Vogue Special Edition: 100 Years of Bauhaus

Photographed by Inez & Vinoodh

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Dedication: To the artists and designers who paved the way for modern design—fashion, architecture, graphic design and more.

Happy 100 years of Bauhaus.

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Special Edition 2019

The German art school paved the way for modern day design.

34 De Stijl The movement proposed ultimate simplicity and abstraction.

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42 Women of Bauhaus

52 Bauhaus and Fashion

Vogue pays tribute to the women artists who defined Bauhaus

How Bauhaus has influenced fashion design today.

44 10 Things To Know About Anni Albers

58 Theo Van Doesburg

She never wave wearable cloth.

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Architecture joins together, binds and unbinds.

62 Yves Saint Laurent Fashions fade, but style is eternal.

72 Laszlo MaholyNagy Design is not a profession, but an attitude.

68 Burberry

76 Jil Sander

Congratulations on celebrating a 100 years of Bauhaus!

I am convinced that there can be luxury in simplicity.

Image Via 100 Jahre Bauhaus

30 Bauhaus

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Special Edition 2019

Creative activity is not a superimposed, extraneous task but an orchestration of joyful doing.

82 Calvin Klein Congratulations on celebrating a 100 years of Bauhaus!

90 Roksanda Ilincic I’ve always wanted to work for a diverse range of women with different lifestyle.

96 Gab Congratulations on celebrating a 100 years of Bauhaus!

100 Herbert Bayer My work is about integration of the contemporary artist into an industrial society. .

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104 Jennifer Brachmann The label modernizes menswear classics by playfully reinterpreting their patterns, shapes and forms.

110 Tommy Hilfiger Congratulations on celebrating a 100 years of Bauhaus!

114 Kurt Schwitters A game played with serious problems that’s what art is.

118 Mary Katrantzou Never fails to impress her admirers and critics alike.

124 Escada Congratulations on celebrating a 100 years of Bauhaus!

Students of the Bauhaus in Dessau. Photo: Stiftung Bauhaus Dessau

86 Gyorgy Kepes

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Special Edition 2019

128 Josef Albers

156 Jan Tschichold

Art is a visualization of attitude of the human attitude toward life.

I think white space can be regarded as an active element in design.

132 Paul Smith

160 Joseph Altuzarra

You can find inspiration in everything, if you cannot you are not looking properly.

Items that can be worn in different ways can be worn more than once.

166 Prada

138 Kate Spade Congratulations on celebrating a 100 years of Bauhaus!

Congratulations on celebrating a 100 years of Bauhaus!

170 Begin Again

142 Piet Zwart The more uninteresting the letter, the more useful it is to the typographer.

Taylor Swift our most endlessly debated pop star today.

180 Editors Letter Thank you Bauhaus.

My inspirations come from everywhere.

152 Stella McCartney

182 Credits 184 Last Look

Congratulations on celebrating a 100 years of Bauhaus!

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The weavers on the stairs in Bauhaus Dessau, 1927.

146 Jason Wu

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Jenniferbrachmann.com

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WEIMAR

Bauhaus is founded by Walter Gropius in Weimar, Germany

Government authorities insist the Bauhaus hold an exhibition and it is attended by 15,000 people including Jan Tschichold

All masters and the director sign letters of resignation effective April 1st, 1925

1919 1923 1924

HISTORY OF BAUHAUS

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1925

Equipment is moved from the campus in Weimar to temporary facilities in Dessau

1926

A new building is constructed and occupie and Bauhaus magazine begins publications

DESSAU

1928 1930

Bayer and Moholy-Nagy travel to berlin for graphic design work Director Hannes Meyer is forced to resign and the position is taken over by Ludwig Mies van der Rohe

1932 1932

Bauhaus faculty contacts are cancelled by the Nazi-controlled Dessau City Council and Bauhaus moves to Berlin, Germany The Bauhaus is closed under Nazi pressure

BERLIN

The concept of Bauhaus design spreads throughout the world

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BAUHAUS The German art school that paved the way for modern day design, art and architecture.

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he Bauhaus was a school whose approach to design and the combination of fine art and arts and crafts proved to be a major influence on the development of graphic design as well as much of 20th century modern art.

Founded by Walter Gropius in Weimar, Germany in 1919, the school moved to Dessau in 1924 and then was forced to close its doors, under pressure from the Nazi political party, in 1933. The school favored simplified forms, rationality, functionality and the idea that mass production could live in harmony with the artistic spirit of individuality. Along with Gropius, and many other artists and teachers, both Laszlo Moholy-Nagy and Herbert Bayer made significant contributions to the development of graphic design. Among its many contributions to the development of design, the Bauhaus taught typography as part of its curriculum and was instrumental in the development of sans-serif typography, which they favored for its simplified geometric forms and as an alternative to the heavily ornate German standard of blackletter typography.�

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Photographed by Andreas Meichsner

The Bauhaus Building in Dessau, Germany.

One of the Places Where The Movement Took Form.

Photographed by Andreas Meichsner

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DE STIJL Harmony and order through simplicity And abstraction—a Utopian ideal.

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Gerrit Rietveld, Red and Blue Chair, 1917

utch for The Style, Die Stijl was founded in 1917. The artists most recognized with the movement were the painters Theo van Doesburg, who was also a writer and a critic, and Piet Mondrian, along with the architect Gerrit Rietveld. The movement proposed ultimate simplicity and abstraction through which they could express a Utopian idea of harmony and order.

The harmony and order was established through a reduction of elements to pure geometric forms and primary colors. Die Stijl was also the name of a publication discussing the groups theories which was published by van Doesburg. The publication Die Stijl represents the most significant work of graphic design from the movement, but the ideas of reduction of form and color are major influences on the development of graphic design as well.

