An Examination of the Sartorial Habits of the - OPUS at UTS
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1 Refashioning The Jewish Body: An Examination of the Sartorial Habits of the Family Of Viennese Writer, Stefan Zweig (1881–1942) Dr Jonathan C. Kaplan Abstract This article examines the sartorial habits of members of the family of renowned Viennese Jewish writer, Stefan Zweig (1881–1942), in conjunction with the perceived norms of sartorial respectability and Jewish bodily difference in Austria–Hungary during the nineteenth and early twentieth centuries. The topic probed here is the development of the modern notion of a “Jewish” appearance within the context of acculturation and antisemitism. It will be examined through a comparison of photography and written sources that lead to a further understanding of conflicting manifestations of Jewish bodily stereotypes and the reality of self–fashioning in one of Europe’s capitals of modernist culture at the turn of the twentieth century, Vienna. I argue that the adoption of modern dress and other aspects of German culture, was not simply a matter of “assimilation” in which individuals hoped to facilitate the dissolution of “Jewishness” and Jewish identity, but rather part of developing and performing modern and multifaceted European identities. Introduction This article examines the sartorial habits of members of the family of renowned Viennese Jewish writer Stefan Zweig (1881–1942), in conjunction with the contemporaneous perceived norms of sartorial respectability and Jewish bodily difference in Austria–Hungary during the late nineteenth and early twentieth centuries. The topic probed here is the intersection of fashionable dress and the modern notion of a “Jewish” appearance. It will be examined through a comparison of visual and written accounts that lead to a further understanding of conflicting manifestations of Jewish bodily stereotypes and the reality of self–fashioning in one of Europe’s capitals of modernist culture at the turn of the twentieth century, Vienna.
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Transcript of An Examination of the Sartorial Habits of the - OPUS at UTS
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RefashioningTheJewishBody:AnExaminationoftheSartorialHabitsofthe
FamilyOfVienneseWriter,StefanZweig(1881–1942)
DrJonathanC.Kaplan
Abstract
Thisarticleexaminesthesartorialhabitsofmembersofthefamilyofrenowned
VienneseJewishwriter,StefanZweig(1881–1942),inconjunctionwiththeperceived
normsofsartorialrespectabilityandJewishbodilydifferenceinAustria–Hungary
duringthenineteenthandearlytwentiethcenturies.Thetopicprobedhereisthe
developmentofthemodernnotionofa“Jewish”appearancewithinthecontextof
acculturationandantisemitism.Itwillbeexaminedthroughacomparisonof
photographyandwrittensourcesthatleadtoafurtherunderstandingofconflicting
manifestationsofJewishbodilystereotypesandtherealityofself–fashioninginoneof
Europe’scapitalsofmodernistcultureattheturnofthetwentiethcentury,Vienna.I
arguethattheadoptionofmoderndressandotheraspectsofGermanculture,wasnot
simplyamatterof“assimilation”inwhichindividualshopedtofacilitatethedissolution
of“Jewishness”andJewishidentity,butratherpartofdevelopingandperforming
modernandmultifacetedEuropeanidentities.
Introduction
Thisarticleexaminesthesartorialhabitsofmembersofthefamilyofrenowned
VienneseJewishwriterStefanZweig(1881–1942),inconjunctionwiththe
contemporaneousperceivednormsofsartorialrespectabilityandJewishbodily
differenceinAustria–Hungaryduringthelatenineteenthandearlytwentiethcenturies.
Thetopicprobedhereistheintersectionoffashionabledressandthemodernnotionof
a“Jewish”appearance.Itwillbeexaminedthroughacomparisonofvisualandwritten
accountsthatleadtoafurtherunderstandingofconflictingmanifestationsofJewish
bodilystereotypesandtherealityofself–fashioninginoneofEurope’scapitalsof
modernistcultureattheturnofthetwentiethcentury,Vienna.
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Self–fashioningiscentraltotheprocessofacculturation.Thisreferstothemannerin
whichtheindividualrecreateshisorheridentityandforavarietyofreasons.The
conceptofself–fashioningwasmadefamiliarbyStephenGreenblattinhisstudyofearly
modernEnglishwriters,inwhichheassertsthatthefashioningofselfinvolvedthe
creationofanidentitythatanindividualdesiredtobroadcasttosociety.1Although
Greenblatt’snotionofself–fashioningfocusedonliterarytastesandbehaviourrather
thansartorialmodes,clothingandmaterialcultureplayanimportantroleinthe
shapingoftheself.AsJohnStylesargues,clothesplayacentralroleinthefashioningof
theindividual,astheyareever–presentandhighlyvisible,andverydeliberatelyreveal
andconcealcertainaspectsofthebody.2Self–fashioning,likeassimilationand
acculturation,isanessentiallypersonalprocessthatmustbeundertakenbythe
individual,butcanbeundertakenbygroupsofindividualswiththesamegoal.
AcculturationinVienna
WithinthecontextofacculturationandassimilationinViennaatthefindesiècle,Jewish
peopleactivelyengagedinsartorialandbehaviouralself–fashioningasawayof
assertingmembershipofmodernGermancultureandsociety.TheadoptionofGerman
asthedominantvernacularby“Austrian”Jews(includingthoseJewslivingoutsidethe
predominantlyGermancrownlands)3wasonewaybywhichtheyhopedtofacilitate
theirintegrationintocoterritorialGentilesociety.
