Editing Art Deco (section)

==International Exhibition of Modern Decorative and Industrial Arts (1925)==
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File:Postcard of Exposition des Art Decoratifs et Industriels Modernes.jpg|Postcard of the [[International Exhibition of Modern Decorative and Industrial Arts]] in [[Paris]] (1925)
File:Paris-FR-75-Expo 1925 Arts décoratifs-entrée Place de la Concorde.jpg|Entrance to the 1925 Exposition from [[Place de la Concorde]] by [[Pierre Patout]]
File:Paris 1925 59878912.jpg|The Polish pavilion, designed by [[Józef Czajkowski]] and [[Wojciech Jastrzębowski (sculptor)|Wojciech Jastrzębowski]]
File:Paris-FR-75-Expo 1925 Arts décoratifs-pavillon des Galeries Lafayette.jpg|Pavilion of the [[Galeries Lafayette]] department store
File:Salon of the Hotel du Collectionneur (1925).jpg|Salon of the Hôtel du Collectionneur, furnished by [[Émile-Jacques Ruhlmann]], painting by [[Jean Dupas]], design by [[Pierre Patout]]
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The event that marked the zenith of the style and gave it its name was the [[International Exhibition of Modern Decorative and Industrial Arts]] which took place in Paris from April to October in 1925. This was officially sponsored by the French government, and covered a site in Paris of 55 acres, running from the [[Grand Palais]] on the right bank to [[Les Invalides]] on the left bank, and along the banks of the Seine. The Grand Palais, the largest hall in the city, was filled with exhibits of decorative arts from the participating countries. There were 15,000 exhibitors from twenty different countries, including Austria, Belgium, Czechoslovakia, Denmark, Great Britain, Italy, Japan, the Netherlands, Poland, Spain, Sweden, and the new [[Soviet Union]]. Germany was not invited because of tensions after the war; the United States, misunderstanding the purpose of the exhibit, declined to participate. The event was visited by sixteen million people during its seven-month run. The rules of the exhibition required that all work be modern; no historical styles were allowed. The main purpose of the Exhibit was to promote the French manufacturers of luxury furniture, porcelain, glass, metalwork, textiles, and other decorative products. To further promote the products, all the major Paris department stores, and major designers had their own pavilions. The Exposition had a secondary purpose in promoting products from French colonies in Africa and Asia, including ivory and exotic woods.

The Hôtel du Collectionneur was a popular attraction at the Exposition; it displayed the new furniture designs of Emile-Jacques Ruhlmann, as well as Art Deco fabrics, carpets, and a painting by [[Jean Dupas]]. The interior design followed the same principles of symmetry and geometric forms which set it apart from Art Nouveau, and bright colours, fine craftsmanship rare and expensive materials which set it apart from the strict functionality of the Modernist style. While most of the pavilions were lavishly decorated and filled with hand-made luxury furniture, two pavilions, those of the Soviet Union and Pavilion de [[L'Esprit Nouveau]], built by the magazine of that name run by Le Corbusier, were built in an austere style with plain white walls and no decoration; they were among the earliest examples of [[modernist architecture]].{{Sfn|Charles|2013|pages=35–104}}