Tag Archives: V&A

Balenciaga: Shaping Fashion – V&A

Balenciaga -Shaping Fashion, V&A

Making the case for fashion as a recognised and skilled art form has never been easy, and until recently exhibitions in museums and galleries haven’t helped, offering a series of pretty outfits on mannequins with very little focus on the intricacy of construction and the inventiveness of design studios. Showing the finished product isn’t enough on its own, and many a show has fallen foul of the clothes-horse approach that just show a series of lovely frocks with no real explanation of why they’re important and influential, reinforcing the idea that fashion is all about surface frippery. The Alexander McQueen show changed all that with its combination of design, story-telling and careful curation, and it’s clear from the V&A’s new exhibition focusing on another fashion icon that they’ve learnt some important lessons.

The V&A’s impressive Balenciaga exhibition is a slightly different beast from the touring Alexander McQueen show from 2015, and where there is less show-stopping glamour in the room as well as in the arrangement of the garments, the Balenciaga show has deeper academic and historical depth of content that should please the fashion-lovers as well as the expert seamstresses or designers. Emerging on the other side, the visitor can genuinely say they’ve seen beautiful outfits but, crucially, that they have also learnt about the detailed construction and engineering process that sits behind the creation of every garment, helping you to understand why designer clothing is so special.

Fed through the exhibition is Balenciaga’s experience as a tailor – an important contributory factor in his success. What the V&A does so cleverly is clearly demonstrate this at every point in their argument about his influence on contemporary and modern designers. It is a tell and show exhibition in which the detailed signs explain the skill in each themed section – be it a type of cut or particular means of construction – and then shows you two types of evidence.

Balenciaga Tulip Dress, V&AFirst, the finished garment often with x-ray images demonstrating the hidden engineering or weighting within to main shape, but also – and this is the clever bit – a recreation of that technique made by the V&A now to demonstrate its current applicability. In many cases, this is accompanied by a video of the creation process so you can see how these styles were made. It’s such a smart idea, giving the visitor a proper insight into the importance of the techniques Balenciaga pioneered, which also showcases the talent of the fashion gallery staff at the V&A who are undoubtedly experts in their field.

Famously aloof, the V&A attempt to break open Balenciaga’s process with a series of early cases looking at design beginning with fabrics which, unlike most approaches in female fashion, came before the sketch as Balenciaga, with his tailor training, found that the choice of material would determine how it could be cut and shaped. These decisions early on would then affect every subsequent aspect of the creative process, moving, as the exhibition then does, from cutting to sewing and construction.

It is here in the ‘Workrooms’ section that we learn about the creation of the famous 1965 tulip dress that sought to flatter the figure while actively offering a new shape – contrary to the popular fitted jacket and full skirts of Dior’s New Look. But while this high-neck peach silk evening gown looks loose and comfortable, constructed from an entire sheet of fabric at the front, and with a fitted bow at the back, Nick Veasey’s accompanying X-ray shows an inbuilt corset structure around the torso which is entirely invisible from any angle.

And these revelatory images appear again and again throughout this exhibition, unveiling the hidden expertise within the dresses in which Balenciaga determined how the finished item should fit and look even when it appeared on a live woman. Equally fascinating is the 1954 reddy-pink gown with ties under the full skirt that fit around the knees to keep the lower half of the dress in place as you walk. It’s one of the more stunning pieces in this collection both for its striking colour and, using the X-rays, you see a combination of corsetry, hoops and padding that created what feels like a modern gown but with nods to a more glamorous age of bustles and Embassy Balls.

Balenciaga Green Dress, V&AThis taps into one of the V&A’s core arguments, that Balenciaga’s approach has left a lasting fashion legacy, and in these carefully chosen pieces, you can see how his designs combined a sense of past, present and future that give them a timeless appeal. Even now a semi-voluminous green dress near the start of the exhibition that uses ballooning to create three layered sections down the body, with a puff sleeved cape in the same hue, looks slightly futuristic, and could be something one of the more Avant Garde starlets might wear on the red carpet. But at the same time, it all feels like the 1960s and, further back, references the empire-line fashions of Regency England.

Balenciaga’s interest in architecture also becomes increasingly clear, whether it manifests in the ruched sleeve of a tan coat with one single piece of ribbon holding the sculpted layers of material in place so they drape the arm, or in the lasting design of the babydoll dress introduced in 1958 that subverted the idea of designing specifically for the female-shape. By adding volume all over the body and not just in the full skirts of contemporaries, Balenciaga actively moved away from ideas of traditional feminine allure to demonstrate different ways to look good, which had little to do with uncomfortable figure-hugging styles, giving the body more freedom and, importantly, better comfort.

