Saturday, April 05, 2014

From Club to Catwalk: 80s Fashion

Another exhibition I was very lucky to see in London this past January was one in V&A (it ended in February), dedicated to 80s Fashion. From Club To Catwalk: London Fashion in the 1980s explored the creative explosion of London fashion in that decade. Through more than 85 outfits, the exhibition showcased the bold and exciting new looks by the most experimental (and then young) designers of the decade, including Betty Jackson, Katharine Hamnett, Wendy Dagworthy and John Galliano. The exhibition traced the emerging theatricality in British fashion as the capital’s vibrant and eclectic club scene influenced a new generation of designers. Also celebrating iconic styles such as New Romantic and High Camp, and featuring outfits worn by Adam Ant and Leigh Bowery, the exhibition explored how the creative relationship between catwalk and club wear helped reinvent fashion, as reflected in magazines such as i-D and Blitz and venues including Heaven and Taboo.


For me it was like travelling back in time, re-living my teens, remembering things I had completely forgotten, identifying stuff I used to pore over in 80s magazines, seeing amazing clothes and remembering songs and events that marked my adolescence. Then it suddenly dawned on me: my teen years were encapsulated in a museum exhibition! I felt really old and odd at the same time. Luckily that feeling passed by quickly as I thoroughly enjoyed the outfits and photos, the texts and layout of the exhibition, which was minimal but thoroughly into the spirit of the decade with the bold graphics and colours. One of the best parts was a dark room with small screens all over, playing a slide show of photos from the clubs of that era, accompanied by the appropriate soundtrack. One could recognise all the famous (and not so famous) people of 80s London, even seeing together people one would not imagine had met. Below you can read about the concept of the exhibition.


The ’80s saw the explosion of the London club scene. Specialist club ‘nights’ offered opportunities for dressing up in the company of a like-minded crowd. Stevie Stewart of Body Map explained that ‘each group of people, whether they were fashion designers, musicians or dancers, filmmakers, living together and going out together had a passion for creating something new that was almost infectious’. Early clubs such as Billy’s, Blitz and the Club for Heroes were small and attracted a selective crowd. As the decade progressed, venues such as the Camden Palace and one-off warehouse parties began to attract much larger audiences. Although less intimate, they perpetuated the creative link between music, club and catwalk. This symbiotic relationship remained the defining characteristic of 1980s style.


In the early ’80s, London fashion began to create a stir internationally. Fashion shows took place in New York and Japan. One breakthrough event, titled ‘London Goes to Tokyo’, included many of the designers featured here and in the upstairs gallery. The inventiveness of London design owed much to the excellence of the city’s arts education. Colleges such as St Martin’s, the Royal College of Art and Hornsey College of Art offered advanced training in the fundamentals of fashion design, while also encouraging individuality. At night, young designers’ imaginations were sparked by a vibrant London club scene. John Galliano recalled, ‘Thursday and Friday at St Martin’s, the college was almost deserted. Everybody was at home working on their costumes for the weekend’. Designer Georgina Godley remembers, 'Young London was all about taking risks and creating something out of nothing through passion and ambition'.


Amidst the colourful extravagance of 1980s fashion, one label in particular stood out thanks to their pioneering approach to making and showing their creations: Body Map. The exhibition looked back at the DIY origins of the label with its two founders, Stevie Stewart and David Holah, and of collaborations with a young Mario Testino, Michael Clark and David LaChapelle, among others.


In July 1986, era-defining style magazine BLITZ published an issue featuring images of 22 Levi’s denim jackets that had been customised by some of the world’s most lauded designers – Vivienne Westwood, John Galliano and Katherine Hamnett among them. The jackets went on to be worn during a special evening of performance, and were displayed at the V&A. Apart from some of the outfits, there was a video of the show presenting the fashions, with each ensemble presented by a model and a group/singer. Patsy Kensit was one of the models! Below is Leigh Bowery's entry.



