Did you notice? Can’t you read?
I go to the Mary Ward Centre once a week to print textiles. The centre, teaching staff, and courses are wonderful.
What I find difficult to stomach is the wide variety of notices telling you what to do. And more to the point, what not to do.
For a college where arts and graphics are a key part of the offer the wide variety of fonts is meaningless and messy. The widespread use of CAPITAL LETTERS and underling is unpleasant and shouty. The laminator has been in service – “Use the laminator Sue – our notices need protecting from rain, snow, fabric paint and anything else the darn students throw at them” But the use of Clip Art when they teach several courses on Photoshop and photography is frankly disappointing.
I did make a little “joke” about all the messages you have to read before you get down to some seriously creative work. And some of the more outrageous ones seem to have been removed. But dozens remain, attached to every surface.
Here are some more. I have a further seven or eight to show you, I am getting weary too. What kind of impression do these notices give? That the students are stupid, don’t know how to stack chairs, insist of putting things down the toilet or into the wrong bins, and cannot be trusted to use the equipment without direct supervision.
When we get dressed in the morning we think about the first impression we might give to people who we meet.
Notices similarly make an important impression on people who enter our buildings. Only homes with very large numbers of children have notices (Have YOU Washed Your Cup?? Don’t forget to take your shoes off! No MUD in the BATHROOM). Notices are, by their nature, institutional and unfriendly. Some people think that nailing a “NO BALL GAMES” notice to the wall actually prevents residents from playing football, but in my experience (25 years in housing management) it has the opposite effect. It actually gives you the idea of playing ball games. Child psychologists warn that saying “Don’t fall!” will prompt an image in the mind of falling. Better to say “Hold on tight!”
My personal view about notices (and I try to prevent them at work) is
- Have a notice board or specific areas for written communication
- Adopt an attractive, consistent house style that looks professional. Visitors will use your toilets, lifts etc. Give them a good impression
- Avoid clip-art and any tacky graphics, underlining and capital letters
- Minimise the number to the absolutely essential
- Check every few months that they are not out of date
- Adopt a warm and friendly voice, and try to adopt a positive approach if possible
- Talk to your staff rather than writing messages to them
I am thinking of using these notices in my next art project.
A trip to the William Morris gallery
Last Thursday I wrote about Aesthetic dress, including this photograph (left, below) of William Morris. Later that day I went on a trip with the Mary Ward Centre to the William Morris Gallery in Walthamstow.
Do go if you can. It is quite wonderful. And “my” photograph was on display!
This photograph is of the Morris and Burne-Jones family. Far left is Burne-Jones father Richard, next to his grand children Margaret and Philip, with their parents next to them. William stands next to his daughter May, while Jane his wife and older daughter Jenny sit at the front. It was taken in the summer of 1874 by Frederick Hollyer. A caption on the photograph at the museum suggests it may have been the start of a new school year, with Philip going away to boarding school for the first time and the three girls starting at Notting Hill High School.
The family photograph was part of a small but marvellous exhibition by Turner prize finalist Yinka Shonibare MBE. The second photograph is posed by local Walthamstow residents who “auditioned” to appear in the photographs. I think it is a lovely piece of work, not least the inclusion of Victorian style dresses in African (or rather Dutch/Indonesian wax) fabrics.
And here are the two dresses. What do you think the motifs are on the green dress?
A further photograph of William Morris’s deaconess sister is also reinterpreted. The sitters sit on chairs covered in William Morris fabric.
Here is the dress and cape outfit she is wearing, on the stand.
I found the implied commentary on imperialism, culture, art and dress quite interesting. African fabrics are the last thing you would expect to see Victorian clothes made up in, I suppose. Most modern fabrics, polyesters and such like would pass. But then I suppose if we had a Victorian dress or man’s suit made in scuba, lurex, metallics or digital prints they would look quite surprising too. In their length and width (bustle, leg of mutton sleeves, frills and petticoats) the dresses look quite comfortably African. But it is interesting that Shonibare did not make Aesthetic dresses for his models, but full on 1880s bustle dresses, which look less African than the originals, in my view. The designer made up what I interpreted last week as primitive looking beads by wrapping them in African fabrics to match the trimmings on the dress. I really like them and they bring out the deep, purpley tones in the models skin.
And something else I noticed. The jacket that RIchard Burne-Jones is wearing seems to be printed with windows, something like the windows in the house. And the trousers? I might be mistaken but I think the textile could be Mr Freedom, the line created by Tommy Roberts in the 1970s.
