High Days and Holidays at Totnes Fashion and Textile Museum Review

Totnes Fashion and Textile Museum’s annual exhibition this year focuses on holiday and leisure wear from the Edwardian period to the present day. As always the exhibition showcases a variety of objects in their archive whilst sticking to a central theme. The museum has three large cases which section the exhibition into three parts: travel wear, beach and leisure wear and evening and entertainment. 

The first case looks at travel wear, with garments ranging from the Victorian through to the 1970’s. The accompanying text discusses how clothes for travel changed over the years; from more formal dress, to that which is comfortable for long journeys. Outfits were chosen to reflect the changes in transport for travelling to holidays, for example the growing popularity of the motorcar in the 20’s, which saw a shift to looser fashions. I particularly liked the outfit for this period (pictured) the navy coat clearly of middle -eastern influence, the caption in the catalogue informs us the embroidery could have been Palestinian and bought on a previous holiday abroad. There was also an example of a holiday outfit worn in the time of utility, the dress and coat would have required clothing coupons to buy them. 

Dress for Travel through the Ages

Detail of Possible Palestinian Embroidery on a 1920's coat

Close up of 1940's Utility Coat and Dress

The second case, much larger was split into two halves; the first, clothes worn for leisure while on holidays, exploring the changing styles of beach and swimwear. While the far end of the case showcased pieces for evening events and parties. There were several good examples of 50’s day wear; including a Horrockses dress and c.1954 four piece set of skirt, boned strapless top and jacket/shirt in printed cotton in cool floral colours. I could imagine it being worn by a young woman on a day trip to the seaside. Layed out on the floor were examples of swimwear through the ages; from an 1885 bathing suit to more retro examples from the 50’s including a floral fitted top and knicker combo and modern pieces. Other outfits showcased in this section included Tennis dresses from 1933 and 1905, promenade and tea dresses. 

1950's Cotton Horrockses Dress and Floral Suit

Close up of the dress and Jacket of a 1950's Floral Suit. Very chic and modern.

1950's Peplum Bathing Top and Knickers

1885 Bathing Suit

In the other half of the case were some stunning examples of evening glamour and in turn evidence that dressing for dinner was a much bigger affair in the past. Two standout pieces are an 1878 gown with a sumptuous bustle, clearly a piece to show her status, with its intricate details of pleating and ruffles. The catalogue informs us this level of detail in dress became more popular at this time due to greater access to sewing machines. The other stand out piece for me was a bronze silk satin 1910 dress in the style of those by Paul Poiret. The waist is so tiny; it’s amazing to think how small people were over 100 years ago. Another beautiful outfit was a 1925 ensemble intended for going out to dinner. The sparkling lime green dress and plush fur coat projecting notions of wealth and luxury, she was clearly an important lady of society! In comparison to these pieces though, the examples of modern dinner dress are nowhere near as flamboyant: represented in 90’s formal evening and early 2000’s cruise wear. Like in the 20’s modern styles still have a sparkle but are much more casual silhouettes, with loose smocks, blouses, skirts and jackets.

1911 Paul Poiret Style Bronze Dress

Detail of Paul Poiret Style Dress

1878 Gown with pleated bustle. Background examples of 1990's cruise wear

1925 Opera Ensemble with fur coat and lime green beaded dress

The third case is devoted to clothes suitable for entertaining; be that afternoon tea, a dinner party, or formal soiree. Particularly standout pieces were an 1840’s cotton dress, usually worn at a dinner with friends. The pleating on the v shaped neckline was exquisitely precise along with the pipped waist seam and cartridge pleating. Perhaps the most understated piece in the case, it stands out for its technical details. 

