Adam from Biba-Boys rose to the challenge and recreated an original Biba dress from one of our textile bundles - the geometric patterned fabric that was used for some of the furnishings and wall coverings at the Big Biba store in Kensington High Street.
In addition to exploring his slow fashion skills, I was curious to find out more about Adam’s work at Biba-Boys, the store he runs with partner, Jay, and their impressive Biba collection. The boys sell a broad mixture of items from the 1920s through to the late 1970s, including original clothing and accessories such as handbags, jewellery, plus a wide selection of original '60s and '70s Biba. Adam told me they have been collecting Biba since around 2009, having previously collected Mary Quant items. They originally started selling on Ebay, but opened their Biba-Boys store on Etsy in 2013.
The boys share the role of sourcing stock for the store, and then spend time cleaning and repairing any damage where needed. Adam then photographs and lists each item on the Etsy shop. Meantime, Jay focuses on the admin side - responding to emails, messages, questions, and order enquiries, while Adam runs the social media feeds such as Instagram.
What they most like about Biba is the diverse range of products. “When we collected Mary Quant it was nice,” says Adam, “but then became a bit samey, with yellow and black bottles everywhere and a daisy logo stamped on everything. When we were introduced to Biba by a friend, it opened our eyes up to a new world of glamorous items - even the shampoo and baked beans looked stunning on a shelf on their own. It was Barbara's eye for detail in every product she designed that ignited our passion for Biba, and made us want to collect and document as much of it as possible.”
Now in regular contact with Barbara Hulanicki, Adam explained that when they lived in Brighton, their friend Martin Pel, who was curating the Biba exhibition at the Brighton Museum, offered them tickets to the launch night of the exhibition. That was the first time he managed to meet Barbara in person. Since then, he has been lucky enough to become friends with her and they regularly email and chat via video calls or WhatsApp.
The boys’ collection of Biba extends to over a thousand items, not including the hundreds of pencils, brushes and accessories they keep as shop stock. Adam’s favourite pieces include their first shop bust, which they have owned now for roughly eight years. They also have the till cover from the shoe department, which is not featured in Biba books, but is Art Nouveau influenced, unlike the peach and clear mirrored Art Deco ones from the other floors of Big Biba, which are featured. His favourite piece of all is a simple sign that they were offered by catwalk model, Jeny Howorth. It is a small black and gold hand painted wood sign stating, "All Paint & Wallpaper, Old Stock - Old Colours,” says Adam, “I love it purely for the fact it has survived all these years, when most of these were thrown into skips during the closing sale, and it can be nicely displayed with all the original sheets of wallpaper we have in the collection.”
I wonder if it is difficult for them to part with the items they sell. “Yes, we would love to keep every item we purchase, but we would run out of room in no time. It’s satisfying that not only are we unearthing hidden gems from around the world to add to our own collection, but also helping other collectors and fans discover something they have often searched for years to find.”
The boys also sell their own branded Biba-Boys merchandise, and I was interested to know how that came about. “Years ago when I could wear a lot of the clothing we had in the collection,” says Adam, “we were fortunate enough to purchase an unworn glitter t-shirt that featured the Rainbow Room logo. I was too afraid that wearing it would ruin it, and wanted to somehow recreate these t-shirts to withstand modern washing machines. It took us a few years of sampling and testing different cottons and glitter, as a lot has changed since the '70s, but we finally got it right.”
Adam’s clothing manufacturing skills have been honed through his education. He studied BA (Hons) Costume Construction through the University Centre South Essex. The institution is linked to The Royal Opera House, a collaboration that not only provides hands-on experience, but also access to The ROH archives whenever required for researching construction processes. This gave Adam great insight into the industry standard. Partner Jay, on seeing how much Adam has enjoyed the past three years, will be studying for the same degree, starting this September.
Are there any special requirements when working with vintage clothing? “Not really, the only tip I would give anyone who wants to work with them is learn how to properly handle, clean and store them. I have seen some disasters in the past and have had a fair few accidents myself. So anyone who would want to get into doing this, I always suggest doing some research or speak to people who already are and don't be afraid to ask for help when needed.”
The reconstruction of this fab vintage Biba dress took Adam around three hours. “I wanted to spend time properly assessing what needed doing and made sure I fixed it correctly first time, especially as the collar had just been cut off instead of unpicked,” he explained. He told me the dress dates from around 1973, and is made from a printed brushed cotton similar to Viyella. The design was the leading print in most furnishing and textiles throughout the Big Biba store - including carpeting, wallpaper, sofas, and clothing. “This dress is definitely staying in our collection for now,” he says, “we have always loved the deco carpet design, so to have an item of clothing featuring it is a dream come true.”
The boys are currently restoring two original sofas from the Biba store. A friend who worked there gave them two large original curtains in the deco carpet moquette fabric to make new seat cushions with, so they are spending some time restoring these, hopefully in time for a special event they are planning next year.
They would like to keep growing the business, and potentially open a physical shop again, perhaps in or nearby Frome. As for Adam's career, he is hoping to get into TV and film wardrobe, either as a pattern cutter, maker, or supervisor’s assistant. There's a new six-part drama coming out next year on Biba that Barbara has put the boys forward to work on as well, and they can’t wait to get started.
Check out our curation of items from the Biba-Boys’ store.
Find more vintage Biba fabrics ready for up-cycling.
]]>In terms of the styling, I have tried to use vintage and preloved pieces that are already available from ShopCurious, plus some additional items of jewellery that fit in with the brand ethos, along with a few pairs of shoes from my personal collection.
If you’re curious about the story behind the name for our in-house label, please read my previous blog post. I wanted to keep the garment names relevant to Karmic Love as well - so, naturally, these reflect the spiritual and heavenly.
The Nirvana kimono gown, above left, is made from recycled sari silk, with a contrasting velvet trim. This is truly a one-off piece and will certainly set its wearer apart from the crowd. The fabric is very delicate and has been professionally repaired in a few places, adding to the unique charm of the garment. The preloved Mykita x Maison Martin Margiela shades complement this colourful gown perfectly. The goldfish necklace, vintage Zandra Rhodes trousers and Miu Miu shoes are my own (btw some of my pieces are available for professional hire, upon request).
On the right, the violet Mystique kaftan is also made from recycled sari silk, and trimmed with velvet around the neckline. I’ve teamed it up with some vintage Givenchy sunglasses, and 1980s Oscar de la Renta earrings, shown here as a backdrop.
I love the vibrant shade of this orange Nirvana gown, but then I’m a sucker for all things curiously colourful. The vintage Indian sari silk is trimmed with ikat, and there’s a lovely long belt to match. The preloved Buddha necklace has a swishy silk tassel, and the Chinoiserie embroidered vintage silk bag also features a Buddha figure on one side. If, like me you are a shoeaholic, check out the rare crocheted and embroidered Terry de Havilland wedge sandals, which are also available for purchase.
I would like to be transparent about the textiles used in the garment on the right, and their origin. Polyester would never be my first fabric choice, but this is an end-of-line fabric, from a small supplier. One of the few redeeming features of 100% polyester is that it is recyclable. This Mystique kaftan comes in a gorgeous shade of lilac and I am a fan of the swirling liquid-like print. It is a perfect match for the vintage Ambrosia lilac pendant necklace and earrings, and the original 1970s Oliver Goldsmith sunnies. The stunning Prada Fairy shoes are not for sale, although you are welcome to make me an offer:-)
Another Nirvana gown, this time in the most striking azure blue and gold. This Japanese cotton is the last of a limited run. The kimono style robe is also trimmed with gold ribbon (which looks great with gold espadrilles), and is shown here with a gold and cream crocheted vintage bag.
The Lotus style of kaftan has a slightly different design, with side-slit, flowing sleeves. This gold and aubergine floral printed recycled sari fabric is super flattering, and is trimmed with mauve velvet around the bust line. I’ve teamed this up with a fabulously cool Ganesha pendant necklace, and a vintage dark gold beaded evening bag.
These outfits share the same end-of-line Japanese cotton printed fabric, and are elegantly trimmed with jet beads. The Nirvana kimono gown, above left, is accessorised with an oversized vintage Swoboda pendant necklace, featuring a Buddha in a garden. The jet encrusted Prada Ornate sunglasses are also available on the ShopCurious website.
The Arcadia Puff Back dress on the right is as unusual as it is comfortable to wear. Backed with soft, fine corduroy, this garment can also be worn as a top (and looks fantastic when combined with Aureola trousers below right). Accessories shown here include vintage Dior shades, a totally unique Japanese inspired antique hand painted bag, and a preloved Marni ‘Lotus’ flower choker that is also shown in the image.
If you are looking for something that combines practicality and style, we’ve a small selection of Nimbus palazzo pants, and more gently flared Aureola trousers. These are worn with organic cotton cap-sleeved Euphoria t-shirts, available in black or white, and hand-trimmed with a contrasting epaulette. Oh, and accessorised with yet another curiously karmic Buddha necklace.
If you are seeking something glitzy for a festival, or with more of a party vibe, I can recommend this Mystique kaftan with a multi-colour sequin trim, worn here with an Egyptian Queen necklace, upcycled from found stones by arts and crafts guru, Annie Sherburne.
The delicate powder blue Nirvana gown is one of my favourites. This recycled sari silk has an exquisite print. The handcrafted multi-colour stone Bliss necklace works a treat with the subtle colours too.
You will certainly make a statement with the Japanese print kimono gown in brick red, which is lavishly trimmed with peppermint pom-poms. I found some perfectly matching vintage Silhouette sunglasses, a vintage Souré beaded bag and upcycled mosaic heart necklace on our website too.
This Elysium top and Samsara skirt are among the more unusual items in the collection, being fully reversible. Made from contrasting vintage sari silks, this outfit can be worn in a number of ways, with the top tucked inside or left outside the skirt, or even worn inside out!
You have seen the Nimbus trousers and Euphoria t-shirt above, but every single item in our collection is unique. None more so than this Samsara skirt, which has been up-cycled from a preloved All Saints habotai silk scarf. This has a wonderful print - a sort of musical mind map, take a closer look here.
If you hadn’t noticed, I am also a big fan of sunglasses. These pairs are preloved Chanel (on the left) and vintage Lanvin (on the right). In case you were wondering what the tucked-in-and-inside-out version of our Samsara skirt and Elysium top combo looks like, here it is, worn with the Navajo Sun bracelet, also featured in the background. Finally, the fetching burgundy Lotus kaftan is paired up with a vintage Selro ‘Asian Princess’ bracelet, together with a 1930s tapestry bag.
