By 1915, when the Tirocchi shop opened at 514 Broadway, "moderne" patterns were still the exception rather than the rule. Only 22 of 126 patterns produced by Coudurier-Fructus-Descher for summer 1915 were "moderne,"but the abstract, stylized flower was prominent among them. By contrast, the Bianchini, Férier book for 1915 has twice as many "moderne" as traditional florals and includes more than twenty-five abstract geometric designs.

During the late 1910s and after the First World War, French textiles underwent a change in scale. By 1920, both Coudurier-Fructus-Descher and Bianchini, Férier's books included many huge floral, Kashmir, and chinoiserie patterns. The scale of these patterns had expanded greatly since 1915, and the weight of the fabrics had shifted from medium-to-heavy to medium-to-light. By now, Coudurier-Fructus-Descher had accepted modernist principles, and fully sixty-four patterns represent "moderne" design, including one printed textile with huge flowers [fig. 201] not unlike the fabric used by the Tirocchis for an opera coat [fig. 147, p. 172]. In contrast to Bianchini, Férier, Coudurier-Fructus-Descher was finding its niche in the weaving of extremely complicated brocaded textiles in lampas and double- and triple-cloth techniques with the addition of gold and silver threads. Superimposition of patterning at Coudurier-Fructus-Descher took the form of the combination of weaving techniques: satin stripes with patterned brocade or many-layered woven patterns that fully used the technical potential of the Jacquard loom [fig. 202].

Other patterns reflect the "exotic" inspiration associated with cubist art. Once again, Coudurier-Fructus-Descher's fabric names are revealing. A decided interest in exoticism is evident in "Crêpe Égyptienne," "Crêpe Rajah," "Moiré Saigonnaise," and "Crêpe Muscadin." By 1925, all the depth and breadth of Anna Tirocchi's contemporary taste are reflected in the sample books: modernist Japonist designs; chinoiseries; Kashmir patterns; huge geometric lamés; cubist patterns; exotic designs reflecting the art of Africa or Southeast Asia; and many small-, medium-, and large-scale "moderne" floral patterns.

Textiles manufactured by Bianchini, Férier; Coudurier-Fructus-Descher; and by Soieries F. Ducharne confirm another aspect of French design reflected in the textiles purchased by Anna Tirocchi for her American clients. At the same time that many modernist textiles were being woven in Lyon, other more traditional designs also were being produced by the very same firms. Small geometrics, realistic florals, Renaissance and Medieval motifs continued to be popular throughout the whole period of operation of the Tirocchi shop. They formed an important part of French textile production in 1925 - even at Bianchini, Férier, the leader in modernist design - at what has traditionally been considered to be the height of the "moderne"/Art Deco style.