1919 - 1928
MODERNISM
Some artists-turned-fashion creators were inspired by the past.
Others, spread around Europe and in post revolutionary Russia, looked toward a variety of futures and created clothes for the new world.
Aleksandr Rodchenko in Russia and Thayaht in Italy developed an early form of the functional overall, and Hungarian Laszlo Moholy-Nagy customized existing work wear.
The Italian Futurists’ love of speed and movement found expression not only in their art, but also in bright, one-off clothes with abstract patterns.
Varvara Stepanova and Lyubov Popova designed textiles based on universal shapes to rationalize mass production in Russia.
In Paris the Russian-born Sonia Delaunay also used geometric forms in bright colors but in the service of the moneyed few.
That the straight silhouette of the 1920s lent itself to decoration with regular lines and shapes occurred to creative people besides artists, and similar designs could be found outside elite fashion.
1919 - 1928
現代主義
一些藝術家轉變成時尚制造者是受到之前時代的啟發。
還有一些，遍布在歐洲大陸與后革命時期俄羅斯中，創造與走向一個嶄新的未來。
俄羅斯的Aleksandr Rodchenko和意大利的Thayaht開發了一種整體功能的早期形式，而匈牙利的Laszlo Moholy-Nagy則定制工作制服。
意大利未來主義者對速度與運動熱愛，不僅體現在他們的藝術中，還存在在他們明亮的一次性的抽象圖案服裝中。
Varvara Stepanova與Lyubov Popova設計了基于宇宙形狀的紡織品，使俄羅斯開始走向批量生產。
在巴黎，俄羅斯出生的Sonia Delaunay也同樣使用明亮顏色的幾何形式來表現，但這僅是少數富有人士的專利。
二十世紀20年代的直線造型，是規則線條與形狀的自我裝飾，它們來自一批除藝術家以外的創意人士，同樣類似的設計可以在當時的精英雜志上找到。
