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.

Fashion on Film: Iris

Bug-eyed spectacles, bright red lips, and a shock of white hair. These are the components that make up the distinctive Iris Apfel. A fashion stylist, interior designer, costume collector and all-round tastemaker, Iris is the subject of a new documentary by Albert Maysles, creator of the fabulous 'Grey Gardens'.

As the film opens we see Iris, 93, in her natural habitat: the thift store. Her eyes light up as she picks beaded bangles and rhinestone encrusted bracelets, threading them onto her arms as high as her elbows. She talks of her favourite hobby, shopping, as an addiction, admitting she is always after the next fix. And it's the bartering, the thrill of the chase, the joking and the people that make the experience what it is.

The phrase 'like a kid in a candy store' couldn't be more apt here. Iris is drawn to cherry-coloured beads and bright amber necklaces, layering them up to create a look that is is completely unique. "I don't have any rules because I would only be breaking them so it's a waste of time" she tells the camera, and it's true. Iris lives out her style advice in full technicolour. 

It's not about the lavish designer pieces (although she owns more than a few of these), it's the process of seeking out treasures, be it from market stalls, thrift shops, or department stores, and building each piece up to create the full outfit. Colours, textures and shapes come together to allow for maximum visual impact. For Iris, getting dressed is the main event. You can feel her excitement as she examines the printed lining of a jacket or admires a work of embroidery. Her look is carefully layered to present a story to the to the world.

But it's her personality and pure zest for life that is most enchanting. For Iris, the world is a playground. She seizes opportunities as they present themselves. From interior design work, to collecting costume jewellery, to putting on her own exhibition at the Met, and of course this documentary: nothing is too planned in advance. There are no five year plans, checklists or the endless quest for money or approval. In fact she continues to be endlessly surprised at all the attention she receives. It seems that Iris is most happy bouncing around the house with her husband, who at the grand age of 100 still allows Iris to dress him in a studded snap back. They seem most content cracking jokes, messing around and telling fantastic stories.

As she says herself: "It's better to be happy than well dressed." And I couldn't agree more.

Shoes: Pleasure and Pain

I've always had a bit of a love-hate relationship shoes. Whilst on the one hand (or should I say foot?!) they can be undoubtedly pretty, stylish and glamorous, and give a much-needed boost to my 5 foot 2 inches, but they can also hurt like hell. Which is why the V&A's new shoe exhibition 'Shoes: Pleasure and Pain' is so perfectly named. 

On display are hundreds of shoes through the ages, each encapsulating a specific aspect of footwear. There is an area dedicated to shoes inspired by the fairy tale, including the iconic red ballet slippers worn by Moira Shearer in The Red Shoes as well as Lily James's glass heel from the recent Cinderella. Another display showed shoes worn by royalty, from Queen Victoria's pumps to Kate Middleton's nude LK Bennett's. 

The exhibition also delved into the more psychological aspect of our relationship with shoes. In a room hidden behind a velvet curtain were a collection of shoes chosen for their connection to desire and fetishism. For hundreds, if not thousands of years, shoes have been worn to reveal and conceal, and like any piece of clothing they say something about the wearer. In the 18th century, a fashion for shoes laced low on the foot was thought scandalous, as it revealed the wearer's coloured stockings beneath. And, of course, who can forget the stiletto, synonymous with femininity, sex, power, and one Carrie Bradshaw.

Pleasure and pain go hand in hand when thinking about the 'lotus' shoes worn by Chinese women right up until the early 20th century. These tiny, intricately embroidered shoes showed the extremes women underwent through the tradition of footbinding to gain a shoe size and gait that was deemed attractive. It's incredible to think that this was still in practise just a little over a hundred years ago.

Another aspect of the exhibition explored our need to collect and display shoes. Showing various shoe collections, from a society woman of the 1920s who kept her shoes in a specially made vanity case, to a more contemporary Reebok trainer collection, there is definitely something special about shoes that makes us want to cherish and preserve them, and showcase them as pieces of our personal identity.

A final showreel of cinematic shoe moments is displayed at the end of this expansive exhibition and if you ever needed a reason to re-watch the likes of Belle du Jour, The Red Shoes or Sex in the City, you'll want to now, if only to observe the beautiful shoes.

The Extraordinary World of Tim Walker

Just over a week ago, I experienced my first ever Vogue Festival. I have long been intrigued by the concept since it was launched a few years ago, but had been a bit put off by the price of tickets, which are a little steep..! But, when I heard that this year Tim Walker would be attending, I knew I had to bite the bullet and be there.

