Beautiful People: a new show at the Fashion and Textiles Museum, London

I haven’t shared a museum or gallery visit with you in such a long time (for sadly obvious reasons) but, at last, I’ve been to one that is probably worthwhile to write about because you may have time to visit it for yourself if you’re within reach of London!

‘Beautiful People: the boutique in 1960’s counterculture’ is the latest exhibition to open at the Fashion and Textiles Museum in Bermondsey, London. I went a few days after it opened and there was a lovely ‘buzz’ to it because a good number of people were there (but not too crowded by any means) and a great backing track of familiar Sixties music to accompany it.

The map at the start shows the locations in and around London of all the boutiques featured in the show, some of them were remarkably short-lived whilst others opened more than one branch, at least for a time.

Boutiques were an entirely new concept at the start of the Sixties, before then young people were pretty much obliged to dress exactly like their parents and shopping for clothes, if you didn’t sew your own, was a very dull affair in traditional gents outfitters or snooty ladies dress shops. All of that began to change when Mary Quant opened Bazaar, her first London boutique and many others soon began to follow suit (pardon the pun!) Clothes shopping became a fun and sociable activity, trendy boutiques with exciting interiors, pumping music tracks and fast-changing, attractive merchandise became more commonplace.

Both young women and men started to break away from the constraints of very formal fashions prior to the early Sixties and young men in particular embraced much less starchy ‘masculine’ designs with many bright colours and shapes and new fabrics coming into their wardrobes. Women of course were already embracing miniskirts with wild enthusiasm.

Beatle George Harrison wearing a formal tailored jacket made using William Morris’ Golden Lilies fabric.

Jimi Hendrix lived in London for 9 months 1968-69 and fully embraced the vibrant lifestyle, including clothes like this ruffled crepe-de-chine shirt. (I can recommend a visit to the Handel Hendrix Museum in Mayfair if you have half a day to spare in London)

The use of floral designs on men’s clothing from the mid sixties onwards demonstrates how gender-fluid fashions were becoming over this period. The shirts were often reminiscent in style of Eighteenth century shirts worn by men with ruffles and frills but such exuberant prints were a new departure.

In 1966 a young Mick Jagger bought an authentic late nineteenth century Grenadier Guardsman’s jacket for approximately £4 from a King’s Road boutique to wear on TV music show Ready Steady Go. After his appearance, the shop promptly sold out of everything they had in stock!

The club UFO was a favourite amongst the hip young ‘set’ and their artwork shows a mixture of Art Nouveau influences and psychedelia.

The print on this shirt is typical of the new designs gaining popularity, this features a montage of images taken from Nineteenth century fairground and circus posters.

Moving on through to the main part of the exhibition, it is set out with examples of garments from a number of the boutiques which were most notable during the Sixties. Often they are in high-cost areas of London such as Chelsea or Knightsbridge, and were owned and run (with varying degrees of financial competence and success) by the wealthy offspring of British landed gentry. The information notes made me laugh because they describe how dark, noisy and shambolic a lot of these shops were, with stock all over the place, inconsistent supply and poor quality of the stock, they weren’t intended to be welcoming if you were the ‘wrong sort’ of shopper! Some were barely shops at all, just a space to hang out with your friends that had a few clothes draped around it (like a teenager’s bedroom…) If Daddy was underwriting the venture it didn’t much matter how successful it was!!

Granny Takes a Trip was one of the best known of these boutiques and traded for a good length of time compared to most. Eventually, during the Seventies, Malcolm McClaren and Vivienne Westwood took over the premises and it went through a number of incarnations before becoming her flagship World’s End store.

Hung on You, dapper suits for men

Androgynous men’s wear at Mr Fish

The Beatles even got involved with their Apple boutique.

Of course Biba is the name most synonymous with Sixties boutiques, I overheard several show visitors reminiscing about shopping there and it sounds like a chaotic experience…I can’t stand shopping in Primark because of all the mess, Biba sounds like a Stygian nightmare!

Quorum was another popular hangout

Many of the clothes were not especially well constructed or made using good quality fabrics. They were experimental with new textile developments embracing the likes of Nylon, Lurex, Crimplene and the now-derided Polyester. Of course, at the time, these were terrifically exciting new innovations so it’s easy for us to be sniffy about them now but it released millions from the drudgery of labour-intensive laundry or buying expensive-but-dull clothes which had to last.

Biba and Quorum displays

Moving upstairs there are even more examples of the fashions from the decade, it was interesting to see the more fluid shapes here with possibly 1930s and 40s influences, certainly different from Mary Quant’s simple colour-blocked shapes at the same time.

Men’s tailoring, including green panne velvet.

There’s more than a hint of Glam Rock creeping into these outfits with Lurex and lame a-plenty.

The zigzag design on this dress pre-dated Bowie using it as a part of his Ziggy Stardust persona.

From the late Sixties into the early 1970s many Boho, patchwork, ‘ethnic’ and ‘gypsy’ styles enjoyed huge popularity. They were often pieced together scraps of Indian cottons and silks, this in an era when sustainability had little to do with everyday life and protection of the planet was seen by many as the preserve of slightly cranky individuals…

The Fashion and Textiles Museum was originally the brainchild of legendary British designer Zandra Rhodes so it is only fitting that there are few examples of her own work upstairs to finish.

There are also dresses by other iconic designers of the era including Bill Gibb, and Ossie Clark and his wife, textile designer Celia Birtwell. These designer outfits are much higher quality than many in the show, they are beautifully made using gorgeous fabrics with exquisite details and my photos can’t do them justice.

To sum up, this is a show that any generation can enjoy because there are so many great clothes on show. I’m not old enough to remember much of the Sixties but that didn’t matter-I enjoyed overhearing some of the women chatting who clearly were there though! The show is on now until March 13th, booking is recommended although I didn’t and took a chance on the day. FTM is a small independent museum and I always enjoy a visit there, White Cube art gallery is a few minutes walk further down the road plus there is a glass blowing studio nearby which is open to watch the artisans at work so there’s much to enjoy in the area. It’s so close to the river too which is a bonus.

How’s this for an iconic view of London? You’re welcome!

It’s wonderful that museums and galleries are now reopening and they need our support if we can offer it as we emerge from the pandemic. The ones I’ve visited so far have felt safe and not too crowded, numbers are limited and booking is definitely advisable if you’re making a special trip, and the opening days may be more limited too so check their websites.

