Path1 Evgenii Kovtun (1928-1996) Translated from the Russian by John E. Bowlt Te renewal of art in France dating from the rise of Impressionism extended over several decades, while in Russia this process was consoli- dated within a span of just ten to ffteen years. Malevich’s artistic devel- opment displays the same concentrated process. From the very begin- ning, his art showed distinctive, personal traits: a striking transmission of primal energy, a striving towards a preordained goal, and a veritable obsession with the art of painting. Remembering his youth, Malevich wrote to one of his students: “I worked as a draftsman... as soon as I got of work, I would run to my paints and start on a study straightaway. You grab your stuf and rush of to sketch. Tis feeling for art can attain huge, unbelievable proportions. It can make a man explode.”2 Transrational Realism From the early 1910s onwards, Malevich’s work served as an “experimen- tal polygon” in which he tested and sharpened his new found mastery of the art of painting. His quest involved various trends in art, but although Malevich firted with Cubism and Futurism, his greatest achievements at this time were made in the cycle of paintings he called “Alogism” or “Transrational Realism.” Cow and Violin, Aviator, Englishman in Moscow, Portrait of Ivan Kliun—these works manifest a new method in the spatial organization of the painting, something unknown to the French Cub- ists.
    [Show full text]
  • Lyubov Popova. a Revolutionary Woman Artist
    This article may be used for research, teaching, and private study purposes. Any substantial or systematic reproduction, redistribution, reselling, loan, sub-licensing, systematic supply, or distribution in any form to anyone is expressly forbidden. Terms & Conditions of access and use can be found at http://www.tandfonline.com/page/terms-and- conditions Downloaded by [University of Toronto Libraries] at 19:24 28 December 2014 Lyubov' Popova: A Revolutionary Woman Artist Christina Lodder The Revolution of October 1917 not only gave Russia a new ideology and administration, but it also provided art with a new role, for it soon made demands on artists to become involved with agitation and propaganda. In April 1918, Lenin inaugurated his Plan for Monumental Propaganda which removed tsarist monuments and sought to replace them with statues that would 'serve the aim of extensive propaganda'.1 The same decree called for the 'decoration of the cities for May Day and the replacement of all slogans, emblems, street names, crests, etc., with new ones expressing the ideas and feelings of the workers' revolutionary Russia'. Artists were given the task of decorating the existing urban environment in a way that would mask its Tsarist past and create a more socialist city for the revolutionary festivals. With the onset of Civil War, artists also became involved in producing posters and in painting the outsides of agitational trains with stirring motifs. In 1920, as the threat of occupation was diminishing, the People's Commissariat for Enlightenment suggested a more permanently propagandist role for art, declaring 'Art, as a powerful means of agitation and propaganda, must take a visible place in the social as well as the political transformation of the masses.'2 Officialdom, therefore, consciously harnessed art to the tasks of communicating the ideas of socialism and of creating a socialist environment.
    [Show full text]
  • From Cubism and Futurism to Suprematism: the New Painterly Realism, 1915
    KAZIMIR MALEVICH From Cubism and Futurism to Suprematism: The New Painterly Realism, 1915 Bom near Kiev, 1878; died Leningrad, 1935. 1903: entered the Moscow Institute of Painting, Sculpture, and Architecture; ca. 1910: influenced by neoprimitivism; 1913: took part in a futurist conference in Uusikirkko, Finland [see bibl. R306]; designed decor for the Aleksei Kruchenykh-Mikhail Matyushin opera Victory over the Sun, produced in December; illustrated futurist booklets; Г9Г4: met Filippo Marinetti on the letter's arrival in Russia; 1915-16: first showing of suprematist works at "o. 10"; 1911-17: contributed to the "Union of Youth," "Donkey's Tail," "Target," "Tramway V," "Shop," "Knave of Diamonds," and other exhibitions; 1918: ac- tive on various levels within Narkompros; 19Г9--21: at the Vitebsk Art School, where he replaced Marc Chagall as head; organized Unovis [Uniya novogo iskusst- va/Utverditeli novogo iskusstva—Union of the New Art/Affirmers of the New Art]; 1920 to late 1920s: worked on his experimental constructions—the so-called arkhi- tektony and planity: 1922: joined IKhK; 1927: visited Warsaw and Berlin with a one-man exhibition; contact with the Bauhaus; ca. 1930: returned to a more representational kind of painting. The translation is of Malevich's Ot kubizma i futurizma к suprematizmu. Novyi zhivopisnyi realizm (Moscow, 1916). This text, written in its original form in 1915, saw three editions: the first appeared in December 1915 in Petrograd under the title Ot kubizma к suprematizmu. Novyi zhivopisnyi realizm [From Cubism to Suprema- tism. The New Painterly Realism] and coincided with the exhibition "0.10"; the second followed in January 1916, also in Petrograd; the third, from which this translation is made, was published in November 1916, but in Moscow, and is signed and dated 1915.
