Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law, Science & Technology

Are Birkenstock Sandals Functional Health Shoes or Applied Art?

Do you aspire to become a work of art or merely to wear one? (for insights into how a celebrated fashion icon resolved this dilemma, see yesterday's post). And when you slide into a pair of Birkenstock sandals, do you feel you're donning a simple shoe or an authentic masterpiece?

This seemingly whimsical question has taken on a serious dimension before the First Civil Senate of the Federal Court of Justice (BGH) in Germany. The court is tasked with determining whether the iconic cork-soled sandals should be legally recognized as works of art, a status that could redefine the boundaries of design protection in Germany.
The Birkenstock legacy dates back to the 18th century, when Johannes Birkenstock laid the foundation of a shoemaking dynasty. The brand's signature cork footbed, introduced in the 1960s, became synonymous with comfort and durability. While initially regarded as practical footwear, Birkenstock sandals have since ascended to the realm of high fashion. Notable milestones include a 2003 collaboration with Heidi Klum, and appearances on the feet of cultural icons ranging from Sarah Jessica Parker of Sex and the City fame to Apple founder Steve Jobs (whose well-worn pair sold for nearly $220,000 at an auction in 2022).

Actress Frances McDormand famously paired the sandals with an evening gown at the 91st Annual Academy Awards in 2019. Recent partnerships with luxury brands like Valentino and Rick Owens have further elevated the sandals. 

However, legal challenges loom for the German brand, now publicly traded on the New York Stock Exchange. The expiration of design protections for its classic models has left Birkenstock relying on a rather interesting argument: positioning its products as art to safeguard them from imitation.

To this end, the company has initiated legal proceedings to protect its most iconic designs - the two-strap Arizona, the single-strap Madrid, the thong-style Gizeh, and the Boston clog - from unauthorized copies.

Initially, Birkenstock secured victories against retailers Tchibo, the Danish fashion group Bestseller (parent company of brands such as Jack & Jones, ONLY, and Vero Moda), and Shoe.com in the Cologne Regional Court. However, these decisions were subsequently overturned by the Cologne Higher Regional Court, which dismissed Birkenstock's claims.

In its reasoning, the Higher Regional Court (OLG) concluded that the sandals did not meet the required threshold of creativity, emphasizing the functional nature of the designs. According to the court, "Art begins with an idea; design begins with a task."

Birkenstock contends instead that its sandals qualify as works of applied art, asserting that the distinct combination of individual elements, that is the buckles, materials, and precise strap placement, elevates them beyond mere functionality. According to the company, these features render the sandals eligible for protection under copyright law.

Everyday objects can actually qualify as functional art if their design demonstrates sufficient artistic merit: courts have previously extended copyright protection to designs like the Porsche 356, recognized as a work of applied art by a court ruling in April 2022.

Currently, the dispute has divided into two clear factions. Representing Birkenstock, BGH barrister Christian Rohnke, along with SKW Schwarz's copyright partner Konstantin Wegner and media, licensing, and law partner Johann Heyde, argue in favor of the shoes as art. Opposing them are the legal teams for retail rivals Tchibo and the Bestseller Group led by Hogan Lovells IP partner Morten Petersenn and BGH attorney Matthias Koch, as well as Shoe.com, represented by SSM IP partner Johann Bauer and BGH attorney Norbert Tretter. 

During yesterday's proceedings, presiding judge Thomas Koch suggested that the Higher Regional Court's ruling might stand as the court appeared to have applied the appropriate criteria in its decision. However, Birkenstock's legal team countered that the OLG had relied on a definition of art exceeding established jurisprudence from both the BGH and the European Court of Justice.

Specifically, Birkenstock disputed the OLG's assertion that art must be free of purpose and economic objectives, challenging this interpretation. Birkenstock disputed the OLG's assertion that art must be free of purpose and economic objectives.

The notion that art must be entirely free of purpose or economic considerations is highly debatable. Art rarely exists in a vacuum, as even works created with the purest expressive intent are embedded within broader cultural, social, and economic frameworks. Purpose and economic implications are often inseparable, whether explicitly intended by the artist or not.

For instance, art frequently serves as social commentary (think about Banksy's provocative street art or Barbara Kruger's incisive text-based works, which undeniably have defined objectives). Similarly, art can be highly commercial, consider Damien Hirst's "For the Love of God", a platinum skull encrusted with diamonds. While it may critique the art market - clearly a purpose - it was also conceived and sold with strong economic motivations.

If the BGH rules in favor of Birkenstock, declaring its sandals to be works of art, the designs would gain special protection under copyright law, prohibiting imitation for up to 70 years after the death of their creator, Karl Birkenstock, who is still living.

Conversely, a ruling against Birkenstock could open the door for competitors to imitate its designs, but it would also set a critical precedent, offering clearer guidance on how courts should evaluate similar cases in the future.

As of now, the timing of the BGH's decision remains uncertain. Meanwhile, a related lawsuit is pending before the Hamburg Higher Regional Court, where judges have indicated support for Birkenstock's arguments, potentially signaling a divergence in judicial interpretations.

Cases from other jurisdictions may offer valuable insights for the German courts. In 2021, the Court of Milan addressed a strikingly similar issue when Italian influencer Chiara Ferragni began producing "snow boots" nearly identical to Tecnica's iconic Moon Boots. Tecnica sued for copyright infringement, and the Court ruled in its favor, holding that the Moon Boots were protected by copyright due to their "artistic value."

The Court emphasized that determining "artistic value" requires examining the work's relevance within the cultural sector. The Moon Boots' inclusion in prominent museum exhibitions, such as the Louvre and MoMA, proved decisive in establishing their artistic merit. As a result, Ferragni's "snow boots" were deemed infringing, and the Court ordered her to cease production and compensate Tecnica for damages.

Yet the judges may also be influenced by the case between Balenciaga and Birkenstock (even though this one focused more on a specific design and on individual character): in 2021, Balenciaga filed a challenge against Birkenstock, claiming that the Arizona Big Buckle sandal lacked the individual character required for design protection. Balenciaga argued indeed that the design was strikingly similar to an existing sandal released by Next in 2018.

In September 2024, a European trademark appeals board ruled in favor of Balenciaga, invalidating one of Birkenstocks registered designs and stating that Birkenstock's Arizona Big Buckle design did not meet the threshold for individual character, as a similar design had already been made publicly available prior to Birkenstock's filing.

That said it is undeniable that Birkenstock's designs share an iconic status similar to that of the Moon Boots. The brand's sandals have been featured in various fashion exhibitions, included in museum collections, and frequently highlighted on fashion runways as statement pieces. Additionally, their cultural impact has extended into popular media. For instance, in Greta Gerwig's 2023 blockbuster Barbie, the Birkenstock Arizona became a metaphorical symbol. In the film Stereotypical Barbie (Margot Robbie) is asked by Weird Barbie (Kate McKinnon) to choose between two paths: staying in the idealized Barbieland or venturing into the real world for self-discovery. The choice is represented by a pale pink high-heel pump for Barbieland and a brown Birkenstock Arizona sandal for the real world.

