After spending another four years working for Coco Chanel’s sportswear rival, Jacques Doucet, she finally broke out on her own in 1912. Privacy Policy (function (w,d) {var loader = function () {var s = d.createElement("script"), tag = d.getElementsByTagName("script")[0]; s.src=""; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load", loader, false);}else if(w.attachEvent){w.attachEvent("onload", loader);}else{w.onload = loader;}})(window, document); The Fashion History Timeline is a project by FIT’s History of Art Department. NINE haute couture gowns designed by Madeleine Vionnet have found themselves a new home: the Victoria & Albert Museum, The Bowes Museum and the Fashion Museum, Bath.

Fig. 5 - Madeleine Vionnet (French, 1876-1975). At the outbreak of the Second World War, Vionnet closed her couture house, retiring in 1940. It is because of them that I have been able to make Rolls Royces". The couture house was forced to close during the First World War, but Vionnet re-opened in 1918, moving to larger premises on 50 Avenue Matignon, Paris.

Designer Madeleine Vionnet (1876 – 1975) was one of Europe's greatest couturiers, famous for pioneering the revolutionary 'bias-cut' dress, draped expertly over the body, which changed the shape of women's fashion.

While Vionnet herself did not invent the method of cutting fabric on the bias, she was the first to utilize bias cuts for the entirety of a garment. Although sometimes credited with its invention, Vionnet claimed to have applied the technique, already used in skirts, trims, and embellishments, to full-body dresses.

2 - Madeleine Vionnet (French, 1876-1965). Honeycomb dress, 1936.

Unless specifically noted, images used in the Timeline are not subject to this Creative Commons License applied to the written work from the Timeline. is the best place for your personal blog or business site. She sold designs purchased off the peg and adapted to the wearer.

Her construction and techniques of tucking and folding were both groundbreaking and innovative. Parian marble; 244 cm (96 in). The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. Vionnet exp… 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).

New York: Metropolitan Museum of Art, C.I.52.24.3a, b.

Having always shunned the limelight, her name faded fast, but she was rediscovered by fashion historians later in the 20th century. Vionnet was forced to close her house in 1939 and retired in 1940. The repetitive nature of the garment’s embellishments was inspired by the 1920s Art Deco movement. For the fashion label, see, "Madeleine Vionnet, a giant in french fashion", Spirals & Ellipses: Clothing the Body Three-Dimensionally, "Four haute couture dresses by Madeleine Vionnet",, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License, Madeleine Vionnet, Pamela Golbin, Patrick Gries, Rizzoli, 2009, Madeleine Vionnet, Créatrice de Mode, Sophie Dalloz-Ramaux, Editions Cabedita, 2006, Madeleine Vionnet, 3d Edition, Betty Kirke, Chronicle Books Editions, 2005, Vionnet – Keizerin van de Mod, Exhibition Catalogue, 1999, Madeleine Vionnet, 2d Edition, Betty Kirke, Chronicle Books Editions, 1998, Vionnet, Fashion memoir series, Lydia Kamitsis, Thames & Hudson Editions, 1996, Vionnet, Collection Mémoire de la Mode, Lydia Kamitsis, Editions Assouline, 1996, L’Esprit Vionnet, Jéromine Savignon, Publication de l'Association pour l'Université de la Mode, 1994, Madeleine Vionnet, Les Années d’Innovation, 1919–1939, Exhibition Catalogue, Publication du Musée des Tissus et des Arts décoratifs de Lyon, 1994, Madeleine Vionnet, 1876-1975 : L’Art de la Couture, Catalogue d’Exposition, Publication du Musée de la Mode de Marseille, 1991, Madeleine Vionnet, 1st Edition, Betty Kirke, Kyuryudo Art Publishing Editions, 1991, Madeleine Vionnet, Jacqueline Demornex, Rizzoli Editions, 1991, Madeleine Vionnet, Jacqueline Demornex, Editions du Regard, 1990. Remembering the woman whose innovative designs continue to influence fashion decades after her death.

