RENAUX, BAUER AND KRIEGER FAMILIES: REFLECTIONS … · RENAUX, BAUER AND KRIEGER FAMILIES: REFLECTIONS OF FASHION IN BELLE ÉPOQUE BRUSQUENSE Cintia dos Reis Ferreira(Pontifícia

Moda Documenta: Museu, Memória e Design – 2015

ISSN: 2358-5269 Ano II - Nº 1 - Maio de 2015

RENAUX, BAUER AND KRIEGER FAMILIES: REFLECTIONS OF FASHION IN BELLE ÉPOQUE BRUSQUENSE

Cintia dos Reis Ferreira(Pontifícia Universidade Católica de São Paulo – PUCSP) [email protected]

Edinéia Pereira da Silva Betta (UNIFEBE)

[email protected]

Abstract: Families Bauer, Renaux and Krieger have been synonymous with prosperity for Brusque - SC in the late nineteenth century. From Europe, were reflections of modernity, and their customs were copied by many. Currently, streets, squares and schools are named because of the importance and has had over the city. These families arouse the curiosity of many who live here, because their names are often in evidence. For the fashion world is no different, as were involved in the textile sector. Against this background, this article aims to analyze the practices of those families in vestimentares Brusque in the period, known as Belle Époque, identifying whether they agreed with the prevailing fashion of the period, taking Europe as a reference, was to ascertain how access to information about fashion. Photographs were used as sources of these families and were used as sources, diaries, postcards and photographs. That is, the study used existing data that came from a literature search in order to contextualize the historical topic under review, then analyzed the documents, such as postcards, exchanged by these families, diaries and letters, which has characterized as Documentary research ultimately carried out analysis of the photographs. Keywords: Belle Époque. Fashion. Brusque.

1 Introduction

The fashion phenomenon instigates curiosities, builds senses, provokes a feeling of power and

contributes to the construction of identities. There are several interfaces fashion, motivating new views

and knowledge, including its relation to history, because the fact of being ephemeral leaves strong

trademarks in time. And among this universe of possibilities focus has fashion, the historical elements

attract.

This article is the result of studies of the Study Group "History, Fashion, Textile and Design"

University Center of Brusque - Unifebe, which are outlined some issues related to the region, drawing

attention in the period of the Belle Époque, in the Itajaí Valley, known as European Valley in Santa

Catarina. Thus, the historical portrait of this Article shall be the period indicated as Belle Époque or

Bonita Age, as is conventionally known in France, which occurred between 1890 and 1914 in much of

the world (NERO, 2007). The period brought, among other things, technology, consumption and glamor,

that is:

mailto:[email protected]

mailto:[email protected]



"A 'beautiful time' is the expression of euphoria and triumph of bourgeois society at the time that notabilizavam the material and technological achievements, widened the marketing networks and were incorporated into the dynamics of the international economy in vast areas of the globe previously isolated . " (DAOU, 2004, p.7)

Brazil was no different, the country suffers from all the elements of that period. Immigration,

freeing slaves and the empire of transition to republic marked the end of the nineteenth century. The

results of the new times were evident, Brazil began a march towards development and the glamor of

Bella Epoque was present. As a result, each state of Brazil had its peculiarities, and in this context the

South economically stood out for different reasons.

The intense European immigration to Brazil, especially to the south, in the second half of the

nineteenth century, promoted a significant cultural and economic development, which came to reflect at

the end of that century. Brusque integrates this scenario, was one of the first German colonies in the

state of Santa Catarina. Received its first immigrants in 1860. Initially dedicated to agriculture, and after

three decades industrialization. Stood out in the textile sector and became known as The City of tissues

and Cradle of Santa Catarina wiring.

The constant contact with Europe put the city in a privileged position, technologically developed

and soon had a different economy. Among European immigrants, were highlights traders John Bauer,

Carlos Renaux and William Krieger, who later devoted themselves to industrialization. The first with the

first attempt at producing tissues, the second, with the name Textile Factory Renaux, present in the city

to the present day and the third was dedicated to cooking.

Families Bauer, Renaux and Krieger, were synonymous with prosperity for the city, were

modernity reflections, and their customs were copied by many. Currently, streets, squares and schools

are named because of the importance that had and has on the city. These families arouse the curiosity

of many who live here, because their names are often in evidence. For the fashion world is no different,

as were involved in the textile sector.

While researchers fashion, draws our attention not only what they manufactured, as historians

constantly deal with their products, but on their clothing. As was the fashion in the period? How they

dressed these families? What were the references that had about fashion?