Whether Birkenstock's sandals are functional objects or works of art, practical footwear or cultural metaphors, the decision ultimately rests with the judges. Until then, the case invites us all to reflect on what it means to create a design that transcends trends, evolves into a timeless icon, and perhaps even ascends to the realm of art.

More Is More: Unapologetically Iris - The Personal Collection of Iris Apfel @ Christie's

You can listen to an audio version of this post in a dialogue form (generated using NotebookLM) at this link: Download Iris Apfel's Christie's Auction 

"Be a work of art or wear a work of art," Oscar Wilde once declared. Harold Koda, former curator of the Costume Institute at the Metropolitan Museum of Art, expanded on this notion, stating there are those "who have the confidence, imagination, and means to do both." Iris Apfel was undeniably one of them.

The decorator, interior designer, expert in antique textiles, and enduring style icon, passed away last March at the remarkable age of 102. This January, Christie's will honor her legacy through a special online auction titled "Unapologetically Iris: The Personal Collection of Iris Apfel", opening on 28th January.

A true maximalist, Apfel's sartorial alchemy was unparalleled. She orchestrated ensembles that blended iconic names - Dior, Lanvin, Norman Norell, Oscar de la Renta, Gianfranco Ferré, James Galanos, Simonetta, Giorgio Armani, Nina Ricci, and Christian Lacroix, to name but a few - with treasures from the farthest corners of the globe, a Transylvanian belt, Tibetan necklaces, a Venetian doge's hat, even a ponytail crafted from horsehair, once destined for upholstery weaving.

In the introduction to Rare Bird of Fashion: The Irreverent Iris Apfel (2007) by Eric Boman, Harold Koda captured her essence, describing her style as "the 'anything goes' bravura of fashion at its most imaginative." Iris Apfel didn't just wear clothes - she narrated stories, curated fantasies, and redefined what it means to live unapologetically through style.

Christie's auction encapsulates Iris Apfel's essence perfectly: the lots include an eclectic mix of garments and accessories from Haute Couture houses and flea markets, as well as paintings, sculptures, furniture, and decorative objects from her homes in New York and Palm Beach. Each piece embodies her imaginative style and her embrace of excess. Yet, beneath her bold eclecticism lies a discerning eye, her expertise and taste are indeed evident in every choice.

Naturally, the collection brims with evening gowns, feathered coats, statement separates, and opulent capes and jackets. In a world currently enslaved to the trendy yet boring neutrality of beige, Apfel's wardrobe bursts with color - vivid emerald greens, flaming persimmons, passion reds, and shocking pinks, alongside a kaleidoscope of multicolored patterns and designs adorned with intricate embroidery or shimmering sequins.

Some pieces come with their own accessories, revealing her passion for layering: a Valentino plaid wool coat with an Empire-style fit, for instance, is paired with a YSL necklace of black and white wooden triangles and hearts, along with a mix of resin necklaces in black, white, and red, all accompanied by a generous array of bangles.

The collection also features bespoke pieces made for Apfel, some crafted from fabric remnants, alongside haute couture treasures juxtaposed with her 2021 H&M collaboration. The auction is therefore a veritable feast of textures and materials - velvet, satin, brocade, taffeta, leather, and fur - reflecting her rich distinctive style.

Entire lots in the auction are devoted to Iris Apfel's iconic accessories. One features Yoruba-style headdresses; another is dedicated to her trademark oversized glasses.

Jewelry abounds, with a dazzling array of necklaces and mixed jewelry pieces sourced from around the globe. Highlights include an Eastern European gold-tone bib necklace, a beaded and mirrored adornment from Pakistan, a necklace strung with orange seed beads and silver-tone chimes, and six orange, silvered metal, and lapis-colored stone chokers likely from Afghanistan.

Bangles are present by the hundreds, many crafted from lucite, plastic, or natural materials. One particularly whimsical lot features a beaded basket overflowing with bangles, a playful treasure for fans eager to channel a touch of Apfel or even indulge in the spirit of Nancy Cunard.

 

The auction also includes an impressive selection of interior design pieces, offering a glimpse into Apfel's illustrious career as a decorator. Having studied art history and museum administration, Apfel began her professional journey with a stint at Women's Wear Daily and as an assistant to fashion illustrator Robert Goodman. She later worked with interior designer Elinor Johnson before founding Old World Weavers in 1950 with her husband, Carl.

The firm specialized in weaving reproductions of antique period fabrics, a venture that required the couple to travel extensively in search of rare textiles and mills capable of creating them. These journeys also fuelled their passion for discovering unique treasures, whether in elegant shops or bustling markets.

Among the interior offerings are exquisite screens, including a French giltwood four-panel painted canvas floor screen, as well as lamps, chairs, footstools, ottomans, and vibrant ceramic pieces.

Notable highlights include gilt-japanned Chinese export table cabinets, intricately crafted mirrors, and ceramic pieces that perfectly reflect Apfel's singular vision and flair for the extraordinary.

Much like her wardrobe, Iris Apfel's interior treasures reflect her dynamic personality and sense of humor. One lot features a life-sized wooden ostrich (she had named it "Gussy") with a hinged wing that opens to reveal a bar space, whimsically paired with a plush Kermit the Frog perched on its back and another lot featuring a lime-green figurine of Iris herself riding a scooter.

These playful pieces embody her wit and irony, calling to mind a quote from Boman's Rare Bird of Fashion: "Wit and humor are key components to my philosophy of dressing. Never take yourself or an outfit too seriously."

Some items even seem to double as displays for her fashion obsession. A Black Forest-style figure of a standing terrier, originally an umbrella stand, is presented with a pair of miniature eyeglasses, and an assortment of bangles, and necklaces arranged on a pewter tray.

In some cases, there appears to be a resonance or a striking dialogue between Iris Apfel's art pieces and her clothing: one ensemble, featuring a Krizia black quilted silk nylon jacket with bow-adorned shoulders and sleeves, recalls the opulence of a 17th-century Spanish School portrait of Margarita Teresa (1651 - 1673), Infanta of Spain. In the painting, the Infanta wears a red and silver silk gown with a jewel-encrusted stomacher and rows of decorative bows in her hair.

Such a collection might overwhelm the sensibilities of the staunchest minimalist. Yet these lots reflect Apfel's celebrated "more is more" philosophy, a vivid expression of her individuality as a "rara avis" of fashion who defied trends in favor of personal storytelling.

Christie's auction showcases more than 200 items, with starting prices as low as $200, though they are certain to climb. The online sale will run from January 28 to February 13, with select highlights displayed in Florida at the Miami Design District on January 24 - 25 and The Colony Hotel in Palm Beach from January 29 - 31. Additional collection highlights will be on view at Christie's New York from February 8 - 12. This event joins the ranks of other auctions of iconic private collections, such as André Leon Talley's, and is expected to generate at least $250,000, with proceeds benefitting a charitable trust.

These treasures will be beyond the reach of most of us (we can just hope that museums secure a few key pieces...), but we can still go through them on Christie's site and learn more from Apfel's legacy. Her ability to craft a narrative through clothes and accessories, as well as her enduring wisdom and memorable quotes (such as "When you don’t dress like everyone else, you don't have to think like everyone else" from a 2011 interview with The New York Times) will indeed continue to inspire many of us.

