Ethnic MinimalismAfrican, Moorish, Indian, classical Greek and Italian Renaissance styles. His
first professional garment design called Knossos – a rectangular cloth that
wrapped around the body – was notable for its simplicity. In contrast to
1900s high-fashion trends for either corseted ‘frou-frou’ gowns or the exotic
costumes promoted by revolutionary Parisian couturier Paul Poiret, it lacked
construction and facilitated complete freedom of movement.
In 1907 Fortuny developed, and in 1909 patented, the design of his
columnardelphos dress – a finely pleated silk sheath based on a Greek chiton
- a style he made and sold for some forty years. Because it clung mercilessly
to the body, the delphos was initially considered immodest and daring and
attracted a ‘bohemian’ clientele, including the dancer Isadora Duncan. It also
found favour amongst a coterie of international society women, with artistic
leanings, who wore it within the confines of the home, in place of a tea
gown to obtain temporary relief from corseting. Fortuny subsequently
conceived variants of the sari, djellabah, kaftan and the Turkish dolman –
which also permitted free movement – and which he dyed and printed
according to his own (still secret) techniques.
Although sales of textiles and dress supported him financially for the rest
of his life, Fortuny rarely commanded the attention of the fashion press
(although his work was immortalized by Marcel Proust in Remembrance of
Things Past). Generally, it is the very latest, most dramatic or shocking that
entices fashion photographers, journalists and editors and, in turn, commands
public attention – though, seldom are these items purchased to wear. Like
Fortuny, Shirin Guild neither courts extensive media coverage nor does the
enduring quality of her designs attract it. For the same reasons, she avoids
the razzmatazz of catwalk shows. Shirin also eschews sensation and change
for change’s sake, by presenting timeless, elegant designs. However, unlike
Fortuny, Shirin Guild does conform with the fashion calendar, presenting bi-
annual collections and in 1999 introduced a ‘mid-collection’ (which many
designers call ‘cruise’). International buyers are invited as part of London
Fashion Week to place their orders at the showroom, can do so at ‘Tranoi’,
the Paris trade fair or via German and Italian agents.
Whilst Shirin has an international clientele, her clothes undoubtedly have
a peculiarly British appeal. In 1954 Cecil Beaton stated that, ‘At its truest
the taste exhibited by the Englishwoman has a certain “literary” quality:
almost one might say, a Virginia Woolf appreciation for clothes that possess
the association is ideas... Old things have a certain romantic charm about
them, and English women of sensibility appreciate this.’^5
5. Beaton, Cecil, Through the Looking Glass, London: Weidenfeld & Nicolson, 1954 p.