In the year 1900 was held in the Kaiser Wilhelm Museum in Krefeld, the first “special exhibition of modern ladies-costumes artist-designs”. The founding Director, Friedrich Deneken demonstrated in order to unite weiland truly progressive Intention, in his house of art and life to bring together fine art and applied art.
Rose-Maria Gropp
editor in the features section, responsible for the “art market”.
F. A. Z.
The choice of the topic was quite random. Because Krefeld was in the nineteenth century, the German centre of the silk industry, “silk barons” brought the city to its former wealth. The use of noble materials for the ambitions of the brave designers and Designers are a brilliant idea was to demonstrate. It met perfectly with the reform movement, which spread in America and England, then the beginning of the twentieth century in the whole of Europe and all of the arts assault.
“freedom cut” is the name of the exhibition in Krefeld now, and can draw on the historical holdings of the Kaiser Wilhelm Museum. She wants to represent “The artist dress in 1900 in fashion, art, and society” – and that is what it does. With much love to Detail and a huge knowledge of the curators, Ina Ewers have selected-Schultz and Magdalena Holzhey, an enormous amount of objects, the bundle, as in a kaleidoscope the era. Not only Henry van de Velde, the Belgian architect and designer of the Fin-de-Siècle, right, with his forecast of reserves: “as Of today, exhibitions of ladies are dresses in the category of art exhibitions.” The had to not only Look to prove in the major international museums of our day. But actually, the woman in focus and her Outfit, which she wore especially in Public, was at the time. Thus it became the beacon of a social emancipation. This is what has made it as a “reform dress” career: It gave the women, according to the degrees on the tip-driven constriction of their bodies in corset, very really and effect of a hitherto unknown freedom.
The downside, of course, was the involvement of the female body in the veritable noise of the ornament, which broke out at that time, the woman was part of in those years of the Jugendstil and Art nouveau. A table lamp by Raoul François Larche, which is readily “Loïe Fuller”, and the famous protagonist of free dancing, shrouded in her flowing robe stands in the exhibition, as just one example, in the gold Bronze formal still. At the same time, the Film of their Performance of “Le papillon de nuit” from 1912, in which it occurs in their veils as a creature of the night, so the idea of the Animal close to be running in the Museum.
Züchtiger, but quite opulent as the clothes in which the artistic as well as the self-consciously upper-class femininity demonstrated from now on are cut. These garments must be in the exhibition on headless dolls behind glass, does not prevent the imagination of the viewer is asked: for models of the great designers such as Paul Poiret or Mariano Fortuny (at Issey Miyake, with its pleated marvels still today thanks). But there are still numerous contemporary photographs that can convey a lively idea of them.
Interdisciplinary, and the ambitious claim, approaching the exhibition of the period from 1900 to 1914. Applied and free art, fashion and photography make up a with each other, the spins a in the company revolutionary the effect of power – of the Arts & Crafts movement and the pre-Raphaelites in England, German towns, like Worpswede, up to the epicenters in Vienna and Paris. They all have made their appearance in the Museum, there are also consuming some of the period rooms, office furniture and table decoration, fabric designs, there is along the walls – full of patterns, no horizon. But exactly therein lies the Problem of the Show is; she means well, she wants too much. Without some prior knowledge about the era of the sprawling course is rather astonished by Hiking, such as a multi-faceted review. The title promised artist dress, as the actual theme of the Show, but then a little under in the overwhelming amount of material.
