The Biba Story at Fashion and Textile Museum

I was only vaguely aware of Biba at the time though the pull of its brand was enough to entice my sister up from Weymouth when she was still in her teens. Most of my awareness was to do with the branding and little to do with the fashion but the Fashion and Textile Museum has a good habit of telling interesting stories about fashion so I was keen to see this exhibition.

The simple plan for the day stumbled a little at the start as I was going to have lunch at their cafe but I forgot that it had been closed and the space converted to something else. Luckily there was plenty of choice nearby and I settled on Al’s Cafe where I rejected the option of a veggie breakfast because it came with chips and, instead went for Al's Breakfast which was much the same but without chips. It was very much a working person's cafe but the knew to do poached eggs and smashed avocado. It hit the spot perfectly and I would go there again.

As usual, Fashion and Textile Museum crammed quite a lot into a fairly small space and it was a slow walk around the exhibition looking at all of the garments (it was mostly garments) and reading the stories behind them.

The fashion exhibitions that I usually see, mostly at V&A, are on high-end fashion, e.g. Alexander McQueen, and in contrast to that I found most of the fashion uninspiring, though it was interesting to see some very period outfits. A lot looked like they could have come from M&S but that probably tells you more about what I know about fashion than it does about Biba.

Amongst the fairly average dresses and suits were a few stunning outfits. My favourite was a unisex trouser suit which a psychedelic pattern and widely flared trousers. I like to think that I have the courage to wear something like that. There was also a spider dress, so called because it looked as though it was covered in webbing, that was distinctly glamorous.

Biba's style changed quite a bit over the years and the texts listen all sorts of influences so there was little commonality across the outfits other than they were designed for tall thin women with few curves.

It was a fashion exhibition so while it mentioned the designs of the various shops there was only one photo of one and I do not recall reading anything about the production process, other than the sourcing of fabrics. The high turn-over of designs suggests something like today's fast fashion but that was an untold story.

On nice thing about the exhibition was that many people had clearly dressed for the occasion and the visitors were almost as interesting as the exhibits. One was even wearing a Biba trouser suit and I took the opportunity to say how much I admired it.

My simple metric for exhibitions is how long I spend there and this one occupied me for all but an hour which, given the size of the venue, was quite an achievement.

Josef Frank Patterns Furniture Painting at Fashion and Textile Museum

It was not much of a loose end but I had a few hours to fill between theatre appointments in Shoreditch and so I made another visit to the Fashion and Textile Museum (FTM) in Bermondsey, a short hop on the Northern Line from Old Street to London Bridge with a refreshing walk at either end.

Any visit to a museum starts or ends with a coffee and some cake. This time it started that way.

All I knew about Josef Frank beforehand was what FTM had shown me in their regular emails which was enough to tempt me to the exhibition but did little to inform me about the man or his works so I went in with some expectations and a lot of curiosity.

I soon earned that Josef Frank was Austrian by birth but moved to Sweden in middle-age to escape anti-Jewish persecution where is work in architecture extended to other forms of design.

Those expectations were quickly met too with large displays of fabrics in the style of the poster. The scale of the patterns with their large repeats and their lack of symmetry made them quite different from the floral patterns that I was familiar with from the likes of William Morris and Liberty. Somewhere along the line I remembered that I had some Ikea chairs with a pattern not unlike these, perhaps it a Scandinavian style.

Upstairs was something of a surprise as it was mostly paintings. Frank liked painting but was not terribly good at it, his cars looked very amateurish and his sense of perspective was unusual. That said, he often painted interesting scenes and their natural beauty and interest survived his artistic interpretation.

The paintings and other displays were interesting but it was the fabrics and furnishings that made the show special for me and there were lots of them to enjoy even in the relatively small space that is the FTM. I had to walk past them all again as I came back downstairs to leave and I enjoyed seeing them the second time almost as much as I had the first. It was a slow and pleasant exit.

The FTM is a remarkable place simply because it continually does exhibitions as stimulating this one.

Missoni Art Colour exhibition at the Fashion and Textile Museum

My sister was staying with me in London for a couple of days and I suggested a few things that we might fill the days with and while she was not so keen on going to the theatre she was interested in the Missoni exhibition at the Fashion and Textile Museum because she had not been there before and had three Missoni scarves.

Getting there was fairly straightforward but slowish; a bus to Richmond passing through some road works, a bit of a wait for a train to Waterloo, a trek across the station to the Jubilee Line to get to London Bridge and a final walk under railway lines in Bermondsey to get to the museum.

After that minor ordeal we started off in the cafe where I had a fruit juice called something like a Zesty Zandra and a toasted goat's cheese sandwich. All very nice if a little pricey at the best part of £10. It did the job and I was refreshed and ready for the exhibition.

My Art Card gave me a 50% discount for the exhibition so I only paid £4.50 to get in. That was good value however you look at it and even better when compared to the lunch.

I do not own any Missoni scarves so I went in with few preconceptions, the only clue I had on what to expect was the poster above with its bars of different colours. I had seen similar samples at the Sonia Delaunay exhibition at Tate Modern and I had been intrigued, and impressed, by the careful planning of colours and how they work together.

It came as a surprise that the exhibition began with some pictures, i.e. proper art. They were there to explain the context of the Missoni work in fashion by showing how similar themes were being explored in mainstream art. This started in the '50s when abstract art with its reliance on shape and colour was becoming more prominent, though it had started a few decades earlier. One reason that fashion had lagged behind painting was that fashion is generally more conservative and another is that, as one of the videos explained, the technology was simply not there. In Missoni's early days machines could only weave stripes and the more complex ideas appearing in art could simply not be copied.

