MAISON SONIA: MARKETING
Sonia Delaunay’s transatlantic breakthrough within the textile trade was a direct result of her participation in the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, where she set up a temporary shop front called “Boutique Simultané” with furrier Jacques Heim (1899–1967) and leather-goods manufacturer Girau Gilbert. This alliance with such established names in fashion enhanced Delaunay’s prestige and gave her the opportunity to display her coats, fabrics, and accessories to a global audience. Moreover, she commissioned photographers to capture models wearing her designs against the backdrop of the exhibition’s modernist buildings, suggesting that her fashion was on par with the most cutting-edge art and architecture. Delaunay was soon able to expand her business internationally, licensing her fabrics in the United States, where enthusiastic manufacturers and department stores promoted Simultaneous fashion. True to form, she advertised her designs by exploiting all available resources and media, including color film. She also collaborated with acclaimed fashion photographers and produced limited-edition luxury portfolios featuring plates showing a full range of her avant-garde creations. If Delaunay’s art production was multifaceted, so too were her promotional efforts.
MAISON SONIA: MARKETING
Sonia Delaunay’s transatlantic breakthrough within the textile trade was a direct result of her participation in the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, where she set up a temporary shop front called “Boutique Simultané” with furrier Jacques Heim (1899–1967) and leather-goods manufacturer Girau Gilbert. This alliance with such established names in fashion enhanced Delaunay’s prestige and gave her the opportunity to display her coats, fabrics, and accessories to a global audience. Moreover, she commissioned photographers to capture models wearing her designs against the backdrop of the exhibition’s modernist buildings, suggesting that her fashion was on par with the most cutting-edge art and architecture. Delaunay was soon able to expand her business internationally, licensing her fabrics in the United States, where enthusiastic manufacturers and department stores promoted Simultaneous fashion. True to form, she advertised her designs by exploiting all available resources and media, including color film. She also collaborated with acclaimed fashion photographers and produced limited-edition luxury portfolios featuring plates showing a full range of her avant-garde creations. If Delaunay’s art production was multifaceted, so too were her promotional efforts.
Sonia Delaunay’s transatlantic breakthrough within the textile trade was a direct result of her participation in the 1925 International Exhibition of Modern Decorative and Industrial Arts in Paris, where she set up a temporary shop front called “Boutique Simultané” with furrier Jacques Heim (1899–1967) and leather-goods manufacturer Girau Gilbert. This alliance with such established names in fashion enhanced Delaunay’s prestige and gave her the opportunity to display her coats, fabrics, and accessories to a global audience. Moreover, she commissioned photographers to capture models wearing her designs against the backdrop of the exhibition’s modernist buildings, suggesting that her fashion was on par with the most cutting-edge art and architecture. Delaunay was soon able to expand her business internationally, licensing her fabrics in the United States, where enthusiastic manufacturers and department stores promoted Simultaneous fashion. True to form, she advertised her designs by exploiting all available resources and media, including color film. She also collaborated with acclaimed fashion photographers and produced limited-edition luxury portfolios featuring plates showing a full range of her avant-garde creations. If Delaunay’s art production was multifaceted, so too were her promotional efforts.
In 1926, Sonia Deluanay created a short film using the Keller-Dorian film-coloring process, which represented a technological breakthrough in cinematography at the time. For Delaunay, this innovation enabled her to show her vibrant textiles not only in their natural colors but also in motion—and to demonstrate the tenets of Simultanism. With creative props like a giant gray-scale wheel (seen in this film still) and tear-away skirt, she used cinematic spectacle to promote her fashions and textiles.
In 1926, Sonia Deluanay created a short film using the Keller-Dorian film-coloring process, which represented a technological breakthrough in cinematography at the time. For Delaunay, this innovation enabled her to show her vibrant textiles not only in their natural colors but also in motion—and to demonstrate the tenets of Simultanism. With creative props like a giant gray-scale wheel (seen in this film still) and tear-away skirt, she used cinematic spectacle to promote her fashions and textiles.
1926
Silent Film (digital screening), 4 min.
Centre national du cinéma et de l’image animée, Paris
1926
Silent Film (digital screening), 4 min.
Centre national du cinéma et de l’image animée, Paris
Concentric circles had been part of Delaunay’s visual identity since 1913. In this business card, just one part of her larger commercial branding strategy, she used them to create a bold graphic image to promote her fashion and textile business. This design was also used for the cover of the portfolio Compositions Couleurs Idées, a collection of large pattern prints that Delaunay published in 1930.
Concentric circles had been part of Delaunay’s visual identity since 1913. In this business card, just one part of her larger commercial branding strategy, she used them to create a bold graphic image to promote her fashion and textile business. This design was also used for the cover of the portfolio Compositions Couleurs Idées, a collection of large pattern prints that Delaunay published in 1930.
Printed card
Centre Pompidou, Musée national d’art moderne, Bibliothèque Kandinsky, Paris, Fonds Delaunay, gift of Charles Delaunay, 1985
For the 1925 International Exhibition of Modern Decorative and Industrial Arts, Sonia Delaunay published a lavish portfolio of hand-colored prints depicting the full range of her creations. The publication—twenty plates in total—features paintings, textiles, fashion, costumes, and decorative objects. Delaunay’s marketing strategy was twofold: not only did the portfolio attract customers to her business, it also translated her one-of-a-kind pieces into limited-edition multiples, thus broadening the reach and sales potential of her art.
For the 1925 International Exhibition of Modern Decorative and Industrial Arts, Sonia Delaunay published a lavish portfolio of hand-colored prints depicting the full range of her creations. The publication—twenty plates in total—features paintings, textiles, fashion, costumes, and decorative objects. Delaunay’s marketing strategy was twofold: not only did the portfolio attract customers to her business, it also translated her one-of-a-kind pieces into limited-edition multiples, thus broadening the reach and sales potential of her art.
Paris: Librairie des arts décoratifs
1925
Pochoir
Ursus Books, New York
Paris: Librairie des arts décoratifs
1925
Pochoir
Ursus Books, New York
Charles Wolfe (1886–1968) was founder of the Wolfe School of Costume Designing in Los Angeles and signed an agreement with Sonia Delaunay to market her textiles and fashion in the United States, particularly in California. Being well-connected in the garment trade, Wolfe and his wife Ethel helped Delaunay become better known on the West Coast.
Charles Wolfe (1886–1968) was founder of the Wolfe School of Costume Designing in Los Angeles and signed an agreement with Sonia Delaunay to market her textiles and fashion in the United States, particularly in California. Being well-connected in the garment trade, Wolfe and his wife Ethel helped Delaunay become better known on the West Coast.
Manuscript
Centre Pompidou, Musée national d’art moderne, Bibliothèque Kandinsky, Paris, Fonds Delaunay, gift of Charles Delaunay, 1985