In view of this problem, this article aims to analyze the practices of vestimentares Renaux

families, Bauer and Krieger in Brusque in the period of Belle Époque - 1890 -1914, identifying whether

they agreed with the prevailing fashion of the period, taking Europe as reference, trying to identify as

was access to the fashion information. Through a qualitative approach, whose "goal interpret and give

meaning to the analyzed phenomena" (REIS, 2008, p.57), were used as sources, letters, diary,



postcards and photographs. That is, the research used existing data, based on a literature search in

order to contextualize the historical theme, later analyzed the documents, such as photographs,

postcards, exchanged by those families, diaries and letters, which featured as Search documentary.

Given the historical approach to the object under study, unexplored until then, the research

presents new results about fashion in Brusque, which certainly call the reader's attention, especially if

the fashion district. Does characteristic period features of the Belle Époque, as the ornate gowns or the

rich women's hats, were present in Brusque the late nineteenth century and early twentieth? We will see

in the following writings.

2 La Belle Époque the European Vale in Brazil

The Belle Époque was marked by significant economic, social and primarily cultural, resulting in

new habits. Had its roots in Europe, but soon took the new world. It was the arrival of democratic glamor

to all classes, and more intensely to the bourgeoisie, to tell the truth. The arts, especially the decorative

permeated the period, especially in clothing (BRAGA, 2004).

As regards women, greater observation of this research, the aesthetics of a generally been

intensively influenced. The female body, although covered, was in evidence, with delicate, feminine

women. Conservative and sexy at the same time, however a suggested sensuality, as the social

demand was that of a chaste woman, covered from head to toe (POLLINI, 2007).

Europe reflects their habits and customs in different places, including Brazil, in the case of the

city of Brusque, captured information and instituted as a rule, whether in politics, economics or cultural.

The period was marked not only by the turn of the century, but through a phase responsible for the city

we have today - with a cultural diversity, architecture, streets and squares still portray the period.

In politics, the country was for a new form of government, no longer Empire and becoming

Republic in 1889, when the constituent assembly elected Marshal Deodoro da Fonseca as the first

president. "This period promoted intense transformations and reshuffling the elites that had been setting

throughout the nineteenth century." (PRIORE; BASSANEZI, 2006, P. 291). What was once reserved for

the nobles, now reaches the bourgeoisie, therefore, with the republic, elites had more freedom to

expose their fortunes. It was the creation of a radiant and frenetic society, living the prosperity of the

golden years of the end of the century. During that time arrives the city of São Paulo, the first car,

brought by Henrique Santos Dumont, brother of the distinguished scientist Alberto Santos-Dumont

(SAVIO, 2002).



The views were explicit, the period was ostentation. The Rio de Janeiro - Capital of the Republic,

dictated the new habits, copied from Europe, which consequently determined the model to follow for

most states, both in politics and for new uses and customs. The Ombudsman Street became the center

of fashion in Rio de Janeiro, which at the height of the Belle Époque becomes fashion show, where

ladies and gentlemen exhibited in public his Parisian costumes.

The clothes "were ready or brought from Europe or sewn by Portuguese tailors here installed"

(Braga; PRADO, 2011, p. 30.). The fact of having to adapt the model of European clothing to the

Brazilian climate, the clothes end up suffering some changes, but they were still very similar to those

used by Europeans.Embora o Brasil também passasse por problemas econômicos no pós-república, a

Europa transformou-se em objeto ou obsessão (DEL PRIORE, 2001).

And in this context, the south of the country was privileged because the European immigration

was intense for that region. Although they had the financial means to bring European products,

contacts, through letters or postcards, were frequent with the Old World, as many have ventured to

migration, but left relatives in Europe, which kept updated as regards fashion.

3 The European Vale in Brazil

The European immigration to Brazil was very diverse, the South Region was mostly Italian and

German, but "Irish immigrants, Belgians, French, Poles and Russians also tried creating colonies"

(Hering, 1987, p. 25). The presence of European immigrants with specific habits was significant. The

southern region, more precisely, Santa Catarina, it soon became known as the European Valley in

Brazil.

Brusque is inserted in this context. Initially the goal of most was agriculture, but according to

Giralda Seyferth (1974), its rugged terrain made it difficult to stay of immigrants in the field, and soon

developed a new method to support the region's economy, resulting in the textile industry. The

professions linked to the textile sector are perceived right on the arrival of the first settlers. In 1862,

"Nine heads of family were farmers, but three had double profession: a weaver, a cutler and a

carpenter, and there was a tailor" (PIAZZA, 1994, p. 148). However, the sector becomes intense, later:

"[...] With the arrival in the colony, lodz weavers (Poland) German language, ask the local carpenters that confeccionassem looms, which moved the 11 mark 1892, manufacturing fabric to the businessman Carlos Renaux, while others make, on their own, resulting in the textile industry in Brusque”.(PIAZZA, 1994, p. 152).



