London Couture at the V&A

I spent last Saturday at the Victoria & Albert Museum's "Study Day" of lectures in celebration of the new publication London Couture. See a glimpse of the beautiful new book here .

                London Couture 1923-1975 British Luxury

The lectures were given by contributors to the book tackling various subjects on London Couture's history:

• Amy de la Haye, London's Court Dressmakers

• Edwina Ehrman, A Brief History

• Joyce Fenton-Douglas, The Ancillary Trades

• Beatrice Behlen, Clients

• Timothy Long, Constructing Couture

• Jonathan Faiers, The Timelessness That Ran Out of Time

Amy de la Haye, London's Court Dressmakers

Firstly Amy de la Haye set the scene to give us an idea of who these early couturiers were. Courturier was a legitimate career for a married Edwardian women, or a road to independence and success for a divorcee. Kate Reily was an example of a shrewd business woman using her creativity and cunning to keep up to date with the thirst for the latest fashions.

Even though Reily's original designs were highly praised, the British customer only had eyes for Parisienne models. In attending the show, Reilly would be obliged to purchase at least one model, but to get the most from it, she would send two buyers to view the new designs. With the idea that two heads were better than one. they would dash back to the hotel to sketch what they had seen to reproduce for their own customers on their return.

 

Born with Silver Scissors

We learn of prestigious dressmaker, Madam Clapham of Hull who made a point of not paying her apprentices as she wanted girls from "good families". She felt that those from a wealthy family who could support them, they would be a better class of trainee. Sadly this excluded many talented individuals born without a pair of silver scissors in their hands, unable to learn by working full time for free.

This is still affecting the fashion industry today. Many designer brands have been criticized that their unpaid intern-ships are elitist,  allowing only a lucky few from privileged backgrounds to gain valuable experience with them to get the best start with their careers. 

                                               c.1937 Hand embroidery class - 1 Collection London College of Fashion - College Archive 

Edwina Ehrman, A Brief History

Edwina tells us of the shift in dressmakers of the 20s and 30s. The new favourites were young men like Norman Hartnell with a creative approach and an understanding of the glamorous lifestyle of their clientèle.  

A Shift in Dressmakers

These men socialised with their patrons, a complete contrast to the couturiers that pre-dated them who were so intimidating to wealthy out-of-towners they would often turn to department stores rather than seek out an illustrious dressmaker and face their scrutiny.

Norman Hartnell with his models in 1930 courtesy of Getty Archive

Even the term "Designer" was now coined to appeal to a wider audience, thanks to the Incorporated Society of London Fashion Designers aiming to boost trade overseas during WW2. I learned more about IncSoc at The Imperial War Museums "Fashion on The Ration" exhibition, hopefully I'll share in another post soon, but here's some more info courtesy of wiki:

In March 1942 The Board of Trade invited the IncSoc members to design:

The iconic CC41 label, also known as "The Two Cheeses" there was also the double 11, much rarer and introduced to signify a finer quality item. Look out for these when out vintage shopping! 

 

"34 utility garments suitable for mass manufacture in order to demonstrate how high-fashion elegance could be achieved within the strict rationing restrictions"

The designs were featured in Vogue magazine,

"Known as the Couturier Scheme, the project had a very high profile in the press at the time with a fashion show held to launch the clothes"-wikipedia

                                                                          Pages showing Edwina's chapters in the book London Couture

Parallels can be drawn to modern high street giant H&M's collaborations with elite houses and designers like Margiela, Stella McCartney and Karl Lagerfield bringing their signature style to a mass market on a global scale. (You can view previous H&M collaborations here). The most recent collaboration with Balmain has even seen their sell out pieces fetch more in online auctions than original Balmain garments!

Balmain x H&M another hugely popular collaboration between couture and high street giants which hit stores in November

 

"Revealed this morning in all its embellished, whipstitched, skintight glory and, as expected, there's not one item that hasn't got wish list written all over it."