But Balenciaga also offered glamour, so the next step was to add embellishments to the clothes themselves and there are several examples of dresses cut in quite a simple style with jewels, feathers or embroidered patterns to make them special. Highlights include a cream hour-glass shaped shift dress sewn with a classic floral pattern, mixing garden flowers connected by green vines. Nearby is a silver and pink evening coat made of dyed feathers, while behind it is a red coat combining encrusted 3-D ‘jewels’ and embroidery. It’s clear Balenciaga was a designer who knew his customers and created items for all the occasions she might attend.

Balenciaga Embroidered Dress, V&AOne of the other things you may notice here, unlike most designer exhibitions, is that Balenciaga’s outfits look as though they could fit a modern-sized woman, with a realistic sense of the female figure rather than the impossibly-tiny items you usually see in these shows. Many of these designs are deceptively simple and the minimalistic ethic is one that has been much imitated.

The second section of the exhibition looks at the showroom and the Balenciaga salons in which customers were given an opportunity to see the clothes on live models employed by the fashion house to sell direct to customs – quite different to a runway fashion show. There are videos as well as examples of the outfits showing the sale process in which customers sat with pads noting the number of the item they wished to order.

In the middle cases that form the inner circle of the show, there are examples of clothes that made it into everyday wear, all with simple and practical approaches to design that challenge the traditional silhouette. Whether it’s the long-sleeved loose-fitting shift dresses that now look so elegant, but at the time were practically scandalous, to the classic floral day dress and tailored suit, practicality, comfort and style typify Balenciaga’s design that simultaneously reflect the changing role of women in the post-war era.

Once the garment is sold, and it becomes the property of the customer, it might be interesting to note that alterations were made that actively subverted the designer’s original intentions. Among the star pieces here are contributions from Ava Gardner’s collection, herself a lover of the Spanish style that infuses Balenciaga’s work, including a pink dress discovered to have a separate corset inside and a 1964 lace evening coat that she added feathers to after she bought it.

The final part of the exhibition upstairs in the lovely mezzanine gallery considers the Balenciaga legacy in other designers’ work, so expect lots of red carpet-esque dresses and crazy pieces that espouse the values or style principles of Balenciaga. Although this is in some ways the core of the argument about how Balenciaga ‘shaped fashion’, for me, this was the least interesting part of the show, moving away from the main work and showcasing a series of less interesting and tenuously connected items -several of which have done the rounds at numerous fashion exhibitions, including the red and white puff dress that looks like a ball of feathers.

Nonetheless, this exhibition helps the V&A to establish its position as the leading curator of fashion history, that doesn’t just rely on the pretty clothes but takes a more rounded approach to presenting material. With a strong central argument and the careful presentation of evidence including video and recreated gowns, the V&A easily prove the case that Balenciaga shaped fashion, and that they are shaping the fashion exhibition.

Balenciaga: Shaping Fashion is at the V&A until 18 February and tickets are £12 with concessions available. Follow this blog on Twitter @culturalcap1

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You Say You Want a Revolution? Records and Rebels 1966-1970 – V&A

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For many the 1960s was the epitome of freedom, style and youth culture, an explosion of colour, music and fashion that inarguably shaped the subsequent decades, an influence that is still felt today. Or so goes the argument of the V&A’s latest major exhibition that looks at the ‘significance and impact’ of the late 60s. For those of us who weren’t there, the V&A makes a strong case and throws in a few surprises by considering not just the obvious pop culture aspects, but also the emergence of political protest in multiple countries, key technological innovations and a growing concern with an eco-friendly lifestyle.

But it all begins with the more obvious, but still highly entertaining, story of swinging London, political scandals and the integration of music and fashion. We may have heard it all before but the V&A takes a more academic approach to presentation with detailed descriptions of every object as well as an admirable collection of exhibits that add considerably to the argument the exhibition is making. It’s clear the museum has learnt so much in recent years from its blockbuster shows and the importance of visual design is now as valuable as the objects on display. Technology too is integrated into this show with video screens and presentations throughout, but most importantly a headset (for once included in the price) that wirelessly connects to films and recordings as you walk by allowing you to listen without having to control the audio guide yourself, and plays a variety of 60s tunes to you – from John Peel’s record collection – the rest of the time, immersing you entirely in the years under discussion.

