Madeleine Vionnet

Name: Madeleine Vionnet
Sex: Female
D.O.B.: 22 June 1876
D.O.D.: 1969
Place of Birth:France, Chilleurs-aux-Bois, Loiret
Place of Death: France
Nationality: French

Profile

Madeleine came from a poor family and started her apprenticeship when she was 11 as a seamstress in the Ban Lieu of Paris. Shehad got married later at the age of 18. Madeleine had started woking at a refined boutique in Rue de la Paix which sold underwear, she was 21 at the time, it was there she had been given a more elevated apprenticeship. Unfortunately her marriage had ended in a divorce after the tragic death of her daughter. It was a little while after she decided to move to London to start working for the dress maker Kate Reilly.

Work life and History

1901:

Madeleine returns to France in 1901 and is immediately given the position of Premier by the fashion designer to the Callot sisters Madame Gerber.

1907:

She joins Doucet and spends 5years with him, and during that period they were both creating what had been known as outfits that were moving against the grain, in contrast with the styles of the art Nouveau Movement. During that time she was also creating shoes. Madeleine’s outfits were known as light and airy, she had made them without the corset or bust and that was how they were modelled. Eve lavaliere and Rejane actresses before World War 1 favoured Madeline’s work greatly. Vionnet was known as one of the most innovative designers of her day. Her clothes accentuated the natural female body.

1912:

Madeleine opens her own Fashion House, but two years later was unfortunate to have to close it down due to the outbreak of World War1.

1920:

End of the war, Madeleine introduced the Bias cut which was a technique to cut the cloth diagonal to the grain of the fabric, which enabled the piece of fabric to cling to the body whilst the person wearing was capable of moving freely. Her garments were almost always in crepe, crepe de chine, satin and gabardine, that were cut in one piece, without the armholes and draped, sometimes her clients would need to be taught how to wear them and would require lessons to be shown how, these materials were unusual to women’s fashion in the 1920’s and 30’s.  The way Vionnet had created such a look with the cuts and draping it revolutionised women’s clothing which meant that it took her to the top of the fashion world and ensured her a space in the spotlight. She would order two yards of wider fabric to accommodate the draping.

1922:

The Maison took offices at 50 Avenue Montaigne.

1932:

Madeline’s success was documented by the 20 Ateliers on a five story building, she had over 1,000 employees that included premiers, directors, sellers, tailors, seamstresses, administrative clerks, shop clerks and delivery boys. She was a trend setter and was widely imitated.

1935:

She moved onto Romanticism with the Taffeta ribbons. She got rid of corsets and used diagonal seaming to achieve the simple fluid shapes. Looking at Vionnet’s clothes you would think that they were shapeless and limp until you had tried it on.

Late 1920’s and Early 1930’s Madeleine Vionnet had reached the height of her fame.

She had been given credit for popularizing the following:

·         The Cowl and Halter neck

·         Suits that had gored or bias cut skirts

·         Wrap around coats

·         Handkerchief dress

1939:

Madeline retired during this year and also closed her business down in the same year due to the outbreak of World War 2.

1969:

Madeleine died this year months before turning One Hundred years old.

Madeleine was known as the ‘Queen of the Bias cut’

With the famous bias cut Madeleine created some amazing gowns worn by stars such as Katherine Hepburn, Marlene Dietrich and Greta Garbo.

Madeleine Vionnet wasn’t concerned about being designer of the moment she was down to earth and preferred to remain true to her own seeing of female beauty.

Today she is known as the influential designer of the 20^th century and has many admirers. Designers that were influenced by her work and famous cuts carry that look till this day in their collections such as Issey Miyake, John Galliano, Halston, Ossie Clark and many more.

Madeleine believed that when a women smile, her dress should smile too.