Exquisite Pleating on an 1840's cotton tea dress

In contrast there are plenty of luxurious beaded creations: including a splendid 20’s cocktail dress with gold satiny shawl, oozing sensual decadence its rich colours evocative of the Art Deco art movement. While another has a royal connection; a black velvet and sequin gown (c.1900) worn by Marie Corelli, the Price of Wales (Edward VII) favourite author. One of my favourites was a simple blue and white polka dot nylon dress worn with a white fur jacket, the nylon fabric would have made it easier to pack as it doesn’t crease easily. The link between travel and clothes is again demonstrated in this final case of clothes worn for the most important occasions, in turn tying the whole exhibition together. This was communicated rather innovatively in the last object in the exhibition. A gold and cream 1886 dress constructed in two parts of bodice and skirt a new invention at the time which made it easier to pack a lady’s dresses and would then be worn at a country house dinner. It showcased how fashion for festivities has always been designed with frivolity and function in mind.  

1920's Art Deco style Cocktail Dress

Evening Dress worn by Marie Corelli (c.1900)

Blue nylon Polka Dot dress with fur jacket

1886 Country House evening dress with separate bodice and skirt

To conclude a clever exhibition that showcases some lovely examples of fashions through the ages from high fashion to the everyday and in turn through the sartorial depictions reflects how travel, tastes and activities have changed and developed alongside.  

References:

Fox, J., Totnes Fashion and Textile Museum 2017. High Days and Holidays. 16^th May - 29^th September  2017. Totnes: Totnes Fashion ad Textile Museum.

Diana – Her Fashion Story Review

Diana, Her Fashion Story chronicles the role of the late princess exploring her development from shy debutante to a confidant woman, who used her status to bring attention to taboo social issues and in many ways shaped the modern monarchy.  

The first room centers on her clothes in the early years of her marriage and engagement; the shy romantic Diana who loved frills and ruffles. A dress designed by Regamus for a Ball at Althorp House is the first dress you see as you enter the exhibition, the starting point of her journey. Also in the cabinet is the pink dress Diana wore for her official portrait in 1987 again promoting her fairy tale 1980’s princess aesthetic with the full skirt, princess line bodice and chic wrap around collar. Contrasted against these two pieces are a couple of her later dresses including a white pleated almost Grecian style dress she wore to a ballet in Rio de Janerio in 91’ . The development in style is apparent, the later dresses being much more fitted over her hips and more sophisticatedly elegant in pale greys, creams and soft silk organza in contrast to the crisp silk taffeta and tulle net of her early marriage. 

Reagamus Dress

Official Portrait Dress

Rio Ballet 91' Dress

That isn’t to say the princess couldn’t also be dramatic in her dress sense the next room bought your attention to her love of the arts and theatre in particular. Set in the cabinet with complementary scenery as if to evoke a theatre stage, were two of her theatrically inspired dresses. One of my personal favourite garments on display was a copy of a striking flamenco inspired dress Diana wore to a ball in Spain (with one black and one red glove).

The dress had an unusual finish on the hem; with the net skirt appearing to be edged with black binding. I particularly loved the theatricality of this piece it felt quite fun and dramatic, intended to get people talking. 

That’s something I felt strongly walking through the exhibition; Diana knew how to use clothes to make a statement particularly as she grew into her role of a royal she started to create a language through her clothes, always striking the right note. 

This was displayed clearly in the next room, the main heart of the exhibition; celebrating the height of her influence and admiration through a collection of her most striking and iconic evening dresses worn for state occasions and visits. Apart from anything else, I was in awe of their exquisite finishes and details. Highlights included the white beaded ‘Elvis dress’ the beading is absolutely beautiful so perfectly done. It is also the dress that gives you the best sense of how tall she was as it is displayed on a mannequin with a neck. 

