Bank Holidate

Nature documentaries are wonderful things - particularly those exploring the deep sea. There is nothing more incredible than seeing high definition footage of underwater worlds, therefore these programs make regular week-night-time viewing for me and the bf. I think he is in love with Monty Hall, but then again I have serious lust for Attenborough's voice, so I'd call ourselves even. 

So with an entire day to ourselves and each other exclusively(!) this August bank holiday (mostly because we're both too broke to have gone away with friends), we decided to further indulge this mutual interest. And to the Natural History Museum we went! (Along with half of London's parent-infant population...)

Standing in the queue to get in was actually particularly enjoyable (despite all my boyfriends' jokes involving the Britishness, summer days, rain and queuing.) It allowed us to appreciate the amazing architecture of the building, an activity that continued inside. I also liked seeing all the umbrellas in the landscape, I wanted to draw them (and shall in due course.) 

Coral Reefs: Secret Cities of the Sea.

I really liked the design of this exhibition - with complex 3D structures made of slotted plywood hexagons, used to guide visitors around the displays, representing the structure of coral itself. This method of construction is one I am pushing in my own personal work, and it was interesting to see it on this scale.

As a scientific exhibition (rather than of art), I wouldn't say my review could be in any way critical or analytical. I thought it was really good fun, really informative and had lots of nifty highlights. The 4D interactive viewing chambers were genius (a installation pioneered by the sponsors Caitlin Industries). I liked that the museum had provided some coral you could touch, as most of the specimens were behind glass cages. 

The grouper made a fantastic selfie opportunity! 

The use of video, text and visual displays together  explained things very well I felt. Lastly the tank with live coral and fish donated by the Horniman Museum, and video explaining their studies into breeding in captivity were a perfect end to the show. 

Coral interests me as it really does form underwater architecture. I'm not often drawn to nature as inspiration due to it's wildness and rounded edges, however coral really does have a clear pattern like structure to it, so a nice juxtaposition of nature with architectural-like structure. The colours are so vivid and fantastic, and patterns are formed everywhere you look. 

I very much look forward to drawing (from memory) the coral I see. Though it would be fantastic to have an underwater camera, I think I will make interesting illustrations this way. I can always top them up with visits to aquariums. I particularly liked this print that I saw in the gift shop.

After leaving the exhibition (which was nicely peaceful), it didn't take much spent in the overrun permanent collections for us to have had enough of screaming children. Still I got some nice shots of the building, which would be a joy to go back and draw on a more quiet day. The marble floors and warm glow of the stonework reminded me slightly of grand central station in New York (one of my favourite buildings ever.) 

The rest of the day saw us enjoy a delicious Dim Sum dinner at New World Chinese in China town, and wonder through the back streets of Soho, where we each picked up some gifts in little purple Liberty bags! Though I shopped in the stationary department (HAY), I spent a good while fawning over the prints in the scarf hall. All the more motivation to get some of my own textiles made up! (Though unlikely on such fine silks..) 

Our last stop was the Chesham Arms pub, a jolly little local near Sutton House in Hackney Central. I particularly love the fact that it's at the end of 'Isabella Road'. I literally could buy a house with my name on it! And what a great local to have. A game of monopoly and a few pints later, we were ready to roll home to bed. 

With one last thing to do of course...; decide what nature documentary we'd be watching tonight... 

Taking a Fancy to Book Illustration

I have been really getting into podcasts lately (a whole post of that is yet to come). One of my favourites, and regular audio accompaniment to the Lea river canal path, is Design Matters hosted by Debbie Milman. I like them for this purpose because they are a good length, well recorded (a shamefully important factor as I struggle to hear most things through my ancient earphones), and Milman is an excellent host. Each episode sees a particular person or group from a field of design interviewed about their career and achievements, in a way which encourages digression into more theoretical discussions. 

Though this series presents a large range of designers from different fields, I do feel that I have heard about many graphic designers, and most notably illustrators. Listening to these episodes, such as the one with Oliver Jeffers, has really made me think about illustration as a career path for me. Obviously it relies heavily on drawing (my life long love affair), along with CAD programs I am already highly confident with. I know I have never really connected with making 2D things, and I never felt destined for graphic design, probably because I never really knew what it was, and it seems to be an element of any other art course anyway. But someone once described to me books as being '4th dimensional'. 2D images and words which exist in a 3D object have the power to capture the imagination and take the person into another world entirely. It is a connection between narratives, images and words which excites me, so I felt compelled to get some illustration focused exhibitions into my calendar, as well as some much important creative work! 

