Many realistic flower patterns represent a tradition that does not decline over the years, but as the 1910s advance, more and more abstract "moderne" florals appear. Bright and dark jeweled-tone colors arrive in the second book, reflecting the influence of the fauvist painters. Even chinoiserie patterns take on these colorations, giving a modernist look to the most traditional of designs [fig. 198]. In the third book, which encompasses the years 1910-12, designs by both Raoul Dufy and Paul Iribe appear, and "moderne" florals roughly equal the number of traditional designs.

In the following books, "Viennese" designs continue to appear, but a new and brilliant combination of weaving and printing techniques emerges around 1913. Bianchini had arrived at the idea of chinoiserie patterns printed on velvets with voided Renaissance-revival patterns, large florals printed on damask patterned with "paisley" designs derived from Kashmir shawls, even florals by Raoul Dufy printed on velvets with huge Renaissance-inspired patterns [fig. 199]. These are perhaps Bianchini, Férier's masterpieces, produced only during the 1910s and early 1920s. The imaginative superimposition of patterning creates many levels and points of view, echoing modernist concerns and creating an interesting textile counterpart to the cubist method of collage.

Pattern sample books with textile swatches have also been preserved from the Lyon company of Coudurier-Fructus-Descher in the Musée des Tissus de Lyon. Coudurier-Fructus-Descher, like Atuyer, Bianchini, Férier, responded to developments in the art world, but perhaps less immediately. Its early books reveal many revival designs, from lacy eighteenth-century brocaded silks to Renaissance-revival lamés and realistic florals. Like Atuyer, Bianchini, Férier, Coudurier-Fructus-Descher was a exponent of Japonist and art nouveau patterns in 1900, but it is clear that this house also was responding to textile design influences from abroad, especially Britain. The English influence is explicit, as with the product names that include the famous arts and crafts London department store by name: "Liberty Imprimé," "Liberty Cachemire," or "Satin Liberty," indicating types of woven textiles rather than patterns. Far fewer Coudurier-Fructus-Descher patterns were forward-looking before 1910 than those of Atuyer, Bianchini, Férier.

In 1910, pastel colors predominate, and fabric weights are medium to heavy, even for summer. The modern world begins to creep into Coudurier-Fructus-Descher's products, if only into their names. "Toile auto," "twill flyer," and "moiré radium" all reflect contemporary developments. "Satin Marconi" exhibits an undulating wave pattern that the designer must have thought related to telegraphic transmission or to sound waves. Art nouveau patterns occasionally appear, but there are only two abstract florals or patterns influenced by Charles Rennie Mackintosh [fig. 200]. The following year, 1911, saw a number of modernist changes. In the winter of 1910, four years later than at Atuyer, Bianchini, Férier, bright colors make an entrance: purples, oranges, greens, and reds that reflect the bright unreality of the fauvist painters. Coudurier-Fructus-Descher's metallic lamés now have large areas of glittering gold and silver or patterns in satin weave in stylized floral and Kashmir patterns, reflecting a growing taste for shiny surfaces that previews the coming "machine-age" aesthetic. Abstract motifs also begin to appear. Of 106 patterns produced for winter 1910-11, 14 were decidedly modernistic, ranging from "electric" zig-zags to "Russian" florals in bright peasant colors. In summer 1911, a few small abstract florals reflecting the style of Raoul Dufy's designs for Atuyer, Bianchini, Férier begin to appear in Coudurier-Fructus-Descher's line. The overall predominance of small- and medium-scale traditional patterns continues, however, with only 35 abstract floral patterns out of 198 textiles produced for that season.