photography

Hawthorne & Heaney visits ‘Wonderful Things’ at the V & A Museum

November 6, 2019 by Natasha Searls-Punter

‘Tim Walker: Wonderful Things’ is the new exhibition on at the V& A Museum this winter. Looking at the works of fashion photographer, Tim Walker; expect to be amazed and delighted by the fantastical worlds he creates for his photographs and the stunning presentation of them by world leading design museum, The Victoria and Albert Museum.

Chances are, you have probably come across Tim Walker’s work before, whether you knew it or not. He has been working for publications such as Vogue from the the start of his career and over the last 30 or so years, he has come to produce a great number of works. The first room is a celebration of this as many well know pieces are displayed here so you can bounce from one catagory to the next with pangs of recognition.

The Dress-Lamp Tree, Tim Walker, 2002, England

After you are introduced to Walker and given some context about the exhibition, that’s when things get really interesting. For this exhibiton, Walker has produced several series of new works, inspired by the items in the V&A’s own collections as inspiration.

It is always lovely to see a maker’s process, so the addition of sketchbooks to the exhibition is a welcome insight into their minds.

Along with the props, the sets that Walker builds are rich and diverse, providing much interest in themselves alone even without a moving subject in them.

In typical Walker style, there are oversized props which give a fantastical element to both the photos and the exhibition.

I particularly enjoyed the section inspired by a 400 year old embroidery box and chamberlain’s key. Partially because, as an embroiderer, I am pleased to see any uses of embroidery that raise its profile and highlight it’s beauty but also for the resulting series.

The exhibition acts as a masterclass in spring boarding inspiration from existing artworks and creating entirely new pieces from them. If you would like to see all the pieces in person, get down to the museum to experience their true magnitude.

”Tim Walker: Wonderful Things” will be on at the Victoria and Albert Museum until the 8th March 2020. Tickets from £15.00, free for members.

Hawthorne & Heaney visits the Night & Day Exhibition

November 29, 2018 by Intern

Beautiful sequined gown, early to mid-1930s. Sequins became popular in the 1920s, inspired by the discovery of Tutankhamun’s tomb. (1922)

The 1930s followed the decade of the roaring 20’s, with the Wall Street crash in 1929, the years that followed saw a great deal of change for Britain and America. With the 1930s, came the beginning of WWII, the end of the Jazz Age and a dramatic change in fashion in accordance with the economic and political transformations of Western society.

Evening Gown and Capelet, early to mid 1930s, satin. Black and white was considered a very chic colour combination in the 1930s, promoted by designer Elsa Schiaparelli. (1890-1973)

This exquisite exhibition is based around a single collection (courtesy of Cleo and Mark Butterfield) consisting of 1930s daywear and eveningwear. The exhibition began with an array of classic dresses, would have been at the height of fashion in the 30s. The impact of the Art Deco movement (which took its name from the international Arts Décoratif et Industriels Modernes held in Paris in 1925) on fashion in the 30s was profound; it was characterised by highly stylised natural and geometric forms. Something that struck us as soon as we walked in was how much the fabrics used to construct the garments were angled towards the act of wearing; specific fabrics such as satin and crepe were used to glisten in the lights of a nightclub – the wonderful art of using materials for their glamorous properties!

Evening Gown, early 1930s, Satin. Wonderful ruffled open back gown with gathered bow motif.

Glamorous. Chic. Timeless. Three words that instantly spring to mind when a vision of floor length satin and crepe gowns appeared like a mirage through the walls of the fashion and textile museum. These liquid satin, bias cut gowns – pioneered by Madeleine Vionnet – ooze sophistication and sensual night-time glamour. On the dance floor of the 1930s, everyone was equal; all class, economic and racial differences were left on the side lines.

Evening gown, early to mid-1930s, satin. A salmon-pink bias cut gown with beaded swirl motif. The caplet sleeves emphesise the feminine fluidity of the gown.

