Discovering ‘The World of Anna Sui’

Entrance to the Fashion and Textile Museum.

May 2017 will stand out in designer Anna Sui’s memory as a month full of successes and landmarks. As well as receiving an honorary degree from Parsons School of Design, the designer and her influential career became the subject of London’s Fashion and Textile Museum’s latest exhibition. Entitled ‘The World of Anna Sui,’ the show takes visitors on a journey through the Chinese-American designer’s inspirations, obsessions and most iconic moments, which formed her style and established her as one of the key figures of 90s American look, alongside names such as Marc Jacobs and Isaac Mizrahi.

A view of the entrance to the exhibition space.

The title of the exhibition could not be more accurate – as soon as one steps into the first gallery, Sui’s vision becomes unmistakable and overwhelming. Her voice beams out of the speakers as she describes how she came to be interested in fashion, proclaims her love for Elizabeth Taylor and Jackie Kennedy, and explains how her own style developed in her teenage years, despite strange looks from her peers. As the visitors listen to Sui’s narrative, archive videos of The Beatles, celebrity culture, markets at Portobello and Carnaby, and scenes of boho youths frolicking in the park bring into forefront the environments and mentalities within which Sui grew up, capturing her imagination, and eventually manifesting themselves in her designs. With the understanding of her background, Anna Sui’s exhilarating universe is ready to be explored.

A photograph of Anna Sui’s first boutique at 113 Greene Street in Soho, New York, which opened in 1992.

The main gallery space almost teleports the visitor into one of Sui’s boutiques, a photograph of which is featured in the corridor between the different rooms. Entering through a grand, black lacquered door, groups of mannequins clad in Sui’s extraordinary garments, arranged according to their clique (nomads, punks, mods, surfers, rockstars and schoolgirls all make an appearance), lure the spectator deeper into the space, in an almost hypnotic state. The colours, patterns, textiles and surfaces are otherworldly, creating a kaleidoscope of all the characters one can become in Sui’s fashions. With vitrines in which shoes, make-up, sunglasses, hats and other Sui paraphernalia are showcased, the gallery space is almost a treasure chest in which anyone and everyone can find something to lust over. Completing and complementing the exhibits are purple walls, red platforms and Sui’s signature pattern with which the space is decorated. The curator Dennis Nothdruft and exhibitions designer Beth Ojari transformed the relatively small space of the Fashion and Textile Museum, with great success, into an enchanting and intriguing environment.

A view of the ‘Fairytale’ section.

Installation of the ‘Punk’ garments.

The ‘Rockstar and Hippie’ group with Sui’s signature patterned wallpaper.

‘The World of Anna Sui’ is unlike any other recent fashion exhibitions. While the space is limited and a lot is packed in, it is never to the detriment of the clothes on show. There is something reminiscent of Diana Vreeland’s multi-sensory exhibitions at The Met’s Costume Institute in the London show. Unsurprisingly, the designer loved Vreeland’s stories for Vogue and The Met. Consequently, Sui’s perfume is pumped into the rooms of the Fashion and Textile Museum, corresponding to the message the garments are relaying. As such, ‘Sui Dreams,’ a perfume described as “inspired by independent women who follow their hearts and exceed their own expectations” provides the scent for the first gallery, that of Sui’s influences and childhood dreams. The main space, where the iconic Anna Sui garments are on show, fills one’s nose with ‘Fairy Dance,’ offering “an escape into a mystical garden where fantasy lives. A happy, whimsical place filled with sunlight and the enchantment of the fairy world.” Not much can be more appropriate for Sui’s story-filled collections. Elsewhere, Nirvana cries out from the speakers, while visitors can study Sui’s design process through the installed mood boards, or find out about the figures she collaborates with on her shows, such as make-up artist Pat McGrath, milliner James Caviello and photographer Steven Meisel. The exhibition is all encompassing, rich, informative, joyful and optimistic. An absolute must-see this summer! And don’t forget to visit the gift shop – you can take a bit of Anna Sui away with you in the form of her fabulous make-up, a scarf, or Tim Blanks’ new coffee-table book on the designer published in conjunction with the exhibition, also titled The World of Anna Sui. And one last tip – leave yourself a lot of time to peruse the exhibition, you will not want to leave!