Thanks for reading, until next time,

Sue

Kimono:Kyoto to Catwalk

I hadn’t really planned to write anything about the Kimono:Kyoto to Catwalk exhibition at the V&A because (obviously) I am not an expert and in no way qualified to authoritatively discuss the historic and cultural influences of Japan and the kimono, but then Covid 19 reared its ugly head and now the museum is closed for the foreseeable future, and at the time of writing this we are confined to our homes. Based on this I have decided to put the photos I took into some sort of album so that anyone who had hoped to go to the show can take a look, along with occasional comments based on the information I gleaned from the show and also from a lovely book “Fashioning Kimono” which I was given by a friend recently. I really hope that the current crisis eventually abates to allow this fascinating and lovely exhibition to reopen its doors to the public.

Because I’m a V&A member I had a ticket to a preview day which I nearly didn’t go to but I’m so glad now that I did. The show is set out largely chronologically, visitors are greeted initially by examples of an early nineteenth century kimono alongside a modern example by a Japanese designer and one with Japanese-influence by John Galliano for Christian Dior.

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  The stunning robe in the foreground is actually from around 1800-1830.

Kimono (meaning ’thing to wear’) is the national dress of Japan and is worn by both men and women. It is a one-piece front-wrapping garment which has changed little for millennia. Traditionally it is made by using the minimum number of cuts from a bolt of fabric around 12 metres long and 40 centimetres wide so that all the fabric is used. Kimono is now more commonly used as a name which covers several styles which, in Japan, would each have their own name to distinguish them, usually by the style of sleeve they have. The fabrics are made from a variety of fibres, most notably silk of course but also cotton or other plant fibres including ramie and hemp.

Moving into the next room there are numerous examples of exquisite historic kimono, alongside pattern books featuring beautiful line drawings of designs which clients could choose from.

A variety of different techniques were used to decorate the kimono including various methods of dyeing such as variations of tie-dye using shibori embroidery, and a form of warp (or weft) printing which, simply put, is when the warp threads are printed before the fabric is then woven. This gives the finished design an attractive fuzzy-edged quality, you may know it as Ikat. [Please excuse my vague descriptions as I didn’t make any written notes.] The red kimono below is a very fine example of kanoko shibori, a labour-intensive, and very expensive, method of tie-dyeing.

This is a beautiful example of a whole narrative running up and across the kimono.

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  these are two fine examples of Obi, or the waistband or belt used to secure the garment. These rarely survived because continued bending and folding would cause them to disintegrate eventually.

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  This is a stunning example of a wedding kimono, the bride would initially be wearing a white kimono for the ceremony and afterwards changing into a red one, which is seen as an auspicious colour and also symbolic of her moving into her new husband’s family.
  

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  the elaborate and complex hairstyles would include many ornaments and combs for decoration.

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  This is an example of a man’s informal summer kimono made in printed cotton.

The next spectacular garment, which is part of the V&A’s permanent collection, was made for and worn by a concubine who would parade in it for all to see. The quality of the embellishment is mind-boggling, there is masses of gold thread, applique, some of the creatures have ‘whiskers’ and ‘hair’. The shoes are modern reproductions of the sort of elevated footwear these women would have worn, one imagines they had attendants accompanying them to prevent a mishap?!

The garment underneath is a modern reproduction.

The exhibition explores the complex relationship between Japan and the West and the influences that had over the fashions of each nation. Once trade routes between Japan and the West started opening up a thirst for the beautiful silk fabrics and kimono-style garments began to develop. From the seventeenth century onwards merchants would take return with these items and they were soon adopted by fashionable high society. Japan responded to this demand by manufacturing textiles and garments specifically for the western export market.

This garment is slightly unusual because the silk fabric was woven in Europe and was then taken to Japan where it was made into this traditional garment, the process was more often the other way around.

This garment was made in Indian woven cotton, a popular fabric in Japan, and was worn as a type of undergarment beneath the richer silk garments, or informally in the home.

This is an example of a Japanese-influenced garment made from Indian manufactured textiles, probably cotton, specifically for the export market. Fashionable European society like to wear them informally at home. There were also padded variations of garments too which were traditionally used for sleeping in in Japan and they became the precursor to the dressing gown as we now know it in the west.

‘Lord and Lady Clapham’ two slightly sinister eighteenth century dolls with real hair wearing Japanese-influenced outfits.

This beautiful mid-nineteenth century ensemble was made from beautiful Japanese silk but in the fashionable mode of the day.

This elegant Victorian lady is wearing an exquisitely embroidered kimono, the actual garment was displayed nearby.

and this gauze gown is the actual garment featured in the beautiful Victorian portrait above.

The colours are still so fresh and vibrant.

From this point on the exhibition demonstrates the two-way process of influences between Japan and the west. Japan had developed a huge export market of textiles and apparel specifically for the west, and western styles of attire and textile design can be seen entering Japanese design, away from the previous traditional norms.

The print on this mens kimono is interesting because it features motifs of the Russo-Japanese war 1904-1905

a mantle designed by Paul Poiret in about 1913. The early twentieth century saw many fashion designers including Paul Poiret and Callot Seours being heavily influenced by Japanese style. This was in part because it offered a new freedom to the women who had been restricted by corsets and other encumbrances for centuries.

This early twentieth-century robe was created using beautiful embroidered cloth made for the export market. It’s a ‘modernised’ version of traditional floral designs.

Even Cartier got involved, this is a pair of stunning Japanese-influenced diamond brooches, and two smaller ones.

A late nineteenth century kimono which is a mix of traditional floral design overlaid with a geometric design. If you look closely at the centre back seam you can see how the pieces of the garment were embroidered separately and then sewn together because they aren’t quite a perfect match.

This beautiful design is from the early twentieth century for a young girl.

The influence of Scottish designer Charles Rennie Mackintosh can clearly be seen in this robe from around 1912-1926

These kimono, and those in the photo below are largely from the early twentieth century and demonstrate a variety of printing techniques

The final space is the most spectacular simply because of the dazzling array of beautiful garments and the high-ceilinged space they are displayed in.

The daily wearing of kimono gradually fell out of fashion for most Japanese people during the last century when western styles of dressing were adopted. There has been a move back to them for significant events including marriage, or certain birthdays.

