In the early twentieth century, unconventional artistic dress had achieved a certain level of acceptance. Wear- ing of artistic dress had even become a badge of distinc- tion, bestowing upon the wearer an aura of progressive ideals, intellectualism, and good taste. These attributes were particularly accorded to the wearers of Fortuny dresses. Mario Fortuny y Madraz, born into a distin- guished family of Spanish painters living in Venice, cre- ated Renaissance and medieval-inspired printed velvet gowns, as well as a simple columnar pleated silk dress in- spired by ancient Greek sculpture. The latter dress, called the Delphos, was patented in 1909 and was produced, with slight variations, through the 1940s. Fortuny dresses be- came synonymous with simplicity, elegance, and timeless beauty and were favored by members of artistic and in- tellectual circles. As the century progressed, a number of avant-garde painters also turned to the medium of fashion for artis- tic expression, viewing garments as the perfect form of kinetic, visual tableaux. Simultaneist and Rayonnist artists Sonia Delaunay and Natalia Goncharova tried their hand at fashion design and worked for the Parisian couture houses of Heim and Myrbor, respectively. Even more ex- treme were the 1913 dress designs of Italian Futurist Gi- acomo Balla and the mass-produced work clothes created by Russian Constructivists Varvara Stepanova and Alexander Rodchenko. Jean Cocteau, Pablo Picasso, and even Ferdinand Leger took turns designing garments in the first quarter of the twentieth century.. . . . . . . . . . . . . . . . . . . .
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