On the Cultural Horizon: The New Mucha Museum @ Savarin Palace, Prague, Czech Republic

You can listen to an audio version of this post in a dialogue form (generated using NotebookLM) at this link: Download The New Mucha Museum in Prague

The opening of a new museum or the transformation of an established cultural institution always carries a promise of fresh inspiration and renewed appreciation for the arts.

Later this month, on January 24th, the much-anticipated new museum dedicated to Alphonse Mucha will unveil its doors at the Savarin Palace in Prague, Czech Republic.

This marks a significant evolution for the Mucha Museum, the only official institution endorsed by the Mucha Foundation and his family. Originally inaugurated in 1998, the museum now finds a new home in the exquisitely restored Baroque palace on Na Příkopě Street, nestled in the heart of Prague's historic center.

The revamped space, envisioned by renowned architect Eva Jiřičná, promises an immersive journey into Mucha's legacy, offering an enriched experience with a vast array of works, from luminous paintings and evocative illustrations to vintage advertisements and intimate photographs.

Born in 1860 in the town of Ivančice, in southern Moravia, then a province of the Austrian Empire (now part of the Czech Republic), Alfons Maria Mucha, better known as Alphonse Mucha, stands as a beacon of inspiration for creators across disciplines. His oeuvre transcends traditional boundaries: painter, illustrator, and graphic artist, he also ventured into the realms of stage design, advertising, and jewelry creation. Mucha's work, with its sinuous lines and intricate details, continues to captivate artists and designers, particularly in the worlds of fashion and jewelry, where his influence remains profound.

As a child, Mucha demonstrated remarkable talent in both drawing and music. In 1880, he began working in Vienna as an apprentice scenery painter for a company specializing in theatrical sets for the city's renowned theaters. During his time in Vienna, Mucha encountered the work of Hans Makart, a celebrated academic painter whose grand style left a lasting impression on the young artist.

Upon returning to Moravia, Mucha received a commission from Count Eduard Khuen Belasi to create murals for his residence at Emmahof Castle. Impressed by Mucha's abilities, Belasi became a patron, accompanying him to Munich and funding his tuition and living expenses at the Munich Academy of Fine Arts. Immersed in Munich's vibrant artistic community, Mucha thrived creatively. However, tightening restrictions on foreign students and residents in Bavaria soon prompted him to move to Paris with Belasi's continued support. There, Mucha enrolled first at the Académie Julian and later, in 1889, at the Académie Colarossi.

In Paris, Mucha followed the path of Luděk Marold, a fellow Czech painter he had known in Munich, who had forged a successful career as a magazine illustrator. By 1890, Mucha began contributing illustrations to the weekly magazine La Vie Populaire and creating artwork for Le Petit Français Illustré, that published stories for young people in both magazine and book form.

His magazine work soon led to commissions for book illustrations and, unexpectedly, theatrical posters. At the end of 1894, Mucha's career took a dramatic turn when he began collaborating with the legendary French stage actress Sarah Bernhardt. His first project for her was a poster for the continuation of Victorien Sardou's four-act play Gismonda. Bernhardt, who served as both director and lead actress, was mesmerized by Mucha's artistry.

The poster was monumental, standing over two meters tall, and depicted Bernhardt as a Byzantine noblewoman in a magnificent gown adorned with an orchid headdress, holding a palm branch during the Easter procession near the play's conclusion. One of its most striking features was the ornate arch framing her head, resembling a halo. This design not only drew attention to her face but also captured the essence of her commanding stage presence. The halo-like motif would become a signature element in Mucha's subsequent theater posters.

Due to time constraints, parts of the background remained unadorned, breaking from Mucha's usual highly detailed style. The only decorative elements were the intricate Byzantine mosaic tiles positioned behind Bernhardt's head. The poster's exquisite draftsmanship and soft pastel palette set it apart from the vibrantly colored advertisements typical of the era. The composition was masterfully balanced: the richly ornamented title at the top mirrored the simplicity of the bottom, where only the theater's name was provided, delivering essential information with elegant brevity.

The poster debuted on the streets of Paris on January 1, 1895, creating an immediate sensation. Its success marked the beginning of a fruitful and iconic partnership between Mucha and Sarah Bernhardt. Delighted by the public's reaction, Bernhardt signed Mucha to a six-year contract to produce more works for her productions. Besides, Mucha contributed to Bernhardt's theatrical productions in myriad ways, designing programs, sets, costumes, and jewelry that further cemented their creative partnership and elevated Bernhardt's stage presence to iconic status.

For Bernhardt, Mucha created also the poster for La Dame aux Camélias (1896) by Alexandre Dumas, where she played Camille, the courtesan tragically dying of consumption. In this poster, Bernhardt is portrayed as the grief-stricken heroine, leaning despondently against a balustrade, surrounded by a shimmering background of silver stars. A white camellia adorns her hair, symbolizing purity, while another camellia, held at the bottom of the poster, represents death.

The poster for the Greek tragedy Médée (1898) takes on a darker, more intense tone. Bernhardt appears in an almost trance-like state, with a stylized landscape in the background that reflects the influence of Japonisme, a contemporary artistic trend. Medea's bracelet, prominently featured in the poster, is the prototype of the iconic snake bracelet with ring crafted from gold and enamel designed in a collaboration between Mucha and jeweler Georges Fouquet. Inspired by the costume jewelry Bernhardt had worn in the role, this piece combined Mucha's artistic vision and Fouquet's craftsmanship.

Mucha's collaborations with Fouquet extended beyond jewelry: at the Paris Universal Exposition of 1900, aside from the murals for the Pavilion of Bosnia and Herzegovina, Mucha designed the displays for Fouquet and the perfume house Houbigant. Following the exposition, Fouquet commissioned Mucha to design the interior of his new shop at 6 Rue Royale.

The widespread acclaim of Mucha's posters for Sarah Bernhardt led to a surge of advertising commissions. He created iconic posters for a variety of brands, including JOB cigarette papers, Ruinart Champagne, Lefèvre-Utile biscuits, Nestlé baby food, Idéal Chocolate, the Beers of the Meuse, Moët & Chandon champagne, Trappestine brandy, and Waverly and Perfect bicycles. These works frequently depicted elegant women in opulent settings, often surrounded by floral motifs.

During his time in the United States, Mucha further explored the fusion of art and commerce. While in Chicago, he designed for Armour & Co. soap boxes for the product Savon Mucha. Available in four fragrances (violet, lilac, heliotrope, and sandalwood) the Mucha Soap marked a significant milestone: Mucha became indeed the first artist whose name became synonymous with a household product.

In addition to his commercial success, Mucha took on teaching roles during his stay in the U.S. He taught illustration and design at the New York School of Applied Design for Women, conducted a five-week program at the Philadelphia School of Art, and served as a visiting professor at the Art Institute of Chicago. His creative endeavors extended to graphic design as well as stage and costume design, further showcasing his versatility as an artist.

