An Ode to Vogue at the NPG

What is it that makes a 16-year-old girl pick up a copy of Vogue? It certainly isn't to check out the latest £340 pair of heels or the prospect planning a stylish 'Capsule Working Wardrobe'. For me, aged 16, Vogue was a little life raft of pure joy and escapism. The sheer weight of its heavy, glossy pages acted as a barrier between myself and the real world of A Level exams, UCAS forms and teenage angst.

I was lucky enough to discover that at my local 6th form college (for reasons unknown but never questioned) there was a corner of the library which housed an endless supply of British Vogues, ordered chronologically and stretching back at least 30 years up to the present day. This was more than enough to keep myself and my best friend occupied. At lunchtimes, and study breaks, when we should have perhaps been practising our French past participles, we would go through the latest editions and analyse each model's outfits, announcing 'yes', 'no', ' or 'What were they thinking?' 

But, most importantly, we would scan the pages for the editorials. The extravagant fairy-tale like stage set-ups. Our favourites were the Tim Walker stories with girls dressed as China plates and doll-like models staring out in saucer-eyed wonder. These were the models of our generations; Lily Cole, Gemma Ward, Jourdan Dunn and Lily Donaldson. Faces which became familiar friends issue after issue. Only a couple of years older than us, their fantastical lives seemed, in our idealistic teenage brains, almost within reach.

What these hours and hours spent pouring over 'The Fashion Bible' did for us I'll never quite understand, but, to us, the spreads seemed as creative as an A Level photography project (although with the financial backing of a certain Conde Nast). They were magical and haphazard and unbelievably out of this world. It wasn't the brands or the prices (which we gasped at on a regular basis) it was the creativity, the putting together of outfits; the 'More Dash than Cash' spreads showing knee high socks with strappy Mary-Jane shoes. The youthful, excitable feel of discovering something that felt like it was made just for you.

Entering the National Portrait Gallery's Vogue 100 earlier this month - the exhibition dedicated to the magazine through the ages as it celebrates its centenary - was like walking into my teenage brain and roaming around for a bit. Seeing the Vogues I had collected so diligently at the age of 17 onwards on display behind glass cases was more than a little surreal. The editions I had cherished and which now line my bookshelves are seen displayed beautifully in chronological order. The cover of Kate Moss (yes there are many) reclining in a gold ball gown for the December 2008 issue and the Cara Delevigne's first solo cover a few years later are copies that seem fixed in time and bring me back to certain points in my life. 

There is something so intimate and emotional about these weighty fashion doorstops that seems more personal than anything I've seen before in a gallery. Of course the photography, created by such masters as Mario Testino, Nick Knight and, my favourite, Tim Walker are works of art in their own right. But, in my mind, the magazine seems to belong in on the bedside tables of teenage girls, to be poured over, cherished and well loved, with pages earmarked for future use and favourite outfits cut out and tacked on pin boards.

So, this is a little 'Ode to Vogue', to say thank you. Thank you for 100 years of fashion, creativity and escapism. And thank you for allowing an awkward 16 year old girl to carry around (in her tatty canvas tote bag) a piece of pure fashion magic.

Savage Beauty

So it's finally here! Savage Beauty, the major Alexander McQueen retrospective, has hit the V&A in London, and at last the fashion designer's legacy finds itself back home. I don't think I've ever been quite so excited about a museum exhibition (which is saying a lot if you follow this blog) and never have I spent so long anticipating and imagining what it might be like.

Well, last week I was able to find out, sweeping past corridors of white marble statues and the familiar green glass sculpture to take it all in. Submerged into darkness and with the low thump of 90s club music echoing somewhere in the distance, it felt as though we were walking into one of McQueen's catwalk shows of the past. 

Inside were a series of interconnecting rooms, each representing a theme or show from McQueen's past. We met the gothic lacey gowns completely with S&M style leather straps, the romantic Victorian inspired pieces (my favourite) and the quintessential McQueen tartan, inspired by stories of the designer's Scottish heritage, as well as his final collection complete with space age shapes and those famous armadillo heels. 

I will try not to give too much away, as I hope that if you're reading this you will get the chance to go and see it for yourself. It really is a fantastic exhibition and both met and exceed my (incredibly high) expectations. The curators and staff at the V&A have done a  fantastic job at showing each collection and idea truthfully and allowing McQueen's genius to shine through. I loved the way that some of the outfits were placed within glass cases, as if they were ancient artefacts at a natural history museum.

