Have you ever heard of Mariano Fortuny y Madrazo?
But oh, his talent! His designs — for lighting, color, textiles and paint — are still innovative, timeless and stunning decades after their creation; he lived from 1871 to 1949. If you are anywhere near New York City before March 30, get to 684 Park Avenue, $15 admission, and savor some of the loveliest clothes you will ever see in your life!
If you’ve been watching (?) the hit television series Downton Abbey, you might have caught a scene with Isabel Crawley wearing a very Fortuny-esque black silver-printed sheath. Fortuny’s timeless designs are a perfect period fit for a quirky, rich, bohemian Edwardian like her.
He certainly began his artistic life with some major advantages — his father and grandfather were directors of the Prado, the exquisite museum in Madrid. Coming from a wealthy background allowed him the time and means to travel widely and to find and cultivate rich women eager to wear and collect his gowns.
His images and references are from Africa, Morocco, the Middle East and earlier historic periods. His shimmering, softly draped fabrics look embroidered with gold or silver threads — but it is metallic paint pressed into silk velvet or cotton or linen with a carved block.
His secret for tightly pleating silk has often been mimicked, but never exactly duplicated. The hem of his Delphos dresses, simple columns of pleated silk, spill out onto the floor like the open petals of a flower. His attention to detail is exquisite: tiny Venetian beads edge his sleeves, satin cord lines his necklines and he included a pleated silk inset on the inside of a sleeve.
The clothes were considered too daring — uncorseted! — for daytime, outdoor use, but women who began wearing them in public were making the case for being beautiful and comfortable at the same time.
I first saw his work at a museum in Lyons, when I was 23 and traveling Europe alone for four months, and I still treasure a poster I bought there then. On that same trip, I went to Venice to Palazzo Orfei, his studio, whose windows are made of round circles of glass, like the bases of wine bottles. The space is filled with his textiles and in the corner is a small white porcelain sink, its edge stained — decades later — with the dried paint he casually smeared off his brushes. It felt like he’d just gone out for a coffee and might return soon.
I went to this show in Manhattan with a friend, a woman who is very slim and tall and elegant and who I knew would also appreciate his work. It felt like introducing her to some of my old and dearly beloved friends. What a delight to see them again!
As we were leaving the show, I began wrapping my throat in a cream-colored pleated silk scarf/muffler I bought at Banana Republic about 15 years ago — and realized, with a grateful smile, that I’ve been wearing a simulacrum of Fortuny all these years.
- Mariano Fortuny – The Creative Genius (thecitizensoffashion.com)
- Ode to a Grecian-Style Gown: Fortuny y Madrazo: An Artistic Legacy @ New York’s Queen Sofía Spanish Institute (irenebrination.typepad.com)