I’d love to hear what you think of the collection. It’s taken quite a while to put together with a very small team. Just myself doing most things, with a bit of much needed admin assistance from Lauren. The making has been expertly handled by the petites mains of London, aka Andrea. Not forgetting our extremely patient model, Rosie.
Our prices reflect the work that has gone into producing these items locally, and with attention to detail. Every piece is a one-off, and you will not find another the same. By the way, our garments are all one size and not gender-specific. However, if you would like something custom made to your measurements, please let me know.
Will you?
You may have wondered why we haven’t posted in a while. It’s because I’ve been working on a new in-house collection of clothing. Now I'm ready to share a few photos from our recent shoot, and give you a sneak preview of some of the items. You may also be curious to know why I chose the name Karmic Love for our label… Are you?
One of the reasons is my personal karma. I have been passionate about clothing and textiles my whole life. When I was a child, I spent much of my spare time designing clothes and dressing up my dolls. If you had asked me in the early 1970s which career I wanted to pursue, it would have been fashion design. However, back in those days art and design were not considered serious options for someone who needed to make a living. I ended up following a much more academic career path and eventually worked in finance in the City. But all along, it was fashion that ruled my heart. That was manifest in 1997 when I opened my boutique, Fashion Gallery, becoming one of the finalists for Drapers Record's Top Buyer Award after just two years in business.
Yet I soon became disillusioned with the way the industry was moving - with increasing emphasis on fast chainstore and (just as fast) luxury fashion. In the late 1990s, I was already championing emerging designers, and including vintage and recycled pieces on the rails in my store. But it wasn’t until 2008, when I set up ShopCurious, that I decided to focus exclusively on ‘slow’ fashion.
This brings me to the subject of planetary karma, and the terrible destruction and climate change caused by waste and pollution from the fashion industry. The reaction of the planet to our actions is more evident in some (usually poorer and/or manufacturing) parts of the world than others, but each and every one of us is affected through the air we breathe, the food and water we consume, and the toxins we absorb via our skin. We are only just starting to acknowledge our responsibility to slow down consumption, to recycle and reuse the items already in our wardrobes, and to buy locally produced garments, made from materials with as low a carbon footprint as possible.
I had been thinking of creating a slow fashion collection for a number of years, but the question of production was always a bugbear. Who would make the clothing? Then I was contacted out of the blue by Andrea, one of the fashion students who assisted at the Curious Fashion Sale, held to launch ShopCurious back in 2008. Andrea told me she was now successfully producing garments, having worked for some major brands, and wondered if I knew of anyone who might be interested in employing her skills. This was a curious coincidence - as if my thoughts and wishes had reaped a positive karmic reward. Andrea has not only helped me to bring the first Karmic Love collection to life, but also assisted on our recent photo shoot with model, Rosie.
Our garments have been created from end-of line and recycled fabrics. Every piece has been handmade in London, and is one-of-a-kind. Look out for the full collection launch in our next blog post. Let my Karmic Love for slow fashion become yours too.
Will you?
]]>I was stunned reading on Sky News that, “Kim Kardashian showed just how powerful she is,” by turning up at New York’s Met Gala in the $5 million dress worn by Marilyn Monroe when she sang Happy Birthday to President John F Kennedy in 1962.
Sky added that this was “one of pop culture’s most iconic moments.”
Or was it just copying a true legend?
I’m trying to get my head around even mentioning one of the Kardashian clan when my main focus is on slow fashion. But I would like to comment on the vintage Marilyn dress and express a different view to the one in the mainstream press.
The sort of over-the-top-vulgar dresses seen at the Met Gala are evidence the event has little to do with fashion and is mainly a vehicle for celebrity PR stunts like the one pulled off by la Kardashian. It’s a shame this formal occasion and the dresses worn rarely promote environmental responsibility, or the advantages of wearing pre-loved clothing, preferring to honour an excess of money and a lack of taste. However, perhaps influenced by the atrocities of war, the ‘Gilded Glamour’ theme was shunned by many, who chose to wear black.
The historic gown borrowed by the reality star was apparently flown with minders from its temperature controlled vault at Ripley’s Believe It or Not in Orlando, Florida to Kim’s home in California, before presumably travelling back with her to New York. On a private jet? How many air miles is that? Then, after wearing it to arrive at the Gala, according to some sources, she changed into a newly made replica.
There is nothing individual about Kim’s choice of dress, except that it was probably the most valuable item of clothing on the red carpet. It's debatable whether the dress suited Kardashian’s newly slimmed down figure, or her skin tone. The original dress was more alluring on Monroe’s natural-looking, less supported and gently rounded body.
Marilyn Monroe was a woman with vulnerabilities, who spun out of control. The Kardashian family is a money making media machine, and Kim is in full command of her financial muscle. It’s sad this “power” is used to drag women back to being objectified as sex symbols. Marilyn Monroe had a rare and magnetic talent, and she craved to be respected as a serious actress. But can women be taken seriously if they are reduced purely to their appearance? Could Kim’s “power” be re-directed to more responsible and worthwhile causes than simply drawing attention to her latest makeover?
How do you feel about Kim being given the opportunity to wear a dress of such provenance? Is this an example of wearing vintage, or is it just plain vulgar?
Let me know what you think.
Will you?
]]>As a number of new films and books come onto the market to further explore their paradoxical subject, including Netflix’s The Mystery of Marilyn Monroe: The Unheard Tapes, we celebrate the eternal glamour of Marilyn’s Hollywood style through film, fashion and photographic memorabilia.
From original 1950s ephemera to later tributes to Monroe, we have compiled an eclectic selection of gifts and curiosities suitable for fans of vintage cinema and movie star style. These include an original 1957 copy of Films and Filming magazine featuring Marilyn with Laurence Olivier in The Prince and the Showgirl. There are also a number of postcards, including many produced by London based Santoro in the 1980s, as well as a rare 1950s vinyl recording of the film icon in its original cover, plus official calendars from the 1990s.
Collectors and aficionados of retro fashion and film may prefer more quirky collectables, like a vintage Corgi 1955 Ford Thunderbird car model, complete with Marilyn Monroe figurine, or a limited edition Barbie doll featuring the star in The Seven Year itch. If you like to display your affection for your favourite screen icon on your person, why not invest in a Marilyn themed pair of preloved shorts, or jeans? Or how about a lamp with lampshade featuring découpaged images of Marilyn, up-cycled from materials sustainably sourced at charity shops?
Finally, we’ve a wide selection of photograph filled books, spanning a range of decades. From Norma Jeane Mortensen to goddess of the silver screen, you will find everything you need to know (well almost) about the Hollywood legend by referring to these publications. Our favourite example, Marilyn Monroe unCovers was produced as part of a small print run and includes cover images from magazines and film posters, many taken prior to the height of her fame. Other image filled volumes include Marilyn: A Hollywood Life, the Marilyn 35th Anniversary Edition and Marilyn in Art. All would make perfect gifts for film and fashion students, collectors of retro movie memorabilia, or followers of vintage celebrity style.
For more Marilyn Memorabilia, see the full collection here.
]]>Of the 120 embroidered pieces on show, very few are from the distant past, when most of the work was sold, or carried out on commission. The Royal School of Needlework was set up by women for women on 5th November, 1872, to provide teaching and a source of income for gentlewomen in need. Founders Lady Victoria Welby, Lady Marian Alford and Princess Helena (Queen Victoria’s third daughter) shared a passion for needlecraft and philanthropic causes. Their aim was to offer suitable employment for destitute middle class educated women, so they could find ways to make a living. The first students were three sisters whose father, “a surveyor of repute" died unexpectedly.
The enterprise was originally located above a bonnet shop in Sloane Street, moving from 1875 onwards to Exhibition Road, and then to Princes’ Gate where the building became a liability. When they were forced to install a net to collect pieces of plaster falling from the ceiling, their patron The Queen Mother offered the use of Hampton Court Palace on a grace and favour basis for a couple of years, before they were able to pay rent to accommodate their small staff.
The school was also the outcome of a reaction against Berlin wool work. This canvas-based needlecraft required just one stitch, and was the sort of sturdy embroidery used for bell pulls, cushions and rug edges, plus a huge number of handbags. The antidote to Berlin wool work was art embroidery, of the type typified by a William Morris and Philip Webb exhibit, featuring a peacock and vine. The esteemed RSN committee were able to attract many of the influential arts and crafts movement, including Walter Crane, whose elaborate designs for a waistcoat and four panel screen are included in the show.
At the outset no diplomas were awarded, and the best accolade any participant could expect was that they were a “good general worker” who could turn their hand to anything. The school’s year long course began in 1985 - when technical education started. Pupils were taught to work collectively on a project, so it would look as if just one person had worked on it. This remains the same to this day, as does the requirement for experts from the school to be both competent and quick. For instance, one of the dresses on display - created for Nicholas Oakwell and shown at the Shanghai 2015 Great Creative festival (and worn by Erin O’Connor in Vogue) - required a rapid turnaround. The ostrich feathers had to be sourced, and dyed in 18 shades from red to black, before they were assembled in 28 different panels - in total 200,000 ostrich fronds were used.
Royal connections led to ceremonial pieces being created, from the 1888 commemoration of Edward and Alexandra’s anniversary, to a cushion bearing the insignia of Prince Philip, which was used by ITV for programmes following his death. The height of royal approval was conferred in 1901, when Queen Victoria died and a funeral pall was required at short notice. Princess Helena promised the RSN would have it ready within 48 hours, and the stitching was carried out in 21 continuous hours by 45 women working in teams throughout the night.
Regal items on display include the mantle worn by Edward VII at his coronation 1902, the sampler for HM The Queen’s Coronation Robe of State, and several samplers made in the 1930s for other members of the royal family. There is even a layout panel showing some of the design for wedding dress of the Duchess of Cambridge, In 2011, the RSN added pieces of lace onto tulle for Sarah Burton, and oversaw the textiles used for all aspects of the Duchess’s outfit, for which the craftspeople involved were sworn to secrecy.
Another key area for the RSN was working for the military - stitch was seen as occupational therapy during World War I, as indeed it was during the pandemic. Craftwork would easily be carried out at home, and regimental badges were created in conjunction with the War Office. The church has been another major beneficiary of the school’s work, and the liturgical exhibits are among the most highly embellished on display. However, many ceremonial robes were not available, as they are still in constant use.
From 1916-1942 the RSN also had a lingerie dept, and made trousseaux for a number of royals, including Princess Alice, Duchess of Gloucester in 1935. They briefly opened a lingerie shop in Brook Street. Many of the items in this section are more than a hundred years old, yet have fortunately survived very well. They have also inspired a selection of lingerie by second year students.
