Lace, Japonisme, and the Colonial Entanglements - Apricot Day Dress
- maudebasskrueger
- 4 days ago
- 4 min read
G. Hanay, born Géraldine
Gerhold (°1868), Liège
Ca. 1909-1911
Silk, lace, tulle, metal, cotton
Donated by Elise De Greef, 2006
Royal Museums of Art and History,
Brussels
C.2720.00
Designed in Liège between 1909 and 1911, this chic apricot silk dress challenges the notion that the latest fashion trends only reached Brussels, and gives us a glimpse of fashion outside the capital. With elbow-length sleeves and a high tulle collar over a V-shaped neckline, the sleek, cylindrical dress is richly embellished with Art Nouveau-style machine-made lace draped over a polka-dotted apricot silk. The vertical effect is enhanced by a long black bow at the back and a matching black sash cinching the waist, creating a striking contrast with the ivory lace. A row of buttons extends the V-shape at the back of the bodice, emphasizing the gown’s elegant asymmetry.
A closer look at the lace pattern reveals the asymmetrical, curving lines and organic forms characteristic of the naturalistic aesthetic that defined Art Nouveau. This artistic movement, which took root in Belgium in the nineteenth century, was particularly influential in the applied arts. As Art Nouveau gained popularity in Belgium, its influence began to shape lace design. By the 1910s, the style evolved into a more geometric, proto-modernist aesthetic that combined organic motifs with structured forms and rhythmic repetition. This shift is evident in the lace of this dress, where swirling lines are arranged into triangular formations and repeated botanical figures decorate the hem and bodice. The sinuous lines that meander across the garment are reminiscent of the so-called "whiplash line," a signature motif of the Art Nouveau style. As Debora Silverman has written, these lines closely resemble rubber vines, creating a visual link between Art Nouveau and Belgium's colonial exploitation of the Congo, where rubber was one of the most valuable natural resources.
However, the Art Nouveau lace is not the only testament to fashion and the influence of globalization and imperialism in early twentieth-century Liège. Following the opening of Japan's borders in 1854, Japonisme became fashionable, with kimono-style dressing gowns promoted in fashion magazines and an emerging craze for Japanese silks. Japonisme remained a major fashion inspiration well into the twentieth century. In 1907, the kimono silhouette became a visible inspiration in French fashion magazines, with overlapping kimono fastenings and trailing kimono hems. This summer dress exhibits a variety of elements reminiscent of Japanese style, suggesting a cross-cultural influence on the garment's aesthetic. The V-shaped, overlapping neckline is reminiscent of kimono fastenings, and the straight fall of the sleeves over the shoulders is suggestive of the straight lines of the kimono. The obi, a sash used to fasten the kimono with a bow around the body, is very similar to the black sash around the waist and the bow in the back of this lacy summer dress.
In the nineteenth and early twentieth centuries, Liège experienced an impressive industrial boom, becoming one of the most prosperous industrial centers in Europe. The city underwent rapid modernization and urbanization, culminating in the 1905 World Fair. Beyond its economic impact, the World Fair was a significant cultural and political event, drawing visitors from twenty-nine countries and contributing to the city's industrial development. It also commemorated the 75th anniversary of Belgian independence and the 40th anniversary of King Leopold II's reign, fostering a sense of national identity and showcasing the country's economic prosperity. This prosperity allowed the women of Liège to invest both time and money in fashion. They were well aware of the latest trends circulating in Brussels and Paris, but did not see themselves as secondary to those cities. Instead, they confidently embraced international styles while positioning the city as a key factor in creating national pride.
This dress reflects Belgium’s growing national pride and cultural ambition at the turn of the century, weaving together traditional lace, Art Nouveau, and Japonisme to signal modernity and global engagement. Yet beneath its fashionable exterior lies a reminder of the colonial entanglements and imperial wealth that underpinned much of the country’s rise.
Written by Lizalotte Haenen & Wiebke Werther
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