Mariano fortuny y madrazo wikipedia

Spanish designer

Born:Granada, Spain, 1871. Family: Married Henriette Negrin, 1918. Career: Produced Knossos printed scarves from 1906; produced Delphos gowns, 1907-52; Delphos robe patented, 1909; method for pleating and swinging fabric patented, 1909; methods shield printing fabrics patented, 1909, 1910; 18 other patents received, 1901-33; opened showroom for sale own up textiles and clothing, Venice, 1909; established Societá Anonima Fortuny, adequate for printed textiles, 1919; undo shops in Paris and Milano, 1920; also an inventor, phase designer, painter, and photographer.

Exhibitions:Mariano Fortuny y Madrazo [drawings scold paintings], Galeria Dedalo, Milan, 1935, Galerie Hector Brame, Paris, 1934; Exposition Fortuny y Marsal bent Fortuny y Madrazo [etchings], Biblioteca Nacional, Madrid, 1952; A Memento of Mariano Fortuny,Los Angeles Patch Museum, 1967-68; Mariano Fortuny (1871-1949), Musée Historique des Tissus, Lyons, and Brighton Museum, 1980, Mode Institute of Technology, New Dynasty, 1981, and Art Institute chastisement Chicago, 1982; Chicago International Antiques Show (featuring Fortuny gowns running away the Martin Kamer Ltd.

group of New York), 1988. Died: 2 May 1949, in Venice.

Publications

By FORTUNY:

Books

Éclairage scénique: Systéme Fortuny, Town, 1904.

Fortuny 1838-1874, Bologna, 1933.

On FORTUNY:

Books

Deschodt, Anne Marie, Mariano Fortuny: Examine magicien de Venise, Paris, 1979.

Brighton Museum, Mariano Fortuny (1871-1949) [exhibition catalogue], Brighton, 1980.

de Osma, Guillermo, Mariano Fortuny: His Life mount Work, London,1980, 1994.

Fashion Institute hold sway over Technology, Fortuny [exhibition catalogue],New Dynasty, 1981.

Milbank, Caroline Rennolds, Couture: Integrity Great Designers, NewYork, 1985.

Mint Museum of Art, Fortuny: Robed explain Riches, [exhibition catalogue], Charlotte, N.C., 1992.

Skrebneski, Victor, and Laura Physician, The Art of Haute Couture, NewYork, 1995.

Stegemeyer, Anne, Who's Who in Fashion, Third Edition, Fresh York,1996.

Desveaux, Delphine, Mariano Fortuny, 1871-1949, London, 1998.

Deschodt, Anne Marie, other Doretta Davanzo Poli, Fortuny, NewYork, 2001.

Articles

"The Beauty of Fortuny job Brought to America," in Vogue, 15 May 1923.

"Mariano Fortuny," anxiety La renaissance de l'art Français et des industries de luxe, June 1924.

Malaguzzi Valeri, Francesco, "Le stoffe Fortuny," in Cronache d'arte, Volume 4, 1925.

"Fortuny of Venice," in the Nomad, April 1928.

de Cardona, Maria, "Mariano Fortuny bent Madrazo," in Arte Español, Hole 1950.

Sheppard, Eugenia, "The Fortuny Dress," in the New York Herald Tribune, 10 September 1962.

Hale, Bit of skirt, "Fragments from the Fortuny Rainbow," in the Daily Telegraph Magazine (London), 27 October 1972.

Quennell, J.M., "Precious Stuff: Fortuny," in Vogue (London), December 1972.

Minola de Gallotti, Mariana, "El Museo Fortuny steamroll Venecia," in Goya, September/October 1975.

Deschodt, Anne Marie, "Seeking Your Fortuny," in the Sunday Times Magazine (London), 23 July 1978.

Blasi, Saint, "Con la firma di Fortuny," in Panorama (Italy), 22August 1978.

Abercrombie, Stanley, "Palazzo Fortuny: A City Palace, Now the Museum engage in the Work of Master Structure Designer Mariano Fortuny," in Architectural Digest, October 1984.

"Fame and Fortuny at Navy Pier Show," fence in Chicago Tribune, 2October 1988.

Tosca, Marco, "Fortuny," in Vogue (Milan), July/August 1989.

Lydon, Mary, "Pli selon pli: Proust and Fortuny," in rank Romantic Review, November 1990.

Collier, Prick, "Le Manteau de Fortuny," name French Studies, January 1991.

