Liberty in Fashion

The new exhibition at the Fashion and Textile Museum combines two of my favourite things: fashion and florals. Liberty In Fashion charts the history of the famous London shopping destination and the impact the brand and its designers had on British fashion. At the grand age of 140, Liberty has seen many changes in fashion and design but has maintained its place as an iconic institution, pioneering beautiful prints and bohemian designs.

The exhibition itself is a treasure-trove of ditsy prints, intricate embroidery and bright colours. It starts with the company's early days when it was set up by Arthur Liberty as a warehouse supplying fashionable goods and textiles from the Far East in the 1870s. Liberty then moved into creating beautiful embellished gowns, befitting the wardrobe of a Downton debutante, as shown in the image of the delicate ivory capelet below.

The beginning of the 20th century saw Liberty embrace the idea of 'Aesthetic Dressing'. Long, flowing kimonos inspired by japanese paintings became sought after lounge wear for the bohemian woman. Liberty began to not only look to the East for inspiration but started to reinterpret the farm labourer's staple - the smock - for modern women. Smocks were loose, comfortable garments which carried with them an air of nostalgia for a rustic and rural life, but also hinted at the wearer's artistic temperament as the perfect outfit for painting and writing. I particularly loved this embroidered smock below, with it's palette of green purple and white echoing that of the Suffragettes' uniform.

The fashion for smocks also extended to childrenswear and both boys and girls wear dressed in these smart but loose-fitting tunics. Children's author Kate Greenaway's illustrations, which revisited the clothing styles of the 1880s and 90s became inspiration for Liberty's childrenswear. I found it fascinating that imagined dress from storybooks could lead to real-life changes in children's clothing and remember the vogue for this as a nineties child dressed head to toe in Laura Ashley floral smock dresses!

Perhaps what Liberty is most associated with is it's iconic ditsy florals. These rose to fame in the interwar years of the 1920s and 30s when small prints on dark backgrounds of black or brown where popular. The lighter, more optimistic blues and pinks were favoured in the 1940s and were often made into pretty tea dresses (see below). Just looking at these gorgeous war-time outfits, with their nipped-in silhouettes and bakelite belts cheered me up. You can see where Cath Kidston get some of their nostalgic print ideas from. 

Although Liberty reluctantly (to begin with) veered into more outlandish and vibrant prints in the 60s and 70s, when many of their prints were designed by the fabulous duo Susan Collier and Sarah Campbell, they returned to their trademark bohemian look in the 70s, with their floaty and romantic dresses (below). The smock dress made a triumphant return and prints were produced in beautiful muted browns and mauves. I loved the patchwork pinafores - they looked so practical and easy to wear.

Although I am probably biased, being already obsessed with prints and florals, I loved this exhibition of Liberty London. It was wonderful to learn about the shop's history, from its origins transporting textiles from across the world, to the work of its creative printmakers and design talents. Liberty will always hold a sense of nostalgia for me, but it was fascinating to see how often the brand has borrowed from the past to create something refreshing that echoes current fashions. Never more have I desired a few metres of Tana Lawn to make a ditsy print dress!

Let me know if you've been to the exhibition and what you thought of it - I'd love to know!

Liberty in Fashion is currently on at the Fashion Museum until 28th February 2016.

Riviera Style

Over the Bank holiday weekend I took the opportunity to visit the new exhibition at the Fashion and Textile Museum in Bermondsey. The FTM is one of my favourite museums, in part due to its very chilled and friendly atmosphere: you really feel that you can get up close and personal with the clothes and I always leave with my head full to the brim with inspiration.

The museum's latest offering is 'Riviera Style: Resort and Swimwear since 1900'. On display is a wide variety of beachwear throughout history, spanning Edwardian-era knitted bathing costumes, to fifties patterned playsuits and the more revealing cut away bikinis of the 60s and 70s.

The swimsuits from the turn of the century were perhaps the most fascinating to see in real life (see below). I was amazed how these little pieces of fashion history have survived all these years. The demure pantaloon-style suits were made of thick cottons or heavy wools that soaked up the water like nobody's business, making for a challenging paddle in the sea. Never have I felt more grateful for the invention of lycra!

It was only until the early 60s that truly practical swimwear really took off, until then there was a lot of making do with hand-knitted costumes and shearing elastic which sagged and filled up with water when you attempted to leave the pool! But the lack of synthetic fabrics and swimwear technology was not at the expense of style. The 1920s and 30s, one of my favourite eras on display, was when 'riveria' style was born, and beachwear became chic and glamorous. As you can see in the photo above, Japanese-style kimono jackets and slouchy pyjama bottom in gorgeous prints were all the rage, as were chic rubber swimming caps much like those worn by Keira Knightley in the film Atonement. 

Many of the items on display were of course nautical-inspired. Blue and white stripes, anchor motifs and brass buttons were in abundance throughout almost every decade. Sailor suits were popular as childrenswear at the turn of the century, thanks to Queen Victoria's penchant for dressing her children in them (even as a 90s child was put in an M&S sailor suit aged 2!). There is also a whole room dedicated to Amber Jane Butchart's new book 'Nautical Chic' (I reviewed it earlier on my blog here) which goes into more detail about our fascination with sailor style, and it was lovely to see some of the clothing featured in the book out on display.

There's definitely something about the seaside that makes us want to dress up and show off. The image below shows outfits a family of four might don when taking in the sea air in the early 1900s. These heavily starched suits and dresses were probably not the most comfortable of outfits on a hot summer's day, but were perfect for to show off for Sunday best. Fast forward through the decades and beachwear still needs to impress. From the sumptuous, oriental-inspired kimonos of the 20s to the barely there monokinos of the 70s and the teeny-weeny Daniel Craig Speedos of more recent times, beachwear seems to have always been an excuse to flaunt our fashion credentials.

