Celia Birtwell
Dress 1971
This print, a popular Birtwell design, mingles hearts with feathers and poppies. Here the motifs appear in vibrant red and green on a cream ground, but other colour combinations were also available. A fanciful yoke of appliqued feathers accents the collar.
Printed chiffon
Print by Celia Birtwell
Given by Ms Judy Bennett
Museum no. T.194-1997
Print by Celia Birtwell
Given by Ms Judy Bennett
Museum no. T.194-1997
Dress 1970
Ossie Clark often mixed several Celia Birtwell prints in one garment. This dress uses three. There is a small star pattern for the sleeves, a larger star for the skirt and a flower design for the bodice ruffles and back panel. Vogue featured this design in its July 1970 issue.
Photograph courtesy of Norman Parkinson Ltd, Fiona Cowan
Dress 1971
The bold pattern and colours of this abstracted tulip print contrast with the delicacy of the sheer chiffon. The photograph, from the September 1971 issue of Vogue, shows London 'It' girl Nicky Samuel wearing the dress.
Photograph courtesy of Norman Parkinson Ltd, Fiona Cowan
Sketch 1969
Birtwell's sketch of black and red floor length dress.
Lent by Celia Birtwell
Sketch reproduced with kind permission of Celia Birtwell
Sketch reproduced with kind permission of Celia Birtwell
Sketch
Birtwell's sketch of the famous 'Blue Lily' pattern used for chiffons and other textiles, as well as this plush velvet. This sketch notes that she also intended it for gaberdine.
Lent by Celia Birtwell
Suit 1970
This photograph shows the front slit of the skirt extending to the top of the thigh. The material for the suit uses the 'Blue Lily' pattern as featured in the image above.
Photograph courtesy of British Vogue
Photographer Clive Arrowsmith
Photographer Clive Arrowsmith
Orla Kiely
Art Nouveau
"An international style of decoration and architecture which developed in the 1880s and 1890s. The name derives from the Maison de l'Art Nouveau, an interior design gallery opened in Paris in 1896, but in fact the movement had different names throughout Europe. In Germany it was known as 'Jugendstil', from the magazine Diejugend (Youth) published from 1896; in Italy 'Stile Liberty' (after the London store, Liberty Style) or 'Floreale'; in Spain 'Modernista', in Austria 'Sezessionstil' and, paradoxically, in France the English term 'Modern Style' was often used, emphasizing the English origins of the movement.
"In design Art Nouveau was characterized by writhing plant forms and an opposition to the historicism which had plagued the 19th century. There was a tension implicit throughout the movement between the decorative and the modern which can be seen in the work of individual designers as well as in the chronology of the whole. Its emphasis on decoration and artistic unity links the movement to contemporary Symbolist ideas in art, as seen in the work of the Vienna Secessionists, but the movement was also associated with Arts and Crafts ideas and, as such, Art Nouveau forms a bridge between Morris and Gropius (recognized by Pevsner in his book, Pioneers of the Modern Movement, 1936).
"In Britain the style was exemplified by the architecture of Rennie Mackintosh, and the design work of the Macdonald sisters. The lingering impact of Morris in England slowed down the progress of the new style in design although Mackmurdo, Godwin, Townsend and even Voysey were influenced towards Art Nouveau. It was in illustration that the ideas were most keenly felt, through the new periodicals and presses - the Yellow Book, the Studio, the Savoy, the Hobby Horse - and though the work of Beardsley, Ricketts and Selwyn Image.
"In France, despite Guimard's famous glass and iron Metro designs, the movement was best expressed in the applied arts, especially the glassware of Lalique (1860-1945) and Galle (1846-1904). In Belgium, the style was promoted through the Societe des Vingts (Les Vingt) established in 1884, and including Ensor as well as the more characteristically Art Nouveau architects Horta and Van de Velde in its members. In Spain the style was concentrated in the eccentric hands of Gaudi in Barcelona. In Vienna, architects like Wagner, Hoffmann and Olbrich, and artists such as Klimt gathered to promote the style through the Secessionist magazine Ver Sacrum. In Germany, the movement split between the decorative tendencies of Otto Eckman (1865-1902) and thePan magazine, and the streamlined design of Behrens. In America architects like Sullivan and Wright were influenced by European ideas but conceived Art Nouveau in different terms, whilst designers like Tiffany enthusiastically embraced the movement.
William Morris
William Morris (1834–1896) was the single most influential designer of the nineteenth century. Morris was a political theorist, scholar, translator and publisher, an environmental campaigner, writer and poet as well as an outstanding designer. Under his direction Morris & Co. grew into a flourishing and fashionable decorating firm renowned for its wallpapers and textiles.