A cabinet filled with an array of sunglasses and other accessorues from Sui’s shows through the years.

An example of Sui’s research board for a collection – here, Hawaii is on her mind.

‘The World of Anna Sui’ runs at the Fashion and Textile Museum until October 1, 2017.

Introduction to the Courtauld History of Dress Journals Archive

The conference Reading Fashion Magazines may be over, but our display of 9 items from the collection is still available to be viewed outside the Courtauld Library vitrines. Please come and visit, before it closes in August. In order to tempt you, you can read the introduction to the display, and our conference, below, available for you to download in a pdf.

Introduction to the Courtauld History of Dress Journals Archive

Some of the earliest fashion magazines in the Courtauld History of Dress Journals Archive are on show in the exhibition. Here, Gazette du Bon Ton, Für die Dame and Pinpoints are displayed.

A view of the 1940s section of the exhibition featuring Harper’s Bazaar and Femina.

Elizabeth and three MA Documenting Fashion students after the completion of the exhibition instal.

Highlights from the Courtauld’s History of Dress Journals Archive: Elle UK

Our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive is this Saturday! Book your ticket here for a day of amazing speakers and beautiful objects, including those from the exhibition we have previewed the last few weeks, ‘Addressing the Courtauld’s Fashion Magazines.’ We look forward to seeing you there!


‘French Fashions’ photographed by Chris Dawes. Elle UK, March 1986. History of Dress Collections, Courtauld Institute of Art.

The 1980s were turbulent years in Britain. From extreme hardships and upheaval to pop culture and newfound affluence, the decade had a lasting influence on modern-day life. In this explosive climate, some relief came with the birth of iconic magazines such as i-D, The Face, Arena and, in November 1985, the British version of Elle Magazine, the originally French style bible. Aimed at young career women, Elle combined carefree fashion with serious articles, or ‘style with content,’ as Dylan Jones, the Editor-in-Chief of GQ put it. Today, Elle holds the title of the largest fashion magazine, boasting 43 international editions published in 60 countries worldwide.

With Sally Brampton as its first Editor-in-Chief, Elle became the to-go magazine for the well off, modern 18-30 year old, who was uninterested in the world of luxuries, haute couture and pampering offered by Vogue. Instead, the magazine published frank and provocative features about love, sex, dating and health alongside interviews with the likes of Harrison Ford, Mickey Rourke, Jasper Conran or Paula Yates. The glossy fashion pages, graced by Naomi Campbell, Claudia Shiffer, Linda Evangelista, Carla Bruni and Yasmin Le Bon, were daring, powerful and unrestrained, full of spirit and joy. The articles were relatable and fascinating while the fashion photographs by Mario Testino, Eamonn J. McCabe or Neil Kirk shot in exotic locations provided a much-needed element of fantasy and aspiration. With such ingredients, Elle was set to become the cult publication of a generation.

This spread here, entitled ‘French Fashion’ and photographed by Chris Dawes for the March 1986 issue of Elle, showcases why the magazine was so groundbreaking in its first few years. Tapping into a younger, yet still style-conscious audience, guides on how to achieve a look which appears to be taken straight from the catwalk were a common fixture in the magazine. Chanel, a favourite of the modern working woman, plays a main role on this double page. The classic skirt suit of Coco, trimmed in black with gold details, complete white gloves and a black quilted bag with a chain strap, could be yours for a mere fraction of the original price. In style, however, it packs the same punch. French-chic without the price tag!

The sleek, glossy page hints at the opulence one experiences when wearing such an outfit. Framed as a Kodak contact sheet, the idea of a luxurious lifestyle is further alluded to by positioning the wearer of this ‘Chanel’ look as someone worth photographing. Yet, the girl is not simply a society lady going between luncheons and afternoon teas. She is in movement, her bag flying behind her. Perhaps she is on her way to a business meeting, or rushing to work in the morning. She appeals to the career woman of the 80s and inspires younger readers to embrace a working life – you can still look incredibly à la mode in office attire. Magazines should create a fantasy, but they should also be rooted in reality – Elle masters it!