Piet Mondrian, Composition with Yellow, Blue, and Red, 1937-42

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Rietveld Schroder House in Utrecht, Netherlands Photographed by Tom Coggind

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WOMEN OF BAUHAUS

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Image credit: Photo museum Folkwang Essen Artothek

There were some who wouldn’t take no for an answer: the multidisciplinary artist Marianne Brandt became the first woman to be admitted to the school’s metalwork programme; weaver Otti Berger opened her own atelier in Berlin and was the only Bauhaus designer to seek patents for her textiles; both Gertrud Arndt and Lucia Moholy made waves in the maledominated field of photography; and Anni Albers, recently honoured with a major retrospective at London’s Tate Modern, took weaving to a new level and justified its position as an art form.

Known as the “Bauhausmädels”, or “Bauhaus girls”, they exemplified a new type of contemporary woman. This year, to mark a century since the birth of Bauhaus, Taschen has announced the release of Bauhausmädels: A Tribute to Pioneering Women Artists, a new book that spotlights 87 of the school’s most under appreciated female members.

Combining previously unpublished portraits with recent archival discoveries, it shows architects, graphic designers and artisans at work–experimenting with fabrics, taking pictures and listening to records. In the 14 short years the Bauhaus was operational before being shuttered by the Nazi party, these women forged an aesthetic that would go on to define the 20th century.

Ahead of the book’s publication, Vogue gets an exclusive first look at the extraordinary photographs inside and learns about the trailblazing women who are finally getting the recognition they deserve.

Bauhausmädels: A Tribute to Pioneering Women Artists by Patrick Rössler will be published by Taschen in April 2019.

RADHIKA SETH Image credit: Bahaus archive Berlin Consmulle

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hen the Staatliches Bauhaus, Weimar’s experimental school of art and design, opened in 1919, more women than men applied for university places. The institution’s founder Walter Gropius pledged that there would be “absolute equality” between the sexes, but his earliest female students were barred from some of the most prestigious workshops and encouraged to focus on the homelier arts of weaving, bookbinding and pottery, while their male counterparts explored painting and architecture.

Image credit: Stephen

Vogue gets an exclusive preview of the new book that pays tribute to the Bauhaus’s most under appreciated women artists – from Marianne Brandt to Otti Berger – as the movement celebrates its centenary.

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These women forged an aesthetic that would go on to define the 20th century

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THINGS TO KNOW ABOUT ANNI ALBERS

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nni Albers brought wonder to weaving.

Born in Berlin in 1899, she applied modernist ideas to the ancient craft of the loom, marking her out as the most innovative and influential textile artist of the 20th century. Now, her bold body of work is celebrated in a major retrospective at London’s Tate Modern (“Anni Albers” 11 October 2018 to 27 January, 2019). Arriving on the eve of the centenary of the Bauhaus, where she studied in the 1920s, this exhibition sheds light on the breadth of a career that was often overshadowed by that of her artist husband, Josef. But here, among the monumental, grid-like wall hangings that took her months at a time to make (each meticulously planned out in gouache on paper), jewelry, rugs, room dividers, patterns, essays, fabrics and block prints created in her twilight years, he barely gets a look in.

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She was the first textile artist, male or female, to receive a solo exhibition at the Museum of Modern Art. And it could reasonably be argued that she is the best-known textile designer of the 20th century— a distinction her husband does not hold within his own respective field. Though Albers never wove wearable cloth, fashion remains in thrall to her: Mary Katrantzou, Duro Olowu, Grace Wales Bonner and Paul Smith have all cited her as recent inspiration. And at a moment when women’s contribution to the arts is being rapidly re-evaluated, this exhibition places Albers squarely where she belongs – right at the creative core of the modernist movement.

1937. Photo by Helen M. Post Modley. Courtesy of Western Regional Archives, State Archives of North Carolina.

As London’s Tate Modern stages a major retrospective of German textile artist Anni Albers, Vogue unearths 10 fascinating facts about the Bauhaus disciple whose avantgarde creations are inspiring designers to this day.

Weaving wasn’t her first love Albers’ first ambition was to be a painter.

She swapped Berlin for Black Mountain In 1933 the Albers moved to America, where they taught at Black Mountain College in North Carolina.

She was a master of craft Albers created large-scale wall hangings and upholsteries in abstract design.

She considered Coco Chanel a great artist When asked who was the greatest artist of the 20th century, she said Coco Chanel. Even though she loved Chanel, Albers still shopped at discount stores.

She learned about color from Klee It was the color theory classes of the artist, and Bauhaus teacher, Paul Klee, that had the most powerful impact on Albers’ own thread palette.

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She was mad about Mexico In 1935, while she was living in the States, Albers began making the first of 14 trips to Mexico.

She saw cloth as akin to architecture.

Some of Albers’ earliest and most experimental fabrics were made with modernist buildings in mind.

She was a well-heeled sophisticate, he was a lowly decorator’s son The pair married in 1925. For years they’d dress in matching Abercrombie & Fitch tweed overcoats.

She rendered weaving radical Christopher Farr says, “Her work is full of surprises. This playful sensibility is totally of the moment. She blows you away.”

She made jewelry from sink drainers She wrought collectible jewels from household objects that others would consider junk.

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BAUHAUS FASHION How A Century Of Bauhaus Has Influenced Fashion

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auhaus – the German art school known for its use of geometric shapes, sharp lines and pops of color – may be 100 years old this year, but it remains as current as it was a century ago. From David Bowie’s Ziggy Stardust jumpsuit to the Ikea flat-pack furniture in our living rooms. Elements of the Bauhaus ethos have worked their way effortlessly into our lives. Beyond an aesthetic movement, it is the Bauhaus’s experimentation with color and geometry that we most readily recognise today. Not least because it has regularly been transposed onto the catwalk. Think of Jonathan Saunders’ interlinking shapes and bold lines in his SS05 collection; Roksanda Ilincic’s signature use of primary block color; and Mary Katrantzou‘s incorporation of Bauhaus posters in her AW18 collection. Elsewhere, Hugo Boss’s AW15 collection featured checks inspired by the wall hangings of Anni Albers; while Paul Smith has also been drawn to the textile artist’s work.

