Mod

delaunay
(Delaunay in an outfit of her own design)

Do you remember a little while ago I was having a Sonia Delaunay moment?

simultaneous
(‘Simultaneous’ dress & car upholstery)

Around this time, I was knitting the the Puffin Sweater, and shortly afterward, I wrote a piece about Delaunay which has just been published in Rowan 53.

mag53

The brief for my feature was to write something to accompany this Rowan design story . . .

ikon

ikonknits

. . . and I felt that the influence of Delaunay was startlingly evident in mod-inspired knitwear collections.

delaunayvceline
(Delaunay, 1923 / Céline, Autumn / Winter 2010-11)

Delaunay’s proud, modernist vision of garments as wearable art was the starting point of my thinking . . .

vogue
(Delaunay celebrated by Vogue in 1925)

. . . but I ended up somewhere rather different.

jeanshrimptonmondrian
(Jean Shrimpton in Yves Saint Laurent’s Mondrian Dress, 1964)

perry&lim
(Lisa Perry & Phillip Lim’s appropriations of Lichtenstein)

You can read more in the magazine!

on the move


Sonia Delaunay, Driving Caps, Silk and Wool, 1924-28. Included in the Cooper-Hewitt Color Moves exhibition, 2011.

I am taking a break from my collection today, and researching a feature which somehow keeps bringing me back to the work of Sonia Delaunay. I came across these amazing wool and silk ‘driving caps’ that she designed, and was so blown away by them that I just had to show you. In their interplay of colour and rhythm, they capture so much of what I love about Delaunay’s work. They are hats for use as much as ornament, garments intended, like most of Delaunay’s clothes, to be worn with ease by what she regarded as ‘modern’ women — women on the move. Like Delaunay’s famous ‘simultaneous’ coats and dresses, the bold, undulating and interlocking rectangles that create the structure of these these caps are the effect of dense, woollen embroidery rather than knitted stitches . . . still, as you can imagine, they have got me thinking. But today I am not supposed to be thinking about knitting. I am supposed to be thinking about 1920s Paris and New York, of the grid of the city, of wheels in motion, sleek architectural lines, bobbed hair, sportswear, dancers and swimmers, runners and cyclists, chevrons and stripes, blocks and spirals. I suppose it does all come back to the knitting, after all.


Delaunay and her matching decorated Citroen B12, 1925


Delaunay, cars and clothes, 1925


George Lepape, cover image for Vogue’s ‘Winter Touring’ issue, January 1925, depicting Sonia Delaunay driving outfit with matching vehicle.

For anyone interested in Delaunay, I highly recommend the catalogue and accompanying essays of the Cooper-Hewitt Color Moves exhibition (2011).

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