Highlights from the Courtauld’s History of Dress Journal Archive: Vogue Paris

We are just one week away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!


Double page spread photographed by Guy Bourdin, Vogue Paris, April 1976. History of Dress Collections, Courtauld Institute of Art.

This double page spread is part of a nine page fashion story by the photographer Guy Bourdin, displaying the new ‘sporty and young’ swimwear and summer fashions for 1976. The first fashion story in Vogue Paris’ ‘spring special’, it follows advertisements for Missoni, Versace, Etro, Yves Saint Laurent, Celine, Charles Jourdan, Bally and Jacques Heim. It precedes another, shot by David Bailey, and editorials on how to confront the beauty-depressing effects of winter, 10 new methods to re-discover joie de vivre as well as an extensive story on Greece, in celebration of the country’s new membership of the European Common market.

Five girls in bikinis lay outside to catch the sun’s rays in an unusual setting – usual that is, for the pages of luxury magazine Vogue. Far from an idealised, exotic location, five girls stretch out across a cracked and dusty pavement as a bus passes by, in barely-there bikinis, ‘so small that they may be held in the palm of the hand’. Sunglasses discarded, each holds a light-reflecting silver board up to their face in order to achieve a faster, stronger tan. In a further spread, models climb a fence in search of a sunnier spot past a shaded avenue palm trees, and in another, recline on a narrow strip of grass between a tarmac highway and Sears warehouse, their languor contrasting with the fully clothed figure rushing past. Breaking up the location’s horizontal lines – the bus’ branding, wall and pavement’s edge – the models are made individual by the bold colours of their bikinis and different hairstyles. They are conceivably a group of normal girls, taking advantage of the first signs of summer in the city where they live.

Cover of Vogue Paris, April 1976. History of Dress Collections, Courtauld Institute of Art.

Vogue Paris’ editor-in-chief, Francine Crescent, gave her photographers a great deal of creative freedom. With Bourdin, this enabled him to exploit the features of the magazine as a material object. He was the first photographer to bear in mind the potential of the double-page spread when taking his images; all but one of the images that make up this story extend past the gutter and bleed to the very edges of the magazine. Bourdin is mindful of the way a magazine falls open, laid on a table, or across a reader’s thighs. His models are carefully spaced in order not to distort their figures at the centre of the spread where the pages naturally curve inwards to their binding. A wall or fence is often at the centre of the image, setting up a contrast between the two halves of the image. The effect is fully immersive; the picture being larger, more of the scene may be seen in greater detail, more figures included, more of a narrative told. The glossy-light reflecting paper the images are printed on adds to Bourdin’s emphasis on sunlight and shade. Viewed in April, together with features on post-winter revival, Bourdin directly addresses the reader’s desire to shed heavy coats and insulating layers with bare flesh and warm colours. As the reader holds Vogue in their hands, they are within their grasp.

Highlights from the Courtauld’s History of Dress Journal Archive: Femina 1951

We are less than two weeks away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!


Cover of Femina, October 1951. History of Dress Collections, Courtauld Institute of Art.

Femina was a French fashion magazine active from the early twentieth century.  It is a great documentary source for the history of French couture as shown by these images.  During the war, Parisian couture was necessarily scaled back in its production due to a lack of material resources as well as customers.   Fashion, however, was often a way for the women of Paris to resist the occupation of their city by asserting nationalistic pride through the cultural tradition of high fashion.  After the war, Christian Dior asserted a return to luxuriant and grand femininity with his “New Look” collection of 1947 featuring narrow sloped shoulders, hand-span waists, and voluminous longer skirts.  Although some people were shocked and even dismayed at what seemed an excessive use of fabric, the silhouette was largely embraced by women happy to have a change that expressed beauty and luxury.

Illustration of a Christian Dior gown. History of Dress Collections, Courtauld Institute of Art.

