Visiting the Henry Moore Foundation

Back in March I made a flying visit to see the Burberry 2017 A/W collection which was being displayed to the public in Soho at the Makers House. It was a wonderful  collaboration between the long-established design house and the Henry Moore Foundation in Hertfordshire which resulted in some beautiful, wearable and covetable clothes. You can read that blog here 

I’d visited the Foundation at Perry Green about 4 years ago with a GCSE Art group from the school I worked in at the time and really enjoyed it so, having been reminded of it in March, I thought another visit on a sunny day was a must.

My friend Janet and I had originally planned to go to the Tate at the end of May for the David Hockney and then whizz on to the newly opened Balenciaga exhibition at the V&A but, in the end, the day promised to be too darn hot to travel into London so we came up with plan B, and I’m so glad we did.

The Foundation is set in beautiful quintessentially English countryside and it comprises of the home that Moore lived in from 1940 until his death in 1986 and surrounding it are acres of gardens and fields where his monumental work is displayed exactly as he’d intended. He had numerous studios and workrooms scattered about the site in which large quantities of the maquettes, tools and preliminary works are on show, much as he left them in most cases. Since I last went they’ve now built a fabulous new visitor centre with a classy  shop and a seriously gorgeous cafe overlooking the gardens which, on a glorious sunny day, was idyllic.

The view from the cafe terrace

In all honesty I’m very far from knowing anything much about sculpture so I’ll just share some of my photos that I took on the day. You could easily spend most of a day here because the grounds are extensive and you’re free to roam around them, you can take a guided tour of Hoglands, the house Moore and his wife Irina lived in which is still filled with his personal belongings of books, ethnic artefacts, paintings and other objects, and it’s where he ran his business from too (he never had an agent so if you wanted to buy a Henry Moore you dealt directly with him) Many influential world figures visited him here. Moore was never knighted, he was the son of a Yorkshire miner and one of eight children so he was a Socialist all his life but he did receive an Order of Merit (OM) of which he was very proud.

There is a large modern exhibition space which features a new show every year, as well as an ancient barn which he had dismantled from elsewhere and reassembled on the site, it now contains some fabulous tapestry versions of several of his paintings.

The Aisled Barn at Perry Green containing tapestries of Henry Moore’s sketches. 

Many of the objects in the workshops were the springboard to the garments within the Burberry collection, especially his blue and white striped aprons which cropped up as ultra-longsleeved T-shirts which I loved.

copy-cat sleeve on my Zierstoff Sophie T-shirt

It’s lovely to wander in the fields alongside the sheep which are so integral to the overall effect of his work-they’ve rubbed the bronze with their fleeces over the decades so that it’s very shiny at sheep-height! Moore loved to watch the sheep from his window and sketched them over and over again. You’re free to touch any of the external sculptures too which makes a refreshing change from “don’t touch!” Incidentally the sheep were a direct inspiration for the Burberry collection in the form of beautifully sculptural Aran-influenced knitwear. 

One of Moore’s sculptures at the Makers House in March

See what I mean about the sheep?

Henry Moore in front of ‘Sheep Piece’ which resembles a ewe and lamb.

Interacting with the art!

This one is inside one of the studios

 

This is the same arch as the bronze one above except this is stone and it’s in Hyde Park, London with Kensington Palace behind….and a stork sitting on it! I took this photo at the end of December 2016.

Far away….

and close up!

Janet is petite but this gives you a sense of the scale of many of the largest pieces.

So that’s a few photos of a lovely day out, and I urge you to go if you’re at a loose end in the area although you’ll definitely need a car as it’s very rural. There’s a pub next door too if a cafe doesn’t quite cut it for you. If you’re a really serious art buff then the archive is on site too although I guess you need to make an appointment for that.

I’m so glad I’ve been because it’s created the link between the show I saw all those months ago and also it’s made a real change from being indoors looking at art!

I haven’t written a blog in ages but there are a couple in the pipeline, I know this isn’t directly about my sewing exploits but I wanted to share my thoughts on this visit because it brings together two of my greatest interests-sewing and art.

As ever, all views expressed are my own and most photos are my own too, the rest were collected from Google images.

Happy Sewing (or not!)

Sue

 

 

Sam McKnight and Burberry capes

This isn’t exactly a blog, more of a sharing of the photos I took when I visited the hairdresser Sam McKnight retrospective at Somerset House recently, and the Burberry Maker’s House exhibit in Soho.

