50 fabulous years of Zandra Rhodes at FTM

I thought I’d write a quick review of a newly-opened show at the Fashion & Textiles Museum in London in case you’re thinking of paying a visit to the city.

Zandra Rhodes is something of a one-off in the fashion industry. She has always ploughed her own unique furrow by being primarily a textile designer who then uses her beautiful fabrics to create exotic garments. They are not for the faint-hearted because they are frequently bright colours and intricate patterns but over the decades they have been worn by many high-profile personalities including Princess Anne in her engagement photos, and Princess Diana wore gowns by Zandra Rhodes to many events. Actress Elizabeth Taylor and Jackie Onassis were photographed wearing the gowns and, more recently, designers Anna Sui and Pierpaolo Piccioli of Valentino have commissioned her to design original textile prints for their own collections.

I was first aware of Zandra Rhodes while I was still at school when her punk-inspired collection of 1977 hit the headlines. Punk clothing was seen as something a bit scuzzy and tatty but her evening gowns were made in luxurious jersey fabrics adorned with rips and tears that were accessorised with chains and zips. Later on while I was a young student taking a one year art foundation course at college her use of striking colours really caught my eye.

The new exhibition features at least one look from every year of Zandra Rhodes’ fifty year career so there are many beautiful garments to see. One of the striking features of many of them is the embellishments. The signature dipped or pointed hems are frequently finished with tiny seed pearls or sequins, as are necklines or sleeves. A favourite fabric is silk chiffon which is notoriously difficult to work with, satin and velvet appear too.

a close up of the hand-embellishments used to trim hems
you’re greeted by a cavalcade of colourful gowns as you enter the main exhibition space, each outfit has its year of creation in front.
Early outfits already feature Zandra’s signature squiggles.

As I’ve said in other reviews before the FTM isn’t a huge space so you get the chance to see the exhibits at very close hand and often from different angles. I’ve shared lots of my photos here although they aren’t in chronological order.

Vibrant pinks and oranges are recurring colours although more subtle shades and blacks and blues do make regular appearances too
more recent dresses from the 2000s
‘sparkling sequin’ collection from 2008
this dress ‘Renaissance/Gold’ dress from 1981 was modelled by Diana Ross in a photo by Richard Avedon.

Because I’d bought a ticket for a meet-and-greet prior to the official opening of the exhibition we also had the chance to chat with Zandra Rhodes and get copies of the new book signed by her.

You might have noticed that I have pink hair (well, a pink fringe at any rate) I always admired Zandra’s pink hair but I always imagined there was someone (who?) or something (what?) that prevented me doing it. Eventually, about 4 years ago, I did it, and I’ve realised it was the subliminal influence of Zandra that had planted the idea. When I finally got the opportunity to chat to her I told her as much, which she seemed chuffed about, and we swapped pink-hair-dyeing tips!

Zandra seems entertained by my hair-dye story!
and of course she signed in bright pink marker pen
I can’t match the vibrancy of her shade of pink though
Elizabeth and I really enjoyed our encounter with Zandra and I so admire that even in her late seventies she still fully embraces and inhabits her own look.

Also, upstairs in the exhibition space, you can see how the printing process works. The designs are screen printed using huge frames and each colour in the design has its own screen. This means that each print run could have quite a few stages to the process depending on the number of colours.

The prints are meticulously placed on the fabric so as to utilise as much as possible and avoid unnecessary wastage too. There is film to watch too so you can see the exactly how carefully the prints are created by Zandra’s team. The finished fabrics are then passed to the atelier team of expert pattern cutters and sample makers who turn them into finished garments for each collection.

If you’re interested in seeing the work of a British fashion icon close up, and in the museum and gallery space which she herself originally founded incidentally, then get along there now. The show is on until January 26th (closed on Mondays) As a bonus, in a separate small gallery space, there is also a Norman Hartnell exhibition too with quite a few of his designs on display. If it’s a grey day in London it’s bound to cheer you up!