While most were mounted so as the dress appears to stand on its own, hollow of a body but more on that later.  Another favourite was a red silk velvet jacket and dress suit, worn in 1990 and 92’ the jacket features eye catching beading of roses on the tailcoat and sleeves. Similarly to the flamenco dress I loved the uniqueness in the design. The iconic Travolta dress was unfortunately a little hard to see in detail due to the low levels of lighting in the gallery however the elegant style of the design is not diminished. My last standout piece was an ivory silk dress designed by Catherine Walker worn on a visit to Saudi Arabia. The silk crepe dress was embellished with beaded falcons, the national symbol of the country. The beading was so exquisite, a work of pure craftsmanship and the design reflective of the Princesses care to honour host nations in her dress. It is these dresses that feel most personal, in many ways they don’t follow the trends of fashion at the time they are a much more personal visual dialogue, created for specific occasions and to project very nuanced characteristics of the Princess.  In some ways they do reflect aesthetics of 80’s and 90’s fashions but they also feel quite timeless. 

Silk Velvet Embroidered Tailcoat Suit (1990/92')

 

Saudia Arabia Dress

Beaded Falcons Detailing

In the same room as the gowns was a small square cabinet showcasing three outfits she wore as day wear. One of these was the only piece in the exhibition not worn for official engagements, but for a trip to the shops. The other two suits from day engagements. They helped to communicate the more informal Diana and illustrated her role as a working royal, keen to bring attention to often controversial causes as illustrated in the short film playing on the projection screen in front of the cabinet. These outfits reflected how her style choices have shaped the modern monarchy’s approach to dressing for the public; from not wearing gloves, and hats when meeting children to her smart but plain suit choices, projecting an image of approachability not seen before. 

Smart but Approachable

It is clear Diana worked closely with designers and had a lot of input in her outfit’s designs. This was illustrated by the notes she made on design sketches of various outfit designs by designers such as Bellville Sassoon and Roland Klein. However I also found them inspirational from an illustration perspective, with the quite minimalist use of colour and line used to create shape, light and shade of fabric. I also loved how these elements created a sense of movement to the clothes.

Roland Klein

Bellville Sassoon

The final room showcases the dresses worn in the photographs from the famous Mario Testino photoshoot, taken after Diana’s’ divorce from the Prince of Wales. The room has a very different visual language to the others, it is much brighter and the central cylindrical case, soft lighting and subtle colours of the dresses created a calming sense of serenity. The diamante buttons and beads twinkled as her glowing face shone out from the photographs behind, communicating her newfound freedom and happiness.  The dresses in this room showcased a Diana crafting a new identity from her past through the colours and cut of her clothes. With the more neutral colour palette, lower cut necklines and sleeveless styles of all five dresses they projected the image of a woman embracing a new chapter in life.

In contrast, the dresses felt quite ghostlike in the way they were displayed; as if floating in the air creating Diana’s feminine tall elegant frame.  I found myself marvelling at the beautiful clothes, the exquisite construction but also feeling melancholy, knowing they are missing the person that wore them with so much personality and purpose. This was particularly felt in the final room where the dresses are all sleeveless; the lack of arms particularly enforces the lack of person to bring them to life. Coupled with their context in her life, as symbols of her new freedom, they are tainted with sadness, knowing we never got to see how this new chapter and new look would have developed. 

A display of her perhaps her most iconic dresses from the Mario Testino photoshoot

The diamante buttons twinkled in the soft light of the final room

Beading Detail of one of her dresses

A Diana Refashioned and Reborn

The exhibition is many things: it is a showcase of couture design and modern historical fashion but is more than this; it is also a personal story of one woman’s growth and maturity in the public eye from a shy girl to a confidant impactful royal.  In my view Diana’s clothes are more than fashion; they are more akin to costume design; as although they reflect fashions of the time they were designed for her, to make nuanced statements about her character, beliefs, presence.  This is the embodiment of costume design.  Catherine Walker described her clothes for Diana as her ‘royal uniform’ and Jasper Conran described Walkers relationship with Diana as a designer ‘who would concentrate on her’. This is evident in Walkers designs that flattered her tall frame well and emphasized her warmth, diplomacy and compassion through her designs. Her clothes tell of both a unique time in British fashion and the woman who wore them.