The extent to which this was experimental was shown by the many sheets of paper where colours and patterns were carefully tested.

I had seen similar experimental work by artists at other exhibitions and I love the way that they show the artist's working out of things such as which colours go well with others. Here as well as a multitude of colours there were simple patterns and next to them more complex ones where the straight lines of triangles had been bent into experimental curves.

The importance of this design phase in the work is shown by the exhibitions logo (at the top) which consisted of coloured lines and made no reference to the fabric made using them.

These geometric designs featured throughout the exhibition and were most notable in the collection of wall hangings in the main room.

A small section of one of these is shown below. It is an almost ridiculous collection of lines and colours that combine to make something striking. This was a very large piece overall and looked as though it belonged on the stairway of a grand mansion. It certainly needed somewhere the size of the main room to contain it, let alone to show it off fairly.

The main element in the main room was a collection of mannequins (below). This was a clever display but it took me most of the afternoon to work out how clever. It is not that obvious from this angle (that is my excuse) but the mannequins were dressed in stripes of colours that ran diagonally from bottom-left to top-right. The orange mannequins are the best clue and the stripe in front of them is green. These stripes were obvious, once spotted, from the right angle on the ground floor.

It also took me a while to work out that the lighting that I complained about was part of the effect and different elements of the display were lit in a cycle as a clock ticked somewhere in the background. Once I realised this all I had to do was wait for the phase when all the lights were on to take my picture.

What did surprise me was how timid most of the colours were and because of that how subdued most of the garments were. It took some close inspection to identify some outfits that looked sensible in today's eyes. One of these was the checked coat worn by the mannequin with the blue hat at the top-right of the collection.

There were other rooms and other things to see. There were some videos running on continuous loops, some carpets that looked rather like ones that I grew up with and more paintings by contemporary artists. It was not a vast exhibition, he Fashion and Textile Museum is not a big place, but there was plenty to see and much of it warranted spending some time looking at, particularly in the detail of the patterns and the colours used.

I return to another sample sheet for my final image. These samples are in fabric rather than paint and the patterns are more complex which shows how much the ideas and technology evolved. I could find somewhere in my house for this particular display even though it is just a collection of samples as the combination of shapes and colours is arresting. I returned to this display several times.

While I have never been that interested in fashion (as my wardrobe testifies) a well curated exhibition will always interest me, much as In our Time does whatever Melvyn Bragg is discussing, and I found plenty to stimulate and entertain me in Missoni Art Colour.

Liberty in Fashion exhibition at the Fashion and Textile Museum

I had not heard of the Fashion and Textile Museum before, otherwise I might well have paid it a visit, and once again I had the Art Fund iOS app for alerting me to it. It remains my main source of information about exhibitions that are on and this time it told me about Liberty in Fashion. Anybody who knows me remotely well will know that is an exhibition that I wanted to see.

National Rail had other ideas and closed the main line from Richmond at Clapham Junction and so another popular app of mine, CityMapper, advised me to take the District Line to Monument and walk from there. So I did.

That walk took me over London Bridge, through the redeveloped area around More London and then under the grimy railway arches in upper Bermondsey. The area got markedly better as I moved south along Bermondsey Street with some trendy cafes and craft shops appearing.

I was expecting the museum to be easy to find as my limited research (on the day) told me that it was a bright orange building in the Morocco style but it played a trick on me. The building is set back slightly from the usual building line thus hiding the orange frontage. What I could see from some distance was the pink entrance but I was not expecting that so it was a nice surprise to suddenly find myself there.

A lesser surprise was to find a cafe there, it is just to the right of picture, which is where I had a late lunch of a vegetarian quiche and two salads from a choice of four. It was a tasty treat and I hope that it was not responsible for the severe tummy troubles the next day.

The Art Fund helped again when I bought my ticket, giving me a 50% discount, so I paid just £4.50.

The museum is an unusual space and the exhibition was strung along several rooms on two floors. The layout of the rooms meant that it was hard to see the full extend of the exhibition (perhaps I should have accepted one of the guides!) and that added to the delight as each new display was a surprise.

The exhibition was a broadly chronological display concentrating on the fashion themes of each period and the main creators working with them for Liberty at that time. It was like walking through the Liberty shop as it moved through history, a pleasure doubled.

The final room, at least on the route that I took through the exhibition, was the study room that had displays of the original fabrics rather than clothes made from them. It was in that room that I took the pictures of the Bauhaus curtains above and the fabric samples below.

My parents had Bauhaus curtains in the front room when I was a teenager though that was in a less brash colour-way with more brown and less yellow. I have a tie that matches it.

The clothes on display in the rest of the rooms and corridors were mostly top-end fashion items, which is understandable as even the basic Liberty items, like shirts and ties, are not the clothes of everyday wear for most people. As a long-time Liberty wearer I sometimes forget that.

Obviously a lot of the clothes looked painfully dated, just because of their age, but that was always down to the cut and not to the fabric. So while this dress very much is of its time it is still easy to appreciate the way that touches of Ianthe have been woven into it and how well the jacket compliments it.

There were dozens of outfits to look at lovingly,  mostly dresses with a few jackets for me. There were a couple of outfits that I would have loved to have, and would have worn today despite their age. I particularly liked one with a Nehru collar, I had looked for something like that in India but had failed to find anything close. Luckily enough I am quite happy with my generous collection of Liberty shirts and ties.

When I bought my ticket I asked the friendly woman on the desk how long it would take to get around the exhibition and she advised that it would take about half an hour. On my way out a full hour later I was able to tell her how much I had loved it.