“What [the Bauhaus] tried to establish through artists like Paul Klee and Wassily Kandinsky was this idea of essential forms, and color relations,” explains Grant Watson, co-curator of Bauhaus Imaginista, a major exhibition marking the 100th

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anniversary of the art school at Berlin’s Haus der Kulturen der Welt. The Bauhaus was also concerned with functionality and simplicity of form. “The early Bauhaus was very expressionist.

Later on, it became more of this functional aesthetic, stripping down to a set of essentials,” explains Watson. These clean-line principles inspired some of the most inf luential fashion designers of the 1960s, including André Courrèges, Mary Quant and the celebrated minimalist Jil Sander. “My roots are in the Bauhaus movement, which applied functional rationality to the design of practical everyday life,” Sander told Vogue’s Suzy Menkes in a 2017 interview. “Streamlined beauty, clear structures, reduction to the essential and free movement.” The interdisciplinary approach of the Bauhaus, which saw the blurring of boundaries between art, architecture and design, is also one that has been adopted by the fashion world. Hussein Chalayan, for example, is known for merging art and technology, echoing the work of Oskar Schlemmer, a key figure from the Bauhaus theatre workshop, with his dramatic catwalk designs.

Mary Katrantzou Fall/Winter 2018

Poster Art, Focus on Typography Desi

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Theo Van Doesburg

Highly inf luenced by Wassily Kandinsky, van Doesburg shifted his style of painting from one that emphasized less of a direct ref lection of everyday life and one that placed more importance on a conceptual style that favored a simplistic geometric style. A Dutch artist, van Doesburg led the artistic style movement “De Stijl� into popularity and inf luenced graphic designers for many years to come with his theories, which conveyed the idea that there was a collective experience of reality that could be tapped as a medium of communication.� Van Doesburg moved to Weimar, Germany in hopes of impressing the director of the Bauhaus, Walter Gropius. Gropius did not directly oppose his ideas, but did not accept him onto the faculty of the Bauhaus.

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In reaction to this, Van Doesburg positioned his studio directly next to the Bauhaus and attracted many students with the ideas he promoted, most of which were developed out of the ideas of Constructivism, Dadaism and De Stijl. It was during these times that Van Doesburg formed a tight bond with the artist Piet Mondrian.

And, in 1923, Van Doesburg moved to Paris so that he could communicate directly with Mondrian. However, the two were very much polar opposites in character and it resulted in the dissolution of their friendship. It has been speculated that the breakdown came as a result of a disagreement about the directions of lines in their paintings. Van Doesburg moved to Switzerland in 1931, due to his declining health, and it was there that he died, on March 7th.

“Architecture joins together, binds; painting loosens, unbinds.�

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Counter-Composition in Dissonance 16, 1925

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The Construction of Space-time III, 1924

Yves Saint Laurent

Yves Henri Donat Matthieu Saint Laurent was born on August 1, 1936, in Oran, Algeria, to Charles and Lucienne Andrée Mathieu-SaintLaurent. He grew up by the Mediterranean with his two younger sisters, Michelle and Brigitte.

While his family was relatively well off—his father was a lawyer and insurance broker who owned a chain of cinemas—childhood for the future fashion icon was not easy. Saint Laurent was not popular in school, and was often bullied by schoolmates. As a consequence, Saint Laurent was a nervous child, and sick nearly every day.

He found solace, however, in the world of fashion. He liked to create intricate paper dolls, and by his early teen years he was designing dresses for his mother and sisters. At the age of 17, a whole new world opened up to Saint Laurent when his mother took him to Paris for a meeting she’d arranged with Michael de Brunhoff,

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the editor of French Vogue. A year later, Saint Laurent, who had impressed de Brunhoff with his drawings, moved to Paris and enrolled at the Chambre Syndicale de la Couture, where his designs quickly gained notice. De Brunhoff also introduced Saint Laurent to designer Christian Dior, a giant in the fashion world.

“Dior fascinated me,” Saint Laurent later recalled.

“I couldn’t speak in front of him. He taught me the basis of my art. Whatever was to happen next, I never forgot the years I spent at his side.” Saint Laurent’s style continued to mature and gain still more notice.

Over the next two decades, Saint Laurent’s designs sat atop the fashion world. He outfitted women in blazers and smoking jackets, and introduced attire like the pea coat to the runway. His signature pieces also included the sheer blouse and the stylish jumpsuit.

“Fashions fade but style is eternal”

The Mondrian Dress by Yves Saint Laurent is directly inspired by De Stijl’s founder, Piet Mondrian. Mondrian along with Theo Van Doesburg began creating pieces like the one on the right which incorporates perfectly straight horizontal and vertical lines. It also incorporates blocks of color using the primary color palette throughout the piece. The dress incorporates all of these elements and is styled with red lipstick and nail polish.

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L Laszlo Moholy Nagy

Known for his versatility and the fundamentals of design which he taught his students, Laszlo replaced Johannes Itten as director of the Bauhaus in 1923. He experimented in many different fields including photography, typography, sculpture, painting, industrial design and print making. His experimentation across multiple mediums led to graphic design work characterized by bold typography in combination with striking photography. After he resigned from his position at the Bauhaus in 1928 he spent time working in Berlin as a film and stage designer.

In 1937 he moved to Chicago and formed the New Bauhaus, which is now the Illinois Institute of Technology. The school shared the same philosophy as the original Bauhaus and caught on quickly. He chronicled his efforts to establish the curriculum of the school in his book Vision in Motion.

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“Design is not a profession, but an attitude.�

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Leuk 4, 1945. Solomon R. Guggenheim Musueum, New York Solomon R Gugeeenheim Founding Collection

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CH BEATA, 1939. Solomon R. Guggenheim Musueum, New York Solomon R Gugeeenheim Founding Collection

Jil Sander

Heidemarie Jiline Sander, born in 27 November 1943, is a German fashion designer and the founder of fashion house Jil Sander S.p.A. In 2013, she was included in the list of best dressed people over the age of fifty, by Guardian. She has been named the Queen of Less by the fashion industry.

