Category: design, graphic design, costume design, fashion design

Chanticleer costume, 1924

Edward J. Steichen :: Mrs. Leo Lentelli wearing a Chanticleer costume designed by Italian-American sculptor Leo Lentelli. Published in Vogue, April 1st, 1924. | src Condé Nast

Three dancers, Vogue, 1925

Edward J. Steichen :: Julia Brokow, Barbara Brokow, and Mrs. Adee Bradley in dance costumes by William Weaver, 1925. Published in Vogue, February 15th, 1925. | src Condé Nast

Kabarett Fledermaus (1907)

Berthold Löffler :: The Diseuse Marya Delvard (plate 2) from the First Theater Program of Kabarett Fledermaus (Cabaret Fledermaus) 1907. Designed by Carl Otto Czeschka, this program exemplifies the then-current idea of the Gesamtkunstwerk, or total work of art. | src MoMA

‘Insektentänzer’ für Bibo 1924

Minya Diez-Dührkoop :: Tanzmaske “Insektentänzer” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmaske “Insektentänzer” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmaske “Insektentänzer” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)

Tanzmaske «Toboggan Frau»

Minya Diez-Dührkoop :: Tanzmaske “Toboggan Frau” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmaske “Toboggan Frau” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924. | src MK&G · Museum für Kunst und Gewerbe (Hamburg)
Minya Diez-Dührkoop :: Tanzmaske “Toboggan Frau” von Lavinia Schulz. Costume designs by Lavinia Schultz and Walter Holdt for “Bibo”, 1924 | src MK&G · Museum für Kunst und Gewerbe (Hamburg)

“Bibo” von Lavinia Schulz, 1924

Minya Diez-Dührkoop :: Costume design. Tanzmaske “Bibo” von Lavinia Schulz, 1924. | src MK&G · Museum für Kunst und Gewerbe Hamburg
Minya Diez-Dührkoop :: Costume design. Tanzmaske “Bibo” von Lavinia Schulz, 1924. | src MK&G

Lavinia Schulz and Walter Holdt :: Maskenfigur “Bibo”, um 1923. Ganzkörperanzug (Full body suit). | src MK&G ~ Museum für Kunst und Gewerbe (Hamburg)

Loïe Fuller by Toulouse-Lautrec

Henri de Toulouse-Lautrec (French, 1864-1901) :: Miss Loïe Fuller, 1893. Brush and spatter lithograph printed in five colors on wove paper. Loïe Fuller was famous in turn-of-the-century Paris for her dazzling performances which combined dance, colored electric lights, and music. In this print, inspired by her appearance at the Folies Bergère, Lautrec captures the decorative effect of her billowing silk gown, which she manipulated with large poles held in her hands. Lautrec executed about sixty versions of this print in a variety of colored inks, including gold and silver. | src The Met
Henri de Toulouse-Lautrec (French, 1864-1901) :: Miss Loïe Fuller, 1893. Color lithograph. Parisian audiences were captivated by Loïe Fuller (1862–1928) whose unique performances involved manipulating voluminous translucent gowns with the aid of large poles in each hand. Fuller danced in a specially designed space featuring a glass floor illuminated from below and surrounded by mirrors. Electric lights of various colors projected onto the stage created an ethereal, swirling effect. Fuller’s extraordinary dance was the subject of Toulouse-Lautrec’s most abstract lithograph. The artist used layers of colored ink—including some metallic tones—to convey the movement and energy of Fuller’s performances. | src The Cleveland Museum of Art and Flickr

La serpiente: Tórtola Valencia

La serpiente. Tórtola Valencia, 1915. Cartell de grans dimensions per a la Danza de la serpiente de Tórtola Valencia. Dansa. Dance. Segle XX. Dansa de la serp. (signatura: A. Roger) | src Fons Tórtola Valencia (cdmae)

4 dessins de Romain de Tirtoff

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Romain de Tirtoff (1892-1990) dit «Erté» :: «Les Modes excentriques». Robe argent, doublée orange, 1918. Graphite, encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: «Les Modes excentriques». Robe argent, doublée orange, 1918. Graphite, encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: «Le Harem moderne», Robe argent sur des fils de perles, 1918. Plume et encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: «Le Harem moderne», Robe argent sur des fils de perles, 1918. Plume et encre noire, gouache, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, encre noire, aquarelle, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, aquarelle, rehauts de gouache et d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, encre noire, aquarelle, rehauts d’argent. | src MAD ~ Musée des Arts Décoratifs
Romain de Tirtoff (1892-1990) dit «Erté» :: Robe du soir pour Henri Bendel, printemps 1915. Graphite, aquarelle, rehauts de gouache et d’argent. | src MAD ~ Musée des Arts Décoratifs