Vogue Magazine on the most recent, highly anticipated collaboration of Balmain for H&M

Joyce Fenton-Douglas, The Ancillary Trades

H&M fans have complained that the retail prices of the Balmain collaboration are too high, going into hundreds for some of the more embellished and leather pieces, which is a big step up for a high street chain with average prices usually at £14.99. However even a few hundred is still a fraction of the thousands that the official couture collections from Balmain can cost when bedecked in the finest materials. This is something Joyce Fenton-Douglas brought up when talking about the Ancillary Trades.

View fullsize

            Reville Rossiter trompe l'oeil tassel detail from a couture garment from 1919

"WOW" Factor

Couture dressmakers relied (and still do) on the Ancillary Trades for specialised skills, such as pleating, embroidery and embellishments. Rather than just the finishing touches, these can be the most desirable aspect of a whole design or be the structural basis for a garment.

These can provide the instant wow factor that gives you the fist sign that this is a special, more luxurious item.

Secret Skills

This charming video below was brought to our attention in the lectures. It shows the Australian maker Harry Nairn hand cutting, shaping, dying and assembling all the individual parts of a silk flower in his own workspace at home. 

Couture houses would historically send "matchers" to the addresses of specialised makers. These girls would seek out matching flowers, trimmings or other embellishments in the very particular shades or styles necessary to co-ordinate with the fabrics for the garments.

The names and addresses of the top artisans would be their best kept secrets to give them the winning edge against competitors.  Although flattering, this was unfortunate for these highly skilled individuals, trying to maintain a living by providing an already niche service.

Harry Nairn who makes intricate artificial flowers. We see him cutting out petals, colouring them, shaping them with a heated metal tool then crimping petals. We see a pink rose taking shape as Harry moulds the petals around wire.

A Sign of Superior Quality

Joyce did highlight the fact that today's top couture designers will still work with modern artisans for these embellishments, utilising very labour intensive techniques. This gives them the maximum impact for the catwalk as well as distinguishing them from the follow-on designer copies which although can often get a close general look, will never be able to feature these specialist skills which take such a long time to produce in the originals.

Beatrice Behlen, Clients

The women who can tell these extra special pieces from the inferiors are the subject of Beatrice Behlen's talk. We learn of the rarity of these couture clients which the industry relied on and the relationships they had, often choosing only one particular couturier. Being polite and prompt payment made a client very liked and appreciated.

The couturier would send sketches of the design to their clients for their approval receiving back comments such as "Like V.much" or  "Nice, but what's the Price???"

 

Textile Timeline, The life of Lady Fox

Beatrice was even able to trace the life of one such client, Lady Fox, using society columns alongside the garments she had procured to see her defining style as a textile timeline to her life. As an early adopter she knew her stuff and designers would rely on patrons like Lady Fox to invest in their work.

The term "working wardrobe" came up quite often in these talks. For these women it was part of their lifestyle to have these clothes, fit for the purpose of each area of their lives, whether it was salmon fishing in the Highlands or cruising along the Dalmatian Coast. Although extravagant in our terms the cost of these pieces meant they would fit well and be made of the best natural materials or heritage fabrics, returned to year after year so they would  have to last well.

Timothy Long, Constructing Couture

Timothy told us how he originally delved into the world of couturier Charles James after discovering a collection of his garments wrapped up on mannequins in an archive he was working in.

Without formal dressmaking training Charles James had a unique approach heavily influenced by his millinery experience. We learn that to create his amazing garments, James would create hand sculpted abstract forms more like a block or last than a mannequin. By using these to create a garment it would have unexpected and new shapes, fitting the body in a different way than conventional dressmaking which relied on padding and corsets to fill and fit the body into a desired shape.

Charles James “Butterfly”, 1954. © Getty Images

Charles James also used hidden architecture but with alternative materials for a new spin. Structures were formed by heating plastic to mould and form the unusually shaped skirt  as seen in his famous "Clover Leaf" dress formed into the four portions of the leaves. 

Charles James "Clover Leaf" Dress from 1953.