The variety of styles exhibited are credit to the diverse background and aesthetic of the designers back then and it also chronicles the transformation of British fashion from small, local and self-centred to large, international and global.




I am sorry for the quality of my photos but they were taken with my iPhone without flash and in a hurry until a kind lady from the museum stopped me! The catalogue accompanying the exhibition is a must for every fashion enthusiast and designer, with rare material inside.

Tuesday, March 25, 2014

Isabella Blow: Fashion Galore: a very emotional exhibition

Last January I had the immense pleasure of seeing the Isabella Blow: Fashion Galore exhibition at Somerset House in London. Since the moment my trip to England's capital was finalized, I set my eyes upon seeing this unique show, to have the chance to be intimate with the scores of her amazing clothes by famous designers such as Alexander McQueen or Housseing Chalayan or Prada. But that was not the only reason. Blow was a unique creature, a woman who had managed to infuse the fashion world with her singular sense of style and aesthetics, her vision and her love for up and coming talented designers.


Isabella Blow by Mario Testino, 1997. Image used as the show's poster.

Who was she? One of the scores of British aristocracy offspring, born into an infamous family (her grandfather was involved in the White Mischief scandal), she eventually had to work to make ends meet despite her lineage. Born Isabella Delves Broughton in 1950’s post-war Britain, with a family seat at Doddington Hall in Cheshire, her family history can be traced back to the 14th Century – a factor which played an important part in Isabella’s life. Having been brought up in a rarified world of aristocracy, she said in an interview that it was trying on her mother's pink hat that sowed the seed of her love for fashion. The remnant turret of Doddington Castle where she played as a child, incorporated into the ancestral seat of Doddington Hall designed by Wyatt, was also instrumental to her love of medieval aesthetic.


Isabella Blow wearing Philip Treacy's Castle Hat, 1999, photo by Pascal Chevalier

Isabella’s thirty year career began in the early 80s as Anna Wintour’s assistant at US Vogue. On her return to London in 1986 she worked at Tatler followed by British Vogue. In 1997 she became the Fashion Director of the Sunday Times Style after which she returned to Tatler as Fashion Director. Driven by a passion for creativity, Isabella is credited for having nurtured and inspired numerous artists and designers. And her amazing collection of clothes really reflects that.


Isabella Blow with Philip Tracey hat, photo by Sean Ellis

The exhibition showcased over a hundred pieces from her incredibly rich collection, one of the most important private collections of late 20th Century/early 21st Century British fashion design, now owned by Daphne Guinness. This includes garments from the many designer talents she discovered and launched, such as Alexander McQueen, Philip Treacy, Hussein Chalayan and Julien Macdonald amongst others.  


Exhibition entrance, photo by Stratos Bacalis

From the moment one arrived on the Somerset House Embankment Galleries entrance from the Thames, you got the sense this was no ordinary exhibition. A sense that was confirmed upon seeing the first room, in darkness interrupted by spotlighst focusing on select details of her personal life. The first section of the exhibition explored Isabella’s background, and her British aristocratic ancestral roots. Highlights included family photographs and the sculpture entitled ‘Isabella Blow’ by Tim Noble and Sue Webster, made of various artifacts of her that shaped, when properly lit, her portrait on the back wall.


The second section featured pieces from Alexander McQueen and Philip Treacy’s graduate MA collections from Central Saint Martins and the Royal College of Art respectively, including Isabella’s wedding headdress. Exploring the way in which both designers used whatever they could get their hands on to make their garments and hats, this section celebrated the beginnings of their careers and the talent Isabella saw in them and her eye for discovering young talent.



