Liberty Open Call - Last Chance to Vote

Today is the last chance to vote for me if you like my design.  Please vote here:

https://www.libertylondon.com/uk/features/design-and-living/liberty-open-call-voting.html

Thanks for all the support received so far :-)

Sarah Campbell Fabric Painting Day

A grey start to the day....  I was unfortunately going to be a bit late for my class at The Fashion and Textile Museum and had already made my apologies in advance but there was a further delay at Moorgate tube and I had to walk down to London Bridge. Not a bad walk but I was then lost at Monument and Pudding Lane … I then realised I was also on the wrong side of The Thames!

Doubling back on myself, I found a stairway to the top of a bridge and was able to head towards The Shard at Bermondsey where I knew the Museum was located. 

I made my apologies at reception and was then able to join Sarah Campbell’s class who were just about to have a lunch break.  I took the opportunity to photograph everything and anything I could in the Josef Frank exhibition.  What impressed me was a riot of colour and blooms on lengths of fabric suspended from the ceiling.  

There was also a beautiful room set up with painted furniture, prints and glassware, where you could see the fabric in context.  

The Museum shop had Sarah Campbell scarves and cushions printed in mouthwatering colours ...  

Some from the past and newer designs such as this hand painted birds and nest.

I enjoyed browsing through the books and cards, particularly a Zandra Rhodes cut out and colour paper doll complete with outfits!  

I also came away with a Fashionary book – like a dictionary of fashion styles and faint templates of figures for drawing over.

It was a pleasure to meet Sarah Campbell, who I’ve blogged about before: Start to Finish - The Collier Campbell/Sarah Campbell Story UPDATED , when I saw her exhibition in 2014, again at The Fashion and Textile Museum.  

Although I was late, she made me feel at ease and I went straight into painting on calico.  I was inspired by the sunflowers I’d seen in the Frank exhibition.  I learned about auto-fade pens and lightly sketched out my pattern on the fabric. 

Auto fade pens are like felt pens but the outline disappears after a short length of time and doesn't spoil a painted design.  It’s been a while since I handled paint but I took to it again immediately and loved the way the fabric paints blended and bled on the cloth.  

I only had a couple of hours to do anything in and made the most of it while I could.  

The end of the class came round too quickly and I felt I should head off home in good time considering the journey I had in.  Delays on the way home too!  I didn’t arrive home until 9 in the evening which meant for an exhausting day.  Enjoyable though and of course, I met a heroine of mine  ....  A grey day ended up full of colour ...

I've since bought a set of fabric paints of my own and I'm now looking forward to finishing my design.  So glad to be back painting again! 

New Designers 2016

Amongst the wedding preparations, I did find time to go to this show last Friday.  I've been meaning to see what it's all about for the past few years now and finally I had the chance.  It's held every year at the end of June in The Business Design Centre, Islington and has been going for 30 years now.

The main angle is for the various UK (and one from Sweden I noticed ...) Art Schools to bring their final textile shows to London.  There is a lot to see and take in.  However, it is possible to identify various strands and themes running through the work.  I noticed some designs reminding me very much of Memphis from the 80's.  Most of the work though seemed to take its influences from Natural History and Botanical Prints.  Insects, butterflies and moths were a recurring theme throughout the show.  I was also surprised at how much hand painted work there was, in that there is a noticeable shift at the moment to digital printing.  There was even a demonstration of digital fabric printing:

The students were very eager to chat and talk and I enjoyed finding out more behind the work I was seeing.  They all had their own business cards and some had printed flyers and booklets.  Now the show is over, it's possible to look at their websites and find out more.  I don't want to post close-up photographs of their work here for copyright reasons.

These are some of my favourite business cards to give you a flavour of what was there:

Make It In Design also had a stand at the show and I was able to meet and talk to the ladies who organise everything, as well as take away a goodie bag.  It gave me inspiration to finish the last two exercises I have to do from my course, Art and Business of Surface Pattern Design.

I've signed up for the Summer School which begins in August.  I have a week off work then so should be able to make a fair job of it.  Looking forward to then!

Christmas is coming ...

I keep having to remind myself that Christmas is only 3 and a bit weeks away!  I've been so busy re-arranging my home - time is flying ...   Well, I did manage to finish sewing Aster completely and some pics are coming up next but in the meantime, I had a seasonal time at the Christmas Market on the South Bank in London.  There weren't many stalls but along with a friend, I made the most of what was there and also enjoyed a wander around Borough Market and other sights along the way.  I'm looking forward to this Christmas, especially a week off to recharge batteries and make some new plans for the New Year.  What crafty plans do you have for next year?