Ladybird by Design - House of Illustration

I was really inspired by this exhibition, as it explained the technically simple and practical approach of the ladybird books, and juxtaposed that with the cultural and social significance the series had upon multiple generations of readers. 

This exhibition particularly focused on those published between the 1950's and 70's, and how the books 'depicted a soft and simple world'.

The books themselves were formed from one sheet of paper (suitably sized for the method of mass printing they used.) This was to work around paper restrictions, so every book had 56 pages and were of an identical size and shape. The illustrations were multi coloured, and vocabulary kept easy for children to read and understand. 

I greatly enjoyed being able to see the original illustrations up close; the vivid colours pop out off the thick card onto which they are painted. I assume gouache is used, perhaps with some oil. The illustrations range from depicting everyday life, to historical scenes, through to fictional tales, all perfect to inspire a young reader. 

I was particularly drawn to the image of a deep sea diving team, as I can imagine the bold colours and stunning composition as making a 5-year-old think; 'That's what I want to do when I grow up.' I also particularly enjoyed the 'Shopping with Mother' series for their illustrations, as they reminded me of Richardson and Ravillious's 'High Street'. 

What I think is most impressive about these books, having viewed this exhibition, reading a few chapters of Ladybirds they had in the final room, is their effectiveness. Working with the 56 page and size set rule, the ladybird's combination of image and word never fails to inspire and excite children, (nor 21-years-and-a-6th-old such as myself.) 

Animal Tales - The British Library

This exhibition gave a specific overview to how animals are used through physical illustrations as well as plot-lines for storytelling. With examples such as Orwell's Animal Farm for 'Animal Allegories', and the Beatrix Potter series demonstrating how 'after Darwin and Freud, neat distinctions between humans and animals blurred', this show provided an interesting socially and culturally aware view on a common theme within book illustration. 

Beautiful binding - from House of Illustration giftshop

I thought it was particularly interesting how animal themes and characters are juxtaposed with words, as they are unable to understand our language. Places such as 'the wild', and even the thoughts, intellect and feelings of animals still remain oddly unknown and unattainable to us. I feel if I should write then I could consider writing with animals in mind, as books such as 'The Bees' exist to be purely adult literature.

In terms of illustrations I liked, I particularly enjoyed William Stobb's for 'Kashtanka - Chekhov for Children'. I would also be interested in reading Garnett's 'A Man in the Zoo' for content. 

Funnily enough, a trip to the gift shop presented to me further illustrations that I adore. These are in the form of the National Railway Museum's 'Travel England' posters, which had been used on the covers of a range of BL books. The illustrations shared vivid and colour qualities with those that I saw at the Ladybird exhibition, but carry a concept relating to place and location, (albeit advertising). I will start researching these images, and definitely refer to them in my next project.

So, two highly inspiring exhibitions down, and two exceedingly brilliant gift shops visited. That isn't bad for a few hours work out in London! I'm taking away ideas to further my work exploring the relationship between image and text, as well as having learnt more about book illustration as a whole. What's next for me? To just keep drawing and keep writing! 

Day Trip - The National Centre of Craft and Design

The national centre for craft and design, located in Sleaford (in Lincolnshire for all those wait-there's-an-England-out-of-London?! types) is quite the hidden East Midlands gem.  I say hidden, as it only just recently came up on my radar, but it's link with the crafts council and £9 day return ticket to Nottingham makes it a new future firm favourite

The principle exhibition I came to see was the craft's council 'Space Craft' - though the whole building was full of inspiration. From the rooftop viewing platform to the ground floor design and gift shop (essentially the new Tate Modern!), I collected a whole load of photos, drawings notes. I'd probably be leaving with something from the shop too if I wasn't so far into my overdraft...

---------

Object a Day

The staircase is even a fine thing, with its 'Window Collection' - showcasing Helen Pailing's 'Object a day' installation, featuring lots of fun little material experiments. Like characters or creatures, they have a narrative to them, particularly as the the materials used have been 'found, scavenged, borrowed, purloined or recycled'

Helen Pailing - Object a day

I particularly liked the way the installation used light and space, creating a subjective sense of scales to the works. These could be domestic fish tanks, or on an aquarium scale. The presentation was colour coded - which I can aids the viewer to appreciate the designed nature of these experiments. Though still the greatly varied forms and materials still praise the beauty of material play and undesigned, seemingly functionless  objects. 