Two modern kimono belonging to a young woman and a seven-year-old child

There are a mixture of ensembles from both Japanese and western designers, including Alexander McQueen and John Galliano.

a 21st century wedding ensemble made from exquisite jacquard-woven silk cloth but very much in the ancient traditional style

This fabulous garment is also for a wedding, the embroidery is absolutely breathtaking.

a close-up of the embroidery, cranes are auspicious and a symbol of longevity.

the neon colours of the right-hand kimono are very striking, the print features various undersea creatures such as jellyfish but also, at the bottom left, a aircraft which has crashed into the sea!

How is this for awesome pattern matching?

This ensemble is from 2009

the short coat to the left is by Nigerian-born and London-based designer Duro Olowo from his Autumn/Winter 2015 collection and it mixes both Japanese and Nigerian influences.

Kimono-inspired garments from Star Wars films, the outfit on the left was worn by Alec Guinness as Obi Wan Kenobi.
This section of the exhibition looks at the influences of Japanese attire in films and also music videos.

On the left is a very luxe housecoat that belonged to Freddie Mercury and the red outfit was designed by Jean-Paul Gaultier for Madonna.

Icelandic singer Bjork photographed in this Alexander McQueen-designed outfit

It can only be John Galliano for Christian Dior!

pose like the model??

hand-painted and appliquéd lace with scattered bugle beads

This final spectacular garment was made especially for the exhibition

In conclusion, I hope you enjoyed a brief skip through an exhibition which had so much to offer. It’s visually stunning and has many thoughtful, and helpful, explanations of the links between Japanese and Western fashion and style. I am indebted to the book “Fashioning Kimono” for a few technical explanations which I’ve transcribed in my own words here but I do not seek to go in depth, I hope you understand.

It would be such a pity if more people can’t, eventually, get to see this lovely show but only time will tell how the current world situation works out. I have recently found this YouTube series of short films with the V&A curator guiding you around the show so you might enjoy watching it.

In the meantime, keep washing those hands!

Sue

Manolo and McQueen

Just a quick update of two exhibits which are in London at the moment in case you’re planning a visit to the capital.

At the Wallace Collection in Manchester Sq just behind Oxford St there are currently many beautiful examples of the shoes made by Manolo Blahnik over the course of his long career. He is a frequent visitor to the museum and over the years has used many of the rooms and their paintings and artefacts for inspiration. It’s easy to see this as you move around the upper rooms in this building which hosted many fashionable parties in its elegant salons. The shoes are displayed within beautiful glass domes and they have been placed in specific rooms and settings by Blahnik himself.

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Even if you’re at the Wallace Collection primarily for the shoes don’t neglect the rooms themselves because there’s lots of varied and beautiful art to display including several Rembrandts, Gainsborough and Sir Joshua Reynolds portraits, and The Laughing Cavalier by Frans Hals (more of a smirk really…)

don’t forget to look up at the spectacular chandeliers

This painting shows Maria Camargo, the woman generally regarded as the first ‘ballerina’ because she danced so daintily on her toes.

Madame de Pompadour

The Swing by Fragonard. Vivienne Westwood has said that this was a influential painting for her when she was creating her more structured and sumptuous gowns.

We listened to a very enlightening talk about this deceptively simple painting called The Lacemaker. It’s small but beautifully observed.

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So, lots and lots of shoes, some-most-were very impractical, bought by women who don’t have to walk far or travel on public transport…This exhibition is on until September 1st and is free to enter which has to be a very good reason to go.

Also free is the exhibit on the second floor of the Alexander McQueen store in New Bond St, it’s intended for students but as a keen dressmaker I think that counts too.

We had attempted to visit here several weeks ago but it was closed because they were filming so do be aware there’s a possibility it might not be open for some reason. Check the shop opening hours too.

I was practically hyperventilating as we climbed the spiral staircase (with anticipation not lack of exercise!) I have been a long time admirer of Lee Alexander McQueen’s work and that of Sarah Burton since his untimely death in 2010 so to be so close to the garments, samples, inspirations and working processes is an extraordinary opportunity. I visited the Savage Beauty exhibition at the V&A in 2015 a ridiculous eight times and I’m not ashamed of it!! Part of what I admire is that McQueen himself was the whole package-he designed incredible garments which pushed boundaries but he could also cut patterns, sew garments by hand or machine, he was a true visionary.

You’re not left to your own devices once in the exhibition space, there is a member of staff to show and explain anything. Maria was there when we visited and she explained that she works in the Atelier most of the time and at others she is at the exhibit to help visitors to understand and appreciate what they are seeing. Whoever is there if you visit make sure you ask questions to get the most from it.

On the rails are examples of vintage garments which were deconstructed to their bare bones, analysing the techniques underneath in order to create new and original garments.

For example the beautiful black embellished jacket and trousers were inspired by several vintage and antique mens frock coats and jackets, the exposed canvas, pad-stitching and quilting were reinterpreted with a modern twist, including beautiful jet-embellished lace applique. [Take a look at my previous post when I refashioned a two piece suit into a McQueen inspired jacket.]

Some of the inspiration for the fabrics came from an antique Jacquard fabric samples book found in a Parisian flea market.

Inspiration boards including Victorian photographs and fabric samples

A few of the many photographs taken on the house models in the looks at various stages of development.

We were told that some of the jet beads used were salvaged from antique jewellery and repurposed, that’s high-end upcycling!

As well as the black suit there is also a completely contrasting dress which has it’s origins in the John Everett Millais painting of Ophelia (in Tate Britain) the pioneering photography of Julia Margaret Cameron, a Victorian wedding dress and original Victorian corsets which, like the jackets, have been taken apart to analyse their construction.

one of the mood boards accompanying the dress

an original Victorian wedding dress

You can see how the boning sits in pockets semi-exposed just as it did in the Victorian original

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In addition to the actual dress there is a full-size and several miniature versions made in printed paper which are like beautiful sculptures.

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Fabric to dream of….

There is also an outfit with a hand-painted leather jacket and asymmetric knitted dress underneath, it turns out that our guide Maria was responsible for painting it (in gouache apparently)

Hand-painted leather jacket

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happy face…

In addition to the new garments there are a few from previous collections including the iconic high-collared corset made in 1997 by Mr Pearl.

If you’re interested in the ‘bones’ of garments and knowing some of the processes which lead to their creation then you’re bound to find this a fascinating exhibit to visit-I felt incredibly privileged to be able to see the garments so close and to have someone like Maria explain firsthand what we were seeing. As I said earlier, the exhibits will change regularly, this one is due to continue for a few more weeks and then a new one will be installed in September, we asked what it might be but Maria was sworn to secrecy!