    [Show full text]
  • A Revolutionary Impulse
    A Revolutionary Impulse THE RISE OF THE RUSSIAN AVANT-GARDE // MUSEUM OF MODERN ART, NEW YORK By Anastasia Karpova Tinari [ THE SEEN ] Each thought, each day, each life lies here as on a laboratory table. And as if it were a metal from which an unknown substance is by every means to be extracted, it must endure experimentation to the point of exhaustion. No organism, no organization, can escape this process. — WALTER BENJAMIN’S PORTRAIT OF MOSCOW, PUBLISHED IN BERLIN JOURNAL DIE KREATUR (1927) By 1917, the Modern Industrial Age had radically unknown works by women. Olga Rozanova’s ——————————— Iconic Suprematist transformed society. WWI and concurrent social linoleum cut Voina (War) Portfolio (1916) is an and Constructivist works by Kazimir Malevich, revolutions questioned whether the advent of energetic Cubist, Futurist array of rifles, cities, Naum Gabo, El Lissitzky, and others follow. electricity, trains, cars, would result in the bodies, workers, diggers, and battlefield combat. Malevich’s paintings, prints, and drawings are destruction or betterment of humanity. Artists An artist and activist, Rozanova produced an installed salon style, as they were in 0.10: The throughout Europe responded with radical impressive amount of work before her premature Last Futurist Exhibition (1915) in Petrograd—the movements—Fauvism, Cubism, Futurism, death from diphtheria at age thirty-two. Included first exhibition that asserted his new Suprematist Orphism, and Dada—that increasingly threatened alongside this work is her dynamic Cubist style. Suprematist Composition: Airplane Flying Academic tradition and figurative representation. painting The Factory and the Bridge (1913), as (1915), a floating assemblage of black, yellow, However, nowhere did experimentation occur well as book illustrations done in collaboration and red rectangular forms; Painterly Realism of a more quickly and profoundly as in Russia during with her husband Aleksei Kruchenykh.
    [Show full text]
  • Download Catalog
    RUSSIAN BOOKS, POSTERS and Other Lot 256 Collectibles Mercer and Middlesex Auctions, Llc December 2, 2010 at 1:00 pm Cherrystone Auction Galleries 119 W. 57 Street, 3rd Floor New York, NY 10019 Lot 6 Pre-auction viewing at Cherrystone Auction Galleries November 30–December 1, 9 am–4 pm. Viewing on the day of the auction will be limited. Phone: +1.609.632.1692 Fax: +1.609.235.9667 [email protected] www.memiauctions.com Lot 197 ex-Lot 239 Lot 260 Terms and Conditions By bidding at our auction, whether in person, by phone, absentee bid, or exception: MMA will agree to a refund of the purchase price if within on the internet, you agree to be bound by the following terms and condi- twenty-eight (28) days of purchase, the purchaser obtains and sends to tions. As used in the following terms and conditions, MMA, We, and Us MMA a signed written letter from a mutually recognized expert stating refers to Mercer and Middlesex Auctions, LLC. unequivocally that the auctioned item is a forgery. 1. There is a 20% buyer’s premium added to the successful hammer price 9. A prospective buyer must complete and sign a registration form before of every lot, which the purchaser of the lot agrees to pay along with bidding. MMA reserves the right to require bank or other financial applicable taxes as part of the total purchase price. references for participation in the auction or bidding on a specific lot. MMA has the right at our complete discretion to refuse any individual 2.
    [Show full text]
  • Alexander Rodchenko and Vladimir Maiakovsky1
    Experiment/3KcnepHMeHT, 1 (1995), 271-78. JULIETIE R. STAPANIAN-APKARIAN ALEXANDER RODCHENKO AND VLADIMIR MAIAKOVSKY1 Well before the 1917 Bolshevik Revolution, artistic revolution had captured the imaginations and passions .of many Russians. Intense exper­ imentation by Russian writers and visual artists in the 191 Os and 1920s led to the distortive dynamism of Russian Cubo-Futurism, the mystical geometries of Suprematism, and the attempts by the Constructivists to organize the concrete materials of modern life into new structures. With Lenin's takeover in 1917, revolutionary artists suddenly found themselves in the world's foremost laboratory for potential social change. Vigorous debates erupted in the first decade of the young state as artists vied for the opportunity to realize their ideas on an unprecedented scale. Among the leading voices in the avant-garde's efforts to build a new culture were those of Constructivist artist Alexander Mikhailovich Rodchenko ( 1891- 1956) (Fig. 93) and Futurist poet Vladimir Vladimirovich Maiakovsky (1893-1930) (Fig. 94). Not only have the independent accomplishments of both men now become artistic monuments, but their collaborative works also form a major legacy of the Modernist endeavor. Rodchenko was raised and educated in Kazan. After graduation in 1914 he moved to Moscow. There, with compass and ruler experiments (1915) and black on black paintings (1918), he moved with other ex­ perimental artists such as Kazimir Malevich, Liubov Popova, and Vladimir Tatlin. Rodchenko became increasingly absorbed in the construction of objects in real space. By looking to industrial models, he helped advance from pure Constructivism to the idea of "production" or "productivist" art: artists were now renamed artist-constructors, who, like engineers, were to reorganize the materials of life in order to transform society.
    [Show full text]