The room of curiosities, which forms the centre of the exhibition, left us all in awe of McQueen's sheer force of imagination. Seeing each headpiece, corset and exquisitely tailored jacket in every nook and cranny of the crowded room, made me have so much respect for Alexander McQueen. How one designer had so many new, eccentric, genius ideas in his head I will never know. The deconstructed suits, the bumsters, the feathered jackets and tribal dresses all came from his imagination. I really appreciate the care and thought that went into every aspect of Savage Beauty, and also how the clothes were left to speak for themselves, with McQueen's personal life left unexamined and a background to his designs.

If you do get the opportunity to go and visit Savage Beauty then give yourself a good couple of hours to stare and marvel at the sheer genius on display. As you might expect, there are no photos allowed, so I've included a few postcards that I picked up afterwards, all showing pieces that are on view within the exhibition. I hope you're all enjoying the start of Spring, have a lovely weekend and I'll be back soon for some more fashion history goodness! xx

Ladybird by Design

Last weekend I visited the wonderful 'Ladybird by Design' exhibition thanks to a recommendation from Little Lewes. The display is being held at the De La Warr Pavilion in Bexhill-on-Sea, which is a beautiful example of 1930s art deco architecture and really makes you feel as though you're on a sophisticated ocean liner.

The exhibition takes a look back at the many designs created for the iconic Ladybird books. Although focusing on designs from the 1950s to 70s, I'm pretty sure no self-respecting Brit of any generation could escape childhood without reading one of these. Seeing the original illustrations up close was particularly interesting as they showed the amount of detail that went into each individual image. The paintings have lost none of their technicolour glory, with bright lollipop reds, yellows and greens befitting and Enid Blyton adventure. There's something quite modern about the simple and classic way each image and book was presented, and I'm sure many of today's children's book illustrators owe more than a little to the Ladybird artists.

Whilst Ladybird books hold a huge amount of nostalgia for many of us (I know my mum learnt to read on a strict diet of 'Peter and Jane'), what's perhaps most striking is just how 'of their time' they were. The books are so gender specific it seems almost comical. We have 'Shopping with Mother' and 'Learning with Mother' as well as 'Helping at Home' (with mother!). All whilst the men are depicted going out to work or showing their sons how to wash a car. Luckily for us we can look at these books as nostalgic artefacts of a very different time, happy in the knowledge that Ladybird no longer define their books by gender stereotypes.

When viewed altogether it's overwhelming to see just how many books and series were produced. Ladybird covered seemingly every topic from party games to countries of the world, founded in an honest and almost naive attempt to educate children on every subject imaginable. They printed each book on a single sheet of paper allowing them to produce books cheaply and efficiently at a time of paper rationing, creating beautifully designed books that were available to all.

'Ladybird by Design' is free and continues until 10th May. There is also a book available to coincide with the exhibition.

Artist Textiles

Last weekend I spent a lovely couple of hours taking in the Artists Textiles exhibition at the Fashion and Textiles Museum. Although the museum is pretty small I was surprised at just how much they managed to squeeze in to the space. Starting with the 1920s and 30s there's a collection of scarves, skirts and prints by the likes of Duncan Grant. 

As you move through each room you are greeted with an array of beautiful textiles, all arranged chronologically. I particularly liked the printed scarves above. Although not clearly visible in my iPhone snaps (new camera coming soon !), each print is cleverly constructed. It's only when you step forward to take a closer look that you notice all the intricate details that these artists have included: women with hats made of vegetables; couples playing tennis or the Surreal perspectives of Salvador Dali. How the curators managed to collect so many famous pieces by such incredible artists I'll never know!

The exhibition also includes some amazing clothes. Above are a collection of dresses by Horrockes from the 40s and 50s which are just lovely to look at - the colours make me so happy! And the dress below is Paris themed and has a beautiful 'Je t'aime' print all over it. I never knew that so many artists such as Andy Warhol and Picasso allowed their prints to be used in fashion collections. I tend to think of fashion collaborations as a very modern thing but and never realised that all these fantastic pieces existed emblazoned with graphic prints. It brings a whole new meaning to the idea wearing a work of art.

One of my favourite pieces is this gorgeous Zandra Rhodes dress complete with lips and lipsticks, and of course, an amazing 70's collar. I would happily wear this every day of the week.

There were so many amazing pieces, I just spent the whole time going "Wow this is amazing!" and would happily go back again to have another look. Also the Bermondsey areas surrounding the museum is pretty lovely place to wander around and walk along by the river.

Artist Textiles continues until May so there's still time to take in all these colourful patterns and prints.