'Knitted Elegance', Platt Hall Gallery of Costume, Manchester

I went a bit mad photographing exhibits here.  The Costume Gallery is newly refurbished and open every day of the week now, whereas 20-odd years ago, when I last visited, you could only go on certain afternoons of the week or by appointment. 

The redecoration is fabulous.  Galleries are clean and airy and the exhibits well chosen and placed.  The ground floor concentrates on 20th century fashion and represents a wide range of designers and includes hats, shoes and handbags.  Upstairs, the decor is Wedgwood blue, picked out in gold, to emphasize the stucco plasterwork, which is part of the original decor of the hall.  The exhibits here date as far back as the 1600's and include framed examples of textiles.  See www.manchestergalleries.org/.../platt-hall-gallery-of-costume for further information in a comprehensive website divided into collecton themes such as Designers, Clothes for Work, Recycled Fashion and Materials and Making for examples.

I'll write some further posts about the collection, but at the moment, I'm concentrating on 'Knitted Elegance', which is currently showing as a special exhibition but ends 2 June 2013.  There are pieces from most of the decades of the 20th-21st centuries on display with a mix of hand and machine knit, constructed in a broad range of materials, from synthetic through to natural fibres.  Featured designers include Missoni, Westwood, Hilfiger etc ....  I was so pleased that my photographs turned out well.  I've listed each exhibit below.


Peruvian Wool Dress. Rene Dmytrenko, 1976. Shetland wool, A-Line. Knitted on a domestic knitting machine by a craft knitter in Todmorden, Lancs. In horizontal bands - Llamas, dogs, birds and men. High waisted, wide skirt, labelled, 'An Original by Rene'. Worn by the textile conservator at Platt Hall in the 70's.

Green Handknit, 1954, eau de nil wool in stocking stitch.  Copying Dior's New Look.  A state registered nurse from Ashton-Under-Lyne knitted this herself and wore it for work.

Black wool cocktail mini.  Alice Temperley, mid 2000's.  Openwork large diamonds with wide boat neck.  For glamorous evening events.  Labelled, 'Alice Temperley, London'.  Company launched in 2000 when she was 25.  She often chooses to use knitting in her fashion collections.

Mondrian.  1980, Yves Saint Laurent.  Wool jersey in blocks of primary colours.  House of YSL re-issued the 60's look using machine knit instead of woven wool.  Labelled, 'Yves Saint Laurent Rive Gauche'.

Vivienne Westwood.  Mid 1990's.  Short cocktail dress, knitted in hairy mohair, brushed with gold in painterly splodges.  Deep 'V' shapes at front and back necklines.  Pink cotton jersey lining.

Missoni Trouser Suit.  Early 2000's.  Machine knitted rayon.  Open work with wide 'V' at front and back, with tiny cap sleeves.  Flared, scalloped hems on trousers.  Labelled, 'Missoni - Made in Italy'. Purchased at a Manchester Dress Agency.

Jane Sarkar.  1985.  Knitted on a domestic machine in horizontal panels of Fair Isle.  Right shoulder knotted, left twisted and fastened with silver coloured buttons.  Jane Sarkar is a north-west based designer, who started work in 1983.  This is an early creation acquired in 1986.

Black cocktail dress with perspex discs.  Sonia Rykiel, 2012.  Retro mini dress in machine knitted cotton.  Opaque black perspex discs.  Labelled, 'Sonia by Sonia Rykiel'.  She is known as, 'The Queen of Knitwear' and started out in the 60's.

Striped dress, Coast, late 2000's.  Machine knit.

Dark brown cocktail dress with cerise band.  Bitte Kai Rand, 2012.  Machine knit stocking stitch.  A Copenhagen, Danish company founded in 1981.  Now the premier Scandinavian fashion house with branches all over Europe.

Monsoon, 1986.  Jacquard design of flowers and stylized geometric motifs.  Bought for £55 by the gallery from Monsoon in Manchester.

Hilfiger denim.  2012, camel coloured wool/viscose fitted shift dress.  Machine knitted to resemble handknit.  Contrast at neck simulates an under vest.

Claret Top and Black Skirt.  2001.  Maria Grachvogel.  Knitted cashmere top, trimmed with ostrich feathers.  Black silk crepe skirt.  Labelled 'Maria Grachvogel'.  She launched the label in 1999 aged 21. Internationally known now since her catwalk show of 2001 when Victoria Beckham modelled.

Gold trim cocktail dress.  Early 60's.  Machine knitted with spotted allover bugle beads.  Gold interlocking bow reminiscent of Schiaparellis knitwear.  Figure hugging and fully lined.

Moschino.  Jumper dress, machine knit in pure new wool.  Labelled, 'Moschino Cheap and Chic', 1988.

Contemporary artists have provided their response in an upstairs room.

There's a hanging display of knitted nets and a sound installation plays chattering voices which conclude with,

                                               'We knit, we stitch, we unwind ...'

The continuous loop is effective.  A piece of knitting lies on a large wooden spool, ready for visitors to add their contribution and I couldn't help but leave a few rows of stocking stitch behind me ...