Obviously I’m not a hairdresser but I knew that the show featured McKnight’s collaborations with designers, as well as fashion magazines and publications over the last 3 decades. I felt though that the show, whilst interesting and well put together was a little lacking in very much substance. Lots of photos and hair-pieces, part of McKnight’s travelling ‘salon’ kit (a massive number of brushes, rollers, driers, straighteners, hairspray and general hairdressing paraphernalia) The opening section where a number of work stations are set up allows the viewer to feel they are backstage at fashion shows during the build-up which is interesting. This moves through to a section featuring McKnight’s collaborations with Vivienne Westwood over the last 20 years. It’s a good excuse to display a number of her outfits from previous collections.

Vivienne Westwood

Then there are lots more photos, large and small, and Vogue magazine covers. Sam McKnight is well-known as Princess Diana’s hairdresser, it was he who first cut her hair very short and created the ‘wet-look’ style that divided the press and public opinion. He accompanied her on a number of Royal overseas tours and was instrumental in the ‘reinvention’ of her look after her divorce from Prince Charles. 

The next section revolves around McNight’s collaboration with Karl Lagerfeld and Chanel.

The best bit of the show, for me, was the continuous showing of recent Chanel Haute Couture shows, being shown in their entirety. Each one runs for about 15 minutes and I watched 4!! So that was an hour spent watching exquisite dresses and suits on the runway-the hairstyles weren’t my particular focus though….

I don’t want to sound like I’m dissing the show and I’m really not because there was quite a bit that I enjoyed, and Sam McKnight is clearly a very nice bloke who’s very well-regarded in his field and influential in styling terms but it could just as easily have been a show about Westwood or Chanel.

The show is still running until March 12th if you want to go and I’ve shared the link above, or here

From Somerset House I took myself to the last day of Burberry Makers House which displayed their collaboration with the Henry Moore Foundation. I’d seen a number of people share images from it on Instagram so I wanted to see it for myself and I’m SO glad I made the effort to go.As I arrived there was the opportunity for a guided tour (it was a totally free-entry event anyway) which really enhanced my appreciation and understanding of what I was seeing. I couldn’t understand beforehand how a dead sculptor could be linked with a fashion house (albeit a long-established one) There were a number of Moore’s sculptures on display, as well as many of his tools, maquettes and sketches, most of which had never left Perry Green before. [If you’ve never been to Perry Green and you have the opportunity to visit I’d recommend going. It’s in a lovely rural spot and many of Moore’s most monumental sculptures are there in the settings that he intended for them, with the sheep still wandering happily between them keeping the grass down!]

The tour guide pointed out many of the inspirations and cross-pollination of ideas that Christopher Bailey created for the new season collection. I particularly enjoyed seeing the ideas boards and fabric samples. Ideas such as the elongated arms on the sculptures, the striped apron Henry Moore always wore in his studio, and the sheep that continue to wander around the site at Perry Green where Moore lived and worked for many many years, all found a place in the garments that were presented on the runway in the form of over-long sleeves and cuffs, blue-striped matelot T-shirts embellished with lace and beautiful asymmetric cable knitwear.

There were some wonderful ideas which any dressmaker could easily ‘interpret’ in her own way. I particularly liked the layering of stripes and sweatshirts, and evening dress-shirts with lovely details like pin tucks and bobbin lace, and delicate lace over-dresses. I’m hatching plans with a few ideas around these so watch this space.

The capes were the most extraordinary things! They weren’t capes in the useful, Sherlock Holmes sense, they were more like grand shoulder embellishments. There were 78 of them and there was so much variety between them all.  I’ll just share my photos here with the odd comment by way of explanation….

GIANT cable knit

Lace was pressed into clay to form a ‘relief’ pattern, and then wired together.

beaded and sequined feathers

More giant cable knit and ceramic designs.

This one reminded me of an exquisite Edwardian evening cape.

The cape was made up of multiple layers of silk georgette which was then hand embroidered with Japanese-style ‘sashiko’ stitching. As you can see, the edges have been left unfinished. It took over 400 HUNDRED hours to complete!

Sea shells!

Discs of fabric looking like scales or sequins.

Eye-glasses!

Trimmed feathers and tiny beading around the neck.

Lace, tulle and feathers

So that’s it. One exhibition you can still go to if you’re quick and one that was somewhat ephemeral and all the more special because of it.

It would be lovely to hope that when the capes come back from their travels they could be displayed again somewhere for people to enjoy. It would be a real pity if such beautiful workmanship representing thousands of hours of work couldn’t be appreciated once more.

Meanwhile I’ll be having a go at my own take on some of the RTW collection (I don’t think the capes would to be that wearable on a day to day basis!)

Happy Sewing

Sue xx