I have followed Tim Walker's fashion photography ever since I got my hands on British Vogue. At Sixth Form college, the library had an enormous back catalogue of issues, and I spent many a lunch hour pouring over the fashion stories, always admiring Tim's work above any other. The brilliant colours, doll-like models and fairytale-inspired stories completed held my gaze and inspired me no end. In a world of minimalism and bright studio set ups, here was someone eccentric and extraordinary

Tim's talk was, aptly, held at the Royal Geographical society, where he was well placed to talk about travel and locations within his work. Walking to the lecture theatre, we passed walls lined with maps of far off places as well as dark wooden cases containing all sorts of Victorian travel memorabilia, reminding us of an era of travel not unlike those conjured up in Tim's images. Tim was joined in conversation with stylist Kate Phelan, as well the whole team of creatives that accompany him on location, from the hair and make up artists, to the fashion and photographic assistants. It was lovely to see what a close knit group they have formed over years of working together. Kate described Tim as "an adventurer" and talked about needing "to go with the person that's got that adventurous spirit" when shooting fashion in exotic places.

If you're a committed reader of Vogue, you'll know that Tim's most recent fashion story was shot in Bhutan and features a fiery-haired Karen Elson (see below). Tim described Karen as "a conduit for the fantasy in my head, she becomes the living thing!". It's clear that this really is a team effort with everyone mucking in and coming up with ideas to create the perfect image. Tim emphasised that need for spontaneity and freedom within his images, and although he plans the locations and proportions of images meticulously in his scrapbooks, he made it clear that some of the best photos are those filled with dancing or movement, or when the weather suddenly changes, or a butterfly comes in to shot.

What I loved most about the talk was hearing how down to Earth Tim was about the fashion industry. He admitted that "clothes can sometimes be boring". It's putting clothes into a fantastical location or embedded within a wild, imaginative story that "makes fashion come alive". Despite his reputation as a fashion photographer, it seems that Tim is not at all precious about clothing. This is a man that is all about the image, he thrives on what he calls a 'seeking out of beauty', to find that moment of magic that can only be captured on film.

I'm so glad I went along to this short talk, if only to be re-inspired by fashion imagery in a time were fast-fashion, selfies and the huge momentum of the industry can make it all seem a bit lacklustre. In his images, Tim Walker takes the slow and traditional approach to creating a photograph, using film cameras and natural lighting, and I'm excited to keep following his work and see what he comes up with next.

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.

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

Fashion on the Ration

I tend to think of WWII as being a lot more 'ration' than 'fashion'. Utility clothes, hair nets and industrial boots tend do away with any sense of high fashion. And old black and white photos do little to dispel that image of dull and dreary dresses. But Julie Summers', in her new book 'Fashion on the Ration', depicts the Second World War as a moment awash with personal style, inventiveness and the unstoppable force of Vogue magazine.

Going along to the book talk for 'Fashion on the Ration', which also lends it name to a new exhibition at the Imperial War Museum, I made my way to Oxford Literary Festival. Sitting in a lecture theatre in the middle on Corpus Christi College, (and feeling pretty high brow!) I listened along with a group of other attentive ears to hear Julie explaining the inspiration behind her book and some of the stories of those she met in the process of writing and researching. 

Julie talked us through some of the real life stories found in her book. From women making nighties out of unwanted silk parachutes, to altering coats so that they mimicked the emerging 'New Look' fashions, she demonstrated that sense of creativity and desire for personal style despite the relentlessness of rationing.

The idea of 'Beauty as Duty', one of the chapters of the book, was particular interesting in that it showed a woman's duty to appear primped and primed to perfection in order to send a message to the enemy that everything would continue as normal. Although, I found this whole notion more than a little uncomfortable, and from a feminist point of view this leaves a lot to be desired, there is something powerful in our use of 'war paint' as a means of warding off dull days. And it's fascinating to look at the effort that went into dabbing on a dash of red lipstick and perfecting that wave of hair as a powerful way of refusing to give in, especially in a time where clothes scarce and were re-worn year after year.

The book also discards that notion of the 1940s as being a time of drab frocks and tea dresses. As Julie, wearing an original rayon dress in fabulous terracotta, told us, the fabrics, scarves, hats and accessories of the time were often full of colour. As shown in the book, wartime adverts see women with bright greens and yellows, pinks and magentas, which were all available to buy in shops or imitate through dress patterns. I love the uplifting quality that these images produce, evoking a world where street style was perhaps more colourful and individual than it is today.

