These versatile textiles were originally inspired by Japanese art and designed to be applied to furnishings, wall-paper, curtains, clothing, and sometimes even wrapping papers.
Most of these iconic fabrics were made and woven by the Wiener Werkstätte themselves. It was at their atelier that the loose, flowing gowns, portrayed in Klimt’s paintings, were first realized. Emilie Louise Flöge, an Austrian fashion designer and businesswoman, in addition to the life companion and muse of artist Gustav Klimt, worked with her sister, Pauline, to create fashion garments in connection with Werkstätte. Wiener Werkstätte was also involved in jewelry, adornment, textiles and fashion. Somewhat ironically, the elite went on to treat its work more like artistic objects then utilitarian items.ĭina Kuhn Wiener Werkstätte, Das Wasser Ceramic Head
Instead, the group focused on the highest quality of craftsmanship and materials targeted for an elite class. Unlike other contemporaneous movements throughout decorative arts and design, the Wiener Werkstätte did not seek to create an art that would be accessible to all. In particular, the firm was especially influenced by the Arts & Crafts and Art Nouveau movements. Though its artists made ample use of new industrial materials, they resisted temptations to completely turn to mass production. Werkstätte incorporated the craft-based production of decorative arts in a mostly rural community, which was historically concentrated in its primary metropolis. Translated in English as the “Viennese Workshops,” the name Wiener Werkstätte represents the broader nature of the organization. The Wiener Werkstätte firm was the first organization in Austria dedicated to the production of modern decorative arts. Wiener Werkstätte Postcard, Interlocking 'WW' Logo, 1907
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