Another section shows some of the old and new teaching diploma students’ work. From the 1950s, they were required to create a ‘church work piece’, which later became a ‘figure, symbol and animal’ embroidery, before it finally became totally secular. The most surprising example in this series, from 2006, shows the figure of a business man, the symbol of a pound sign, and the animal - a shark!
The upstairs part of the exhibition is largely dedicated to partnerships and student projects. The Red Dress project was conceived by Kirstie Macleod to give marginalised women around the world a platform to tell their personal stories through embroidery.
On their three year degree programme, students have to use several stitches in a variety of ways. The examples on display range from streetwear, where the gold thread embroidery would not have looked out of place a thousand years ago, to shoes designed by students and made up by Sheme, a Chinese shoe factory.
In the FTM’s workshop room is dedicated to more contemporary work by the RSN embroidery studio, including a stunning 1980s landscape embroidery, originally made for a corporate HQ. Here you will find more evidence of the effect of needlework on wellbeing, with NHS embroidered hearts. There’s a poster showing the RSN’s “stitch bank” of 200 stitches and counting… the primary aim being to keep the ancient craft alive. There are contemporary takes on old techniques like crewel work and a modern blackwork piece featuring the current royal patron - Camilla, Duchess of Cornwall.
This exhibition is not merely a review of 150 years of the Royal School of Needlework, it is also a celebration of craft skills and collaboration. From Freddie Mercury and gender fluidity, to military memorabilia, religious and royal vestments, the show has something for everyone. You don’t need to be an embroidery ambassador or a needlecraft nerd to appreciate the work that has gone into the pieces on display, the stories behind them, and the variety of stitches and techniques used. If, like me you are a curious shopper, you will also find also some charming embroidered bags and gifts in the Fashion and Textile Museum shop, alongside a display of vintage examples in the foyer.
150 Years of the Royal School of Needlework: Crown to Catwalk is at London’s Fashion and Textile Museum until 4th September, 2022.
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Women have carried small handbags or reticule style (drawstring) purses since the Middle Ages, but from the mid-17th century onwards, there was a proliferation of domestic handicrafts. Bags were knitted to incorporate beads, and complicated designs involved great attention to detail. This became an upper class hobby, the designs often reflecting their makers' passion for flowers and botany, like this beaded bag from Europe, now in the collection of the Los Angeles County Museum of Art.
The finer the beading on a bag, the older it is likely to be. In the 18th century, the manufacture of small beads was a highly technical skill limited to a few centres around the world. The sablé (covered with sand) technique was the preserve of just two Parisian workshops. Handbags with this style of beading mainly depicted allegorical scenes, including landscapes, historical landmarks and romantic encounters. In other parts of the world, beads were imported to create designs.
During the 1920s and ‘30s, decorative clasps and frames added weight and sparkle to evening bags. Sometimes with semi-precious stones, beading and innovative hinges. Initially made by specialist craftspeople, the frames of bags were later mass-produced.
From the early 20th century bags were increasingly made for travel, and started to feature accessories like mirrors and other receptacles for carrying pills, perfume, money, makeup and cigarettes. Beaded bags reached the height of their popularity in the 1920s.
Geometric Art Deco motifs were common in the 1930s, when clutch evening bags took the movie-inspired fashion world by storm. Beaded bags were still popular in the 1950s, when more fun types of bag with novelty shapes and patterns entered the market, along with the increasing appearance of the zipped bag.
Tambour Embroidery Bags
Tambour embroidery is thought to have originated in India, where it was known as Aari work (an aari is a hook in Hindi, which was used to create chain stitches). The technique of applying embellishments using a hook appeared in Europe from the 18th century, becoming known as tambour (drum), because the fabric used was stretched tightly across a frame, where the stitching took place. Beads and sequins were added from the late 19th century.
The town of Lunéville became especially well known for its tambour embroidery, and the ‘Lunéville Hook’ technique is still employed by Haute Couture ateliers today. However, most modern beading is carried out by machine.
Tapestry Bags
From the 1800s, weavers copied well known paintings to produce scenes and figures inspired by the tapestries made famous by makers in the French town of Aubusson. Tapestry bags often originate from continental Europe, but the style was also emulated in handicrafts practised by women in Britain and America.
Tapestry bags remained popular until the early 20th century, experiencing a machine made revival during the 1950s.
See ShopCurious's selection of beaded, embroidered and tapestry bags in our Antique Accessories collection.
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Elbow length gloves have been worn since the beginning of the 17th century, but were especially prevalent from the 1880s until the early 1930s. Longer length opera gloves were later popularised by film stars and debutantes from the 1940s to the 1960s, and are still worn for weddings, proms and elegant occasions, such as the Vienna Opera Ball.
Opera gloves are usually between 16 and 24 inches long, though they can be as long as 29 or 30 inches. Some of the gloves on offer at ShopCurious are ‘mousquetaire’ in style, which means they have an opening at the wrist, closed by three or more pearl buttons. The name mousquetaire comes from the gauntlets worn by musketeers in the 16th and 17th centuries. The opening in the gloves was used whilst ladies were dining, so they didn’t have to remove the gloves completely, which may be difficult due to the tight fitting nature of many of the styles (often involving talcum powder and button hooks to put on). Glove stretchers had to be used for new gloves and were also employed to restore the fingers after washing.
The coronation gloves of Queen Elizabeth I (housed in glove maker Dents’ Museum Collection) set the fashion for long fingered style. Glove fingers were exaggerated to make hands appear slimmer and more elegant. Nowadays extra-long-fingered gloves may be useful accessories for people with exceptionally long or artificial nails. Karl Lagerfeld said that gloves also make the arms look longer. In French, having longer arms means having a longer reach and being more influential. And gloves are also useful for hiding ageing hands...
Whilst the primary function of gloves is to keep hands clean and warm, gloves were also used to cover up bare flesh. Until the late 19th century, a refined lady would not show an ungloved hand to a member of the opposite sex to whom she was not related. This rule was still followed as late as the 1960s.
One of the most notable contemporary glove wearers is Her Majesty The Queen. Her huge collection of gloves includes examples that are over forty years old, which she regularly has washed and repaired by royal glove maker, Cornelia James, and wears in rotation time and time again - doing her bit for slow style and sustainability.
Glove etiquette includes always holding or carrying gloves by the fingers and wearing a bracelet on top of gloves (like Marilyn Monroe in Gentlemen Prefer Blondes), but never a ring. In terms of modern day politeness, a gloved hand is a sensible anti-COVID precaution, whether you are shaking hands or pushing a supermarket trolley.
Invest in a pair of elegant evening gloves from our Antique Accessories collection to give your appearance a curiously chic but contemporary edge.
Will you?
]]>The basis on which our gifts have been chosen is that they are either vintage, made from recycled materials and/or are recyclable, or they are manufactured to be sustainable and reused. Above all, they are useful items that you will be able to keep forever, or will be able to recycle in the future.
First up is an eco-yoga mat by Planet Warrior. Made from natural rubber that is 100% recyclable, this features a pretty tropical motif, printed with planet friendly water based inks.
Lovers of vintage jewellery will appreciate these heart pendants made from pieces of found glass, ceramics and metal, skilfully upcycled by renowned artist and craftswoman, Annie Sherburne. Every piece is unique.
Those seeking something curiously characterful may opt for a retro gift like a quirky mid-century modern 1970s cruet set, or a pair of vintage Wedgwood glass lovebird paperweights.
If your budget allows, why not invest in something collectable, like this fabulous Lady Penelope pink Olympia Monica Typewriter with a matching carrying case. Or a pair of vintage YSL Eiffel Tower earrings, evoking Paris - the city of love.
We’ve also a selection of sustainable pampering products, suitable for all genders, including organic and vegan magic masks in gold, miracle and radiant glow, made with a natural alternative to retinol (which some people are allergic to). They’re presented in an attractive ‘love’ themed box, and are now on sale too, as are the organic and vegan Pomegranate Perfection body wash and lotion.
Your man will love our Wildly Fresh organic vegan body care duo, or refillable Harvest Moon hair and body wash.
Or pamper your yourself or your bestie with a ‘Love’ organic vegan perfume gift box, or a ‘Forever’ organic vegan perfume spray - a powerful scent of Jasmine with fruity, woody undertones, handmade in small batches in Great Britain.
The scent is said to promote relaxation, yet also prompt passion…
Will you?
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]]>A few years ago, I purchased a selection of vintage postcard and photograph albums at an auction. The first ever postcards were probably sent in the 1860s, and the rectangles of stiff paper or card were especially popular from the late 19th century until the First World War. The postcards in my albums mainly date from this ‘golden age’, but also include examples from the 1930s to the early 1950s. Even if the date isn’t featured on the card, it is possible to tell the age according to the postmark, or guesstimate by the monarch featured, or design of, the postage stamp.
The study and collecting of postcards (called deltiology) is not something I intended to do. However, postcards provide a fascinating snapshot of society at a time when few newspapers had images.
They depict places and buildings, gardens, parks, churches, cemeteries, and tourist sites. They provide an insight into fashion, material culture, humour and many other aspects of daily life, as well as significant occasions.
During their heyday, postcards revolutionised communication, much like social media today. And now they have become treasured keepsakes, and make curiously characterful vintage gifts.
I’ve recently been reading about David Gutenmacher’s TikTok gallery - @MuseumOfLostMemories, and thought I would try to do some research to establish who originally owned my charming volumes. The cards in the albums come from all over the world, but the senders are mainly from England, Belgium, France and the Netherlands.
I’d love to know more about Dorrie, the postmistress from Ashford Station in Middlesex, whose name appears on many of the cards. I’m also curious to identify the families in Gent, Ostend and Antwerp, and Maria de Roover from the Netherlands, and to find out who the people featured in photographs are.
Anyway, I thought I would share a few of the pretty cards in my collection to wish you a Merry Christmas and a Happy New Year. I hope you like them.
Do you?
PS By way of a Christmas gift to the Curious Cognoscenti, all subscribers to our newsletter will have early access to our January sale from 15th December.
]]>Imagine if every purchase you made had a positive impact not just on the economy, but also on the environment. We’d like to suggest some consciously cool gifts for your friends and family that will contribute to a more sustainable future.
For the Collector
How about an alternative Christmas jumper? For vintage Biba fans, we’ve the ultimate selection of late 1960s and early '70s knitwear.
Tea towels are popular gifts, but why buy new when you can find unused vintage gems like this Biba commemorative tea towel from the 1993 exhibition at Newcastle's Tyne & Wear Museum.
For the Coffee Connoisseur
Vintage ceramics are the ultimate gift for the coffee connoisseur. If you are looking for a really special gift, and are able to splash out, this curiously colourful mid-century modern Vallauris coffee set is one of the most stylish available. If your budget is slightly more limited, there’s an equally stylish, but cheaper set available too. Or how about a collectable designer vintage coffee mug?
