KNITWEAR : CHANEL TO WESTWOOD.
Fashion & Textile Musuem, London, September 2014 to January 2015.
Being a knitter, this was a ‘must see’ exhibition, although I did not manage to visit before the last day, and it was therefore rather crowded in sections.
It was billed as inspirational vintage fashion knitwear from the 20th Century, with highlights including1920s Chanel jersey, 1930s woollen swimwear, 1970s Bill Gibb and conceptual garments from 1980s and 90s designers Comme des Garçons, Vivienne Westwood and Julien MacDonald. An exciting combination of famous names and visually exciting pieces, the exhibition charted the influence of art movements Pop, Punk and Deconstruction alongside new knitwear technologies and design innovation.
In the first room there was a showcase of 21st Century contemporary fashion knitwear celebrating new graduates and some established designers such as Julien Macdonald, Mark Fast, and Amy Twigger Holroyd, showing how knitwear has progressed from being used as a fabric for underclothes. Their garments took advantage of the three-dimensional qualities to create sculptural forms and body hugging garments, often ‘unwearable’ but fascinating.
In the main exhibition section garments showed how Coco Chanel took jersey fabric and used to create garments that were a complete departure from the stiffness and corseted styles of the Edwardian era. This was partly in response to women living more active and sporty lifestyles, such as a 1920s golf coat.
There was a display of fair isle sweaters which demonstrated how when a portrait of the Prince of Wales (later the Duke of Windsor) wore a Fair Isle sweater, they became the ‘must-have’ item of the day and so provided the Fair Isle cottage industry a welcome boost, in much the same way as when Prince George today is photographed in an outfit.
An interesting section was on the ‘Make Do and Mend’ ethos of the Second World War where jumpers were unravelled, the yarn washed and reused. My mother remebers sitting with hands outstretched with the washed hank of yarn so that my grandmother could wind it into a ball, and being taught to knit socks at primary school. Fair Isle patterns remained popular as a means of incorporating colour whilst only using small quantities of each colour, (true fair-isle knitting only has two colours per row), and knitting for the forces was seen was encouraged.
The Fashion and Textile Musuem is only a relatively small museum, and so some sections were in sections way above head level, thus making it difficult to see these garments in close detail. The 50s section showed knitwear being used for more glamorous garments, in lighter ply weights and embellished with embroidery and beading.
Up the staircase were some jumpers in frames that had been designed by famous artists which could be worn or admired as artwork. An outfit by Kaffe Fassett for Bill Gibb showed a riot of colour (couldn’t have a knitwear exhibition without Fassett), and then Diana Leslie’s “Animal Rainbow” label which she ran in the 1970s and 80s. I had never heard of her, but was amazed a the inventiveness of her clothing.
In a separate room, not very well advertised was the first-ever museum display about Watts, the leading heritage textile and wallpaper company, ‘PATTERN: Watts’ Architect Wallpapers 1870 to Today’ showcased a stunning and colourful display of hand-blocked wallpapers. Curated by Mary Schoeser, the globally respected historian and author, the display revealed the history, characters and skills that are the lifeline of this very British business.
Designed by architects – including Watts’ founders Bodley, Scott and Garner – the wallpapers are presented decade by decade highlighting the way classic and ornate patterns have been adapted by different generations. Examples include styles as diverse as the 19th century’s Aesthetic Movement to later 20th century trends in historical décor, such as the pink and dark green wallpaper commissioned by Cecil Beaton and the orange prints of the 1970s, to wallpapers in the Houses of Parliament and opulent interior furnishings for palaces, private homes and hotels around the world. Guardians of a treasured archive, Watts are now under the direction of the fifth generation of the same architecturally famous Scott family. This exhibition offers a rare opportunity to see first-hand the impressive repertoire of Watts and was part of Watts & Co. 140th anniversary celebrations.
I was not really aware of this company, but to see their designs and textiles was very fascinating, and also how they have managed to survive and now thrive in a changing business climate.
All in all a fascinating two exhibitions, plus the cafe next to the museum has a very tasty selection of drinks and food.