Until next time,

Sue

Summing up where sewing has taken me in 2018

I thought in this blog I’d take a look back at some of the things I’ve been up to over the last twelve months and it’s made me realise what a wonderful varied collection they are. As well as sewing multiple garments from numerous patterns (which I’ll look at in a separate blog) there have been several meet-ups including the Stitchroom Sewcial in June and the now-famous Sewing Weekender in August, plus one I organised myself in November. I’ve visited quite a few exhibitions, some of them more than once, read lots of books and written reviews of several of them in case anyone out there was interested in knowing more if they fancy a visit or a read for themselves. I’ve been back to the Knitting & Stitching show, and The Handmade Fair for the first time too.

In January I made my first coat in decades, the Butterick 6423 and was pretty pleased with the outcome overall.

My first meet-up of the year in February was a return visit to Balenciaga at the V&A organised by Alex (Sewrendipity) where I met a number of lovely fellow dressmakers in the flesh for the first time. It was so nice to go to an exhibition with like-minded people and then we all went for lunch together afterwards-very civilised!

Also in February Gabby Young invited me to become one of the Simple Sew bloggers so I embarked on a year of wrangling their patterns into submission, they are nice designs but aren’t always faultlessly accurate in their drafting or instructions. I took on the role on the understanding that I’d be honest (although never rude) but informative and constructive. I’ll leave you to be the judge of whether I achieved that.

I had the opportunity to visit the Fashion Technology Academy in April which was such an inspiring place. You can study many of the technical aspects of clothing production there and we also had the chance to try out a taster session of TR pattern cutting with the supremely gifted Claudette Joseph while we were there too. If you, or someone you know, wants to go down the technical route into garment manufacture then this place in North London could be a good place to start looking.

Also in April I returned to the Fashion and Textiles Museum in Bermondsey, London to attend their fascinating ‘Inside couture’ afternoon. I’ve been once before but it’s so enjoyable, and such a treat to get the your hands on real couture clothes (with white gloves on, natch). I highly recommend a visit if you’re in London but you do need to book for these particular events, the museum itself is open most days.

The first London Stitchers meet-up was held at the beginning of May and although I’m not technically ‘London’, as has become obvious, I go up a lot. These are organised by Ana Cocowawacrafts and Georgia One Stitch Forward and they vary in their locations between north, south and central London. Anyone is welcome and it’s a great way to meet new people and know that you all have at least one shared interest! It’s like speed-dating for dressmakers!!

Me Made May was also happening on Instagram and for the first time in ages I managed to post every single day for a month-long challenge even though I was out of the country for some of it. Lots of garments I shared weren’t new and box-fresh, in fact quite a few of them were old favourites, which is as it should be. We made a trip to Assisi in Italy during this time so that made my backdrops a bit more interesting for a few days!

I tried something a bit different in May by going on a course to learn how to make and print my own etchings. I’d done this once a million years ago when I did my Foundation Course at college and have always found the medium fascinating and beautiful. [Go and check out Rembrandt’s work in particular if you aren’t sure what they are] I’d met a lovely lady called Chrissy Norman on the first Sewing Weekender two years ago and it turns out that not only does she sew and knit, she’s a super-talented printmaker too. She has a separate IG account for her prints and I admired a print she posted on it early in the year. It transpires that she teaches courses a few times a year at Sudbourne Park Printmakers workshops. Long story short, I signed up and joined her in Suffolk in mid-May. It was soooo interesting and fun, plus I made some pretty respectable prints based on a photo I had taken of the Maggi Hambling sculpture on the beach at Aldeburgh, Suffolk.

The summer saw the first of several visits to the Frida Kahlo exhibition and Fashioned from Nature at the V&A museum. I also loved the retrospective of the work of Azzedine Alaia at the Design Museum, I didn’t write a review though because by the time I went there wasn’t much left of the run sadly. It was spectacular though and I’m very glad I made the effort. That same day we went to see the musical Hamilton which was absolutely stupendous, Mr Y normally doesn’t go for that style of music but even he has raved about it ever since-highly recommended!