In 1968, she established her fashion house in Hamburg, Germany and her business flourished between the 1980s and 1990s. The Prada fashion group purchased seventy-five percent of the shares in the company in 1999. Even after this change, she remained affiliated with her business by becoming the creative designer and chairperson of the board. In 2009, she founded her fashion consultancy agency and its first client was from Japan, Fast Retailing with its label, called Uniqlo.

Sander oversaw their menswear and womenswear collections, known as +J. The first range included coats, knitwear, jackets, accessories and t-shirts with a minimalist approach and decorous hues.

The other line was launched across Asia, including South Korea, China, Hong Kong and Japan. After three years, the parent company of Uniqlo announced that their partnership with

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Sander will not be renewed. The last range of items was disclosed in 2011 Fall and Winter season.

The split between the two parties was mutual.

In 2012, Jil Sander returned to her company but left it once again in 2013. This fluctuation stresses two things: she wasn’t able to forget her own label that she gave birth to, and secondly Bertelli became a barrier between her and her label.

After Sander left her company, she visited several countries including Near East, Africa, Iran and Russia. She always wanted to explore theses places but due to work didn’t get a vacation. Sander began dedicating time to gardening and reading books. During this time, she kept a close eye on the art world and continued with her career, trying to figure out which job offer to accept.

In an interview with Elle (United Kingdom), she listed the three fashion items without which she cannot survive. They were: dark colored jeans, white stylish yet simple shirt and a customized navy coat. The designer believes in living a simple life, following her dreams and always remembering that life can take an abrupt turn any second.

“I am convinced that there can be luxury in simplicity.

Jil Sander is known for the quality of her tailoring and simplicity. That can be seen in the crisp lines and shapes of her fashion design. This parallels MoholyNagy’s approach to art and design. He incorporates a lot of simple shapes and lines into his pieces and usually uses a limited color palette. Sander also sticks to a muted color palette which drives home the “less is more� approach. She has even been considered the queen of less.

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G Gyorgy Kepes

Kepes is indeed a man of many faces. In his career he has been a designer, painter, sculptor, filmmaker, teacher and urban camouflage theorist.

He has been widely revered for his teaching practices and his book Language of Vision was used as a college textbook for the arts for many years. He ran the Color and Light program at the New Bauhaus in Chicago at the invitation of his friend Laszlo Moholy-Nagy and founded the Center for Advanced Visual Studies at MIT. In 1974 he retired from education and returned to painting. His teachings and the work of his students (whom included Saul Bass) greatly influenced an entire nation of budding American designers.

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“Creative activity is not a superimposed, extraneous task...but an orchestration of... joyful doing“

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The Language of Vision, 1951

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Untitled, ca. 1980 mixed medeia on paper, 30x32 1/2 inches

Roksanda Ilincic

A Serbian apparel designer, Roksanda Ilinčić was born in 1970 in Belgrade. As a child, she travelled around the world with her mother and father (a triumphant businessman). Roksanda studied design and architecture from the University of Arts in Belgrade at the Applied Arts department.

Afterwards, she joined Central Saint Martins in 1999 in the metropolitan city London. Known for her evening and elegant dresses, the designs she creates are worn by clients belonging to high-profile backgrounds. Roksanda introduced her eponymous brand and showed her collection for the first time during the 2003 London Fashion Week.

Roksanda has dressed royalties including Catherine, Duchess of Cambridge and notable ladies like Samantha Cameron and Michelle Obama.

The designer caught the fashion fever early in her life when she grew up in Siberia and was attracted by her mother’s enchanting wardrobe that shelved Yves Saint Laurent‘s designs and some that were

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made by her personal seamstresses.

Roksanda accumulated vintage pieces from Laurent’s collections. As a little girl, she customized her own apparel although fashion was not taken as a serious job back then in her town. Her mom use to take Roksanda to the movies, theatre and ballet and these were considered as significant fields.

She took up architecture but later on she couldn’t resist from the various embellishments and materials, the glamour and eventually became an eminent fashion designer. When she moved to London, Roksanda felt a sense of freedom and that she could break the boundaries that had been around her for long enough. Instead of merely following the existing beauty standards, she could transgress and not just an experiment but invent and create too. According to Roksanda, it is an era of standing out and bringing new things to the fashion platform.

“I’ve always wanted my offering to have brought appeal and work for a diverse range of women with different lifestyles.”

Roksanda Ilincic’s work can often be compared to many Bauhaus and De Stijl influences such as Mondrian and Albers due to her color blocking and use of horizontal and vertical lines. Her use of color though, reflects the work of Gyorgy Kepes. He blocks color in a more organic way, but it’s always bright and bold. This can also be seen in Illincic’s fashion. The piece on the left uses blocks of orange and red similar to Kepe’s painting on the right.

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Herbert Bayer

Bayer was both a student and a teacher at the Bauhaus and worked in a wide range of fields including painting, sculpture, typography, advertising and architecture. In his early years as a student he studied painting with Kandinsky, but in just a short while he was teaching one of the Bauhaus’ first classes on typography. The amount of work that he created before he was 28 was more notable than most designers entire careers of work. He spent time teaching at the Bauhaus, working as an Art Director for the Container Corporation and as an architect in both Germany and America.” “In between his time at the Bauhaus and his career in America he spent time as the Art Director of Vogue magazine’s Berlin office. His contributions to the fields of graphic design, typography and advertising were many. One that should be noted

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was his design for a typeface that consisted of entirely lowercase letters. The German black letter types were overly ornate for his taste and their use of capital letter for every proper noun was annoying.

Logically, Bayer developed a sans-serif alphabet of lowercase letters titled “Universal”.” “In 1946 Bayer moved to Aspen, Colorado where he spent much of his time designing local architecture and posters for the local community. In 1959 he designed another sans-serif typeface. Again it was all in lower case, but he called it “fonetik alfabet” and it contained special characters for the endings -ed, -ion, -ory and -ing. He is one of the most recognized designers to come from the Bauhaus institution and his theories of design are still taught in many schools today.

