INTRODUCTION

FOREWORD TO CHRYSALIS

Chrysalis: ‘the process of development,
the transformational journey from the cocoon state of a caterpillar to that of a beautiful butterfly’

Designed by one of Poland’s most exciting artists, Tymek Borowski, Chrysalis is an avant-garde book and a work of art in its own right. It is made up of a collection of cards chronicling Poland’s most exciting fashion designers and the country’s most groundbreaking fashion trends from the post-war period to the present day.

The history of Polish fashion is characterized by a constant state of flux, with styles and trends continually evolving over time. This dynamic nature of fashion in Poland is influenced by various factors, including social, political, and economic changes that have occurred throughout the nation's history. As a result, Polish fashion has grown and adapted, reflecting the country's resilience and creativity in the face of adversity.

This experimental publication features beautifully designed individual cards, each with a distinctive graphic layout that serves as a unique work of art. The enigmatic images are open to interpretation, alluding to the text on the reverse side.

As the creators of this book, we asked ourselves, "What is Polish fashion?" The vignettes you'll encounter showcase the diverse and expansive nature of fashion in Poland, with common themes running through the industry. Many established fashion labels, designers, and artists emerged during times of radical social, political, and economic change, resulting in unconventional, anarchic approaches and a defiant spirit against established norms. The current generation of designers now enjoys access to new markets, transforming their otherness from a barrier into a valued commodity on the international scene.

This air of rebellion remains strong among Poland's new generation of designers, who challenge wayward preconceptions in a manner reminiscent of the political rebellion of their predecessors. Today's emerging Polish designers create modern, refreshing styles that are gaining global appeal, allowing them to represent Poland on the international stage.

I

The Rise of Polish Fashion from 1945 to 1989 Amidst Communist Regime Challenges

The early chapters of Chrysalis trace the evolution of Polish fashion from 1945 to 1989, demonstrating its resilience and growth amidst the prevailing communist regime. The story highlights inspirational figures like Lola Prusac, who began her career at the Hermès fashion house in Paris and was inspired by Polish folk art, as well as Zyga Pianko, a Polish Jew who designed for the prestigious Pierre D'Alby fashion house, and Warsaw-born Barbara Hulanicki, who founded London's iconic Biba fashion house.

A significant aspect of this period was the role of the Polish fashion industry in shaping global trends despite the challenges posed by an oppressive political regime, censorship, and scarce resources. Notable achievements include Polish graphic designer Roman Cieślewicz becoming artistic director of French Elle and Grażyna Hase creating a Russian-inspired collection a decade before Yves Saint Laurent's renowned 1976 A/W Collection.

Chrysalis offers a concise overview of Polish fashion during the complex communist era, focusing on designers who created and promoted original designs based on global trends. The book delves into the wider historical context by discussing influential fashion photographers, artist directors, graphic designers, and fashion magazines of the time, emphasizing typically Polish trends like urban folk design.

During this period, Warsaw emerged as one of the Eastern Bloc's most stylish cities, with press reports and fashion shows celebrating extravagant events hosted by both Polish and international brands, such as Christian Dior and Brioni. Warsaw attracted Russian celebrities and the wives of communist leaders seeking fashionable clothing, while local women turned to DIY fashion and handicrafts when unable to obtain designer pieces. The black market for fashionable clothing flourished, and Polish women also frequented outdoor markets for their wardrobe needs.

Resisting Sovietisation: Fashion as a Symbol of Freedom and Propaganda in Communist Poland

Fashion played a critical role in the fight against Sovietisation in Poland, offering a sense of connection to the free Western world. Wearing Western-style clothing enabled Poles to express their opposition to the totalitarian regime, despite political impotence and material deprivation.

During the communist era, the centrally controlled fashion industry was subject to policy makers who often viewed it as a bourgeois representation of the pre-war capitalist world. However, the Communist government also exploited fashion as a propaganda tool to project an image of success and modernity, deceiving the population into believing that Poland was affluent and free.

Communist Poland's history was not uniform, with significant changes occurring after World War II, including new territorial boundaries, economic systems, and the transition from a multi-ethnic country to one dominated by Socialist Realism and Stalinism. Despite the pervasive terror and indoctrination, the post-war period marked a national struggle to rebuild the country.

The cultural thaw in 1956, following Stalin's death, ushered in a golden era for Polish design and fashion. The reduced economic disparities and urban migration led to improved living standards and the emergence of a new group of design and fashion consumers.

Youth fashion thrived in the 1960s, characterized by mini-skirts, long-haired boys, jazz, and rock music. However, political turbulence persisted through the late 1960s and early 1970s, with student protests, workers' strikes, military interventions, and anti-Semitic witch-hunts.

The 1970s saw a rise in American-style consumerism, marked by dynamic economic development, market liberalization, and a brief period of prosperity in which fashion played a vital role. The subsequent protests in 1976, triggered by soaring food prices, eventually led to the imposition of Martial Law and the fall of communism in Poland.

II

Reviving Polish Fashion: From Privatization to Global Recognition in the 1990s and Beyond

As Poland embraced neoliberalism and privatized state assets in the 1990s, traditional state-owned fashion houses struggled to find investors, giving way to global enterprises. Polish investors established clothing companies with foreign-sounding names, and independent designers, such as Joanna Klimas, emerged in the evolving market. Over the past twenty-six years, Poland's fashion scene has thrived, featuring influential figures who have showcased their work at prestigious international events like London Fashion Week and Paris Fashion Week.

Poland's fashion industry has seen impressive growth over the past 26 years, with Chrysalis featuring stories of influential figures in the second part of the book. While only covering a small fraction of events from 1989 to 2015, the book focuses on designers and artists who have made an impact both domestically and internationally. These include Filip Pągowski, graphic artist and founder of the Comme des Garçons play label, Anja Rubik, supermodel and chief editor of 25 Magazine, and Katarzyna Szczotarska, close associate of Martin Margiela, whose designs are featured in the Victoria & Albert Museum in London. These phenomenal Polish designers have made their mark on the international fashion scene, showcasing their collections at prestigious events such as London Fashion Week and Paris Fashion Week, and selling their pieces in top department stores like Selfridges and Harrods.

Poland's fashion industry has become one of the most vibrant and dynamic sectors in its creative economy. However, there is a lack of English-language resources and literature to explore its rich heritage, traditions, and functions. Chrysalis is proud to be the first book solely dedicated to the modern history of Polish fashion, providing readers with a comprehensive guide to its trends and contexts.

Chrysalis does not aim to be an anthology or an encyclopedic compendium of any sort, documenting the history of fashion in Poland. Neither does it wish to provide the reader with tools or skills needed to start or further a career in the fashion industry.

Most importantly, it does not pretend to be a complete story of Polish fashion in a box. What this book does want to be, though, is the starting point to a journey of discovery into new stories currently being written and re-written by the Polish designers and fashion labels of the present and of the future. You will find those new stories on the website that constitutes a continuation of the book you are now holding. We encourage you to visit www.polishfashionstories.com regularly, as it will be updated and enriched with new articles. We want the stories on Polish fashion to live on and to inspire you, whether you are a fashion adept, an industry professional or simply someone interested in exploring the Polish fashion brands and its heritage. We hope you enjoy your journey on this website.

― Marcin Rożyc, Paulina Latham