In June I was one of the lucky attendees of the first Stitchroom Sewcial event organised by Anne ‘New Vintage Sewing’ and Lucy ‘Sew Essential’ at Anne’s workplace in the University of Loughborough. They had excelled themselves with activities for us all to try including visiting the print and weaving workshops, computerised machine embroidery, an individual photoshoot AND time to sew and use the industrial machines Anne has in her classroom. I really hope I’m lucky enough to go again in 2019…

I took a road trip with my ‘local’ sewing friends Alana and Helen to visit Sewisfaction on their first Big Summer Stitch-up which was great fun, even though it was a steaming hot day.

At the end of July and beginning of August I posted two blogs which seemed to light the blue touch paper that rapidly became Sew Over 50. When I wrote them I thought no one would read them, much less agree with me, so I was stunned by the response to say the least. My now-friend Judith was amongst those who read them and was feeling the same way so she went one step further and created a new Instagram account called @SewOver50 and everything went a bit nuts from there on. As I write this post the account has gained over 5,300 followers since mid-August which is phenomenal. It’s become a place of inspiration and encouragement for thousands of women (and the occasional man) who sew but felt they, we, are being overlooked or dismissed by the burgeoning home-dressmaking market because of our age.

One thing that some people misunderstood about the whole idea wasn’t that we wanted to be separate from any other age group, like some kind of exclusive club, not at all, we just felt that some people-magazines, pattern companies-were overlooking the opportunity to tap into a market and a group who had cash to spend, had styling ideas, skills and experience to share, originality, fun, empathy, quirkiness, style. For a lot of the people who started following the account they had very little experience of using social media to broaden their horizons in sewing terms, and for connecting with like-minded people around the world, including Australia, New Zealand, Canada and the US, as well as Europe. Suddenly there was an identifiable hashtag to follow which took you straight to the heart of this community. In fact it isn’t only sewing that members are supportive with, many face health challenges, a changing body with the menopause, dealing with elderly parents or caring for grandchildren so there have already been lots of conversations that have strayed away from sewing completely, and that’s OK too.

It’s been gratifying to see that a number of sources are making a big effort to be more diverse in who they feature in articles or as models. There is still a long way to go though because we’re conscious it might appear that it’s mostly white middle-aged women who sew, but we know this isn’t the case because there are many women of colour who sew too, maybe they don’t engage as much with Instagram or other social media though? I don’t know the answer to this one except to say that all are welcome because that’s the whole point. It makes me very happy when much younger dressmakers comment to me that they also follow us to get inspiration and advice, which is also the reason that follow younger sewers myself!

Onwards, there was another amazing Sewing Weekender in August which was quickly followed by SewPhotoHop on Instagram in September organised by Rachel ‘House of Pinheiro‘. I didn’t keep up with this one so much and dipped in and out a bit [the same happened with Sewvember as well] but it’s a good way to find new people to follow and be inspired by if all this is new to you. I’ve just remembered there was MIYMarch (Make it Yourself) but that passed me by completely this year.

In September I became a Minerva Crafts blogger so I’m provided with fabric by them to make up into my own choice of garment and then write a comprehensive review for their own website. I’m enjoying this and it’s another string to my bow.

October saw me return to Birmingham for the SewBrum event which is magnificently organised by Charlotte ‘English Girl at Home’. It’s a chance for dressmakers from all over the place to come together in Birmingham, shop for fabric, visit Guthrie & Ghani and generally hang out together.

I was really chuffed to be invited by Amy Thomas, editor of Love Sewing magazine to contribute an article about the Fashioned from Nature exhibition to the magazine in November. It was a really big deal for me to write something specifically to appear in print. I’ve been lucky enough to write pattern reviews for Love Sewing and Sew Now in the past but this was a new departure. I’d love to do more like this in the future. There’s definitely a little something coming up early in the new year but I can’t talk about that yet…..