To gain insight into the internal structures of these magnificent shapes they even used technology such as hospital scanners to discover the secrets used by the celebrated dressmaker. 

Fashion to Transform

Although he had  a temperament and hands-on approach of a passionate artist, James was also an incredibly technical designer. The women who bough his garments were in love with how they made them look and feel. Charles was a pioneer in understanding how fabrics worked, using them in new ways to accentuate a women's body with a fanatical amount of study going into investigating and harnessing the powerful effect of materials. James was famously quoted in saying;

"Make The Grain Do The Work"

 

These garments were thoughtfully engineered, and this combination of vision and technique along with the support socially from Cecil Beaton and the wealthy friends of James' Mother gave him both the exposure and clientèle for his unique designs.

                                                                 A Charles James design repeated in a later variation. © Getty Images

Exciting & Contemporary

Timothy showed us how Charles James used the same designs again and again, taking patterns from many years previous to make a new version. It is proof that if something works well for the body, it always will and the lasting beauty and desirability of great design. This is why gowns by designers like Charles James have held such appeal and can be worn today looking as exciting and contemporary to a modern audience. This was celebrated in the exhibition at The Metropolitan Museum of Art last year, of which you can take a video tour with the curators here:

 

Jonathan Faiers, The Timelessness That Ran Out of Time

For all the appeal of couture as a sight to behold, the "London Look" was never going to last and this was explained by Jonathan Fairs. The "uniform" which was relied upon to give strength and order to British society during the Second World War was no longer required. 

Using examples from the media coverage of couture in the mid 20th Century we can see how although beautiful, the elaborate gowns and traditions they represented were out of place in this post-war era.

Evening dress by Rahvis, for British Vogue, June 1947

Photo by Clifford Coffin

Beautiful Ghosts

One iconic editorial photographed by Clifford Coffin shows elegant models poised amongst the bombed out structure of a London mansion, intended to be "still standing strong & untouched" by the war but instead they appear as if haunting the desolate space as  beautiful ghosts of the past.

A New Era of Cool 

Outside the Biba store in 60s London

New designers were setting up their own ready to wear boutiques. Rather than the high price demanded by fine, fashionable garments, the 60s sought a new cutting edge of style where being made quickly was a bonus rather than a sign of inferiority. The quick turnaround meant it could be seen on TV and bought the next day. Instead of being confined to the high spends of the rich these new fashions were available for anyone brave enough to wear them creating new fashion muses and customers in a world outside that of the débutantes at their elite functions. 

Rule Breaking Youth

It was a free for all with young girls earning their own wage to buy their new clothes or even steal them in the famous Biba store where it was almost too easy to shoplift these must have exciting pieces, made for the rule breaking youth culture.

                                     A mad dash by Biba staff taking the fashion directly through the city streets as Biba changed premises

"Girls For Girls"

These women wanted to make their own future and forget the past. Biba founder, Barbara Hulanicki was the eldest of three girls, raised by her mother and aunt following the assassination of her diplomat father by paramilitaries.

 

Biba Founder, Barbara Hulanicki made the highstreet luxurious and exciting with her original designs and enticing concept stores

 

Hulaniki described Biba as run by "Girls for Girls".  She explains in an interview with the independent Nov 2014;

“That’s why in Biba we only had women,

  “It was meant to be for girls in the street. They were earning money and they had nowhere to go. "

Future of Couture

As in the overview from the corresponding lectures The V&As new book London Couture shows us many of it's historical aspects. For an industry which catered to the very rich and relied on highly skilled specialists we see how Britain firstly followed, then lead triumphantly, and eventually faded as the times changed and people's needs also.

But London is a thriving city of Fashion, so what can we learn from London's Couture past to use today?

ORIGINAL & BEST QUALITY

• Ancillary Trades and original, specialised artisans are still necessary to create the finest fashion. Our leading British designers like Mary Katranzou rely on quality embellishments to set their designs apart from the follow on copies

 

INSPIRATIONAL

• Although only worn by the few, couture can inspire a generation: proof of which is the sell out Alexander McQueen exhibition Savage Beauty at the V&A this year.

