In the last two posts we looked at the results of the collaborations between two worlds, the artisanal and the industrial, via interior design pieces.
In fashion the juxtapositions between these two universes generated interesting experiments already in the early '50s: in the attempt to make furs cheaper and widely available, manufacturers came up at the time with a type of product that promised to be very similar to the real thing made by master furriers, but that was also characterised by unique features, it was indeed easy to wash with mild soap and lukewarm water (the fibres could be then set in place by running your hand over the surface), it could be dyed in any colour and given a silky finish to make the garment look even more similar to real fur.
These faux furs were made with nylon (a synthetic fiber first invented in 1938 by DuPont) fibers and, even though they did not look totally convincing, they became widely available, also thanks to the fact that they were launched at some rather unusual events such as science fairs as shown by the woman in the first picture in this post, modelling a light and washable faux fur coat at the Salon de la Chimie (Chemistry Exhibition) at Porte de Versailles, Paris, in 1953.
Nylon's impact went further in the years that followed, representing a textile revolution for consumers and transforming women’s fashion, especially when it came to garments such as bathing suits. Other companies developed their own synthetic fibers, among them the Biella-based Manifattura di San Maurizio Canavese. Specialised in wool and cotton yarns, in the early '50s the company worked on a blend of superpolyamide fibers called "Maurinailon", mainly employed for swimwear.
Replacing more traditional handmade wool or cotton bathing suits, stretchy Maurinailon swimwear promised to keep its elasticity and bright colours. A growing environmental concern is reshifting the discourse in our days from synthetic to natural fibers and that's perfectly understandable, but these garments and adverts perfectly show how the artisanal Vs the industrial discourse developed during the '50s for what regarded the fashion sector.
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