“My work seen in its totality is a statement about the integration of the contemporary artist into an industrial society.�

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Bauhaus Ausstellung Weimar Juli - Augudt - September 1923. Committee on Architecture and Design Funds.

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Herbert Bayer, designhistory.com

Jennifer Brachmann

Architect and fashion designer Jennifer Brachmann, born in 1980, lives and works in Berlin. After receiving a degree in architecture at the TU Dresden, she later studied fashion design at Burg Giebichenstein University of Art and Design Halle where she graduated in 2010.

Her collections are characterized by the contrast between the timeless forms of architecture and the dynamic forms of fashion. After her internship at Veronique Branquinho in Antwerp and completing several freelance fashion design projects, she founded the Label “Brachmann – Post classical Menswear” together with her partner, Olaf Kranz, in 2012. The label modernizes menswear classics by playfully reinterpreting their patterns, shapes and forms, thereby looking for inspiration in architecture. In a consistent design style, the expression of the looks ranges from cool avant-garde to minimalistic elegance.

Out of sustainable design, high quality fabrics

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made from natural fibres and a craftsmanship production in Germany, Brachmann creates Post classical Menswear that opens up space for the individual expression of masculine identity. Brachmann debuted in January 2014 during Mercedes-Benz Fashion Week Berlin with the A/W 2014/15 collection, dubbed “triumphant” by Women’s Wear Daily (W WD).

While fashion press celebrating Brachmann as “The One to Watch label from Germany” (Kaltbut Magazine S/S 2015), the Fashion Council Germany nominated the label for the International Woolmark Prize in 2016. Since then, Brachmann shows its collections at both Berlin and Paris Fashion Week.

“The label modernizes menswear classics by playfully reinterpreting their patterns, shapes and forms, thereby looking for inspiration in architecture.�

Jennifer Brachmann stated in an interview with Vogue that the biggest influences for her fashion is Bauhaus architecture and design. She keeps her work minimalistic and well structured and her use of lines and color can be compared to Herbert Bayer. Bayer was an architect, typographer and designer.

A lot of his knowledge in architecture directly influenced his design work which in turn has influenced fashion designers such as Brachmann.

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Kurt Schwitters

Kurt Schwitters is most commonly associated with the Dada movement, but also was an integral participant in the Constructivist and Surrealist movements. He worked in many mediums including painting, poetry, installation art, sculpture, graphic design and typography.

His influence in the art world and the popularity of his collage style of artwork were far reaching both in Europe and the US. After World War I society in Germany began to become somewhat more stable and Schwitters became less active in the Constructivist and Surrealist movements and joined the German Dada group. During this time he published a periodical titled Merz, which was

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perhaps his most influential graphic design work.

Merz was a term that Schwitters often used in his work, describing it as “”In the war, things were in terrible turmoil. What I had learned at the academy was of no use to me and the useful new ideas were still unready. Everything had broken down and new things had to be made out of the fragments; and this is Merz. It was like a revolution within me, not as it was, but as it should have been.” The periodical featured a new topic for each issue including, artist features, children stories and poetry. Collaborators included El Lissitzky, Van Doesburg and Jan Tschichold.

“A game played with serious problems.

That’s what art is.”

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Merzz 53, Red Bondon, 1920. Solomon R. Guggenheim Museum, NY, The Hilla Rebay Collection

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Mz 199, 1921. Solomon R. Guggenheim Museum, NY, Gift, Estate of Catherine S Dreier, 1953

Mary Katrantzou

The mind behind breathtakingly paradisiacal designs sold straight off the runways for thirty thousand dollars each. Mary Katrantzou never fails to impress her admirers and critics alike.

Daughter of an interior designer mother and textile engineer father, Mary was born in Athens in 1983. Katrantzou studied at the Rhode Island School of Design from where she completed her Bachelors in Architecture and went on to study at Central Saint Martins in London to complete her Masters in fashion design. Her first ready to wear collection for autumn/winter 2008 debuted on the runways of London Fashion Week in 2008 which raved positive reviews from admirers and critics alike. Her collection soon hit the racks of famous retail stores like Penelope, Browns and Joyce. Today her collections are sold internationally in over hundred specialty stores in 30 countries. Katrantzou got lucky when she won the NEWGEN Sponsorship Program

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of the British Fashion Council for six seasons.

Through this sponsorship program, she was able to present her outstanding creations for six seasons. Later Katrantzou expanded her horizons by collaborating with Topshop and came up with three high street collections and designed a line of handbags in partnership with Long Champ, the luxury label. In June 2011, she teamed up with artist Pablo Bronstein and designed costumes in which his signature architectural creations were displayed at London’s Institute of Contemporary Art. The designer is also determined to launch a menswear collection once she gets bored of designing women’s wear. The turning point in Katrantzou’s fashion career was in 2011 when she designed the revolutionary lamp shade skirts for her spring/summer collection. Katrantzou is currently residing in London with her studio situated in Islington.

“The mind behind breathtakingly paradisiacal designs, Mary Katrantzou never fails to impress her admirers and critics alike.�

Mary Katrantzou found a lot of inspiration in the posters made from the Bauhaus. A lot of her work incorporates the elements of design in these posters.

They typically incorporate type, overlapping shapes and blocks of color.

Some of these same elements can be seen in Kurt Schwitters work including the overlapping of different shapes and colors as well as color blocking and the use of type within certain pieces.

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Josef Albers

Albers was a student of the Bauhaus in Dessau, Germany and was a practicing artist in the fields of design, typography, photographer, painter, print maker and poet. His most inf luential work was created in the field of abstract painting and it showed an influence of both the Bauhaus and the Constructivists with its simplified geometric shapes. However, he also proved to be very inf luential to many other graphic designers and artists as a teacher at the Black Mountain College in North Carolina from 1933-49 and at Yale University in Connecticut from 1950-58.

