The Fashion Businessdress reform enjoyed renewed publicity. Exhibitors included the Rational
Dress Society that was founded in Britain by Viscountess Harberton and
counted several doctors on its committee. The RDS protested, ‘against the
introduction of any fashion in dress that either deforms the figure, impedes
movement of the body, or in any way tends to injure health’.^4
In spite of their pragmatic emphasis upon practicality, comfort, health and
equality for women, dress reformers were often portrayed by the press as a
ridiculous, eccentric bunch and were much lampooned by cartoonists. Women
were victim to especially hostile caricature and feminists abandoned dress
reform, concluding that it was damaging to their cause.
By the outbreak of the First World War, the dress reform movement was
in abeyance, as changing lifestyles paved the way for more comfortable sportif
styles in durable fabrics, such as knitted jersey as championed by Parisian
couturiers Coco’ Chanel and Jean Patou. Since the 1920s, fashion designers
have presented a fast-moving series of fashionable silhouettes, some prioritiz-
ing function and comfort above others. By the twilight years of the twentieth
century, fashion became pluralistic and women were granted more freedom
in their choice of dress and adornment than ever before. Nonetheless, many
could still identify with the objectives of dress reform. These women still
cherish Shirin Guild’s enduring designs derived from ethnographic styles, in
preference to fashions that are skimpy, restricting and fleeting.
For almost a century, irrespective of prevailing trends, the designs of Mariano
Fortuny (1871–1949) have retained their desirability. Coats and dresses bearing
his label command high prices at auction and are purchased not only as
museum pieces, but are still relished as luxurious, ethereal, wearable garments.
The Venice-based designer-inventor’s clothing simultaneously attracted an
unconventional ‘bohemian’ and highly fashionable clientele, as Shirin Guild’s
work does today. In this and other respects, parallels can be drawn between
the two designers work and working practice. Fortuny was a prolific and
eminently successful creative talent, establishing himself as a fine artist,
pioneer photographer and technical stage designer - he even patented designs
for propelling boats. However, it was for his textiles and dress, produced
from 1906 until his death, that he was to achieve greatest recognition. Fortuny
was born in Granada into an artistic family. His father, a painter best known
for his work on Arabic themes, was also a passionate collector of Eastern
fine and decorative arts, including textiles, which were to inspire his son.
As a designer of textiles and dress, Fortuny was also self-taught. Critical
of contemporary fashion trends, he researched and derived ideas from
historical and ethnographic sources, looking in particular to Coptic, North
- Ibid., p. 117.