Traditionally made out of wired hoops connected by canvas tapes, crinolines were worn under a skirt to give it a fashionable bell-shaped volume.” “the skirt of this ensemble references crinolines of the 1850s and 1860s. The Metropolitan Museum of Art describes the historical context of Vionnet’s voluminous crinoline inspired skirt, writing: In addition to Art Deco inspiration, the carnival dress also reflects a mid-19th century silhouette. The repeated pin-tucked rosette design found on the tulle overskirt stays true to Vionnet’s style as fashion historians Daniel James Cole and Nancy Deihl note in The History of Modern Fashion (2015): “Vionnet frequently used repeated shapes, a design element typical of art deco” (146). “Vionnet’s design ethos rejected everything that distorted the natural curves of the body and understood that fabric cut on the bias could be sumptuously draped into the folds, mirroring the fluidity of the body itself.” Ciara Phipps writes in “1930s Influence on the Catwalk 1975-2000” (2015): 4) as inspiration throughout her collections to guide her creative execution. The dressmaker often turned to artifacts like the Winged Victory of Samothrace (Fig. Vionnet was inspired by Grecian statues that epitomize fabric manipulation. To prevent stretching, the squares were hand sewn together to form the tube that covered the body.” (54) “This dress is composed of squares cut on the grain but hung on the bias, with shaping at the shoulder and hem for a better fit and function. The bias cut’s construction and function is discussed by fashion historian Betty Kirke in Madeleine Vionnet (1998): Morphing bits of fabric into brilliant evening gowns, the dressmaker trademarked the utilization of geometric shapes, specifically squares and rectangles, in bringing her designs to life. 3).įrench couturier Madeleine Vionnet, known as an “architect among dressmakers,” pioneered an unconventional approach to design that has withstood the test of time. A contemporary photograph with the model holding up the skirt highlights the diaphanous effect of the tiers of rosettes against the sleek black sheath (Fig. The repetitive nature of the garment’s embellishments was inspired by the 1920s Art Deco movement. The carnival dress is cinched at the waist by a sheer tulle skirt embellished with pin-tucked rosettes (Fig.
Cut on the bias, the carnival dress creates unrestricted movement while molding itself to the natural shape of the body. In removing the tulle skirt from the ensemble, the bias cut can be clearly identified through the garments body morphing silhouette, and organic pleating. The carnival dress is composed in two parts, the bias cut silk halter dress (Fig. With a blend of Grecian influence, Art Deco inspiration, and Victorian flare, the House of Vionnet presented the “Carnival Dress”, in 1936. The dressmaker is credited with the invention of the bias cut, a technique designed to highlight the body’s fluidity creating luscious movement through plush draping that hangs delicately on the figure’s frame. Madeleine Vionnet modernized fashion through her impeccable craftsmanship and advanced designs creating fashions that were functional, yet chic.
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