ForacculturatingandassimilatingVienneseJews,theircompleteemancipationin1867
signalledthepermissiontoenterwiderGentilesociety.4However,thedismantlingof
administrativediscriminationhadnotextendedtothesocialsphere,andmanywithin
1StephenGreenblatt,RenaissanceSelf–Fashioning:FromMoretoShakespeare,TheUniversityofChicagoPress,Chicago,Illinois,UnitedStates,1980,p.2.2JohnStyles,“FashionandInnovationinEarlyModernEurope,”inEvelynWelch,ed.,FashioningtheEarlyModern:CreativityandInnovationinEurope,1500–1800,OxfordUniversityPress,Oxford,England,2017,p.34.3Iuse“Austria”and“Austrian”torefertotheHabsburglandspriortothecreationoftheAustro–HungarianEmpireorDualMonarchyin1867,includingtheLandsoftheBohemianCrown(todayCzechia),inwhichtheZweigfamilylived,aswellaspartsofpresent–dayItaly,Croatia,Slovenia,PolandandtheUkraine.4TheemancipationofHabsburgJewryin1867cameinthewakeoftheAustro–HungarianAusgleichor“Compromise”thatsawthecreationoftheAustro–HungarianEmpire,comprisedoftheAustrianEmpireandtheKingdomofHungary.Eachhalfoftheempireor“DualMonarchy”maintaineditsownparliamentandlegalsystem,butwereunitedunderthesinglemonarchFranzJosephI(1830–1916).SeeWilliamO.McCaggJr.,AHistoryofHabsburgJews,1670–1918,IndianaUniversityPress,Bloomington,Indiana,UnitedStates,1989.
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ViennaandthewidertheDualMonarchycontinuedtoharbourprejudicesagainstJews.5
ThelogicalsolutionforsomeJewswasthecompleterejectionoftheirpast.6This
generallymeantachangeofname,religion,residence,and——ifnotalready
undertaken——theadoptionofbothmodernstylesofdressandthelanguageand
cultureofthemajority.TheabandonmentofalltracesofJewishness—suchasreligion,
traditionalJewishnamesandvernacular—would,intheory,facilitatecomplete
assimilation.However,moreoftenthannotthiswasnotthecase.ManyofthoseJews
wholeftJudaismbychangingtheirreligionorbydeclaringthemselveskonfessionslos
[withoutareligiousconfession],7remained“Jewish”intheirsocialinteractionwiththeir
milieu,whichconsistedlargelyofotherconvertedorirreligiousJews.8Whetheran
individualwasabletoassimilatesuccessfully,ormerelyacculturatetothedominant
Germanculturewasoftendeterminedbyfactorsbeyondhisorherowncontrol.
TheassimilatoryprocessofmostVienneseJewsdidnotextendpastthefirststage
(acculturation).9ThehistorianPeterGay,himselftheprogenyoftheGermanJewish
milieumuchofhisscholarshipconcerns,arguedthatassimilation“tookseveral
generations,severalintermarriages,possiblyachangeofnameandofresidence,before
thepastofthenewChristianfadedintoinvisibility.”10Thus,theirincomplete
assimilatoryprocessleftthemasacculturatedJews,regardlessofwhethertheychoseto
practiceJudaismornot.11BoththoseJewsdesiringfullassimilationandthosecontent
toremainJewishparticipantsinGermanculturefacedaccusationsofmaskingtheir5BruceF.Pauley,FromPrejudicetoPersecution:AHistoryofAustrianAnti–Semitism,TheUniversityofNorthCarolinaPress,ChapelHill,NorthCarolina,UnitedStates,1992.6ZygmuntBauman,ModernityandAmbivalence,PolityPress,Cambridge,England,1991,p.71.7“Konfessionslosigkeit”wasalegalcategoryintheAustrianhalfoftheDualMonarchywhere,unlikeinHungary,civilmarriagewasnotapossibility,andwasusedasloopholebycouplesofmixedreligiousaffiliationstomarrywithouthavingtoundergoformalconversion.Foramixedcouple(e.g.JewishandCatholicorevenindividualsofdifferingChristiandenominations)tomarry,onehalfofthecouplewasfirstrequiredtoconverttothefaithoftheirpartnerordeclarethemselveskonfessionslos.SeeMarshaL.Rozenblit,TheJewsofVienna,1867–1914:AssimilationandIdentity,StateUniversityofNewYorkPress,Albany,NewYork,UnitedStates,1983,p.128.8SeeStevenBeller,ViennaandtheJews,1867–1989:ACulturalHistory,CambridgeUniversityPress,Cambridge,England,1989.9OntheassimilatoryprocessseeMiltonM.Gordon,AssimilationinAmericanLife:TheRoleofRace,Religion,andNationalOrigins,OxfordUniversityPress,NewYork,NewYork,UnitedStates,1964.10PeterGay,Freud,JewsandOtherGermans:MastersandVictimsofModernistCulture,OxfordUniversityPress,Oxford,England,1978,p.98.11See,forexample,JacobGolmb,“StefanZweig’sTragedyasaNietzscheanGrenzjude,”inSarahFraiman–Morris,ed.,JüdischeAspekteJung–WiensimKulturkontextdes››FindeSiècle‹‹,MaxNiemayerVerlag,Tübingen,Germany,2005,p.79;SanderL.Gilman,“RaceandMadnessinI.J.Singer’sTheFamilyCarnovsky,”inDifferenceandPathology:StereotypesofSexuality,Race,andMadness,CornellUniversityPress,Ithaca,NewYork,UnitedStates,1985,pp.163–174.
