The first section of the book discusses Fashion illustrations between the times of 1900 to 1924. Like the era, Illustration seemed to realize that the key to the future could mean to look back to the past. Instead of searching for new and modern fashions, clothing that expressed wealth and social standing was on trend. Women's close were made out of lace, frills, feathers, and other outlandish accessories and frills. Men's clothes were still very dependent on occupation, social standing, occasions, and the time of day. Ready-made clothing was available in department stores in major towns and cities, although many women still employed a dressmaker or they made their own clothes. Below is an Anonymous painting entitled, "Shopping" that was seen in Harrod's Catalogue in 1909.
Fashion Illustrations during this time were very stiffly posed with busy backgrounds and ornate arrangements. Illustrators who worked for high fashion magazines like American Vogue, Harper's Bazaar, and The Queen in Britain often depicted clothes with extremely minute details, though there were a few exceptions, such as Charles Drivon's "Gibson Girl" was a fashion icon for many young women with the use of his "lifestyle illustrations". Below is an example!
The New Age of Art
Starting in the early 1900s photography became popular to use in magazines. As different forms of art began developing, other established creative activities had began to change and grow. For example, Serge Diaghilev's Ballets Russes production of Cleopatre featured costumes by Leon Bakst and sets that were filled with exotic and dazzling colors and nudity that was unexpectedly bold for the time. The world was quick to respond to the production. Pastel colors were replaced by brilliant hues that also combined silver and gold. Below is an costume design of Leon Bakst's that was worn in Scheherazade.
Paul Poiret
Paul Poiret was an extremely popular fashion designer of the prewear years and he really elevated fashion and art and made them significant during this time. He established his own couture house in 1903, a time in which art was changing and going in different directions that it had been previously. He, as well as most other designers at this time, decided to capitalize on the new fashions in theater and apply them to his couture house. He did eveningwear that reflected the oriental influence. Under tunics, harem trousers were worn with accessories such as feather and jewel encrusted turbans. A popular silhouette was a more tubular streamlined silhouette. Low V-necklines replaced the high collars and toque hats and more simple styled hats replaced lavishly trimmed picture hats.
Paul Iribe
Poiret brought in many fresh artists into his house seeking new ways to link fashion and art. He hired Paul Iribe to illustrate a promotional publication for him called, "Les Robes de Paul Poiret." Iribe illustrated some figures that were half profile or back view, which was new and innovative for the times. Below are some of Paul Iribe's work for Les Robes de Paul Poiret in 1908..
George Lepape
Poiret also comission George Lepape to illustrate his second publication, "Les Choses de Paul Iribe." in 1911. Lepape claimed that his wife was responsible for at least 4 of the designs in Les Choses. These illustrations were printed on high quality paper and used the "pochoir" method for printing. The process is Japanese-based and refers to the technique that requires creating a stencil for each layer of color; sometimes 30 stages were needed to achieve the freshness of the original illustration. Lepape did more than 100 illustrations for Vogue over the course of his life. Below are a few of George Lepape's designs for Les Choses de Paul Poiret.
Fashion Magazines
Other Fashion publications at the time were Modes et Manieres D'aujourd'hui, British Vogue, La Guirlande des Mois, Falbalas et Fanfreluches, Art, Gout, Beaute, Styl, and French Vogue. Gazette de Bon Ton was another publication that, like Poiret's, represented many young artists, couturiers, and publishers that collaborated to produce something unique. Lucien Vogel was the founder who was an art director, editor, and publisher who had an eye for innovative artists. In one issue, he collaborated with 7 majoy couture houses of the day such as Poiret, Cheruit, Doeuillet, Lanvin, Doucet, Redfern, and Worth. Gazette maintained the highest standards in content. Each edition contaianed around 10 pochoir color plates and several croquis (here meaning design sketches), which was unheard of at the time and caused it to be one of the most influential magazines ever produced. The publication ran from 1912-1914 and from 1920-1925 with 69 issues total. Below are some of my favorite illustrations that were found in Gazette during this time.
George Lepape, "Le Collier Nouveau" January 1914
Pierre Brissaud, "En Tenue de Parade" February 1914
Etienne Drian, "La Marseillaise" 1915
Etienne Drian, "Bouquet Tricolore" 1915
Benito, "Le Bassin d'Argent" February 1920
Raoul Dufy, "Croquis de Modes" February 1920
Conde Nast
The publisher of American, British, and French Vogue is Conde Nast to this day. In the early 1900s the company was investing very heavily in itself. Pierre Brissaud, Andre Marty, Charles Martin, George Barbier, and Pierre Mourgue were part of Gazette's original team and they were working on several issues together for all three editions of Vogue as well as other publications. Below are two American Vogue covers by Helen Dryden in 1922.
More to come later!
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