The first industry initiative was by businessman John Bauer, known innkeeper of the late

nineteenth century. Among the professions were the most success obtained in the colony, were greatly

responsible for the economy. According to Maria Luiza Renaux (1987), the outskirts of Brusque, sales

that most stood out were Krieger, Buettner, Bauer and Renaux, who soon realized the professional

potential of immigrants and investing in new businesses, including the already cited industry textile. The

permanent contact with Europe allowed these entrepreneurs to advance technologically. Albeit within a

different economic context of the present day, gained prominence nationally.

Travel to Europe, although ships, happened frequently among merchants and industrialists of

Brusque in the period. "In 1878, 1889 and 1900 took place the great universal exhibitions organized in

Paris and in several foreign capitals opening a multitude of windows to the world. The industries used

them as an international showcase "(BAUDOT, 2002, p. 33). Trade exhibitions were attended by the

new industrial, which put them in touch with current fashion.

According to the Daily Mathilde Bauer, daughter of William Krieger, written in German in 1889

when he traveled through Europe following the family and friends like Carlos Renaux, the translated text

by historian brusquense Maria Luiza Renaux, demonstrates the concern of the group, now installed in

Brusque, to visit the exhibitions in Europe and shopping. The following excerpts from the book shall:

"Arrival in Hamburg (CR traveling on the same ship) on 25 July. Visit the business house of Brehm and Meynberg sources, the longest in business with the father of "Tata" Bauer, John Bauer. Wednesday, August 14, arrived in Paris. Next day, script: Arc de Triomphe; - Field of Mars, which at the time, occurred the global exposure and where they could see the already made famous Eiffel Tower; (...) The most beautiful building of the exhibition is definitely the Industry Palace .. (In Paris, lived at Uncle Viktor. They were up to the August 28, where he still sometimes more visited the World Expo. Hence, to Luxemburg). (...) In Paris, were by some smaller cities, to visit relatives, the Aachen, Krefeld - the well important silk industry and so John Bauer had visited before. Also this time João Bauer had to liquidate several business opportunities, there have been two days in the city. Friday, September 6, from Krefeld to Hamburg: Return to Meyenberg house and shopping in the commercial house of Mr. Braun Sunday, September 8th (?): Mass and going with Mr. Meyenberg and wife to the exhibition site - Hamburg und Industrie Ausstellung Gewerb. Meisterschopfungen der Kunst gewerbes; There saw die "Erzeugnisse" der Elfenbein v. Jute Industrie der Herren v. Damen Confection; In another wing: the Great Exhibition of products - industry; (...) The next day, Pope mainly busy in shopping in the commercial house of Mr. Braun. (...) The following day, shopping again. Sunday night, theater with Mr. Renaux. From 16 to 18 September, preparation and placement of luggage on board shopping. 19, boarding, Thursday.1

1 Os textos foram traduzidos por Maria Luiza Renaux e fazem parte do arquivo da mesma, os textos originais se encontram na Sociedade Amigos de Brusque, Avenida Otto Renaux, Brusque. Como material complementar a historiadora realizou entrevista com Hildegart Loureiro e Tina Bauer, sobrinhas de Tata Bauer.



Although they had done some tours, natural, given the proportion of the journey, the largest

occupation was with the business. In Hamburg it is clear the purpose of the visits, which included the

textile sector, since the written report garment sector companies and tissue industry, such as der

Elfenbein v. Jute Industrie der Herren v. Damen Confection. This way you can see the Brusque

relationship with Europe. Renaux (1995) reiterates that the fashion in Brusque region was influenced by

European fashion, due to the number of immigrants in the region is quite extensive, and who used to

visit Europe and shop to resell. What made those who lived here in contact with the European fashion.