By 1951, as these illustrations attest to, the New Look silhouette was an integral part of fashion.  Dior’s gown features a blue back panel with bow that is reminiscent of the earlier nineteenth century bustle emphasizing the back of the skirt.  This silhouette was very consciously a return to the history of dress from the eighteenth and nineteenth centuries which Dior felt celebrated femininity in a way that resonated in the post-war period.

Illustration of a Nina Ricci gown. History of Dress Collections, Courtauld Institute of Art.

Nina Ricci was one of many female couturiers before the war who opened her house in 1932. Though she isn’t as well remembered today as Dior, she was a great success in the thirties and after the war, designing until 1954 when her son took over the business.  The gown illustrated here exemplifies Ricci’s aesthetic of a highly refined femininity infused with romantic details.  The caption refers to the Second Empire period in mid-nineteenth century France which the gown seems to revivify in its sweeping trained skirt and oversized bow emphasizing the hips.  By contrast, the waist appears even smaller.  The matching long evening gloves also continue a fashion tradition in eveningwear.  The model’s coiffure, however, is a modern post-war style which reminds us that fashion is always a blend of past and present.

What I love so much about these illustrations is the way they capture a sense of drama from the dress itself.  Photographs often rely upon the model and settings to create a fuller scenario but illustrations really focus on the silhouette and textures of the garment.  The shading on the Dior gown conveys the stiffness of the material and the sheen of a silk.  That I can “feel” the surface and shape of the dress is what draws me in.  In a sense, the drawing convinces me that the gown is real, that fashion is real, because it connects to what I already know in part – the textures, colors, and shape, but offers the possibility of even more – the actual dress.

The mark of the artist’s hand speaks to the agency of my own hands and the knowledge they quite literally hold.  The architectural quality of the gown can be felt with just a few lines in the right place.  By contrast, the more fluid, softer drape of Nina Ricci’s gown seems to telegraph the movements of the woman’s body.   I can imagine the train swaying in echo of her hips as she glides across the ballroom.  The illustrations heighten the sensuality of the gowns.  The differences in aesthetic qualities reflect the type of woman imagined as the wearer and express the designer’s vision of her desires.

Highlights from the Courtauld’s History of Dress Journal Archive: Femina 1947-1948

We are just two weeks away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!


 

Femina, December 1947-January 1948. History of Dress Collections, Courtauld Institute of Art.

This illustrated fantasy world of fashion was published in the 1947 to 1948 Christmas issue of Femina magazine. Femina was founded in February 1901 by Pierre Lafitte in Paris and focussed on “the real woman, the French woman raised in the best tradition of elegance, bon ton and grace.” Published on a bimonthly basis, Femina was aimed at an affluent readership of modern, urban, French women, who were not only encouraged to shop and dress like the social elite, but to be interested in culture, literature and politics. Femina reached its peak readership with around 40,000 readers in 1934 to 1935, and, uniquely, was edited and staffed by women only. In addition to influencing its normal readership, Femina impacted Parisian fashion through dressmakers who often took Femina issues to their customers to show examples of the latest designs.

Femina’s higher price point is evident from the editorials, advertisements and design of this issue. Most of the editorials feature couture evening gowns rather than daywear, such as gowns to wear to the opera, and many of the illustrations and photographs are in colour. The large pages are luxuriously laid out with often considerable white space around the subject. Perfume, watch, jewellery and liquor advertisements express the celebratory nature of the issue. For instance, illustrated fireworks spell out the characteristics of a Lanvin Parfums wearer and a ‘dark Brilliance de Lenthéric’ perfume bottle replaces a regular Christmas tree ornament.

This double-page spread, called ‘VISIONS’, shows illustrator Baumgarter’s dream of fashion silhouettes traversing against an imagined background. His dream includes the latest designs by Lucien Lelong, Paquin, Maggy Rouff, Madeleine de Rauch, Nina Ricci, Balenciaga, Jacques Fath, Piguet, Pierre Balmain, and Dior. The slight blurriness helps to show that the illustration is a fantasy, which is less apparent when the illustration is digitised or photographed. The smoothness of the magazine’s paper is decisive in the experience of looking at the illustration: not only does it convey a kind of refinement that mirrors the luxury of the gowns, but the moderate glossiness helps to bring the illustration to life. Rather than looking at a photograph on a screen, moving the somewhat shiny illustration helps to create a tactile link to the gowns depicted and encourages the reader to imagine the volume and fabric of the designs.

