1876-1975 Madeleine Vionnet

[SomethingElse]

DosViolines already posted the gown on the right, but here's another one from the Met.

1938 Evening dress, one in silver lamé and ivory silk net and the other in pale pink and silver lamé and pale pink silk net.

Right: "I'm not a beautiful woman. I'm nothing to look at, so the only thing I can do is dress better than anyone else."—Duchess of Windsor

The Duchess of Windsor lent two dresses to the exhibition Paris Openings (1940), including this ensemble by Madeleine Vionnet. Elegant, romantic, and feminine, it seems uncharacteristic of the duchess' sober and somewhat severe fashion aesthetic. It also seems more revealing than her usual modest, discreet style. But as Danielle Porthault of Yves Saint Laurent commented, "Her Royal Highness's style was sobriety by day and fantasy and originality at night."

Left: "Mrs. Harrison Williams was a chef d'oeuvre, breathing a rarefied air of mystery, like some undine or goddess from another world who yet chooses to dress in the height of fashionable conventionality."—Cecil Beaton

In December 1933, Chanel, Lanvin, Lucien Lelong, Vionnet, Balenciaga, Edward Molyneux, and Mainbocher named Mrs. Harrison Williams the "Best Dressed-Woman in the World." Like Lady Mendl and the Duchess of Windsor, she possessed an inconspicuous elegance, which she achieved by choosing the clean and subdued lines of Vionnet and Balenciaga. Vogue observed, "She never orders the 'successes' in a collection, but instead, the costume which is noticeable only on second glance."

Mrs. Harrison Williams' style and beauty have been immortalized in art, music, and literature. In "Ridin' High," Cole Porter sang: "What do I care if Mrs. Harrison Williams is the best dressed woman in town?" In Truman Capote's Answered Prayers (1987), she was the model for the character Kate McCloud.

metmuseum.org

 

[DosViolines]

Vionnet Black Plisse Silk Crepe Skirt
French, 1930s
Slender bias floor length skirt with multiple darts on a grosgrain waistband, size 6/8, green label: Madeleine Vionnet/91699; Together with Vionnet Black Silk Taffeta Coat. In the style of an academic robe, modified four-piece balloon sleeve, horizontal seam detail along shoulder front and back, bias flare body, size 6/8, purple label: Madeleine Vionnet/51293.

doylenewyork

 

[ApertureRomance]

To make her fabrics reveal form and respond to movement, Vionnet invented the bias cut. As an expert in couture, she knew that textiles cut on the diagonal could be draped to match the curves of the body and echo its fluidity of motion. She would order fabrics two yards wider than usual to accommodate draping, creating gowns that were luxurious and sensuous but also simple and modern. The most fascinating aspect of her design process was the type of model she used. Vionnet cut and designed all of her dresses on miniature dolls before recreating them on life-size models. Her work was precise, balanced, and timeless.




Vionnet considered herself "an enemy of fashion," claiming that she was often offended by "the seasonal and elusive whims" that dictated women's clothing. She did not care to be the designer of the moment, but remained deeply satisfied with her own vision of female beauty. This vision revolutionized modern clothing. Though the onset of war forced her to close shop in 1939, Vionnet acted as a mentor to the next generation of designers, passing on the principles of elegance, movement, architectural form, and timeless style

more can be found at http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=1313

My signature is a quote by Madeline Vionnet.

