23 September 2019

MORE DIOR


Grace de Monaco Princesse en Dior 



                   Musée Christian Dior 

    Granville France

      Until 17th November 2019



After the sensory blitz that was Dior at the V&A this year, I headed for more Dior at the Granville museum that was Christian Dior's family home in Normandy. As the title suggests, all the clothes on show were worn by Princess Grace of Monaco (1929-1982). In what would have been her 90th year, this exhibition presents a flavour of a women who dressed elegantly and was stylish too. Marc Bohan (who was the designer at the helm of the House  from 1960 to 1989) and la Princesse were friends and obviously could work together very effectively.  The Princess did not go to the House. Her personal vendeuse at Dior sent sketches to Monaco of ensembles that she might like. 

The V&A had a marvellous exhibition in 2010 which had a wider remit than Princess Grace in Dior ; 'Grace Kelly Style Icon'. 
That exhibition was a delight and contained some of her film costumes. Grace came to Monaco from the background of a wealthy family and as an Oscar winner. Helen Rose at MGM (the woman who made her wedding dress) had dressed her for several films and I believe that that history and her own style came together in the Dior clothes she would wear till the end of her life.

I remember her in the 1970s. I marvelled at her hair which was often intricately styled with plaits and at her fabulous wardrobe. I happened to be in Monaco the day she died and I share a name with one of her daughters, and so my interest in the House of Grimaldi has continued. 

The following photographs are a selection of the day and evening outfits on show. Some of the evening wear is so of its time it is perhaps too broad a palate for today, but as a frozen in time snap of a woman's life for 30 odd years it is remarkable. 
                 

Her wardrobe..everything...clothes, shoes, hats, bags, perfume and many pairs of Dior sunglasses are all kept under museum conditions in the Palace in Monaco.  Film clips showed Grace wearing some of the clothes that were on display. What a difference being worn makes to a dress. Some on the mannequins looked bland...on her they moved and flowed and were gorgeous.
So I hope you enjoy this selection of photos. The lights were of course low, but every thing gleamed anyway. (Although what appears to be a light sabre in one set of pictures is the unfortunate placing of a strip light...)








                                                            
                









                                



         



                                   




        

The clothes pictured here are Dior Haute Couture.
Years range from the 1960s to the 1980s. 
The designer was Marc Bohan.

Merci au musée Dior à Granville pour la permission d'utiliser les photographies.

musee-dior-granville.com

30 May 2019

BOURNE AND HOLLINGSWORTH's BED AND BOARD



A village event
The Henfield museum stand
A 1920s beaded dress






 A lady was very interested in this sparkling example of a beaded dress.
I was telling her what I knew about it.
 'It came from Bourne and Hollingsworth in London.There is a woven shop label sewn into the waist. They were a department store that was known for the quality of their goods and for the quality of the care they gave their staff. The store sadly closed in 1983, but had been on Oxford Street since 1902, having been started by Mr WW Bourne and Mr HE Hollingstorth as a drapers in 1894' I managed before I ran out of steam. And facts.


'Oh I knew Bourne and Hollingsworth' she said.' I lived in their hostel.'

Did you work for them I asked?
(Expecting the answer yes)

No, she said, I just lived in the hostel.

I was intrigued, as I had not been aware that shop hostels permitted non staff to reside there.
And so shortly after this meeting, I had a long and very interesting talk to this lady.

The kind of conversation that supplies you with fabulous detail.
The kind of conversation that gives you insights that are only available when you talk to someone who was there.

I already knew that there had been staff accommodation for approx 600 female Bourne and Hollingsworth workers in Warwickshire House hostel on Gower Street in Bloomsbury in London.
Unmarried female staff were expected to live in the hostel while employed by the business.

A long time before my interviewee spent time in Gower Street, shop hostels generally had been strict, regimented boarding establishments. A women's paper from 1895 chronicles that some shops had dormitory arrangement for the 'girls'. This could be six to eight beds in a room, with two people assigned to each bed. Some shops did have individual beds for their female staff. There might be a sitting room as well for the girls use.

Male staff were lodged elsewhere, as it was not seemly to have male and female staff sharing facilities.

Breakfast was from 0730 to 0830 and was bread and butter. Some places allowed a ten minute lunch break at 1100 for bread and cheese.
There were societies in the hostels you could join, if you could afford it. A drama group or a music society perhaps.

Any engagements announced between male and female staff lead to instant dismissal. There was always the fear that experienced staff might marry and set up rival establishments and take their customers with them.

And if you felt an evening away from the place was a good idea, you had to get permission if you wanted to stay out until midnight. 22.30 was the usual time to be in. If you were granted a late pass, the door porter would take a note of your details and put them in a book.
To be late back was frowned upon. You might be locked out or fined or dismissed.

Bourne and Hollingsworth were clearly at the good end of the hostel scale. After Gower Street was renovated n the 1920s, facilities at the inhabitants disposal included a ballroom and swimming pool.

During WWII the building became an ATS (Auxiliary Territorial Service) hostel for the members of the women's branch of the British army.

The building, now known as Bonham-Carter house, is  these days used by UCLH (University College Hospital ) staff.

So lets fast forward 65 years from 1895 to Swinging London in the 1960s when my lady lived there.How much had changed?

For girls moving away from home for the first time in the 1960s  renting a flat in London was expensive (plus ça change).  So when Miss X left home to work in London in the early 1960s, what was she to do?

Well if you had a reference from your local vicar or perhaps your old headmistress to attest to your good character and upstanding family background, you might get in to a place like the B & H hostel at 52 Gower Street, WC1.

And indeed she did. So her place secured, off she went.

I asked 'What do you remember about the building and your time there?'
And here is what I found out.