Utilising the citrus colours of psychedelia, the first section looks at youth culture, art, fashion and music with examples from clothing store Biba, a video of stylist Vidal Sassoon cutting a V-shape into the back of a woman’s hair and posters referencing art nouveau from the First World War. Everything changed is the message here; from hemlines to morals, the late 1960s was a blast of fresh air on a fetid backward-looking society. A lot of that is debatable and arguably it is the older generation who did much to alter the laws that decriminalised homosexuality and abortion, but seeing this collection all at once certainly replicates the vibrant feel of the times.

From Twiggy’s clothing line on a mannequin that is frighteningly designed to look like her, to Mick Jagger’s all-in-one white stage outfit, Sandi Shore’s dresses designed by husband Jeff Banks (and let’s not forget he went on to design clothing for Sainsburys), the chair Christine Keeler provocatively posed on during the Profumo scandal to the newly launched magazines of the era, this section is all about fresh faces and creative endeavours. Interesting too is the focus on fame and how the perceived lifestyles of particular celebrities helped to shape the commercial and cultural effect of the era leading to clothing catalogues replicating celebrity outfits and the craze for shopping that resulted. The new photographers like David Bailey and Ronald Traeger took pictures of people like Michael Caine, Terence Stamp and even the Krays that are on display here which define this confluence of art and style.

Unsurprisingly, at many points this feels as much an exhibition of The Beatles as it does an examination of their era, with almost every section containing costumes, clothes or handwritten lyrics jotted down on scraps of paper. In section two on the effect of LSD, which was legal until 1966, their stage outfits from Sergeant Pepper and a sitar. There’s a lot of material in this section that looks at the growth of “counter-culture” clubs and their impact on design, which is interesting but a little too text heavy, and you’ll find as with the rest of the exhibition, it is The Beatles sections everyone is crowded around.

Most unexpectedly the V&A has included a large section on the political disputes, activism and riots of this period, many in response to the Vietnam War, and developing attitudes to race, sexuality and gender politics. After the brash whirl of the early sections this is a tonic, clearly showing that beneath the façade of cool celebrities and consumption, dark and complex changes were occurring in societies across the world that laid the foundation for many of the freedoms we take for granted today. There was a shift to using posters for political purposes and many are on display, along with protective clothing worn by The Black Panthers and French Police, as well as brutal photojournalism showing dead students in America as a result of an out of control protest – a stark and fascinating contrast with the slick image of celebrities in the previous room. Clearly, the late 60s saw a flowering of popular culture but also of youth engagement with pertinent political and social injustices.

Being the V&A a section on design is almost mandatory and while this section on consumerism and technological development has some interesting objects, it almost warrants a whole exhibition on its own. It’s a very broad ranging room, taking in developments in advertising, paper dresses printed with a Warhol-influenced soup poster print, space suits from the moon-landing, Expos and a Kodak Carousel anachronistically accompanied by a relevant scene from Mad Men. It feels a bit too lightweight on its own and could have made more sense if tied into the later room on the growth of communication technologies and personal computing. It’s nice to include but is a little flimsy in linking such innovations to its overall argument about the ongoing influence of the 60s.

One of the showcase sections is the semi-recreation of Woodstock, shown on enormous surrounding screens including performances from Hendrix and The Who while the floor is covered in fake grass strewn with beanbags for visitors to lie-back and enjoy. Around the room are several of the costumes worn by musicians as well as Keith Moon’s drum kit and Jimi Hendrix’s guitars in various states of destruction. For music fans this exhibition is a must and the amount of original material the V&A has gathered is incredible, and if you can fight the reminiscing baby boomers for a beanbag this room is well worth a longer stay. But it links neatly into the section on the creation of ecological communities, who rejected technology and traditional city life for country communes. It’s certainly clear that festival-going has moved from its alternative roots into a mainstream preoccupation for many in the summer, with environmental concerns are hotly debated, while our modern preoccupation with being permanently “online” is developing its own backlash – a return to counterculture modes perhaps?