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Jewishness.ThenineteenthcenturyViennesesatiristFranzFriedrichMasaidek,for
example,warnedhisreadersthatthe“anständigen”[respectable,whichistosay,
acculturated]Jewswerefarmoredangerousthantheirtraditionalandthusmoreeasily
identifiablecoreligionists,astheydeceivedChristiansabouttheirtrueintentions.12
TheaccusationagainstJewsofmaskingtheirreligiousorethnicidentitywasrife
throughoutprintmediaandliteratureinViennaandotherpartsofGerman–speaking
Europe,andoftenrelatedtotheclothingchoicesofacculturatedandassimilatedJews,
withthebeliefthattrueJewishgarbwasthatwornbyinhabitantsoftheprovincialeast
Europeanshtetl13andnotmodernEuropeanfashionspurchasedinbrightlylitViennese
departmentstoresortailoringateliers.Whatmadethissartorialartifice“dangerous”in
theeyesofitsdetractorswasitshistoricalconnotationwithsin,seductionand
perversionofnature.14ThecelebratedViennesesatiristKarlKraus(1874–1936)——
himselfaJewishimmigranttoViennafromprovincialBohemia——agreedthatclothing
wasunabletomaskthebodyoraspectsofhumanidentity,butrather“articulate[s]the
unconsciousessenceofmanwiththegreatestclarity.Ittellsusdirectlyandbluntly
abouttheinnermostpartofmanfromwhichalldesires,thoughts,andexperiences
arise.”15ThistropecommonlyappearedinantisemiticliteratureinwhichJewishfigures
werecaricatured,bothvisuallyandinwrittenform,dressedinopulentstylesandthe
latestfashion,whilestillretainingthebehaviouralpatternsandethniccharacteristicsof
theOstjuden[eastEuropeanJews].PopularViennesesatiricalmagazinessuchas
Kikeriki(1861–1933),DerFloh(1869–1919)andFigaro(1857–1919)regularly
includedgrotesquecaricaturesofJewsthatfollowedtraditionalphysicaland
behaviouralstereotypeswhileattemptingtousetheirwealthorfashionableclothingto
buytheirwayintohighsociety(Figure1).
12FranzFriedrichMasaidek,LoseGedanken,OstdeutschenRundschau,Vienna,Austria,1891,p.8.13“Shtetl”istheYiddishwordforaprovincialtownorvillageincentralandeasternEuropepriortotheSecondWorldWar,inwhichalargeproportionofthepopulationwasJewish.14EfratTseëlon,TheMasqueofFemininity:ThePresentationofWomeninEverydayLife,SagePublications,London,England,1995,pp.34–37.15KarlKraus,“TheEroticismofClothes[1906],”inDanielLeonardPurdy,ed.,TheRiseofFashion:AReader,UniversityofMinnesotaPress,Minneapolis,Minnesota,UnitedStates,2004,p.241.
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Figure1:
Caricature,VomHofball[FromtheCourtBall],ArtistUnknown,Kikeriki:Humoristisches
Volksblatt,21January1900,p.3,©ANNO:HistorischeZeitungenundZeitschriften,
ÖsterreichischeNationalBibliothek,Vienna,Austria.
OriginsoftheFamilyZweig
ButhowdidacculturatingJewsdressinrealty?ThefamilyoftherenownedViennese
writerStefanZweig(1881–1942)servesasanappropriatecasestudytomapthe
multigenerationalacculturationprocessthroughdresshabits.Likemanyofhis
contemporaries,Zweig’sJewishparentshadcometotheAustriancapitalfromother
partsofEurope,takingadvantageofFranzJosephI’s(1830–1916)dismantlingofanti–
JewishrestrictionsonresidentialandprofessionalactivityinViennaduringthedecades
afterthefailed1848revolutions.TheZweigfamilyisbynomeansanexceptionalcase.
OtherAustrianJewishfamilies——boththoseofrenownedthinkerssuchasSigmund
Freud(1856–1939),andthemanylesser–knownoranonymousJewishfamilies,
photographictracesofwhomcanbefoundinarchivesandprivatecollectionsaround
theworld——maintainedsimilarmodesofdressing.Indeed,theimagesexamined
throughoutthisarticlerevealthatmembersoftheZweigfamilymaintained
conventionalandattimesconservativeapproachestotheirsartorialappearances.
However,thewealthofmultigenerationalphotographicevidenceofthistypical
6
bourgeois,VienneseJewishfamilymakesitacompellingcasethroughwhichtoexamine
widerpatternsofdressanditsrolewithintheacculturationofAustro–HungarianJewry.