Colour coordinated 'object a day' display

It reminded me of the the 'material wall' of my foundation course, which became a dumping ground for unwanted samples, transforming them into inspiration for future years. 

Look at all the lovely creatures!

More about the collection, which 'possesses it's own rich tapestry of meanings and possible narratives' - can be found on her website at www.helenpailing.wordpress.com

------

  

Lesser known architecture

This exhibition was the showcase for Theo Simpsons's ongoing research project that celebrates the forgotten icons of British architecture. As photography exhibitions go, I particularly liked the curation and coherent styling of the images. 

Lesser known architecture - Theo Simpson

The concept and content is simple, the real beauty to this display was the way it was presented. Each framed image stands alone, with no context or title. These exist in the accompanying guide, which uses alphabetical ordering, and contact sheet style images in clear correlation to text to make access to information really easy. This allows the images to speak for themselves at immediate glance, making them more powerful, as the viewer is swayed by notions of function, location and identity.

Along with great curation inspiration, I also learnt something new - that London had a mail rail in the early 20th century. With it's relevance to culture, society and history, it's all hardly 'lesser' architecture, I'm glad someone's putting it on a pedestal.

------------

Space Craft

This exhibition brings together two disciplines; craft and architecture, considering the relationship between them by presenting work by makers inspired by architecture and by architects that are deeply connected to making. I feel the term 'spatial' connects the two together well, playing on senses and scale. The exhibition quotes Edward de Waal on the subject, who said that when a pot is thrown 'you're making a volume in a very short space of time; you're creating an internal space.' 

As with the previous display, I was really taken by the curation - more specifically the exhibition design - in the form of upright cardboard tubes laid out in a manner to change the function of the space in which these objects sat. More specifically, making it impossible to enter. Rather than solid walls or railings, as motifs of architecture, by using cardboard objects to create an abstract forms of barrier, the exhibition design mirrored the concept and reason behind the display. These tubes came in a variety of shapes and colour detailing, relating more to a craft or making I feel than architecture, playing on the idea of batch and bespoke production.

Space craft Exhibition design

I also had a personal connection with these forms - as they relate to a 3D piece of work I recently made, aptly named 'peg board'. I designed it in order to 'draw in 3D' - making my illustrations and interpretations spatial. Of the many unexpected and pleasantly surprising outcomes, one was that it looked like an architectural scale model, which is why I feel it links to this exhibition design. It therefore could be seen a map, which this space has turned into a reality. I like the way maps offer a varied perspective, so what looks I 'drew' (using elastic bands) looked different at different angles, had different shadows, presented different restrictions in space etc. As I feel this large scale installation version does. I also liked the idea of small changes, and traces being tracked, which relates to the relationship between time and space (perhaps how maps vary). It quite interesting to consider what it would mean to "draw spaces". 

Of the high quality on offer, the individual displays which caught my imagination best were ones which came in a form or used a process that I felt familiar with and interested by. Ute Decker's interesting and inspired jewellery which played on themes of scale and function gives me hope that I could potentially translate my practice into body adornments (I've had many unsuccessful attempts so far.) 'Articulation' is a necklace which has been designed to enable the wearer to play and display it in different compositions on the body. 'In the praise of shadows' describe a set of earring which invite curiosity, playing with scale and light. They pay 'homage to Tanizaki's Classic essay on the aesthetics of shadows in Japanese architecture' - which has gone straight on my research list.

The FleaFollyArchitects' work was perhaps my favourite of the exhibition, I'd definitely describe it as being the most conceptual. It is a shame the actual 'Grimm City' wasn't present, the project was instead demonstrated with a film and a book. The latter cunningly titled 'Grimm city: an architectural fairytale', due to the project being inspired by the Brothers Grimm. The project saw a 'miniature universe' being hand-crafted, like a story-telling architectural model 'translating the Grimm characters into an elaborate cityscape.' 

Stills from the video. Watch it here: https://vimeo.com/102012309

FleaFollyArchitects is a 'spatial storyteller using narrative to invent unique architectural propositions'. The studio describes itself as 'crossing the fields of architecture, design, craft and contemporary art' and highlights 'the importance of making by hands to create original and often surreal observations.' This all obviously greatly interests me as I feel my work crosses the boundaries between art, craft and design. 