The exhibition ends with 1970 and the ushering in of a slightly different era typified by calls for peace, love and social cohesion. It ends with Lennon’s Imagine – a song many will have an ambiguous relationship with now – as well as a jacket he wore at the time. Its tone is a bit of a whimper after such a furious beginning and high-stakes political discussion, but perhaps that’s how all decades end, a quiet slide into the next one taking only some of their style and substance with them. Yet the V&A makes a compelling case for the influence of the period 1966-70 on the modern world, and while a lot of the changes it trumpets were grounded in the post-war upheavals of the 1920s-1950s, the 60s has a hold on our imagination that is hard to shake. This is a full-on and at times overwhelming show, full to the brim with interesting exhibits – to wallow in it, head to the V&A and enjoy this anthem to the decade of style.

You Say You Want a Revolution? Records and Rebels 1966-1970 is at the V&A until 26 February 2017. Tickets are £16 and several concessions are available. Follow this blog on Twitter @culturalcap1


Review of the Year and What to See in 2016

2015 has been a golden year for London culture combining top-quality theatre with some of Britain’s leading actors, some game-changing exhibitions and probably the best London Film Festival so far. Coming up with at least 52 review posts seemed easy with so many incredible opportunities on offer and with current announcements it’s hard to see how 2016 is going to compete.  The big news this time last year was the impending arrival of what I termed ‘the big five’ to the London stage as James McAvoy, Mark Strong, Ralph Fiennes, Damien Lewis and Benedict Cumberbatch were all set to appear. The year opened with a deliciously dark production of The Ruling Class with McAvoy in fine fettle as the serenely insane Lord of the manor which saw him unicycling in his underwear and attached to a crucifix. It’s a performance that received a lot of awards attention – not just for the underwear – recently winning an Evening Standard Award as well as nominations for the 2016 What’s On Stage Awards but lost the Olivier to Mark Strong.

Next up the West End transfer of A View from the Bridge led by Mark Strong confirmed its place as the best production of recent years earning a clutch of awards before transferring to Broadway in the autumn to even more acclaim. Next came Ralph Fiennes in the National’s superb revival of Man and Superman that took a more modern approach to a classic play, and with Fiennes on stage for more than 3 hours award nominations seem likely. The National, on balance, had an excellent year under new Director Rufus Norris, staging wonderfully fresh productions of The Beaux’ Stratagem, Three Days in the Country and Husbands and Sons, but the less said about A Light Shining in Buckinghamshire the better, undoubtedly the worst and most tedious thing I saw this year.

In April Damien Lewis returned to the West End as the dangerously charming lead in a thoroughly enjoyable revival of David Mamet’s American Buffalo, happily bringing Jon Goodman and Tom Sturridge with him, and the ‘big five’ concluded with the probably the most hyped Hamlet of all time starring Benedict Cumberbatch at the Barbican. Selling out a year in advance, his performance was sadly overshadowed by there being more drama off-stage (about not signing autographs, cheeky early reviews and audience filming) that on and sadly the whole thing deflated by the time we got to see what was at best an average show. Good interpretation by Cumberbatch but drowned in a needlessly cavernous stage – pity.

But for all the excitement these star actors produced some of the biggest treats were unexpected hits including the Royal Court’s transfer of The Nether – a brilliant and challenging production – as well as the superb Hangmen which is undoubtedly the best new play of 2015 which you can now see at the Wyndhams until mid-February. Other unexpected gems were The Globe’s production of The Broken Heart, the Old Vic’s High Society and the Donmar’s Les Liaisons Dangereuses with commanding performances from Dominic West and Janet McTeer which also runs till February. Finally Kenneth Branagh delighted us by forming a theatre company and bringing two of five plays to the West End for a 10 month season at the Garrick, opening the delightfully staged Harlequinade and the utterly beautiful The Winter’s Tale with Judi Dench.

Branagh features heavily then in the 2016 shows to see with expectation now running high for his versions of Romeo and Juliet with Cinderella stars Lily James and Richard Madden, The Painkiller with Rob Brydon and an Olivier-esque role as The Entertainer in Osborne’s classic.  From what we’ve seen so far, these are bound to be delightful so booking now is advisable. Ralph Fiennes is also back in The Master Builder at the Old Vic which his performance is sure to raise, especially as recent offerings Future Conditional and the inexplicable The Hairy Ape have been a let-down (despite critical support). David Tennant is reprising his magnificent performance as Richard II at the Barbican as part of the RSC’s History play cycle early in the year which is another chance to see one of the best productions of recent times. Otherwise 2016 so far will be dominated by the Harry Potter stage show, announced with Jamie Parker as the lead after his show stealing performance in High Society, and several musicals including a West End Transfer for Sheridan Smith in Funny Girl, Glenn Close in Sunset Boulevard and the launch of Mowtown the Musical. Maybe not as inspiring yet as the start of 2015 was but undoubtedly more announcements to come.