Although I'm not all too great at dressing for summer (I blame this on typically rubbish British weather), I now feel a lot more prepared after this exhibition and have an army of ideas for summer outfits. If you're in need of some summer style inspiration, or just fancy gazing at some beautiful pieces of vintage clothing, I'd heartily recommend popping along to the FTM for inspiration. I'm particularly coveting a floral playsuit or some wide leg trousers. Now to book that holiday! Xx

Nautical Chic

Ahoy there! Say hello to a wonderful new fashion book to add to your collection. Nautical Chic by Amber Jane Butchart charts our love of seaside fashion from its historical and practical origins to its present-day incarnation as a modern day style staple. I have always been a fan of the humble Breton stripe, there's something so eye-catching about those hypnotic horizontal lines than means I find it hard to go shopping without coming home with another stripey top. I feel similarly weak at the knees whenever I spot a sailor-style collar or a set of brass buttons and once owned a pair of wide legged blue sailor pants which I loved but was too scared to leave the house in!

I've long been an admirer of fashion historian Amber Jane Butchart, she has a great blog and has written another book Fashion Miscellany, a compendium of fashion anecdotes. Reading through Nautical Chic it's clear to see that Amber has a real love of all things nautical, rivera and pirate. I love how she goes into real detail into the origins of our favourite clothing, instead of using the usual tropes and references, she really gets into the hows and whys of the ways we dress.

The book is divided into five sections, each detailing a particular aspect or 'character' of nautical style: the officer, the sailor, the fisherman, the sportsman and, of course, the pirate. It's fascinating seeing how each of these individual influences have evolved to form what we now think of as nautical style. Amber incorporates both history and politics into her analysis of maritime fashion. I particular love the mention of the ship-shape hat that became popular in 18th century France at the time of Marie Antoinette, and then, much later became part of the inspiration behind milliner Philip Treacy's hat collection of 2013.

Nautical Chic also captures that chicness and sense of je ne sais quoi that is part of the iconic Breton top. Brigitte Bardot, Audrey Hepburn and Anna Karina and Edie Sedgwick all feature as stylish women who popularised the Breton top as 'a marker of effortless classic French chic' that is both 'bourgeois and bohemian'. 

The book itself is gorgeous and scattered with quotes, illustrations and beautiful photographs. If you have even the smallest interest in nautical fashion, I'm sure you'll find something of interest in this book, so much of what we wear today is influenced by these styles and I learnt so many wonderful nuggets of fashion history through reading Amber's text. Now that we're getting into some warmer weather I will definitely be using this as some much needed Spring/ Summer fashion inspiration. As you know, stripes never go out of style.

Erwin Blumenfeld at Somerset House

 

I managed to squeeze in another 'artsy' adventure today! This time it was the Erwin Blumenfeld exhibition at Somerset House in London. Blumenfeld was a Berlin born photographer who emigrated to New York in the 1940s. Whilst forever believing himself to be an outsider to the American lifestyle, his fashion portraits were responsible for creating and embracing the signature look of the New York woman. Polished, glossy and almost too perfect, his covers for Vogue and Harper's Bazaar depict beautiful women as the utmost objects of desire. 

Perhaps Blumenfeld's most famous image is one featured on the cover of Vogue which depicts the disembodied features of a woman's face - it is instantly recognisable. His simple use of colour still seems fresh today and there is always something Surreal and a little bit different about his photos. Accompanying the exhibition were some examples of the magazines in which he was printed as well as a short film which went into more detail about his life and work. This was fascinating - it seems that despite his idolisation of 'perfect' women in his commercial work, his own self-portraits which are distorted and unidentifiable, showing someone deeply concerned with and constantly exploring the idea of his own identity. I highly recommend popping in to see this display if you can. Blumenfeld's photos are so iconic and made a huge impact fashion photography.

The exhibition is free and finishes on 1st September.

Laura Ashley: The Romantic Heroine

Last week I was lucky enough to catch the Laura Ashley exhibition at Bath's Fashion Museum. Aptly titled 'The Romantic Heroine' the exhibit displays 100 of Laura Ashley's classic 1970s dresses. 

Celebrating the 60th anniversary of the label this was ruffles galore! High neck collars, flounces and florals featured prominently. The Museum sits in the middle of Bennett street and it's not too hard to imagine one of Jane Austen's Bennett sisters sporting a not-too-dissimilar style gown back in the 1800s.

Laura Ashley's designs were heavily influenced by nostalgic ideas of country living, as well as being inspired by the historic dress of some of her favourite romantic heroines. Think Cathy from Wuthering Heights, or the Regency style of Austen's women. It's hard to believe that amid the scores of mini skirts and PVC boots of the 60s and 70s, die hard Laura Ashley fans were going against the grain by reaching for full length cotton dresses and voluminous smocks.

A fascinating part of the design process was Ashley's use of print and colour. From typical ditsy prints to graphic art deco shapes, the fabrics were both pretty and unusual, with some garments featuring swans and dogs. The dying process was also a little bit different, with the dying vats apparently not being fully emptied before adding new dyes, resulting in the mismatched colours of the fabrics.

Whilst the exhibition itself was fascinating, I would have liked to have seen some more examples of women wearing the outfits in real life. Perhaps some photos of magazine editorial, adverts or family photos would have added a personal touch, but otherwise, the display was beautifully done.

Frilly, feminine and unashamedly nostalgic Laura Ashley's designs paved the way for a new style of dressing; a romantic movement where you can quite literally wear your heart on your sleeve.

"People love the idea of dressing up in the sort of clothes you might find in an old trunk." 

- Laura Ashley, 1975.

all photos my own