One of Mucha's crowning achievements was The Slav Epic, a monumental series of large-scale paintings depicting key moments in the history of the Slavic peoples. This ambitious project reflected his deep pride in his heritage and his commitment to celebrating Slavic culture. Alphonse Mucha passed away on July 14, 1939, after contracting pneumonia.

Although celebrated widely today, Mucha's style was considered outdated at the time of his death. Often categorized under the Art Nouveau movement, a label he found restrictive as he considered himself as a history painter, his art continues to inspire creators worldwide. His distinctive visual language shapes the way we perceive beauty, and exhibitions dedicated to his work are consistently held across the globe.

Currently, "Eternal Mucha" is on at the Bunkamura Hikarie Hall in Tokyo, Japan, until January 19th. His 165th birthday anniversary will also be celebrated at the Czech Pavilion at Expo 2025 in Osaka, Japan, opening on April 13. Meanwhile, a solo touring exhibition, "Timeless Mucha: The Magic of Line", will open at The Phillips Collection in Washington, D.C., on February 22.

In Prague, visitors to the Mucha Museum can explore a comprehensive collection of works spanning his career. Beyond his art posters and advertising pieces, jewelry and fashion enthusiasts will marvel at the exquisite designs he created in collaboration with Parisian jeweler Georges Fouquet (1858 - 1929). Among the highlights there are the Peacock Ring and the breathtaking Ornamental Chain with Pendants (1900), an extraordinary piece combining Eastern and Western influences. Displayed at the Paris International Exhibition in 1900, this chain was also featured in one of Mucha's posters for Moët & Chandon champagne (View this photo).

Mucha's passion for jewelry design is evident in his 1902 book, Documents Décoratifs, which includes illustrations, patterns and intricate drawings of brooches and ornaments adorned with swirling arabesques, vegetal motifs, and colorful enamel inlays.

One of the most fascinating pieces remains the snake bracelet with ring, a piece designed to conceal Sarah Bernhardt's arthritic wrist according to Jiri Mucha, the artist's son (this piece raises an intriguing question for fashion and accessory designers: how might you create designs that artfully conceal physical ailments?) 

So, if you're heading to Prague and plan to visit the new Mucha Museum, remember to take your time and check out the details in his drawings, illustrations and posters: to truly appreciate Mucha's genius, one must look beyond the whole composition and focus on the architectural elements and intricate details woven into his works as they provide a rich source of inspiration, ready to be explored and reimagined.

Final note for those ones not planning a trip to Prague, but who like Mucha and are looking for a way to unwind: try some  "Color Your Mucha" exercises by downloading sheets with his posters and patterns at this link and enjoy bringing Mucha's art to life.

Wartime Wisdom into Modern Crafts: From Old Patterns to New Treasures

Some words capture the spirit of a single year, while others grow in importance over time, shaping the way we live and think.

"Sustainability", for instance, is one of those transformative words that has proved instrumental in the fashion industry in the last few years. Yet, as we've seen in previous posts, practices like reusing and recycling garments are far from new, they were indeed vital during the First and Second World Wars.

During World War II, "Make Do and Mend" pamphlets shared clever tricks for extending the life of garments, including unpicking old jumpers to re-knit them. This technique was used for example for an "Economy Jumper" in the Cronit Homecraft knitting pattern series (from the '40s).

The pattern included instructions for reusing wool from unraveled garments, eliminating the need to buy new yarn and saving ration coupons, but it didn't include any information about types of yarn or colors as the makers would have decided according with what they had or could find. So the scrappy jumper offered endless possibilities for creativity, allowing wearers to combine odd shades of wool into a striking patchwork design. 

The "Economy" pattern series also featured patterns for accessories like moccasin-style slippers crafted from old felt hats and slippers made from silk stockings. The technique involved cutting stockings or felt hats into strips and knitting or crocheting them into shoes.

In these three patterns makers were offered the chance to learn a technique, but the results would have been unique, as they would have been shaped by the materials the crafters had at their disposal.

While the mocassins and slippers might not have been the height of comfort or fashion, they showed effort. Recycling and reusing materials such as stockings in fashion was taken to the conceptual level in modern times - think about Maison Margiela's "Artisanal" sensual top from the house's A/W 2005 collection, made from nylon stockings - proving that even the humblest materials can inspire high fashion.

So, if you're a fashion design student working on a project, check out these vintage patterns in libraries or in digital collections and see if you can reimagine these materials or techniques, adding your own twist: with a little creativity and resourcefulness, you could craft pieces worthy of your own "artisanal" collection with a sustainable flair.

Rediscovering Charles LeMaire: A Journey Through His Sketches on the 40th Anniversary of His Death

In yesterday's post, we mentioned costume designer Charles LeMaire, and this year marks the 40th anniversary of his passing. So, let's take a closer look at his career.

Charles LeMaire (sometimes spelled as Charles Le Maire or Charles Lemaire) was born in Chicago in 1897. He began his career as a vaudeville actor and singer, but his passion for fashion led him to a new path. Le Maire became a shopper for the couture house of André Sherri, a role that ignited his interest in costume design. This shift led him to Broadway, where he designed costumes for stars and set designs for shows like Atta Boy (featuring costumes by Sherri).

His talent was soon recognized, and he contributed designs for the final number of The Midnight Frolics (1919). He also worked on The Ziegfeld Follies of 1922, as well as the musicals Rio Rita (1927) and Sons O' Guns (1929), both with sets by Josef Urban.

LeMaire's work on The Cocoanuts in 1925 and many other memorable productions, such as Hello Daddy and Rainbow (1928) with choreography by Busby Berkeley, further cemented his reputation.

As the film industry evolved, LeMaire was called upon to adapt his designs for the screen: in a 1929 interview with Photoplay magazine, LeMaire discussed the challenges of translating his gowns for the new medium when The Cocoanuts was adapted into a talkie. The rustle of fabrics in early sound films for example posed a significant challenge, as the sounds could easily overpower the actors' voices.

He explained, "I have to take into consideration the fact that taffetas, metallic clothes, crystal beads, and beaded fringes are absolutely taboo." To solve this for the film adaptation of The Cocoanuts, he chose softer materials like lace, transparent chiffons, and shimmery silk velvets, which not only photographed beautifully, but also worked well in the sound era. For trimmings, he favored silk fringes, tassels, and smooth-textured flowers.

LeMaire's Broadway career ended in 1939 due to World War II, but his talents didn't go to waste: during the war, he was indeed assigned to produce and direct United Service Organizations (USO) shows, bringing his creative expertise to the entertainment efforts for soldiers.

After the war, he moved to Hollywood, where in 1943 he became Executive Designer and Director of Wardrobe at 20th Century Fox, specializing in costumes for Betty Grable movies. Le Maire remained at Fox until 1949 before establishing his own salon, where he continued to design until his retirement in 1962.

LeMaire played an instrumental role in establishing the Best Costume Design category at the Academy Awards, which was created in March 1949.

Over the course of his career, he was nominated thirteen times for Best Costume Design and won three Academy Awards - for All About Eve (1951, shared with Edith Head), The Robe (1954, shared with Emile Santiago), and Love Is a Many-Splendored Thing (1956).

