Carlos Sáenz de Tejada at his Paris studio, 1934
Designs form Schiaparelli and Jenny, 1935
Jeanne Lanvin in full aquarelle
Evening gowns from: Robert Piguet and Jeanne Lanvin; 1933
Study on prints from: Louise Boulanger, Chanel, Callot Soeurs and Molyneux; 1936
The elegance of drawing: CARLOS SÁENZ DE TEJADA’s languid fashion
As a museum, but also as a fashion related activity centre, the Balenciaga Museoa in Getaria (SP) gets ready to celebrate its first anniversary; proving its excellent dedication as a cultural supplier. Its current exhibition (Crónica de París. Carlos Sáenz de Tejada) ends this coming weekend with an evening cocktail under jazzy blue notes. The idea, to sense the artistic melodies involved during the 20’s and 30’s when Spanish artist-painter Carlos Sáenz de Tejada (Tánger, 1897-Madrid, 1958) illustrated Parisian salons de mode (Paquin, Worth, Patou, Callot Soeurs, Heim, O Rochas). Carlos’s aquarelles and Indian ink brushstrokes on fashion were more social investigations on a women’s positioning during that time than just illustrations. Languid, androgynous and with the same shoulder posture as ‘Greta La Grabo’, Sáenz de Tejada portrayed a revolutionary luxurious elegance while manifesting those independent female roles.
The new women, documented by the painter while seated somewhere at the side of the runway is something of the past. Now we use photography, and with today’s digital cameras we have photographers desperate running over the Siene from show to show in order to cover all shows. It often took a few days before Carlos delivered his artworks to magazines like Vogue, Modes et Travaux, Jardins des Modes, L’Illustration, Femina. When he left Paris, Cristóbal Balenciaga arrived to impose another vision (circa 1936), he was as passionate as his fellow countrymen. Spaniards in Paris were initially under artistic exiles, but their pedigree contributed to the world’s best fashion anthropology.
CRISTÓBAL BALENCIAGA MUSEOA – Aldamar Parkea, 6 – 20808 – Getaria (SP)