Hirsch & Cie, a Luxurious Department Store - Embroidered Black Shawl

Hirsch & Cie, Brussels. Shawl, c. 1910. Silk. © KMKG-MRAH / Maximiliaan Martens, UGent, Gicas.

Hirsch & Cie, Brussels

Ca. 1910

Tulle, silk

Donated by Mme. Nicole de

Hemptinne, 1994

Royal Museums of Art and History,

Brussels

C.1759.00

This sophisticated black fringed tulle shawl is decorated with hand-embroidered floral motifs in the Art Nouveau style. Its triangular shape allows it to drape gracefully over the shoulders and arms, making as much of a statement as the dress it was worn over. Shawls in the 1910s were seen as elegant accessories, especially in evening wear and among the upper classes, but they were not as universally worn as they were in the previous century. Art Nouveau fashion of the early 1900s was marked by a shift from rigid styles to elegant, flowing designs inspired by nature. It featured sinuous lines, asymmetrical shapes, intricate embroidery, and luxurious fabrics such as silk and velvet.

This shawl was made by the fashionable Belgian department store Hirsch & Cie, as indicated by the label. Founded in 1869 in Brussels by Léo Hirsch (1842-1906), a Jewish entrepreneur with prior experience in German novelty shops, the store quickly rose to prominence. Its success was fueled in part by an influx of wealthy French refugees fleeing the Franco-Prussian War of 1870. These new arrivals brought with them a Parisian flair for fashion and luxury, helping to shape the store’s elite clientele. Unlike most department stores, Hirsch & Cie specialised in high-end women's and children's clothing for the bourgeoisie and aristocracy, eventually earning the prestigious title of “Fournisseur de la Reine”. Most of their designs were sourced from leading Parisian couture houses, which were then brought back to Brussels and meticulously reproduced in the atelier of Hirsch & Cie using fine Lyon silk. Early twentieth-century Hirsch & Cie catalogs feature a wide range of luxury accessories, including embroidered tulle shawls like the one on display.

In the early 1900s, Belgium’s fashion scene was a vibrant mix of upscale department stores, high-end ateliers, and exclusive boutiques. Beyond the well-known department store Hirsch & Cie, there were several other establishments where people could purchase Art Nouveau-inspired fashion. The Sablon District in Brussels, just a twenty-minute walk from the Hirsch & Cie store, became a hub for exclusive boutiques known for their artistic atmosphere. These shops catered to an affluent clientele and offered luxurious garments and accessories. Belgium was at the center of the Art Nouveau movement, with key figures such as architect Victor Horta (1861-1947), architect-designer Henry van de Velde (1863-1957) and his wife Maria Sèthe (1867-1943), and jeweler Philippe Wolfers (1858-1929). After 1905, the influence of Austrian architect and designer Josef Hoffmann (1870-1956) and the Vienna Secession began to shape the evolution of Art Nouveau in Brussels, introducing a more geometric and rational aesthetic that contrasted with the earlier organic forms of Horta. This shawl, dating from around 1910, represents the later stage of the Art Nouveau movement – a time when the style began transitioning from fluid organic curves to more structured, geometric forms.

While direct documentation of artist collaborations with Hirsch & Cie in Brussels is limited, the company's participation in prestigious exhibitions and its elite clientele suggest a dynamic relationship with the art world. More concrete evidence exists for the sister store in Amsterdam, established following the Brussels example in 1882. where links to the artistic community are clearer. In 1913, Hirsch & Cie Amsterdam notably showcased avant-garde garments by the Wiener Werkstätte, for instance. For many wealthy Belgians however, Paris was still the ultimate destination for the latest fashion trends. Parisian fashion houses, such as those of Paul Poiret and Madeleine Vionnet, were at the forefront of the Art Nouveau style, and Belgian elites often traveled to the French capital to acquire the latest designs. But this Hirsch shawl, sold in Brussels, was a way for art-conscious Belgians to show their sense of fashion and appreciation for an evolving Art Nouveau style. 

Written by Milan Sennesael

Bibliography 

Dratwa, Daniel. “Tailleurs et Couturières. La Maison Hirsch.” Les Cahiers de la Fonderie, no. 15 (1993): 31-33. 

Jaumain, Serge. “Le Petit Commerce Bruxellois Face au Bonheur des Dames: Naissance de la Grande Distribution et Nouvelles Stratégies des Petits Détaillants (1870-1914).” Les Cahiers de la Fonderie, no. 3 (1987): 3-20.

Pouillard, Véronique. Hirsch & Cie. Bruxelles, 1869–1962. Ed. University of Brussels, 2000. 

Rose, Clare. Art Nouveau Fashion. V&A Publishing, 2014.