After all this time I finally made it! I was able to return to Venice.As usual there is always a reason why I returned to this city: Palazzo Mocenigo, donated to the Civic Museum in the late seventies, later also became the Centre for the History of Textiles and Costume, houses Alexandre Vassiliev .Elegance in Exile. Between Fashion and Costume, the Diaghilev Era. exhibition.
As I hope you all know, the Ballets Russes (1909-29) was an epic moment in the history of costume, as they are going to create more comfortable and relaxed new shapes and silhouettes, totally opposed to the kind of dress used throughout the end of 19 century. High-waisted and narrow skirts , large sides and big skirts.
Where did the woman's body end?
It is just from the first decade of the new century, that the "feminine" revolution starts.
The body begins to break free from every coercion and constraint, the woman and her figure begin to be exploited.
The Designers in this field are the costume designers / tailors of the company itself.
Léon Bakst, Natalia Goncharova, Andre Derain.
But it is also largely due to Alexandre Vassiliev, fashion historian and collector, if many of the dresses of the show have come down to us today.
One of my favorite outfits, which I believe could still be a quite contemporary piece, is a deeply plunging neckline beige crepe satin dress (reminds me almost of a SS 2008 Roberto Cavalli ), with internal v-neck embroidered purple shirt; from the back it's surprisingly amazing the fact that despite the two pieces (the shirt and the gown ) seemed to be separated, but they are not; the dress is sewn to the shirt, to its back shoulder line and a little further down on the sleeve itself, and then finally, just below the shoulder blades.
Although it is now almost one century, it seems that the modernity of that time still invigorates today's fashion.
Until a few months ago, the trend was all about 20s, but just in general terms; now with this research, it is good to go a bit more on the detail and give substance to our ideals of
what the figure of the woman is.
Photo Credits: Gabriele Semeraro and Sterzing