For the Fashion Conscious Man
Being fashion conscious today involves being aware of our carbon footprint and the impact our clothing and accessory purchases have on the planet.
Eco-friendly, pre-worn gifts such as vintage silk scarves and mid-century modern cufflinks are not only appreciated for their characterful individuality, but also help towards creating a circular economy.
For the Fashion Conscious Woman
Our collaborative partners are chosen because they share our ethical and environmentally conscious ideals. Check out the selection of bags and cuffs from Kyomai, who create accessories using vintage Japanese textiles in conjunction with French couture craftsmanship.
For lovers of French fashion and Emily in Paris, these Paris Eiffel Tower earrings would make the perfect gift.
For the Eco-Activist
Gain the respect of your eco-warrior friends by encouraging them to grow their own food and oxygen supply with gifts like the Grow Green grow bag, or this glass terrarium on a mango wood base.
For the Crafty
With fluctuating climate conditions, you never know when a power cut is around the corner. Candles are useful in many situations, not least in providing a gently flickering background glow, or a relaxing pleasantly scented ambiance. The Wax and Wick Scented Candle Making Kit will keep your curiously creative friends busy, and will ultimately produce a genuinely useful gift.
Dressmakers and anyone with a sewing machine may prefer to receive a piece of fabric with provenance. We’ve a selection of vintage Biba textiles ready for up-cycling into new garments, cushions, tote bags, or anything the recipient's imagination and handcrafting skills will allow.
For the Curious
Anyone curious will enjoy trying to work out the meaning and symbolism of a curiosity like this 1970s Biba Black Locust Brooch. Or why not challenge your friends’ curiosity about design with this Scandi style mid-century modern bag?
There’s so much to choose from that is already in circulation, surely you don’t intend buying anything new this Christmas…
Do you?
]]>In the second in our series on vintage style and dress shape we look at the period from the 1960s to the early 2000s, and ask 'what is your decade?'
1960s - The mini skirt, pinafore dresses and Mary Quant
Most suited to: Petite and youthful body shapes, and those with good legs.
Least suited to: Larger sizes.
Whilst many were still wearing full circle or dirndl skirts, with cinched in waists, this was an era that revolutionised fashion shapes. Whether it was Courrèges in Paris, or Mary Quant in London who invented the mini skirt, shorter lengths became universally popular. Even HM the Queen wore above-the-knee dresses at this time.
Clothing shapes reflected the youthful bodies of those who popularised the new styles. Waists were loosened and lowered; practicality and ease of movement took precedence over modesty and formality.
There are not so many original 1960s pieces available today. However, the ones that survive are an indication of the extreme shortness. A late 1960s Biba dress on our website measures just 27 inches (68.5 cm) long. For those wishing to hide their legs, trousers became an option hitherto largely unavailable to women. We’ve a curiously characterful early Flower Power trouser suit made from lace and acetate, which comes up on the large size for this decade.
1970s - Bohemian style, the kaftan dress and Big Biba
Most suited to: Depending on the sizing, styles can be worn by most women. However, smaller sized garments predominate and plus sizes are rare.
Least suited to: Those wishing to accentuate a small waist.
This period is best known for its hippy vibe, flared jeans and ‘ethnic’ inspired dress styles.
It is possible to source items from the era in relatively good condition. The more fitted dresses tend to come up on the small side, so consider buying a couple of sizes larger than today’s equivalent. For instance, we have a dress by Thea Porter that is marked a UK size 10, but would probably fit a size 6-8. Larger sized items are more rare, but you can find the odd gem. This Clothes by Samuel Sherman angel-sleeved maxi dress is marked a size 16, but would be a good fit for a UK size 14, or possibly a large size 12.
1970s dress styles tend to be more fitted around the bust area, with free flowing skirts, so waist size is less of an issue. You may be able to find garments with elasticated waists, for instance dresses by Zandra Rhodes, or flattering 1930s inspired bias cut pieces by the likes of Ossie Clark, though many of the latter are exceptionally petite in their sizing.
The same goes for vintage Biba, where upper sleeves were cut to be super tight, and bust and back measurements are especially narrow compared to contemporary fashion items. The resulting elongated profile created an impression of height and suited underfed post-war body shapes.
The 1970s ended with the punk movement and more unisex styles, alongside the emergence of designer labels and jeans brands like Fiorucci and Gloria Vanderbilt. Items from this time are rare and collectable, and more likely to be purchased for investment purposes than worn.
1980s - Boxy suits, shoulder pads, statement evening wear and accessories
Most suited to: Broad shouldered ladies. Hourglass, or athletic figures.
Least suited to: Those with smaller frames. Large hipped ladies.
The first part of this era was influenced by Edwardian style and Brideshead Revisited, producing Laura Ashley dresses, pie-crust collars, comfortable knits, and floaty ‘Lady Di’ skirts.
Dress became more structured and formal, with boxy shapes and shoulder pads - which grew in size throughout the decade. Designers like Thierry Mugler and Claude Montana inspired business suiting and Dynasty style evening wear.
Smaller framed women may find they look swamped in wide shouldered jackets and coats from this decade. Popular off-the-shoulder evening dresses from the era are more suited to those with broad shoulders. Boxy 1980s styles are most like to suit those with hourglass figures, or athletic bodies.
Vintage costume jewellery and designer accessories from this era are now highly sought after, especially Kenneth J Lane, Chanel, YSL, Celine and Hermès.
1990s - Supermodel style, grunge wear, Tom Ford for Gucci
Most suited to: A wide range of sizes and shapes.
Least suited to: Shorter women.
Clothing became less structured and casual separates took inspiration from Armani and Donna Karan. These sorts of pieces are and suited a wider range of sizes and shapes than the more structured shapes from the previous decade.
For dressing up, designers like Versace mixed items of casual clothing like jeans, studded jackets, and fluffy knits with flowing silks, PVC and safety-pins. Tom Ford provided Gucci with a much needed injection of Studio 54 style. These sorts of garments are more suited to a youthful, athletic body. Ford in particular cut his garments very small, and his trousers were notoriously unforgiving.
Later came grunge dressing - an assemblage of layered, floaty and mis-matched separates from the likes of Margiela and Marni, plus bias cut petticoat dresses and marabou, or velvet trimmed cardies from Voyage. These pieces are rare and standard sizes eg S/M/L are not always good indications. It is best to ask the measurements rather than assume the item will fit.
Y2K/Early 2000s - Designer brands, logo mania and streetwear separates
Most suited to: Youthful and athletic shapes.
Least suited to: Larger sizes and backsides.
Crop tops, Juicy Couture track suits, cargo pants, lace trimmed camisole tops, stretch denim corsets and monogrammed clothing are not everyone’s cup of tea.
The Y2K wardrobe was largely aimed at the growing youth market, and inspired by celebrity and pop culture, but there were some more grown up designs too.
Sizes come up larger than previous decades and stretch fabrics are more accommodating. However, the figure hugging styles best suit those with athletic bodies and smaller hips.
It is debatable whether or not the early 2000s qualify as ‘vintage’. However, many of the accessories from the era are highly collectable, and the release of a new Sex and the City film in December may rekindle memories of the heyday of the ‘It’ bag.
Are you ready to let us know... What's your decade?
Comments are welcome here and over at our Instagram feed @shopcurious. Use the hashtag #ishopcuriously for a 10% discount.*
Will you?
*conditions apply
]]>Apart from condition, a major consideration when buying preloved garments is the variation in sizing. One of the main concerns people have when ordering vintage clothing to wear is whether or not it is going to fit. A lot of older pieces come up on the small side. To some extent, there’s a correlation between how old the item is and its size. Victorian clothing, which may have been corseted, is likely to be extremely small waisted. However, some garments from the early 20th century are much more forgiving.
In this post, I share some of the things I have learned about vintage dress sizing, and how garment shapes through the decades may suit different body shapes today.
1910s - Art, Craft and Less Corseting
Most suited to: Slim women with small waists, or medium to large sized women, depending on the type of garment.
Least suited to: Women with broad backs, or thick waists.
One of the most timeless and easy to wear pieces in any wardrobe is the simple duster, or cocoon coat. This type of design tends to suit all sizes, and these coats can be worn open to detract from a larger bust, or if the sides won’t quite meet together. It is important to make sure the garment fits across the shoulders, but this is usually not a problem in view of the looser, more slouchy cut of such coats. It is more likely that those with smaller frames may appear slightly swamped by the cocoon coat. Though the duster has become popular over jeans as an oversized, floaty addition to vest tops, or t-shirts. If the coat has a high or feathered collar all the better for older ladies, as this will definitely flatter your neck. Alternatively, for dressy occasions, vintage opera capes are perfect for making an entrance, and suitable for all sizes.
Edwardian dresses are not so fitted as their heavily corseted predecessors, but may still come up small, especially across the back and under the bust/armpit area. If you are able to find dresses from this era that are still in good enough condition to wear, it is essential to check the measurements as the garments are unlikely to be sized. Also remember that these pieces will not have zips, and hooks and eyes may be missing, so you may need to carry out some repairs.
If you have an hourglass figure, the Edwardian dress may be for you, but only if you are exceptionally slim. The 'Gibson Girl' look favoured athletic body shapes, but waists were still small and often corseted. Some blouses may be loose around the bust area, and tied behind the waist, which may work for medium sizes too.
1920s - Flapper Dresses and Freedom of Movement
Most suited to: Small breasted, slim women, with straight, athletic torsos.
Least suited to: The hourglass figure.
If, as some say, we are returning to the Roaring Twenties, I am praying we don’t return to wearing flapper dresses. Flapper dresses are ideal for very slim, small breasted women. They are perfect for adolescent girls and those with the physique of Twiggy. Even Kate Moss would probably not look that great in a straight sided, knee length dress.
If worn belted, this was usually below waist. For anyone with a waist and/or larger hips, these dresses can be very unflattering. Large busted women should be reminded that, in the 1920s, flappers taped over their breasts to accommodate the style.
Some 1920s styles were longer and included bodice panels that were a little more flattering for larger sizes. The 1930s was a much more inclusive time for female dress.
1930s - Hollywood Glamour and the Bias Cut Dress
Most suited to: Both slim and curvaceous women.
Least suited to: Those with saddlebag thighs and/or bulging tummies.
This was the era of Hollywood style. Bias cut evening dresses, often in silks, satins and metallic thread fabrics, are especially suited to taller, statuesque and athletic frames. However, bigger busts and gently rounded tummies can be accommodated by these flattering styles too, even if many vintage dresses are small around the back. If you are large waisted, it may be an idea to look for looser fitting garments from this era, which could be worn unbelted - though belts were quite popular at this time.