Further adding to the experience is the thickness of the paper, which seems almost reluctant to open fully. Indeed, the quality of the paper has resulted in near perfect preservation, with the exception of the cover, for almost seventy years. In 1947, it would not have required a lady to be familiar with Femina to recognise the quality and lavishness of the magazine. Moreover, it perfectly answered the needs of a society whose faith in the strength of its fashion industry had to be restored and which craved the comfort and joy of luxury after half a decade of restrictions and loss.

Highlights from the Courtauld’s History of Dress Journal Archive: Harper’s Bazaar

We are less than a month away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!


Harper’s Bazaar, October 1940. History of Dress Collections, Courtauld Institute of Art.

This magazine is an October edition of Harper’s Bazaar published nationwide in the year 1940, during the London Blitz. Despite the hardships of wartime, the magazine targeted the female upper classes, which were the only ones with enough purchasing power to afford it. With the costly price of 2 shillings 6 pence, it was a considerable expense that could feed an average family for one day. In contrast to DIY publications, Harper’s Bazaar relies on the desire to emulate the rich and powerful to disseminate latest fashions. With the upcoming winter, the issue centers around the season’s new fashions coming from the capital, presenting a wide array of greatcoats both furless and completely fur-lined, made mostly out of warm wools or commonly available types of fur like squirrel, mole, and rabbit. The effects of rationing clearly influence the choice of images which are plain in their style with scarcely any accessories and minimal display of jewelry, painting a picture of a simple, although fashionable, woman. The practicality of the inside contrasts sharply with the flamboyant cover which is aimed at defying the grim realities of wartime and giving people back the feeling of normality.

Looking closer at the front cover, we can examine it as a historical source from the era, a social history document that tells the historian part of the story of Britain in the 1940s, and more particularly its dress history. A closer inspection may reveal that the colours chosen in such a specific moment in history are not random. The predominant purple tones, which are one of the first elements that catch the viewer’s attention, are historically associated with opulence, richness, royalty and empire. The crispness and silky texture of the sleeve contrast with the other colours of the dress that look as if they are polluted with randomly distributed red dots. The grainy and wooly texture of the material creates an off-focus effect that contrasts with the smooth and well-shaded arm and the sharp colours of the jewellery that richly decorates it. Our gaze is naturally led towards the hand that holds the cigarette, a luxury item that was rationed and reserved mostly for the servicemen at the front. Smoking, at the time, was an activity reserved for the feminine elite, symbolic of the defiance and rebellion against the male culture and male-centred workplace. The model positions herself in a relaxed and mindful manner looking down upon the viewer in an almost spiteful way, suggesting her higher status. This projects an image of power and confidence, a new Britannia clothed in all the riches of the Empire, watchful and confident of her power to withstand the dangers that befell her.

Highlights from the Courtauld’s History of Dress Journal Archive: Gazette du Bon Ton

We are less than a month away from our conference Reading Fashion Magazines: Celebrating The Courtauld’s History of Dress Journals Archive! Upcoming blog posts will offer a sneak peek into ‘Addressing the Courtauld’s Fashion Magazines,’ an exhibition held in conjunction with the conference. Be sure to book a ticket here to see amazing speakers and beautiful magazines. Remember: Digital images are nice, but nothing beats seeing the real thing!


From 1912-1915 and 1919-1925, fashion and art met on the pages of Gazette du Bon Ton. This French publication entertained upper-class consumers with elaborately illustrated articles and sumptuous fashion plates. Though the First World War loomed on the horizon, the stories in this issue from March 1914 showed no signs of global tension. From an article detailing exotic pearl-net masquerade masks to a list of elites vacationing at the French Riviera, the authors of Gazette du Bon Ton created a world ruled by novelty and luxury.