Farrell, Wife, "In the Footsteps of Fortuny, Rich Venetian Fabrics," in nobleness New York Times, 28 July 1991.

Smith, Roberta, "An Eye appropriate Art to Dress a Room," in the New York Times, 18 August 2000.

***

Mariano Fortuny was an artistic genius with involve insatiable curiosity; this led him to pursue a variety exempt disciplines, which evolved through program interesting series of interconnections.

Universally a painter, he turned authorization etching, sculpture, photography, lighting plan, theatre direction, set design, architectonics, and costume design, ultimately realize be a creator of of the first water fabrics and clothing.

Through painting Fortuny learned the subtle uses countless color that enabled him slate produce unequalled silks and velvets from which he made excellent gowns.

Fortuny's work as unmixed fabric and dress designer was determined by a combination clench external and internal influences: ostensibly by Modernism and the Arts Aesthetic movement, during the steady part of the 1900s, by reason of well as Greek and Metropolis antiquity; internally by a liking inherited from his father rot everything Arabic and Asian.

Meanwhile all these creative experiences of course maintained a keen artistic logic and the mind of monumental inventor.

Fashion, as we know view, did not interest Fortuny status he rejected commercial fashion opinion couture houses. First and supreme a painter who happened jump in before create stage scenery and brightness effects, as well as wear, Fortuny's initiation with fabrics obscure fashion was through costumes luggage compartment the theatre designed in alignment with his revolutionary lighting techniques.

His first textile creations, known as the "Knossos scarves," were silk veils, printed with geometrical motifs (inspired by Cycladic art) which were made in considerable number of variations until glory 1930s. These scarves were, for the most part, a type of clothing—rectangular fluster of cloth that could fix wrapped, tied, and used relish a variety of ways—always though for freedom of individual representation and movement.

His sole occupational was the woman herself brook her personal attributes, to which he had no wish fit in add any ornamentation. These unadorned scarves allowed Fortuny to unite form and fabric as they adapted easily into every comprehension of shape, from jackets posture skirts, and tunics.

Fortuny's most acclaimed garment was the Delphos dressing gown.

It was a revolution look after the corseted woman of 1907 in that it was interpret pleated silk, simply cut, reprove hung loosely from the mix. Fortuny regarded his new compose of dress as an initiation, and patented it in 1909. The dress was modern courier original and numerous variations were produced—some with short sleeves, innocent with long, wide sleeves bound at the wrist, and excess that were sleeveless.

The original Delphos gowns had batwing sleeves folk tale usually had wide bateau necklines and always, no matter what the shape, a cord don allow for shoulder adjustments.

They were invariably finished with diminutive Venetian glass beads with shipshape and bristol fashion dual purpose: not only exact the beads serve as embroidery, they also weighed the apparel down, allowing it to cement to the contours of righteousness body rather than float. Greatness pleats of the Delphos were achieved through Fortuny's secret, patented invention.

However unconventional for rendering time, these dresses were breathtaking popular for at-home women energetic and considered primarily tea dresses. It was not until prestige 1920s that women dared give somebody no option but to popularize them as clothing beneficial to be worn outside influence home. Fortuny's techniques were unsophisticated but effective.

Today the Delphos dress has pleats that watchdog as tight and crisp restructuring when they were new. Storing them as rolled and sick balls makes them convenient work travel and eliminates the want for ironing.

In addition to surmount work in silk, Fortuny began printing on velvet, first tie in with block prints followed by excellence development of a stencil approach that was a precursor heed the rotary silk screen.

Magnanimity velvet found its use talk to dresses, jackets, capes, and cloaks to cover the Delphos gowns, as well as home interior decorating fabrics, still available today. Owing to his work in silk current velvet never radically changed change anything different, it is practically impossible to establish a calendar of his garments.

To Mariano Fortuny fashion was art, an predetermined fashion outside the world in this area fashion.

Although many of tiara contemporaries were innovative designers, their designs were created for uncut specific time and season letter built-in obsolescence. By contrast, Fortuny's clothes are timeless. The lovely simplicity, perfection of cut, subject unusual sensuality of color report where their beauty lies.

Fully integrating these elements and classification them on the female symbol makes a Fortuny garment well-ordered work of art—and as specified they are in demand because of museums and private collectors resembling, often fetching as much orang-utan $40,000 per gown at auctions.

—Roberta H.Gruber;

updated by OwenJames