Another common textile of the era was crepe, some dresses were made in plain thick crepe, and floral tea dresses were often made from a lighter version of this fabric. Floral fabrics tend to suit slimmer ladies, but because of the length of the dresses, and commonly gathered or cross-over v-neck bodice design, a lot of the styles are flattering for larger sizes too. If they are in good condition and there is enough fabric, it may be possible to alter a dress and let out the seams.
1940s - Utility Chic and the New Look
Most suited to: Hourglass and broad shouldered/narrow hipped shapes.
Least suited to: Large waisted women.
During the war, when food was rationed, women's sizes were still considerably smaller than today. Whilst shoulder-padded garments drew attention to the upper torso, the fitted and tailored nature of much clothing from this era makes it smaller than it looks. It is likely that any size indications will be several sizes smaller than those of today. Whilst looser-waisted day dresses can be found, most dresses, skirts and trousers from the era are very small waisted, meaning that these styles (even the military uniforms) tend to suit slim, hourglass figures. However, 1940s coats and cardigans are wearable by a wider range of sizes than the fitted jackets of the day.
1950s - The Prom Dress, Swing Coats and Pencil Skirts
Most suited to: Hourglass shapes and narrow-backed, bustier ladies.
Least suited to: Large waisted women.
Whilst prom style dresses with narrow waists and full circle skirts may suit those with wider hips, later shapes from this era were more pencil-skirted. This was the ultimate era of hourglass dressing, with icons such as Marilyn Monroe and Gina Lollobrigida for inspiration. Women wore foundation wear in the form of girdles and pointed bras under their clothing to achieve the look. However there were also more gamine, balletic icons, like Audrey Hepburn and Grace Kelly. Straighter shapes from this era include Chanel suits, and roomy loose-fitting shirts (though these were worn with high and small waisted trousers or skirts). Evening dresses from this time are notoriously small, so do not be alarmed if your vintage size is two sizes above your current size. 1950s swing coats and evening jackets are more forgiving, but you may wish to avoid this style if your bust is on the larger size.
What's Your Decade?
When making preloved purchases, it is advisable to carefully read the measurements provided, along any tips from the seller. At ShopCurious, we use our mannequins to try to estimate the current size of vintage garments. Over time, you will get to know which decade(s) most suit your shape, but we are always here to help. You are welcome to email us and request additional information, for instance to find out if there is any room in the seams or hem for alteration if necessary, or simply to ask our advice regarding your particular requirement.
Will you?
Coming Soon in part II, the 1960s to Y2K and the Noughties.
]]>Boutique Culture
The beautiful people in question, many featured in a 1966 photograph of Chelsea based 'English Boy' model agency in the Terence Pepper curated photo gallery upstairs, appear in cameo throughout the exhibition. The real stars are the fashions and textiles, together with the cutting-edge stores where they were sold. Alongside Art Nouveau inspired poster art, there are William Morris print jackets - as worn by George Harrison, psychedelic patterned garments, medieval fantasy dresses by Bill Gibb, Zandra Rhodes and Marisa Martin, and Art Nouveau and 1930s influenced clothing by Barbara Hulanicki and Ossie Clark.
The main gallery has been transformed into a retro shopping experience, with displays mimicking the façades and signage of famous boutiques from the late 1960s and early ‘70s, including Granny Takes a Trip, Mr Fish, Hung on You, Apple, Quorum and Biba. And there’s a fab online catalogue with period graphics, a helpful timeline, and an intriguing cast of characters.
Vintage and Upcycled Clothing
Sheila Cohen’s vintage clothing collection formed the initial stock of Granny Takes a Trip. Selling vintage pieces as fashion items was a novel idea at the time, but wearing them on the street was considered highly radical. Cleo Butterfield, who along with her husband, Mark, guest-curated the exhibition, and supplied “eighty percent” of the items on display, was keen to highlight the emergence of vintage and upcycled garments. Much like Jimi Hendrix’s trademark military jacket, the exhibit worn by Mick Jagger was purchased second hand, in the Portobello Road. This was the first time that vintage clothing became desirable.
Dead stock and vintage fabrics were also used to create new pieces, many coming from the cloth department of Ponting’s, long since departed from the Kensington streetscape. Bedspreads were turned into shirts and jackets. Examples, including a couple worn by Keith West, can be seen in the Granny Takes a Trip vitrine. In one of the upstairs displays, Cleo celebrates anti-consumerist upcycling. There are dresses made from pre-worn scarves, a vintage Catherine Buckley dress created from curtain pieces dating from 1900-1936, and 1960s shirts made from 1930s printed fabric. A photograph depicts Cleo in her former Portobello Road shop, wearing a vintage dress that also features in the exhibition. At the time, she was selling original 1940s garments to Sally Mee, who recycled them into new garments, one of which is on display.
Androgyny and ‘Ethnic’ Dress
Kaftan tops, like the well-preserved example worn by Peter Daltry of the psychedelic band, Kaleidescope, were popular for men. According to Mark Butterfield, this was a “great menswear moment,” men wore, “really out there prints,” and he recalls old women coming up and hitting him in the King’s Road in response to his unconventional choice of clothes. Mr Fish revolutionized the way men dressed. Mick Jagger famously wore what appeared to be a dress, though it was really a long shirt with an oversized frill, and the photographic exhibition includes an image of David Bowie modelling another Michael Fish dress. Androgynous styles were popular, but many of the garments in question borrowed shapes and fabrics from other, more exotic, parts of the world, such as the Middle East - like Thea Porter’s bohemian menswear jackets, waistcoats and Afghan coats.
Bespoke Tailoring
At the same time, there was a renewed interest in men’s tailoring. The Apple boutique, designed by the Fool collective from the Netherlands, was set up by the Beatles for the purposes of tax evasion. They also purchased Dandie Fashions, turning it into a part of the store called Apple Tailoring. Meantime, Tommy Nutter’s early suit designs referenced the 1930s. Examples of these, along with glam rock outfits by the likes of Mr Freedom and Biba are also in the show. On the famous Abbey Road album cover, all four Beatles are said to be wearing Tommy Nutter suits apart from George, although John Lennon apparently owned a multitude of white suits…
Photographic History
I could have listened all morning to Terence Pepper describing the “young dudes” featured in his curation of images and magazine clippings. They all seemed to know each other, or be related; like the Boyds, the Shrimptons and the Ormesby Gores (said to “the swingingest sisters in London”). And many were ‘Chelsea bluebloods’ or old Etonians. Perhaps that’s why Nigel Davies, who discovered Twiggy (and went on to become her manager and partner) changed his name to Justin de Villeneuve?
Back to the Garden?
This exhibition showcases many of the influences of today’s music, fashion and art scenes and is very much a ‘magical mystery tour’: a dreamtime for ‘dedicated followers of fashion’. Being immersed in the melting pot of retro culture, hippie styles and psychedelia made me wonder if contemporary Londoners are less individual, fashionable and happening? Now that ‘60s and ‘70s styles have been recycled several times over, and virtual fashion is a growing area, are we missing out on the fun of partying, experimenting and communal creativity? Today’s Beautiful People seem more like commercial contrivances, and puppets of social media, rather than real human beings, with their own style and character. They are certainly no match for the arty intellectuals and entrepreneurial aristos in this show (eventually superseded by the punk movement during an economic recession). However, with increasing concern over global warming and conscious consumption, are fashion and retail on the brink of becoming dominated by a (new) generation of anti-capitalist upcyclers?
Go and see the exhibition, and let me know what you think.
Will you?
Beautiful People: The Boutique in 1960s Counter Culture is at the Fashion and Textile Museum until 13th March, 2022.
Below you will find some items by the featured designers that are currently in stock here at ShopCurious:
]]>Curiously Collectable Vintage Icons
On my travels around town for London Fashion Week and London Design Festival events, I spotted this classic ‘Silver Birch’ coloured Aston Martin DB5 on display at Battersea Power Station.
Apparently the limited edition (of twenty five) DB5 ‘Goldfinger’ Continuation car is worth £3.3 million, and is packed with all the gadgets for which Bond cars are famous – like a rotating number plate and battering ram bumpers, though (for safety reasons), not a fully operational ejector seat. Eight of these cars were used in the making of the latest film, alongside other models.
This example has been housed in a giant sized Corgi model box. The original Corgi James Bond Aston Martin DB5 dates back to 1965, and was voted both ‘Toy of the Year’ and ‘Best Boys’ Toy’ at the Toy Retailers’ Awards that year. Over 20 million of these have sold worldwide, and the Corgi version is still in production.
An original boxed and well kept model of the Corgi 261 (painted gold to tie in with the film’s theme) now sells for upwards of £750.
Luxury 007 Shopping Experience
On my way back from the Royal Academy Summer Exhibition, I walked through Burlington Arcade. The luxury retail destination is celebrating the upcoming Bond film with an 007 themed installation, including customised arches and experiences in a number of its outlets. Omega has a pop-up 'Bond House', with a boutique where you can buy the No Time to Die 300m Seamaster, see a display of watches worn in previous Bond movies, and grab a Martini (shaken, not stirred). There are plenty of vintage stores in the arcade, where you could even purchase the original Bond watch – a Rolex Submariner. Oh, and there’s also an 007 Bollinger champagne bar, featuring a replica of the Aston Martin DB5 in the window (excuse my curiously uncool reflection).
Several of the arcade’s residents have long term affiliations with the franchise, including shoe manufacturer Crockett and Jones, luggage maker Globe-Trotter, and cashmere knitwear and accessories brand, N Peal. So you can buy the military sweater and combat trousers featured in the film, or the Highbury shoes worn by Bond.
Handcrafted Bond Original
We’ve got our own Bond original at ShopCurious. As this is no time to buy new, the curious cognoscenti will appreciate this unique James Bond themed silky vest, featuring images from 007 movies, along with a sparkling appliquéd jewel on one shoulder.
Unlike other Bond related clothing and accessories, I doubt you will see anyone wearing anything vaguely similar to this distinctive preloved top. For collectors, it also doubles up as an unusual piece of Bond memorabilia. In fact, if you order fast, and live locally, we could even get it over to you in time for the premiere tonight.
Do you?
Or if you want to feel like a James Bond star, the items below exude James Bond's curiously cool sense of elegance and glamour.
]]>
As seen at Parsons Restaurant in Covent Garden, this has to be the most curiously characterful coat rail in town. I’m enjoying seeing our city coming back to life, with venues filling up once again. Every IRL event is something of a celebration, and with London Fashion Week and Design London coming up, the next couple of weeks are going to be action packed.