Overall, two fascinating short term exhibitions which are worth a visit if you get the chance.

Until next time,

Sue

Paris Sewcial 2019

Phew, well that went too quickly!

At the beginning of the year Charlotte (@englishgirlathome) and Carmen (@carmencitablog) announced there was to be another Paris Sewcial in May. It was a free-to-attend event, you just needed to get yourself there and book your own accommodation. The previous one was four years ago and at the time I was just getting started on IG and barely knew anyone, although I do remember seeing pictures pop up on my feed. This time a group of us were keen to go together and the super-efficient Claire Sews got us all organised with trains and hotels so we were soon good to go!

Six of us met at London St Pancras early on Friday morning and took the Eurostar direct to Gare du Nord, it was a short 15 minute walk to our hotel near Sacre Coeur and Montmartre from there. Although our rooms were definitely compact and bijoux I was delighted to discover mine had a modest view of the Eiffel Tower! [it was better in reality than it appears in my photo incidentally] I was soundly mocked by my companions but I think they were just jealous of my room with a glimpse.

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I was keen not to spend my whole time in Paris inside shops no matter how appealing the fabric was, and it was a first visit for Kara, so we took the opportunity along with Salva to get the hop-on hop-off bus which visited all the major sites in the city. Cue a few photos of Parisian landmarks…

The Louvre

Arc de Triomphe du Carrousel

across the Seine

Notre Dame de Paris

Musee D’Orsay

Place de la Concorde

looking towards the Champs Elysee from Place de la Concorde

Place de la Concorde

LV flagship store

l’Arc de Triomphe d’Etoile

not sure what this is….

Les Invalides

the Petit Palais

Opera Garnier

In the evening we were joined by two more companions so the eight of us went to supper at a restaurant nearby and had a very jolly evening.

Sewcialists socialising!

The grand meet-up commenced at approximately 11am the next day so after a delightful breakfast at a little cafe we arrived to find a huge group of our fellow sewers at the foot of the steps in front of Sacre Coeur. It was SO lovely to see so many people there, Charlotte’s patient partner Phil took a group shot of us all together before we eventually and gradually dispersed to the fabric shops which are very close by.

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  So happy to be here

The team photo! [can you spot me?]

There are lots of fabrics shops grouped close together in the area and many of them specialise in a method of selling which I hadn’t encountered before. The fabric is grouped in fibre type so linen, silks, woollens, viscoses etc plus cottons were sub-divided into fabric type like denim or double-gauze but everything is cut into 3 metre lengths and folded on end. It sounds complex but it isn’t, you have to not be a neat-freak. It’s called ‘coupons’ and I thought it was a very good way of selling because 3 metres is plenty to make many items of clothing like a dress or a coat perhaps, although admittedly too much for some, you could always share with someone else provided you were agreed on the colour! It means you don’t have to find a member of staff to cut your fabric, they don’t need tables to cut on either. It needs to be kept tidy but I found it an enjoyable and novel way to fabric shop. I bought fabric in Les Coupons de St Pierre, Sacres Coupons and Tissus Molines but there are quite a few others close by too. There are still traditional shops too where the fabric is on the roll and staff will cut your chosen quantity, plus some stores selling haberdashery, trims and buttons etc.

Emily and Megan checking out the fabrics with Alison and Camilla, so much to choose from.

Eventually we were pretty much shopped out and in need of sustenance so the groups dispersed to various restaurants for lunch.

hurry up, we’re hungry…

In the afternoon many of us carried on to a pop-up shop where DP studio patterns were selling off ex-sample fabrics and dead stock at very low prices, as well as their own patterns. A few carried on still further to Make my Lemonade and a few other shops but some of us were pretty pooped by now so we headed back to the hotel with our swag.

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  at dp studios

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Later in the evening many of us travelled across town to a restaurant where a meal and entertainment had been laid on for us. Unfortunately the Parisian liking for late eating didn’t suit everyone after such a long and tiring day and we were all quite keen to head to our beds in the end.

After brunch on Sunday morning a fairly large group went to visit the Yves St Laurent museum at 5, avenue Marceau. As you know I love a good fashion exhibition and this was no exception, the entrance fee is €10 which I thought was pretty reasonable. It isn’t that large but there are quite a number of gowns and outfits on show, as well the studio in which YSL used to work for around 30 years. It was also an opportunity to actually chat with fellow Sewcialists without it being too noisy or fabric purchasing being our primary occupation.

The first salon was dedicated to the famous Mondrian dress with many of its iterations including Barbie and Marge Simpson, and unwearable suggestions for eye makeup.

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In the other salons were various YSL outfits from past collections.

Neon Mondrian

the real deal

I don’t think the knitted sarcophagus was my favourite, however beautifully knitted it is!

one for the summer of the jumpsuit.

YSL was the creator of ‘Le Smoking’ after all.

The studio in which St Laurent created for over 30 years was a beautiful bright, light-filled space with many artefacts which made it feel as though he had merely stepped out of the room for a moment.

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group selfie

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There is, of course, a modest and tasteful book and gift shop at the exit although I resisted the urge to buy anything else.

After leaving the museum we all headed in various directions, avenue Marceau is very near the river with its wonderful view of the Eiffel Tower. We indulged in crepes from a vendor after which we set off for the Musee D’Orsay with a very pleasant stroll along the Left Bank of the Seine-fortunately the very threatening sky never did come to anything.

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There was quite a long queue at the D’Orsay but we Brits are good at that and the time passed while we chatted. Inside was crowded so we went straight to the top floor where the Impressionist artists are housed. Amongst the painting we spotted these sewing/crocheting beauties which seem particularly appropriate, plus two favourites of mine.

We finished the day with supper back in the Montmartre area, plus the most beautiful ice cream I have ever eaten. We worked them off by climbing right up the hill to Sacre Coeur!

What did I buy did you say?? I was super-restrained and chose several plains and a classic stripe, plus an unusual print lining and a remnant with a fish design. I spent less than €100 in total which I’m happy with for the quality of fabrics that I bought.

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And then it was time to come home again…Carmen joined us for breakfast on our last morning which gave us a chance to thank her (again) for instigating/organising the whole event.

so many beautiful backdrops for a photo and we chose Pret a Manger with terrible lighting!

