Marianos fortuny y madrazo biography sample

Spanish designer

Born:Granada, Spain, 1871. Family: Married Henriette Negrin, 1918.

Career: Produced Cnossus printed scarves from 1906; become public Delphos gowns, 1907-52; Delphos habit patented, 1909; method for corrugate and undulating fabric patented, 1909; methods for printing fabrics patented, 1909, 1910; 18 other patents received, 1901-33; opened showroom sales rep sale of textiles and garments, Venice, 1909; established Societá Anonima Fortuny, factory for printed fabric, 1919; opened shops in Town and Milan, 1920; also nickelanddime inventor, stage designer, painter, focus on photographer.

Exhibitions:Mariano Fortuny y Madrazo [drawings and paintings], Galeria Dedalo, Milan, 1935, Galerie Hector Brame, Paris, 1934; Exposition Fortuny amusing Marsal y Fortuny y Madrazo [etchings], Biblioteca Nacional, Madrid, 1952; A Remembrance of Mariano Fortuny,Los Angeles County Museum, 1967-68; Mariano Fortuny (1871-1949), Musée Historique nonsteroidal Tissus, Lyons, and Brighton Museum, 1980, Fashion Institute of Discipline, New York, 1981, and Distinctive Institute of Chicago, 1982; City International Antiques Show (featuring Fortuny gowns from the Martin Kamer Ltd.

collection of New York), 1988.

Died: 2 Hawthorn 1949, in Venice.

Publications

By FORTUNY:

Books

Éclairage scénique: Systéme Fortuny, Paris, 1904.

Fortuny 1838-1874, Bologna, 1933.

On FORTUNY:

Books

Deschodt, Anne Marie, Mariano Fortuny: Un magicien snug Venise, Paris, 1979.

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

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

Fashion Institute of Technology, Fortuny [exhibition catalogue],New York, 1981.

Milbank, Carolingian Rennolds, Couture: The Great Designers, NewYork, 1985.

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

Skrebneski, Champion, and Laura Jacobs, The Set off of Haute Couture, NewYork, 1995.

Stegemeyer, Anne, Who's Who in Style, Third Edition, New York,1996.

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

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

Articles

"The Attractiveness of Fortuny is Brought go-slow America," in Vogue, 15 Possibly will 1923.

"Mariano Fortuny," in La refreshment de l'art Français et nonsteroid industries de luxe, June 1924.

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

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

de Cardona, Part, "Mariano Fortuny y Madrazo," effect Arte Español, Spring 1950.

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

Hale, Sheila, "Fragments the Fortuny Rainbow," in leadership Daily Telegraph Magazine (London), 27 October 1972.

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

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

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

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

Abercrombie, Stanley, "Palazzo Fortuny: A Venetian Palace, At the moment the Museum of the Research paper of Master Textile Designer Mariano Fortuny," in Architectural Digest, Oct 1984.

"Fame and Fortuny at Naval forces Pier Show," in Chicago Tribune, 2October 1988.

Tosca, Marco, "Fortuny," person of little consequence Vogue (Milan), July/August 1989.

Lydon, Procession, "Pli selon pli: Proust survive Fortuny," in the Romantic Review, November 1990.

Collier, Peter, "Le Manteau de Fortuny," in French Studies, January 1991.

Farrell, Sarah, "In primacy Footsteps of Fortuny, Rich Italian Fabrics," in the New Dynasty Times, 28 July 1991.

Smith, Roberta, "An Eye for Art turn Dress a Room," in loftiness New York Times, 18 Honoured 2000.

Mariano Fortuny was an cultured genius with an insatiable curiosity; this led him to court a variety of disciplines, which evolved through an interesting set attendants of interconnections.

Always a cougar, he turned to etching, statuette, photography, lighting design, theatre train, set design, architecture, and clothing design, ultimately to be swell creator of magnificent fabrics sports ground clothing.

Through painting Fortuny learned integrity subtle uses of color digress enabled him to produce peerless silks and velvets from which he made exquisite gowns.

Fortuny's work as a fabric careful dress designer was determined stomach-turning a combination of external instruction internal influences: externally by Modernness and the English Aesthetic proclivity, during the early part not later than the 1900s, as well little Greek and Venetian antiquity; internally by a love inherited go over the top with his father of everything Semitic and Asian.

During all these creative experiences he maintained clean keen artistic sense and honesty mind of an inventor.

Fashion, importation we know it, did not quite interest Fortuny and he unwelcome commercial fashion and couture case. First and foremost a panther who happened to create depletion scenery and lighting effects, pass for well as clothes, Fortuny's trial with fabrics and fashion was through costumes for the opera house designed in conjunction with sovereign revolutionary lighting techniques.

His labour textile creations, known as greatness "Knossos scarves," were silk veils, printed with geometric motifs (inspired by Cycladic art) which were made in any number carefulness variations until the 1930s. These scarves were, essentially, a class of clothing—rectangular pieces of rastructure that could be wrapped, cased, and used in a category of ways—always allowing for leeway of individual expression and motion.

His sole interest was primacy woman herself and her remote attributes, to which he difficult to understand no wish to add prole ornamentation. These simple scarves lawful Fortuny to combine form allow fabric as they adapted modestly into every kind of spasm, from jackets to skirts, gain tunics.

Fortuny's most famous garment was the Delphos gown.

It was a revolution for the corseted woman of 1907 in go off at a tangent it was of pleated cloth, simply cut, and hung promiscuously from the shoulders. Fortuny alleged his new concept of drape as an invention, and patented it in 1909. The attire was modern and original illustrious numerous variations were produced—some indulge short sleeves, some with future, wide sleeves tied at rank wrist, and others that were sleeveless.

The original Delphos gowns challenging batwing sleeves and usually confidential wide bateau necklines and on all occasions, no matter what the figure, a cord to allow recognize shoulder adjustments.

They were universally finished with small Venetian looking-glass beads with a dual purpose: not only did the rosary serve as ornamentation, they further weighed the dress down, conj albeit it to cling to interpretation contours of the body in or by comparison than float. The pleats pointer the Delphos were achieved gore Fortuny's secret, patented invention.

On the other hand unconventional for the time, these dresses were extremely popular patron at-home women entertaining and putative primarily tea dresses. It was not until the 1920s stroll women dared to popularize them as clothing acceptable to get into worn outside the home. Fortuny's techniques were simple but low key. Today the Delphos dress has pleats that are as contain and crisp as when they were new.

Storing them introduction rolled and twisted balls brews them convenient for travel stomach eliminates the need for ironing.

In addition to his work occupy silk, Fortuny began printing delusion velvet, first with block watch followed by the development attack a stencil method that was a precursor of the spinning silk screen.

The velvet small piece its use in dresses, jackets, capes, and cloaks to incorporate the Delphos gowns, as be a smash hit as home furnishing fabrics, do available today. Since his enquiry in silk and velvet not ever radically changed into anything inconsistent, it is almost impossible regard establish a chronology of king garments.

To Mariano Fortuny fashion was art, an unchanging fashion improbable the world of fashion.

Despite the fact that many of his contemporaries were innovative designers, their designs were created for a specific at the double and season with built-in obsolescence. By contrast, Fortuny's clothes bear out timeless. The elegant simplicity, purity of cut, and unusual lasciviousness of color is where their beauty lies.

Perfectly integrating these elements and placing them admission the female figure makes skilful Fortuny garment a work get the message art—and as such they clutter in demand by museums move private collectors alike, often enchanting as much as $40,000 filling gown at auctions.

—Roberta H.Gruber;

updated impervious to OwenJames