My name in print!

I organised my own meet-up at Walthamstow Market in east London in mid-November which fortunately was a beautiful day as it was well attended and we nearly all went for lunch afterwards, to continue chatting! It was the first meet-up for quite a number of the attendees but I think everyone enjoyed themselves and were delighted to get the chance to chat together in real life and not just in a comments box!

Loving all the fabrics in Saeed’s, Walthamstow

Hasan, better known as the Man Outside Sainsbury’s!

There was a lovely pre-Christmas sewing day in Cambridge called SewCam organised by Jen Walker ‘The Gingerthread Girl’ which was a delightful antidote to festive fever, and a final London Stitcher’s meet up the following weekend to round everything off nicely!

getting started at SewCam in December

When I look back at everything in this way it makes me so happy to realise the sheer quantity of wonderful opportunities that my love of dressmaking has brought me this year in particular. I continue to teach my lovely group of ladies locally-they think all this Instagram nonsense is ridiculous in a good way! I’ve met so many awesome and inspiring women in real life for the first time and I’ve deepened some of the friendships that started last year, or longer, ago. Many people think that ‘friends’ on Insta aren’t real but that just isn’t true. Of course there are those people you should give a wide berth to and we are continually plagued by nut-jobs who think women who sew will be interested in their guns, or love of God, or whatever but if we all continue to report them then so much the better.

Wherever you are in your sewing ‘journey’ I hope you find it relaxing, fulfilling, inspiring, empowering, distracting, whatever you need it to be. I’ll never stop learning and being creative is so good for us ( we knew this all along but science is finally realising it too!)

I’ve already got some ideas for next year but, to be honest, much of 2018 just unfolded one thing at a time without too much planning in advance. I’d like to expand my own skills in 2019 and not necessarily in dressmaking terms, I have always enjoyed art so perhaps I should get my pencils and paints back out again.

There’s always an element of me hoping you enjoy what I write and find the reviews helpful or informative although, in truth, I’d write them anyway as a record. Thank you for joining me on the journey and Happy New Year, and here’s to lots more sewing adventures, maybe we’ll meet ‘in real life’ in 2019?!

Happy sewing,

Sue

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

 

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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 20th, 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!

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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.

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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. 

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all the pretty summer dresses…

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look at this shoulder detail!

 

 

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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…

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I got myself into the front row haha

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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.

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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 

 

 

 

Inside Couture at the Fashion & Textiles Museum, London.

I’ve been to this event once before, which you can read about here, and I found it so fascinating that when I heard there was another one coming up I booked myself onto it. That date should have been in March…then the snows came! No one could get there so it got postponed to April 20th, what we couldn’t have predicted was that from snow we went to it being the hottest April day since Domesday or something…

Fortunately Amy and Teresa could both get there too, and Claire-Louise who I hadn’t met before so I was really looking forward to it. Non-Londoner Amy got a bit lost coming out of the station (London Bridge is in the midst of major refurbishments so follow the exit for the Shard if you decide to go to the FTM then turn left at the base of the Shard and follow the signs) but only missed a minute or two.

When you book an event at the FTM the price includes entrance to their current exhibition which this time is the evolution of the T-shirt as a communicative tool. This finishes on May 6th though, the next show will be the designs of Orla Kiely which should also be very interesting.

 

 

Because I’ve been once before some of the dresses I’d seen previously but no matter because curator Dennis Nothdruft kindly made sure there were quite a number that were different. The FTM has a collection of couture garments in it’s archive, many of which were donated by one lady and cover a period of 30-40 years. What is interesting to see is how the garments were altered over time so that she could continue to wear them. Couture garments generally have wider seam allowances so that they can be let out, or taken in, as required. Hems were often raised or lowered too as fashion, or age, dictated.  It’s also interesting that the insides of many of the garments pre-1960’s aren’t lined, the seams are all whip stitched by hand instead. Teresa worked at David and Elizabeth Emmanuel early in her career and the clientele actually expected to see the insides of the clothes so that they knew they were all hand-made and finished. Nowadays we expect quality clothing, especially high-end, to be lined and all boning, zips etc to be invisible. This is because if you’re not going to pay skilled staff to hand-finish every seam then they need to be covered up instead, hence the linings. Thank you Teresa, that’s something I had never realised or considered before.