The presentation of a video (showing their final outcome) and a published book also resonates strongly with the way I wish to start presenting my work. As a commission piece (as noted in the video), this style of conceptual design is one in which I wish to work towards within my own creative career. With intentions to write more about my work, the fairy-tale style of the book was very interesting. This is maybe more engaging and conceptual than an essay or report (being short stories), and also featured 'plates' (black and white photographs with poetic text underneath). Rather than being a report on the process of design, it explains specific visual elements of it in relationship to the inspiring concept of the Brother Grimm tales. So starting with the end outcome, and explaining backwards, rather than in a chronological progression (a strong contrast to this blogpost huh.)

The pleasantly familiar yet colourfully striking work of Anton Alvarez was a great companion for the new-to-me range of designers and crafters. Alvarez's thread wrapping machine is potentially one of my greatest inspirations - and I have made the most of every opportunity presented to see the work which he has created with it. Alvarez's current practise 'focuses on the design of systems and the creations of tools and processes for production on a domestic and architectural scale'. The piece on display here was an arch, which perhaps isn't quite as loveable as the little stool that I saw on display at Libby Sellars last year (not with such a little price tag unfortunately.) Though it is interesting to the diversity of the outcomes this process can make - in terms of scale, form, colour and function. 

The ceramics of Adam Furman were definitely of a medium that I have no interest in pursuing (clay is not my friend). However I found the reference to 3D manufacturing processes, and the fun quirky sculpture-esque titles he had given his formed outcomes interesting. (Think memetotem, kitschpot and scrollascaper - spellcheck loves them...) I suppose the real draw of my attention was the fact that he had developed these, as the well as the culminating piece 'Identity Parade', as part of a residency for the Design Museum in 2013, which is a position I would love to find myself in. 

Jewellery: Ute Decker. Ceramics: Adam Furman. Wooden furniture: Simon Jones

Finally, the work of Simon Jones in the form of space saving self-assembly furniture sparked interest in me as I feel my project and practise connects quite strongly to tools, and toys. I'm interested in the functions of these objects; their interactive properties and the fact they directly benefit human capabilities. Toys particularly interest me, as I feel they are tools for developing the brain, both intellectually and creatively. 

This got me thinking about how self-assembly furniture is like a toy for adults. It's problem-solving, engaging, and often comes with wordless instructions. These instead rely on symbols and diagrams for construction, in the same way Lego and K-Nex often did, which rely on some kind of Semiotic understanding. I'm quite drawn to the term 'construction', as I feel this relates to me drawing practise. There is also a novel approach in the fact that toys and tools are to be re-interpreted. You can imagine the fun things you could create if you assembled IKEA furniture incorrectly (though you might need some extra nails...) 

To conclude and reflect upon the exhibition Space Craft, I certainly gained a lot of inspiration and further research sources to take forward with this current project. As an opportunity for 'Personal Exploration', it's a large build up for what I see myself taking forward next year. I've realised this year that I like to use my creative process to investigate things, as if using design to research. So I have quite a conceptual process, (ideally) leading to a well designed outcome. I feel the works exhibited are excellent examples of this. All in all I need to make sure what I'm doing is fun and interesting, so that I can enjoy it and hopefully what I do will get featured in similar future exhibitions. 

-------------------

Kate Bajic: Lichenology

This exhibition focused on one specific designer/maker, Bajic, presenting examples of her material research, design process and final outcomes. As a jeweller, I particularly liked her use of concept, linking to the biological traits of Lichens, as well as her material research, similar to scientific experiments.  

The concept behind the final pieces was explained through writing, though the brooches were definitely beautiful and interesting objects themselves. For the brooch 'Xanthoparmella semi - viridis' (vagrant lichen), the physical form of the Lichen has inspired the design as well as how it's used in research being symbolised. In this way I feel like this pieces could be used educationally. I also feel this dual function of displaying physical and symbolising information links these pieces to maps. 

As I enjoy learning about Bajic's design process, it's also important to notes that her work is as much about being product to sell as well as display in an exhibition. This is a way of working which I find difficult to imagine myself doing, however obviously I really enjoy her work. One of the pieces on display, the 'Flourish Brooch', is explained to be a collaborative piece, designed to be part of an American exhibition. This is a process I would enjoy, though it is nice the thought of having my own range of well designed objects which I enjoy to make and sell (for hopefully quite a lot of money) alongside this statement work. The reason I find this hard to desire is because I feel like design and craft are two markets which can be very wasteful, exhausting and saturated with rubbish. I'd really need to feel like what I was doing was good and important, therefore I see myself aiming more towards the conceptual-product-displayed-to-inspire market, rather than the manufactured-to-own.