Over in the exhibition sector 2015 marked a new raft of new approaches. Leading the pack was the V&A’s game-changer Alexander McQueen: Savage Beauty which stunned everyone with its dynamic approach to displaying beautiful fashion, necessitating 24 hour opening towards the end to meet the need. Smaller galleries also began to make their mark particularly the wonderful House of Illustration near King’s Cross that staged Ladybird by Design and E H Shepard: An Illustrator’s War taking a new and intelligent approach to familiar topics, so look out for the opening of their dedicate Quentin Blake gallery in 2016 and show about female comic book artists. Forensics and crime fascinated us first at the Wellcome’s utterly brilliant Forensics: The Anatomy of Crime, shortly followed by the Museum of London’s The Crime Museum Uncovered which runs till March. Finally Somerset House struck gold with its fantastic retrospective The Jam: About the Young Idea which took a fan-friendly approach to examine their glory years.

Sticking with the music theme in 2016, the British Library will profile the history of Punk at a new exhibition combining its document and sound archive which promises to be quite innovative, while it also host its first major show dedicated to Shakespeare looking at the interpretation and influence of his work in 10 key performances to celebrate the 400th anniversary of his death. They also have a free show looking at the image of Alice in Wonderland on display right now (review to follow next week).  The V&A have a big show about Boticelli while the National Portrait Gallery take up the fashion mantle with an exhibition of Vogue images which bodes well. The Royal Academy brings several classics together including Monet and Matisse to examine the evolution of the garden in painting, while the Barbican gets us thinking about being British in a show using the perspective of international photographers on our great nation.

Finally the London Film Festival showcased some of the best films of the year with some glitzy premiere opportunities. Opening with the excellent Suffragette, there was also Black Mass a less glamorised gangster film than we’ve seen in years attended by Johnny Depp and Benedict Cumberbatch, Carol attended by Cate Blanchett and Rooney Mara (although it wasn’t to my taste), the rather strange High Rise with Tom Hiddleston and Sienna Miller, and best of all the closing night gala, the brilliant Steve Jobs attended by Kate Winslet and Michael Fassbender – my ultimate 2015 highlight. But outside the festival, with Spectre letting me down somewhat, Fassbender also wowed in my film of the year – Macbeth, a gripping, glorious and breath-taking movie that a gave fresh interpretation while perfectly relaying the psychology of the play, film perfection in fact. Expect all of these films to end up walking away with plenty of awards in the next few months.

So there you have it, as we say goodbye to a glorious year for culture we have high hopes for 2016. Whether it can top the plethora of great opportunities we’re leaving behind remains to be seen, so let’s find out…

For reviews of London plays, exhibitions and culture follow this blog on Twitter @culturalcap1


Alexander McQueen: Savage Beauty – V&A

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Image: Copyright V&A

 

Fierce and fantastical are the only way to describe this brilliant exhibition at the V&A and you can see why pretty much everyone in London is trying to get a ticket. If you’ve ever thought that fashion was a frivolous pastime with absolutely no artistic value then this McQueen show can absolutely change your mind, it is beautiful – both the clothes and the setting.  Wandering through the rooms is like being in some enchanted fairy-tale land, becoming more wide-eyed with astonishment as each new and distinct section unfolds around you.

It’s not that long ago that the Constable paintings filled these rooms and this exhibition presents McQueen’s clothes like high art to be admired and felt. Some have complained that there’s not enough biographical detail about McQueen himself and where his inspiration comes from, but in way that’s also a good thing because unlike paintings, clothes are often used to say far more about a person. The way you dress day-to-day is indicative of your personality and in some sense synonymous with the way you present yourself to the world. You may have books and art and objects in your home which reflect your taste or interests, but none of these are seen as frequently or as widely as your clothing. If you accept that, then you have to apply that idea to this exhibition – McQueen wasn’t making clothes he would wear but ones he hoped would appeal to a wide female audience. They may be his vision but there is something the viewer or wearer must bring to them as well, so in some sense this is about your interaction with the clothes. It’s like a Saatchi Gallery art exhibition in that sense, no real information just you and the stuff with no artist in the way, which I respect.