Even on the Eurostar home we still had lots to talk, and laugh, about and we all agreed that there had to be another Paris Sewcial in the future. Thank you again Charlotte and Carmen for having the idea in the first place-it was brilliant and such a delight to meet so many diverse yet like-minded people.

Until next time,

Sue

Mary Quant at the V&A

Mary Quant is a name which is synonymous with British, and world, fashion in the 1960’s and 70’s. She is credited with pioneering miniskirts (although these were almost certainly originally by high-end French designer Andres Courreges, she popularised it and brought it to the masses) along with youthful Vidal Sassoon ‘5-point’ haircuts, and brightly coloured tights and accessories, all things that were a world away from the stuffy, old-fashioned clothes that young people were wearing up until that point, looking like younger versions of their parents.  

She created a new and exciting fashion ‘scene’ that was fun and liberating, and which meant that young women in particular could wear what they wanted. The clothes were affordable and accessible although initially they were only available from her two London stores named Bazaar. She made them in bright colours reminiscent of children’s clothing, and often in ‘easy care’ modern synthetic fabrics such as Courtelle and Crimplene which were being developed following the end of the Second World War. Initially the garments in her shops were made in very small numbers using adapted Butterick home dressmaking patterns but this had to change rapidly with Quant’s increasing success.

A new retrospective of Mary Quant’s work has just opened at London’s V&A museum and it’s a fascinating overview of a twenty-year period of her work. During this time, she embraced a post-war boom in shopping and media marketing which resulted in mass production and export of her clothes all over the world, in a way which challenged the dominance of Parisian couture. She changed fashion with fun, edgy clothing that helped to modernise and redefine and which she promoted with high-energy fashion shows unlike the sedate shows that had gone before. Her clothes were being worn by women of all backgrounds, from celebrities and professionals, to mothers at home with young children. She developed ranges of underwear, hosiery, accessories, shoes and make up, even dolls, which often sold for not much money and so were available to just about anyone. She was at the forefront of mass-production of clothing and her garments were manufactured for over 30 years by Steinbergs in Pontypridd, Wales.

It wasn’t always mini skirts, Mary Quant’s earlier designs were more demure.

Daisy Doll with some of her many clothes and accessories.

Daisy sticker books

moulded plastic shoes and lurex hosiery.

The ‘daisy’ logo became synonymous with Quant, it came about from her absent-mindedly doodling it constantly.

Quant afoot…it turned out these rubber boots were freezing cold in winter and sweaty in summer.

Her designs helped to sustain the British textile industry in the difficult post-war years. In 1967, for example, she used stretch-towelling and velour which allowed freedom of movement and comfort in ‘loungewear’, a mode of dress we just take for granted now and can’t imagine living without.

An all-in-one leisure suit.

She also embraced a new type of wool jersey which was bonded to acetate fabric, making it more stable and could be dyed many bright colours and she exploited to the full with her iconic jersey minidresses.

She gained a reputation for reinventing tired products such as raincoats and sewing patterns. Her own initial experiments with PVC rainwear weren’t that successful because the seams were difficult to sew on standard sewing machines and they leaked so Quant quickly realised that she needed to work alongside long-time manufacturers of waterproof clothing to learn from their experience and specialist equipment.

In 1964 she signed a deal with Butterick patterns, the first British designer to do so, and this enabled home dressmakers everywhere to recreate her most popular styles in their own way whether it be in luxury fabrics or on a tighter budget. The first such pattern to be released was the iconic ‘Miss Muffet’ dress, a trademark simple shift with a pretty scalloped collar. There is a lovely original example on display made in 1964 by Sheila Hope in a fine Liberty wool. 

As well as sewing dress patterns, Mary Quant also produced knitting patterns too.

The Miss Muffet style even featured the Rolling Stones in the photo!

A lovely example of the Miss Muffet made in fine Liberty wool and loaned by Sheila Hope.

Mary Quant also collaborated with chemical and fabric manufacturers Courtaulds and ICI to bring designs of Courtelle and Crimplene fabrics to a younger, trendier audience. Crimplene, which is a polyester-based fabric with easy-care properties, had fallen out of fashion by the 1970s in favour of other better-ventilated and lighter-weight fabrics so she was commissioned by ICI to rescue it’s fading image. It was possible to buy Crimplene in over 500 UK stores at a cost of about £3 per yard (the equivalent of about £23 today)  

Many items on display were loaned or donated by ‘ordinary’ members of the public after the V&A put out a request for such items with the hashtag #WeWantQuant. There are interesting photo-montages with people’s memories of owning, wearing or making their own Mary Quant clothing, I particularly liked the quote from Sheila Nicholson, “I horrified my Domestic Science teacher by using a Mary Quant dress pattern for my O-Level!” 

Interestingly, Indie pattern design company Alice & Co have collaborated with the V&A to produce a free downloadable dress pattern so you can make your own version of a Mary Quant shift with multiple variations giving lots of options to make your own homage to the MQ mini dress, visit the V&A website for more details, and look on Instagram for lots of tester inspiration too.

There are so many garments in this exhibition which could easily be from today, they still look fresh and wearable. This year jumpsuits and playsuits are very on-trend and there are several examples on show which wouldn’t look out of place now.

I thought of the Tilly and the Buttons Coco pattern when I saw this dress.

I couldn’t believe my eyes when I saw this red dress, style name ‘Peachy’ from 1962. It’s almost identical to the red Harris Tweed version of the Simple Sew Anneka pinafore I made last year.

I didn’t expect to enjoy this exhibition as much as I did if I’m totally honest, I’m much more fascinated by the techniques, beautiful fabrics and appeal of couture but there was lots to see, along with interesting archive film clips and reminiscences from former Quant colleagues and collaborators. If you decide to take a trip to London any time before February 16th 2020 this would be an excellent way to spend a couple of fashionable hours.

Until next time,

Sue

Dior: Designer of Dreams at the V&A

The last few weeks on the blog have been very much about Sew Over 50 which has all been very exciting but that has meant that I haven’t had as much time to write about the other things which interest me a lot.

If you’ve been reading my blog for a while you’ll know that I’m really interested in the history of fashion and so visiting exhibitions of clothing from across the decades, or even centuries, is something I love to do. Living where I do I’m fortunate to be well placed to get into central London in less than an hour making most galleries and museums very accessible.