Cinema became part of everyday life in the interwar years; Cinema buildings popped up all over the country; housewives would be able to view a matinee screening and still be home in time for the children! The silver screen was an immense factor in the glamorisation of evening wear fashion in the 1930s and the rise of ready to wear garments; cheaper fabrics such as lamé were favoured over traditional embroidery, which was not quite as decadent but almost as lustrous.Evening gown, early 1930s, satin. The glamorous style was reinforced by Hollywood during a decade of luxurious films that provided the much needed escapism from the realities of daily life.

In the room called ‘Whistle! While you work’ it was clear that the major shift in working class women becoming mass consumers was aided by media outlets such as magazines, it was explained how this shift has been an important factor in how we shop today. The popularisation of department stores and the philosophy of ‘make do and mend’ in the austerity of The Depression also led to a much more accessible ‘Ready To Wear’ trend rising. This revolution in ready to wear clothing could be seen of as a factor in our current fast-fashion crisis.

Evening gown and jacket, mid 1930s. Heavy embroidery of the previous decade were discarded and replaced with cheaper fabrics such as lamé.

The 1930s gave way to the act of shopping (usually in department stores) and window-shopping becoming part of popular culture. The advancement of technology and women in the workplace (pre marriage, of course, due to the ‘marriage bar’ forcing women to resign from their jobs when wed) meant that fabrics could now be produced on a much larger and therefore cheaper scale.

The 1930s were a golden age for the art of the portrait photograph. On show was a vast selection of portraits from 3 leading studio photographers; Dorothy Wilding, Madame Yevonde and Paul Tanqueray.

The finale of the exhibition wowed us with a patriotic display of all things red, white and blue to commemorate the coronation of George VI. An interesting note which helped us imagine the atmosphere of the day was added in the exhibition guide: ‘Hotels were full to the seams and many people who wanted to catch a glimpse of the royal coach resorted to sleeping on pavements and in the parks, creating camps and latrines, which author Virginia Woolf likened to scenes of the Crimea.’

Some Day My Prince … Will Come! A section of the exhibition celebrating the coronation of King George VI on 12 May 1937; all things blue, red and white lined the streets of Britain.

The exhibition was a delightful insight in to all things 30s, from the glitzy gowns of the dancehall floors to the realities of women being barred from the workplace: a truly comprehensive experience!

Dress, late 1930s, crepe. Blue was a popular colour of 1937 as it was considered patriotic. ‘Marlborough blue’, in partocular featured heavily in this year and was named after the royal palace.

By Jessica Strain. All photos by Jessica Strain.

Exhibition details:

Night & Day: 1930’s Fashion and Photographs

Fashion and Textile Museum

83 Bermondsey Street, London SE1 3XF

Open Tuesdays to Saturdays, 11am–6pm

Thursdays until 8pm

Sundays, 11am–5pm

12 October 2018 – 20 January 2019

£9.90 adults / £8.80 concessions / £7 students

Children under 12 are free

Frida Kahlo: Making Herself Up – Exhibition Visit

September 5, 2018 by Natasha Searls-Punter Leave a Comment

The exhibition Frida Kahlo: Making Herself Up is currently at the Victoria and Albert Museum in London and we recently took the chance to visit. This unique show gives a detailed overview of Kahlo’s life: her family and heritage; her politics; her relationship with mural painter Diego Rivera; the near-fatal accident that caused her a lifetime of pain; and most importantly, how she constructed her image and the way in which she lived her life.

Upon Kahlo’s death in 1954, her husband Rivera locked up her most valuable possessions in the bathroom of the Casa Azul (The Blue House, their home in Mexico) and instructed that it not be opened until 15 years after her death. In 2004 this bathroom was opened, and the contents of the room went on display at the Casa Azul as a museum dedicated to her life. These objects are what now fill the exhibition space at the V&A, carefully shipped thousands of miles to be shown outside of Mexico for the first time.

The exhibition begins with old photographs of Kahlo and her family, some of which are adorned with Kahlo’s handwritten notes. Some simply label family members, whereas others are more personal: for example, on the back of Kahlo’s Communion photo she has scrawled “¡IDIOTA!” as she renounced Catholicism later in life.