His series Homage to the Square is an example of his disciplined approach to composition and color theory. Towards the end of his career he and his wife established the Joseph and Anni Albers foundation in an effort to continue sharing and promoting the theory that he had established during his career. His style and work represent a bridge between the European art of the Bauhaus and Constructivists and the new American Art that emerged in the 1950s and 60s. He was a teacher and an artist his entire career, until his death in 1976 at the age of 88.

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“The role of art for me is the visualization of attitude, of the human attitude towards life, towards the world.�

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Study for Homage to the square: Closing, 1964, Solomon R. Gugghenheim Museum, NY, Gift of the artist 2969

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Josef Albers. designishistory.com

Paul Smith

Paul Smith is Britain’s foremost designer. He is renowned for his creative aesthetic, which combines tradition and modernity. Reaffirming the values that Paul set down in 1970, ‘classic with a twist’ remains the guiding principle of the company.

Paul’s saying, that ‘you can find inspiration in everything, means that references are eclectic, coming from high art and everyday life. Each Paul Smith design is underpinned by a dry British sense of humour: quirky but not frivolous, eccentric but not silly. Happily positioned between high fashion and formal wear, while taking reference from both, Paul Smith has always been proud to stand apart. Smith soon realized that he wanted to be involved in the world of colors, ideas, fashion and excitement. Smith opened his first store in 1970 with whatever money he had saved at the time. Six years later, Smith displayed his first line of menswear under the label Paul Smith in Paris.

His business soon became known internationally and particularly in Japan where his designs gained

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much popularity. The success of his business relies heavily on his understanding of both designing and retailing. However, the designer states that the reason behind his success is his wife and she made it possible for Smith to be where he is. His wife is very special to him and this is understood from the many interviews he has given. For the London Olympics, Smith worked in order to design the signs and posters. In 2009, he distributed clothes to the team of Manchester United. Today, Smith owns twelve diverse collections including items like clothes, shoes, accessories, watches, fragrances, pens, furniture, and many other things such as china, rugs and more. Consequently, Smith began taking tailoring classes in the evening in Nottinghamshire under Gordon Valentine Tipto who showed demonstrations to Smith on cloth cutting and taught him the basics of the subject. Later, Smith joined Savile Row after meeting Harold Tillman.

“You can find inspiration in everything.

If you can’t, then you’re not looking properly.”

Paul Smith, in an interview with Vogue, talked about how the work of both Josef and Anni Albers has inspired him in his fashion designs. He utilized bold geometric check patterns and dusky colors that were directly influenced by Anni’s textiles and Josef’s paintings.

This look on the left incorporates the rectangular forms and color palette of Albers’ work featured on the right.

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Piet Zwart

A pioneer of modern typography, designer Piet Zwart was influenced by Constructivism and De Stijl. His influence shows in his work and in this quote: to make beautiful creations for the sake of their aesthetic value will have no social significance tomorrow. Zwart worked as a designer, typographer, photographer and industrial designer in the Netherlands in the 1920s and 30s.

Primarily working for the NKF Company, he created many works of graphic design before retiring from the company to spend the rest of his days as an interior and furniture designer.

Also influenced by the Arts and Crafts movement, Zwart began his education at the School of

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Applied Arts in 1902. He spent most of his career moonlighting as an architect and photographer, as well as a designer and for several years he was very successful. His design career came to a halt when he was arrested by German soldiers in 1942.

He was eventually released after the war, but the experience affected him drastically. He spent the rest of his life primarily working in interior design.

His excellent use of color, typography, composition and photography are reminiscent of the Bauhaus and his influence on the future generations of graphic designers lives on through the Piet Zwart Institute at the William de Kooning Academy.

“The more uninteresting the letter, the more useful it is to the typographer.�

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Piet Zwart, designishistory.com

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Piet Zwart, designishistory.com

Jason Wu

Jason Wu is a leading global design talent based in New York, NY. Through merging classic American sportswear elements with a refined couture sensibility, he has created an internationally recognized brand in just 10 years. Since debuting his Ready-to-Wear collection in 2007, Jason has been dedicated to making clothes that are beautifully crafted from the inside out. With a focus on exquisite quality and traditional craftsmanship, much of Wu’s collection is manufactured in New York using custom developed fabrics from the finest mills in France and Italy. As a child, Jason began using dolls as mannequins to learn how to sew after his mother bought his first sewing machine. Although only 36, the precocious designer has already achieved many of his aspirations. His collection is sold globally and he dresses some of the most influential women in the world including former First Lady Michelle Obama,

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Reese Witherspoon, Julianne Moore, Diane Kruger, Liu Wen and Christy Turlington, amongst many others. Jason served as Artistic Director of Hugo Boss womenswear Ready to Wear and Accessory collection for five years. More recently, Jason was honored with the Fashion Star Award at The Fashion Group International Night of Stars 2015, and won the 2016 International Designer of Year at the Canadian Arts & Fashion Awards. The Jason Wu Collection was established with a commitment to making beautifully crafted clothes with a modern sophistication. Jason has always been driven by a curiosity to learn about construction, workmanship and perfecting every detail of his designs. “My philosophy has always been to build a garment from the inside out,” explains Jason.

“My inspirations come from everywhere. It’s important to look at everything.”

The biggest connection between Piet Zwart’s art and Jason Wu’s fashion is the use of the power palette. The power palette consists of the colors red, white and black which are the three highest points of contrast on a page which establishes hierarchy, focal points and evokes power. Their use of red specifically draws people’s eyes to where the designers want the viewers to look first.

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Jan Tschichold

Tschichold claimed that he was one of the most powerful influences on 20th century typography.