Though in saying that I feel like Bajic has got it right. I feel like what she is doing is original and inspired, due to her consideration to concept and extensive material experimentation.  

------------------

Closing Thoughts

I will accompany my concluding thoughts on my project that I've developed today with an image of the gift shop (one of the good ones!) . I suppose the question is 'Is this the dream?' Seemingly successful graduates of my course have their work here, as do designers that inspired me to choose the course I have, such a Donna Wilson. I always wanted to make work that was adored, and celebrated, though I'm now starting to question whether I really want my things to be owned, or more considered inspiring and referenced in future art/craft/design projects. Beautiful and interesting is the key, which has to come through initial concept as well as process of making (particularly see Anton Alvarez for the latter.) I'm strong at exploring the former, though I still feel like I need to refine the latter, which I feel like I am with this project, and by considering 'drawing in 3D'. Understanding my end function is also a big leap forward, and I've realised I am really keen for what I do to be interactive and engaging. I feel like I've gained a lot through really evaluating and reflecting upon previous projects, as well as discover new work that inspires me and presented in a way that I aspire to. Which I would say describes pretty much everything I saw today to an extent.

To conclude on my day out at National Centre of Craft and Design; I had a lot of fun. I think that's the most important thing right now, having fun with my work and doing what I want. I know I want to return again soon once the current exhibitions have rolled over. Hopefully anyone else who gets the chance and needs/wants/enjoys some inspiration will do too.  

The Scottish National Portrait Gallery

'History'

I was originally drawn to go to this gallery because of it's heavily advertised and rather disappointingly small exhibition considering changing attitudes to female body shape within art and design. I feel this could have been further pushed, however It was a collaborative show with the arts collage here so there is merit to be had there.

Lace jackets demonstrating changing size of women 

Still, silver linings. I very much benefitted from visiting the 'Ponte City' exhibit, an installation presenting two artists study into a socially and structurally troubled high-rise housing complex in Johannesburg.

Here are some notes I made touring (for personal recollection) 

Ponte city - recording location one place

Repeated views

Many windows

Many lift encounters

The beauty in repetition - studying people

Presentation thought - long table of books like zines - images words. One big box with picture of skyrise. Layers of paper like the layers of floors

'Visual essays'

Use of photography as powerful medium

I really enjoyed the spatial presence of this exhibit, bits of photographs and collage were strewn across the room. It wasn't like each item was separate, they all merged into one, meaning their presence was greater. The one tying elegant example of coherent structure came in the form of the series of visual essays (each an A5 booklet, placed  in sequence out on a long white table). I feel the presence of these well formatted items enhanced the fine art surrounding it, and vice versa. It all brought the focus back to the fact that this is an important social study, whether conducted by sociologist  or artist. 

Also lunch was very satisfying, and the neo-gothic building is a beautiful thing (as most Edinburgh buildings seem to be!). 

Mapping the City - Exhibition Review

Mapping the city - alternative cartographic representations by artists of their cities. - Somerst House

Barcelona, 2013, Sixe Paredes

I knew I had to see this exhibition as my drawing often gets described as looking 'map like'. It's the relationship with a location, reliance on symbols and scale that interests me. Also the idea of mapping something 'unmappable'.

Alessandria by day, 2014, 108

The exhibition, featuring 50 different artists, showed a wide variety of interpretations. Some spoke to me, others didn't. The similarities struck with street art and graffetti was most likely the cause of this, it's easy to deem something garish. However it's this youthful edge and approach which re-ignited my interest in cartography, just from even seeing the poster for the show.

Interburden, 2014, Boris Tellegen

The few pictured here were some of my favourites (also circled the name Chu, Buenos Aires Caos and Shantell Martin's bicycle accidents series - for personal future reference.) I feel there is a simplicity to their abstraction. No use of words, obvious landmarks or even architecture. Yet each hold much information and are beautiful things to look at.

Beautiful and Interesting. The perfect nothing. 

Tate Britain and Tate Modern

In light of my recent acquisition of a Tate Membership (an xmas present which I have surprisingly never received before), I felt very excited and determined to visit both London galleries as soon as possible. So the second day of the new year it is! (A necessity as I have to hot-step it back up to Notts and several exhibitions finish this Winter.) 