Sewing with a Plan 2015 0.16
Now I have a nice Fuchsia jacket, using Simplicity 7305, I needed to use the remaining fabric for a skirt to match. Although there is one in the pattern it is just a A line skirt block pattern and not quite interesting enough. And it doesn’t have pockets. So I chose a TNT pattern – Vogue 7379 – which I used for my SWAP last year. I was already cutting it out when I remembered when I had last made it. Almost 12 months ago!
I really like this skirt. It is so easy to wear, and the blue, grey, white and dark blue tweed fabric goes with lots of things. I probably wear this skirt at least twice a month. So a second one will be a good addition to the wardrobe. Essentially it is a six gored A line skirt with two narrow side sections. It is designed to sit just above the knee.
I made it up calmly and correctly. The skirt is gored, darted and gathered slightly into the waist. I used curved petersham for the waist band, and was very careful to artfully arrange the gathering evenly along the length. This was the only part of the construction that needed a little care. I decided to use an invisible zip due to the fact that the zip is to the side at the right back. This gave me a little trouble due to the foot (which did not come with the machine). I created a 3″ hem as specified. I made a colourful lining for it, using the “tartan” approach, using the same colours as I did with the jacket lining. It is quite jaunty, although it will not show.
I started with 3m of this fabric and by careful cutting and certain stingyness (using left over orange wool for the pocket linings, for example) I have enough left for a further garment. I would like to have a pair of shorts to wear with the jacket, and I might even make them for my SWAP. Just now I am feeling in love with skirts again and not so keen on a trouser suit (which is my next SWAP outfit).
So that is my Fuchsia skirt suit finished. I wore it for an important presentation on Tuesday. You may be wondering why all the guys are wearing the same tie. Well that is another story for another day.
Nina Ricci Vogue Paris Original 1650 – Part One
A quick update
- I have a plan to produce a wardrobe of 11 items of hand made co-ordinated clothes by 30 April
- I recklessly decided to introduce a new pattern and idea last weekend
Vogue 1650 - this involves tackling a pattern I have never tried before with 47 separate pattern pieces. In the wrong size, and with no patten markings
- despite two commentators (Helen and Lyn) reminding me of how hateful a vest joined to a skirt really is, I decided to try a camisole with skirt joined to it
- I wanted the camisole to be colourful rather than plain so that I could possibly wear it without the overblouse. If it doesn’t work it is no worse than a colourful petticoat
So I have decided to include the Nina Ricci suit in my SWAP. But the skirt, overblouse and jacket are three items – one more than I need. What shall I drop? I will have to give this some thought.
I will start with making the skirt and camisole because this is a straight substitute for the charcoal “skirt” that I had not yet identified. The decision on overblouse or jacket can wait.
I made up the camisole in silk crepe and left the shoulders open so I could lay it flat
I used a set square, a washable felt-tip and some white gutta to mark out 2″ squares on the fabric
I painted it in a nice range of colours but they bled quite badly. I found the same thing before when I used this technique, and although it bothered me when I made it, I actually love wearing it and don’t mind that the colours have mingled.
I painted it on the reverse side as I had previous experience of the darts wicking the colours across the squares. This helped a little, but you can see the bleeding on the picture.
The skirt part on the make was plain sailing. Two backs, one front and two pockets. No pesky waistband. I cut the front pockets with the skirt front, and attatched them to the back. The skirt is virtually the same style as my other SWAP skirt but a three gored rather than four. The two back pieces wrap around with no side seam, and the darting is in the two front seams that feature the pockets. Excellent, elegant design. Esme and I argued about the colour of the cloth. I had been convinced since I bought it at Simply Fabrics that it was charcoal, with a bluish hue. Esme said “It’s navy”. Well that came as a surprise, but it probably is. Is it possible that colour vision fades a little with age? This is not the first time I have been unsure of what I have been buying. Anyway navy or dark grey, it’s really, really nice wool crepe. Bouncy, a little bit stretchy, easy to sew, dense but not heavy.
Having made up the skirt I lined the camisole in the same silk crepe and basted the skirt-without-a-waistband to it. The shape and style will work I think, but the colours are not quite right. I think I will touch up some of the grey ones to make it a bit deeper and to bring the skirt and top together.
I have yet to line and hem the skirt, and insert the zip. Then I will do the overblouse. Or maybe the jacket.