TheZweigfamilycanbetracedbacktoStefanZweig’sgreat–great–grandfatherMoses
JosefZweig(1750–1840)inProßnitz(Prostějov),Moravia.16Similartotheirshtetl–
dwellingeasterncoreligionists,pre–emancipatoryHabsburgJewslivedinsectionsof
provincialtowns(andsometimeslargercities)designatedforJewishresidency,
commonlyknownastheJudenstadt[Jew–city]orJudengasse[Jew–street].17TheJewsof
Proßnitzwerenoexception.MosesZweigandhisfamilylivedtheirlivesaccordingto
thecontemporaneousconventionsofAshkenaziJewishritualandculture,18quiteunlike
theculturallyassimilatedhouseholdofhisfamousgreat–great–grandsonStefan.Moses
ZweigandhissiblingsspokealanguagethatwascommonlyknownasJudendeutsch
[Jewish–GermanorJew–German],observedKashrut[Jewishdietarylaws]andthe
Sabbath,regularlyattendedsynagogueandweremembersofcommunal
organisations.19An1832engravingoftheZweigfamilyprogenitorMosesremainsthe
solevisualevidenceofthefamily’sdresspatterns,depictingapious–lookingmanwith
heavilyliddedeyes,along,greyingbeard,tuft–likesidelocksthatstickoutbelowhis
large,darkyarmulke[skullcap],andhewearsadarkovercoatwithlargeupturnedcollar
andlapels.Intheguiseofapre–emancipatory,“traditional”Jewwhosedressand
groomingwassimilartothatofhiscoreligionistsinotherpartsofeasternEuropeand
16JuliusRöder,ed.,DieNachkommenvonMoses(Josef)ZweigundElka(Katti)ChajaSarahSpitzer:eineNachfahrenliste,NoPublisher,Olmütz[Olomouc],Czechoslovakia,1932,p.10.17AsimilarsystemofresidencywasalsorequiredofmanyJewsoutsideofAustria,especiallyintheGermanlands.However,theabsenceofaunifiedGermanyuntilthefoundingoftheGermanReichin1871meantthattheconditionsofJewishinhabitancevariedfromplacetoplace.TheJewsofFrankfurtamMain,forexample,hometotheillustriousRothschildbankingfamily,wereconfinedtoanareaknownastheJudengasseuntilthebeginningofthenineteenthcentury.AmosElondescribestheFrankfurterJudengasseas,“asingledarklane…foulsmellinganddank,sunlessbecauseofitsnarrownessanditstall,overcrowdedhouses.”SeeAmosElon,ThePityofItAll:APortraitoftheGerman–JewishEpoch,1743–1933,Picador,NewYork,NewYork,UnitedStates,2002,p.26.18“Ashkenazi”referstoJews,JewishritualpracticesandculturaltraditionsoriginatingincentralandeasternEurope,andisoftencontrastedwiththeterm“Sephardic”,referringtothoseJewsandtraditionsoriginatingfromtheIberianPeninsulapriortoexpulsionsfromSpainandPortugalattheendofthefifteenthcentury.MostJewsinViennaduringStefanZweig’slifetimewereofAshkenaziorigin;however,asmallcommunityofSephardicJewsalsocalledthecityhome.19LeoSpitzer,LivesinBetween:AssimilationandMarginalityinAustria,Brazil,WestAfrica,1780–1945,CambridgeUniversityPress,Cambridge,England,1989,p.82.
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latercaricaturesthatregularlyappearedinthesatiricalpress,MosesZweigappear
worldsawayfromhisfamousgreat–great–grandson(Figures2and3).20
Figure2:
Frontispiece,MosesJosefZweig(1750–1840),1832,DieNachkommenvonMoses(Josef)
ZweigundElka(Katti)ChajaSarahSpitzer:eineNachfahrenliste,Olmütz[Olomouc],
Czechoslovakia,1932,©StefanZweigCollection,DanielA.ReedLibraryArchives&
SpecialCollections,StateUniversityofNewYorkatFredonia,Fredonia,NewYork,
UnitedStates.
20ForadetailedstudyofthedresspatternsofEasternEuropeanJewryfromtheseventeenthcenturyonwardsseeTamarSomogyi,DieSchejnenunddieProsten:UntersuchungenzuSchönheitsidealderOstjudeninBezugaufKörperundKleidungunterbesondererBerücksichtigungdesChassidismus[Thebeautifulandthecommon:studiesinbeautyidealsofeastEuropeanJewsinrelationtothebodyandclothingwithparticularconsiderationofHasidism],DietrichReimerVerlag,Berlin,Germany,1982.
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Figure3:
Caricature,DerwahrePatriot[TheTruePatriot],HansTomann,DerFloh,27November
1904,p.1,©ANNO:HistorischeZeitungenundZeitschriften,ÖsterreichischeNational
Bibliothek,Vienna,Austria.
The1782EdictofTolerancesetthewheelsinmotionforachangeinthecultureof
HabsburgJewry.21Bythenineteenthcentury,ProßnitzJewswereexposedtogreater
professionalopportunities.InthegenerationofStefanZweig’sgrandfatherHermann
(1807–1884),Jewishmenhadlongabandonedpeddlingandmovedfromcommerceto
industry.22SurvivingportraitsofStefanZweig’srelativesfromthislongperiodof
emancipationrevealanearliermanagementofdressinaccordancewithanewself–
21The1782EdictofTolerance[German:Toleranzedikt]wasanextensionofEmperorJosephII’s(1741–1790)1781PatentofToleration[German:Toleranzpatent]thatextendedreligiousfreedomtoallnon–CatholicChristiansresidingintheHabsburgdominions.The1782edictgrantedHabsburgJewsalimiteddegreeofreligiousandprofessionalfreedomontheconditionthattheyreplaceYiddishandHebrewwithGermanasthelanguageofadministration,adoptGermanfamilynamesandeducatetheirchildreninGermanlanguageschools.SeeRobertS.Wistrich,TheJewsofViennaintheAgeofFranzJoseph,TheLittmanLibraryofJewishCivilization,Oxford,UnitedKingdom,1989,pp.16–21.ForatranslationoftheedictseePaulR.Mendes–FlohrandJehudaReinharz,eds.,TheJewintheModernWorld:ADocumentaryHistory,OxfordUniversityPress,NewYork,NewYork,UnitedStates,1980,pp.34–36.22Spitzer,opcit.,pp.89–90.
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vision(Figures4and5).In1850,HermannZweigrelocatedhisfamilytoVienna.23His
sonMoriz(1845–1926)asanadultfollowedinhisfootsteps,findingworkasatextiles
trader.ThiswasacommonprofessionamongAustro–HungarianJewsduringthe
secondhalfofthenineteenthcenturyandintothetwentiethcentury—by193473.3%
ofallViennesetextilemerchantswereJewish.24MorizZweigeventuallyestablisheda
textilemillintheBohemiantownofOber–RosenthalbeiReichenberg(Liberec)in
1878.25
Figure4:
PortraitofStefanZweig’spaternalgrandmotherNanetteZweignéeWolf,unknown
photographer,undated,©StefanZweigCollection,DanielA.ReedLibraryArchives&
SpecialCollections,StateUniversityofNewYorkatFredonia,Fredonia,NewYork,
UnitedStates.
