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Sonia Delaunay fashion-Part 2

May 16, 2015

This film, made in 1920 is about Sonia Delaunay’s fashion. Called Mademoiselle Y, it is, quite amazingly, in colour, and shows models yanking off clothes in irritation and glaring at the camera.

No artificial smiles here, but a wonderful illustration of the way that Delaunay’s colours played off each other and her use of circles in design.

Sonia Delaunay-Part 2

The clothing itself had moved on apace since Sonia’s first forays into home dressmaking.

 

At the outbreak of war Sonia and Robert happened to be on holiday in Spain and decided not to return to Paris, instead spending seven years travelling Spain and Portugal.

 

Sonia lost her private income after the Bolshevik Revolution in 1917, and decided therefore to concentrate on the applied arts – very successfully as she opened Casa Sonia in Madrid in 1918, a shop that sold accessories, furniture and fabrics, and took on commissions for clothing. She had a team of professional seamstresses to produce these.

Sonia Delaunay embroidered shoes.

Sonia Delaunay embroidered shoes.

 

Sonia Delaunay, dancing girls and circle design.

Sonia Delaunay, dancing girls and circle design.

 

Sonia Delaunay Bathing suit.

Sonia Delaunay Bathing suit.

 

Sonia Delaunay, Driving Caps, Silk and Wool, 1924-28.

Sonia Delaunay, Driving Caps, Silk and Wool, 1924-28.

 

Shoes, parasols, skirts and sideboards: she could and did design them all. More branches of Casa Sonia soon opened in Bilbao, San Sebastian and Barcelona.

Sonia Delaunay Costumes for Cleopatre. 1918.

Sonia Delaunay Costumes for Cleopatre. 1918.

 

Sonia also designed for the Ballet Russe, her theatrically bold prints and geometric shapes ideal for this.

 

She was not a connoisseur of cut or master tailor: the simple, unstructured shapes pioneered in the 20s by masterminds such as Chanel produced an ideal canvas for the vibrancy of simultaneous designs.

 

A more fitted shape or intricate cutting method would have sliced apart the big, bold repeats she enjoyed making.

Sonia Delaunay Simultaneous Dresses (The three women) 1925 Museo Thyssen-Bornemisza, Madrid © Pracusa 2014083

Sonia Delaunay
Simultaneous Dresses (The three women) 1925
Museo Thyssen-Bornemisza, Madrid
© Pracusa 2014083

 

Detail of coat made for Gloria Swanson - you can see the embroidery here..

Detail of coat made for Gloria Swanson – you can see the embroidery here.

 

Sonia Delaunay Coat made for Gloria Swanson 1923-24 Private Collection © Pracusa 2014083

Sonia Delaunay
Coat made for Gloria Swanson 1923-24
Private Collection
© Pracusa 2014083

 

A coat made for Gloria Swanson is heavily embroidered in coarse wool: beautiful in black and white photographs, it seems it would be supple and subtly nuanced but in real life it is unexpected stiff and blocky.

Fabric Designs.

Fabric Designs.

 

Sonia Delaunay-Part 2-Fabric designs.

Sonia Delaunay-Part 2-Fabric designs.

 

Fabric design for Metz and Co.

Fabric design

 

Fabric designs.

Fabric design.

 

Fabric colour ways.

Fabric colour ways.

 

Sonia Delaunay-Part 2-Fabric designs.

Sonia Delaunay-Part 2-Fabric design

 

Sonia Delaunay-Part 2-Fabric/wallpaper design.

Sonia Delaunay-Part 2-Gouache sketch.

Sonia Delaunay-Part 2-wallpaper and fabric designs

The wallpaper and fabric designs she made for Metz & Co, over 200 of them by the 1960s, were in the same vein and wildly successful.

 

She also has a textiles label called Tissus Delaunay which sold her designs worldwide.

Sonia Delaunay in front of her door-poem in the Delaunays’ apartment, Boulevard Malesherbes, Paris 1924 © Bibliothèque nationale de France, Paris.

Sonia Delaunay in front of her door-poem in the Delaunays’ apartment, Boulevard Malesherbes, Paris 1924
© Bibliothèque nationale de France, Paris.

 

Her new business ventures didn’t cause her to lose touch with artists, although living in Madrid the Parisian avant-garde was out of reach for her and Robert now.

 

Instead she made contact with the Dadaists in Zurich, and made a series of dress poems in collaboration with Dada poet Tristan Tzara, and the Russian Futurist poet Iliazd. She also made a curtain-poem with Philippe Soupault.

 

Fabric designed by Sonia Delaunay on the walls of the Delaunay family salon, 1925 Courtesy Bibliothéque nationale de France, Paris.

 

Return to Paris

On her return to Paris in 1921, her home became a salon for those with artistic ambitions, and was decorated entirely in her designs. She also used it as a boutique and business premises.

 

She continued to design for the theatre and now film, with costumes for Tristan Tzara’s 1923 play Le Cœur à Gaz, costumes for the films Le Vertige directed by Marcel L’Herbier, both costumes and sets for the film serial Le Pe’tit Parigot (The Little Parisian) of 1926 directed by René Le Somptier; and furniture for the set of the 1929 film Parce que je t’aime.

Sonia in her later years with her designs.

Sonia in her later years with her designs.

 

The economic crash of 1929 forced Sonia to close her fashion and textiles business, although she and Robert continued to paint and exhibit regularly.

 

Robert died of illness in 1941, but after a small break Sonia continued to create works without her greatly loved partner and inspiration.

 

She worked up until her death in 1979 at the age of 94, and became known as a leading abstract artist, and an essential reference point for artists and designers today.

 

Influenced by Sonia Delaunay.Sonia Delaunay-Part 2

 

Delaunay, 1923 : Céline, Autumn : Winter 2010-11.

 

Read part one of Sonia Delaunay here

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