Originating in the Arts and Crafts movement popular in late Victorian ‘artistic homes of taste’, the company’s designs have never been more widely appreciated than they are now. Today Morris & Co. guarantees authentic versions of those designs alongside new interpretations, using innovations in printing and weaving technology to create up-to-date fabric and wallpaper designs with timeless appeal.
I do like these prints, but for me they are to obvious and 'in your face', i prefer subtle, one images prints. However his work is very successful.
Over Exaggerated.?? But I Effing Love It
Love VandR...
JeanPaulGaultier
Rani Jones - Green my Style
With an exclusive collection showcase launching on leading eco boutique Fashion-Conscience.com, 2009 is set to be a big year for Rani Patel and Lucy Jones and their brand rani jones, writes Laura Dixon
From January 09, there’s a new name in ethical womenswear: rani jones. The luxurious label, noted for its high energy and bold approach, stormed into London Fashion Week last September and the Spring/Summer 09 collection – which included bright panelled pieces such as an orange and black striped bodycon dress, as well as high-necked jackets, slinky bamboo jersey cocktail dresses and wide-legged trousers – is on sale at the start of next year. I caught up with Rani Patel and Lucy Jones to find out what’s going on behind the label.
How did you meet?
rani jones: We were both working together at the same company, designing for the high street, and we instantly got on. Our experiences of working in the high street opened our eyes to the reality of fast fashion. Having spent time in India, sourcing materials and working with factories, it became apparent to us that our focus had to be on slower fashion. We wanted to become involved with more ethical, environmentally-sound fashion.
rani jones: We were both working together at the same company, designing for the high street, and we instantly got on. Our experiences of working in the high street opened our eyes to the reality of fast fashion. Having spent time in India, sourcing materials and working with factories, it became apparent to us that our focus had to be on slower fashion. We wanted to become involved with more ethical, environmentally-sound fashion.
How was the experience of taking your first collection to London Fashion Week?
rani jones: It was our first season – we didn’t expect it to happen that quickly! We won an innovation award from the Ethical Fashion Forum, and thanks to them, we were able to showcase our collection at their stand at Estethica during London Fashion Week.
rani jones: It was our first season – we didn’t expect it to happen that quickly! We won an innovation award from the Ethical Fashion Forum, and thanks to them, we were able to showcase our collection at their stand at Estethica during London Fashion Week.
What’s the collection like?
rani jones: The collection is based on Brutalism, the architectural movement. The main principles are rawness, it’s a kind of brash concrete aesthetic, with exposed wood, geometric lines and a boldness to it. For us it was really important in how we cut our garments. It really inspired us. And we’ll use that blocky aesthetic in all our future collections too.
rani jones: The collection is based on Brutalism, the architectural movement. The main principles are rawness, it’s a kind of brash concrete aesthetic, with exposed wood, geometric lines and a boldness to it. For us it was really important in how we cut our garments. It really inspired us. And we’ll use that blocky aesthetic in all our future collections too.
What were the main challenges for you?
rani jones: We had limited time to put the collection together. We started in April, putting us a couple of months behind everybody else, and as well as designing a collection, we were setting up a business, sorting out the financing, branding, fabric sourcing and more!
rani jones: We had limited time to put the collection together. We started in April, putting us a couple of months behind everybody else, and as well as designing a collection, we were setting up a business, sorting out the financing, branding, fabric sourcing and more!
Fabric sourcing is all very different when you’re doing it from an ethical point of view. It’s quite limited, and you have to look further afield than you normally would. Having said that, we’ve come across some things we wouldn’t normally have found – and have even discovered new fabrics made from recycled PET, coconut husk, pineapple fibres. We’re waiting to see what they’re like right now. It’s amazing to think that they’re being produced.
Where do you fit in green fashion?
rani jones: We are a socially responsible company. Garments are made as ethically and environmentally sound as possible and everything is manufactured in the UK- we’re doing our best! We’re constantly researching new fabrics and processes.
rani jones: We are a socially responsible company. Garments are made as ethically and environmentally sound as possible and everything is manufactured in the UK- we’re doing our best! We’re constantly researching new fabrics and processes.
We also have a sustainability consultant in-house, we’re members of the Ethical Fashion Forum and of the Centre for Sustainable Fashion at the London College of Fashion, and they all offer great guidance and support.
What can we expect from you in 2009?
rani jones: We’re looking at selling from the website right now, and are currently holed up working on the Autumn/Winter 09 collection which we are really excited about! There is so much going on but we’re hoping to be able to take a break at Christmas and go home to be looked after by our mums!
rani jones: We’re looking at selling from the website right now, and are currently holed up working on the Autumn/Winter 09 collection which we are really excited about! There is so much going on but we’re hoping to be able to take a break at Christmas and go home to be looked after by our mums!