In this sense, John Braga and Luiz André Prado in his book On History of Fashion in Brazil

(2011) speak of the link between Brazil and Europe, which was very strong, especially in fashion during

this period and others. Frequent foreign trade, provided follow the European fashion, which has dictated

that they would use or not in many countries. Second, Braga and Louis (2011) "The immigrant mass

docked in Brazil brought bags and trunks of clothes and tradition that influenced the characterization of

costumes used in some regions. - As in the case of the typical gaucho costume and Santa Catarina"

In addition to the newspaper, which also published on fashion fashion, the picture postcards were

often expected by those traveling. Created in 1860 by the then Austro-Hungarian emperor, the

postcards were heavily used by different ethnic groups (BARROS, 2003). According to Maria Eliza

Linhares Borges (2011), the project was a success in a short time, many entrepreneurs have invested in

production including different images that would become an object of desire for travel of the bourgeoisie

of the Belle Époque. Below is one of the cards sent to Mathilde Hundt, which records the clothing and

the period of behavioral patterns.

Figure 01: Postcard Mathilde Hundt. Source: Museu e Arquivo Histórico do Vale do Itajaí Mirim (Casa de Brusque)



The card that was sent to Sao Paulo in March 27, 1911, addressed to Lady Mathilde Hundt,

depicts the clothing of the period of vívivida way. Although it is a constructed image it tends to have

similarities of what was in evidence during the period, bringing "the last evidence of this" (Burke, 2004,

p. 16), that is, you can see from the image, as was clothing, behavior and silhouette in the period.

Therefore, when analyzing the image we can see the fashion in vogue in the period. According

to François Boucher (2010), in respect of clothing, women's clothing had the following characteristics:

the waist compressed by the corset; the sleeves inflate in volume; the skirt fall brushing the floor

accompanied ruffles and lace, usually in bright colors and embroidery were diverse. It was the period of

the hourglass costume, where "the female body was divided into two unequal masses and different,

separated on the waist strangling suffocated in a corset." (BAUDOT, 2002, p. 34). It was the period of

sensual woman, but covered.

The man with trimmed hair, sometimes leaving their hats sideways. Although "shaven face was

more popular, waxed mustaches, with the tips facing up and Swiss as German emperor, were much

imitated by admirers, the clothes followed an elegant but sober" (NERY, 2003, p. 186) .

The setting of the postcard, indicates the relationship that society and nature, which were also

copied, including Brusque the end of the nineteenth century. Fact identified from the analysis of a

collection of about fifty photographs of Renaux families and Bauer of that period. Among the images,

which are under the custody of the Museu e Arquivo Histórico do Vale do Itajaí Mirim (Casa de

Brusque) was selected, one in particular, to analyze how and to what extent the clothing of those

families identified with the prevailing standards in fashion.

Figure 02: Picnic held between Renaux and Bauer families in Brusque. Source: Museu e Arquivo Histórico do Vale do Itajaí Mirim (Casa de Brusque)

According to the files accompanying the photos, the picture was taken in the twenties in the city

of Brusque. Although the period of the Belle Époque has been given until 1914, "she thrived in Brazil a



rich bourgeois society, and through the war, which affects not so much as Europe and will only have an

end with the advent of modernism and 1920s" (MACHADO, 2002). That is, in Brazil the period was

beyond 1914.

The photograph brings from right to left, a piper name Erwin Hasse, Otto Renaux and William

Krieger, reported (by the file itself), Messrs Augusto Bauer and Carlos Renaux respectively. Women and

children without identification, but there is evidence that they are of such families, since at that time it

was common for families to gather at picnics. According to Claudia Mauch, leisure meetings were

frequent in Blumenau and region:

Other festive occasions in the colony were picnics, whose "function" was nothing more than the fun of young people, adults and children. Picnics were a pleasure so well appreciated in Blumenau. There are many reports that show, at such times, people enjoying themselves so much. Were true outdoor parties organized by clubs or societies simply amigos.Parece groups, however, that this type of leisure was more connected to the people who lived in the colony core-based and not in rural areas. (MAUCH, 1994, p. 217)

In the city of Brusque, this in particular that brings together the leading families of the city, one

can see the hierarchical behavior: men are on one side and women on the other, all standing, except

children and young people sitting forward. Among them, one in particular can be seen sitting in the

center, between men and women. Possibly the matriarch of one of the families, but we can not say for

sure, just that it is an older woman, who for reasons perhaps hierarchy, then much at the time, sat. The

natural environment was in evidence, outdoor events were often chosen. "The brusquenses families

mingled up with others of the same origin and the same activity in the region and new alliances would

be writing in a relaxed atmosphere, where the actual surveillance of young men and women was

smaller, favoring marriages." (RENAUX, 1995, p.188).

The feminine charm, male determination and, above all, women's beauty reflected in the

husband's position, adding to the joint efforts of social ascension. "To suit husband sober, required by

reputation in business, was the wife dressed, symbol, next to the house of successful businesses."