23OliverMatuschek,ThreeLives:ABiographyofStefanZweig,translatedbyAllanBlunden,PushkinPress,London,England,2011,p.23.24MichaelJohnandAlbertLichtblau,SchmelztiegelWien—EinstundJetzt:ZurGeschichteundGegenwartvonZuwanderungundMinderheiten[MeltingpotVienna—nowandthen:onthehistoryandpresentofimmigrationandminorities],BöhlauVerlag,Vienna,Austria,1990,p.34.25However,MorizcontinuedtoworkmainlyintheAustriancapitalandemployedasecretarytomanagethemillinhisabsence.Matuschek,opcit.,pp.23–24.
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Figure5:
PortraitofStefanZweig’spaternalgrandfatherHermannZweig,unknownphotographer,
undated,©StefanZweigCollection,DanielA.ReedLibraryArchives&Special
Collections,StateUniversityofNewYorkatFredonia,Fredonia,NewYork,United
States.
JewishSelf–Fashioning
Self–fashioningwascentraltothetenetsofBildung[self–cultivation]andSittlichkeit
[moralityorrespectability]andthusessentialtotheacculturatedJewishexperiencein
citieslikeVienna,andconcernednotonlysartorialmatters,butalsothoseofspeech,
behaviourandday–to–dayculture.Tobe“gebildet”wasnotonlytobeeducatedinthe
formalsense,butfortheindividualtohaveundergoneaconsciousself–fashioningalong
thelinesofcontemporarycosmopolitaneducationalandculturalvalues.26Stefan
Zweig’sparents,Ida(1855–1938)andMoriz,werebothbornintofamiliesthathad
alreadyacceptedaspectsofGermancultureandmodernformsofdressastheirown
beforetheirbirths.Theythemselvesdidnotundergoaprocessofculturalassimilation,
butratherreapedthebenefitsoftheirparents’andgrandparents’efforts.Thesartorial
26SeeGeorgeL.Mosse,“JewishEmancipation:BetweenBildungandRespectability,”inJehudaReinharzandWalterSchatzberg,eds.,TheJewishResponsetoGermanCulture:FromtheEnlightenmenttotheSecondWorldWar,UniversityPressofNewEngland,Hanover,NewHampshire,UnitedStates,1985,pp.1–16;RebekkaHorlacher,TheEducatedSubjectandtheGermanConceptofBildung:AComparativeCulturalHistory,Routledge,NewYork,NewYork,UnitedStates,2016.
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stylesdepictedinsurvivingphotographsarenotthoseofthestereotypical“Jewish”look
associatedwiththeZweigs’easterncoreligionists,orthatoftheirancestorsinpre–
emancipatoryAustria,butratheronethatcorrespondslargelytothecoterritorial
middleclassGentilepopulations.ForfamiliesliketheZweigswhohadundergonea
processofculturalassimilationpriortotheirarrivalintheHabsburgKaiserstadt
[imperialcity],self–fashioningwasnotsimplycompletewiththeiradoptionofthe
Germanlanguage,itscultureandmodernstylesofdress,butanongoingprocessthat
wasbothmaintainedandmovedwiththewidersociety.Norwasself–fashioning
undergonehomogenouslybyallVienneseJews.EvenamongacculturatedVienneseJews
arangeoflevelsofself–fashioningandcorrespondingacculturationandassimilation
werepractised,fromthosewhosegoalwasthedissolutionoftheirJewishidentitiesand
completeintegrationintoGentilesocietytothosewhoveryconsciouslymaintained
theirJewishidentities(bothmerelyinnameoractivecommunalparticipation)while
activelybecomingmodernEuropeans.TheZweigfamilycanbeincludedamongthe
latter.
AstheonlychildrenofanuppermiddleclassfamilyStefanZweigandhisolderbrother
Alfred(1879–1977)werepamperedandraisedinamannerthatwasbefittingofthe
family’ssocialstatus.GrowingupinanapartmentontheSchottenringacrossfromthe
famousRingtheater,thebrotherswereawareoftheirJewishidentity——theirparents
commemoratedtheHighHolyDays,maintainedmembershiptocommunal
organisations,andcelebratedtheirsons’b’neimitzvah27——butfarmoreemphasiswas
placedontheidealsofBildungandSittlichkeit.28Anundatedportraittakenduringthe
1880satthephotographystudioWinter(Reisnerstraße11ainLandstraße,Vienna’s
thirddistrict)presentsStefanandAlfredasyoungboysdressedinmatchingvelvet
jacketsandsatinbows(Figure6).Stefan,theyoungerofthetwositsatopwhatappears
tobeamarblebalustradewithclassicalmotifmoulding.Hismatchingvelvetshortsare
visible,asarehiswoollenstockingsandleatherboots.Hebalancesatopthenarrow
balustrade,whilehisolderbrotherstandsbehindthebalustrade,leaningupagainst
27“B’neiMitzvah”(masculine)or“B’notMitzvah”(feminine),pluralformsofBar/BatMitzvah,the“comingofage”ceremonyforJewishgirlsatage12andboysatage13wherebytheyarehenceforthconsideredadultswithinJewishrituallaw.WhileitisatraditiontocommemorateaJewishchild’sBar/BatMitzvahinthesynagogue,theceremonyitselfispurelytraditionalandthechildisautomaticallyconsideredanadultuponreachingtheage12or13.28Spitzer,opcit.,p.98.
12
him,ahandkerchiefandmetalchainpokingoutofhisleftbreastpocket,andhishand
restingona(worn)book.Thephotograph’ssettingonandaroundthemarble–look
balustradeandtheuseofbookaspropisnoaccident;theysymboliseIdaandMoriz’s
dedicationtoBildung,whichtheyhopedtoinstilintheirsons.