Stimpl, ‘Riviera… Riviera…” in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Each issue included a set of ten plates with couture fashions by houses like Doucet, Lanvin, and Worth. Two plates from this issue feature designs by masters of 1910s couture: Paquin and Paul Poiret. In ‘La fontaine de coquillages’, George Barbier set an evening gown by Paquin against a luscious blue courtyard and classical fountain. Pearl embellishments on the turquoise velvet and grey tulle dress mimic shells, which Barbier echoes in white on hanging shell clusters. A shell in the figure’s hand catches water from the fountain, merging the background and foreground. In comparison, Simone A. Puget’s illustration for ‘Salomé’, an evening gown by Paul Poiret, is striking in its simplicity. By placing the figure on a plain black base, the artist focuses attention on the dress. The design speaks to the sensuality of the legendary Salomé, as fishnet stockings emerge from beneath the diagonal skirt hem and the figure’s nipples, colored the same red as her lips and nails, peek through the swirled, off-the-shoulder bodice.

George Barbier, ‘La fontaine de coquillages’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Simone A. Puget, ‘Salome’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Every turn of the page in Gazette du Bon Ton offers a new feast for the eyes. At just 25cm x 7cm it is very easy to hold, though the heavy paper prevents the issue from feeling flimsy. With at least one color illustration in the pochoir technique on every page, the magazine presents itself as something to be slowly cherished. The difference in style of the vivid ‘La fontaine de coquillages’ and stark ‘Salomé’ plates exemplify how artistic variety creates the tantalizing feeling of ‘What’s next?,’ urging the reader to turn the page. This sumptuous array of visual delights did not come cheap: the price of a yearly subscription was 100 francs, or more than 400 pounds today!

Artists sometimes used striking metallic paint to enliven their illustrations. Here is one illustration of dancer Armen Ohanian viewed straight on and at an angle. Valentine Gross, ‘Armène Ohanian’ in Gazette du Bon Ton, March 1914. History of Dress Collections, Courtauld Institute of Art.

Gazette du Bon Ton invites haptic interaction as well. The metallic paint used on some illustrations, for example, requires the reader to tilt the page to get the full effect. Should the reader give into temptation and run a finger over the fashion plates, they may feel more than just the horizontal ridges of the thick paper. In ‘Salomé’, the outline of the figure and the dots on the skirt are debossed. Contact with the flat surface of the page brings the gown to life, but also acts as a tangible barrier to the beautiful world displayed in the plates. That space of breathtaking couture fashion, endless luxury, and carefree joy exists only between the covers of Gazette du Bon Ton.

Looking North

Open Eye Gallery withVirgil Abloh and Ben Kelly’s installation

For the past few years, London’s galleries have been hosts to some incredible fashion exhibitions, luring visitors from every corner of the world to pore over their sartorial treasures. With the dawn of a new year, however, a new city is emerging as the latest fashion destination. From January 6 until March 19 2017, Liverpool’s Open Eye Gallery is showcasing North: Identity, Photography, Fashion, an exhibition curated by SHOWstudio’s editor Lou Stoppard and Adam Murray, a lecturer at Liverpool John Moores University. Prompted by the impact the North of England has had on fashion, music, design and art the world over, as well as the clichés associated with the area, the exhibition explores and challenges these dominant themes, asking the visitors to come to their own conclusions. The heritage of the North is unpicked through photography, historical films, interviews with its artists and designers, garments, fashion magazines and music, highlighting the impressively far-reaching influence of the region, one which is seldom acknowledged, ignored even, in the capital city oriented fashion world.

“Liverpool is tiny, but it has a lot of impact.” – Christopher Shannon, designer | A view of North: Identity, Photography, Fashion

