Full Name: Madeleine Vionnet

[http://en.wikipedia.org/wiki/File:Madeleine_Vionnet_in_her_studio_about_1920.jpg]
Nationality: French
Date of Birth: 22 June 1876 in Chilleurs-aux-Bois, Loiret, France.
Date of Death: 2 March 1975 (aged 98) in Paris
Educational background: Apprenticeship as a seamstress in a little shop in the ban lieue
of Paris. She trained in London with Kate Reilly
Specialty: Called the Queen of the bias cut and the architect among dressmakers.
Career Path:

1887
Began her apprenticeship as a seamstress in a little shop in the ban lieue of Paris
1897
She worked for a more refined boutique in the Rue de la Paix, which sold underwear
1901
She returned to France with excellent credentials and is immediately given a position
as premiere by Madame Gerber, the fashion designer to the Callot sisters
1907
She joins Doucet and remains with him for five years.
1912
She opens her own fashion house.
1914
She is forced to close, due to the outbreak of World War I.
1920
Vionnet creates a stir by introducing the "bias cut"
1922
The Maison took offices at 50 Avenue Montaigne
1932
Vionnet had twenty ateliers on a five story building, and more than one-thousand
employees including premieres, directors, sellers, tailors, seamstresses, administrative
clerks, shop clerks and delivery boys.
Famous Works
She was credited with the popularization of the cowl and halter neck. She favored
crepe, crepe de chine, gabardine and satin for evening dresses and day dresses, which
were often cut in one piece, without armholes. Suits had gored or bias-cut skirts;
wraparound coats were made with side fastenings, and many garments fastened at the
back or were pulled on over the head without a fastening of any kind. Bands of
grosgrain often acted as lining and support for the insides of fine crepe dresses. A
smooth shape and fit were very important to achieve the ultimate in dress designs; a
dress that fitted "just so" to the body.
Vionnet dominated haute couture in the 1930s with sensually draped garments that
were inspired by Greek, Roman, and medieval styles but brought suavely and sexily up-
to-date. Characteristic Vionnet styles include the handkerchief dress, cowl neck, and
halter top.




[Ref:http://blog.jewelryaccessories.com/fashion-designers/256-madeleine-vionnet.html
https://education.yahoo.com/reference/encyclopedia/entry/VionnetMa]


Conclusion:
Today, Madeleine Vionnet is considered one of the most influential fashion designers of
the 20th century. Both her bias cut and her urbanely sensual approach to couture
remain a strong and pervasive influence on contemporary fashion as evidenced by the
collections of such past and present-day designers as Ossie Clark, Halston, John
Galliano, Comme des Garons, Azzedine Alaia, Issey Miyake and Marchesa. She liberated
the body from stays and corsets, making womens personalities, their wellbeing and
their dreams the centre of fashion. Drawing inspiration from Greek art, she created
garments that clung to the shape of the body, with a fluidity that echoed its
movements, in the conviction that dresses must take on the personality of the person
wearing them. In fact, she would say, when a woman smiles, then her dress should
smile too.