The next section, to which one had to walk up a flight of stairs, exhibited key items from McQueen and Treacy’s AW 1996 collections. McQueen dedicated his AW 1996 collection, entitled Dante, to Isabella and this was his first season to receive international critical acclaim. There was a screen where one could watch the video of the show, an indelible moment in fashion history. The set up of the outfits was really impressive, most of all the outfit with the antler headdress that loomed ominously over the visitors. I got goosebumps seeing all this and they never left me till I exited the show. This same year Isabella styled Philip Treacy’s AW 1996 collection, key items of which were exhibited. Again the exhibit incorporated a video of Isabella talking about Philip. It really showcased these two very important collections, significant not only for the respective designers but also for establishing Isabella as a fashion authority. Some of her personal items were also exhibited here: her notebook, letters, faxes, lipstick and worn shoes. 




Adjacent to the previous section was a huge hedge installation, inspired by Isabella’s love of the English countryside that displayed groups of clothing from her collection presented in four themes conjuring the fantastical world Isabella inhabited and drew inspiration from, reflecting her love of birds, flowers and the surreal. Works in this section showed off a number of Isabella’s favourite designers, including clothing by Jeremy Scott, Comme des Garçons, Julien Macdonald, Viktor and Rolf and Undercover alongside accessories by Philip Treacy and Erik Halley. The sets, either on pedestals or showcases, were incredible, with Tracey's famous ship hat (the one that was on her casket for the funeral) and Halley's lobsters most prominent.


 

A small flight of stairs on the left was the next room, where Shona Heath created bespoke Isabella Blow mannequins wearing full outfits worn by her, built by referencing archival documentary images. These were displayed on a high pedestal so one had to look up to see them, like worshipping Isabella on an altar. These demonstrated her distinctive, eclectic style and mixing of designer pieces. She was quoted as saying "Fashion is a vampiric thing, it's the hoover on your brain. That's why I wear the hats, to keep everyone away from me”, demonstrating the way in which Isabella wore her clothing as a form of armour. Pieces here included McQueen for Givenchy, Alexander McQueen, Fendi, Philip Treacy, Escada, Teerabul Songvich, Dior, Prada, Jeremy Scott, Benoit Meleard for Jeremy Scott, Viktor and Rolf, John Galliano for Dior, Manolo Blahnik and Marni.


Right next to this section was a room dedicated to one of Isabella’s most famous and successful shoots with Steven Meisel for British Vogue December 1993 entitled ‘Anglo Saxon Attitudes’, featuring Stella Tennant, Honor Fraser, Plum Sykes, Bella Freud and Lady Louise Campbell, the first time any of them had graced the pages of a magazine, showcasing Isabella’s eye for spotting talent.


Next up was the last section with her own clothes. Taken from Isabella’s owns words: “Tip: Always accentuate the head and the feet”, this part of the exhibition looked at the importance that hats and shoes played in her life- she was rarely seen without a McQueen outfit, Treacy hat and Manolo Blahnik shoes. Representing Isabella’s work and urban London life installations by Shona Heath were created to exhibit hats and shoes from her collection.



For the final section in the exhibition you had to walk down a flight of stairs again and enter a black space where La Dame Bleue was displayed: the S/S 2008 Alexander McQueen collection that Lee and Philip Treacy collaborated on and dedicated to Isabella after her death. The collection was inspired by Isabella and to end on this note evoked both her legacy and her importance.The selection of outfits shown here was impressive, especially the masterpiece long gown made of small feathers. And if that was not enough to bring tears to my eyes, there was a room at the far end where the video of the show was projected on a wall, so one had the feeling of being there and watching it live. I sat through all of it and was moved profoundly of how much the love that Lee (who would follow her to death a few years later) and Treacy infused the collection.



Daphne Guinness said: “This exhibition is, to me, a bittersweet event. Isabella Blow made our world more vivid, trailing colour with every pace she took. It is a sorrier place for her absence. When I visited her beloved clothes in a storage room in South Kensington, it seemed quite clear the collection would be of immense value to a great many people. I do believe that in choosing to exhibit them we’ve done the right thing – and that it is what she would have wanted. I am doing this in memory of a dear friend, in the hope that her legacy may continue to aid and inspire generations of designers to come”.