With Stoppard and Murray not being full-time curators, the organisation of the space is free of restrictions and preconceptions of seasoned professionals, allowing for a fresh take on the potential of exhibitions. The rooms have a relaxed vibe, a coolness about them, which one can already sense getting off the train at one of Liverpool’s stations and walking through its streets to reach the gallery. It feels very authentic, honest and respectful in its representation of England’s North, a much welcome relief from the sometimes derogatory mentions the area gets in the media. Walking through the exhibition, admiring the prints by fashion’s favourites Jamie Hawkesworth, Alasdair McLellan and David Sims while being slightly amused by Alice Hawkins’ genius portraits of Northern teen girls or perusing the editorials in i-D, Arena Homme+, Vogue and The Face, all inspired by the visuals of the region and displayed in custom-made Sheffield steel vitrines (not a single detail escaped the curators), one starts to question the lack of credit given to cultural centres outside of London. Even musical legends such as Morrissey, The Stone Roses, New Order and Oasis, who have conquered the world with their sounds, (and who rightfully have their own pride of place within the exhibition) grew up and formed within the North’s energetic environments. No one can dispute that the talent which hails from and is inevitably profoundly influenced by the North of England enjoys great stature worldwide, yet their origins are often forgotten. Fortunately, North brings the talent home again.

“There’s tons of beautiful girls in Liverpool that aren’t WAGs with caked on make up.” – Thom Murphy, stylist | A view of North: Identity, Photography, Fashion

The magnitude and the wealth of visuals the North provides the world with becomes even more apparent upon entering the fashion gallery. Garments from the Belgian Raf Simons, German adidas and American/Milanese/Ghanaian Off-White c/o Virgil Abloh all clearly show signs of the North, emphasising its crucial and international role. On display are various versions of the adidas Samba and ZX trainers dedicated to Northern cities. Elsewhere, an Off-White knit pays tribute to the Gallagher brothers, while a Raf Simons Autumn/Winter 03 parka with a print of New Order’s ‘Power, Corruption and Lies’ album cover designed by Peter Saville hangs nearby. The parka can still be bought online, though it does fetch $20,000. Who said the North wasn’t fashionable? Add the giant steel columns created by Abloh and Ben Kelly, the designer of Manchester’s iconic Hacienda nightclub, interior of which was a starting point for this installation, which, complete with Abloh’s signature chevron, dominate the facade of Open Eye Gallery, and the North of England is firmly secured on fashion’s radar.

“The most Northern part of me is my sense of humour. That more than anything is the thing that has endured and what I use in my way of dealing with people. But I’m not a professional Northerner.” – Simon Foxton, stylist | Raf Simons parka from ‘Control’ Autumn/Winter 2003

“Some things I explore in my collections relate to my life in the North-East. There’s a sense of real life, because things aren’t so aspirational.” – Claire Barrow, designer | Mark Szaszy, Corrine Day – Diary (Extract) (2012)

There are many other gems scattered around the exhibition space. A small Panasonic TV from decades past screens an extract from Corrine Day’s diary, where the late photographer reminisces about her shoot for Dutch magazine in 2001 titled ‘A British Summer: Blackpool 2001’ featuring Kate Moss, George Clements and Rosemary Ferguson. A 1939 short film named ‘Spare Time’ documents the people of Sheffield, Manchester, Bolton and Pontypridd in the in-between times when they are not working in the towns’ famous industries. Watching the movie sat on a park bench, headphones on, you get sucked in, almost feeling as though you are in the film yourself, observing the goings on, being a part of the daily Northern life. Yet the biggest surprise is upstairs. The room is transformed into an old, seventies maisonette, complete with lace curtains, a floral print armchair, a bed with an embroidered throw, a giant wooden cross, shaggy carpet and old rotary dial telephones prompting the visitors to pick them up, revealing sound bites by Northern creatives such as Stephen Jones, Christopher Shannon, Claire Barrow and Gareth Pugh in which they look back at their upbringing and the importance of the North of England in their life and work. It is a charming corner to relax in, take a trip down memory lane, meet the locals and ponder on the importance the North of England has on the country’s image. Perhaps just this little refuge in a twenty-first century city is a reason enough to return for another visit. As Gary Aspden remarks in his interview upstairs, “all roads lead back to the North.” This exhibition is a testament to that. So do yourself a favour, brave the almost five hour long round trip from London and visit the Open Eye Gallery. Believe me, it is worth it!