The Slow Fashion Movement
Of course, after the pandemic, nothing will ever be quite the same, though change has been going on in the fashion industry for some years. Whilst ShopCurious has been promoting conscious consumption since 2008, the slow fashion movement has only taken off in the past few years. One positive result of the pandemic is that it has made everyone slow down and reflect on issues affecting our planet and our people, and recent weather events have made us focus more on the critical importance of addressing climate change.
The Future is Positive
Sustainability has been central to the British Fashion Council’s strategy since 2006, when they launched the Estethica showcase. Their commitment to slow fashion has been scaled up in recent years with the establishment of the Institute of Positive Fashion, focusing on environmental and business governance, the people involved in the fashion industry, and the role of skilled talent and craftsmanship in empowering local communities.
It is no longer considered cool to buy newly created clothes and accessories, unless they are made from recycled materials, or manufactured employing sustainable and ethical practices, in a carbon neutral way.
A Tailored Edit, Just for You
To celebrate the launch of our first ‘Sunny Staycation’ slow fashion curation, LFW’s ‘Positive Fashion’ initiative, and dressing up to go out again, we will be offering three people the chance to get a tailored edit of pieces handpicked by me.
The first three respondents who email us at info@shopcurious.com with a few simple details will get their very own tailored edit. Let us know your first name, clothing size, the occasion you would like to be styled for, maximum budget and any likes/dislikes you think would help me to make a selection you love. A picture of you would be helpful, but is not essential.
Your edit could include a mix of vintage, preloved and handmade pieces from ShopCurious, along with specially curated pieces from brands we love.
We’ll be in touch to let you know if you made it into the top three, so get typing!
Will you?
PS We hope the owner of the curiously uncool raincoat hanging on the rail above is a winner, as they could clearly do with a wardrobe makeover!
]]>Our Sunny Staycation collection is carefully curated to put you in the holiday mood wherever you are. We’ve selected clothes, accessories and items for a relaxing, and perennially sunny vibe.
This is the first of our special curations of products, chosen from a range of external suppliers sharing our slow ethos.
The pieces in this collection use sustainable materials and are handcrafted by local artisans and/or designer makers. Many of the items are handmade in London and/or the UK.
Our first grouping combines sunshine colours with arty effects. We’ve teamed up Bad Habits London’s washed tie-dye t-shirt with Klements silk satin Labrynth print Fleet Flares, and curiously cool and eco-friendly Palm Moroccan sneakers by Good News. These garments combine comfort and style, but the best news of all is that they are all consciously created to help save our planet from the polluting effects of fast fashion manufacturing practices.
Kaftans are having a moment and we love the candy-striped Creation Kaftan by A Perfect Nomad. Team this up with statement laser cut retro flower earrings with a tropical colourway, to keep the summer holiday feel alive. This also makes a perfect combo for lounging around the house, or garden, or meeting up with friends for outdoor drinks.
For something a little more formal, we suggest the fabulously floaty Dusk Cloud Dress in hand-dyed silk by Klements. Accessorize with Paradise Row’s burgundy leather Love Circle bag and tie-dye opal fringe low tops by Good News.
Or, for a more relaxed hippy feel, we’ve picked you some daisies. How about LF Markey’s Kingston dress with Lazy Oaf x Melissa Kick Off vegan daisy bloom shoes? I have a couple of pairs of these characterful sandals, and they’re as comfortable as they are fun to wear. We’ve also chosen some accessories from Etsy (a great place for vintage finds), including a 1950s necklace and earring set with daisy flowers, and some authentic dried daisy hair clips. And now it’s getting a little chilly in the evenings, a jacket may also come in handy. Check out Sideline’s reversible natural shearling Dream jacket - it really is a dream. Add an artily hand-painted vintage bag for maximum effect.
Finally, to keep your skin refreshed and revitalized into the autumn, we suggest Nakin’s natural anti-ageing face oil and Active Dew face cream.
Ideally, spend as much time as possible outdoors whilst the sun is shining and there’s a chance to top up on vitamin D. And it’s getting dark a bit earlier now, so there’s no excuse not to go to bed on time and catch up on your beauty sleep either.
Wishing you curiously slow, sun infused days ahead, whatever the weather.
***
Although necessary to shield against the intense rays of the Hollywood sun, it is claimed that celebrities popularized sunglasses by wearing them to hide their famous faces from public view. In this photograph Audrey Hepburn wears Oliver Goldsmith Manhattan sunglasses in the film Breakfast at Tiffany’s (1961).
By the 1970s, a common style for celebrity eyewear was the oversized frame – sufficiently enormous to render the wearer unidentifiable. Apart from Goldsmith, popular brands of the decade included Givenchy Paris and Silhouette.
The 1980s brought with them aviator frames and rimless shades. Large frames came back into vogue from the mid-1990s, and by the millennium year, futuristic shield sunglasses, which wrapped around the sides of the face, had become the ultimate celebrity disguise. Chanel made some of the most sought after models in this style of design.
The 2000s also saw a greater focus on individuality and eclecticism in fashion. Celebrities wanted unique accessories that were more like wearable works of art. Prada Baroque sunglasses became the go-to upper face covering in fashionable celebrity circles. Prada also released a crystal embellished ‘Ornate’ collection of these frames, a pair of which is currently available at ShopCurious.
The emergence of the slow fashion movement has resulted in greater demand for vintage sunglasses, including retro cat-eye frames. Designer vintage sunglasses have become collectors items, along with limited edition handcrafted ranges and collaborations by the likes of Mykita + Maison Martin Margiela.
Looking ahead to sunglasses of the future, will the increase in surveillance make us all want to disguise ourselves from online and offline ‘followers’? New brands like Reflectacles offer shades with IR-lenses, made using specially formulated optical filters that absorb the near infrared spectrum critical for 3D facial mapping, eye-tracking and illumination on common infrared security cameras. The lenses not only shield eyes from infrared radiation, but also protect privacy from any device using laser or lamp to obtain eye biometrics for facial recognition purposes.
However, is there a possibility that the use of this sort of eyewear will eventually be regulated against, or even banned? If you’re curious about this, you may wish to read my recent article on the future of dress codes.
Are you?
Susan x
P.S. See our new Designer Vintage Sunglasses collection for gems from Prada, Givenchy, Chanel and more!
]]>This DIY Vintage Biba collection combines vintage provenance and sustainable style. The pieces of fabric are also something of a curiosity. They previously belonged to Carol Jones (above), an avid fan of Biba and collector of the brand’s pieces from its Kensington Church Street days and - in various incarnations - until the early 2000s.
A mystery surrounds why so many of her items of Biba clothing were unpicked, and the labels removed. We believe the clothes were deconstructed because they no longer fitted Carol, and she intended to alter them or re-make in a larger size, but never got around to it.
The fabrics date from the late 1960s and early 1970s, and some are identifiable from photographs or past exhibitions - like the psychedelic cloud printed heavy cotton twill (below), and the vibrantly coloured animal style print (above).
Some garments are also more complete than others. There’s a striped jersey suit where the top is almost intact, minus just one button, but the skirt has been taken apart.
And a typically Biba-shaped dress, with puffy, padded shoulders and trademark skinny sleeves, which has had the collar removed. The geometric design textile in question can be seen in photographs of Big Biba – but as an upholstery fabric on the sofas, and as a carpet. We know there is a velour version of this print, but the dress is made in a soft cotton mix, rather like brushed Viyella.
We wondered what we could do with the fabrics. Should we fashion them into a quilt? Or try to patch together the original garments? In some cases, small pieces of material are missing, so this may not be possible. Finally, we decided to sell these iconic vintage Biba textiles as DIY kits.
Once you have purchased your fabric, you can be as curiously creative as you like. You may wish to attempt to remake the original item, or create something totally new by upcycling the fabric into a tote bag, a cushion, or a children’s toy. This is a great opportunity to not only invest in a piece of fashion history, but to also recycle the past through contemporary handicraft.
Each textile bundle will also be supplied with a vintage Biba label. We have carried out extensive research, but are still not precisely sure of the exact dates of all of the fabrics. As the label is not 100% guaranteed to correspond with the garment, we are happy to swap the label for an alternative if you can verify its match with the date of the fabric.
10% of all proceeds from the sales of these vintage textiles will go to Cancer Research UK in memory of their former owner, shown here wearing a dress whose fabric appears in our collection.
Oh, and please send images or social media links (hashtag #ishopcuriously) of your completed DIY designs to us at info@shopcurious.com, as we’d love to feature them.
Will you?
]]>It was liberating to be able to mingle with museum exhibits. Less so the curiously claustrophobic mask wearing experience.
Judging by the popularity of sports and sports inspired footwear, Sneakers Unboxed: Studio to Street, a new exhibition at London's Design Museum is going to be hugely popular. Every hypebeast in the land will want to see this vast array of sneaker styles under one roof. If you’re not done with data overload, there is also a wealth of info on industry statistics (dating back to the early 19th century), product design, technical performance in a range of sports, plus the all important street cred associated with sporting legends and urban culture, examples of 3-D design innovation and the sneaker of the future.
The highlight for me was the sustainable sneaker section, especially discovering some of the novel materials being used. The Rens Coffee Sneaker 2021, the outcome of a Kickstarter project, is made from recycled polyester pellets and coffee polyester yarn. The shoe uppers are created from 150 grams of used coffee grounds mixed with 6 recycled plastic bottles. The sneaker claims to control foot odour, is fully waterproof, yet breathable.
There are some incredible examples of customised sports shoes, and you’ll also get to see the Reebok Shaq Attaq ‘Orlando’ 2016, designed for basketball player Shaquille O’Neal in his shoe size - a whopping US 22!
And collaborations, including a 2019 tie up between Brooklyn digital culture studio MSCHF and INRI - aka Jesus Christ. The air bubble is injected with holy water from the River Jordan so the wearer can literally walk on water, and frankincense has been infused into the insoles. Whatever next?
Sneakers Unboxed: Studio to Street is at the Design Museum from Tuesday 18th May.
]]>Bouclé comes from the French for “curled” or “ringed”, and consists of looped fibres, and/or the fabric made from these. The most common raw material used for the textile is wool, though cotton, linen and silk can also be used to create bouclé fabric. The bouclé process not only gives texture and volume to woven fabrics, but can also incorporate mixed shades of yarn to create a ‘heathered’ look. For even more texture, loops of different sizes are combined.
The textile was introduced by Knoll in the 1940s, when the ‘Womb Chair’ was designed by Eero Saarinen in 1948 at the request of Florence Knoll, as a chair she could “really curl up in.” It was made from Knoll’s Classic Bouclé fabric. Chanel’s famous bouclé cardigan jacket, inspired by men’s tailoring, was launched not long after in 1954.
