MAISON SONIA: MAKING
In 1923 Sonia Delaunay turned her energy to a new form of artistic expression when she was commissioned by J.-B. Martin, a Lyon fabric house, to design fifty patterns for printed silks and velvets. The success that followed led her to establish a sophisticated design studio under her own name in her apartment on boulevard Malesherbes in Paris, where she offered fashion, fabrics, furniture, and interior decorations. To promote her business, she trademarked the term “Simultané” in March 1925. Delaunay was involved in every step of design and production, from the first sketches to the final printing. The graphic range of her tissus simultanés (Simultaneous fabrics) was vast—from strict geometric patterns to more painterly florals. These textiles were often printed by hand using woodblocks to ensure that they maintained the artistic character of the painted originals. Similarly, her garments reached the standards of haute couture and were hand-sewn by skilled seamstresses on a made-to-order basis involving elaborate processes such as knitting, embroidery, silk painting, and appliqué. Though Delaunay’s production techniques signaled her defense of traditional craftsmanship in the machine age, the graphic qualities of her fashions and fabrics were quintessentially modern.
MAISON SONIA: MAKING
In 1923 Sonia Delaunay turned her energy to a new form of artistic expression when she was commissioned by J.-B. Martin, a Lyon fabric house, to design fifty patterns for printed silks and velvets. The success that followed led her to establish a sophisticated design studio under her own name in her apartment on boulevard Malesherbes in Paris, where she offered fashion, fabrics, furniture, and interior decorations. To promote her business, she trademarked the term “Simultané” in March 1925. Delaunay was involved in every step of design and production, from the first sketches to the final printing. The graphic range of her tissus simultanés (Simultaneous fabrics) was vast—from strict geometric patterns to more painterly florals. These textiles were often printed by hand using woodblocks to ensure that they maintained the artistic character of the painted originals. Similarly, her garments reached the standards of haute couture and were hand-sewn by skilled seamstresses on a made-to-order basis involving elaborate processes such as knitting, embroidery, silk painting, and appliqué. Though Delaunay’s production techniques signaled her defense of traditional craftsmanship in the machine age, the graphic qualities of her fashions and fabrics were quintessentially modern.
In 1923 Sonia Delaunay turned her energy to a new form of artistic expression when she was commissioned by J.-B. Martin, a Lyon fabric house, to design fifty patterns for printed silks and velvets. The success that followed led her to establish a sophisticated design studio under her own name in her apartment on boulevard Malesherbes in Paris, where she offered fashion, fabrics, furniture, and interior decorations. To promote her business, she trademarked the term “Simultané” in March 1925. Delaunay was involved in every step of design and production, from the first sketches to the final printing. The graphic range of her tissus simultanés (Simultaneous fabrics) was vast—from strict geometric patterns to more painterly florals. These textiles were often printed by hand using woodblocks to ensure that they maintained the artistic character of the painted originals. Similarly, her garments reached the standards of haute couture and were hand-sewn by skilled seamstresses on a made-to-order basis involving elaborate processes such as knitting, embroidery, silk painting, and appliqué. Though Delaunay’s production techniques signaled her defense of traditional craftsmanship in the machine age, the graphic qualities of her fashions and fabrics were quintessentially modern.
In the process of designing fabrics, Delaunay always included several colorways, which she recorded on index cards with precise annotations. Many of the colors were given original and poetic names, such as “antique rose” or “lilac Louis XIII.” This particular fabric was produced in 1925 by J. H. & C. K. Eagle, Inc., an American silk mill with which Delaunay had a contract for the creation of her “Futurist fabrics.” The bold pattern of kinetic waves in bright colors is indicative of Delaunay’s desire to bring the principles of her abstract painting to modern fashion.
In the process of designing fabrics, Delaunay always included several colorways, which she recorded on index cards with precise annotations. Many of the colors were given original and poetic names, such as “antique rose” or “lilac Louis XIII.” This particular fabric was produced in 1925 by J. H. & C. K. Eagle, Inc., an American silk mill with which Delaunay had a contract for the creation of her “Futurist fabrics.” The bold pattern of kinetic waves in bright colors is indicative of Delaunay’s desire to bring the principles of her abstract painting to modern fashion.
1925
Pencil, ink, and gouache on printed card
Musée des tissus, Lyon, gift of Sonia Delaunay, 1974, MT 36954.4
1925
Pencil, ink, and gouache on printed card
Musée des tissus, Lyon, gift of Sonia Delaunay, 1974, MT 36954.4
Ferret Frères et Cie (printer)
1925
Printed silk crêpe de Chine
Musée des tissus, Lyon, gift of Sonia Delaunay, 1974, MT 36954.1
In 1965 and 1974, Sonia Delaunay made two substantial donations of her color cards (cartes de coloris) and early Simultaneous silks, cottons, and velvets to the most important museum collection of textiles in France: the Musée des tissus. Located in Lyon, where many of her fabrics were produced, the collection represents Delaunay’s golden age of textile design. This sample print on ivory silk represents one of the many colorways that the artist envisioned for this innovative pattern of dynamic waves.