London’s blockbuster fashion exhibition this spring is Dior: Designer of Dreams which opened at the beginning of February in the V&A in South Kensington and it is such a beautiful show with literally hundreds of outfits on display. It’s being staged in their newest space, the Sainsbury Wing, which is underground but doesn’t feel remotely subterranean when you’re in it. Each room is different and begins with the single most famous outfit of all, the Bar suit from the first ‘New Look’ collection of February 1947. Nearby are other interpretations of it by the designers who followed Dior himself as head of the house which he created.

Bar suit February 1947

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  The 1947 original

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  A John Galliano interpretation

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  a back view of the original

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  an iteration by the newest Dior designer, Maria Grazia Chiuri

The show is thematic rather than chronological which personally I think makes it more coherent, not less. Whilst each designer has brought their own aesthetic to the label there is an element of timelessness about many of the creations. [It’s quite a fun game to see if you can work out which era a gown comes from, I was wrong a number of times, sometimes I went modern and they were from the 50’s and other times the opposite was true] The show takes you through a series of rooms which contain gowns of every shape and hue. Early on you come across the gown created for Princess Margaret for her 21st birthday ball in 1951. She and her mother continued to be Dior fans even after Princess Elizabeth became Queen in 1952, she herself has only ever worn British designers since.

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  such a tiny waist

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  I love the tiny star-shaped sequins
  

The rooms are cleverly arranged because you move from one to the next and they all feel quite spacious and different to the previous one, some have dark backgrounds whilst others are light and airy. Some gowns are behind glass but many are not so you can get a good view of the exquisite workmanship and skills that have gone into each of them.

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When he was alive Christian Dior made full use of the allure of Hollywood film stars to promote his collections and he dressed many leading ladies including Rita Hayworth and Jane Russell, their shapely figures were perfect for showing off his womanly designs. In fact Coco Chanel was very critical of his New Look because she saw it as a step backwards for women in terms of having to wear restrictive garments like corsets again, this coming after the relative freedom she had created with her boyish shapes in the pre-war years.

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The pastel colours in the next room are beautifully lit and there are gowns by many of the designers who have come after Christian himself including the 21 year old prodigy Yves Saint Laurent, John Galliano, Raf Simons and Maria Grazia Chiuri. I loved this room…

Moving on from this room to the next there is a marked contrast with the gowns or ensembles being influenced by or referencing travel around the world. Several of John Galliano’s most fantastical creations are here alongside more wearable dresses by the other designers.

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At various points there are also smaller cabinets and display cases containing other items of interest including beautiful perfume bottles, and photographs from Christian Dior’s beloved garden.

It might not look like it but this is dress is only about 30cms high

a perfect miniature dress embellished with flowers

A Raf Simons gown in front of a Christian Dior original

the setting in this room is stunning with thousands of papercut flowers and petals cascading from the ceiling

Lily of the Valley were one of Christian Dior’s favourite flowers and they featured regularly in his collections.

I actually wish that perfume had been wafted into this room to enhance the beautiful ambience…a hint of Miss Dior perhaps (named for his sister Catherine) or the scent of lily of the valley from Diorissimo?

The talents of all the Creative Directors are show-cased in the next room starting with Yves Saint Laurent’s brief tenure (he left to do his National Service in the army) Marc Bohan who served for the longest time and is still alive at the age of 93. After him came Italian Gianfranco Ferre followed by the notorious and flamboyant Gibraltarian John Galliano. When his reign ended abruptly under a cloud he was eventually followed by Belgian Raf Simons, and finally the first woman to hold the role, Italian Maria Grazia Chiuri.

Raf Simons

I love this pleated skirt by Raf Simons

This could only be John Galliano in his pomp

Maria Grazia Chiuri’s ‘Tarot’ coat looks as if it has been made from pieces of Medieval ecclesiastical embroidery

The next room is of particular interest to keen dressmakers because it is entirely filled with toiles of gowns, jackets and ensembles. It’s snowy whiteness is a stark contrast to all the bright colours and embellishment in the previous rooms and it heightens the drama of the superlative cutting and construction skills of the all-too-often unsung atelier staff or ‘petit mains’ as they are usually known. These are where the ideas are tried out, where the unusual cut of a sleeve is experimented with, or a dart on a collar attempted. It doesn’t waste costly and precious fabric and it helps visualise unusual proportions or new concepts. These toiles are about way more than just checking the fit on a garment.

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Moving next through a narrow space displaying hundreds of magazine covers over the decades featuring Dior fashions old and new on one side, and a glass cabinet on the other side containing many shoes, bags, scarves, jewellery and other accessories and miniature versions of gowns and ensembles perfect in every detail like the full-size originals.

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And finally you arrive at the best room of all. I had no idea what was coming so to round the corner and emerge into a huge ballroom space with lighting, music and special effects was breathtaking to say the least. There are literally dozens of gowns to look at, including three iterations of the J’Adore gowns worn by Charlize Theron in the perfume adverts.

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J’Adore gowns

gowns worn by Lupito Nyong’o and Nicole Kidman.

You need to spend as long as you can in this room to fully experience it, there are places to sit too so you can rest and take it all in.

There’s only one more gown to see before you leave and it’s set between mirrors so you get the sense that there are many dresses, not just one.

The final gown was created by Maria Grazia Chiuri and it harks back to Christian Dior right at the beginning. It is soft and feminine and it references the New Look with its full pleated skirt and elegant lines. It could be from 1947 but it is very much of the now.

I absolutely love this exhibition! I’ve been able to go twice so far, as well as attend a talk between exhibition curator Oriale Cullen and Harper’s Bazaar editor Justine Picardie. As I keep mentioning in other posts, I’ve had such good value from my Membership of the V&A and this year will be no different. In April a retrospective of the work of Mary Quant also opens too. I purchased my own membership and all views expressed here are entirely my own.

You have until July 14th to see this exhibition and if you have any chance of being in London I urge you to try and get a ticket. I believe there are 500 additional tickets available every day but they sell out very quickly, check the website for updates would be my suggestion. I hope I’ve been able to give those of you who can’t get to London a small taste of the show, and for those of you who hope to get here my photos in no way do it justice and you’ve definitely got a lot to look forward to!

Until next time,

Sue

a quick review of fashion-related books if you’re looking for present ideas!

