DRAINPIPE TROUSERS, PATENT STILETTOS, LUMINOUS SOCKS COME ROCKING BACK
Wonderful to see the combination of Let It Rock, Wonder Workshop and Terry de Havilland in one shoot by Roxy Music cover photographer Karl Stoecker. I’m not the biggest fan of the original Fifties look, if I’m honest, but there’s just something magical about the way this revival scene bridges the Seventies from Glam Rock to Punk and New Wave.
If anyone can identify the male models (or indeed the female ones) let me know. I think Mickey Finn might be one of them (third image, hanging out of the right hand car door), and possibly Antony Price. Which would make sense with Stoecker as photographer.
Call it nostalgia, admission of defeat, lack of inventiveness or what you will: the ugly fact is that there is a strong trend among designers to dig up the Fifties for a fashion revival. Those were the days of the A-line, the tulip dress, Lurex and pleated skirts. If you are disturbed at a Fifties revival, so are we. We think it a period in fashion terms best forgotten, with one or two exceptions. If you don’t favour the fashion but fancy the authentic ambiance you’ll get the right idea at Mr Freedom’s restaurant, Feed’em, where we photographed. Here, written about in the Fiftie’s style, are some of the up-dated Fifties fashions on sale now.
At the same time as the Thirties and Forties were being raided by British Boutique designers, so were the Fifties (or Fiftie’s as so spectacularly put here) and it’s pretty hilarious to see the cynicism by the writer here (possibly fashion editor Sarah Drummond) – who had presumably been a young woman then. The cyclical nature of fashion is nothing new and nor is the disbelief when it’s happening in your own timeline!
On another note, it’s always lovely to see some new-to-me shots inside the legendary Mr Feed’em restaurant!
I am returned from Paris! It was all perfectly wonderful, plenty of wandering (some aimless, some not…), drinking, eating and all other lovely things. I will blog a little more about events on my birthday, but I thought I would start off with the visual feast that was the Madame Grès exhibition at the
Musée Bourdelle. Everything about it was a treat. The museum itself is a fantastic space; a mixture of old studios and purpose built exhibition spaces. The Grès pieces have been inserted within the permanent exhibition, and also in larger dedicated sections. You weave your way through the numbered rooms, which seem to go on forever (which is wonderful, unless you’re slightly concerned about catching your Eurostar back home…but we still managed to soak it all up!).
I have to emphasise how much of a honour it was to be able to see the dresses up close. I mean, really up close. Everyone was respectful of the ‘do not touch’ signs, so often a problem in the UK I fear, and it shows off the dresses to perfection. Grès was a designer who was all about the detail, the finest pleats and the most delicate of stitching. I couldn’t stop snapping; quite frankly, I think I forgot that I wasn’t photographing listings for my website (I should be so lucky!).
My favourite designers are always those who rarely move with the winds of fashion. Idiosyncrasy is my favourite word. The exhibit cleverly juxtaposes her early pieces with the later ones, as well as with Bourdelle’s sculptures – since sculpture was her inspiration and, I think, her vocation. I should have made more notes about dates, but I can tell you that the one immediately below this text is from 1980 (just before she went bankrupt, her House was sold and her archives destroyed). At the top of the page, the two tomato-red jersey dresses are twenty years apart in production. It’s extraordinary, and to be admired. Her skill was unmistakeable, it didn’t need to follow trends or chase notoriety and scandal.