So the exhibition’s beginnings are surprisingly tame and modest, showcasing some early tailored items from McQueen’s student and early collections in London. Although these aren’t the showstoppers we’ll see later, actually this is quite a shrewd move because you instantly get a clear sense of his aesthetic and approach to designing without being distracted by the more dramatic outfits created later. You learn how McQueen designed for women from the side because it was easier to see the body shape and creatively disguise problem areas, as well as his interest for sharp lines and powerful shapes. There’s also a clear reference to Victorian styles so plenty of frock coats in various forms, some with human hair apparently sewn into the lining which I was pleased not to see at 8am.

Then things take on a more exciting pace as the next room is decorated with tarnished mirrors and gilt to present some of the slightly harder-edged collections themed here as Romantic Gothic. There’s something quite Phantom of the Opera about this room combining a highly ornate and elaborate staging with a sense of darkness and danger. Each dummy wears a leather face mask and is surrounded by mirrors underneath, behind and to each side giving a view of the outfits from every angle as well as a disquieting sense of distortion to underline the style of these pieces.  There is a grand theatricality about the outfits in this room and there’s certainly nothing romantic or wistful about them, but they also maintain McQueen’s sharp lines and powerful silhouettes.

The next section is a complete change again to focus on McQueen’s interest in natural history and animal life. The walls are corrugated with bones and each dress is couched into a recess that seems to have been gouged into the wall, all rather like a primitive cave dwelling. The clothes also reflect this tribal feel with earthy colours, animal fabrics like pony skin and strong shoulder-lines. Weirdly each mannequin has a curved plastic shape on its face that looks like a trunk or a tusk to emphasise that primeval feel. Sound and projection are used to good effect here to add atmosphere, as well as clearly distinguishing the tone of the section.

Up next was my favourite room, combining McQueen’s Scotland-inspired pieces from The Widows of Culloden (2006) with The Girl Who Lived in a Tree (2008). There’s a lot of competition but my favourite dress in the whole exhibition is a knee-length full skirted white tulle number with patterned red stones filling the bodice which nods paradoxically to the decadent purity of the eighteenth-century style, yes I could definitely wear this dress. It sits alongside a suite of similarly inspired outfits combining ruffles, feathers and elegant draping effects which are pure romanticism, striking an interesting contrast to the political statement of the Scottish pieces facing them where innovative technique in the cutting and use of fabric is clear.

The Cabinet of Curiosities is a completely new section for the London shows and is rather like reaching the centre of the maze. It is floor to ceiling stuff and everywhere you look there are countless examples of McQueen’s work; from clothes to Philip Treacy hats, to shoes and facial ornaments- including the beautiful butterfly headdress adoring some of the advertising material. All interspersed with fashion show footage. Luckily there are seats so you can sit down while trying to take it all in. In the penultimate rooms the focus is on romanticism and nature featuring outfits incorporating shells, feathers and antlers, plus ruffles and lots of floaty fabrics but still retaining that trademark structure. Most outstanding is a dress made entirely of 3-dimensional flowers which is crazy but also beautiful, while the final room has a futuristic feel with the last collection entitled Plato’s Atlantis.

As you wander out blinking into the shop, it’s pretty clear that this has been no ordinary V&A exhibition. In fact given the V&A’s poor form in its costume displays, with Hollywood Costumes, Ball gowns and Grace Kelly all being very badly curated, it’s clear that this is a touring show and, honestly, a relief. Tickets are still available and the museum is opening from 8am till late to facilitate extra time slots. I booked about 3 weeks in advance for an 8am entry (if you’re prepared to book a month ahead there are lots of tickets for any time) which I would highly recommend. At that time, the cumulative number of people is incredibly small so you can get close to each item and take your time, and you can just toddle off to work afterwards knowing you’ve had your culture fix before 10am. An 8am start also enhances the dreamlike quality of this wonderful exhibition. As I said at the beginning this is fashion at its most artistic, one of the best fashion shows I’ve seen, brilliantly designed and completely enchanting.

McQueen: Savage Beauty is at the V&A until 2 August. Tickets are £17.50 including booking fee and a range of reasonable concession prices are available for OAPs, students, disabled visitors and art fund members. Day tickets are also available from 10am and no photography is permitted in the exhibition.


