This dress, which is known as the Maria Luisa, is held in the collections of the Metropolitan Museum of Art in New York
‘In this design, John Galliano for Dior combined the elements of a robe à la française with the vast crinolined silhouettes of the mid-nineteenth century. The stomacher, open overskirt, and petticoat are expressly eighteenth century, but the huge wired cages that support the skirts over nine feet wide are constructed more like the hoops of the Second Empire than the discrete by comparison panniers of the ancien régime. While the eighteenth-century woman could at least sidle through a doorway, Galliano’s beauties, because of the depths of their skirts, would have to torque and deform their hoops to squeeze their way through.’
Drawings and Visions by Italian Futurist Architects | Socks Studio
In 1914 Antonio Sant’Elia signed the “Manifesto per un’architettura futurista“, a text coming a few years later the more known “Manifesto del Futurismo” (1909) and “Manifesto dei pittori futuristi” (1910). Whereas the basic concepts of Futurist Architecture follow the general lines given by previous Futurist Manifestos (refuse of the past, magnification of dynamism, opposition to academism), there are several points which refer to the specificity of architectural language and express interesting views.
One is about the idea of an architecture which is not meant to last: “Houses will endure less than us. Every generation must build its own city”: even if this sentence seems to collide with Sant’Elia’s drawing for indeed massive and complex buildings, it’s an original concept in the panorama of Western architecture.