The show continues through a series of rooms to Kahlo’s accessories: heavy jade necklaces; crescent earrings featuring paired birds, which are traditional of Mexican jewellery; and hand-woven ‘Rebozo’ shawls and ‘Morrale’ sack bags. These items highlight Kahlo’s pride in her Mexican heritage.

We then move on to Kahlo’s possessions, perhaps one of the most personal parts of the exhibition. Intimate items are on display such as used lipsticks and empty medicine bottles accompanied by letters to and from her various doctors.

Kahlo’s suffering due to childhood polio and a car accident at the age of 18 lies at the foundation of some of these objects. For most of her life she wore uncomfortable corsets to help support her back and alleviate pain, some of which were made of plaster and decorated with painting as Kahlo used them like a canvas.

Finally, the main feature of the exhibition is a stunning display case of Kahlo’s clothing. Kahlo is renowned for her combinations of indigenous garments from different regions of Mexico, and she was photographed in such outfits many times. To see them up close in real life is breathtaking.

Detailed embroidery is present in most of the outfits, from complexly shaded flowers and birds to cross stitch to traditional Chinese embroidery (due to Kahlo’s fascination with Chinatown when she moved to the USA with Rivera). The exhibition gives details of her most striking outfits, describing how she was followed by children when in the USA, who asked “Where is the circus?”.

There are some of Kahlo’s paintings – mainly self portraits as she used herself as a subject when painting from her bed – but the exhibition mainly focuses on Kahlo’s items and how she presented the complex layers of her identity within her life. It states that her wardrobe was not staged: she dressed up even when she wasn’t expecting visitors, and even when she was in bed rest.

Frida Kahlo: Making Herself Up is a bewitching and intimate exhibition. The items on display are fascinating, and through them the personal details of how Kahlo naturally lived an artistic life – despite her misfortunes and pain – are revealed. A must-see for anyone interested in textiles, and anyone interested in Frida Kahlo’s complex and inspiring life.

Purchase tickets at the V&A website here.

Written by Laura Hill

Hawthorne & Heaney Visits the Louise Dahl-Wolfe Exhibiton

January 25, 2018 by Eleanor Rowlands

The Fashion and Textiles Museum, London, has just opened an exhibition dedicated to Louise Dahl- Wolfe, an American photographer who is credited with modernising fashion photography. The exhibition spans the the whole of the long gallery as well as part of the upper area. It looks at Dahl-Wolfe’s early works and how she defined the image of the post war women. It has over 100 photographs on display which some contain the work from various designers such as Chanel, Balenciaga and Dior.

Located in the long gallery, you must first pass a room on the left which currently has a small display of work from Wallace Sewell, who designed the upholstery fabric for Transport for London, continuing on you walk through a corridor of Dahl-Wolfe’s colour Harper’s Bazaar covers and enter a large open space full of beautifully framed photos. The airiness of the room allows the work to breath and gives you space to enjoy it.

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The gallery displays mainly black and white image from Dahl-Wolfe’s career as well as a selection of coloured work. Dahl-Wolfe trained in San Francisco’s Art Institute in 1914, and it was here that she took classes on anatomy, composition and colour theory fundamentals. These proved to aid her later in life when starting out in photography.

Dahl-Wolfe’s first photo to be published, Mrs Ramsey, was in Harper’s Bazaar’s November 1933 issue. Mrs Ramsey was Dahl-Wolfe’s neighbour when her and her husband moved to Tennessee. As with a lot of Dahl-Wolfe’s photos there is an element of calmness about them whilst simultaneously displaying the soul and character of her subject.

Hawthorne & Heaney Visits the Louise Dahl-Wolfe Exhibiton London Hand Embroidery — Mrs Ramsey,Tennessee-Smokey Mountians,USA,1931

Dahl-Wolfe started working at Harper’s Bazaar from 1936 until 1958. During this time they published 600 coloured photographs, 3,000 black and white images and 86 front covers taken by the artist. During her Hollywood period, 1938-1946,Dahl-Wolfe shot on her Rolleiflex camera using natural lighting and had her models posing outside, providing an alternative to the “clever lighting and retouching”1 that was already apparent within the industry.

