International Interest/Regional Concerns
Much of the scholarship on Artistic Dress has focused on dresses made by a single artist or dresses made in a specific locale. Yet, artistic dress was a widespread interest in Europe (it also reached North America) in the early 20th century. Limiting the scope of Artistic Dress to an individual or region has its advantages and disadvantages. It helps reveals specific styles and regional interests, but fails to take into account the interaction among the designers who both saw and exchanged ideas about their work in the field.
I’ve used two maps, one that reveals the advantages of looking at Artistic Dress in a specific region and one that shows the nearly- pan-European interest in Artistic Dress. Because I do not my research on those areas has been limited to information available in English, German, French, Dutch, and Italian. I would appreciate information from anyone who can fill in the gaps on those regions (as well as the areas I have covered!).
Regional Concerns 
Click on a location for more information on Artistic Dress in that region.
I have provided information on the Austria-Hungary, Belgium,France, Germany, Italy, the Netherlands, Russia, Switzerland, and United Kingdom. Any information on other areas, as well as additional information on the places covered, would be greatly appreciated.
International Interest
In addition to the personal contacts indicated on the map above, there was less immediate communication via essays, books, exhibitions, and lectures. While Anna Muthesius may not have met Rosa Genoni, Rosa Genoni could have read the German’s essays or book. Soon, you will be able to access a list of the materials that spread ideas and images of Artistic Dress to a broader audience here. In the future, you will also be able to scroll over the names of individuals and see some of the ways in which their thoughts and designs of Artistic Dress were communicated across international borders.