#每天读一点服装史109篇# LIVING SCULPTURES

LIVING SCULPTURES

In the short period of peace between the two world wars designers turned to the classical era of ancient Greece and Rome.

To those reeling from the horrors of World War I, classical antiquity stood for a golden time of proportion, pared-back beauty, purity, and a life-affirming appreciation of the human body.

French fashion designer Madeleine Vionnet (1876-1975) created her women’s wear shapes of the 1930s from the drapery and perfect body forms of classical statues.

Her twin concerns were fabric and the body.

Famous for her genius with the bias cut, she draped fluid materials such as silk crepe to create simple, loosely structured day wear and dramatic evening wear with minimal sewing and embellishment and without corsetry or petticoats.

移动雕塑

在两场世界大战之间的短暂时期里，设计师们向古希腊罗马的经典时代转变。

对于那些刚从第一次世界大战恐惧中游离出的人们来说，经典古老造型的回归意味着，这是一个欣赏人体黄金比例，裸露背部，给以崇尚纯洁高尚美感以肯定的时代。

法国时装设计师Madeleine Vionnet（1876-1975）从古典雕像中的垂顺与完美身体比例中获取灵感，创造出了二十世纪30年代的女装新形态。

她最关注的是面料与体态。

她以极富才华的斜裁设计而出名，利用垂顺流动的面料例如丝绸绉纱去创造简洁，松散结构的日常穿着或戏剧性晚装。她的设计里极少缝纫与点缀，也没有紧身胸衣或衬裙。