Sonia Delaunay is best known for her abstract and colourful style which is manifested across her artwork, fashion, textile and interior designs alike. In 1926, this culminated in a fashion film, titled ‘L’Elégance’. Shot using the Keller-Dorian colour process, the film features a succession of Delaunay’s simultaneous fashion and textile designs. This article explores the implications and origins of the film, considering technological, cultural and social factors. It focuses on the themes of colour and movement that were essential both to the film and Delaunay’s philosophy at large and were strongly related by Delaunay and her contemporaries to modernity and women’s liberation. The author positions Delaunay’s earlier work as a form of proto-cinema and demonstrates how her film uniquely transfers aesthetic and cultural themes. She explains why fashion film was a necessary step for Delaunay and how she employed notions of temporality to further fashion film as an avant-garde form.

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Sonia Delaunay (1926) 时尚电影中的色彩、运动和现代性

Sonia Delaunay 以其抽象和多彩的风格而闻名，这体现在她的艺术作品、时尚、纺织品和室内设计中。1926 年，这在一部名为“L'Elégance”的时尚电影中达到高潮。影片采用 Keller-Dorian 色彩工艺拍摄，展现了 Delaunay 同时进行的一系列时尚和纺织品设计。本文探讨了这部电影的含义和起源，同时考虑了技术、文化和社会因素。它侧重于色彩和运动的主题，这些主题对电影和德劳内的哲学都至关重要，德劳内和她的同时代人与现代性和妇女解放密切相关。作者将德劳内的早期作品定位为原始电影的一种形式，并展示了她的电影如何独特地传递美学和文化主题。