Figure6:
PortraitofStefanandAlfredZweig,circa1880s,AtelierWinter,Vienna,Austria,©Stefan
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates,4383–5–4.
SartorialElegance
ThedresshabitsoftheZweigfamilyfollowedtheconventionsofmiddleclassViennese
sartorialelegance.Formembersofthissegmentofsociety——the“educated”
middleclass,bothJewsandGentiles——followingcorrectpracticesofdresswas
synonymouswiththeirdedicationtoBildung.Dressinginacorrectmannerwasnot
simplyameansofpresentingoneselfasvisuallyrespectable,butfineclothing,itwas
claimedinthemen’sfashionandlifestylemagazineDieHerrenwelt(1916–1918),had
transformativepowersthatnotonlyshapedtheindividual’soutwardappearance,but
13
sotohisinnercountenance.29Inshort,dressingrespectfullywouldallowtheindividual
tofeelrespectfulandinturnbehaveaccordingly,orsoitwasbelieved.
Fromtheendofthenineteenthcentury,Vienna,likeotherEuropeancities,sawthe
adventofaradicaldressreform,ledbySecessionistartistsanddesignerssuchas
GustavKlimt(1862–1918)andEmilieFlöge(1874–1952).30Thisdressreform,
however,addressedfemalesartorialpatternsexclusivelyandfounditsoriginsduring
thenineteenthcentury,inwhichEuropeandoctorshadlobbiedagainstthefashion
industryforpromotingunhealthyandrestrictivemodesofdress.31Inhisoft–quoted
memoirZweigobservedthe“ridiculous”femalefashionsofhischildhood,relegating
womenasslavestoaprisonofcorsets,clothandtrimmings:
Herbody is cut in twoat awasp–waistobtainedbyawhalebone corset,her
skirts billow out in an enormous bell, her throat is enclosed right up to the
chin,her feet covered to the toes,herhairpiledup intocountless little curls
androllsandbraids,wornunderamajesticallyswayingmonsterofahat,her
handscarefullyglovedeveninthehottestsummer——thiscreature,longago
consignedtohistory,givestheimpressionofpitiablehelplessness,despitethe
perfume wafting around her, the jewellery weighing her down and all the
costlylace,frillsandtrimmings.32
HismotherIda,assheappearedinsurvivingphotographs,mayhaveservedaspossible
inspirationforthisimageofthewomenenslavedwithinanexaggeratedlyfeminine
silhouette.IntheirbiographiesofIda’sfamoussonOliverMatuschekandGeorge
ProchnikmakepainstopointoutIda’srelativeday–to–dayplain,understated
appearance,hercarefullymadeupsartorialidentityanexceptionforhavingher
29“DieReligionderKleidung[Thereligionofclothing],”DieHerrenwelt:ZeitschriftfürdieHerrenmode[Themen’sworld:journalformen’sfashion],Vienna,Austria,September1916,p.6.30RebeccaHouze,“FashionandItsDiscontents,”inTextiles,Fashion,andDesignReforminAustria–HungaryBeforetheFirstWorldWar:PrinciplesofDress,Ashgate,Farnham,England,2015,pp.185–245.31MarkWigley,WhiteWalls,DesignerDresses:TheFashioningofModernArchitecture,TheMITPress,Cambridge,Massachusetts,UnitedStates,2001,p.128.32StefanZweig,TheWorldofYesterday,translatedbyAntheaBell,PushkinPress,London,England,2011,p.93.
14
photographtaken.33Anundated,youthfulportraitofIdadepictsabroodingyoung
womanintheroleofdemuredaughterofbourgeoisie(Figure7).Herlong,brownhairis
pinnedupartfullyanddecoratedwithflowers.Shewearsasimplelight–coloured
bodicewithlacecollar,largependantearrings,andaribbonchokernecklacewith
hangingpendant.BynomeansdoesIdaappearamemberofVienna’sJewishélite.Her
attireissimple,albeitofquality,andhercountenancesubmissive.Laterphotographs
fromthestudioofDr.JosefSzékely(1838–1901)inVienna,showIdaZweiginamore
mature,sociallyexpectedroleofwifeandmother.Inthesephotographssheappearsfar
moreconfidentthantheshygirlofformeryears,andyet,thisconfidencedoesnotstray
intohaughtiness.Heretoo,Idaisdressedplainly,albeittastefully;herhairpinnedup
andherpersonadornedwithflowersandmodestjewellery(Figures8and9).
MatuschekassertsthatdespiteherrelativelyplaineverydayattireIdawasacustomer
ofVienna’sleadingdressmakersuntil1914.34Herappearanceinlaterphotographs,
despiteherage,remainsunaltered.AsawifeandmotherofVienna’sJewishbourgeoisie
Idaknewandacceptedherexpectedstationinlife.Thisissuggestedthroughher
sartorialpreferences,seeminglyfollowingtheacceptedfashionsoftheperiod.Inalater
photograph(circa1936),Idaasan82–year–oldwomansitsproudlybetweenhertwo
middle–agedsons(Figure10).Inadarkblousewithwhatappearstobeasmall,white
floralorspottedpattern,andlacecollarandbowbellowherchin,Idaappearsvery
muchintheroleofelderlymatriarch.
33Matuschek,opcit.pp.26–30;GeorgeProchnik,TheImpossibleExile:StefanZweigattheEndoftheWorld,GrantaPublications,London,England,2014,pp.122–123.34Matuschek,opcit.,p.29.
