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| Geraldine Chaplin in her mother's Delphos, 1979. |
There are few garments more iconic, more treasured than Fortuny's "Delphos" and its variant "Peplos"; certainly no garment more collected and
still worn. First appearing about 1907, they continued to be made until around 1950. Always more "wearable art" than fashion, since their "rediscovery" in the Seventies, they've become among the most desirable vintage garments, are avidly collected, and have garnered record prices at auction.
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| Natacha Rambova (Mrs. Rudolph Valentino), photograph by James Abbe, circa 1924. |
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| Clarisse Coudert, wife of Condé Nast, circa 1919. |
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| Nazimova, photographed by Wynn Richards for American Vogue, 1923. |
Mariano Fortuny y Madrazo (11 May 1871, Granada – 3 May 1949, Venice), Spanish fashion and textile designer, artist, theatrical and lighting designer, born into a family of celebrated Spanish artists. Fascinated by textiles from childhood, by the first decade of the twentieth century, he was living with his paramour and muse, Henriette - they eventually married in 1918 - in a thirteenth-century Venetian palazzo, producing garments that Marcel Proust declared "faithfully antique but markedly original".
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| Lillian Gish, circa 1920s. |
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| Same as above. |
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| Actress and singer Régine Flory, Paris, 1910. |
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| Same as above. |
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| Dolores del Rio, photograph by George Hurrell, circa 1938-40. |
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| Same as above. |
He remains best known for his finely pleated Delphos dress and the similar, less common Peplos. The exact method of pleating was a closely guarded secret involving
heat, pressure, and ceramic rods, and has never been successfully replicated. On both types of dresses, Murano glass beads
are strung on a silk cord attached at the edge of each side seam. The beads serve a
functional purpose as well as being decorative, as they weigh down the
lightweight silk of the garment, subtly enhancing and flattering the human shape beneath.
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| Model, circa 1920. |
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| Same as above. |
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| Elsie McNeill Lee, Countess Gozzi, circa 1940. |
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| Same as above. Countess Gozzi, a wealthy American businesswoman, took over the Fortuny Company at Fortuny's death in 1949. |
The Delphos was a deliberate reference to the chiton of ancient Greece; designed to be worn with little in the way of undergarments, it was originally intended as a tea gown or as similarly informal clothing to be worn in the privacy of the home, but would eventually be seen more as evening wear. The gowns were often made with slight variations in length and shape. Some have sleeves, others have none. They were usually accessorized with block-printed ribbons and sashes, and were worn with all manner of silk and velvet scarves and cloaks, garments which utilized the rich and varied textiles Fortuny was also rightly famous for; an important inventor as well as designer, he also manufactured the pigments and dyes he used for his fabrics.
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| Peggy Guggenheim, Venice, 1975. |
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| Charlotte, Lady Bonham Carter (in a Delphos she bought in Venice in 1922), photograph by David Montgomery, circa 1970s-80s. |
The method of storage for Fortuny's pleated dresses was almost as revolutionary as the garment itself; twisted and coiled and popped into what resembled a small hatbox. At any rate, it was a method that worked remarkably well to preserve the artist's beautiful creations - and continues to do so.
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| Mrs. William Wetmore, photograph by Lusha Nelson. Originally published in Vogue, 15 December 1935. |
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| Mrs. Selma Schubart (the sister of the photographer), photographed by Alfred Stieglitz, 1907. |
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| Mai-Mai Sze, photograph by George Platt Lynes, 1934. |
