Tag Archives: exhibition

Hollywood Costume, V&A

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The Hollywood Costume signs have adorned the streets of South Kensington for a few months now. Every time I walked past I felt pangs of pain that I was not one of the many Londoners who had seen John Travolta’s white Saturday Night Fever suit in the flesh, stared adoringly at Dorothy’s ruby red slippers and witnessed the outfits of our best loved superheroes: Spiderman, Batman and Catwoman.

Turning up for my slot on a Thursday morning, I assumed the exhibition would be quiet, aside from a few tourists yet to return home after the Christmas break. I could not have been more wrong, the place was heaving, crowds of queuing fans, each desperate to get a glimpse of their favourite character’s costume. Overwhelmed by the excitement and stifling lack of space, I decided my visit would have to be brief.

The exhibition explores the central role of costume design – from sensitive and subtle to extravagant and glamorous. In this grand show there are over 130 iconic costumes, each designed for unforgettable cinema characters over a century of film-making. There are three galleries to enjoy:

Deconstruction: The exhibition starts with an introduction to the role of the costume designer in cinema. By illustrating the link between clothing and identity, the viewer can begin to understand how designers create a character though costume.

Dialoque: This room examines the relationship between filmmaker or actor and the costume designer, and how they work closely together to create a character visually. The Dialogue section includes two close case-studies of Robert De Niro and Meryl Streep who discuss the importance of costume and how crucial it is in developing a character.

Finale: The sparkling final room concludes the exhibition with some of Hollywood’s most memorable moments, presenting the best known costumes from cinema history.

For me it was lovely to see the early outfits that hark back to stars of the past: suits from Charlie Chaplin’s silent pictures and Holly Golightly’s little black dress worn by Audrey Hepburn in ‘Breakfast at Tiffany’s’. As well as exhibiting the clothes beautifully, and often props too, the V&A manages to outline a brief narrative for each costume… explaining the important features and giving some context.

I loved the whole exhibition but it is the final room that really thrills… seeing these magnificent, famous costumes in the flesh, which provide such an important role in preserving the memory of a character, it is easy to dream of your favourite film star standing before you in the flesh.

Continues until 27 January 2013.

More information and booking here.

http://www.vam.ac.uk/content/exhibitions/exhibition-hollywood-costume/

Chris Bracey’s Circus of Neon: God’s Own Junkyard, Soho

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Chris Bracey is known as the Neon King for good reason. His neon works have appeared behind some of the greatest stars, and his fluorescent masterpieces have been made for numerous prominent patrons. With a cult following in London and LA, his work with light continues to shine from Soho across the World.

Bracey learnt the trade from his father who was a neon signmaker for fairgrounds, circuses and amusement arcades. In the 1950s, at a time of post war gloom and doom the light of neon was more inspiring than ever. Years on and his prolific work has played a significant role in transforming and reinventing the Soho aesthetic. His big break came when a Soho club owner allowed him to make a sign for the venue, at cost price, with the condition that Bracey could design it however he chose. The Pink Pussycat Club set a standard and soon everyone wanted an outrageously alluring Bracey sign.

The recent exhibition “God’s Own Junkyard” exhibits new pieces and archived works from his vast collection, encompassing key pieces from his three decades of work in art, fashion and cinema. Needless to say I completely loved it. On a quiet winter day the Circus of Soho shop window lights up the street so exuberantly that you can’t help but stare into the room of sparkles. There is something undeniably sexy about neon, the piercing glow and magical colours. I have always adored its qualities, so much so that this year I was presented with my own handmade Thoroughly Modern Milly TMM neon sign for Christmas.

The crowded collection at God’s Own Junkyard is utterly compelling and addictive… I couldn’t stop taking photos. “Non Stop Strip”, “Love & Lust”, “Sandwiches and Pastries” they read… neon manages to glamourise everything. Chris Bracey says on the subject: “Like any work of art, it’s got a spirit. Neon is only happy when it’s on, when it’s alive.” God’s Own Junkyard is a glowing place of happiness and excitement, where neon never dies and dreams live on.

More information here.

Ballgowns: British Glamour Since 1950, V&A

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Looking round the costume department at the V&A is one of my favourite lunchtime activities, so I was very excited when the Ballgowns exhibition was announced. This show is part of the British Design Season and celebrates the opening of the newly renovated Fashion Galleries at the V&A.

Wandering round the Victoria and Albert Museum alone is always enchanting, with another magical artefact to discover on each visit. On a sunny Thursday lunchtime, the galleries were teeming with culture hungry visitors. The space allocated to the Ballgowns was very dimly lit with women gathering round each garment nattering away about the material, cut and colour. I tried to dodge the students discussing and furiously sketching to get a good look at the clothes myself.

Ballgowns: British Glamour since 1950 showcases some of the most fabulous dresses from the last six decades up to the present day. The collection includes catwalk showstoppers, red carpet attire and beautiful occasion dresses. There are more than sixty designs on display, including several notable royal dresses, of which Princess Diana’s ‘Elvis Dress’designed by Catherine Walker is perhaps the most spectacular. Every dress has a story and it is fascinating learning the history of these couture gowns. Many of them have been designed and made especially for a particular individual or celebrity and so the style relates to their character and role in society, and truly captures a moment.

Interestingly the dresses are arranged and exhibited by colour rather than date. Every ballgown has a timeless elegance and yet the obvious era changes and shifts in society are evident in tailoring and shape. The development of new ideals can be seen in the radical move from tight restrictive corseted dresses to floaty ethereal gowns that skim rather than cling to a women’s figure. I was a particular fan of the bigger more ostentatious dresses, the fairytale princess gowns that would look so uncommon and bizarre at the parties I go to but must suit the society balls that I would love to experience, just once.

On the Mezzanine level contemporary ballgowns are displayed, some of which are straight off the catwalk: luxurious, extravagant and utterly stunning gowns dreamed up and carefully created by world-renowned designers including Alexander McQueen, Erdem, Roland Mouret, Marchesa and Mary Katrantzou. I loved the remarkable feather gown, and the crystal encrusted dress that Beyonce donned for her performance for the Obamas.

This exhibition is certainly the fashion show of the season… I left wishing the dresses were in my wardrobe.

Ballgowns: British Glamour Since 1950, sponsored by Coutts, runs at the V&A from 19 May 2012 – 6 January 2013.

http://www.vam.ac.uk/