Influenced by the modern dances of Isadora Duncan, Vionnet created designs that showed off a woman's natural shape. In addition to Art Deco inspiration, the carnival dress also reflects a mid-19th century silhouette. The fabric of the dress is shaped to the body with a series of hexagons. Characteristic Vionnet styles that clung to and moved with the wearer included the handkerchief dress, cowl neck, and halter top. Called the "Queen of the bias cut" and "the architect among dressmakers", Vionnet is best known today for her elegant Grecian-style dresses and for popularising the bias cut within the fashion world and is credited with inspiring a number of recent designers. Her cubist-inspired creativity operated in an obscure manner that the fashion industry had never seen before. "It is because of them that I have been able to make Rolls Royces."

6) along with a caption that reads: “The halter neck, bare over the shoulders and bared to the waistline, typical of the new decolletages, typical of Vionnet, who uses it even with her grandest Spanish gowns. Morgan Wozniak, an advertising and marketing communication student at FIT (class of 2019), researched and wrote this while taking HA 346: 20th-Century Fashion and Art (SP19), taught by Professor De Young.

Dior wasn't wrong.

Madeleine Vionnet (June 22, 1876 – March 2, 1975) was a French fashion designer who was called the “Queen of the bias cut” and “the architect among dressmakers”. French couturier Madeleine Vionnet, known as an “architect among dressmakers,” pioneered an unconventional approach to design that has withstood the test of time.

Vionnet’s honeycomb dress (Fig. Explore the range of exclusive gifts, jewellery, prints and more. The Met Museum.

Carnival dress, 1936.

"Black Tulle, Black Velvet," Harper's Bazaar, vol. Enabling the acquisition of the dresses was support from the MLA/V&A Purchase Grant Fund, which gave £85,000, and The Art Fund Charity, which gave £80,000. There she began to understand the significance of garment design that sprang from draping fabric directly onto a live model, rather than sketching a design on paper and then translating it into fabric.

Source: The Met, Fig. With a blend of Grecian influence, Art Deco inspiration, and Victorian flare, the House of Vionnet presented the “Carnival Dress”, in 1936.

Vionnet's chic, free-flowing garments flattered the curves and forms of the female body, encouraging women to go without cumbersome corsets. [7] In 1925, Vionnet's fashion house expanded with premises on Fifth Avenue in New York City. Designed by Elegant Themes | Powered by WordPress, In 1700-1709, 18th century, decade overview, In 1780-1789, 18th century, artwork analysis, BIPOC, LGBTQ+, In 18th century, 19th century, 20th century, 21st century, thematic essays, In 1990-1999, 20th century, decade overview, In 1900-1909, 1910-1919, 20th century, blog, Last updated Jun 3, 2019 | Published on Jun 3, 2019. . [13] Like Duncan, Vionnet was inspired by ancient Greek art, in which garments appear to float freely around the body rather than distort or mold its shape. Alongside Coco Chanel, Vionnet is credited with a move away from stiff, formalised clothing to sleeker, softer clothes. Her dresses also embody the Art Deco-era obsession with motion, as well as referencing Cubism and Modernism.

Madeleine Vionnet sought to create timeless garments that would transcend fleeting fashion trends, finding inspiration in both antique and modern sources.

The carnival dress is composed in two parts, the bias cut silk halter dress (Fig. Ciara Phipps writes in “1930s Influence on the Catwalk 1975-2000” (2015): “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.”. Though she was a quiet designer, her impression on fashion is a roar.

She even likened herself as a sculptor. 4) as inspiration throughout her collections to guide her creative execution. 1936 – Madeleine Vionnet, Carnival Dress Vionnet’s exquisite technique and ingenious construction–like that seen in her 1936 carnival dress–popularized her designs internationally throughout the 1920s and 1930s. Vionnet's apparently simple styles involved a lengthy preparation process, including cutting, draping, and pinning fabric designs on miniature dolls.

Born on 22 June 1876[1] into a poor family in Chilleurs-aux-Bois, Loiret, Vionnet moved with her father to Aubervilliers at the age of five. You may be able to find more information about this and similar content at, CR Muse: Georgia O'Keeffe, the Modern American, CR Muse: Leonor Fini — glamour, erotica, rebellion, CR Muse: The Quiet Triumph of Anne-Marie Beretta, CR Muse: Carmen de Tommaso, Accessible Couture, CR Muse: Mary Quant, Designer of the Swinging '60s, CR Muse: Claire McCardell, Godmother of Sportswear, CR Muse: Elsa Schiaparelli, Fashion Collaborator.

The Metropolitan Museum of Art. Madeleine Vionnet is regarded as one of the most influential designers of modern fashion.