A truly fascinating exhibition that gives a very personal insight into the late Princess, with a gorgeous display of her dresses, constructed to the highest standard. The workmanship is incredible; from the beading to the pleating and hand finishes the exhibition displays a dazzling range of couture craftsmanship. It is also a great insight into high fashion of the 1980’s and 90’s. Well worth a visit!

References

Diana – Her Fashion Story., Kensington Palace 2017, Curator Deidre Murphy

Kinky Boots and Aladdin in the West End- Feel Good Witty Humour and Cheesy Escapism are coupled with Dazzling Costume and Lavish Sets

Earlier this week I went on a short trip to London and while I was there I saw two amazing West End musicals, namely Kinky Boots and Disney’s Aladdin. Both are relatively new productions and although very different in style and story are united in their ability to transport you into their worlds and leave you glowing with happiness, well after you have left the theatre. Costume wise they were also both designed by the same man, Tony nominated designer Greg Barnes, although they are different settings it is clear there is a common style between the two. They both have a bold use of colour and utilise glamourous sparkly fabrics creating sumptuous visual displays.

First I saw Kinky Boots, this feel good heart -warming musical, tells the story of a Northampton shoe factory, which on the brink of shutting down decides to start catering for a ‘niche market’ of thigh night boots for drag queens in a range of electric colours. After factory owner Charlie Price has a chance meeting with a Drag Queen called Lola while in London.  

The show is full of catchy songs (written by none other than eighties pop star Cyndi Lauper) that will make you want to sing along. The songs are accompanied by energetic choreography performed by the whole cast. Particular highlights include Lola’s first visit to the factory; which on being presented with Charlie’s sensible but dull  interpretation of drag footwear, breaks into song exclaiming ‘burgundy is the colour of cardigans and hot water bottles red is the colour of sex!’ Lola asserts her vison of what the Kinky Boots of the show’s title will look in the number ‘Sex is in the Heel’ which sees Lola’s entourage of queens known as ‘the Angels’ strut, split and backflip their way around the factory. It really is a fabulous scene!

Dancing in the Factory

The set of the factory itself is used to great effect in ‘everybody say yeah’, the unveiling of the Kinky Boots prototype, the cast dance on the production line conveyer belts in a crowd pleasing number that will make you want to get up and dance too.

Rule Britannia

Apart from the visual spectacle to enjoy Kinky boots is also incredibly funny, packed with wit from start to finish; from Lola’s explanation of the difference between drag and transvestism: ‘a tranny looks like Winston Churchill in his mum’s knickers’ to Laurens song ‘the History of Wrong Guys’ which many a women could relate to. The show promotes a positive message of ‘accepting someone for who they are’ but at the same time doesn’t take itself too seriously, it’s all about the spectacle and fun.

Where costume is concerned, the highlight is the finale where Lola saves the day accompanied by her Angels dressed in six fantastically glamourous costumes on various themes. From a Rule Britannia girl to a Vivienne Westwood inspired tartan number, yes the Austrian ballet wore something similar in the Vienna New Year’s Day concert a couple of years ago. The finale is a celebration of glitz and glamour and of course the all-important Kinky Boots; all the cast, even the women join on stage dressed in a pair. More risqué costumes are sported by the angels in the Simon (Lola) vs Dom boxing scene. While in ‘Hold me in your Heart’ Lola is dressed in a Shirley Bassey style flowing gown. The look is so feminine for a second you almost forget she is a drag queen.

The Finale and the Boots

Kinky Boots is probably one of the best musicals I have seen, it is so much fun with uplifting songs, fab choreography and a positive story I would definitely go see it again I left the theatre wanting to strut in a pair of kinky boots myself!

Aladdin

Transferred from Broadway Disneys Aladdin brings tio life the much loved animated film for stage.

