Throughout the decade, much of American fashion was influenced by couture from abroad with Paul Poiret and Fortuny lording over the industry above all others. Both designers found inspiration through the growth of cross-cultural connections, art movements, and previous historical periods. Poiret, a French couturier, focused his designs on freedom of movement – apart from his famous hobble skirt – which were heavily inspired by the continuing interest in Orientalism and art nouveau. On the other hand, Fortuny, a designer from Spain, was roused by the simple lines and decorations of ancient Greece and the Renaissance, as well as Orientalism.
OrientalismPublic intrigue in the Orient was not a new phenomenon in the Western Hemisphere in the 20th century. In the early 1910s, however, it underwent a great revival. In 1909, the opening of the Russian Ballet in Paris and its brilliant costuming renewed interest in Orientalism and created a substantial market for the designs of Poiret and Fortuny. For the first half of the decade, fashion was dominated by vivid fabrics and patterns, drapery, and Oriental motifs.
Art NouveauLike Orientalism, art nouveau also influenced fashion prior to the 1910s. The natural world was the muse of this art movement that is known for its swirling lines and botanical and geometric motifs. With regard to fashion, these characteristics were most commonly seen in the decorative details of garments, such as lace, embroidery, and woven patterns, and often paired with the bright colors and unstructured silhouette of Orientalism.
Historical InspirationAspects of fashion from previous historical periods made a reappearance throughout the decade. The high waist and columnar shape that marked the first few years of the 1910s, especially in tea and evening dresses, were borrowed from the Empire and classical Greek styles. Designers also incorporated styles from other eras, such as the Renaissance and the Directoire style from the late 18th century. Many historical styles overlap due to shared inspiration from the ancient world.
Though Kansas was quite a ways from major fashion cities like Paris, London, and New York City, women could keep up with current styles in several ways. Newspapers contained advertisements from small local shops and large department stores throughout the week. It was also a common practice to publish…
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This evening gown is a great example of a designer incorporating elements of Orientalism, Art Nouveau, and historical inspiration into one dress. The floral and geometric patterns throughout the lace, embroidery, and jacquard fabric are characteristic of Art Nouveau. The tie to Orientialism in this…
This walking ensemble consisting of a dress and coat is an example of the less popular revival of the late 18th-century Directoire style. The standing collar, cut-in exposing the area below the buttons, and separated collar and lapels of the jacket are characteristic of men’s coat styles during the…
This columnar dress with its deep square neckline takes inspiration from both classical Greek and Empire styles. The winding floral embroidery and geometric shapes are characteristic of the naturalistic style of Art Nouveau.SubjectArt Nouveau, Historical InspirationSourceK-State Historic Costume &…
This dress is a great example of Oriental influence on 1910s fashion. Not only does the dress present kimono-style cap sleeves, but many motifs reminiscent of Asian language characters are embroidered around the skirt, bodice, and sleeve cuffs, as well. The crochet lace inserts also exhibit a swirling…
Despite Poiret’s hobble skirt being an outlier in the trend of creating less restrictive clothing, it was a very popular style from about 1909 to 1914. The skirt acquired its name from the small steps, or hobbling, of its wearer. Though it may not look it now, this suit was likely expensive due to the…
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