As a Hollywood costume designer, he frequently worked alongside other notable designers, such as Bonnie Cashin, Travilla, Oleg Cassini, and Dorothy Jeakins.

LeMaire was known for his meticulous attention to detail, which is evident in some of his surviving sketches. These often surface at auctions, such as a 2006 sale at Bonhams featuring a collection of costume sketches for the Ringling Brothers Circus (1939). Rendered on onion paper in watercolor and pencil, these whimsical drawings depict characters from various cultures and time periods, including a medieval knight, a Spanish dancer, a Native American, and a court jester (View this photo).

In some cases, auctioned sketches like in the case of his drawings for George Gershwin's musical Tell Me More, performed on Broadway in 1925, even incorporated fabric swatches (View this photo) that gave a tactile sense of LeMaire's designs (View this photo).

Further examples of his detailed work can be found in the sketches preserved at the New York Public Library, including those for Charles LeMaire costume designs for the Greenwich Village Follies (1925; LeMaire designed costumes for this show in collaboration with Mark Mooring).

These extravagant costumes are brought to life in LeMaire's water color sketches, where feathers and embellishments shine in the intricate details. The sketches, that usually show a costume complete with accessories, from headdresses to jewelry, also include the names of performers and individual acts in the revue and include precise instructions to the costume makers.

Given his extensive and influential body of work, a retrospective of LeMaire's costumes would be a fitting tribute, but equally intriguing could be an exhibition of his sketches, or perhaps a book that showcases these artistic creations in all their colorful, detailed glory.

Lobster Swimsuits, Glamorous Gowns & Kaleidoscopic Choreographies: "The Cocoanuts" (1929) by Robert Florey and Joseph Santley

Yesterday's post focused on a dramatic film, so today, let's shift to something lighter: The Cocoanuts. Directed by Robert Florey and Joseph Santley, this delightful pre-Code musical comedy (based on the 1925 musical play of the same name by George S. Kaufman and Irving Berlin) is one of the films from 1929 that entered the public domain in the U.S. this year. Starring the Marx Brothers - Groucho, Harpo, Chico, and Zeppo - it offers a mix of sharp wit, slapstick humor, and dazzling 1920s fashion.

According to magazine Photoplay (July 1929 issue), Charles LeMaire, original costume designer for the Broadway version of The Cocoanuts, also worked on the costumes for the Paramount film. 

Set during Florida's land boom of the 1920s, the story unfolds at the Hotel de Cocoanut, run by the ever-scheming Mr. Hammer (Groucho Marx) with the help of his assistant, Jamison (Zeppo Marx). Chaos ensues when Harpo and Chico arrive, intent on swindling the guests.

Meanwhile, the wealthy Mrs. Potter (Margaret Dumont) has grand plans to marry her daughter Polly (Mary Eaton) to Harvey Yates (Cyril Ring). However, Polly is in love with struggling architect Bob Adams (Oscar Shaw), and Yates is hatching a robbery plot with his accomplice, Penelope (Kay Francis).

The film is also a feast for the eyes, capturing the essence of late-1920s fashion. Think flapper dresses adorned with fringe and sequins, elegant cloche hats, and Art Deco-inspired embellishments.

The film offers plenty of memorable fashion moments. It opens on a beach set, where one woman sports a lobster swimsuit (a playful precursor to Schiaparelli's iconic lobster dress) while another guest wears a swimsuit monogrammed with her initials, a very trendy choice at the time.

Throughout the film, we see a variety of elegant cloche hats and striking ensembles, including Penelope’s standout gowns: a sleek silk satin evening dress with a dramatic tail at the back and a second, equally captivating evening gown paired with an extravagant mantilla for the Spanish-themed party. This grand finale showcases an array of sparkling designs worn by several characters, including the Marx Brothers.

True to their comedic style, their costumes are humorously juxtaposed against the glamour of the others, creating a delightful contrast. The women's outfits, featuring fringed dresses, sequins, and Art Deco-inspired embellishments, were instead designed to dazzle under the lights and enhance movement during the dance sequences, adding a touch of glamour to every scene.

For the Spanish-themed party, Polly wears a stunningly elegant dress adorned with beaded floral embroideries and cascading fringes that flow from her shoulders for a reprise of "When My Dreams Come True" (written by Irving Berlin).

Yet, beyond the Marx Brothers' hilarious gags, some of the film's most fascinating moments come from its choreographies. Several musical numbers feature the Gamby-Hale Girls and Allan K. Foster Girls.

In one sequence, the dancers, dressed as bellhops, sit on the hotel steps and create a vibrant hand and arm choreography, almost a precursor to the intricate style of modern choreographies by Sadeck Waff.

Another standout performance is an en pointe number where the dancers wear Spanish costumes and form geometric, kaleidoscopic patterns. Captured with an overhead camera, this sequence was particularly striking for audiences at the time, offering a fresh and innovative perspective.

Interestingly, these musical numbers were not pre-recorded but shot live on the soundstage with an off-camera orchestra, a challenging feat given the technical limitations of early sound cinema.

The overhead shots, with their symmetrical, kaleidoscopic visuals, evoke the style that would later be perfected in the 1930s by Busby Berkeley who transformed dance routines into surreal, larger-than-life spectacles.

For fashion designers, this is the kind of sequence worth studying. While costumes are undeniably crucial, choreographies like these ones shot from above can inspire creative patterns for prints. So, fashion design students, whenever you watch films from this era, pay close attention to these moments, they're treasure troves of artistic ideas.

A Fashion Journey Through the Acts of "Pandora's Box" (1929) by G. W. Pabst as It Enters the Public Domain

In the previous post, we explored a 1929 film that has just entered the public domain in the United States. Continuing the thread, let's turn to another cinematic masterpiece from the same year - Pandora's Box (Die Büchse der Pandora), which has also entered the public domain. This German silent drama, directed by Georg Wilhelm Pabst, is a powerful exploration of the destructive force of desire and a reflection on the sexual politics of its time.

Based on Frank Wedekind's plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (Pandora's Box, 1904), the film stars the iconic Louise Brooks as Lulu, a free-spirited and sexually liberated woman whose relationships with various men inevitably lead to tragedy.

Set in Berlin, the story follows Lulu, a performer and prostitute, engaged in a relationship with Dr. Ludwig Schön (Fritz Kortner), a wealthy newspaper publisher. Schön is captivated by Lulu but deeply conflicted, both infatuated with her and ashamed of her uninhibited lifestyle. His struggle reaches a breaking point when he decides to leave her and marry Charlotte von Zarnikow, the daughter of the Minister of the Interior.

However, Schön's plans unravel when Lulu, dressed in a glamorous and revealing costume for a revue written by Alwa (Francis Lederer), Schön's son and Lulu's friend, seduces Schön in the theatre's storage room. This fateful encounter sets the stage for a cascade of events that unravel the lives of everyone around her.