  

Liberty in Fashion

Although my life has changed a lot lately and is still in transition, I'm also finding the time to keep up to date with my fabric obsession - I won't ever let go of my lifelong passion!  A couple of weeks ago, I was so happy to be able to travel to the opening day of The Fashion and Textile Museum's latest exhibition, 'Liberty in Fashion'.  I booked the curators' tour with Teresa Colinette and Dennis Nothdruft to gain a greater understanding of what I was about to see.

My group was told that the whole exhibition began as a private collection and looks at the history of Liberty from a fashion context, as clothing. 

We began with a short history of the company.  Arthur Lazenby Liberty was first employed at the Great Cloak Emporium, Farmers and Rodgers on Regent Street and became manager of the Oriental Department in the 1850's.  The Aesthetic Movement became fashionable at this time, popularised by Oscar Wilde.  Liberty became an expert in the Japanese style to cater for this trend and opened his own store over the road from the Cloak Emporium selling Oriental furniture, objects and ceramics.  Wilde wrote a column saying that Liberty was the best place to shop.

This early dress in primrose silk is a good example of the embroidery used on Liberty clothing at this time.

This Spitalfields silk dress would have been worn for court presentation.

A collar from Liberty archive last seen at the V&A in 1975.

Inspirations from Japan, China and India went into the mix for a fashionable lifestyle.  Liberty began to reach saturation point with his imports and began to produce his own fabrics - soft draping silks.  He set up a costume department within the store as Victorian ladies were unsure what to do with the new fabrics.

An orange loose dress in the exhibition, named a bernous.  This was the classic shape.

Artistic, aesthetic dressing was a reaction to what was happening in this country during the Victorian era.  Brightly coloured aniline dyes had been discovered, which were popular, but Liberty produced soft, natural dyes.   All garments had embroidery and subtle attention to detail.  They referenced the Greek style.  Embroidery patterns could be bought as do it yourself craft projects and a sense of craft is a technique apparent in Liberty dresses.

Paul Poiret produced four collections for the Liberty store after his own fashion house closed.  He had a similar aesthetic.

The modern day fabric design duo Collier Campbell (see earlier post for more information) purchased a dressing gown that was produced around this time as inspiration for a recent furnishing fabric.

Tyrian silk took natural dyes well.

1920's overprinted lame coat.

Aurora silk coat - almost like tie dye.

Liberty continued to have an ongoing connection with Japan.  A fan of Gilbert & Sullivan, he designed costumes for the Mikado.  In the early days of the Liberty store, sales assistants would wear kimonos.  He had a keen interest in telling people about other cultures, in an educational way.

Kimono - one of a range from the 20's and 30's.  

Lots of cloaks were also produced in the 1920's.


Handwork such as smocking became a feature of Liberty - it was revived.  A smock was a functional garment worn by such as Royalty.

Putting dresses together shows how Liberty's took off in the 1920's and 30's.  The mainstay of business was dress fabrics.  A sense of how people could interact with Liberty can be gained. Professional dressmakers produced their own labels and home sewing also became popular.  People interacted with the fabric in all kinds of ways.  After the First World War there was a move away from Modernism - to create a sense of Englishness, which was comforting.  After World War II, home dressmaking provided a great solution in times of austerity.

During the 1950's, Art Nouveau was revived through a series of exhibitions and Libertys realised that they were sitting on a treasure trove.  The Lotus Collection was developed - the colours used were extraordinary.  Below is a small selection of what they were producing.

A sense of revivalism and retro with a Modernist edge was aimed for, at all different price points.

1960's London was the epicentre of fashionable life and Liberty was located near Carnaby Street. Mary Quant used the fabric for her Ginger Group label.  Jean Muir and also the Dolly Rockers brand used Liberty fabrics in their designs.  Bernard Neville, Liberty Design Director, had associations with The Royal College and many Liberty designers came from there.

In the 1970's Liberty was producing a sense of nostalgia and optimism, a shift back from Futurism. Crafts and a perceived notion of life were revived.  Varuna wools were popular.  Fashion label Cacharel bought millions of yards of fabrics for their collections.

During the 80's, Liberty let the designers Collier Campbell 'do things'.  They produced the Bauhaus print, as a scarf initially and then for furnishing and dress.

Liberty today is just as collaborative with designers.  Zandra Rhodes produced a print for Liberty used for shoes.

Anna Sui has had prints re-coloured for her to suit her style.

Phillip Treacey has used prints for his hats.

For its 140th anniversary, these 2016 Liberty dress fabrics look back on their history and the silk route under new head of design Ed Burstell.  

As I was leaving the exhibition, I took a look around the shop.  I was asked by the sales assistant, what did I enjoy the most?  Put on the spot, I said the 2016 fabrics and the 30's tea dresses.  Maybe that will be something for me to think about in the coming year ...  A historical dress in current fabric.

You can see the exhibition for yourself at The Fashion and Textile Museum, Bermondsey, London, until 28 February 2016.