The show is one of visual splendour with no expense spared; mesmerizing and spellbinding the world of Acrabah is rendered in sumptuous jewel colours. The sets are lavish and extravagant. None more so than in the biggest number of the show ‘friend like me’ which sees the cave of wonders transform from gold encrusted cavern to dazzling skyscrapers. Complete with a tap sequence that is reminiscent of the classic razzamatazz musicals of old.  This really is the highlight of the show as the ensemble twist and turn in an array of costumes and dance styles. Similar extended sequences are found in Prince Ali and Arabian Nights the opening number.

Friend Like Me

Trevor Dion Nicholas (imported from the Broadway production) is fantastic as the Genie providing

Trevor Dion Nicholas as the Genie

just the right amount of wit and camp splendour. One of the highlights was his 2 minute medley of Disney songs from other shows as part of friend like me, fabulously silly but very enjoyable.

There are some changes and additions from the film, Jasmines father the Sultan is portrayed as less of a buffoon more of a stately, believer in honesty figure, for me this loses the whole feeling of him being taken for a fool and being a comical character. Perhaps this was done to make room for other comic elements, per civically Aladdin’s friends Omar, Kassim and Babkak who provide much of the humour. Baddies Jafar and Iago create humourful baddies complete with ‘scary crackling laughs’.

The classic number ‘A Whole New World’ is a lovely poignant moment Aladdin ad Jasmine are highlighted by spotlights and are set against a backdrop of starry night sky. This simplistic but dazzling staging works well however personally I would have liked to have seen projections (as they are used in other parts of the show) to create the effect of them  ‘flying around the world’ like it is portrayed in the film.  

A Whole New World

Its clear Aladdin is a sumptuous show; almost a pantomime without the dame as Michael Billington from the guardian described it. In terms of authenticity to Asian culture it is a bad example of western appropriation on many levels but as a piece of warm hearted escapism it succeeds in bucket loads. A feast for the senses, it’s a show that will captivate young audiences and does justice to the original animated film which captivated my generation and older.

Aladdin a fabulous wonderful spectacle full of fun!

Heart -Warming Charm for all the Family – Wind in the Willows at Theatre Royal Plymouth

The Wind in the Willows is a new musical version of Kenneth Grahame’s classic tale of friends Ratty, Mole, Badger and Toad and their adventures. The Show premiered this week at the Theatre Royal Plymouth and is going on a short tour before hoping to transfer to the West End. This new version comes with a book by Downton Abbey mastermind Julian Fellows as well as music and lyrics from George Stiles and Andrew Drewe who created the memorable songs from Marry Poppins.

Wind in the Willows Principal Cast

The show is a feel good heart -warming journey from start to finish; happy songs of provincial life fly by one after the other, period nostalgia for a simpler time is created in the music and costumes. Which draw on quintessentially British fashions between the 1920’s and 1940’s that evoke Grahame’s original illustrations. By using only iconic features of each animal, it reinforces the message that although it is a fictional story about animals it is really a story about people.

Things really start to get going once Toad becomes infatuated with the infamous motor car. Much like his driving, spectacles come thick and fast. From his grand transformation from glamping caravanner to motor menace; complete with 60’s inspired pop number including rap section, defiantly one of the most shamelessly cheesy bits of the show. The various locations are created with fantastic set pieces from the humble but cosy homes of Badger and Moles to a Dali style Toad Hall. A vast array of visual delights transport you through Toads escape from jail including a life size train, and barge; the extravagancies evident of its West End aspirations.

Toad the Glamping Caravaner

The highlight for me was the introduction of baddies the Wild Wooder’s, a hip stylish number with slick choreography. However the standout performance has to go to Neil McDermott who’s cockney gangster Chief Weasel evokes a mix of Russel Brands Flash Harry in 2007’s St Trinians film and Tom Hardy’s Alfie Solomon’s in 20’s set gang thriller Peaky Blinders. McDermott’s performance was the highlight of the show for me!!

In conclusion Fellows new production retains all the period charm of the literary classic and although it won’t set the house on fire it will leave you feeling happy and contented, full of joyous charm that I suspect will be around for a few years yet.