Mary E. Davis - Böcker

Music and fashion: the deep connection between these two expressive worlds is firmly entrenched. Yet little attention has been paid to the association of sound and style in the early twentieth century - a period of remarkable and often parallel developments in both high fashion and the arts, including music. This beautifully written book, lavishly illustrated with fashion plates and photographs, explores the relationship between music and fashion, elegantly charting the importance of these arts to the rise of transatlantic modernism. Focusing on the emergence of the movement known as Neoclassicism, Mary E. Davis demonstrates that new aesthetic approaches were related to fashion in a manner that was perfectly attuned to the tastes of jazz-age sophisticates. Looking in particular at three couturiers - Paul Poiret, Germaine Bongard, and Coco Chanel - and three breakthrough fashion magazines - La Gazette du Bon Ton, Vanity Fair, and Vogue - Davis illuminates for the first time the ways in which fashion's imperatives of originality and constant change influenced composers such as Erik Satie, Igor Stravinsky, and Les Six.She also considers the role played by the Ballets Russes, and explores the contributions of artists including costume and set designer Leon Bakst, writer and director Jean Cocteau, Amedee Ozenfant, and Pablo Picasso. The first study to situate music in this rich context, Classic Chic demonstrates the profound importance of the linked endeavors of composition and couture to modernist thought. In addition to its innovative approach to this important moment in history, Davis' focus on the social aspects of the story makes the book a tremendously engaging read.

Before Chanel, Dior or Saint Laurent, there was Paul Poiret. Born in Paris in 1879, he was the most audacious couturier of the pre-war era. While his outré styles were worn by some of the most famous celebrities in Europe and America, they were in fact the most fleeting facet of his work. Mary E. Davis explores how Poiret’s genius was to place fashion at the centre of a network of style, culture and commerce. He founded groundbreaking perfume and interior design businesses, sponsored musical performances, amassed a modernist art collection and threw fantastical – and newsworthy – balls. Poiret’s businesses faded by the end of the 1920s, but as this book reveals, his unifying vision set the model for the luxury industry as we know it.

A musical composer who dabbled in the Dada movement, a Bohemian ‘gymnopédiste’ of fin-de-siècle Montmartre, and a legendary dresser known as ‘The Velvet Gentleman’ for his sartorial choices, Erik Satie was nearly unprecedented in technique, style and philosophy among European composers in the early twentieth century. Yet his legacy has largely languished in the shadows of Stravinsky, Debussy and Ravel. Mary E. Davis now brings Satie to life in this fascinating new biography that demonstrates that his musical innovations reached as far as his influence.Satie redefined the boundaries of the composer’s art, devising new methods of artistic expression that melded ordinary elements and rarefied genres of words, visual art and music. Davis argues that Satie’s modernist aesthetic was grounded in the contradictions apparent in his life – such as enrolling in the conservative Schola Cantorum after working as a cabaret performer – and is reflected in his irreverent essays, drawings and music.Erik Satie explores how the composer was embraced by both the avant-garde and Parisian elite, an experience that immersed him in the worlds of high fashion and cutting-edge modernist art, and subsequently gave him the aesthetic impetus to create the new musical style of Neoclassicism. Satie also crucially employed the power of the image through his infamous fashion statements, Davis contends, to establish his place in the art world, and in this connection between couture and culture, Satie was at the heart of a nascent celebrity culture.A fascinating and informative portrait, with numerous illustrations that include art by Satie himself, Erik Satie reassesses the accepted history of modernist music and restores the composer to his rightful pioneering status.