Constable: The Making of a Master – V&A

Constable is my favourite artist and it’s all thanks to Charles I; let me tell you a story… My A-Level history class was studying the English Civil Wars and we came to London on a trip to see the Banqueting House where in 1649 for the only time in our history we beheaded a King and became a Republic for 11 years. The majority of us were pretty sympathetic to Charles – tell a bunch of romantic 17 year old girls that he was around 5ft, devotedly loved his wife and was forced to kill his friend, and you’ll make Royalists out of them – and after lunch we were taken to the National Gallery to look at the magnificent Van Dyck portrait of Charles sitting aloft a disproportionately large horse dripping in English symbolism. We emerged from the side room into a collection of Gainsborough portraits and Turners; suddenly there it was, right at the end of the room, Salisbury Cathedral from the Meadows, the most beautiful painting I had ever seen, and a lasting love of Constable was born.

So this new exhibition at the V&A was something of a must-see. I’ve had my differences with curation at this museum in the last couple of years and their Horst exhibition, which is running in the rooms next door to Constable, has done much to salvage our relationship. Happily Constable confirms the upward trend and, despite my preference for the artist, this still has to be one of the best shows in London at the moment. There is plenty to learn about the development of his technique, his methods of scaling from tiny sketch to 6ft canvas, and how this led to his famous interpretations of nature and the drama of the English weather.

It begins with some interesting context, placing Constable’s work among other earlier and contemporary artists who had inspired the development of his style. Here we see the original work of ‘Old Masters’ sitting alongside a piece that either Constable copied directly or used to inspire a similar landscape study. Constable practiced his technique by looking closely at the work of Raphael, Rubens (there’s that link to Charles I again – Rubens designed the Banqueting House ceiling) and particularly Claude Lorrain, who composed classical scenes of pastoral or harbour landscapes often using dramatic light effects. He was also inspired by Thomas Girtin, a contemporary, who painted a number of ruins of medieval churches in a simple but imposing style and that can be seen in Constable’s similar fusion of religion and nature in a number of works.

One of the great successes of this exhibition is that sense of place Constable has in a longer tradition of landscape painters, clearly seeing his work evolve and reflect his wider learning. Sensibly, then, having absorbed the theory the next stage is to experience it for himself and the viewer is guided to a section on ‘Sketching in the Open Air’ where the famous clouds make an appearance. The pieces in this room are quite small as Constable sketched on scraps of paper or cloth and you can see pin holes in several of them showing where they had been pinned to his paintbox. Although many of these reflect the immediate surroundings of his countryside home, there are also some lovely sketches of Brighton beach where the open expanse of sky dominates more than half the image. Building on the work of the Old Masters, you see not just his command of weather effects, but also of reflection and movement in water, particularly in the lovely Watermeadows Near Salisbury.

There are some more direct copies of other artists which helped to pay the bills and often fetched more than Constable’s original works. His large colourless sketch of the fallen saint from Titian’s ‘St Peter the Martyr’ is stunning and surprisingly soft. There are few portraits so it is interesting to see the lightness of touch he has in this piece, sitting alongside all those more famous works depicting the immovability of nature. And in the next rooms we get to some of those amazing large canvases, The Haywain, The Leaping Horse and The Opening of Waterloo Bridge, all exhibited alongside the tiny pencil drawings of particular elements and the full-size oil sketches Constable did in preparation for each. It is still surprising to see the looseness of the full-size sketches which have a blurry quality next to the almost pinsharp precision of the final painting.

The exhibition finishes with the end of the artistic process and the transformation of these works into print form, telling you about Constable’s struggle to the get them right and the fall-out with those he was trying to do business with. You come away not just with a sense of the artistic process, from theory to mass print production, but also having seen the growth of an artist who painted what he knew. Salisbury Cathedral From the Meadows is here of course, temporarily back to London from its tour of the UK having been purchased for the nation last year. It’s now owned by the Tate (and partners) so it’s probably never going back to that wall in the National Gallery unfortunately. Painted shortly after the death of Constable’s wife, and less naturalistic than his other work, he considered it his masterpiece. And I can’t help but agree,  it’s the culmination of everything his work can do –  full of drama and pain, beautiful detail and much to say on nature, religion and hope. Despite countless exhibitions, hundreds of artists and probably thousands of pictures, it’s still the most beautiful painting I have ever seen and well worth the entrance fee. Constable: The Making of a Master is a great show and not to be missed. Well done V&A, we’re officially friends again.

Constable: The Making of an Master is at the V&A until 11 January. Tickets are £14 (without donation) and concessions are available.


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