(RENAUX, 1995 p.187). According to the analyzed photographs, there were few individual portraits,

men still showed through their social position of women. "The wedding was still the preferred target

women in order to ensure a privileged place in society Belle Époque". (NERY, 2003, p. 186).

As regards the garments practices of the families in question, just as the postcard, photography

brings fashion presence in the male and female costumes used herein. The sober suits of men,

mustaches and hats, also in vogue in the period, were present in the group. Women with her long, light

dresses and defined waists, elegantly prepared for photo. Some front, other side, all prepared to freeze



his portraits, with their large ornate hats.

The hat could not miss in women who wished to follow fashion. "Concern for the hat will be a constant

of Beautiful Époque. (...) The wide and flat flaps chapels are filled with ribbons, flowers or sumptuous

ostrich feathers. Buildings that require to fix them in cute hairstyles, long sharp pins, precious as jewels

" (BAUDOT, 2002, p. 52).

Again you can see that women's Renaux families, Bauer and Krieger accompanied fashion. The

hat was a fitting present not only in picnics as on other occasions. Below, Elsa image Krieger, daughter

of William Krieger, clothing store owner in the city.

Figure 03: Double: Otto Gruber and Elsa Krieger Source: File Maria Luiza Renaux

Again the couple pictured, presents the fashion of period features with a leading women's

accessories in evidence - the hat. Hats were in fact fashion in the period, "was the object of desire for

excellence, models varied according to age, marital status, social status and time of day. (...) Mystery,

lush, they catalyzed looks, occupied space, they added traces of power, sophistication and enigmatic air

to users "(SEVCENKO, 1998, p. 534). This is the fashion, which sometimes also indicates a status,

power, among other attributes. As regards the power of representation of clothes, Cyrus Nero:

Clothing commands respect or fear authority. Clothes make the beggar or Superman; police or criminals; priests or unbeliever. Clothing is power, is political. It is the elegance of a head of state, at times when you are not using a coat and tie, which his ministers and secretaries also do not use: he decides the status of the occasion. Because the clothes not only wears one, but wears the tribe. (NERO, 2007, p. 28).

The photograph depicts what you want to show, in cases presented images loaded with

meanings, but only analyzed the presence or absence of fashion. But it can be identified with the



intentions to her, ways of representing what Visually best. "They are reflections of existence / preserved

frozen by the photographic record occurrences." (COSSOY, 2001, P. 28), demonstrating sometimes

order. For, "a picture is not just an image (such as a painting is an image), is an interpretation of reality;

is also a trace, something really modeled on real, like a footprint or a mask mortuary” (SONTANG, 2004,

P. 169).

4 Considerações finais

"Fashion is ephemeral. Born, lives quickly, bears fruit beauty and dies. One day is born fully or

generally in parts. "(NERO, 2007 p.108). But through the images frozen by the photographic portrait is

possible to know a little fashion of each period.

The practical garments of Renaux families, Bauer and Krieger in Brusque, during the Bella

Epoque, were according to the fashion of the period. There were many factors that influenced for that to

happen. The financial conditions of families, all related to trade, provided access information. The trips

to Europe ensured the information of what was in vogue in each period. When not traveling, relatives of

these were in charge of sending the products, most of the time, were not in the colony. The newspapers

of the period or the postcards brought images of what they were using elsewhere, and local

seamstresses were in charge of copying fashion. Thus, as today, the attraction for fashion, was often

since, while traders themselves would be a showcase of what they sold in their trades.

According Gilda Chataignier (2010), the period stood out, was actually one of the most beautiful

times experienced by the man and Brazil followed the style. According to the analyzed photographs, the

period of Belle Époque in Brusque, was no different, it was a Beautiful Age, at least visually. The region

made it clear because it was considered the European Valley of Brazil, it went far beyond the subject

have come from those countries, but because really followed the customs and traditions of the Old

World.

The city of Brusque and region still retains habits and peculiar customs, principalmente with

regard to clothing. The textile industry prospered and currently represents 89% of the regional economy,

but now not facing the manufacture of fabrics, but cooking. Travel to Europe are constant, whether for

study, research or fashion business. And while the twenty-first century, Renaux families, Bauer and

Kriger, still part of everyday life of the city, lending names the squares, streets, institutions and clothing

of the brands.



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Documents

RENAUX, BAUER AND KRIEGER FAMILIES: REFLECTIONS … · RENAUX, BAUER AND KRIEGER FAMILIES: REFLECTIONS OF FASHION IN BELLE ÉPOQUE BRUSQUENSE Cintia dos Reis Ferreira(Pontifícia