What really comes across in the 'Fashion on the Ration' is that, despite having often been denigrated as frivolous and trivial, fashion meant so much to these women. The efforts that they went through to keep their sense of style and to keep up with fashion, be it through saving up ration cards or creating new dress patterns, is pretty impressive. And it was interesting to learn that the revered pages of Vogue where just as treasured in times of war. Despite a number of setbacks, including having to relocate its London offices due to air raids, Vogue never stopped printing during the years '39-45 and steadfastly provided women with the latest trends from Paris, as well as ways to 'Make Do and Mend', giving women at home a little bit of hope and inspiration during times of such uncertainty.

I really enjoyed learning more about fashion from a historian's point of view as well as hearing about what my grandmother might have worn during WWII. If you have any interest in 1940s fashion I would highly recommend picking up this book, or heading over to the IWM in London to see some of the outfits for yourself! Have a lovely Easter! xx

Horst at the V&A

For me, September always brings with it a new sense motivation and excitement and I'm feeling a lot more inspired to document more of what I've been up to on this blog. 

Yesterday I went the new Horst exhibition at the V&A. Horst was a fashion photographer who started out in the 1930s and created beautiful images for the likes of Vogue and Harper's Bazaar. Some of these, such as the woman untying her corset, have become iconic images and are referenced repeatedly by in magazines, illustration and even Madonna's 'Vogue' video!

Horst often photographed models alongside statues and was interested in making his models' bodies look stark, clean and solid like marble. I particularly loved his colour images which he shot in the 1940s as colour became more widely used. The close-up images of images advertising lipstick are so striking with their bright reds and corals clashing against the model's clothing and I was surprised to discover that many of his photos were edited and retouched before going to print (although nothing like the extent to which they are today).

Also on display were some of the couture dresses worn by the models. There were Chanel, Lanvin and Schiaperelli's and -my favourite- the Vionnet which was amazing to see up close. And I loved seeing his Rolleiflex camera and film negatives.

In later life Horst veered away from fashion photography to explore new ideas like photographing plants and succulents in the New York Botanical Gardens and taking pictures of his travels in Persia. The exhibition itself it huge and there is so much to take in - I'm quite tempted to go back for a second look!

Although I couldn't take any photos inside the exhibition I've included a few pictures of the postcards I bought in the gift shop. 

I hope you all had a lovely summer and are looking forward to Autumn. I'll be attempting to update here a little more so stay tuned!

Xxxx

Fashion and Gardens

Last week I ventured over to Lambeth to visit the Fashion & Gardens exhibition at The Garden Museum. 

I'd heard a little about this new exhibition via the Vogue website and I'm so glad I made the trek over there. The museum itself is a disused church and is right next to Lambeth Palace, across the river from Westminster. It's a beautiful building with a small garden outside and hundreds of dried flowers hanging down from the ceiling. There is a permanent exhibition about the history of gardening as well as a lovely cafe and shop but of course the real reason for going was the fashion!

Curated by Nicola Shulman (sister of Vogue editor Alexandra to you and I) the exhibition comprised of just one room but was beautifully done. As flowers and clothes so commonly go together it could have easily been quite a predictable collection but the whole project was done in such a fascinating way.

Beginning with pieces as early as the 1500s, there were tapestries, embroidered gloves and botanical illustrations, all showing the way gardening has influence clothes. The regimented layouts of 18th century gardens inspired intricate borders on sleeves and cuffs and the invention of the colour wheel and new dye colours such as indigo allowed for a whole new array of beautifully coloured fabrics.

The exhibition also covered the more recent trends for garden-inspired garments including outfits by Vivienne Westwood (coupled with some gorgeous shoes) and an other-worldy anemone shaped dress by Alexander McQueen. Below are some (very poor quality) phone snaps I managed to take on the day, but I'd really recommend heading over there yourself if you get the chance. There is also a limited book of the exhibition which is lovely accompaniment. 

Have a great weekend! Xx

 

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

Biba and beyond

A few weeks ago I managed to catch the 'Biba and Beyond' exhibition in Brighton before going back up north for Uni. I'm so glad I went to see this, I love Biba and 1960's/70s fashion but this was even better than expected! Barbara Hulanicki grew up in Brighton and it was fascinating to see how she grew from humble beginnings to conquering the world of fashion - as well as illustration, interior design and make up! She truly is one talented lady.

The exhibition was brilliantly done by the Brighton Museum & Gallery, which is just a stone's throw from the architectural amazingness that is the Royal Pavilion (another must-see of Brighton). There was such a wide range of clothing on display, from mod-ish peter pan collars to romantic medieval dresses with billowing sleeves. There were so many items I wanted to raid! 

There's still time to catch this wonderful exhibit. I'd wholeheartedly recommend this for anyone with an interest in fashion history. Just make sure you visit 14th April!