Fashion in the light of Art Nouveau, Arts and Crafts Movement and Exoticism

1. A R T A N D FA S H I O N 1
A S E L E C T I V E A C C O U N T O N T H E D E S I G N E R S
A N D A R T I S T S O F A RT N O U V E A U
1 9 . 0 2 . 2 0 1 8
B R I D G E S B E T W E E N

2. A RT N O U V E A U A N D C L O T H I N G
• From 1880s till World War I, a new art
movement emerges by social activism of
intellectuals and artists in Europe and U.S
against mass production of industralization.

3. „ N E W A R T “ G R E W O U T O F E N G L I S H A RT S
A N D C R A F T S M O V E M E N T W H O S E C H I E F
E X P O N E N T S W E R E W I L L I A M
M O R R I S ( D E S I G N E R , A RT I S T, P O E T ) A N D J O H N
R U S K I N ( A RT C R I T I C ) . T H E I R W O R K S TA RT E D A S
S O C I A L A C T I V I S M A G A I N S T T H E N E G AT I V E
L I F E C O N D I T I O N S I N D U S T R A L I Z AT I O N F O R C E D
U P O N W O R K I N G P E O P L E

4. • Natural forms, nature, organic lines were inspirations of
ART NOUVEAU. The aesthetic of dynamic linear
movement and curves was the emphasis.
• The aesthetic is for clean and functional designs; not
dominated by unnecessary designs.

5. • White cotton Irish crochet dress c. 1908 carries the
character of Art Nouveau style with its S curve and
3D motifs of insects and plants knitted as crochet lace

6. German biologist Ernst
H99)German biologist
Ernst Heinrich Haeckel
( 1 8 3 4 – 1 9 1 9 ) i n
Kunstformen der Natur
(Art Forms in Nature,
1899)German biologist
E9) in Kunstformen der
Natur (Art Forms in
Nature, German
B i o l o g i s t
E r n e s t H .
H a e c k e l
illustrations
“Kunstformen
d e r N a t u r
1 8 9 9 “ w e r e
s u c h
inspiration for
fl o r a l a n d
o r g a n i c
shapes,curved
lines.

7. O W E N J O N E S WA S A N
I N F L U E N T I A L A R C H I T E C T
W H O I S W E L L K N O W N F O R
H I S W O R K O F “ T H E
G R A M M A R O F
O R N A M E N T “ .
H E WA S I N F L U E N TA L I N
E S TA B L I S H M E N T O F
V I C T O R I A A N D A L B E R T
M U S E U M I N L O N D O N .
W W W.

8. • The Book of „Floriated Ornament“
by Augustus Welby Northmore
Pugin reflects the nature
influenced art nouveau moods

9. • Art for Art’s Sake : non narrative paintings of James Abbott Mc Neil Whistler’s
Nocturnes : this one is his first nocturne (1871)

10. • Poster // graphic design is defined as an art form with Art Nouveau.
• A. Mucha was one of the leading poster artists in search of creating art also
for ordinary people for affordable prices that he achieved throughout his
poster series:The Seasons (1896), The Flowers (1898), The Arts (1898), The
Times of the Day (1899), The Precious Stones (1900) and The Moon and the
Stars (1902).

11. • Left: Sarah Bernhardt’s theater show poster
by Alfonso Mucha.
• Middle: Poster for Glasgow school
exhibition (Glasgow Four: Charles Rennie
Mackintosh, Margaret Mac Donald, Herbert
Mac Nair)
• Right: Books illsutrations for school books in
France edited by Armand Colin , by Mucha

12. • MUCHA’S
WALL
PANELS
• Summer,
• Autumn

13. • winter,
• spring

14. • Mucha’s Slav Epic in Veletrzni Palace, Prague

15. • Mucha’s jewellery
designs, some
for Georges
Fouqet

16. • Margaret Mac Donald is one of very
talented Art Nouveau artists from
Scotland and Glasgow School of Art.
• Margaret’s and her sister Frances Mac
Donald’s designs were similar in spirit
of the works of Charles Rennie
Mackintosh and Herbert Mac Nair.
The two sisters met with Mackintosh
and Mac Nair at the Glasgow School
of Art.