 

[DosViolines]

Madeleine Vionnet: Evening dress, silk lamé, c. 1938; The Museum at FIT, gift of Mrs. Rodman A. Heeren

artsjournal.com

 

[SomethingElse]

A rare and important Madeleine Vionnet cocktail gown, circa 1921, embroidered signature label with thumb-print, numbered 22046, the gown forming a column of shimmering silver and crystal, the cream morrocan crepe ground with a mosaic of embroidered silver cobwebs filled with crystal beaded flowers, with four stranded straps to each shoulder, plaited cloth of silver tie belt and shaped hem, chest 105cm, 41in Provenance: Grace Elvina, Marchioness Curzon of Kedleston, (1879-1958) was born Grace Elvina Hinds in Alabama, USA, the daughter of J. Monroe Hinds, former United States Minister to Brazil. She was the widow of Alfred Hubert Duggan a wealthy ranch owner of Buenos Aires with whom she had three children including two sons. In 1917 to everyone's surprise she married George Nathaniel Curzon, 1st Marquis Curzon of Kedleston who was British Viceroy and Governor General of India (1898-1905) and Foreign Secretary (1919-24). He had been long involved romantically with the novelist Elinor Glyn and so it must have come as a shock to her to read the engagement announcement in the morning paper as she shared breakfast with George Curzon with whom she had been staying. Grace was Curzon's second wife (his much beloved first wife Mary had had died in 1906 having borne him three daughters, see lot 85). Both of Curzon's wives were American, both were renowned beauties and both were seriously rich. It had been hoped that his marriage to the alluring Grace Elvina, eighteen years his junior, would provide the much desired son and heir. However, his workaholic regime which included reading government papers until the early hours of the morning meant that there was little time left for romance. Viscount Curzon died in 1925. Grace became the first female recipient of the Grand Cross of the British Empire which was conferred on her in 1922 for her war work. She published her memoirs in 1955 which were simply entitled 'Reminicenses'.

kerrytaylorauctions.com

 

[DosViolines]

Amazing find SomethingElse

 

[lotusgreen]

agreed--that last one's stunning.

time to try scanning my favorites....

 

[wheneveriwakeup]

She is the subject of my recent fashion history project!

Does anyone know of any informative books with a fair mixture of text and photography involving Mlle. Vionnet? TIA!

 

[lotusgreen]

Haute couture / Richard Martin & Harold Koda
'
Madeleine Vionnet / Jacqueline Demornex

Madeleine Vionnet / Betty Kirke

Haute couture embroidery : the art of Lesage / Palmer White

 

[wheneveriwakeup]

^ Thanks!

 

[Miss Galliano]

ooh love to see these dresses on TFS

 

[DosViolines]

Attributed to Madeleine Vionnet (France, 1876 - 1975)
Woman’s Afternoon Dress with Cape, circa 1927
Costume/clothing principle attire/upper body; Costume/clothing principle attire/entire body, Printed silk georgette

lacma.org

 

[DosViolines]

Madeleine Vionnet (1876 – 1975) is best known for her brilliant use of the bias cut, which resulted in body-worshipping gowns. She claimed to have abolished the corset in 1907 – before Poiret and Chanel. She closed her couture house in 1939, but the brand has recently been relaunched.

Mrs. Potter Palmer II wore this dress when she was presented to the Queen of England in 1938. Court rules dictated every detail of the dress, including length of skirt, choice of colors, and style of embroidery. Court presentations became less formal after World War II and were abolished in 1958.

Madeleine Vionnet, court presentation gown, smoke-gray chiffon, rhinestones and silver beads, 1938, France, worn by Mrs. Potter Palmer II, née Pauline Kohlsaat, gift of the Estate of Mrs. Potter Palmer II, née Pauline Kohlsaat, photograph by Irving Solero

fitnyc

 

[SomethingElse]

c. 1922.

beverleybirks.com

 

[SomethingElse]

c. 1921.

beverleybirks.com

 

[SomethingElse]

c. 1926.

beverleybirks.com

 

[SomethingElse]

Mid 1930s (attributed to Vionnet, but too beautiful not to post anyway...)

beverleybirks.com

 

[SomethingElse]

April 1937.

beverleybirks.com

 

[SomethingElse]

Herself, c. 1938!

beverleybirks.com

 

[DosViolines]

Madeleine Vionnet (France, 1876 - 1975)
Woman's Wedding Dress and Veil, 1930-1934
a) Dress: chiffon velvet; b) Veil: silk net, silk flowers

lacma.org