Wiener Werkstätte: Textiles and their design This book presents new research and archival findings on the textile and fashion designs of the Wiener Werkstätte movement (1903–1932). Textile specialists, art and design historians offer insights into the most important collections and archives in Austria, Switzerland, and the US. The publication explores works by lesser-known female textile artists; the influence of Eastern European folk art, Japanese patterns, and ornamentation textbooks on textile designs; applications in fashion, interior design, film, theater; and marketing strategies used to enter new markets in the US. It includes numerous illustrations of textile samples, many drawn from the Cotsen Textile Traces Study Collection (George Washington University Museum / Textile Museum), one of the largest collections of Wiener Werkstätte fabrics in the US. New research and archival findings on the Wiener Werkstätte textile design International project by the University of Neuchâtel, the George Washington University Museum / Textile Museum (exhibition from July 8 to November 5, 2023), and the University of Applied Arts Vienna Contributions by Susan Brown / Caitlin Condell, Rebecca Houze, Janis Staggs, and others

The patterns and prints of the Wiener Werkstatte were among the most popular and successful textile designs of the early twentieth century, reflecting both the tastes of Viennese society and general trends toward artistic abstractionism. They are presented here in an unparalleled compilation.

-The publication offers an overview of the the design and production of lace and embroidery made by the Wiener Werkstätte between 1906 and 1930, together with a rich inventory of previously unpublished documents from the WW archives -The production of the Wiener Werkstätte comprises embroidery, braids, covers, inserts for curtains and counterpanes; the presentation is enriched by artists' sketches and designs, blueprints, bobbin lace patterns, sample fortfolios and historical photographs -The book provides a great deal of new information on this hitherto little-known Wiener Werkstätte department -With works by Carl Otto Czeschka, Josef Hoffmann, Dagobert Peche, Maria Likarz-Strauss, Mathilde Flögl, Hilde Jesser-Schmid, Felice Rix-Ueno, Vally Wieselthier and Fritzi Löw-Lazar A rich inventory of previously unpublished documents boasting great artistic sophistication can be found in the Wiener Werkstätte archive in the MAK - Austrian Museum of Applied Arts / Contemporary Art on the design and production of lace and embroidery produced there between 1906 and 1930. Together with the objects kept in the museum, they convey an authentic picture of the department's extraordinary production. Around forty designers are known by name. The earliest pieces of embroidery, from 1906, derive from furniture upholstery belonging to the Wittgenstein family, while lace production did not begin until 1915 and consisted of braids and covers, also inserts for curtains and counterpanes. The book provides a great deal of new information on this hitherto little-known Wiener Werkstätte department, including artists' sketches and designs, blueprints, bobbin lace patterns, sample portfolios in WW design, and historical black-and-white photographs of the original objects. Text in English and German.

Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-si?e culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.

This work focuses on the efforts toward reforming women's dress that took place in Europe and America in the latter half of the 18th century and the first decade of the 20th century, and the types of garments adopted by women to overcome the challenges posed by fashionable dress. It considers the many advocates for reform and examines their motives, their arguments for change, and how they promoted improvements in women's fashion. Though there was no single overarching dress reform movement, it reveals similarities among the arguments posed by diverse groups of reformers, including especially the equation of reform with an ideal image of improved health. Drawing on a variety of primary and secondary sources in the USA and Europe - including the popular press, advice books for women, allopathic and alternative medical literature, and books on aesthetics, art, health, and physical education - the text makes a significant contribution to costume studies, social history, and women's studies.