Schön feels compelled to marry Lulu, but their union quickly turns disastrous. At the wedding reception, tensions erupt when Schön discovers Lulu interacting with her former "patron," Schigolch (Carl Goetz), and Rodrigo Quast (Krafft-Raschig), a variety performer with dreams of creating a trapeze act with her. Enraged, Schön threatens to shoot the two men. In a heated struggle with Lulu, the gun discharges, and Schön is fatally shot.

Lulu’s trial for manslaughter ends with a five-year sentence, but a mob of sympathizers, led by Schigolch and Quast, orchestrates her escape. Alwa confesses his love for Lulu, and the two decide to flee together. Countess Augusta Geschwitz (Alice Roberts), the costume designer for Alwa's revue and secretly infatuated with Lulu, provides her passport to aid Lulu's escape.

Then fate brings the characters - Lulu, Geschwitz, Alwa, Schigolch, and Quast - together on a gambling ship. However, their fortunes take a grim turn. After a confrontation, Geschwitz kills Quast, and the remaining companions descend into destitution, ending up in a dilapidated London garret.

On Christmas Eve, driven to desperation, Lulu turns to prostitution. Tragically, her final client is none other than Jack the Ripper, wracked with remorse but no less deadly. The encounter seals her tragic fate, bringing her tumultuous story to a devastating conclusion.

Lulu’s behavior in Pandora's Box mirrors aspects of Louise Brooks' real-life persona. As a teenager, Brooks joined the avant-garde Denishawn dance troupe in 1922 but was dismissed for repeatedly breaking their rules. Later, while living in New York, she was asked to leave two hotels due to her scandalous behavior and risqué fashion choices.

The film is renowned for its iconic 1920s fashion, with Lulu's costumes (by Gottlieb Hesch) playing a crucial role in defining her character as a symbol of the flapper era. Each of the film’s eight acts is characterized by a distinct costume that reflects a particular aspect of Lulu's personality.

In Act One, Lulu wears a light, ethereal white dress with a drop-tail hem. Made from layered, fluttering chiffon, the dress enhances her graceful movements as she dances for Schigolch. Its loose silhouette allows for fluidity, emphasizing her carefree and uninhibited nature.

In Act Two, Lulu adopts a more sensible look: a black velvet day outfit paired with a matching cloche hat. She wears this ensemble to visit Alwa, who is working on his revue.

During her visit, she meets Countess Geschwitz, who shows her sketches of costume designs, including a grand dress that Lulu will wear in Act Three for Alwa's production.

In Act Three, Lulu appears in two opulent gowns, each paired with extravagant headpieces. The second gown is particularly striking, it is an incredibly sensual design featuring a plunging neckline and a delicate Y-shaped strap across the back.

This particular detail on the back of the costume, which accentuates Lulu's allure, would go on to inspire countless fashion designers in the decades to follow. This is also the dress she wears to seduce an enraged Schön, making it a key visual element in this pivotal scene.

The wedding gown in the subsequent act is a stark contrast to this provocative attire. Simple and understated, it evokes purity, natural beauty, and innocence - qualities at odds with Lulu's manipulative and seductive nature.

Yet, the gown retains a hint of sensuality, thanks to its delicate horizontal straps at the back and its resemblance to the white dress from Act One. Both gowns feature a fluted, drop-tail hem that adds a soft, ethereal quality.

The horizontal straps on the wedding dress are also functional, as they allow it to slip from Lulu’s shoulders in the aftermath of Schön's death, creating a dishevelled, emotionally charged visual effect.

In Act Five, Lulu’s attire takes a darker turn. At her trial, she wears a mourning dress made of glossy black satin, complete with a veil that obscures her face. This outfit serves as a stark counterpart to the wedding gown - where the white dress symbolized innocence, the black ensemble suggests repentance and regret. Yet, rather than downplaying her presence, the dramatic sheen of the satin and the dress's silhouette accentuate Lulu's figure, adding an intense visual impact to her appearance in court.

In Act Six, after escaping the courtroom, Lulu returns to Schön's apartment. She removes her hat and veil, surveys her wardrobe, reads a fashion magazine while plotting her next move and takes a bath. Emerging in a bathrobe adorned with a signature Art Deco motif, she seems to be in a moment of transition, shedding her past life and preparing for what lies ahead.

In Act Seven, Lulu wears another evening dress, this time paired with a simple pearl necklace. The outfit is elegant but far from extravagant, reflecting the diminishing luxury in her life.

On a gambling boat, she watches as Alwa loses all his money, while others relentlessly demand repayment from her. Her once-perfect bob now appears wavy, subtly hinting at her unravelling circumstances. To escape, Lulu disguises herself by swapping clothes with a sailor, but this act of desperation leads her to an even more dire situation - destitution in London.

In her final chapter, Lulu lives in a decrepit attic, dressed in a tattered top and skirt. When she ventures out to find a client, she wraps herself in a shawl, a poignant reminder of her descent into squalor. Her wardrobe, once full of vibrancy and sensuality, becomes a visual narrative of her tragic arc.

Despite this descending parable into desperation, throughout Pandora's Box, Lulu exudes a vibrant energy and vitality. As both a performer and a sex worker, she stands as a symbol of sexual liberation, a dynamic, erotic force alive with happiness and sensuality, a flame that burns brightly, and a fashion icon as well. 

Her signature bobbed haircut is indeed an emblem of modernity and freedom, while her daring outfits evolve with each act, mirroring her sexual freedom and rebelliousness, underscoring the tension between societal expectations and her personal choices.

While Lulu moves through all social circles - from Schön in his immaculate suits pointing at the upper class to Schigolch, a grotesque tramp representing a demi-monde (the clothes of the male characters firmly define them within their roles, trapping them in a rigid identity) - she transcends such boundaries. She belongs neither to the world of the rich nor the destitute, but instead exists outside them, as a free, fluid, and independent character.

She embodies the spirit of the New Woman, much like Countess Geschwitz. Dressed in a tuxedo, bow tie, and hat, and working as a costume designer, the Countess also represents a modern woman, but with her own distinct identity as a lesbian.

Together, Lulu in white satin and Geschwitz in black create one of the film’s most iconic and erotic moments as they perform a tango at Lulu's wedding, an intimate and charged encounter that speaks volumes about their contrasting yet complementary worlds.

Censored, cut, and banned in various countries upon its release, Pandora's Box entered the annals of cinema history not only for Louise Brooks' groundbreaking portrayal of Lulu but also for Georg Wilhelm Pabst's innovative direction.

The film's costumes have inspired countless fashion designers, but there's another avenue of inspiration worth exploring that doesn't rely on literal interpretations. The episodic structure of the story provides, for example, a compelling blueprint for a runway show.

A cohesive narrative, broken into distinct episodes, would allow a designer to express various styles and moods, capturing the dynamism and vitality of the garments, while maintaining the freedom and rebellious spirit embodied by Lulu.

So, if you're a fashion design student, try rewatching Pandora's Box with a focus on its acts and consider how the episodic nature of the story could inspire the structure of a fashion collection or a runway show.

Knits, Gowns, Action! Dorothy Arzner's "The Wild Party" (1929) Joins the Public Domain in the U.S.