It’s occurred to me that I’ve read a number of fashion-related books in the last couple of years which I found really enjoyable but the only two I’ve ever reviewed here was the autobiography of Vivienne Westwood, and a double biography of Alexander McQueen and John Galliano called Gods and Kings. You can still read the original posts here for the Westwood and likewise Gods and Kings although I must have fiddled with them in the past because I don’t think any of the photos now appear with them, sorry about that. I found both books well written, very readable and insightful into the lives and inspirations of all three protagonists. 

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I also enjoyed reading “Blow by Blow” which is a biography of the life and influence of stylist and patron of up-and-coming fashion designers, Isabella Blow. Written by her husband Detmar Blow after her sad death in 2007 it gives an insight into her passions and creative joie de vivre which saw her discover, promote and support Alexander McQueen and milliner Philip Treacy. Sadly, she and McQueen became somewhat estranged and her death affected him very badly. Philip Treacy, however, still speaks very warmly of her kindness, humour, and possibly her best known public quality, sartorial eccentricity. There was no hat or outfit which she deemed too ridiculous to wear out in public if it promoted her favourite young designers! In spite of coming from a wealthy background she was frequently hard up but was always generous and supportive of her protegees.

Next up is a biography of Coco Chanel by Justine Picardie. Again I found it well-written and readable (always the most important factor as far as I’m concerned, if it’s all as dry as dust and doesn’t bring it’s subject matter alive to me then it’s not going to hold my interest for long, no matter how many interesting photos there are) I discovered that Gabrielle Chanel had a sad childhood about which she was very cagey in later life and an often-colourful love life too. [Amusing fact-I knew that the film version of Dad’s Army from 2016 was factually inaccurate from having read this book! A woman discovered to be the spy at the end of the film was ‘exposed’ because she was wearing Chanel outfits direct form Paris-this was impossible because Chanel closed down her salon for the duration of the war!]

One of my most recent fashion-related reads has been former Vogue editor Alexandra Shulman’s diary of the magazine’s centenary year in 2016, ‘Inside Vogue’. As you might expect from a woman with 25 years in the most influential position in British magazine publishing she offers interesting insights into how all the elements for the centenary edition, including the secret photo shoot with the Duchess of Cambridge, gradually came together. All this was happening alongside the regular monthly publications, plus the exhibition to be held at the National Portrait Gallery in London, the Vogue Festival with a wide variety of speakers and seminars, and a celebratory gala dinner. She finishes the book on the eve of the Brexit referendum vote….  

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My penultimate book is a ‘bust the budget’ one about milliner Philip Treacy. I went to an evening ‘in conversation’ with him at the V&A (not me, someone else was talking to him, we just listened!!) It was such an enjoyable evening, the audience were held in wrapt attention as he has the most beautiful soft Irish lilt and told such charming and engrossing stories of his life and career that we didn’t want him to stop [I recommend listening to him on Desert Island Discs if you can find it as a podcast, you’ll get a sense of what I mean] I queued 45 minutes to buy the book afterwards and then another 45 minutes to have him sign it for me. It was worth the wait as I now have a personal, and very individual, inscription in the front. It’s a hefty coffee table book that’s for sure but it’s a lovely one to be able to see just how many high-profile clients he has had since being ‘discovered’ by Isabella Blow. These have included Lady Gaga, members of the Royal family and Grace Jones amongst many others.

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And finally, the most recently published book I’ve acquired is The Fashion Chronicles written by fashion historian Amber Butchart. This is a nice little book which you can dip in and out of to learn about the people she considers to be amongst the most influential in clothing and fashion throughout history. Some of her choices are quite surprising and definitely no predicable, it’s well written and well illustrated. I’d love there to be a second series of  “A Stitch in Time” as it was as much about social history as the development of clothing in the past but sadly she doesn’t think there will be at the present time. 

So that’s my not very comprehensive review of some books about fashion that I’ve enjoyed and which you might too. The links I’ve provided are generally to Amazon but I’m in no way affiliated to them, nor was I sponsored or paid to write about any of these books so all views expressed are my own.   

So until next time,

Sue

“Night & Day: 1930’s fashion and photographs” at the Fashion & Textiles Museum, London.

 

seems appropriate as the sun was going down… 

The Fashion & Textiles Museum in Bermondsey, London is hosting a new exhibition of gorgeous vintage frocks from the 1930’s so I thought I’d tell you a little about it to whet your appetite if you’re looking for an exhibition to go to.

It’s called “Night and Day: 1930s fashion and photographs” and is on now until January 20^th, 2019 so you’ve got a little while in which to see it. I know a few people are a bit sniffy about the FTM, I’m not really sure why as I think they put on small but interesting fashion and textile (!) related shows which are very varied in their content and unlike most other shows they aren’t expensive. One of the things I like best is that you can get so close to the exhibits without glass getting in the way so you can really see, in many cases, exactly what you’re looking at. There is always labelling in the vicinity for the exhibits but you also get a purpose-designed booklet, always in keeping with the theme, to accompany it as well. I generally keep this to have a read through later on because in this case there’s a wealth of background information of the social upheaval that was going on at the time to give you some context. I’ve found if I try to read the booklet I don’t look at the clothes and vice versa.

This show is divided into linked groups of gowns, dresses and ensembles, including some menswear. There are stunning evening gowns in a myriad of beautiful shades and fabrics, day dresses, floaty summer gowns complete with gorgeous straw hats and practical but elegant daywear, always with hats!

I noticed a lot of the bias-cut gowns used what appear to be flat fell seams (although it could just be top-stitching, it’s difficult to tell) This is possibly a way to stop them stretching too much but I’m just speculating.

Look at the use of stripes in this simple but stunning silk satin bias-cut evening gown. The bias cut had been popularised by French designer Madeleine Vionnet in the 1920’s and was an integral part of women’s fashions by the 1930s. 

all the pretty summer dresses…

look at this shoulder detail!

 

 

I adore this sleeve! It’s so on trend right now

 

I’d gone on this particular day because fashion historian Amber Butchart was giving a talk about her new book, “The Fashion Chronicles: the style stories of history’s best dressed” which was absolutely fascinating, she’s an excellent speaker and really knows her subject. I bought a copy of her book afterwards and took the chance to ask her if there will be another series of “a Stitch in Time” on BBC4. Sadly she doesn’t think there will be at present unless we campaign for it. I found it such an interesting series and I know a lot of others who don’t have an interest in fashion or textiles per se found it fascinating too. Shame…

I got myself into the front row haha

This show isn’t only clothes and as is often the case there are also some lovely photographs on display as well, including a gallery full of those by Cecil Beaton.