In 1965 and 1974, Sonia Delaunay made two substantial donations of her color cards (cartes de coloris) and early Simultaneous silks, cottons, and velvets to the most important museum collection of textiles in France: the Musée des tissus. Located in Lyon, where many of her fabrics were produced, the collection represents Delaunay’s golden age of textile design. This sample print on ivory silk represents one of the many colorways that the artist envisioned for this innovative pattern of dynamic waves.
In 1965 and 1974, Sonia Delaunay made two substantial donations of her color cards (cartes de coloris) and early Simultaneous silks, cottons, and velvets to the most important museum collection of textiles in France: the Musée des tissus. Located in Lyon, where many of her fabrics were produced, the collection represents Delaunay’s golden age of textile design. This sample print on ivory silk represents one of the many colorways that the artist envisioned for this innovative pattern of dynamic waves.
Ferret Frères et Cie (printer)
1925
Printed silk crêpe de Chine
Musée des tissus, Lyon, gift of Sonia Delaunay, 1974, MT 36954.1
Block-printing by hand was Sonia Delaunay’s preferred method of production, as it resulted in high-quality textiles that faithfully approximated her painted designs. While modern industrial processes were quicker and less costly, Delaunay strove to preserve long-standing artisanal techniques. A single design could require up to five hand-carved woodblocks—one for each color.
Block-printing by hand was Sonia Delaunay’s preferred method of production, as it resulted in high-quality textiles that faithfully approximated her painted designs. While modern industrial processes were quicker and less costly, Delaunay strove to preserve long-standing artisanal techniques. A single design could require up to five hand-carved woodblocks—one for each color.
ca. 1924
Carved wood
Musée d’art et d’histoire Paul Éluard, Saint-Denis, 236-70, Planche A
1923
Printed silk crêpe de Chine
Musée des tissus, Lyon, gift of Sonia Delaunay, 1965, MT 33720
1923
Printed silk crêpe de Chine
Musée des tissus, Lyon, gift of Sonia Delaunay, 1965, MT 33720
This dress and capelet were created by Sonia Delaunay for Annette Coutrot (1895–1968), the wife of Jean Coutrot (1895–1941), Delaunay’s business manager. The Coutrot family remained faithful clients to Delaunay even after the artist shifted her focus to her textile company, “Tissus Delaunay,” in 1929. In this ensemble, Delaunay combined fashionable forms with her penchant for eye-catching color contrasts.
This dress and capelet were created by Sonia Delaunay for Annette Coutrot (1895–1968), the wife of Jean Coutrot (1895–1941), Delaunay’s business manager. The Coutrot family remained faithful clients to Delaunay even after the artist shifted her focus to her textile company, “Tissus Delaunay,” in 1929. In this ensemble, Delaunay combined fashionable forms with her penchant for eye-catching color contrasts.
1929–30
Printed silk
Palais Galliera, musée de la Mode de la Ville de Paris, gift of Marie Toulouse, 1971.24.4
1929–30
Printed silk
Palais Galliera, musée de la Mode de la Ville de Paris, gift of Marie Toulouse, 1971.24.4
In her fashion creations, Delaunay gave priority not only to graphic invention, but to the use of artisanal techniques, in this case wool felting and intricate appliqué. She was dedicated to preserving craftsmanship, which she saw as being threatened by the increasing use of machines in dressmaking. For her studio, Delaunay sought out artisans with specialized skills to produce her bespoke garments and accessories.
Click to Look Closer
1924–25
Cloche: felted wool, scarf: wool appliqué on silk
Doris Raymond
In her fashion creations, Delaunay gave priority not only to graphic invention, but to the use of artisanal techniques, in this case wool felting and intricate appliqué. She was dedicated to preserving craftsmanship, which she saw as being threatened by the increasing use of machines in dressmaking. For her studio, Delaunay sought out artisans with specialized skills to produce her bespoke garments and accessories.
In her fashion creations, Delaunay gave priority not only to graphic invention, but to the use of artisanal techniques, in this case wool felting and intricate appliqué. She was dedicated to preserving craftsmanship, which she saw as being threatened by the increasing use of machines in dressmaking. For her studio, Delaunay sought out artisans with specialized skills to produce her bespoke garments and accessories.
Click to Look Closer
1924–25
Cloche: felted wool, scarf: wool appliqué on silk
Doris Raymond
