Imagine this autochrome portrait of Emilie Floge at ten feet tall. That is what I saw when I entered the second floor salon at the Neue Galerie in Manhattan. Hanging in front of some half dozen French windows were larger than life transparencies of photographs of the Austrian designer. As part of the exhibition Wiener Werkstatte Jewelry, they showed Floge wearing necklaces and brooches that were on display, dressed in outfits she designed for her business, Schwestern Floge. The transparent scarf, designed at the Werkstatte, was an idea borrowed by the French designer Paul Poiret after a visit to Vienna in 1911. This brooch from the exhibition, designed by Josef Hoffmann and made of silver and gilt, coral, opal, and lapis lazuli, may have been for sale at the Floge salon in Vienna. It is exemplary of the mixture of Art Nouveau and Art Deco tendencies popular in the early 20th century and, also, of a problem Viennese designers faced, but never solved. An outfit from Schwestern Floge was ten times more expensive than one made by a seamstress and cost four times more than one purchased at the (then) new department stores. Even so, the firm was a success, employing up to eighty workers, all of them in back, behind the showrooms. "It was Emilie Floge in particular who kept the shop going. It was due only to her initiative that the firm reached such a height...And then she worked like an artist, like a sculptor, at the dummy." - Herta Wanke, longtime employee. The stark atmosphere that Hoffmann created for the salon was stylishly a la japonaise and was an apt background for the bright colors of the clothes, intended to be just as much a provocation to the bourgeois Viennese as the paintings of Les Fauves or Der Blaue Reiter. Among the customers were Sonia Knips and Friedricke Beer, daughter of the owner of the famous Kaiser Bar. Like Emilie Floge, both sat for the painter Gustav Klimt. Schwestern Floge opened its doors in 1904, its proprietors were three sisters: Emilie (31), Helene (34 and a widow) and Pauline (39). The Floge family belonged to Vienna's unemancipated lower middle class. and, left fatherless in 1897, needed to earn their way. You could say the business began when the sisters were commissioned to design outfits in the new 'reform' style for a cooking demonstration. Fin-de-siecle Vienna was more recepetive to reforms in women's dress than in political emancipation. Freeing their bodies from restrictive corsets proved easier than throwing off the inconsistencies in sexual relationships or financial dependence on men. Also, Viennese society saw reform dress as a way to declare fashion independence from Paris. Emilie Floge (1874-1962) was known for her nervous disposition and, in later years,she was considered aloof. A sense of responsibility toward her sisters must have weighed on the freshness and unpretentiousness that her friends admired. She became an early, enthusiastic driver,and a familiar sight in her yellow sports car. Twice a year, she traveled to Paris to check out the competition and to buy her fabrics. This portrait of Emilie Floge, made by Gustav Klimt in 1902, as Floge was preparing to open her great business venture is, for most of us, our introduction to this remarkable woman. I found my uneasiness underlined by her contemporary, Hans Koeck: "The material consciously fits tight around the neck of the woman wearing the dress, as if to throttle her, as though the artist were aiming at the erotic effect of strangulation as in his 1902 portrait of Emilie Floge. Traces of his sublime sadistic imagination can be found on all occaions where the wearer's neck and breast are enclosed by an armour of fabric." The nature of the relationship between Floge and Klimt has always been a delicious topic for speculation. Throughout his adult life Klimt shared a flat with his mother and his sisters, Klara and Hermoine. One doubts that he slept there overmuch as there three documented illegitimate children and a total of fourteen made claims on his estate (Emilie was his executor) after his death in 1918. Klimt was an unapologetic exploiter of sexual inequality, an old Adam. Floge was regarded as an old maid in her day, but she was also a person with financial responsibilities who endeavored to use her talents to become a new Eve. They had a very close relationship that was complicated by the bizarre mores of their time. In his book Sex And Character (1903), the young philosopher Otto Weininger wrote: “…for the more highly differentiated, the discriminating man, the girl he desires and the girl he could only love and never desire, certainly have quite different dispositions, they are two quite different beings.” Weininger was 23 when he wrote these words; he committed suicide soon after. Kathe Frolich, fiancee of the dramatist Franz Grillparzer, knew both of them, and wrote: “Klimt’s elemental force made a powerful impression on people and on women in particular and his appearance seems to breathe a strong smell of earth. But he too reveals that crack which paralyses unreserved commitment to life; for many years he was bound to a woman in very close friendship, and he too was unable to devote himself completely to her. A certain erotic neurasthenia comes through in his most sensitively expressed drawings and one surely does not go wrong is ascribing these to his most painful experiences.” Epilogue to a career: The Nazi invasion of Austria in 1938 brought an end to Schwestern Floge and the sisters retired to Ungarsgasse 39. Their loyal employee Herta Wanke remembered the sadness of that time: “… the furnishings were worth hardly anything. No-one was interested in Jugendstil and,, also, there was such a surplus of furniture in the Dorotheum ( a municipal pawn-broking establishment founded by Emperor Joseph II as a social service for the lower classes).” Note: In 1981, the estate of Emilie Floge was archived in Vienna. New information about her work was revealed. Images: 1. Friedrich Walker - Emile Floge with a green scarf, c. 1910, Neue Galerie, NYC. 2. Josef Hoffmann - brooch, 1908, Neue Galerie, NYC. 3. Josef Hoffmann - design for showroom - Schwestern Floge, c. 1902, Estate of Emilie Floge, Vienna. 4. unidentified photographer - reception area at Schwestern Floge, c.1905, Estate of Emilie Floge, Vienna. 5 Friedrich Walker - Emilie Floge at Attersee, 1910, courtesy Neue Galerie, NYC. 6. Dora Kalmus (Madame d'Ora) - Emilie Floge, 1909, Osterreisches National Bibliothek, Vienna. 7. Gustav Klimt - Portrait of Emilie Floge, 1902, Vienna State Museum. 8. Friedrich Walker - Gustav Klimt & Emilie Floge in a boat on Lake Attersee, 1910, Vienna State Museum.. 9. Moritz Nahr - Emilie Floge, 1905, Vienna State Museum. 10. Gusatv Klimt - Emilie Floge in a Concert Dress, 1906, Vienna State Museum.