Even within the black and white photos Dahl-Wolfe took, the texture and material of the clothing still stood as as one of her key focal points. This was achieved by clever set dressing and good use of composition within the photographs.

Continuing through the exhibition it looks at Dahl-Wolfe’s era within Fashion photography, 1938-1949. When Dahl-Wolfe started, fashion photography was still among its early stages, this meant that there was room to develop and evolve the practice. Took in a variety of settings including Arizona, California Desert, North Africa and Mexico Dahl-Wolfe’s photos erd towards simple compositions that compliment the Dior and Balenciaga dresses.

Dahl-Wolfe had a knack for capturing her subjects unaware and in seemingly natural movements. Mary Jane Russell, who was one of the most successful fashion models of her time, worked with Dahl-Wolfe for over 12 years, producing 8 Bazaar covers and 100’s of editorials and adverts.

The exhibition has a good amount of information spanning Dahl-Wolfe’s early career and through to her retirement as a photographer. It is running from 20th October- 21st January 2018 at the Fashion and Textiles Museum, London. Prices are £9.90 for adults, £7.70 concessions and £6 for students (Remember your Student ID).

All images and videos courtesy of Charlotte Pearson (@c_textiles) unless otherwise stated.

[1] Louise Dahl-Wolfe- A style of her own, Fashion and Textile Museum. Pamphlet pg.3. 2017.

Hawthorne & Heaney Visits Burberry: Here We Are Exhibition

October 26, 2017 by Natasha Searls-Punter

Last month Burberry held an exhibition of British photography, in celebration of their September 2017 collection at the Old Sessions House which is a Grade II listed building. The exhibition spaned out across three floors in 14 unique rooms and was curated by Christopher Bailey, Alasdair McLellan and Lucy Kumara. The British photography used within the exhibition documents all elements of the British culture, class and clans that form together to create what truly is and makes Great Britain, ‘Great’. We sent our intern, Lauren to the exhibition to find out more.

The 14 rooms were themed sections which break down the exhibition into a sort of narrative story, which helps the visitors to understand the background inspiration behind the Burberry, September 2017 collection. The unique rooms are titled for example, room 5 called ‘Romance’ was based upon the modern attitude towards race, equality and love in all shapes and sizes featuring the iconic photograph ‘Notting Hill Couple (1967)’ by Charlie Phillips. The photograph represents a British woman with a Jamaican-born male:

“Notting Hill was the London destination for many Afro-Caribbean immigrants who arrived in the UK in the immediate post-war period. A severe housing shortage was among the causes of racial tension there throughout the 1950s, and in 1958, the area was marred by race riots. A carnival was held the following year in response, celebrating Black British culture. In the summer of 1966, the first Notting Hill Carnival took place.”

The above information was taken out of the ‘Here We Are’ exhibition guide. The photograph is so beautiful and powerful as it shows how love will always conquer hate in all forms. As a united society we have grown to love one another and is fascinating to discover the history behind the Notting Hill Carnival that is still celebrated today, 51 years later.

The composition of the exhibition as a whole was perfect. The high ceilings and coffered dome allowed natural light to fill the Grade II listed building. The Palladian-style building was constructed in 1779 with a façade of solid Portland stone and columns which was some of the most expensive materials during that period. The building itself celebrates British architecture and could not of been a better fit to compliment the ambience of the exhibition.

Each photograph has carefully been selected and include work from talented photographers such as Dafydd Jones, Brian Griffin, Jane Bown, Jo Spence and many more. In particular the English documentary photographer, Daniel Meadows who lived on a double decker bus for 14 months in 1973-74. During this time he covered 10,000 miles and at each pit stop he photographed the town’s inhabitants, in total he took portraits of over 1000 individuals. My favourite portrait has to be of the 12 year old boy, John Payne with his pigeon, Chequer. Once again this photographer has captured a timeless moment of British culture, simply 3 young boys who would capture and race pigeons as a form of entertainment which in that time was a normal thing however it also makes you realise how much generations have evolved and adapted to the ever-growing nature of society who would now see this form of entertainment as cruelty to animals and morally wrong.

