Fashion Modernity

Society began to focus on new attitudes towards women. Fashion and the healthy body collaborated and reflected the social and cultural changes taking place in the 20^th Century. Fashion had always expressed wealth and identity, Queen Elizabeth I from the 15^th Century had lavished in fine cotton and jewellery during the making of her portraits; her clothes demonstrated her wealth and power.

Growing urbanisation in the 19^th Century caused anonymity, people began to want to stand out. For the German Sociologist, Georg Simmel, the rapid development of fashion was bound up with growth of city life and individualism, "The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life."(http://www.brainyquote.com) The system of imitation allowed people to be part of a group or clique. I found it interesting that he argues that there is no escape from fashion. Those who declare to be unfashionable are simply engaging in a form of imitation, which may itself become ‘fashionable.’ 

This is evidently a universal thing as I can agree with that idea in present day.

(Above) "Evening ensemble" Mario Fortuny.
1979.344.11a,b)". In Heilbrunn Timeline of Art History. 
 New York: The Metropolitan Museum of Art, 2000www.metmuseum.org/toah/works-of-art
Oct. 8th(Below Above) Paul Poiret and Denise,Zouave dressCopyright Lipnitzki/Roger-Viollet/Getty Images

The definition of fashion never seemed to be about comfort; corsets became a thing of the past. Designers Mariano Fortuny and Paul Poiret had new ideas revolving around ballet, orientalism and expressionism. Their designs were lose and free-flowing, expressing the female form and the art of the human body. Sonia Delaunay’s designs for Cleopatra mirrored the fashions of transport and life style opportunities; the excitement of the city. The new swimsuit design and simultaneous clothing reflected the modernistic ideas of anti-traditional culture. Rejection of decoration and promotion of unisex clothing deemed wearers unfeminine; women playing tennis, swimming and driving.

Palmolive advert 1924
http://www.vintageadbrowser.com/
beauty-and-hygiene-ads-1920sPalmolive Company’s Palmolive Soap

Gabrielle Bonheur Chanel
http://www.vintagedancer.com/
/1920s/1920s-style-guide-womens-fashion

This growth caused more advertising for women, the idea that beauty didn’t come naturally became a new idea. This is something we can relate to today. It is normal for women to constantly take care of their appearance and be a lot more aware of it. Chanel (1883-1971) epitomised the New Woman. She was independent, confident about her sexuality and she pursued the modern lifestyle. Although it wasn’t just Chanel that created the 1920’s look, a lot more designers were doing this however she knew how to promote herself. Regarding back to the comfortable, minimal and modern designs, she reflected the attitude that less is more. However she is not deemed as a modernist. Modernists want to create one thing for everyone, aiming for simplicity and linear order. Cultural critics such as Walter Benjamin, thought social revolution and communism would be the death of fashion. The Russian Revolution caused the rise in functional clothing, resulting in the encouragement towards men and women dressing the same. This could be seen as a movement towards equality however it was in fact to make sure women didn’t undermine men due to the progression they’d been having. Chanel’s ideas did not mirror this ideology, she focussed on the ever changing movement of fashion and the beauty and expression. Fashion had become torn between wanting and needing; flat shoes were practical however heels were more admirable.

The modernist response, The Bauhaus, was rather anti-fashion. The experimented with new materials, not directly concerning them with fashion. Oskar Schlemmer and the Triadic Ballet showed modernist preoccupation with the machine, only symbolic movements and geometric shapes where expressed. Actors were reduced to singular jagged movements like puppets on a string. This was fashion in an art form, some in society craved the need to be different, to stray themselves from the mainstream current. You could say fashion is innovation gone mad, the superficial side of it has created judgement and discrimination universally. However some argue with this. 

http://jocelinehowe.wordpress.com//2013/08/26/triadic-ballet-oskar-schlemmer-1927/
Oskar Schlemmer's dances (1927)
Aug 2013

Uploaded on 21 Feb 2012

A film in three parts after Oskar Schlemmer's dances (1927)

Book and Choreography: Margarete Hasting, Franz Schömbs, Georg Verden.

Rehearsal: Hannes Winkler.

Reconstruction of the costumes: Margit Bárdy.

Art Consulting: Ludwig Grote, Xanti Schawinsky, Tut Schlemmer.

Dancers: Edith Demharter, Ralph Smolik, Hannes Winkler.

Music: Erich Ferstl.

Camera: Kurt Gewissen.

Cut: Johannes Nickel.

Production Director: Helmut Amann.

Production: Gottfried Just.