#Emilie Flöge

[transistoradio]

Four photos of fashion designer Emilie Flöge (1874-1952).

[anotherdayinbliss]

Austrian fashion designer Emilie Flöge, 1900s She was Gustav Klimt’s muse, lover, and lifelong companion. The necklaces were gifts from Klimt.

Coco Chanel is often heralded as the sole designer to revolutionize modern womenswear, and it’s true that she popularized trousers and comfortable two-piece suits at a time when upper-class women had limited sartorial options. But by the time Chanel opened her salon at 31 Rue Cambon in Paris in 1910, Flöge had been producing cutting-edge designs in Vienna for several years, already carving out new roles for women in the industry with her empire-waist garments, wide sleeves and intricately-detailed panels inspired by Hungarian and Slavic embroidery, marking a departure from the restrictive, corseted dresses that were the mainstays for the time.

In 1904, Emilie and her two sisters opened the fashion house Schwestern Flöge on Vienna’s bustling Mariahilfer street—an unusual venture for three unmarried, thirty-something women to take on then. Klimt and Flöge’s relationship was also extremely unusual: they were romantic partners that never got married nor had children, and maintained a level of independence unprecedented for the time.

via

[gogmstuff]

1909 Emilie Flöge by Atelier d'Ora/Arthur Benda/Madame d'Ora (Museum für Kunst und Gewerbe - Hamburg, Germany). From tumblr.com/fashionsfromthepast/743745372176957440? 743X1200.

[semioticapocalypse]

Emma Bacher. Gustav Klimt, Emilie Flöge, Therese Flöge Paulick. Seewalchen. Austria. 1912

I Am Collective Memories   •    Follow me, �� says Visual Ratatosk

[ghostoftallulah]

Emilie flöge

I’m obsessed atm

[mioritic]

Eastern European fabric trimmings and embroidery scraps from the collection of Emilie Flöge (Austrian, 1874–1952)

Volkskundemuseum Wien

(Catalogue nos. ÖMV/78704, -05/001-2,-08,-14,-19,-82,-84,-94, 78805/002)

[alisfelia]

the kiss by gustav klimt

"The Kiss" by Gustav Klimt is believed to have been inspired by Klimt's own tumultuous love life and the Art Nouveau movement of the late 19th century. It's thought to depict the artist himself and his companion, Emilie Flöge, who was a prominent figure in Vienna's artistic circles.

The painting captures a moment of intimate embrace, symbolizing the union of two souls in love. The couple's bodies are intertwined in a sensual manner, while their faces remain obscured, adding an air of mystery and universality to the scene. The use of gold leaf throughout the painting adds a sense of opulence and timelessness, elevating the romantic encounter to a transcendent experience.

While the exact inspiration and narrative behind "The Kiss" remain somewhat elusive, its enduring popularity and significance lie in its ability to evoke emotions of passion, love, and beauty, resonating with viewers across generations.

[mirellabruno]

EMILIE FLÖGE (1874-1952) First liberated Viennese woman, Austrian Coco Chanel immortalized in Klimt’s phenomenal Kiss. (re)ascending the social ladder Emilie Flöge was born into a Viennese artisan family that had only recently ascended the ladder of social respectability. Her father Hermann was a master turner who had founded a firm that exported Meerschaum pipes, mostly to the British market. between silk and lace Always passionate about fashion, Emilie quickly started working as a seamstress, and when her elder sister, Pauline, opened a dressmaking school in Vienna, Emilie willingly agreed to help. Two years later, in 1895, the two of them won a prestigious dressmaking competition. In 1904 Flöge sisters opened the couture house Schwestern Flöge in Vienna, with interiors designed by Josef Hoffmann. It quickly became a successful enterprise luring wealthy clients committed to modernity in all its forms. At its prime, the company employed nearly 80 workers. reforming the dress In addition to heading the Schwestern Flöge, Emilie also maintained a direct, hands-on role in production, often pinning fabric to a dummy (custom-made to a client’s proportions) before directing fabric-cutters to reassemble it. She traveled to Paris twice a year to source fabric, belts and buttons. But what really fascinated her, was an idea to rethink women’s dress. Using her familiarity with Wiener Werkstätte projects, folk costumes and Japanese textiles, she soon created her very own Reform Dress. revolutionizing fashion stores By the time Chanel opened her first salon in Paris, Flöge had been producing cutting-edge designs in Vienna for several years. Her loose, flowing and bold dresses rejected the tight-laced style of historicist Vienna already carving out new roles for women in the industry. Flöge’s fashion celebrated physical freedom, self-expression, closeness to nature, and the vitality of other ethnicities from within the Austro-Hungarian Empire itself to the Far East. Unlike other retail stores, the Flöge sisters displayed alluring art objects that were not for sale. The store was decorated with beauticians, tortoise shell combs, marbled paper notebooks, silver chalices and hand-carved wooden dolls. Instead of copying popular design trends of the time, Schwestern Flöge was furnished with sleek, adjustable mirrors; geometric, carved wood chairs; and black-and-white chequered tables. relationship with Klimt In 1892 Emilie was introduced to Ernst Klimt, who recently got engaged with her sister - Helene. He was a talented painter gaining recognition for his work alongside his younger brother - Gustav. After Ernst’s death in December 1892, Gustav was made Helene's guardian. At that time Emilie was eighteen years old and Gustav became a frequent guest at the home of her parents, spending the summers with the Flöge family at Lake Attersee. By 1897, Emilie Flöge and Gustav Klimt had become inseparable, and most Viennese close to the couple assumed that she had in fact become his mistress. While there can be no doubt that the couple were passionately attached emotionally, and would spend countless hours in each other's company over the next two decades, some scholars have raised the possibility that their relationship always remained platonic. After 1891, Klimt portrayed her in many of his works. Experts believe that his painting The Kiss (1907–08) shows the artist and Emilie Flöge as lovers. Klimt also drew some garments for the Flöge salon in the rational dress style - a style promoted by the feminist movement - and from 1898, other clothes designed by the Vienna Secession. fin de siècle By the time Nazis invaded Austria in 1938, many of Schwestern Flöge’s clientele, who were Jewish, had fled the country or were deported to concentration camps. Like neighboring businesses — both established and burgeoning — they were forced to close. Emilie Flöge never wrote her memoirs, but despite the paucity of sources historians have been able to reconstruct the story of her powerful influence as the muse of one of fin-de-siècle Vienna's greatest artists. Among the last survivors from an utterly vanished world, she died in Vienna on May 26, 1952. KNOW MORE: https://www.harpersbazaar.com/culture/art-books-music/a12241915/klimt-muse-emilie-floge-forgotten-fashion-designer/ https://www.crfashionbook.com/culture/a22835087/emilie-floge-art-fashion-cr-muse/ https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/floge-emilie-1874-1952