The building was (and is)  sandwiched between RADA (Royal Academy of Dramatic Art ) on one side and the Hospital for Tropical Medicine on the other and had  impressive grey stone steps up to the door.

There were lots of corridors.

Her contemporaries were young single girls in their teens and twenties. No one she got to know worked for B&H. A  friend of hers worked for the Coal Board, whilst she herself worked for a large food company.
Rooms were twin bed affairs, with a wardrobe and a chest of drawers. All mod cons, as  each room had  a wash hand basin, but bathrooms and toilets were communal, each floor having a set of each.
There were no showers.

Monday was bed linen changing day. Each girl stripped her bed before leaving for work and then made up their bed in the evening after work with the clean linen provided.
People attended to their personal laundry at the weekends.
There was a canteen in house and Miss X enjoyed her midday meal there during the week. A small breakfast and possibly a poached egg for tea made up a days meals.
There was a room in the basement where everyone had a locker and could use the hot plates and utensils provided to cater for themselves.

Modern touches included a TV room...with a black and white TV.
The most popular night of the week for TV was Thursday, when everyone would rush back from late night shopping in time to watch Top Of The Pops .

The art deco styled swimming pool from the 1920s refit was still there in the basement at this time, but she never used it.

The reception area had a small shop where you could purchase toothpaste and other toiletries. All of which came from B&H.

There was always a nurse on duty.

Male visitors could proceed no further than reception, but female guests could stay in your room if your room mate was absent, upon payment of a small fee.

Still sounding very much like the 1895 rules, a late pass was needed to be out after 2230. The front door was locked at 2230 and if late, you had to be let in. This would mean a carpeting from the powers that be.

When we are young, time takes on a different ebb and flow and so what seemed a long adventure lasted for just over two years before Miss X and three friends managed to get a flat together.

So there we are. A way of life from roughly 55 years ago that had parallels with a way of life from 65 years before that. One that  has now vanished as completely as black and white TVs, Top of the Pops and teenagers observing a 2230 curfew.

Thanks again Miss X.
I really enjoyed hearing your story.















5 May 2019

DIOR OF COURSE


DIOR AT THE V&A APRIL 2019

QUEUES FOR TICKETS?  DATES BEING EXTENDED? 
FOR ONCE THE EXHIBITION LIVES UP TO THE HYPE.  GO.
                                             

  

London was my destination last week.
Dior . How could I not ? I would say words fail me at it's fabulousness, but that would not make for a very long piece.  However, I do want to get the BUTS in here at the beginning.
First 'BUT'. A  fabulously successful exhibition means crowds and quite frankly several of the gallery spaces in the exhibition were just not big enough. Plus (second BUT coming up) The DIOR costume details were all at ankle level, so in a crowded space you cannot see the information as people are standing in front of it. Right, negatives out of the way. Let the wonderfulness commence.

Onward down a sweeping staircase and voila. Rue Montaigne is awaiting us.

Some excellent biography and photographs of M. Dior first and then Bar in all its glory.
Plus a few revisited Bar suits that had good points but nothing really came close to the original in my view.

First room had a selection of  dresses and suits
. 



Next Princess Margaret's 21st birthday dress in its own column of perspex. Sadly diminished from the froth of white skirts in the photograph we all know. Interesting to see up close. But sad as well as it looks so small and flat and is the colour of cold tea.

Far more interesting were the dresses in the room.

Half on high, so plenty of opportunity to check out the petticoats.


                             The remainder delicious and chic, like these examples.   


After this room we were into the House of Dior after Christian Dior. Each room now had in addition pieces from the other talents who took a turn at the helm of Maison Dior. In chronological order these talents were Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano , Raf Simons and now Maria Grazia Chiuri.


Light and bright, this summers-afternoon-with- couture-dresses was white, pink and sparkly by turns.
               




The next room was very dark and very colourful.
Fusions of many national ideas mixed with style and creativity in spades.

                         

 Into the light again after this. A light diffused through mauve and lilac petals and leaves and plants
covering the ceiling and walls.
                     
                                      

In a case on the wall was a tiny but perfectly formed dress made of flowers. (Well that's what it looked like.) It was made for a perfume campaign.

Proving that Galliano is not all about theatricality, look at these two on the left. Flowers made flesh...well material really...
                                                             
                                                                                                                   But CD designed this one                                                                                                                   and that's the summer dress for me



A trip through the different eras of the designers of Dior



         




The white room was a white out. A snow storm of white toiles, white floor, and white and mirrored ceiling. Just like being in a lightbox.


Apparently there is an automotive engineering design term 'body in white' for the stage in the process when the finished curves (or contours if you prefer) of a vehicle are decided upon. I wonder if there is a link with a toile?

A corridor of tiny things next. A wall of colours beautifully blended, softly merging into each other and flanked by a wall of magazine covers.

  


Through the door at the end and into the ballroom. Soft lights and glitter and sequins and gold and silver and feathers everywhere you looked. A slowly revolving dais showed fringes and dangling earrings off to a tee. Some of the garments making their leisurely twirl were very resonant of showgirl costumes. Think Las Vegas. The many others round the circular room were soft and flowing and more ballgown than clown.

      




The finale was simple but very effective. A  ballgown in 100% fairy tale style, accessorised with a fan from the beginning of time...Dior time that is. So cleverly displayed you saw the front and back and the sides all at once. Gorgeous.







This was the best costume exhibition I have ever been to. The talent of the different designers and their teams was breathtaking. The range of the styles and trims and colours were mesmerising. Such mastery of their craft. It all added up to couture perfection.
Merci M Dior.


Very great thanks to the geniuses at the V&A for this outstanding exhibition.