The show was curated by Alistair O’Neill with Shonagh Marshall and designed by award-winning architectural firm Carmody Groarke, with installations by celebrated set designer Shona Heath. Graphic design was by Graphic Thought Facility and exhibition production by Richard Greenwood Partnership. To accompany the exhibition, there was a catalogue with new, commissioned photography by Nick Knight of the Isabella Blow Collection, edited by Alistair O’Neil with essays by Alistair O’Neil, Professor Caroline Evans, Alexander Fury and Shonagh Marshall, designed by Graphic Thought Facility and published by Rizzoli, which of course I acquired, both as a memento of this incredible experience and as a fashion reference and great addition to my library.

All photos by Peter Macdiarmid/Getty Images for Somerset House unless otherwise credited.

Thursday, March 20, 2014

White Island Works rings - art becomes wearable

Konstantinos Papamichalopoulos and Artemis Lydl are a creative couple that I have come to known for a few years now and happy to call friends. They are extraordinary people, smart and artistic, always ready to engage into thoughtful conversation. Constantinos is an accomplished artist that not only paints but also illustrates (has been published numerous times in Greek newspapers and magazines) and draws comics. They both create books , apps, videogames and art. Their most recent venture (apart from making their family bigger) is their extraordinary biomorphic black rings.


The design of the rings derives from Konstantinos' artwork, namely the White Island Works series. They translated fragments of it into small pieces, set as precious gems on rings, ready to be worn by everyone.


They come in various shapes and sizes and new designs are added to the mix. I love the graphic feel of the artwork and the layered edges.



The detail of design and quality of construction is amazing. Even the box they come in looks very fetching. 


You can buy them (and other stuff from the series as well) from their Etsy shop. The prices are amazing. So what are you waiting for?



Saturday, March 08, 2014

Christian Tagliavini - a fantasy world of paper and cardboard

 
There are some creative people that stand out in your mind, above all else, with their ability to make something that speaks directly to your inner self. One artist like this is Christian Tagliavini, a graphic designer and photographer. I had seen Tagliavini's work many times in the past on-line, marvelling at what he does using cardboard an paper to create elaborate costumes that dress up his models accordng to the concept he is working on at the time. A recent encounter with some of his work up close, remined me of his extraoidrinary talent again, and I thought I would share it with you.



He is Swiss-Italian, educated in Italy and Switzerland, where he lives and works as a photographer. This provides him the perfect frame and background to invent, create and totally produce images that blend fine arts and craftsmanship. Christian Tagliavini loves designing stories with open endings (requiring the observer’s complicity) on unexplored themes or unusual concepts, featuring uncommon people with their lives and their thoughts made visible. This rich and exciting collision of circumstances results in his exquisite photos. he has received numerous international awards and has exhibited his work all over the world. his latest show was in Berlin in 2013.

 
I love the photographs he creates as well as the incredible costumes. He makes them himself using mainly paper and cardboard, printed, cut and glued in intricate ways, bringing to life fairytales and forgotten worlds. I'd love to have one precent of his creativity to make stuff like this for my fashion dolls.













Monday, March 03, 2014

So who won the Oscar for best-dressed?

The red carpet has become a major advertising opportunity for fashion brands, who will do anyhting possible to get their stuff on the most famous and likel to be awarded people attending. It is a battle field strewn with the "corpses"of stylists, hairdressers, make up artists and personal assistants, who wage the war behind the scenes. Let's see who won this year (all photos courtesy of wwd.com and Donato Sardella).


For me the first place is a tie - Two amazing women ruled the red carpet. First up it's Lupita Nyong'o in custom made Prada (she said she helped design the dress with a concept of bubbly champagne and the blue she was surrounded with growing up in Kenya) and Fred Leighton jewelry. Absolutely stunning. The way she moved with it showed an amazing command of the dress. She's an Audrey Hepburn in the making.