This photo made me laugh, it shows that retouching was used (too excess) then as now. This is “from char lady to Duchess” 

It might be worth mentioning that if you go along late on a Friday afternoons there’s usually a complimentary glass of bubbly available as you go in so if that doesn’t enhance the experience and get your weekend off to a good start I don’t know what would!!

I definitely recommend making the trip to Bermondsey, it isn’t far on foot from other attractions like the Tower of London and Tower Bridge, and about a 15 minute walk from Tate Modern, or Southwark and Borough Market as well so you could easily combine visits to more than one [ok, maybe not the Tower as well!]

Until next time,

Sue 

 

 

 

Fashioned from Nature at the V&A museum

This is one of the most recent exhibitions to open at the Victoria & Albert Museum in London and it’s a very thought-provoking one exploring the relationship between man, fashion and the natural world. It’s divided into the now familiar format of the historic element downstairs with the larger more modern and forward-looking section upstairs.

This works well because there are displays containing beautifully conserved clothing and accessories dating as far back as the 1600s alongside helpful and fascinating short films and information about the origins and manufacture of textiles using both traditional sources such as cotton, flax, silk and wool but also the more unusual such as pineapple fibre.

The items chosen for display demonstrate both the influence of natural subjects in the design-primarily plants and animals, and the effects of textile production on society as a whole. Cotton and wool for example were a huge part of the success of the UK for hundreds of years and made fortunes for a relatively few people but at vast human suffering for many in the form of slavery, overwork, terrible working conditions and resultant illness. Added to this was the decimation of animal and bird populations to supply the demands of the burgeoning fashion industry with feathers, fur, tortoiseshell, whalebone etc and you have a some uncomfortable viewing.

These poor little hummingbirds became fashionable earrings after Empress Eugenie wore a pair

over 5000 beetle carapaces where embroidered onto this Victorian gown.

The origins of the RSPB in the UK started towards the end of the 19th Century when Governments around Europe became concerned for the welfare of bird populations brought to the point of extinction in places.

This albatross was destined to become a muff to keep a fashionable lady’s hands warm.

Ostrich feathers were extremely popular on evening gowns and fans, this little hat is labelled as being the ‘improved starling’ hat with it’s printed feather decoration, the natural beauty of the feathers not being quite good enough presumably?

Seal populations were hugely reduced by the desire for seal fur to make or line coats, muffs and hats, as were whales for their flexible bones which were used in corsets, amongst other things. And then there’s ivory for buttons, umbrella handles and hair decorations, the list goes on…

New resources such as rubber found uses for footwear and to give elasticity to things like stockings and mens braces.

These natty rubber-soled boots are actually for a man (Oscar Wilde I’m thinking…)

Mother of pearl and seashells have long been popular for decorating objects as well as practical items like buttons.

Not everything is doom and gloom in the exhibition, there are some stunning pieces of embroidery and garments which are a visual delight. One of my favourites was an Eighteenth century man’s waistcoat embroidered with Macaque monkeys.

Floral motifs are a perennial favourite both as woven cloth and as embroidered fabric.

I was surprised to discover that using pineapple fibre to make fabric has been around for a couple of hundred years, especially given they were such expensive fruit in their own right.

This evening gown uses pineapple fibre fabric, and the handkerchief is cotton embroidered with pineapple-fibre thread.

Moving upstairs you will discover garments by designers keen to explore and embrace new textiles and technology. Stella McCartney is a well-known exponent of these with her refusal to use any animal-based product and there are some interesting examples of faux leather being made from the waste by-products of the winemaking industry, and ‘leather’ made from a type of mushroom protein! [Incidentally the episode of Desert Island Discs featuring Stella McCartney is very enjoyable and she talks about her use of ethical fabrics and textiles during it] Extraordinary stuff and virtually indistinguishable from real leather. These are ‘designer’ products though so I have no idea of the cost but like any new technology it has to start somewhere and will hopefully filter down eventually to be more affordable.

There were other examples of flora and fauna in the textile design including my favourite Alexander McQueen with a reptile-inspired dress from his Plato’s Atlantis collection.

An ‘under the sea’ evening gown by Zac Posen

Not fur but bugle beads!

This ‘leopard’ is made entirely from beads by Jean-Paul Gaultier

Another beautiful evening gown, this time by Giles Deacon, this one features a gorgeous fabric printed with birds eggs

A heavily embroidered skirt by Christopher Kane with the reproductive parts of plants!

There is plenty of information and several films which go into greater depth about the effects not only of over-consumption of textiles but also the damage it’s production does to the planet and the workers. Denim, and therefore jeans, for example if the most water-wasteful and polluting of any fabric being produced, we have to address this fact and soon. I’ll be honest and say that I was flagging a little by this time, absolutely not through boredom, far from it, but from information overload. If this is your primary interest in visiting this exhibition then go straight upstairs because there’s so much fascinating, often shocking, but ultimately encouraging information to explore.

Also, did you know that Velcro got invented because a Swiss scientist Georges de Mestral noticed while walking in the Jura during the 1940’s that burrs from plants were clinging to his clothes and his dog’s fur so he investigated further and found they were tiny little hooks. Eventually this discovery became the basis for the product we know today!

Up-cycling is another area that’s looked into, reusing textiles be it unwanted clothes or end-of-line products like ribbon to make new products. Refashioning is not new but it fell out of favour, now it’s making a return.

This outfit is made from maps printed on silk for wartime use but was actually only made in 2017.

This collar is made from leftover rolls of ribbon.

I could go on, adding more photos of everything but I urge you, if you get the opportunity, to go for yourself and see this exhibition. If you’re interested in fashion and clothing it will really open your eyes to some of the facts about it’s production which you might not be aware of and make you think about how we can improve the situation by our own consumption of goods.

Vivienne Westwood is a leading advocate of choosing fashion wisely, her motto being Buy Less and Buy Well, in other words buy the best you can afford because it’s more likely to have been ethically made from better materials and will last you longer. I know personally I can’t always manage this but by making my own clothes most of the time and wearing them frequently is making a start.

Fashioned from Nature is on at the V&A until next January 27th 2019. I’ve not been sponsored to write this piece, I have my own membership which I use frequently!

Happy sewing, and visiting!

Sue