“I still think that people from down South don’t understand people from up North. And it is this huge cultural, class and every-which-way divide.” – Stephen Jones, milliner | A view of North: Identity, Photography, Fashion)

“I feel still very much connected to where I grew up… it’s a huge part of who I am. And I think in that it’s the Northern work ethic, that’s also something that is quite important.” – Gareth Pugh, designer | A view of North: Identity, Photography, Fashion 

Sources:

‘North’ on SHOWstudio.com

Documenting Fashion Visits NYC, Dec 2016: Musings on ‘Proust’s Muse – The Countess Greffulhe’

Proust’s Muse, The Countess Greffulhe Installation View | Installation view of the exhibition Proust’s Muse, The Countess Greffulhe at The Museum at FIT. An exhibition developed by the Palais Galliera, Musée de la Mode de la Ville de Paris. Photograph © 2016 The Museum at FIT.

Following an incredible visit to the archives on Monday, we returned to the Fashion Institute of Technology (FIT) in New York on Tuesday for the exhibitions – we simply could not miss out on the opportunity of seeing more of FIT’s work. One of these was Proust’s Muse- The Countess Greffulhe which is based on a show previously held in Paris entitled La Mode retrouvée: Les robes trésors de la comtesse Greffulhe. The exhibition focuses on Countess Greffulhe’s style and fashion and aims to highlight her role in inspiring the character of Oriane in Marcel Proust’s In Search of a Lost Time.

Proust’s Muse, The Countess Greffulhe Installation View | Installation view of the exhibition Proust’s Muse, The Countess Greffulhe at The Museum at FIT. An exhibition developed by the Palais Galliera, Musée de la Mode de la Ville de Paris. Photograph © 2016 The Museum at FIT

Located in the basement of FIT, the exhibition was separated into two rooms. One of these was a long entry hallway. Here, the show was introduced through photographs of the Countess and some of her contemporaries as well as by means of a video. This was extremely useful in setting the tone of the exhibition. Narrated by Valerie Steele, FIT’s Director and chief curator, it highlights the thinking behind the exhibition and outlines some of the key dresses on display. The exhibition itself was located in a large hall, which allowed for the clothes to be spread out generously. The black wall colour, high ceilings and dim lighting helped to highlight each garment, although some of the colours of the fabrics were a little lost as an effect. The exhibition showcases a selection of Countess Greffulhe’s clothes and accessories over the course of her lifetime, enabling the viewer to gain an overview of her personal style. House of Worth, Fortuny and Babani are just three examples of her choice of designers. Particularly insightful into the Countess as a style icon is the “Byzantine” House of Worth dress from 1904, which she chose to wore for her daughter’s wedding. The viewer is told that in it, she outshone the bridal dress of her daughter, having arrived at the wedding venue with enough time to spare to showcase her dress to any guests and bystanders.

Proust’s Muse, The Countess Greffulhe Installation View | Installation view of the exhibition Proust’s Muse, The Countess Greffulhe at The Museum at FIT. An exhibition developed by the Palais Galliera, Musée de la Mode de la Ville de Paris. Photograph © 2016 The Museum at FIT.

Countess Greffulhe, as an exhibition and as a person, seemed a perfect fit for our course as it reflects the breadth of the role that fashion can take. It sums up the personal element of style, reflecting questions of identity and representations as well as using dress as a mediator to express these. This is applicable to both, the Countess’ clothes as well as her staging of dress in photographs. As Steele sums up, ‘the Countess Greffulhe believed in the artistic significance of fashion. And although she patronized the greatest couturiers of her time, her style was very much her own. Today, when fashion is increasingly regarded as an art form, her attitude is especially relevant.’

Proust’s Muse, The Countess Greffulhe Installation View | Installation view of the exhibition Proust’s Muse, The Countess Greffulhe at The Museum at FIT. An exhibition developed by the Palais Galliera, Musée de la Mode de la Ville de Paris. Photograph © 2016 The Museum at FIT.

Proust’s Muse – The Countess Greffulhe will be on display at FIT New York until January 7, 2017.

 

Sources:

Proust’s Muse – The Countess Greffulhe Exhibition Handout

http://www.fitnyc.edu/museum/exhibitions/prousts-muse.php

https://flic.kr/s/aHskJYFyX2