15
Figure7:
PortraitofIdaZweignéeBrettauer,J.Lafranchini,undated,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
Figure8:
PortraitofIdaZweignéeBrettauer,JosefSzékely,undated,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
Figure9:
16
PortraitofIdaZweignéeBrettauer,JosefSzékely,undated,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
Figure10:
Stefan,AlfredandIdaZweig,familyphotograph,circa1936,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
IfIdaZweigplayedtheroleofthefamily’squeen,herhusbandMorizwascastintothat
of“retiringandconciliatory‘princeconsort’”.35IndescriptionsofStefanZweig’sfamily
originsinbiographiesMorizZweigplaysasecondaryroletothatofhiswife,36andhis
sartorialhabitsarerarelydiscussed.37SurvivingphotographsofMorizdepictastern–
looking,bespectacledmanwhoseappearanceadaptswiththetimes.Moriz’ssartorial
habitscorrespondtothenotionsofmalerespectabilityasoutlinedinmen’sfashionand
lifestylemagazinesaswellasthosedescribedbythearchitectAdolfLoos(1870–1933).
ForLoos,beingwell–dressedmeant“tobecorrectlydressed.”38Essentially,thismeant
35Ibid.,p.26.36FriderikeZweig(1882–1971),theonebiographerwiththedeepestinsighttotheZweigfamily,barelymentionsherformerfather–in–lawinherbiographyofhersecondhusband.ShededicatesaveryshortparagraphtoMorizinthechapterthatfocusesonStefanZweig’schildhoodandtheinfluenceofhismotherIda.SeeFriderikeZweig,StefanZweig,translatedbyErnaMcArthur,W.H.Allen&Co.,London,England,1946,pp.2–3.37DonaldA.Prater,forexample,dedicatesonelinetoMoriz’ssartorialappearanceinsofarasitscontrasttothoseofhiswifeIda.SeeDonaldA.Prater,EuropeanofYesterday:ABiographyofStefanZweig,OxfordUniversityPress,London,England,1972,p.3.38JulesLubbock,“AdolfLoosandtheEnglishDandy,”ArchitecturalReviewVolume174,Issue1038,1983,p.44.
17
thatamanshoulddressinthestylescommonamongstEnglish“gentlemen”.39InVienna
duringthelatenineteenthandearlytwentiethcenturiesitbecamefashionableforthe
upperandmiddleclassestoemployEnglish(orFrench)governessestoeducatetheir
children.Somesonsofbourgeoisfamilies——suchasLeopoldGoldman(1875–1942),
thesonofthebusinessmanMichaelGoldman(1843–1909)whoemployedLoosto
designtheinteriorofhismen’soutfittersontheGraben,andlaterhisshoponthe
MichaelerplatzoppositetheimperialHofburg——wereevensenttoEnglandtostudyor
workforaperiodaftercompletingtheirsecondaryeducation.40MorizZweigdidnot
studyinEnglandbuthewas,alongwithFrench,fluentintheEnglishlanguage,41andhis
dresspreferencescorrespondto“correct”EnglishstylechampionedbyLoos.
InaportraitofayouthfulMorizZweig(circa1860s/1970s),takenbytheGermanborn
AustriancourtphotographerFritzLuckhardt(1843–1894),depictstheyoungmanwith
thick,middle–parted,darkhairandlongfuzz–likegrowthofwhiskersonhischeeks
(Figure11).Despitehisyouthfulage,onlyreinforcedbythenotyetmaturegrowthof
facialhair,hissterncountenanceandplain,darkattiregiveshimasimultaneously
matureappearance.ThisstylewasmaintainedandMorizappearsinsimilarguisein
laterportraitssportingFranzJoseph–stylewhiskersandmoustache,pince–nez,dark
sacksuitjacketswithhighbreakpoints,andstiff,whitecollarsinboth——thesame,
cautious,conservatismStefanZweigreferstoinhismemoir(Figures12).42
39AdolfLoos,“Men’sFashion,”[NeueFreiePress,May221898]inSpokenIntotheVoid:CollectedEssays1897–1900,translatedbyJaneO.NewmanandJohnH.Smith,TheMITPress,Cambridge,Massachusetts,UnitedStates,1982,pp.10–14.40ElanaShapira,StyleandSeduction:JewishPatrons,ArchitectureandDesigninFindeSiècleVienna,BrandeisUniversityPress,Waltham,Massachusetts,UnitedStates,2016,p.196.41Matuschek,opcit.,pp.23–24;Zweig,2011,opcit.,p.30.42Ibid.,pp.27–31.
18
Figure11:
PortraitofMorizZweig,FritzLuckhardt,circa1860s/1870s,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
Figure12:
PortraitofMorizZweig,AtelierReuter&Pokorny,undated,Vienna,Austria,©Alfred
ZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,StateUniversity
ofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
DuringtheFirstWorldWarafrenzyofAnglophobiaengulfedViennesesociety.Inline
withtheofficialAustrianstanceonEnglandandthereforeinthequesttoseverits
Englishinfluencesthemen’sfashionandlifestylemagazine,DieHerrenweltproudly
assertedthedestructionofEnglishtailoring,whichitboasted,inanycase,wasbuilton
theskillsofVienneseimmigrants.43UnsurprisinglytheEnglishinfluenceonthe
Viennesebourgeoisie,indeedondressanditsterminology,randeep,andamidstthe
Anglophobiclanguagethemagazinecontinuedtodisplaythesesame“English”styles
andreferenceEnglishmalefashions——butwithsubtleallusionstothesuperiorityof
AustrianandGermanproducts.44
43“VornehmeHerren.ZurErinnerungderErwachsenen,”DieHerrenwelt:ZeitschriftƒürdieHerrenmode,Vienna,Austria,Volume1,Issue1,January1916,p.4.44See“Briefkasten,”DieHerrenwelt:ZeitschriftfürdieHerrenmode,Vienna,Austria,Volume2,Issue1,February1917,p.23.SeealsoJonathanC.Kaplan,“TheManintheSuit:JewishMenandFashioninfin–de–siècleVienna,”FashionTheory,2020,pp.1–28,doi:10.1080/1362704X.2020.1746115.