Aesthetic Dress
From about 1860 until 1900 there was a brief and rather specialised interest in Artistic or Aesthetic dress. This movement was associated with William Morris, the pre-Raphaelite artists and modern women concerned with gaining greater freedom. In a polite and slightly affected way they rebelled against corsets, fussiness and “fashion” and chose garments in linen or cotton, softly draped and non-constricting. The rather plain garments were designed to allow ease of movement for the arms and legs and did not require corsets, being fastened with a belt at the waist. Simple hairstyles and rough, rustic beads and plain fabrics were preferred; in their style they harked back to a golden Medieval age. Even the little girl is wearing a similar dress, beads and geometric hair cut. Does the woman, second from the right, have her hands thrust into pockets?
A number of artists during this period liked to paint ladies with undressed hair, wearing comparatively loose clothing. This Whistler portrait on the right, shows a beautiful young red-head dressed in a long white pin-tucked dress, worn with puffed and fitted sleeves in contrasting white fabrics. This was quite a contrast with the bustles, expensive and colourful woven silks and elaborate hair dos of the age.
The Liberty store in London sold many items to appeal to the same customer group – people who loved English style, craft skills, tradition, artistic modern design and radical thinking. Here is an advert from the 1880s advertising smocks, tea gowns, and “Phyllis”, rather a short dress made in cashmere with smocking on the bodice and sleeves, pin tucks, and draping. Liberty of London (everyone’s favourite shop) is still there, just as gorgeous and still offering original clothes for the more “artistic” and sensitive shopper.
Recently I was able to inspect a rare surviving example of this type of dress at an exhibition on Women, Fashion, Power. The dress on display was made out of a slightly rough natural coloured linen cloth, with all the shaping created by smocking. I assume the garment started as two straight pieces (with neck cut out) that were smocked to create the wide yoke, shaped cuffs and slim waist. It has an elegant, feminine shape, and the smocking is very beautiful, but it does look like fancy dress for a shepherdess to me.
What do you think? Any echoes with today’s “Art teacher chic”, “Lagenlook” or the voluminous dresses designed to hide a multitude of sins?
Nina Ricci
The first perfume I ever wore – a gift undoubtedly purchased in Duty Free by my father – was a bottle of L’Air du Temps by Nina Ricci. It was real first date night stuff and at the age of 14 or 15 I thought it the height of sophistication. So the name Nina Ricci, and smell of L’Air du Temps, was associated with a feeling of joy and happiness – love, gifts, happiness and something both French and grown up. I have had a good associations with this company for as long as I can remember. L’air du Temps contains carnation, bergamot and rosewood with rose, jasmine, violet and iris – so it is no surprise that I still like floral perfumes and associate them with femininity. And then there was the bottle – the one I had on the right included an opaque glass dove. The original bottle, issued after the Second World War, was designed by Marc Lalique. Today I find the scent overwhelmingly sickly sweet, but I still remember the overall effect very fondly.
Now, as I slowly start making a 1966 Nina Ricci suit, I thought I should find out a bit more about her.
Nina (b1883) was an Italian whose family moved to Paris. She apprenticed to a dressmaker at the age of 12 and worked for others, until 1932 at the age of 49 when she set up her own fashion house with her son Robert who managed the business side. Bravo Nina – I love it when people really launch themselves in middle age. So brave and exciting! She was very sucessful and helped ensure that French couture rebounded after the Second World War. In the early 1950s she handed over the designing to Belgian Jules-Francois Crahay, in 1954, and in 1964 to Gerard Pipart who remained in charge for over 30 years. When he died in a couple of years ago the head of French Fashion industry said:
“He was a central figure at a pivotal moment for fashion. He was considered at the time as one of the most talented designers. He was extremely inventive and creative, and broke with accepted codes of the time.”
Nina lived until the age of 90 and died in 1970.
Vogue licensed a range of patterns from the House of Nina Ricci in the 1960s. They seemed to buy a relatively large quantity of designs from Nina Ricci than the other design houses, and these wonderful patterns often become available on eBay and other internet sites. Here are some which may take your fancy.
In response to my previous posting about using Nina Ricci pattern VPO 1660 Jane mentioned she had just finished Vogue 1623 (the white dress, top left), and was just sewing in the label. Although a specific designer label was provided with these patterns many of the second hand ones have the label missing. I seem to remember you had to specifically ask for the label at the counter. Possibly they have been lost over the years. Anyway my VPO 1660 doesn’t have a label.
