5: Fortuny

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The Metropolitan Museum of Art
Date: ca. 1930 Location/Culture: Italy Object is held at: MET Notable Techniques/Motif Names: The fabric of this coat showcases Fortuny's inspiration from the Italian Renaissance. He often recreated textiles from that era.
The Metropolitan Museum of Art
Date: ca. 1920 Location/Culture: Italy Object is held at: MET Notable Techniques/Motif Names: This evening coat showcases Fortuny's fondness for velvet as well as metallic detailing. He achieved metallics in his fabrcs using bronze, copper, and aluminum powders. The coat also features a palmette pattern which borrows from Persian motifs, a common source of inspiration for Fortuny.
The Metropolitan Museum of Art
Date: ca. 1930 Location/Culture: Italy Object is held at: MET Notable Techniques/Motif Names: This coat's Persian-inspired pinwheel pattern showcases Fortuny's inspiration from non-European sources. It also incorporates Fortuny's use of movement and light.
The Metropolitan Museum of Art
Date: ca. 1930 Location/Culture: Italy Object is held at: MET Notable Techniques/Motif Names: This caftan typifies Fortuny designs as it has non-European influences based on Asian and North African forms as well as metallic details which were common in Fortuny designs.
Collections 1910s|KCI Digital
Date: 1910s Location/Culture: Italy Object is held at: Kyoto Costume Institute Notable Techniques/Motif Names: This is an example of one of Fortuny's Delphos dresses which featured his signature pleating. Inspired by the draped costume on Greek statuary, this dress category was designed to be worn without a corset and accentuated the natural curves of the body, a departure from the style at the time.
Collections 1910s|KCI Digital
Date: 1910s Location/Culture: Italy Object is held at: Kyoto Costume Institute Notable Techniques/Motif Names: Like most of Fortuny's designs, this informal, indoor coat was inspired by a non-European source, in this case the Japanese kimono. The pattern on the fabric was produced by stencil printing.
Delphos | Henriette Nigrin | Fortuny, Mariano | Henriette Nigrin | Fortuny, Mariano | V&A Explore The Collections
Date: c. 1912 Location/Culture: Italy Object is held at: Victoria & Albert Museum Notable Techniques/Motif Names: This is an example of one of Fortuny's printed fabrics. Rather than producing designs through weaving, Fortuny used printed or applied methods.
Delphos | Henriette Nigrin | Fortuny, Mariano | Henriette Nigrin | Fortuny, Mariano | V&A Explore The Collections
Date: 1909-1920 Location/Culture: Italy Object is held at: Victoria & Albert Museum Notable Techniques/Motif Names: This Delphos dress, likely dyed with natural dye, typifies Fortuny's antique-looking fabrics whose colors were intentionally made to look faded. The extra fabric detailing exemplifies the one of a kind nature of Fortuny's handmade designs.
Delphos | Fortuny, Mariano | Henriette Nigrin | V&A Explore The Collections
Date: 1909-1920 Location/Culture: Italy Object is held at: Victoria & Albert Museum Notable Techniques/Motif Names: As it was meant to be worn at home, the Delphos dress was usually quite long, and some even had trains. It was to be worn with long, thin shoes.
Delphos | Fortuny, Mariano | Henriette Nigrin | V&A Explore The Collections
Date: c. 1920 Location/Culture: Italy Object is held at: Victoria & Albert Museum Notable Techniques/Motif Names: This is an example of Fortuny's famous pleated silk. Though he patented his technique, the details were never fully revealed. It is suspected that the wet silk was finger pleated and then heat set with rollers. Garments made with this silk would have to periodically be sent back to Fortuny to be reset.