‘ Her sphere is within the household, which she should “beautify”, and of which she should be the “chief ornament”.’
(Thorstein Veblen, The Theory of the Leisure Class, 1899, 82)
Charles-Germain de Saint-Aubin, lady in court dress, watercolour, 1785, Musée des Arts Décoratifs, Paris. 5
4
André Adolphe Eugène Disdéri, portrait photograph of GuillemetteJosephine Brunold, Countess von Tieffenbach, 1862, J. Paul Getty Museum, Los Angeles. 6 André Adolphe Eugène Disdéri, portrait photograph of actress Berthe Girardin, 1866, Musée d’Orsay, Paris, PHO 1995 26 117.
2 Simone Rocha, bomber jacket inspired by vintage eiderdowns, Spring-Summer 2023, MoMu, Antwerp, X2150. 3 Marine Serre, deadstock blanket couture dress, AutumnWinter 2019-2020, photographed by Valeria Herklotz for Dazed 4 Maison Martin Margiela, duvet coat with flower-printed cover, Autumn-Winter 1999-2000, MoMu, Antwerp, X1443.
Maison Martin Margiela, duvet coat with floral overlay, Autumn-Winter 1999-2000, photographed by Marina Faust.
The comparison of an armchair (Fig. 11) designed by Moser with the clothing described above reveals a shared approach to decorative surface treatment in both clothing and furniture. Also, Hoffmann’s cupboard design for Schwestern Flöge (Fig. 5) mirrors the architectural principles of the Wiener Werkstätte (Figs. 1 & 2), emphasizing a cohesive aesthetic across different fields. A coat design by Hoffmann from about 191015 (Fig. 10), again with dark outlines accentuating the verticality, shows how this equality of surfaces is typical for the Wiener Werkstätte’s Gesamtkunstwerk approach.
Additionally, it was common at the Wiener Werkstätte for wallpapers and textiles produced after 1910 to feature the same patterns16. A textile design available at the Wiener Werkstätte by architect Eduard Josef Wimmer-Wisgrill (Fig. 26), who also designed the interior of Flöge’s private apartment with Biedermeier elements in about 1911, shows he not only used it there for both walls and furniture17 (Fig. 25) but also for a costume design (Fig. 28). When the Wiener Werkstätte fashion department was opened in 1911, it was under the direction of Wimmer-Wisgrill, who was often referred to as the ‘Poiret of Vienna’.
Another interesting episode from the history of the Wiener Werkstätte perfectly illustrates the proximity of fashion and interior design as a part of an overall aesthetic or a lifestyle concept at that time. It prominently features the renowned French couturier Poiret.
‘GERMAN’ FASHION AND INTERIOR DESIGN MADE IN PARIS AND VIENNA: THE CREATIVE LIAISON BETWEEN PAUL POIRET AND THE WIENER WERKSTÄTTE
In November 1911 Paul Poiret visited Vienna during his great tour through Central and Eastern Europe, which included cities such as Moscow, St. Petersburg, Warsaw, Bucharest, Budapest and Berlin.
The collection of the MAK Vienna holds a poster for ‘Paul Poiret in Vienna’ (Fig. 30) advertising an event held on three consecutive afternoons from 27 to 29 November at the Viennese education centre Urania. The poster announced that the event’s proceeds would be donated to charitable causes. The program included a cinematographic presentation, a lecture by Poiret on his creations, and a live fashion show featuring clothing presented on
mannequins.18 According to Austrian press reports, the poster had been designed by Josef Hoffmann, who also took care of the artistic setting of the fashion presentations.19
The motif for the poster was taken from the album Les Choses de Paul Poiret vues par Georges Lepape that Lepape had created for Poiret in 1911. This indicated that Hoffmann’s contributions were primarily focused on the writings and the layout of the poster, which was printed by the local Viennese company Gebrüder Rosenbaum. Additionally, Lepape’s graphic work was exhibited in Vienna alongside sculptures from the artists’ association Mánes from Prague during Poiret’s ‘dress rehearsal’ at the premises of the artists’ group Hagenbund on 26 November. It is noteworthy that this premiering event featured models parading among the visitors, but there was insufficient space for a lecture in this case. Photographs from one of Poiret’s fashion shows at the venue Urania (Fig. 29) reveal that Hoffmann’s artistic setting there incorporated Wiener Werkstätte textiles, including ‘Ameise’, ‘Kohleule’ and ‘Krametsvogel’ for cushions, arranged on a chaise longue reminiscent of the Empire period. A ceramic statue by
Michael Powolny, available for sale at the Wiener Werkstätte’s store, was also part of the artistic arrangement.
Numerous articles in Austrian newspapers reported on the visit of the ‘Parisian fashion king’ to their capital city. While there are many reports suggesting that the Viennese tailors were concerned about competition from Poiret, the Neue Freie Presse focused on his connections with the Wiener Werkstätte.20 Its article mentioned that Poiret’s wife Denise wore a dress made from a fabric by Eduard Josef Wimmer-Wisgrill and that Poiret had already been a customer of the Wiener Werkstätte for some time. Additionally, it stated that Poiret aimed to reform the decorative arts in Paris and had asked the leading artists of the Wiener Werkstätte to ‘see in him ... their most enthusiastic apostle for Paris’. The article further indicated that Poiret planned to build a new villa designed by ‘Professor Hoffmann’ and also intended to incorporate Wiener Werkstätte products into the assortment of his existing palace, which is why ‘major agreements were concluded between Poiret and the Wiener Werkstätte for this purpose’. Other newspapers reported that Poiret
2 Lilly Reich, morning dress, white wool crepe with embroidered sleeves, 1926, photographed by N. and C. Hess, from Else Hoffmann, ‘Von Wäsche und Kleidern’, Neue Frauenkleidung und Frauenkultur 22, No. 3 or 4, 1926, Von Parish Kostümbibliothek, Munich.
3 Lilly Reich, brown ribbed wool dress, 1926, from F. S., ‘Angelika an Ursula’, Neue Frauenkleidung und Frauenkultur 22, No. 1, 1926.
PUBLICATION
COMPOSITION AND EDITING
Romy Cockx
AUTHORS
Werner Adriaenssens
Jess Berry
Romy Cockx
Dries Debackere
Ian Erickson
Magdalena Holzhey
Wim Mertens
Robin Schuldenfrei
Lara Steinhäußer
GRAPHIC DESIGN
Jelle Jespers
IMAGE RESEARCH AND COPYRIGHT
Birgit Ansoms
Romy Cockx
Marguerite De Coster
Juliette de Waal
PROJECT MANAGEMENT
Stephanie Van den bosch
TRANSLATION
Alison Mouthaan
EDITING
Xavier De Jonge
PHOTOGRAVURE
Johan Bursens
PRINTING & BINDING
Printer Trento, Italy
PUBLISHER
Gautier Platteau
ISBN 978 94 6494 193 7 D/2025/11922/19 NUR 452
© Hannibal Books and MoMu—Fashion Museum Antwerp, 2025 www.hannibalbooks.be www.momu.be
COVER
Amber Valletta wearing a suit, photographed by Craig McDean for Interview Magazine, July 2014
Photo: Craig McDean/Art+Commerce Model: Amber Valletta
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