[en] This Final Degree Project entitled From Painting to Fashion Design: Sonia Delaunay was born out of an interest in immersing myself in the artistic branch of the Degree in Industrial Fashion Management, through the study of a female figure who does not have the recognition she deserves: the Ukrainian-born artist Sonia Delaunay. The main objective of this work is, on the one hand, to analyse which of Sonia Delaunay's pictorial approaches were transferred to her fashion designs and, on the other hand, how her proposals have served as inspiration to later generations and thus, to better understand the scope and survival of her legacy. To do this, we first delve into the context in which she lived, marked by the development of the avant-garde in the plastic arts and, specifically, of Cubism, which Sonia was steeped in from her youth. The search and review of bibliographical sources allow us to approach the understanding of the new developments that Sonia Delaunay's work proposed within the so-called Simultanism, starting from the paths previously explored by the analytical and synthetic cubist painters. In order to explore them in greater depth, we have analysed her pictorial work, relying on the search for abundant graphic material, which allows us to discover how these new developments were mainly enriched by the use of colour. In fact, colour deserves special attention when studying Sonia Delaunay's work, as it is the basis of her work, both in the field of art and fashion, as well as in other "minor or applied arts", such as bookbinding, illustration, photography or the application of her painting to household utensils. We then approach the study of the transfer of these approaches to the field of Fashion Design, trying to identify which elements of composition, structure, colour, geometry... applied on the surface of a canvas were also used in the conception of garments. In doing so, we are able to discover the cubist and simultaneous features in Delaunay's work with fabrics that interacted with the body through colour, geometric patterns and the exploration of new silhouettes. Overall, his work was a manifestation of his vision of fashion as an art form in motion, fusing art, fashion and the human body into visually stunning creations full of vitality. Lastly, we delve into identifying who and how they were inspired by Delaunay's proposals. The examples that we have been able to locate show a broad panorama that includes the names of Armani, Altuzarra, CFCL, Stella McCartney and Roksanda. They have been able to reinterpret Sonia Delaunay's work and, in doing so, not only recognise its value, but also keep her legacy alive. In short, this work shows that Sonia Delaunay was one of the pioneers in exploring the possibilities of avant-garde plastic proposals in the field of Fashion Design.

[gl] Este Traballo de Fin de Grao titulado Da pintura ao deseño de moda: Sonia Delaunay nace polo interese de mergullarme na rama artística do Grao en Xestión Industrial da Moda, a través do estudo dunha figura feminina que non dispón do recoñecemento merecido: a artista de orixe ucraína Sonia Delaunay. O obxectivo principal deste traballo é, por unha banda, analizar cales das formulacións pictóricas de Sonia Delaunay tiveron un traslado aos seus deseños de moda e, por outro, de que forma as súas propostas serviron de inspiración a xeracións posteriores e así, comprender mellor o alcance e permanencia do seu legado. Para iso, primeiro, abordamos o coñecemento do contexto no que viviu, marcado polo desenvolvemento das vangardas nas artes plásticas e, especificamente, do cubismo, do que Sonia empapouse desde a súa mocidade. A procura e revisión de fontes bibliográficas permítennos aproximarnos á comprensión dos novos desenvolvementos que expuxo a obra de Sonia Delaunay dentro do chamado simultaneísmo, partindo dos camiños previamente explorados polos pintores cubistas analíticos e sintéticos. Para profundar neles, realizamos unha análise da súa obra pictórica, apoiándonos na procura de abundante material gráfico, que nos permite descubrir como eses novos desenvolvementos víronse principalmente enriquecidos polo uso da cor. De feito, a cor merece unha atención especial cando se estuda a obra de Sonia Delaunay, pois é a base do seu traballo, tanto no ámbito da arte e a moda, como tamén noutras "artes menores ou aplicadas", como a encadernación, a ilustración, a fotografía ou a aplicación da súa pintura a utensilios do fogar. A continuación, abordamos o estudo do traslado desas formulacións ao campo do deseño de moda, tratando de identificar que elementos de composición, estrutura, cor, xeometría… aplicados sobre a superficie dun lenzo utilizáronse tamén na concepción de pezas de vestir. Con iso, somos capaces de descubrir os trazos cubistas e simultáneos no traballo de Delaunay con tecidos que relacionábanse co corpo a través da cor, os patróns xeométricos e a exploración de novas siluetas. En xeral, o seu traballo foi unha manifestación da súa visión da moda como unha forma de arte en movemento, fusionando a arte, a moda e o corpo humano en creacións que impactan a nivel visual e cheas de vitalidade. En último lugar, penetrámonos na identificación de quen e de que forma atoparon inspiración nas propostas de Delaunay. Os exemplos que se puideron localizar mostran un panorama amplo no que figuran os nomes de Armani, Altuzarra, CFCL, Stella McCartney e Roksanda. Eles e elas souberon reinterpretar a obra de Sonia Delaunay e, con iso, non só recoñecer o seu valor, senón tamén manter vivo o seu legado. En definitiva, este traballo pon de manifesto que Sonia Delaunay foi unha das pioneiras en explorar as posibilidades das propostas plásticas vangardistas no campo do deseño de moda.