Holidaying at Home - Ely

I ADORE Ely in Cambridgeshire.    There's a real community feel about the place and it is home to interesting independent shops and cafes.  Plus it has the riverside which on a fine day is a joy to walk along.  Yesterday, unfortunately, I seemed to leave the sunshine behind me and the further I travelled, the more overcast it became.

This barge has an apt name!

 Still managed to enjoy my day though.  The riverside is home to various waterfowl ...

Well my mum thinks I'm beautiful! 

I love this Morris Minor car which always seems to be parked outside one of the terraces on the hill up to the main town.

Residents take care to make their windows just as interesting to passers by ...

A walk up the steep hill to the town demands tea and lunch!

Delicious!

All set now for a bit of indulgent shopping!

Yarn on the Square is on the Market Place.  I found a crochet instruction book for left-handers here - have always been put off trying because of my 'sinister' nature!  I can have a go now ... they also hold classes on Saturdays which I might investigate.

Spent some time photographing things I found, for my coursework reference.

Interesting brickwork ...

A lovely old door ...

And of course, the cathedral ...

The sun actually came out!

 All in all, a very enjoyable morning and home I go  ...

A packet from Judy ...

... all the way from Blue Mountain, MS, USA.  Thanks for the swap Judy - great to keep in touch.  Love the 'shades of spring' bias binding too - will use that on something special!

Burda Bomber ...

...and this is as far as I've got.  Have been so busy with training, finishing up my knitting module and painting my fence panels.  I also want to put a lining in it, which isn't included in the pattern, so I've just decided to take my time and not worry about when it's finished, which should have been the end of May.

Made sure to get the pattern placement of the big blowsy roses correct though (or it could potentially have been a bit embarrassing, ha!).  I love the fabric, it's not like the Mary Berry Bomber, as I couldn't find anything like that, but I thought this would work equally as well, if not better.  It's from the Amy Butler Alchemy range.  Aren't the sketchbook roses gorgeous?  I've got some black stretchy knit to finish off the neck, cuffs and waistband with.  Not sure what I'm going to use for the lining, though I've got some thin pink towelling-like stuff which might work.  We'll see!

One for Trish Blair ...

I first 'met' Trish at Sew Weekly.  She lives in Wellington, New Zealand.  When I saw her it struck me how much she resembled 'Eunice' (now there's a name you don't come across much these days ...).  She was an old friend of my mother's and there are lots of photos of her from the 50's in a box of memories we have.  I really must find one so you can see for yourself the resemblance.  Anyway, that isn't really what this post is about.  What I really admire about Trish and her style is the way she puts things together and this includes her handbags!  Particularly wicker ones.  Look at this one - photo from Sew Weekly website, just for reference I might add ...

  
Well I happened to mention on Facebook (my new toy ...) that I bought one through being inspired by her and she wanted to see so here it is!

Not a vintage one sadly, but from Laura Ashley of all places.  I just couldn't leave it behind, so it's all your fault Trish!  I love it though and will so enjoy using it this summer (if we ever get one that is!).

It's trying to be Spring ...

Very trying ... What happened to the sunny weather?  Is that it for this year?  At least this brave soul is surviving so far ...

Kaffe Fassett at The Fashion and Textile Museum

Yesterday, I met some of my fellow City & Guilds knitters at The Fashion and Textile Museum on Bermondsey St, near London Bridge - no rail engineering works this week thank goodness - I've been so looking forward to this visit.

Can't miss this orange and pink edifice!

The Museum was set up 10 years ago by Zandra Rhodes.  She felt there was a need for a place to showcase contemporary craft and provide associated education.

A Zandra Rhodes poster design featuring London landmarks

'Kaffe Fassett, A Life in Colour' is currently showing and it is stunning.  I was surprised to learn that Fassett started out painting still lives in delicate monochromes - beiges, creams, greys.  It was only when he left art school in the US and came to London in the 60's to settle that he discovered colour in a big way.  He used treasures that he found in Portobello Road in his paintings which formed the basis for his textile crafts.

Craft is where his passion lies and includes knitting, needlepoint and quilting.  The knitting came about after a trip to Scotland, looking at the landscape and visiting a mill where he could buy yarns in the colours he observed.  A friend taught him how to knit on the rail journey home and his first project was a multi-striped cardigan.

Kaffe's first knitting project

Later designs include triangular shapes which allowed a move away from 'linear' pattern.  The exhibition has many examples of his knitting through the years.  His influences can be as diverse as the Orient through to typically English horticulture and seed catalogues.

Displays also include beautifully stitched needlepoint chair coverings, cushions, slippers and waistcoats.

Quilts hang from the walls and there is a 'feeling' wall where visitors are encouraged to touch the fabric strips and discover for themselves the pleasure of working with cloth.

'Feeling' wall

There are three rooms full of exhibits and a video to watch, so plenty to see and all in all, a wonderful experience and exhibition.  I am still buzzing!

Afterwards, I had the chance to chat with some of my fellow students and discuss my progress with Loraine, my knitting tutor.  What a fab day out!

Loraine's photo from her website 

Loraine (blonde lady) teaching

I saw 'The Shard' too!  Right next to London Bridge.... actually, it now reminds me of the triangular shapes Fassett uses in his knitwear designs! 

The Shard