For us, our favourite garment of the September 2017 collection has to be the green lace applique dress, it is beautifully elegant and also comes in an option of pink too. It is clear how ‘The Garden As a Self-Portrait’ themed room has influenced the design of this garment. The ‘Here We Are’ exhibition is a tribute to the history of Britain, celebrating our culture from past to present day.

Hawthorne & Heaney Visits Burberry: Here We Are Exhibition London Hand Embroidery — burberry here 6

By Lauren Stewart September 2017

Hawthorne & Heaney at ‘Vogue 100: A Century of Style’

May 12, 2016 by Natasha Searls-Punter

The National Portrait Gallery hosts to an exhibition reflecting back on the last 100 years of Britain’s most well known fashion magazine, Vogue. Last week, Hawthorne & Heaney’s Intern Philippa Martin went to check it out for us.

Vogue 100: A Century of Style sign

Every 10 years has a dedicated room to explore the best in the design world of that decade. Featured are models frequently seen on Vogue’s pages like Twiggy and Kate Moss and also the source of many famous shoots, designers like Alexander McQueen and Vivienne Westwood.

Inside ‘ Vogue 100: A Century of Style’ – vogue.com

With each room having a contrasting interior appropriate to the era you get a good insight into fashion of that time. For photographers interested in developing methods we see a wide range of photographs printed in different ways like bromide prints, A4 polaroids and colour negative.

As well as many fashion shoots, a large selection of photos are displayed coordinating with major events that have happened over the past 100 years. Our very own Mayor of London, Boris Johnson iis featured among the architecture built for London Olympics in 2012.

Vogue editor Alexandra Shulman views the portraits at the NPG

A true appreciation of The royal family is seen throughout the exhibition with recognition of them in the majority of rooms. The Duchess of Cambridge, who will be the face of Vogue’s century issue, also features heavily in the 2000’s.

Duchess of Cambridge – Century Vogue shoot

(Photography – Josh Olins)

As well as photography, a lot of original artwork of the earlier covers are displayed. The sketches by fashion illustrator Carl Erickson even have paint and water markings along the edge.

Carl Erikson Illustration December 1947 – Royal Wedding Special

The exhibition not only focus’ on fashion photography but appreciates the graphic design needed in every issue of the magazine. A timeline has been created of one cover issue or two page spread from the last 100 years.

Issue timeline ‘ Vogue 100: A Century of Style’ – vogue.com

If you get the chance to go and see it, it will be well worht your time.

National Portrait Gallery

Daily 10.00 – 18.00

Thursdays and Fridays until 21.00

11 February – 22 May 2016

Tickets – Full price £17 / Concessions £15.50

Hawthorne & Heaney for Sam Faulkner’s ‘Unseen Waterloo’

August 17, 2015 by Natasha Searls-Punter

Hawthorne & Heaney have been working very closely with Photographer, Sam Faulkner on his ambitious, most recent project entitled, Unseen Waterloo.

For this project he has created a series of 81 life sized portraits which re imagine the soldiers from the battle of Waterloo, 1815. A painstaking amount of detail has gone into producing these portraits as all the costumes are historically accurate and document the great variety of men who were lost at this battle. The portraits were hung at Somerset House against a great sea of scarlet red Hainsworth fabric, which is the same cloth used to make the traditional ‘red coat’ uniforms which is still being made in the same way hundreds of years later in the West Yorkshire Mill.

Along side the exhibition of the portraits, a book has been created to accumulate the pieces. The ‘Thin Red Line’ edition of the book is limited to a run of only 25 pieces, embroidered by Hawthorne & Heaney in silver onto the same Hainsworth fabric and presented in its own embroidered solander box. The cover depicts a map of the battlefield of Waterloo using a variety of stitches to represent the different areas and features of the landscape. As a military embroidery company, the collaboration between Hawthorne & Heaney and a project of this nature seemed natural and we are very pleased to have been involved in making Faulkner’s vision, a reality in the anniversary year of such a historic event.

If you would like to seem more of the exhibition, Sam Faulkner‘s work or what is on at Somerset House, please follow the links and your curiosity.