Llano-Florenz, 'La Pervenche', Les Feuillets d'art, 1919/22. Pochoir print. Courtesy The Stapleton Collection.
Les Feuillets d'art, a joint project between Lucien Vogel and Condé Nast, appeared intermittently between 1919 and 1922. Published in English and French, it covered literature and art, though many of its illustrators, such as Barbier, Lepape, Benito, and Benito's fellow Spaniard Llano-Florenz, worked in the fashion idiom.
ABENDKLEIDER VON HERRMANN GERSON ZEICHNUNG VON A. OFFTERDINGER
Annie Offterdinger, Plate from Styl, January 1922. Pochoir print. Courtesy The Stapleton Collection.
The German magazine Styl, published in Berlin between 1922 and 1924, emulated the luxury French editions with its hand-coloured plates. Annie Offterdinger depicts two sisters in Hermann Gerson evening gowns, with that essential accessory, the ostrich-feather fan.
Krotowski, Plate from Styl, January 1922. Pochoir print. Courtesy The Stapleton Collection.
A shapely three-piece suit with matching overcoat and felt hat shows the influence of American styling.
R. L. Leonard, Plate from Styl, January 1922. Pochoir print. Courtesy The Stapleton Collection.
Comfortable separates show the widespread influence of casual wear. For many years, Germany had been at the forefront of fashion magazine publishing. However, Condé Nast's German edition of Vogue, launched in 1928, lasted barely a year and with the rise of Nazism, German fashion became increasingly introspective.
Anonymous, Cover of Bianco y negro, 1923. Courtesy CORBIS/Historical Picture Archive.
The continuing fascination with fashion revivals can be seen in this outfit, which recalls not only 18th-century styles, but also the bizarre silhouette of the farthingale, a Spanish fashion dating from the 16th century.
Sonia Delaunay, Fashion drawings, 1922/3. Gouache on paper. Courtesy V&A Images.
The Russian painter Sonia Delaunay used dress as a nedium for her art, aiming in this way to Integrate art into everyday life. At her Boutique Simultané in Paris she sold garments printed or embroidered with her colourful Cubist designs, such as these scarves and hats with abstract patterns.
Ljubov Popova, Original illustration for cover of I.eto, Summer 1924. Collage and gouache. Courtesy Galerie Gmrzynska, Cologne.
As part of their programme of Communist art, the Russian Constructivists designed futuristic clothing for mass production, symbolized in this collage by the car.
Alexander Rodchenko, Design for a dress, 1924. Collage and ink on paper. Courtesy Galerie Gmrzynska, Cologne.
This lightheaded design by Rodchenko belies his more serious attempts to create the workers' suit of the future according to Constructivist principles. Such a suit, designed by him in 1922, finally became fashionable when it was adopted by the 'new romantics' in the early 1980s.
ROBE TISSÉE POUR MADELEINE VIONNET
.v" / 9e la Gazelle /innée 1914-191 f. — Planche y
Ernesto Thayaht, 'Robe Tissée' for Madeleine Vionnet, Gazette du bon ton, 1924. Pochoir print. Courtesy V&A Images/Victoria and Albert Museum.
Thayaht, an Italian Futurist, illustrated many of Vionnet's designs. However, the use of the word 'pour' in the title implies that he may have had an input in the design itself.
Photograph of an evening gown by Madeleine Vionnet, 1927. Courtesy Kyoto Costume Institute/Photo: Takashi Hatakeyama.
Strikingly similar to Thayaht's illustration, Vionnet's gown is embroidered with gold thread in geometric patterns, showing the influence of the Egyptian aesthetic after the discovery of Tutankhamen's tomb in 1922.
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