In yesterday's post, we explored colors and knitwear through a fashion obituary. Today, let's continue drawing inspiration from knitwear, this time with a subtle twist, by turning to a black-and-white film that has just entered the public domain in the United States: The Wild Party (1929), starring Clara Bow (note: the film includes an uncomfortable scene where some of the protagonists are leered at by drunken men, as well as racially insensitive portrayals, with Black actors primarily cast as waiters and train attendants).

Directed by Dorothy Arzner and based on Samuel Hopkins Adams's novel Unforbidden Fruit, this pre-Code classic marked Clara Bow’s debut in talkies (the film’s audio quality varies across available copies - especially those found online - but some versions include English subtitles for easier viewing).

The story follows the antics of a boisterous group of girls at an all-female college, focusing on the boldest of them all, Stella Ames (played by Bow). All the girls are attracted by the new anthropology lecturer, Professor Gilmore, whom they affectionately call "Gil" (played by Fredric March).

However, Stella has a unique connection to him: she recognizes him as the man with whom she accidentally shared a bed after mistakenly entering his sleeping compartment on a night train ride back to the college. In a cheeky twist, Gil humorously left her a parting gift - a spoon - along with a playful reminder of "the dangers of spooning."

Yet, when Stella and Gilmore meet again in the classroom, he is cold and detached, a stark contrast to their earlier encounter. The plot thickens during a costume party, where Stella and her friends make a striking entrance in skimpy, sequined outfits featuring zigzagging patterns that evoke lightning bolts across the front.

The night takes a darker turn when the girls are harassed by drunken men at a bar, leading to a brawl. Stella finds herself in danger, but she is ultimately rescued by Gilmore. Despite his growing feelings for her, Gilmore is disheartened by Stella's lack of ambition and carefree behavior. However, his disapproval doesn't stop him from falling in love with her.

Stella, meanwhile, remains immersed in her partying lifestyle. Trouble arises when the gang of drunkards Gilmore confronted to save Stella seeks revenge, and Gil is shot. As Gil recovers, he and Stella find their way back to one another.

The drama escalates when Stella's friend Helen faces expulsion for breaking college rules to meet a man. Stella takes a stand to protect Helen, jeopardizing her own standing at the college. For Stella, leaving college isn't an option, but for Gilmore, it is. In a dramatic gesture of devotion, he decides to do so to follow her.

The costumes for The Wild Party were designed by the legendary Travis Banton, and they perfectly complemented the girls' party-centric lifestyle. As a pre-Code film, many of the evening gowns featured here are strikingly daring for their time. Banton's designs favored figure-hugging silhouettes crafted from silky, reflective fabrics, often adorned with feathers or beads, and paired with sumptuous fur coats.

The wardrobe reflects the height of 1920s fashion, showcasing Banton's exceptional talent for blending Hollywood glamour with the sophistication of Haute Couture and French fashion. Before joining Paramount, Banton worked at the prestigious house of Lucile until 1924, eventually launching his own high-fashion label. Known for his glamorous and elegant creations, he later gained acclaim for designing extravagant gowns such as those worn by Rosalind Russell in the Broadway play Auntie Mame (a collaboration with Marusia Toumanoff Sassi).

By the time he worked on The Wild Party, Banton had already cemented his status as Paramount's leading and most innovative costume designer, crafting looks that were as iconic as the stars who wore them.

While the costume party outfits in The Wild Party are undeniably striking, it’s the knitwear that feels particularly modern and timeless. Stella’s evening wear exudes pure glamour, but her daily class attire is simpler yet equally striking. She has a knack for geometric patterns, often wearing thin jumpers adorned with cascading squares that grow progressively larger or streamlined triangle motifs - designs clearly influenced by the Art Deco aesthetic (the clean and elegant font employed for the initials of Stella's name on her nightgown also align with a modernist aesthetic; echoing the architecture and decorative arts of the era, the letters are enclosed in a circle that creates a harmonious and modern appearance - View this photo).

Her friends also sport elegant knitwear, featuring oblique stripes (View this photo) or zigzagging patterns (View this photo). It's a shame the film is in black and white, leaving us to imagine the original colors. Still, some of the scarf patterns and Stella's accessories - like the tie she pairs with a sleeveless white shirt, suspenders, and a pleated skirt (ironically, Stella chooses this more serious "studious girl" outfit to impress Gilmore, only to be accused of plagiarizing an essay while wearing it View this photo) - hint at Sonia Delaunay’s artistic influence and colorful patterns.

Stella's jumpers, with their artistic geometric designs, often gain a personal twist through her choice of scarves or hats, subtly subverting the strict lines and order of geometry to reflect her lively, rebellious character.

So, what will you take away from this film? The glamour of the evening gowns or the edgy, geometrical knits with a twist?

Fashion Obituary: A Life Woven with Threads of Colors & Creativity, Rosita Missoni (1931 – 2025)

There is an anecdote from the 1967 Pitti tradeshow that entered the history of fashion. Everything was set for Rosita and Ottavio Missoni's catwalk when, at the last minute, Rosita noticed that the models' underwear clashed with the futuristic and thin lamé knits of their designs. Thinking quickly, she decided to send the models out without anything underneath. The decision caused a scandal but also marked a turning point in fashion, as Rosita inadvertently pioneered the "nude look."

The Pitti organizers were outraged, and the Missonis weren't invited back the following year. Yet, critics and buyers were captivated, and the incident cemented the Missonis’ reputation as innovators.

For decades, Rosita and Ottavio stood as the ultimate power couple in knitwear, reshaping Italian fashion with their bold vision and fearless creativity. Ottavio, affectionately known as Tai, passed away in 2013, and Rosita Jelmini Missoni, a trailblazer in her own right, died today at the age of 93.

Rosita Jelmini first met Ottavio in 1948 while she was studying in London and he was competing in the London Olympics as part of Italy's 400m hurdles team. Their connection blossomed, leading to their marriage in 1953.

Building on Ottavio's experience in garment manufacturing - he had collaborated with fellow athlete Giorgio Oberweger to produce the iconic "Venjulia" knitted tracksuits for the Italian Olympic team - the couple founded their first factory, Maglificio Jolly, in the basement of their Gallarate home. There, Rosita's instinct for color and design flourished.

While they produced designs for Biki, in 1958, they began making their now-iconic colorful striped shirt dresses for La Rinascente. Over the years, they developed innovative methods, working with new materials and bold color combinations to redefine elegance.

The zigzag patterns that became their signature, a variation of the more classical horizontal and vertical stripes, were a testament to their keen eye for individuality, made using creatively the Raschel knitting machines.

The 1960s marked a transformative period for Rosita Missoni and her husband Ottavio. The couple worked with Christiane Bailly and, in 1964, traveled to Paris to team up with Emmanuelle Khanh. This partnership culminated in vibrant catwalk shows at the Gerolamo Theatre and at the Solari swimming pool in Milan, events showcasing their shared passion for innovation.

After the infamous Pitti scandal, American buyers embraced Missoni’s "put together" aesthetic that allowed customers to mix and match garments, allowing wearers to create unique styles that reflected their individuality.