Jane also mentioned that she traced off these patterns due to their fragility. I know I should. But I don’t really have the time. I just cut them up and make alterations. I have used some vintage patterns five or six times. They do get a bit tatty, especially from the tailors tacks, but I just repair them with “magic tape” . I should, given their age and providence, perhaps treat them with more respect, but I figure I can probably trace off the pieces if they really do get a bit tatty. Any views on tracing, preservation or just getting down with the paper and scissors?
I am finding the process of making up this pattern alot of fun. I will post about the dress, and the overblouse, once I have a bit more to show than cutting out and tailors tacks.
Camilla, Duchess of Cornwall, style icon?
It was only when I saw Camilla, the Duchess of Cornwall, in this dress that I realised she was a woman of style. Up until this moment (and I have met her in the flesh) I saw this lady as a slightly dumpy older woman dressed in middle of the road country clothes. Windsmore. Or Vyella.
Of course most women make a special effort on their wedding day, getting their hair and make up done specially. And of course many of us are supremely happy when we marry our true love, the centre of attention and affection for a whole day, surrounded by our dearest family and friends. Even so, she looks amazing. There is more to her look than just the cat that got the King. The outfit really, really works for her. Again, I have seen this outfit in the flesh, and it is very pretty with hand painted gold decoration on the coat and a nice, subtle mismatch between the bluer dress and the greener coat. And the hat really is fabulous, composed of feathers covered in gold leaf. 
The designer is Anna Valentine, with the hat by Philip Treacy. West London designer Valentine has produced some excellent dresses for Camilla who is not the easiest shape to dress – and she will never look like Princess Diana. With her broad shoulders, high hips, large low bust and minimal waist shaping her slim legs and ankles are her best feature. Her colouring is rather light and generally she wears her hair in an unflattering style, with a centre parting and flick ups. The golden colour can look good, although sometimes it looks a bit brassy, in my view. Anna Valentine has chosen to dress her in light colours, in luxurious fabrics and simple striking lines. But the best thing about these outfits are the stylish hats – rather original and flattering. I especially like the loose turquoise flower selection, and I so much prefer the cooler colour she has got on her hair which I think is truer to her light-cool colouring and bright blue eyes.
Prince Charles looks amazing in the same photograph in his steel grey morning suit. If any gentlemen have read this far, please note that he actually looks much better in this colour scheme than the black tail coat. Black is not for everyone.
I am not saying I would want to wear these outfits, although I would give the middle hat a go. But I think they really work well on the Duchess of Cornwall combining suitability for the event, a great shape and length for the wearer, with just a little bit of English eccentricity. And Kudos to Anna Valentine and Philip Treacy – Great British designers.
Nina Ricci Vogue Paris Originals 1650 (1966)
I really like the mid 1960s tailored styles. To me they always look fresh and modern, feminine but also practical and business like. Although the hats and gloves are of their time any one of these items could be worn today. I really like the neat practicallity of these designs, using good quality fabrics, colour and pattern. All of these designs are by Nina Ricci, from about 1964 to 1967.
At this time many Nina Ricci patterns were licenced to Vogue, and I have one that I bought on eBay for around £20 which is alot more than I usually pay. But as I opened it and inspected the 47 pattern pieces I realised I had quite a bargain. The pattern includes a skirt (which is actually a skirt attatched to a camisole), a jacket and a coat. When it was new this pattern cost one guinea (21/-) – which is about £17 in today’s money.
As many modern patterns have three or four pieces and you often just get one item with variations, an item like this, based on the designer fashions of the day, seems like an amazing investment. And such a joy to open and find you are the first one to do so. Everything is folded exactly as it left the factory in 1966. I found that the original purchaser has written 1/11/66 in pencil on the envelope, which I am going to assume is when she bought it. It doesn’t have markings, but perforations on the pieces. These are fairly easy to follow. When I have a pattern like this I use a pencil to write on the number of the pattern piece, the name of the piece, the grain lines, how many to cut (if it is not two).
Why are there so many pieces?
- there are four items in the collection
- this is a couture item, and the original Nina Ricci item would have been made like this
- accuracy is more important than simplicity or ease of construction
- the coat and jacket are provided as separate patterns and are quite different designs, not just a cut off version
- pattern companies used to provide separate patterns for the linings and interfacing
- there is significant design detailing in the pattern such as two piece sleeves, panels, and over layered pieces
For the dress and camisole there are only five pieces – 16, 17, 18, (skirt and pocket) 19, 20, (camisole). The camisole is cut twice, with one used as the lining. The envelop gives all the details in French and English, and the instructions are full enough. The suggested fabrics – which are the ones used for the photograph – include wool for the suit, and linen for the overblouse. The material to use for the underlining and the camisole is not specified. Does anyone know what might have been envisaged? I will use silk.
