1900 -1920
ANTIFASHION
Transforming women’s clothing into something more practical, timeless, “aesthetic,” or all three, had been the aim of dress reformers since the 1850s, albeit without much success.
Despite the introduction of specialized clothing for some physical activities, many women at the beginning of the 20th century still wore restrictive clothing and, if they could afford it, changed their wardrobe frequently according to fashion’s demands.
Artists and designers in several countries tried to change this state of affairs.
While they proposed different solutions, their designs had common features.
Corsets, seen as the root of all evil, were generally abandoned; dresses often had a high, relatively loose waistline, while voluminous sleeves and skirts allowed greater freedom of movement.
Prominent surface decoration incorporating the swirling lines a d motifs of Art Nouveau — or based on patterns derived from Ancient Greece, the Renaissance, or Byzantium — was a common theme.
ANNA MUTHESIUS
In 1903 German concert singer, and wife of a well-known architect and writer, Anna Muthesius published a book entitled Das Eigenkleid der Frau (Women’s Own Dress).
Muthesius believed that dress should express the individuality of the wearer, and she urged women to break free from the fashion dictates of Paris and develop their own taste.
Only then would they be able to make suitable sartorial choices and design clothes to suit themselves, using aesthetically pleasing textiles and patterns.
1900 -1920
反時尚
將女性服飾轉變成更實際，永恒，美麗或三者皆有的狀態，一直是服裝改革者自十九世紀50年代以來的目標，盡管還沒有取得太大的成功。
雖然針對某些體育活動已使用了專門的服飾，但二十世紀初的許多女性仍舊穿著拘束，如果她們能夠負擔，便會根據時尚需求變換衣櫥服飾。
一些國家的藝術家與設計師試圖改變這種狀況。
雖然她們提出了不同的解決方案，但設計上卻有很多共同特點。
緊身胸衣，被視作所有邪惡的根源，遭到普遍放棄；連衣裙則常有較高且寬松的腰線，豐滿的袖子與裙子使行動更自由了。
突出的表面裝飾融合了新藝術主題風格的旋轉線條 -- 或者基于古希臘，文藝復興或拜占庭時期的主題圖案。
安娜 穆特修斯
1903年德國演唱家，也是著名建筑師兼作家的妻子安娜 穆特修斯出版了一本名為Das Eigenkleid der Frau（死去女人的衣服）的女裝書。
穆特修斯認為，禮服應該表達穿著者的個性，并且他呼吁女性們從巴黎的時尚規則中跳脫出來，去發展她們自己的品位。
只有這樣她們才能夠找到適合她們自己的選擇和設計，要多使用審美上令人愉悅的紡織品與圖案。