 

This beautiful striped organza dress was made by Christian Dior exclusively for the Elizabeth Arden boutique in New York.

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Vintage Chanel

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These two little ‘flaps’ are actually weights which tuck inside the wearers bra to hold the V neck securely but invisibly in place-very clever!

 

 

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Love the beautiful draped back with integral rose on this chic crepe cocktail dress by Guy Laroche, that’s a horizontal bust dart you can see in the lining and it’s not something we see often these days.

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The rouleau bow detail is padded, a simple detail to copy.

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There was a zip in the lining AND a zip in the outer dress so that both fitted properly to give the desired effect to the deeply draped back.

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finely-pleated Sybil Connolly Irish linen gown

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All the edges are neatly bound

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The cuffs have short zips so that they fit snugly to the wrist.

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Internal stitching holding all the pleats in position.

This unusual dress by Irish designer Sybil Connolly. She was renowned for her use of Irish textiles and this dress is a particularly good example of her signature finely pleated handkerchief linen. It is made of many metres of fabric all folded into tiny pleats which are then securely stitched onto a backing fabric so that they can’t move.

 

This acid-yellow coat is by Bellville Sassoon from 1972, it’s probably intended as an evening coat and personally I think it’s more like a costume….The Mikado perhaps?

 

This Belville Sassoon number from the late Eighties reminded me so much of the dresses I used to make when I worked at David Fielden straight out of college. Lots of ruched fabric and fluffy tulle skirts. This is a very pretty warp-printed silk taffeta, I wish I’d had a £ for every huge bow I cut during that era, I’d have a enough for a holiday in the sun!!

 

This short dress is much more recent and is by Alber Elbaz for Lanvin. It’s an extremely ‘deconstructed’ dress with a unevenly pleated silk tulle front and a fine wool jersey back. The whole thing is encircled by ties which actually hold all the pleats in position-I went to ‘sort out’ those side pleats on the right but they were all sewn like that!

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This daring dress is by Christian Lacroix who no longer produces couture garments. There are lots of different elements going on and undoubtedly it looks far better on a body than the hanger.

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Alec Wek in the dress from the Autumn 2000 collection

 

This confection of chiffon and beaded embroidery could only be Versace! It’s the ultimate patchwork project that’s for sure.

This is just a selection of the outfits we saw, there were probably over a dozen in all. It’s so interesting to see how couture and high end garments have changed over the decades. We all expect clothing to be lined for example and lots of these weren’t, they were beautifully hand finished undoubtedly but there was no sign of an overlocker! In fact, on one organza cocktail dress the seam edges were left raw because that was actually the least visible finish, and these dresses would never go in the washing machine anyway, the tiny hems on organza and chiffon were all minutely hand-rolled. There were SO many hooks and eyes too but if you can afford couture then you can definitely afford a ladies maid to do them all up for you.

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Teresa, Claire-Louise, Amy and me

So, definitely a fun thing to do, especially with sewing friends as there is lots to look at and techniques to store away in a corner of your brain that might come in handy one day. I expect the next one will be in the Autumn so check the website for details. Incidentally Teresa will be teaching how to drape and model on the stand at FTM in June so if that’s something you’re interested in the trying she’s a fantastic person to learn from.

….and to round off the afternoon we went to the pub! Lot’s more sewing talk and gossip over a cheeky Aperol Spritz before we headed our separate ways. Such a lovely day, thank you ladies.

Happy Sewing,

Sue