17. • Frances Mac Donald, sleeping princess, 1896 , watercolor on paper
• Bottom:Christina Bothwell christinabothwell.com

18. • Mac Donald sisters
embroideries

19. •Charles Rennie Mackintosh, glassworks
• https://www.youtube.com/watch?time_continue=19&v=uPa_wg-cw6k

21. • Margaret Mc Donald

23. W. M O R R İ S TA P E S T RY

28. • G.Klimt : Emilie Floge

30. • Emilie Floge, Gustav
Klimt

31. • Schwestern Flöge : Emilie Floge’s mode house that endured 30 years in spite of war conditions

32. • Flöge’s summer dress designed by Klimt

33. • Emilie in Vienna

34. • Reconstruction of Emilie Flöger’s dress by Vienna Arts School 2005-2006

37. Charles Frederick Worth’s designs are notable for his use of lavish fabrics and
trimmings, his incorporation of elements of historic dress, and his attention to fit.
While the designer still created one-of-a-kind pieces for his most important clients,
he is especially known for preparing a variety of designs that were shown on live
models at the House of Worth. Worth’s designs are notable for his use of lavish
fabrics and trimmings, his incorporation of elements of historic dress, and his
attention to fit. While the designer still created one-of-a-kind pieces for his most
important clients, he is especially known for preparing a variety of designs that
were shown on live models at the House of Worth. Clients made their selections
and had garments tailor-made in Worth’s workshop. (metropolitan museum of art ,
Jessa Krick)

38. • Left: Dress is dated to 1892
• Right: Illustration is by George Barbier in
gazette Bon Ton , 1922

39. Costumes of "exoticism of the East," especially the ones of Turkey, were a popular
theme, culminating in Paul Poiret's famed 1002nd Night Ball of 1911.

40. • Worth’s Turkish themed fancy dress,
• embroidered by Turkish designers with gold thread

41. • Left:Worth’s 1925 silhouette-rectangular and flat
• Right: Worth’s 1872 silhouette-hourglass silhouette

42. Paul Poiret was known as “The King of Fashion“ in
U.S., and in Paris as Le Magnifique, after Süleyman
the Magnificent, under heavily influenced by Sergei
Diaghilev’s Ballets Russes, created his own
language of Orientalism through romantic and
theatrical possibilities of clothing.Poiret’s
exoticized tendencies can be observed with
enigmatic silhouettes such as his iconic
“lampshade” tunic and his “harem” trousers, or
pantaloons.
“Poiret effectively established the canon of modern
dress and developed the blueprint of the modern
fashion industry. Such was his vision that Poiret
not only changed the course of costume history
but also steered it in the direction of modern
design history.“Harold Koda, Andrew Bolton:
Metropolitan Museum of Art

43. • Paul Poiret used
stage as his
runway show . In
the theater play
Zaza, famous
actress Rejane
wore a Poiret
design which
contributed to
his success.

44. “Poiret’s route into couture followed the
common practice of shopping around
one’s drawings of original fashion designs.
His efforts were rewarded in 1898, when
the couturière Madeleine Chéruit bought
twelve of his designs. „
Right: Poiret’s wife Denise
Poiret

45. Poiret's "Théâtre des Champs-Élysées" evening dress,
which was worn by Denise Poiret to the premiere of Igor
Stravinsky's Sacre du Printemps, marking the opening
of the Théâtre des Champs-Élysées on April 1, 1913

46. • Left: Lampshade tunic
• Right:Harem pants

48. • Poul Iribe illustrations

49. • August Renoir’s painting titled Madame
Hériot(1882) depicts the custom of wearing
kimono as an indoor garmen.

50. In 1909 he registered his design (based on the Ionic version of the Greek classical garment the chiton) for the
'Delphos' dress, of which this glistening black columnar example is a typical representative. The dress consists
of five narrow widths of pleated silk hand-sewn into a tube just 47 cm wide. The neck and sleeves are adjusted
to fit by concealed draw-strings, while a black rouleau, threaded with Venetian glass beads, laces the outer
sleeves.

52. • Art Nouveau is characterized by the use of curved, sinous, organic
and long lines derived from artists and designers look of advocating
nature as a source of inspiration.
• The Arts and Crafts and Aesthetic Movement from England
overlapped with this period of time
• Arts and Crafts movement emphasized traditional techniques and
hand craftsmanship, whereas the latter provided a basis for non-
narrative paintings by its motto “art for art’s sake“
• Elements of EXOTICISM through Japonisme and Orientalism trends
by 1880 were common inflences for artists and designers like Poiret,
Worth among many; after opening of new trade routes
• The idea of “Gesamtkunstwerk“ of R. Wagner idealized that art
should be everywhere and in everything and it shouldn’t be
fragmented. Art nouveau artists took this credo to refer to the beauty
of everyday life in architecture, textile, furniture, art, jewellery.

53. • https://www.youtube.com/watch?v=wg0M1P8Mdew
• https://www.youtube.com/watch?v=P4luPnObQYo
• https://www.youtube.com/watch?v=IGUx4kgHH5Y
• https://www.youtube.com/watch?v=tYjNO2Y4m6c
• https://www.youtube.com/watch?v=n9KlPLhCG_o
(Mariano Fortuny)

54. • İrem Arıkan Ekşi
• irem.arikan9@gmail.com