 

INVEST IN THE BEST

• Good quality lasts: vintage fashion has become a whole industry in itself, with concessions in high street giants like Topshop and even huge standalone stores, with branches in multiple cities like Cow. These pieces have lasted, can we say the same will be seen of some of the the cheaply made clothes we buy in bulk today?

YOUR COUTURE

• Although few of us can afford the luxury of couture, we can take a lesson from the way these women built their "Working Wardrobe".

With constant "Sales" emails from online shopping deals and (alarmingly!) low prices from competing retailers it's easy to be tempted to purchase without any consideration or too much consequence but each "cheap bargain" eventually adds up...

In resisting a few more of these it may result in affording a smaller, yet much more usable & better quality wardrobe to look and feel our individual best, which to me is a bit of British Luxury we all deserve.

London Couture: British Luxury 1923 - 1975 is available in the V&A and online  bookshop here. See below for a sneak peek:

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Exploring Uncertainty

"What happens when makers eschew certainty of outcome, instead embracing chance, volatility and impermanence in their work? Wood artist Nic Webb, and silversmiths David Clarke and Hazel Thorn discuss with session chair Lottie Davies, Taylor-Wessing Prize-winning photographer and BAFTA-nominated short film artist."

The sugar crystals took 6 months to form on this silver object by David Clarke.

Hazel Thorn creates her own material through fusing rods of silver and gilding metal, creating an alloy, seen as the the third green stripe.

This was another great event held at Collect on Friday. It invited three artist makers with different forms of using unusual and "destructive" methods to give an insight into how it can help make something new and exciting. 

BURNING

Nic Webb was pointing out the difference he found between the work he makes and other artists using natural materials like Andy Goldsworthy. Goldsworthy's work is fleeting, to be experienced but only for a time as it is left to the elements meaning that without photographs many people would never see his creations.

By making an object you see the effect of a person on a material, having some degree of control in order to leave a tangible record of their existence and ideas.

Webb likens it to the Castillo Caves where the hand of the pre-historic artist is traced in pigment for future generations to see. It is good analogy for an artist maker who harnesses the powerful, primeval force of fire to scorch out his designs.

It is this fine line between chaos and control that allows the most exciting work to be created. Our idea of beauty is often formed through the unpredictability of nature.

"MAKING IS A JOURNEY TO A PLACE I HAVEN'T BEEN"

Nic Webb

For Nic Webb his chisel is the force of the flame and his paint is the blanket of soot it creates. He says the decisions he makes are like sailing close to the wind. Go too far and you have lost the power but on riding on the edge you can control your manoeuvres and use the natural forces around you.

CUTTING 

Hazel Thorn gave a really thorough account of her making process which I really enjoyed hearing. She explained the many steps where she will make decisions on how to form her piece. Although appearing random she plans the outcome through instinct, using ongoing analysis and careful thought allowing a piece to "grow" to her design.

Hazel says how daunting a fresh sheet of silver can be, but she is able to lose that pristine preciousness through her approach where she literally cuts her material into pieces. Then it is almost like a series of repairs, each twist and turn as the material is altered is not a limitation but an opportunity she can work with.

Hazel also highlighted how important the hands on aspect of her making process is.  The incidents that occur such as when she unintentionally overheated a piece creating a new shape, means she has discovered something about her material. She can then choose whether to use this in her work having learned how to allow or deny it to happen.

DECAYING

David Clarke's work often provokes a big response. A skilled and talented silversmith with his graduate designs flying out to the V&A and Goldsmith's collections he eventually grew bored of making work he found repetitive. 

“It’s the level of perfection in silversmithing that I really moved against – the belief that you should polish every joint until the process becomes invisible,” he says. 