There are few who would attempt to deny that statement. The son of a sign painter and trained in calligraphy, Tschichold began working with typography at a very early age. Raised in Germany, he worked closely with Paul Renner (who designed Futura) and fled to Switzerland during the rise of the Nazi party. His emphasis on new typography and sans-serif typefaces was deemed a threat to the cultural heritage of Germany, which traditionally used Black letter Typography and the Nazis seized much of his work before he was able to flee the country. When Tschichold wrote Die Neue Typographie he set forth rules for standardization of practices relating to modern type usage.

He condemned all typefaces except for sans-serif

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types, advocated standardized sizes of paper and set forth guidelines for establishing a typographic hierarchy when using type in design. While the text still has many relative uses today, Tschichold eventually returned to a classicist theory in which centered designs and roman typefaces were favored for blocks of copy. He spent part of his career with Penguin Books and while he was there he developed a standardized practice for creating the covers for all of the books produced by Penguin. He personally oversaw the development of more than 500 books between the years 1947-49. Every period of his career has left a lasting impression on how designers think about and use typography, and it will continue to affect them into the future.

“White space is to be regarded as an active element, not a passive background.�

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Jan Tschichold, photo credits: Penguin-Thames and Hudson

S

S

SABON

Jan Tschichold, Sabon 1966 Poster By CLaudia Moreira 2016

A typeface by Jan Tschichold Elegant & Sophisticated

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Joseph Altuzarra

An acute eye for detail, texture, and color place Joseph Altuzarra in a league of his own.

With ready-to-wear collections inspired by everything from 18th-century dandies, to Truman Capote’s stylish “swans,” to circa 1950 American railroad workers, New York–based Altuzarra is the thinking woman’s designer. His refined pieces—in a wide range of fabrics and finishes, including linen, leather, burlap, and velvet—all tell a visual story, and often incorporate parts of the designer’s Franco-American background, as well as his love of literature, film, and dance.

With early experiences at Marc Jacobs and Proenza Schouler in New York, followed by an apprenticeship with pattern maker and former Rochas head Nicolas Caito, and after a role as first assistant to Riccardo Tisci at Givenchy, Altuzarra

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launched his eponymous line in 2008. In just eight years the brand has become synonymous with feminine tailoring and a sophisticated-yetplayful aesthetic, with expansion continuing beyond the designer’s signature thigh-high slit skirts, vibrant silk blouses, f lowy dresses, and fitted jackets. A minority investment by Kering in 2013 helped fuel the addition of a handbag line that includes a mix of casually structured shapes in everything from smooth calf to Sfumato leather to luxurious crocodile. Surface recently met with Altuzarra at his Soho atelier to discuss the inf luence of his banker parents, whom he credits with his pragmatism; his favorite campy films; and the role his husband, Seth Weissman, as well as friends including Alexander Wang and Vanessa Traina, play in his creative process.

“I try to think about items that can be worn in different ways so they can be worn more than once.�

Joseph Altuzarra is all about sensuality and simplicity in his work. He utilizes the power palette and creates flowy and elegant fashion. This reflects the work of Jan Tschichold–specifically his Sabon typeface. The neckline of the dress pictured left mimics the majuscule A in the typeface. It also is a typeface that can be used for many different designs including fashion week as seen in the New York Fashion Week poster on the right.

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21 NOVEMBER 2019

NEW YORK FASHION WEEK

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Photo credits: Innez and Vinoodh

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BEGIN AGAIN Celebrated, canceled, obsessed over—is Taylor Swift our most endlessly debated pop star? With a new album, and a newly assertive political voice, she opens up to Abby Aguirre about sexism, scrutiny, and standing up for herself. Photographed by Inez & Vinoodh. ­

Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots andRuPaul’s Drag Race, sipped tea with the cast of Queer Eye. The mood was joyous and laidback. But by the end of the day, I wasn’t sure what the vignettes would add up to.

“

“

It’s a Sunday afternoon in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary.

Barefoot in a wine-colored floral top and matching flowy pants, Swift is on a laptop ready to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world. I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses— living, breathing lovey-eyes emoji—and a mailbox warned, “love letters only”.

Swift and a stream of costars filmed six scenes over about a dozen hours.

The singer-songwriter Hayley Kiyoko, shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater

this album feels like a new beginning...

It is a love letter to love.”

For security reasons, the song was never played aloud. (The cast wore ear buds.)

Even the hero shot, in which Swift had Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence. For weeks afterward, I tried to sleuth out a theory.

I started casually. There was a “5” on

the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head. Swift has a thing for symbols.

I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her selftitled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads Nils Sjoberg, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart.

Back in the kitchen, Swift hits play.

“The first verse is about trolls and cancel culture,” she says. “The second verse is about the people picketing outside our concerts.

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“

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Red is such an interesting color to correlate with emotion, because it’s on both ends of the spectrum.

On one end you have happiness, falling in love, infatuation with someone, passion, all that. On the other end, you’ve got obsession, jealousy, danger, fear, anger, and frustration.

The third verse is about successful women being pitted against each other.” The video is, for erudite Swifties, a rich text. I had followed I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up— achievement unlocked! The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures— including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House. The fact that Swift is super model thin, towers over everyone,

and has skin as pale as a gold-rush bride’s—well, let’s just say she falls somewhere on the continuum from fetching to dazzling. That irony is not Swift’s strong suit makes her triumph all the more satisfying: She is wearing the dress; the dress is not wearing her. Perched here among the professionally blasé, she is all smiley gee-whiz confidence, full of hugs and exclamation points. Strangely enough, her opposite is sitting just two seats down: Rooney Mara, still in Lisbeth Salander mode, wearing all black and looking pale-to-green spooky. An editor sitting nearby jokes that the two could be the good witch and the wicked witch from The Wizard of Oz. Taylor Swift embodies elegance and simplicity whether it be in music or in fashion.

She incorporates functional fashion

into her runway and stage looks as well as her everyday wardrobe. Taylor has to be able to move as well as sing and dance in whatever she wears on stage, so her fashion choices have to be functionable enough to allow her to do that. She also chooses to wear pieces that are simple in nature but also exemplify her beauty and grace. For Taylor, less is more. This is how she uses fashion to express herself and her message to the world. Though Taylor doesn’t have a direct connection to the Bauhaus, she is an example as to how its ideas have made its way to modern day fashion and art.