Bouclé fabric has recently become popular for home furnishings, as well as dresses, coats, cardigans and bags. Dedar’s Karakorum bouclé is one of the more luxurious versions of the fabric. Bouclé chairs have become a must have piece of furniture, and bouclé effect textiles are sought after options for recycled rugs, throws, cushions and scarves.
If you’re seeking a curiously contemporary-looking slow fashion version of the trend, check out our selection of bouclé waistcoats. These original late 1960s Biba pieces have a distinctive chevron/pyramid design and are perfect for chilly spring evenings over the top of a prairie dress, or jeans and a long sleeved shirt or vest top.
This style comes in several colourways, and you can rest assured that no one else will be wearing the same. What’s more, you'll not only be getting a fix of retro nostalgia, but will also be investing in a collectable piece of fashion history.
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Barbara Hulanicki’s incredible early life story is entertainingly documented in her autobiography, From A to Biba. She worked as a fashion illustrator for glossy magazines including Vogue during the late ‘50s and early ‘60s. Writing in the brochure from a 1993 exhibition at Newcastle’s Tyne and Wear Museum, Caroline Imlah says, “She entered the world of design as a novice, but one with a natural instinct for shape and style.” Hulanicki designed her clothes to create the long, skinny silhouette she craved, with flesh-pinching sleeves and bias-cut, flowing lines. Imlah credits her with the creation of ‘street style’. Her pieces were eclectic and experimental; young people adored the ‘granny prints’ and ‘auntie colours’ - with more than a hint of the 1890s about them. She is also credited with creating the first fashion t-shirt, which looked “like granny’s old vest.” Her inspiration came mainly from the 1920s and ‘30s, and she used old-fashioned materials like satin and crêpe.
Biba started out in 1964, selling through newspapers, and trading as The Biba Postal Boutique. For the first time ever, young women in the provinces could afford to buy London fashions. The profits from this enterprise enabled Hulanicki to open a shop in Abingdon Road, later moving to Kensington Church Street, followed by Kensington High Street. She captured the Art Nouveau revival, and interest in works of Alphonse Mucha and Aubrey Beardsley. Her branding also had a Celtic feel (like 1890s Liberty).
The publication of the first catalogue in 1968 coincided with the emergence of hippy ‘counter culture’. It was the year of the assassination of Martin Luther King and students on the Barricades in Paris. The anti-establishment attitude was reflected in the mail order catalogues with their bold, dramatic, and slightly subversive images of women as defiant victims.
Elizabeth Wilson describes the style as a, “more decadent type of femininity to the fresh innocence of the early and mid-1960s.” In contrast to the ‘milkmaid fashions of Laura Ashley, young girls were having fun dressing up as adults. “Typical of the period were long ‘rabbit’s ear’ collars, the tight sleeves bursting out into fullness at the wrist, the flares, narrow jackets and long narrow scarves,” along with the feather boas and wide-brimmed hats for which the label is best known.
The Biba graphics were designed by John McConnell from 1965-72 – and gold logos became icons of the swinging sixties. The font initially used was Arnold Bocklin, but a complete Biba alphabet was later created for the brand. The first to use the distinctive black and gold scheme was the range of cologne bottles. Four years later, the logo became more 1930s Hollywood/Art Deco.
The Biba catalogue was created to be the antithesis of existing catalogues offering hundreds of cheap items. They were to resemble Honey magazine, the Sunday Times Colour Supplement and Nova. The long slim shape was designed to fit in the average English letterbox of approximately 7 inches. It was printed in dual tone because full colour was too expensive. Biba’s clothes were also delivered in specially designed boxes, very unlike the brown paper packaging used by mainstream mail-order catalogues.
Prior to Biba, Chelsea Girl for fashion, and Habitat for household goods, had a strong graphic identity, but Biba took this a step further. The styling was applied to everything from makeup and lingerie to baked beans and pickled onions. This was the first time anyone had tried to sell a total lifestyle. The ultimate expression of this came in the form of the Big Biba store in the former Derry & Toms building - a veritable Gesamtkunstwerk.
Since its untimely demise in 1975, no one has been able to recreate the essence of the brand in the same way. As Hulanicki explains in her book, “the name in itself means nothing… No amount of promotion or commercialisation can replace the genuine article.”
Our Biba Vintage collection includes over fifty items, including knitwear, accessories such as scarves, shoes and jewellery, homeware, cosmetics and ephemera. The provenance suggests these mainly date from the late 1960s, or possibly in a few cases from the early ‘70s. I have attempted to verify this by speaking to sources previously employed at Biba stores and/or currently working with Barbara Hulanicki, but if you are able to add any insight or stories relating to the pieces, please email me at susan@shopcurious.com, or drop me a DM @shopcurious.
]]>There’s obviously a huge gulf between Georgian styles from the 1780s and those of the 1970s, but the looks are equally as dramatic. From the 1920s to the late 1950s, Hollywood glamour-inspired makeup was frowned upon for being overtly provocative. Even the doll-like coral, pastel, pink and peach-painted visages of the 1960s failed to reflect the psychedelic hot pink and citrus shades of an adventurous new era. Imagine the public shock when girls started wearing Biba Cosmetic's blue, green, purple and black lipsticks.
When Biba launched its cosmetics range in 1970, their dark ‘auntie’ inspired colours, including chocolate brown and mulberry lipsticks, were completely novel. This was the start of a new trend, where ‘ghoulish’ young women, later joined by (punk) men, looked like they’d come from a gothic horror movie. Some of these very lipsticks are included in our Biba Vintage collection, along with a selection of thirty eye shadows, whose mysteriously dark sounding shades are perfect for retro colour inspiration.
Barbara Hulanicki and husband ‘Fitz’ had zero experience in the area of cosmetics manufacture when they produced their first makeup collection in 1970. Biba cosmetics became hugely successful, but inevitably experienced problems with production and distribution. In her autobiography, From A to Biba, Hulanicki recounts a story of one manufacturer filling glass decanters with cologne, sadly unaware that the liquid expanded in heat, so the bottles should not be filled to the brim. “The first sign of trouble was when the girl representing us in California, the first place to become hot that summer, called to say that all her bottles had burst. Before we could work out why, there were calls coming in from all over the world.” A couple of the original – unexploded – apothecary style cologne jars are available at ShopCurious.
Another reason for the success of the Biba cosmetics range was the packaging. Uniquely, this incorporated elements of Art Nouveau/Celtic and later Art Deco design in conjunction with modern plastics to create something different from anything ever seen before. The associated advertising shared this curiously cool, retro-futurist aesthetic, as can be seen from this image in the promotional newspaper for Big Biba's 1973 launch.
With marketing as inventive as design, the multifarious uses for henna were expounded via a leaflet distributed in the store. Sadly, the trademark typeface fails the 'easy to read' test, but is certainly in keeping with the brand's iconic, antiquarian-cum-art-deco style.
Items from the cosmetics range were the first Biba products to be sold outside their own stores. Initially, in hundreds of Dorothy Perkins stores, once the firm became their major shareholder; whereupon - according to my sources – a man by the name of Mr Moxey took over the cosmetics division. Elio Fiorucci launched Biba cosmetics in Italy, and the range was sold through his store in Milan. Eventually, the cosmetics line was sold across the globe; from St Tropez, to Japan and the USA. This was in its heyday, before Barbara relinquished the Biba brand name and moved with her family to Brazil, where among other things, she went on to work for Fiorucci.
Whilst Biba may have revolutionised makeup colours, black and blue lipstick wearers aren’t a regular sight even today. They may appear on the catwalk –notably in Giles AW15 show, inspiring a trend that seemed to peak in AW19 - and at Halloween. Dark-coloured lipstick remains singularly unpopular IRL. Is this because it is considered too daring, or just a tad scary? The same can’t be said of black and blue nail varnishes, which have become relatively common, especially in winter.
Whether or not you are a fan of such colours, vintage pieces from the Biba cosmetics range are curiously collectable. Perhaps these sort of items are best kept in a museum or a memory box for future generations to treasure forever?
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Whilst we’re busy photographing and preparing new collections for ShopCurious, I thought you might be interested in something I discovered via the blog of Emmanuel College, Cambridge. If I had known there were fashion magazines in the college library, I would have spent more time there. I rather regret having only entered the building on a couple of occasions.
An article by Professor Barry Windeatt (Keeper of Rare Books at the college) explores The Gallery of Fashion, which he describes as “one of the most beautiful books on costume ever published.” Issued in monthly instalments between 1794 and 1802, this was one of the earliest English fashion magazines. Featuring some of the best examples of coloured aquatint applied to fashion plates, the volumes depict the elegance of the Regency period – and there are nine of them for each year of publication. I had no idea of this title or the presence of the magazines at my alma mater when I named my former boutique Fashion Gallery.
I’m adding a link to the blog post here, so you can read this fascinating article, which considers the links between clothing and art, the illustrious subscribers to the magazine, early fashion retail trends, the types of dress depicted, and occasions when worn.
I thought a selection of images from the magazine would appeal to fellow fashion historians, and anyone inspired by the Netflix series, Bridgerton. The post also includes a description of the plates shown here.
By the way, we’ve got a fabulous Regency style black velvet jacket in our new Black collection, so do check that out too. Will you?
]]>With this in mind, ShopCurious has put together a small selection of vintage and pre-loved items of clothing that are all black. They are not necessarily the kind of thing you might wear to a funeral, but they do reflect the mood of the moment.
Our Black collection is inspired by the Victorian era, with its elaborate mourning rituals and overt memorialisation of death. Victorians embraced the concept of a better life in heaven: death was not a tragedy, but to die and not be properly mourned was a deep fear. Funerals and events attached to the burying, immortalising, and remembering of the dead took on enormous importance.
It’s almost the opposite now, where we’re not even able to formally commemorate death; funerals are limited to all but a few members of close family, and dying words are often relayed via a mobile ‘phone or an electronic device.
You are welcome to read my research on 19th century mourning dress, and also my article on mourning rituals and digital memorials in the era of Coronavirus. And do take a look at the Black collection too. Will you?
Photographs taken at Death Becomes Her: A Century of Mourning Attire, exhibition at The Metropolitan Museum of Art, New York - October 21, 2014 to February 1, 2015.
]]>Have you been more absent minded lately? During lockdown I’ve had trouble recalling what day of the week it is, so is it excusable to completely forget that I’d applied for ShopCurious to participate in a virtual Christmas market?