He insists on being called a silversmith rather than an artist. This recognises his understanding of this material through his working life so far devoted to learning and practising the skills to create with it. Through this he has earned the right to challenge it and push it. Like a close family member or old friend who can call you out on something you've done wrong when no-one else would dare, push you beyond your limits, and even make jokes at your expense. Just like your best buddies you both know how much you love and appreciate each other and would only ever want to bring out the best in both of you.

He goes against the conventions of a precious and revered material by fearlessly devouring or engulfing the silver using other materials, like baking it in salt or with lead. His work is a lesson to lighten up and enjoy a wonderful material for everything it is. It also serves as a memento mori reminding us of the fragility of a fleeting existence, to live life and enjoy it as it comes as we don't have the control we believe we have.

Advocating Craft for 2015

Building the market for collectors of contemporary craft in the North West

I was lucky enough to have attended this symposium organised by  the North West Craft Network that also coincided with the Great Northern Contemporary Craft Fair  in October. The symposium gathered together a group of selected curators, designers and major supporters of the creative world  to put our heads together and come up with ideas to strengthen the craft industry in the North West. The hope is to produce real results for those of us who are committed to making our living from our skills and passions. The results from the workshop have been published HERE.

Lively discussions and workshops with the curators, collectors and craft practitioners. The fantastic variety of guests at the symposium, "Building the Market for Contemporary Craft in the North West".

This was a welcome chance to meet and talk as a mixed group of professionals in the creative industry. We found we each had our own experiences, sharing what we have each found either as a designer or curator or from the experienced eye of a passionate collector.

Ever since this event, my mind has been buzzing with ideas, and has even helped me to make huge changes to my own creative career.  This gathering was a great starting point to now develop on helping us to focus on making 2015 a great year for craft. Not only working hard (as we all know the long hours and sacrifices from taking an unconventional path) but working smart, meaning that our precious time is spent in the most useful ways in order to help ourselves to thrive and build up the contemporary craft industry as a whole.

Here are four points that I felt were repeated again and again in our discussions in various ways. January is shiny, new and full of promise, the perfect time to begin trying to incorporate these a bit more into our work and daily lives.

1) Talk to people, tell them why you do what you do and how it makes you feel. This could be you interacting as a maker selling directly or it could be to visitors to the gallery where you work or an event you volunteer at or the tweets about the exhibitions you like. This also means LISTEN to them too. Listen to the lovely compliments on your work and your efforts. What do they like about it, what is unique? What don't they like so much? Maybe they are getting the wrong idea or something important is being missed. You will only know by communicating, and this will motivate you forward.

Here I am giving a presentation at Manchester Museum, sharing my inspiration and practices. It really made me think about why and how I make what I do and the unpredictable questions which helped me reflect and learn.

2) Treat your work how you want to be treated. You have dedicated your time and energy to your creative endeavour, show it's value. Whistler made his security guards wear yellow socks and created jewellery to be worn to his shows using his signature "butterfly sting". You may not need to go this far but what is important about your work? Do you need to invest in exquisite, protective packaging to demonstrate preciousness by treating each piece as if fragile and sacred. Or maybe is it the processes you need to show or the materials? Do you need to show the timeline of how you developed a idea to prove it is the best it can be or do you need to romance us with your artistic inspiration? Other people do not know how or why you do what you do, and sometimes your finished object alone won't allow them to appreciate and value your work over other all the things competing for their attention every day. These big brands rely on expensive marketing or "bargain" prices, however you have something they do not have. Prototypes, raw materials, sketches, videos, proof of production, the magic of it's inception. You. This is your value, show it.

Bernhard Schobinger's jewellery art work is highly valued.  He chooses to create an individual container to house each piece which can tell you the story behind it, decorated with it's details and his signature. They are all intended as one complete beautiful and considered object and Schobinger says "if you lose the box you know nothing of the piece".

3) Support yourself by supporting others. Mark Twain said (the) "Best way to cheer yourself up is to cheer someone else up." Do you have a favourite designer or maker? Tell them! Tell others about them and  share the love! We are making efforts to get the public to understand and appreciate contemporary craft but maybe we need to set a better example.  We all want people to appreciate and buy good things rather than overbuying, damaging the environment or creating sweatshop conditions.