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EDITOR’S LETTER

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or based off the ideas and art from the Bauhaus. One of the fashion designers, Jil Sander is called the “Queen of Less is More” based on the famous quote by Ludwig Mies Van Der Rohe. Yves Saint Laurent did dresses based on Mondrian’s Composition and Mary Katrantzou created a collection based off of Joost Schmidt’s Staatliches Bauhaus Ausstellung Poster and other art from the Bauhaus. There were so many connections the opportunity was too good to pass up. But, once we ran with Vogue we had to fully commit to making it look and feel like a real life Vogue magazine. We spent hours studying their covers and layout

“

“

I

t was the 24th of October, 2019, we were sitting in our 11 am History of Graphic Design class and Professor Speaker is assigning the infamous magazine project.

We had no idea what groups we were going to be in or what our topic was going to be, but we were excited. As soon as we flipped to the back page our eyes went straight to the group assignments, and to our surprise we got the Bauhaus. The four of us locked eyes solidifying the fact that we were a group and we had the Bauhaus as our topic! As soon as we had the chance we met up and started discussing how we were going to achieve the task at hand. We started with three main areas of design: Tiny Homes, Fashion, and Architecture. We wanted to highlight function, color palette, and the idea that less is more into whatever concept we chose. After helpful conversation with Speaker, we decided on Fashion.

From there we narrowed down the idea to Vogue highlighting Bauhaus and how it’s ideas influenced modern day fashion.

That concept eventually turned into a special edition magazine celebrating 100 years of Bauhaus including the women of Bauhaus and some of its most inf luential artists, designers and architects. After extensive research on Design History, Vogue.com and in Vogue magazines we found that there was a strong connection between Bauhaus and fashion. Not only has Vogue already written a few articles about it, there have been multiple fashion designers create entire collections inspired by

Thank you Bauhaus, thank you Vogue, thank you Speaker for the questions, thoughts, concerns & ideas.

design in order to incorporate specific elements into our own magazine.

We found images of fashion, artwork and advertisements to push the concept as far as it could go. Though we had a great connection, we struggled with the size of the magazine as well as layout structure and typesetting. After the first process critique we had a lot of details to work out. We knew we wanted to incorporate the power palette and create visual hierarchy with type and color, but we needed to figure out how to make the magazine feel consistent and flow easily.

Overall, this magazine’s purpose is to highlight the Bauhaus and its artists and ideas. We connected each Bauhaus designer to a fashion designer which helped make the connection stronger.

By putting the work of the Bauhaus artists side by side with the fashion from the designers, we were able to show the inspiration and the way the ideas have spread to today’s fashion. The hardest part was connecting Taylor Swift.

We chose her image for the cover because it was a beautiful shot of a strong and successful woman artist.

She had already been the cover of Vogue and we pulled her article from the September 2019 issue. We realized that it didn’t fully connect, so we wrote our own copy at the end connecting Taylor to the elegance, simplicity and talent of the Bauhaus. She exemplifies less is more and represents the success of Women artists (in music, fashion, art and design). The Bauhaus’ ideas have impacted modern day design in so many areas, including fashion and it will continue to shape our everyday world. What we wear, the furniture in our houses and even the curriculum we as designers learn in school is directly influenced by a German art and design school started 100 years ago. That is something to highlight and celebrate, which we have done through this magazine. Thank you Bauhaus, thank you Vogue, thank you Speaker for the questions, thoughts, concerns and ideas.

This magazine is full of inspiration and influential people that deserve all of the credit and recognition.

Credits

Bauhaus and Fashion Designers Theo Van Doesburg & Yves Saint Laurent | Morgan Broom Laszlo Moholy-Nagy & Jil Sander | Morgan Broom Herbert Bayer & Jennifer Brachmann | Anastasia Shcherbina Gyorgy Kepes & Roksanda Ilincic | Anastasia Shcherbina Kurt Schwitters & Mary Katrantzou | Emma Marks Joesf Albers & Paul Smith | Emma Marks Piet Zwart & Jasom Wu | Maci Burress Jan Tschichold & Joesph Altuzarra | Maci Burress

Articles The Bauhaus | All De Stijl | All Bauhaus 100 | Morgan Broom & Emma Marks Bauhaus Timeline | Anastasia Shcherbina Women of Bauhaus | Anastasia Shcherbina & Emma Marks 10 Thing To Know About Anni Albers | Morgan Broom Taylor Swift | Anastasia Shcherbina, Maci Burress & Emma Marks Editors Letter| Morgan Broom

Advertisements Researched | All Placement | Maci Burress

Cover Morgan Broom & Anastasia

Research, Copy, Typesetting All

Artwork All

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LAST LOOK The Lutz Morris & KPM Handbag Lutz Morris and KPM Launch a BauhausThemed Collection That Will Have Art Lovers and Aesthetes Swooning

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In 1919, Bauhaus—a design school championing functional design (geometric shapes, sharp lines, and essential forms)—was founded in Weimar, Germany. Its “Art into Industry” motto birthed an artistic movement that spread throughout Europe, adapted by artists like Wassily Kandinsky, Paul Klee, Joseph Albers, and Marcel Breuer.

As Bauhaus celebrates its 100th anniversary, its influence can be seen everywhere from art to fashion and interior design.

German brands Lutz Morris and KPM weren’t going to let such a momentous milestone pass them by.

This month, the luxury handbag designer and royal porcelain factory team up on a Bauhaus-themed collection that’s now available on Matches fashion. com. “By joining forces on this special project, we’re reviving the interdisciplinary cooperation of various craft and art forms, as was done during the Bauhaus era,” Tina Lutz of Lutz Morris tells Vogue.

Their inspiration? Architectural drawings by Mies van der Rohe and paintings by László Moholy-Nagy.

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