The second lady up up up there at the top of the best dressed is Charlize Theron. Wearing black Dior Haute Couture and Harry Winston jewelry, she is pure Hollywood royalty.


Naomi Watts in Calvin Klein Collection by Francisco Costa and Bulgari jewelry is a vision in white. Elegant, stunning, gorgeous.


Usually her fashion choices leave a lot to be desired but last night she was a winner in the fashion category. Sandra Bullock nailed in Alexander McQueen and Lorraine Schwarz jewelry. Her hair looks great too. I think it needed a cuff instead of a bracelet though.


This one combines a 70s vibe with that old Hollywood glamour of the 30s we know and love so much. Kate Hudson is breathtaking in Versace and Neil Lane jewelry. It looked equally good without the cape.


Wonder how she got to wear Chanel Couture while not being nominated - maybe just presenting an award clinched the deal. Ethereal. Her hair looked better on TV. Her jewellery is by Tiffany & Co. Pity she did not have her best accessory with her (Justin is on tour).


Amy Adams looks stunning in blue Gucci Premiere Couture and Tiffany & Co. Blue was the colour of choice this year, particularly in navy or ultramarine shades. Darren Le Gallo looks dashing too. More elegant gents at the end of the post (ladies first always!).


I really love Karen O and she did not dissapoint me at her first Oscar ceremony - her performance was great, singing The Moon Song from the film Her gown is by Camilla Stærk, with Forevermark jewelry. She looks like coming out of an old Holywood film, very Art Deco-late 20s-early 30s. Her red gown during the performance was great too. 


Speaking of the 20s, Jennifer Garner's Oscar de la Renta dress has that flapper vibe but her hair-don't misses the point completely. Otherwise it looks fantastic.


I love Jennifer Lawrence and this Dior Haute Couture dress with Neil Lane jewellery (back necklace again, feels so last year). looks good on her but I think she needed something better for the ceremony. Her Hillary Clinton (thanks Peter Davis for the comment!) hair does not help either. 


Emma Watson's Vera Wang dress, with Chanel jewllery, is one of those dresses that look great in movement and on film but not in photos. She looked absolutely stunning walking down the Oscars stage to present an award. Love the bold red lipstick too.


Cate Blanchett's Armani Privé dress would have been perfect if it did not have those weird things embroidered on it - there is such a variety of things ot pick when embroidering a couture dress. Her giant opal drop earrings from Chopard are stunning. Amazing hair and make up too. Divine.


Kerry Washington was one of two gorgeous pregnent ladies attending (I know there was a third but the dress was a disaster). She is in a custom made Jason Wu dress (his first Oscar dress) and Jennifer Meyer jewelry.


The second beautiful and elegant pregnatn lady was Olivia Wilde with a dashing Jason Sudeikis bu her side (in Prada). Olivia is in Valentino and Lorraine Schwartz jewelry.


On with the gents now - Ewan McGregor wins hands down, with his sharp tux. Could not find where it's from. Wouldn't mind seeing him in a kilt on the red carpet too. His lovely wife Eve Mavrakis is wearing Marni.


Joseph Gordon Levitt is elegant and sharp in Calvin Klein Collection.


You can do no wrong with Tom Ford. Yes Bradley Cooper, you got it right this time.


Oscar winner (much deserved) Jared Leto looks dashing (if only he'd cut that hair) in Saint Laurent.


Kevin Spacey was a bit drunk but looked smart (and a bit retro, reminding me of his Bobby Darrin role) in Burberry.


Most handsome actor ever (they should give him that award at least) is always Michael Fassbender. Wearing a Tom Ford tuxedo does not hurt either. With him is his mother (we thank you Ms. Adele Fassbender for giving us Michael).


Last, but not least, Benedict Cumberbatch in Spencer Hart. Of course a Brit would wear a Saville Row suit and look dapper, wouldn't he?