When the confirmation came through earlier this week, I suddenly remembered that I should have put together a video for the event. I’m no technology pro, but did my best to create a YouTube video in the space of a few hours on my phone, so apologies for any variations in audio levels, resolution of imagery, and a general lack of perfection.
Anyway, I hope you can join me either tomorrow or Saturday, when I’ll be alongside hundreds of other retailers, offering a selection of vintage and pre-worn pieces, unique accessories and unusual festive gifts, like the retro Christmas disco jumper above, or these curiously unique Centurion cufflinks.
Please come and chat to me, see product demonstrations, and find Christmas presents from the comfort of your home. The market opening times are:
11 am to 6 pm on Friday 4th and Saturday 5th December, 2020
You can sign up to join here.
Oh, and here’s the video I hurriedly created…
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My journal writing goes back to the early 1970s, when diaries were doodled with love hearts and musings on David Cassidy. In my Charles Letts and Co 'every girl’s guide to the 1973 SCENE’ diary, the entries suddenly stop on May 3rd with the words, “I think I will give up my diary.”
Come 1977, and I was using a fat, page-a-day appointments diary, filled to bursting point with all sorts of additional attachments - from concert programmes and newspaper cuttings, to correspondence from school friends and pen pals. For a whole year I chronicled the obsessive details of my teenage life.
Meantime, my dad received a ‘foolscap’ sized Boots Scribbling Diary for Christmas every year. Once a week, he would retreat upstairs to ruminate over his finances, resulting in columns of important-looking long hand calculations filling every page. Only after he died did my mother discover the numbers didn’t add up. Her own Woman magazine journal was mainly used to keep a record of the weather, and jot down recipe ideas.
By the early 1980s, my pressing need to record every inner thought required a succession of heavy-duty notebooks. And then I discovered the Filofax. I had an A4 version in black calfskin, but also a smaller one in fuchsia pink. Later, an annual perk of my City job was a Financial Times desk diary. As work got more time consuming, this became a register of appointments with scrubbed out notes, and I continued with this particular model until the late noughties, when I started to favour Moleskine diaries.
Recently, however, I have found the ultimate journal for my current needs. The Clever Fox Planner is so much more than a diary, it helps me set daily and monthly goals – so, as well as organising my life, I can actually get things done. The premium version, available in a range of curiously cool colours, comes in a presentation box - making it a perfect gift. Plus, there’s an instruction manual, and sheets of stickers.
I love the methodology behind setting out a mission, writing down objectives, and creating affirmations. There are even spaces for mind-maps, and a vision board, which is great for people of a creative disposition. Best of all are the sections that encourage you to review achievements and reflect on what you’ll do differently next time, before revising plans and moving forward.
One of the main advantages of planners is that they are undated, so you can start your diary at any time of year. There are other organisers you may prefer, depending on what you are looking for. The Legend Planner, for instance, also comes in a range of funky colours, with stickers, and a wealth of self-motivational inspiration. This organiser may be more useful if you are following an academic year.
By the way, I have kept all my old diaries, with their handwritten pages, quirky annotations, old photographs and sticky-taped memories of yesteryear.
I bet you are curious to know what I wrote… Are you?
]]>One of the first people to write about the power of positive thought was Prentice Mulford. In a series of essays entitled Your Forces and How to Use Them (1888), Mulford outlined the Law of Attraction, whereby positive or negative thoughts bring positive or negative experiences into a person’s life. A curious essay in this collection considers ‘The Religion of Dress.’
Everything we wear has a story of manufacture, provenance, or personal signification. It also conveys a message to others. But Mulford went so far as to attribute our very state of being to our clothes. His view was that thoughts are absorbed by clothing so, “if you wear old clothes, you re-absorb into your newest, latest self the old thought you have previously cast off, and with which they are saturated.” Items of clothing could somehow project any bad moods, irritations and anxieties suffered when previously wearing them. In the age of coal fires; before washing machines, dry cleaners and extractor fans, a way to help overcome the negativity brought on by stale clothing was either to leave your clothes out in the fresh air, or to have a constant supply of new garments (then inconceivable to most people due to the time taken to make these, and the enormous cost). Of course, this was also before any understanding of the ethical and environmental advantages of slow fashion, handcrafted, vintage and pre-loved clothes.
Mulford had a lot to say about what to wear when. Tidiness was next to godliness in his world, and dress codes doubly significant. Nowadays, dressing sloppily can still create a bad impression, but Mulford took this literally, so that clothes could impart skills and status by association with previous owners or intended use. And the occasion was also important - meaning something worn for business should definitely not be worn for an evening out. It’s a far cry from today, when many of us wear one outfit all day long, and are wondering how we can inventively get some use out of the evening dresses languishing in our lockdown wardrobes: now it is all about dressing down a dress.
Mulford was also an inadvertent advocate of colour psychology, claiming that the increasingly diverse range of colour shades in interior décor and fashion equated to enhanced spirituality. By wearing garments belonging to a superior person, you could absorb some of their status. Purple was one of the most noble colours, having for centuries been associated with Tyrian purple dye, affordable only to the wealthy elite. Purple is still associated with the divine and worn by royalty and church ministers to this day.
Mulford believed a person’s spirit chooses the colours “most expressive” of their “mental condition.” According to Karen Haller in The Little Book of Colour, purple has the shortest wavelength of all colours, making it the last visible wavelength we see, thus connecting to a higher realm, and the universe beyond. “It is the colour we link with spiritual awareness and reflection, which is why it is favoured by those following a spiritual vocation or meditating. It is a colour for contemplation and the search for higher truth.”
The current popularity of patchwork, especially among those up-cycling garments, is unlikely to have garnered much support from Mr Mulford. In his opinion, only if, “your life is entirely without aim or purpose” will you wear, “parts of different suits, pitched on without regard to becomingness.” Whatever would he have made of our latest Purple Patch collection? Do check out these curiously collectable purple and patchwork vintage and pre-loved pieces and let us know what you think. Will you?
]]>Have you ever found yourself wanting to participate rather than observe? After months of cancelled events, online meetings and webinars, I jumped at the opportunity to do something creative that didn’t involve sitting in front of a computer screen. Eager to unleash my inner artist, I joined an intimate, socially distanced gathering in a snug basement corner at Anthropologie’s colourful King’s Road emporium. As part of London Craft Week, textile designer and artist Sarah Campbell was giving a ‘decorative collage workshop’ to coincide with a selling exhibition of her work at the in-store gallery.
After introductions and a curious feeling I had met the warm and exuberant designer in a previous life (or possibly at the Fashion and Textile Museum), Sarah proceeded to take us through an impressive array of “here’s some I did earlier” collages. If, like me, you imagined that collages were created using cuttings from magazines stuck onto paper, you would be overlooking a myriad of aesthetic artistry, encompassing cutting, folding, painting, printing, tearing, drawing and even weaving. Sarah’s passion for her craft shone through as she explained how she made all her own greetings cards, making me envy her friends and relatives.
Laid out in front of us was a selection of equipment, including scissors, tapes, cutting tools, card, sticky backed papers, tape, glue and coloured pencils. Then we were each given our own folder stuffed with fascinating and alluring oddments. Mine contained pre-used tissue and wrapping paper, stamps, Post It notes, fragments of hand painted card, a vintage women’s magazine, and discarded packaging – mostly the sort of material that might otherwise end up in the bin.
So I set to work. Firstly, deciding on which pieces to use, and then arranging them on my canvas – an A4 sheet of thin card. Inspiration came thick and fast once I spotted the makings of a theme. You may find it rather sad, but this was one of the most enjoyable and satisfying afternoons I have spent in a long time. My only frustration was that it didn’t go on for longer, and I wasn’t able to perfect a method for creating paper flowers – I may need another workshop for that.
See more in this video, plus the finished collage below.
After we had shared the fruits of our labour, I visited the exhibition – Painted Treasures by Sarah Campbell Designs. An accomplished international designer, Sarah worked alongside her sister, the late Susan Collier, from the early 1960s until 2011. The duo initially designed for Liberty before establishing their own practice, Collier Campbell in 1979, where they were responsible for a number of iconic print patterns. In addition to speaking, teaching and running workshops, some of Sarah’s latest work can be seen in this small show, which reflects the variety and mastery of her craft as a textile designer, and creator of patterns bursting with enthusiasm for colour and an eternally youthful energy.
“To make is to share – ideas, ingenuity, invention, beauty – and to share is an act of generosity from which everyone can benefit,” says Sarah. And that’s why I wanted to share the details of this wonderful experience, and the outcome of my afternoon with the Queen of Collage.
Painted Treasures is at the Anthropologie gallery until Sunday 8th November.
]]>Thea Porter was known as “the ultimate purveyor of ultra-luxe bohemian style.” Renowned for exotic fabrics and sumptuous patterned silks, inspired by her nostalgia for the Middle East (where she was born and brought up), Thea shared her love of textiles and romanticism with other designers of her day, including Bill Gibb, Gina Frantini and Zandra Rhodes. Commissions for her luxury, one off designs came from the likes of Pink Floyd, Crystal Gayle, Elizabeth Taylor, Barbara Streisand, and Veronique Peck; and her vintage pieces are still sought out today by stars and fashion insiders including Kate Moss, Julia Roberts and the Olsen twins.
We are fortunate to have a stunning 1970s Thea Porter Couture creation at ShopCurious, possibly from the 1970 Autumn Flowers collection that was shown at Tramp nightclub. Timelessly glamorous, the flowing gown is one of Porter’s seven iconic designs - the most popular being her Gipsy dresses, Abayas and Kaftans, and best selling Faye model (named after Faye Dunaway) - the latter of which this dress is a fine example. The Orientalist style dress has a black silk devoré bodice, finished with burnt-gold-thread covered buttons and piping, whilst the silk chiffon skirt and sheer sleeves feature a bold floral motif in the golden shades and browns of dried roses, highlighted with gold lamé thread.
Similar dresses shown here were photographed at a 2015 exhibition at London’s Fashion and Textile Museum. The Faye dress in ikat silk chiffon (below) was designed by Sandra Munro, with a bodice of Damascus brocade and comes from the Cherie Federau collection.
Those wishing to learn more about the art and craft of the acclaimed designer may wish to read Thea Porter: Bohemian Chic, written by the exhibition curator Laura McLaws Helms in collaboration with Thea’s daughter, Venetia.
Venetia Porter subsequently edited her mother’s previously unpublished autobiography, Thea Porters Scrapbook, containing examples of her early artwork, sketches and notes, plus an introductory essay by the fashion historian, Amy de la Haye. This would make a perfect gift for anyone who loves Bohemian clothing, is a vintage clothing collector, or passionate about textile and print design, fashion history, 1960s and ‘70s culture and style.
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