Prominent fashion editors such as Anna Piaggi and Diana Vreeland championed the brand, paving the way for its international acclaim. This recognition reached its pinnacle in 1973 when Rosita and Ottavio received the prestigious Neiman Marcus Fashion Award, cementing their place in the fashion world.

The brand's signature aesthetic took form, combining luxurious materials like wool, mohair, silk, cotton, elasticized yarns, and Lurex to craft bright and bold patterns.

Quite often the designs were also a tribute to art: the vibrant, pictorial graphic effects they developed at times evoked the dynamic works of Futurist painters like Giacomo Balla, Umberto Boccioni, and Carlo Carrà. This artistic connection was celebrated as early as the 1970s, when the first exhibition analyzing Missoni’s work from an artistic perspective was held in Venice. Later, their creations were showcased at the Whitney Museum of American Art, solidifying their reputation as artists of knitwear.

In 1981, Ottavio’s patchworks - deeply rooted in the artistic philosophy the couple shared - were exhibited as innovative tapestries in Milan and at the Berkeley Art Museum, University of California.

Under Rosita's leadership, the Missoni brand grew beyond fashion to influence the world of interior design with the launch of Missoni Home. Rosita's eye for color and texture transformed living spaces into canvases of self-expression, much like their garments did for individuals.

At the same time, the cinematic world embraced Missoni's creations. Directors and costume designers often visited Sumirago to select unique pieces for their films. Burt Lancaster wore Missoni cardigans in Luchino Visconti's Gruppo di famiglia in un interno, while Mariangela Melato donned patchwork jumpers in Mario Monicelli's Caro Michele. Charlotte Rampling wore a Missoni design for her wedding, while Rudolf Nureyev’s long, colorful Missoni knitted coat became an iconic element in exhibitions dedicated to his costumes.

In 1983 the Missonis created costumes for Donizetti's Lucia di Lammermoor, set in Scotland: the couple oversaw the production of costumes for the entire choir in Sumirago, personally attending rehearsals in Milan to ensure every detail was perfect.

This venture marked the beginning of a series of notable collaborations in the arts, from dressing Claudio Abbado’ and Gino Negri's youth orchestras to creating the golden fleece for the 1990 ballet Medea, with Franca Squarciapino contributing costume designs. One of their most vibrant contributions came during the opening ceremony of the 1990 World Soccer Championships, where Rosita and her team designed colorful costumes representing Africa, a moment vividly captured in drawings by journalist and friend Maria Pezzi.

In the '90s the brand crafted costumes for "Step Into My Dream" for The Parsons Dance Company and designed knit, space-dyed stretch suits for the acrobatic feats of the Aeros company.

In the same decade the Missonis transitioned leadership to their children - Luca, Vittorio, and Angela - but Rosita remained deeply involved in guiding the brand's legacy and in preserving the craftsmanship that defined Missoni. She championed the enduring quality of garments initially produced on Coperdoni looms in Sumirago, balancing tradition with innovation.

She won prestigious honors such as Elle Decoration UK's "Best Fabric Award" in 2003, the Elle Decor International Design Award in 2005, and was named Créateur 2007 for Maison et Objet. The 2009 exhibition "Workshop Missoni: Daring to Be Different" at London's Estorick Collection of Modern Italian Art further highlighted the company's approach to design and its remarkable influence on the intersection of fashion and art.

The company's interests extended beyond fashion into ventures like Missoni Hotels - a partnership with Rezidor SAS (terminated after a few years), and collaborations with companies like Havaianas, Converse, and Target. 

The Missonis frequently featured in advertising campaigns, such as the 2011 shoot by Juergen Teller at James Brett's Museum of Everything. These campaigns celebrated the familial warmth and unity that defined the brand's ethos, but, quite often the campaigns were more focused on their passion for art: they enlisted experimental filmmaker Kenneth Anger to direct the campaign for their Autumn/Winter 2010 collection, while for the Autumn/Winter 2014 collection, the brand focused on a Fortunato Depero-inspired visionary shoot brought to life by photographer Viviane Sassen.

The Missoni family suffered profound losses in 2013: in January, Vittorio Missoni died in a plane crash off the Venezuelan coast. Just a few months later, in May, Ottavio passed away at 92. These events marked a challenging chapter, yet Rosita continued to embody resilience and dedication.

In 2018, the company took a step toward modernization with FSI Mid-Market Growth Equity Fund acquiring a 41.2 percent stake, while the Missoni family retained 58.8 percent and full creative control. Rosita, holding the title of honorary president, remained actively involved, particularly with the Missoni Home collection.

Rosita Missoni was a constant presence at the Venice Art and Architecture Biennale events, reflecting her deep connection to art and culture (the family owned a house boat, named Timoteo, and Rosita loved travelling on it in the Venetian lagoon).

In a 2009 interview, Angela's daughter, Margherita reflected, "My grandparents and my mother Angela taught me everything I know about this industry, but they also taught me to distance myself from the fashion universe. A great passion for our job runs in the family, but we also know it’s not the most important thing in the world. We live our lives with lots of irony and detachment because, after all, it’s just clothes."

Rosita Missoni is survived by her children, Luca and Angela, as well as her nine grandchildren and their families.

Journeying Through the Stars Into the New Year

Starting a new year is an electrifying moment: the world brims with possibilities once again, the air is charged with the buzz of something fresh, the promise of a new day ahead. Yet, for some of us, it can also feel daunting, especially for those whose recent past has been heavy with challenges. Finding the perfect image to wish all of us a happy new year can therefore be challenging, but let's try it nonetheless with a drawing by Vija Celmins.

The Latvian artist is renowned for her paintings and drawings that depict natural phenomena - oceans, spider webs, night skies, and comets - usually inspired by photographs. Her process of recreating these images, typically in a muted palette of grey, white, and black, can span many days, each piece capturing the quiet, detailed essence of the subject.

Celmins' passion for collecting images began in childhood when she moved from her native Latvia to Indianapolis. The first images she collected were from comic books, a practice that continued as she grew older and started producing paintings and sculptures inspired by everyday objects. In the late '60s, captivated by the space race, she began drawing images of outer space.

Space is infinite - endless and boundless - but Celmins gives it depth and focus, often using a white frame to create a more concentrated view. Her mastery of medium allows her to explore light and dark with great precision, as seen in her use of graphite pencil to capture the shifting waves. In the 1990s, Celmins began employing charcoal and an eraser for her night sky drawings made by layering charcoal across the paper's surface and then removing areas with the eraser to reveal strands of stars, radiating like a web across the cosmos.

In Untitled #13 (Comet), part of the Museum of Modern Art's collection in New York, Celmins recreates a comet as it moves across a star-filled galaxy. The absence of a horizon line creates a sense of floating, either over an ocean or through space. The comet, in its simplicity, is magical, powerful, and inspiring.

Amid this vast, noisy, mad and chaotic world - one often too heavy to bear with wars, turmoil, suffering, and death - let this image serve as a symbol of freedom and hope. Like a gentle wish for us all, it whispers "ad astra," urging us to rise above life's challenges, no matter how insurmountable they may appear. Let it inspire us to keep moving forward, with the promise of brighter days ahead. Happy New Year.