100 Years on, Designers Are Still Learning From Sonia Delaunay’s Optimistic Use of Color

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100 Years on, Designers Are Still Learning From Sonia Delaunay’s Optimistic Use of Color
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'What was unusual in Delaunay’s time (and as Virgil Abloh showed us, not so common today) was that she fluidly moved among genres, applying her concepts where and when she willed,' Vogue editor, Laird Borrelli-Persson shared.

Photo © Estate Germaine Krull, Museum Folkwang, Essen / Courtesy of Louisiana Museum of Modern ArtIf you watch fashion like I do, you’ll have noticed that the sheer volume of trends has produced a sort of nostalgia-driven decade mania. Today almost every era is simultaneously in, though there are spans that rise to the surface. In this new decade, designers have so far focused on the early ’00s, reviving things like midriff tops and low-rise jeans.

What kicked it all off was something rather humble. As Delaunay later explained, “about 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants. When it was finished, the arrangement of the pieces of material seemed to me to evoke Cubist conceptions, and we then tried to apply the same process to other objects and paintings.

As a concept, simultaneity couldn’t be more topical. In this digital moment, we are always toggling between the material world and the one on the other side of a screen. What was unusual in Delaunay’s time was that she fluidly moved among genres, applying her concepts where and when she willed. This was by choice and necessity; fashion and textile designs not only were alternative avenues for her creativity but also helped support her family.

In 1984, Perry Ellis showed a collection inspired by her, saying, “She was brilliant, and she did everything—painting, clothes, automobiles.” Delaunay’s use of color conveys optimism, and boy, can the world use a bit of that right now. Below, a look at color in the fall 2022 collections alongside Delaunay’s now historical, but still modern, hues.Sonia Delaunay,Photo: © PRACUSA S.A. / Museo Nacional Thyssen- Bornemisza / Courtesy of Louisiana Museum of Modern ArtPhoto: Fine Art Images / Heritage Images via Getty ImagesLooks from the fall 2022 ready-to-wear collections of Mame Kurogouchi and Botter1973. Gouache and pencil on paper. Louisiana Museum of Modern Art, Humlebæk.

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