Here's my chance to show work by my super creative and wonderful friend Natalie Laura Ellen. She puts so much of herself into her designs. I love the fact that she creates her own cosy world with her goodies, inspired by her passions like her vintage cameras, visits to horticultural shows  or the little details of her home city of Manchester where she works and produces all of her products. See her lovely shop here 

4) Let people help you. Even if you get up VERY early in the morning or go on a different course every month you may not be able to do everything you need to do by yourself. This can be hard to admit as you may have to relinquish a bit of control (if you are used to working independently) and it may mean everything is not 100% how you want it just yet. But it may free you up to get on with the most important parts that no-one else can do, or get over something that's been blocking your progress. It is usually easier to tweak what you have and build on resources than have nothing to show but grand words and ideas on how you want it to be.

This photograph was taken by my talented photographer friends Nikita A. Queeley Gill and Simon Shortt not long after I graduated. We worked together on this shoot giving me beautiful images like this one using techniques and equipment I wouldn't be able to do alone. This photo and the support of friends and family then led to me winning a fashion competition in Paris, where I saw my work on a catwalk for the first time. I don't know where I'd be without help from all of these wonderful people, so thank you all, always remembered and appreciated.

When I am feeling intimidated by a project or big workload I think of this quote used by Ben Barry, designer at Facebook "Done is better than perfect". There is more from this interview from 99% below;

"I have several friends that are incredibly talented. They will start on projects but rarely follow through. They get bored or distracted or discouraged that it's not "perfect" and give up. Following through and finishing things is one of the most important things you can learn.

One of my favourite quotes is "Done is better than perfect." That doesn't mean making crap – I believe you should always strive for the highest quality you can – but you have to finish. I think a lot of my friends in this situation don't realize how in-demand their skills are. I think if you follow through on projects and just put the tiniest little effort into promoting yourself and have the tiniest bit of self-confidence, you can get the job you want."

I think for Contemporary Craft to have a fantastic future we need to think of ourselves as a whole, banding together as the company of British Designers, each a representative of the national brand. When buying for pleasure it is easy to be swayed by the exotic, paying extra for imported rather than domestic which may mean our local artists are overlooked or undervalued. At the symposium, Professor Geoffrey Crossick, chair of the Crafts Council  brought up the point that "Craft" is fashionable, using the popularity of Craft beer as an example. Companies are utilising this self given label to great effect making a product appear wholesome, local, community based, somehow better for us. We need to think of all of these things when producing or buying our designs too; carefully crafted, artisan made, combining passion and skill and the best ingredients, a more informed, sophisticated choice.  We are lucky to have some of the most talented people right under our nose and we need to be proud of ourselves, contributing to our great industry as pioneers in art and design. The craft economy generates nearly £3.4bn for the UK economy. That's you and me, making it, promoting it and buying it. I think we deserve a bonus this year.

Giving Contemporary Crafters everywhere..."A BIG HAND".

Making It: Building Your Craft Future. A Day for Emerging Makers at the Whitworth Art Gallery

Thurs March 5th 2015

If you are an emerging maker, this event also organised by the North West Craft Network along with Manchester Craft and ADesign Centre and The Whitworth Art Gallery, will be a great chance to meet some great people and learn form their experience of creative careers of the North West via workshops in the spectacular atmosphere of newly re-imagined Whitworth.

There are also some great ideas in "The Done Manifesto" you can read here on

Thank you so much to the Symposium organisers, the incredibly hard working North West Craft Co-ordinator; Victoria Scholes and the superb Angela Mann and Anne-Marie Franey, organisers of The Great Northern Contemporary Craft Fair. They are continuing to push contemporary craft by events like these as we strive to make it as great as it really can be. My thanks also to the speakers, Jo Bloxham, James Beighton, Louise Gardener and Geoffrey Crossick for sharing their viewpoints on the podium and also to the wonderful people I met here to share our passion and enthusiasm for Contemporary craft in the North West.