I know some people find these old patterns challenging, they dislike perforations, they dislike single size patterns as they are slightly more difficult to alter, they have lots of pattern pieces and they look “advanced” or “tres difficile. I would urge you to give them a try. They produce beautiful, historic garments that are a joy to wear. Fancy being able to wear a 1960s Nina Ricci suit, that fits you perfectly, for a few quid? Watch this space as I am going to do it!
Sewing with a Plan – departing from the plan
Here is my project plan – to produce a wardrobe of 11 interchangeable items by the end of April. I am making reasonable progress. I have five items made with only five or six (depending on whether I introduce a RTW item or not, as permissible) to go. So at the half way point I can pause to consider the outcomes. The coat and jacket are quite challenging, but I am confident I can do this.
But. I am missing something. I want to introduce something a bit different, an item where I can really express myself. Regular readers will know that I have already pondered and played around with the question of adding in a pair of trousers. Or shorts. Or a jump-suit. Or an embroidered cardigan. Or a loose, hand painted over blouse or coat. I used quite a lot of the preparation period and January to consider all my options. The rules of the contest include the idea of something that can change or become something else. This is actually an idea I find fascinating in design – especially housing design (part of my job). Something that can adapt, be multi-purpose. Something dynamic!
dynamic
adjective
I like to think I am dynamic in the second use of the term. But here I want to try to capture something of the flexibility of a garment that has the ability to change. I also want a statement item that will bring everything together and hold the strong colour palette – deep grey, strong purply-red and turquoise green. This desire has impressed itself on my as I painted my fuchsia suit linings.
So rather than introducing trousers I am thinking how can I get some brightly coloured, hand-painted silk into this collection?
Here is a summary of my thoughts so far:
- A silk velvet or satin scarf that will go with everything
- A silk crepe blouse that will especially match the grey and pink suits
- A silk crepe skirt. Quite a full one that ends below the knee.
- A dress. I don’t have one in the collection and a shirt waister, or something with front buttons would be versatile over trousers or with a blouse underneath
- A pair of trousers
- An open coat/jacket that can be worn on top of the other items – maybe a sort of loose kimono or even a light-weight trench coat
And then there is the idea I am warming to, as it is a kind of hybrid solution, is a skirt with top (called a camisole in the 1960s) attached. Here are a couple of 1960s patterns I have that use this couture technique. The skirt is attached to a camisole, avoiding the need for waist band, and allowing an overblouse to sit neatly over it, giving an elegant line. Here are two patterns from my collection. This camisole with overblouse is so evocative of the 1960s to me. For my version I would have a camisole that could be seen, but also could be covered up by an overblouse (two of which I have already made up for the SWAP).
Any views?
Sewing With A Plan 2015 0.15
It’s Valentine’s Day.
Are you going out for dinner, or cooking up something nice at home? I bought one of the M&S Valentine’s dinners (four course meal for two, plus pink Cava for £20) and shared it with Esme. Two slightly unwell children looked on and snaffled the strawberries with chocolate sauce. Not very romantic but hugely enjoyable.
An alternative would have been to finish my new pink suit and get taken out for dinner.
Last week I reported that I had fallen behind due to making a few errors – the two left fronts, the short back facing, and then I did something equally daft. I offer the photograph first to see if you would have spotted it? Do comment if you know what I did wrong. There are probably loads of errors, but one which was particularly silly is there for all to see.
But I did not see it. I cut out, painted and stitched my lining. I attached the lining. I tried the jacket on and realised that I had done something daft. Do you know what it is yet? Please do comment below if you can work it out. It is pretty obvious really.
Any way – the lining is lovely. Both Esme and Bianca suggested it was great for a blouse and too nice to be hidden away. Esme said it had obviously been inspired by putting a bottle of claret on a table cloth. I was hoping it would look like roses or peonies. Here is the jacket inside-out, and lined (the first time). The error is not so obvious, now everything is covered up.
Anyway I unpicked the lining, put the error right, sewed on some dark brown leather buttons. I wanted to use some more of my vintage buttons but I didn’t really have a matching set of the right size. So I bought some new ones at John Lewis. At over £1 a button those vintage ones weren’t just lovely, they were a bargain.
I made the skirt this week, which I will write about next week, when I finally stitch the hem. Stay tuned! And enjoy your evening.
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