19
MorizZweig’ssonsAlfredandStefancameofageinaneraofchange;notonlypolitical
change——theinaugurationoftheChristianSocialistKarlLueger(1844–1910)as
mayorofViennain1897,aswellastheadventofbothpoliticalandculturalZionism
duringthesameperiod,inlinewithotherburgeoningnationalideologies——but
cultural,too.45Thenextcenturysawthedevelopmentofnewandconflictingartistic
styles,suchasViennaSecession,withitsrejectionofhistoriciststyleandthe
explorationofthenew,andLoos’snotionsofrationality,whichrejectedcompletely
whatheconsideredwastheSecession’sunnecessaryornamentation.AlfredandStefan
Zweig,likeotheryoungmenofmiddleclassbackgrounds,rejectedtheregimented
simplicityoftheirfather’ssartorialhabits,andembraced“modern”styles.Thisisnotto
saythateitherbrotherwasparticularlyavantgardeinhissartorialchoices;indeedtheir
habitsofdressremainedwithintheconfinesofacceptedmiddleclassfashions.Buttheir
choiceswerelessrestrainedthanthoseoftheirfather.Alfred,forexample,adopteda
moreplayfulappearance,wearinghishatsatrakishanglesandcarryingacaneashe
doesinonephotograph——appearingasaGigerl[“fop”or“rake”],theantithesisof
Loos’swell–dressedman(Figure13).Stefan,incontrast,appearstohavelimitedhis
sartorialindulgenciestothefinedetails:strikingtiefabrics,andtrinketssuchashis
pearltiepin,ring,andcufflinks(Figure14).
Figure13:
45SeeforexampleJohnBoyer,PoliticalRadicalismInLateImperialVienna:OriginsoftheChristianSocialMovements,1848–1897,TheUniversityofChicagoPress,Chicago,Illinois,UnitedStates,1981;Mark.H.Gelber,“Kapitel1:StefanZweigsjüdischesManifestundseinejüdischeSensibilität,”[Chapter1:StefanZweig’sJewishmanifestoandhisJewishsensibility]inStefanZweig,JudentumandZionismus[StefanZweig,JewishnessandZionism],Studienverlag,Innsbruck,Austria,2014,pp.11–31.OnZweig’sownaccountofhisupbringingsandyouthseeZweig,2011,opcit.
20
PhotographofAlfredZweig,photographerunknown,22September1903,Vienna,
Austria,©AlfredZweigCollection,DanielA.ReedLibraryArchives&Special
Collections,StateUniversityofNewYorkatFredonia,Fredonia,NewYork,United
States.
Figure14:
PhotographofStefanZweig,photographerunknown,circa1930s,locationunknown,©
AlfredZweigCollection,DanielA.ReedLibraryArchives&SpecialCollections,State
UniversityofNewYorkatFredonia,Fredonia,NewYork,UnitedStates.
Conclusion
AccountsofthesartorialpreferencesandpatternsofVienneseJewryarerareand
generallyappearinstudiesofthebroadercultureofthissegmentoftheViennese
population.Itshouldbenotedthatthecasestudiescommonlyconfinethemselvesto
thoseofthefinancialéliteorthoseindividualswhostoodoutasexamplesof
contributorstothegeneraldevelopmentofViennesemodernistculture.Asindividuals
ofaninflatedsocialrankonaccountoftheirfinancialorculturalstatusthesemembers
oftheVienneseJewishcommunityoftenhadtheabilitytocrosssocialboundariesthat
wereclosedtotheirlessprominentcoreligionists.Zweig,forexample,although
privatelyconcernedwiththeissuesaffectinghis“race”befriendedmanycultural
luminariesnotonlywithinAustria,butalsoacrossEurope,allthewhileremaininga
memberoftheVienneseJewishcommunity.
ThisarticlehasprobedtherelationshipofJewsanddresswithinthecontextof
modernisationandacculturationincentralEuropeduringthenineteenthandearly
21
twentiethcenturies.TheimagesexaminedrevealthemannerinwhichAustrianJews,
liketheZweigfamily,embracedwidespreadsartorialfashionsoftheday.Theircarefully
managedappearancesinconjunctionwithconventionsofsartorialrespectability
stronglyrefutedthenotionofJewishbodilydifferencethatwasprevalentnotonlyin
ViennabutacrossEuropeandfurtherafield.ExaminingthesartorialmodesofZweig’s
lesserknownrelativesexplorestheinfluencesonnotonlyhisownmultifaceted
identity,butalsothatofotherViennese,Jewishculturalluminariesofasimilar
background,andthemanyunknownmembersoftheJewishbourgeoisie.Hisorigins,
albeitofprivilege,werenotdissimilarfrommanyofhisunnamedcoreligionistswhose
forebearsalsohailedfromvariouspartsoftheDualMonarchy.ForZweig,likemany
otherJewsofasimilarbackground,BildungandmodernGermanculturewasofutmost
importancewhileJudaism(andJewishidentification)playedasecondaryrolethat
wouldstrengthenone’sdedicationindevelopingandperformingamodernEuropean
identity.
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AuthorBiography
JonathanC.Kaplan,PhDisanhonoraryadjunctfellowattheImaginingFashionFutures
LabattheUniversityofTechnologySydney.HisresearchfocusesonJewishmenand
politicsofdressinViennaattheturnofthetwentiethcentury.Hecurrentlyteaches
designhistoryattheUTSInsearchandtheUniversityofNewSouthWales.
