[DosViolines]

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Mariano Jose Maria Bernardo Fortuny (Spain, 1871 - 1949) Woman's Evening Dress and Jacket with Belt, circa 1927 a) Dress: Pleated silk, beads; b) Jacket: Gold stamped silk velvet

lacma.org

[DosViolines]

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Mariano Jose Maria Bernardo Fortuny (Spain, 1871 - 1949) Woman's Evening Gown, 1919 Costume/clothing principle attire/entire body, Silk velvet stenciled in metallic paint, glass beads

lacma.org

[Miss Galliano]

gorgeous pieces !

[DosViolines]

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Fortuny stenciled velvet coat, early 1920s Fortuny treated velvets with a special technique of multilayered dyeing, which sends the base color floating up mysteriously through the pile to catch the light in a different ways, depending on the angle of view. The colors in this sublime three-quarter-length coat change from silver to bronze, reflecting the many layers of hand mixed pigment. The edges are bound with padded, stenciled blue velvet. The coat is lined with rose/peach satin. Fortuny's virtuosity with textiles had most free rein with the loosely structured garments worn over the Delphos gown. These garments were often made of velvet, which he called "the aristocrat of stuffs," a term used by the Renaissance world that inspired him. His large collection of antique textiles included many Renaissance velvets, which he studied closely, reproducing even their aged patina. This peerless velvet coat was originally meant to be worn over a Fortuny Delphos tea gown, but the jacket can be equally dramatic over pants and a sweater. The illustration, from a 1923 issue of Vogue, shows a similar Fortuny coat.

vintagetextile

[DosViolines]

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Fortuny silk Delphos tea gown with original box, 1920s Mariano Fortuny first created his signature Delphos gown in 1907, repeating the design with subtle changes until his death in 1949. The sleeveless version appeared in the 1920s. The gown is based on the pleated linen chitons worn by Greek maidens 2500 years ago and seen today on Delphic Greek sculpture. The Fortuny Delphos gown has preserved the poetry of line of the Greek robe. This Delphos gown, which belonged to Mrs. Wallace E. Pratt of New York, is a special find because it comes with the original labeled box. The feather-weight tea gown is weighted on the shoulders and sides with strings of striated Venetian glass beads, necessary to weigh down the lightweight silk. The antique (Maya) blue color is subtly shaded. To keep the pleats in place, the dress should be stored twisted like a skein of yarn.

vintagetextile

[DosViolines]

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Circa 1910 Fortuny Abba in sage green, pale gold and bronze tinted silver with Italian 15th century thistle and serpentine pomegranate design, beige silk faille lining. Coat is inspired by 15th century Italian textiles which in turn were influenced by earlier Turkish textiles. Fortuny inherited a collection of early European and Middle Eastern textiles and added to it. In his stenciled silk velvets, through repeated dyeing, he produced unevenly dyed textural cloth which had the feeling of age and wear. His surface patterns were derived from the great textile traditions of the past. The diagonal linked pomegranate which is the one used here has great drama because of its large scale. The construction is rectangular which displays the surface pattern to best advantage with a minimum of disruption from darts and seams. In order to keep the pattern in the correct direction, there are seams at the shoulders. Fortuny used the rectangular construction frequently in jackets and coats of varying length. This coat has used several dressmaking technique "errors" in its construction. This is not surprising in that Fortuny was not a trained dressmaker but rather an artist who worked in the medium of costume. These errors include the choice of black thread for the seam construction of the velvet. The very tight gauge of the sewing machine stitches in the velvet. No allowance was made for the lining which stretches less than the velvet over time. Since Fortuny was a perfectionist, these errors were rectified in his later work. However, it does suggest that this is indeed an early seminal example of his work. Label: Mariano Fortuny/Venise

marglas0.tripod.com

[DosViolines]

marglas0.tripod.com

[DosViolines]

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Rare early 20th century Fortuny velvet coat fashioned of rich shades of gold panne silk velvet heavily stencilled in silver Islamic scrolls in a kimono inspired style. The pattern is heavily stencilled both front and back of coat. The pattern appears to be one of intertwining vines and flowers indicating a Persian influence. Pattern is very similar to pic on Page 86 of the book "Fortuny" by Descholdt and Poli.

marglas0.tripod.com

[DosViolines]

Fortuny tabard dress

marglas0.tripod.com

[DosViolines]

Fortuny velvet opera coat


Fortuny creme delphos gown

marglas0.tripod.com

[DosViolines]

Fortuny delphos gown

marglas0.tripod.com

[DosViolines]

Fortuny lavender peplos


Fortuny peplos gown


Fortuny wine peplos gown


Fortuny delphos with sleeves


Fortuny delphos. The estate of E.F. Hutton.

marglas0.tripod.com

[DosViolines]

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Early teens-1920's Fortuny delphos in rust gold. Beads intact on either side.

marglas0.tripod.com

[Miss Galliano]

just love these materials

[DosViolines]

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Fortuny Black Silk Delphos Dress 1930s With elbow length sleeves, low V neck, the shoulder tops and sleeves trimmed with row of Venetian glass beads, the neckline outlined with braided silk cords extending loose to hem in front and back, separate braided silver metal and silk cord sash or belt, seam allowance labeled: Fortuny

doylenewyork