[innervoiceartblog]

Emilie Flöge's name may not be familiar, but her designs remain recognizable in Klimt's paintings. Her avant-garde dresses were ahead of her time, and her career never took off. It wasn't until Valentino's 2015 collection that her designs gained recognition, but her legacy remains largely forgotten.

[bog-bitch]

left: Portrait of Emilie Flöge by Gustav Klimt

right: photograph of Viennese fashion designer Emilie Flöge

Emilie Flöge is best known for being the life partner and muse of painter Gustav Klimt, but she was an incredibly talented artist in her own right. Flöge was famous for her unconventional, flowing gowns that were a stark departure from the restrictive corsetry that was in vogue at the time.

[swirley1618]

[fashionbooksmilano]

Gustav Klimt & Emilie Flöge

Fotografien

Agnes Husslein-Arco, Alfred Weidinger

Prestel Verlag, München 2012, 240 pages, 24 x 28,7 cm, iSBN 978-3-7913-5254-1 Deutsche Ausgabe

euro 50,00

email if you want to buy booksinprogressmilano@yahoo.it

Die Wiener Modeschöpferin Emilie Flöge war nicht nur Gustav Klimts langjährige Geliebte, sondern auch Muse und Modell für einige seiner schönsten Gemälde. Das Paar stand im Zentrum jenes legendären Künstlerkreises, der um die Jahrhundertwende von Wien aus die Kunst in ganz Europa beeinflusste. Zu diesem Kreis gehörten auch zahlreiche Fotografen, die die rasante Entwicklung der modernen Technik nutzten und das Leben der Künstler und Bohemiens dokumentierten. Der vom Wiener Belvedere herausgegebene Band präsentiert erstmals sämtliche Fotografien von Klimt mit Flöge und zeichnet damit nicht nur ein faszinierendes Bild vom Leben dieses Paares und seiner Zeit, sondern spürt auch dem Einfluss nach, den bildende Kunst und Fotografie wechselseitig aufeinander ausübten.

Emilie Flöge was only a teenager when she met the painter Gustav Klimt, but their friendship soon evolved into a complex and loving relationship that lasted the rest of their lives. Alfred Weidinger, an acclaimed expert on Klimt and his contemporaries, has compiled an exhaustive collection of photographs relating to the artist and his designer muse. While Klimt took many of these shots, other photographers include Carl Schuster, Victor von Spitzer, Hugo Henneberg, Pauline Kruger Hamilton, Anton Josef Trcka (Antios), and unknown individuals who had access to the couple’s private lives. Presented chronologically, they offer insight into the creatively charged world that Klimt and Flöge inhabited—a world they influenced with their enormous talent and passions.

12/07/23

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[the-first-man-is-a-cat]

Gustav Klimt and Emilie Flöge in a boat on the Attersee lake (1910)

[jeannepompadour]

Dress design by Emilie Flöge as recreated by the Shanghai artist and designer Han Feng for the "Seven Muses of Gustav Klimt" exhibition , 2016

[recherchestetique]

Gustav Klimt (Austrian, 1862-1918)

Portrait of Emilie Flöge, 1902)

Oil on canvas, 181 x 84 cm

Wien Museum, Vienna, Austria

[circa-obsolete]

Ca. 1910