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
反时尚
将女性服饰转变成更实际，永恒，美丽或三者皆有的状态，一直是服装改革者自十九世纪50年代以来的目标，尽管还没有取得太大的成功。
虽然针对某些体育活动已使用了专门的服饰，但二十世纪初的许多女性仍旧穿着拘束，如果她们能够负担，便会根据时尚需求变换衣橱服饰。
一些国家的艺术家与设计师试图改变这种状况。
虽然她们提出了不同的解决方案，但设计上却有很多共同特点。
紧身胸衣，被视作所有邪恶的根源，遭到普遍放弃；连衣裙则常有较高且宽松的腰线，丰满的袖子与裙子使行动更自由了。
突出的表面装饰融合了新艺术主题风格的旋转线条 -- 或者基于古希腊，文艺复兴或拜占庭时期的主题图案。
安娜 穆特修斯
1903年德国演唱家，也是著名建筑师兼作家的妻子安娜 穆特修斯出版了一本名为Das Eigenkleid der Frau（死去女人的衣服）的女装书。
穆特修斯认为，礼服应该表达穿着者的个性，并且他呼吁女性们从巴黎的时尚规则中跳脱出来，去发展她们自己的品位。
只有这样她们才能够找到适合她们自己的选择和设计，要多使用审美上令人愉悦的纺织品与图案。