Tate Modern viewed from Millenium Bridge

One thing I love about Tate is their offering of regular late-opening hours, suitable for artsy pre-dinner dates, after school refresher and/or late night pre-bar solo outings. (Tonight fits into that final category if anyone was interested.) But still, Tate is Tate. I've been many times to see the permanent collections, and keep coming back for their well-curated dynamic range of temporary exhibitions. Which my shiny new card gives me free entry to... 

Tate Britain Rotunda

One motivator in particular to this visit was the soon-ending Turner exhibition (which you can always tell by the ticket queue.) Despite being mad busy, I greatly appreciated getting to see this show. I had not planned on seeing the large London Turner/ Constable (at the RA) shows when they were announced last year, due to the amount of times I've seen and studied their work. However this exhibition proved to me that I have changed (hopefully improved) my tastes and thoughts critically and culturally. So I had a different experience viewing the work as I might have done a few years ago.

For the full review click here (link to come)

Gaining entry to the gallery tailored  members rooms felt pretty special in these spectacular buildings. Unfortunately, due to choosing to visit on a day the world and his wife seem to be off work, both were horrendously busy. I look forward to future visits on a quiet weekday daytime. The Tate Britain rooms overlook the recently renovated Rotunda, which makes a stunningly opulent yet tranquil space. The Modern's channel the modernist sleek vibe, with stunning views across the Thames to St.Pauls. There also seemed access to a balcony, but it was far too cold and windy to investigate. I'm glad to know I can come back on a more pleasant day and hopefully do some drawing. 

Tate Modern members room

In all this appreciation of Art and Architecture, inside and outside the walls of these great institutions, I feel quite nostalgic in leaving London. 

(Though considering the hike in rail prices and the amount I spend on drinks I'm quite glad to be heading back to pound-a-pint Nottingham, even if only temporarily.) 

Knitwear: Chanel to Westwood - Exhibition review

With next season's knitwear proving a bit hit at the recent London Fashion Week, 'Knitwear; Chanel to Westwood' displays a concise yet informative history of the prominence of the textile, showing it's rise from kitsch housewife garment to statement-shouting catwalk-construction (and a lot of things in-between.)

With stunning architecture and  regularly changing high profile exhibitions, The Fashion and Textiles Museum does well to promote the importance and influence of design to a diverse audience. Young and old, first-time and returning; visitors come in a range of sizes but all with one essential linking thread. That is an appreciation for fashion and fabrics, whether that means loving it or just understanding how large and significant of an industry it is. 

The exhibition is curated to show the progression and changing styles of Knitwear through the 20th century, up to the current day. From the knitted swimming costumes of the post WWI 'sportives' and the recycled garments of Make do and Mend initiative, up to the fashion rebels leading us into the new century, the displays are informative and cover much ground within knitwear's contextual history.

I personally very much enjoyed the

'Artistic Afternoons' section depicting luxe loose clothing from the art deco 30's. The garments feature "metallic yarns, deco colouring and exotic details", all presented in a way to accentuate their simple yet elegant style. I was drawn to the juxtaposition of weighty colour blocks against intricate pattern.

I was also drawn to the 1940's american knits, with their ultra glamorous and luxe quality. Featuring smart tailoring and embellishment, they contrasted strongly to the prudent war-time and gaudy folk inspired garments (though I will still always have an appreciation for Fair Isle Knits!) 

One element of the exhibition which linked the swiftly changing and vastly different eras was the display of fashion photography. From vintage family photos to fashion shoot, this medium truly demonstrates the versatility of the image. Whether the image depicts a kitsch happy housewife or a prim and proper model, they all ooze a sense of glamour, being well dressed and styled. One can happily state that Knitwear is safe fashion, and Jerry Hall's photo shoot for Vogue in 1975 proves it can be dam sexy too.

Uni-sex outfit by Comme des Garcons

Examples from big name contemporary designers take prominence in the latter part of the exhibition. Pieces by Vivienne Westwood, Zandra Rhodes and Julien MacDonald line the walls, each with high cultural significance and stylistic factor. Pushing boundaries with processes and materials to make innovative looks is a clear theme within modern fashion

I made an illustration of a MacDonald top on which he layered transparent yellow acrylic on top of knit in an exciting manner.

Visionary Knitwear, a separate part of the main exhibition, displayed designs which reinvented the concept of knitwear. Many of the garments featured came from graduate collections, as they are unafraid of bending and breaking rules, similar to their Haute Couture counterparts.

I particularly liked the fact that a design graduate from my own university (Rory Longdon) was featured next to a Julian MacDonald number. The designs themselves were exquisite, and this style of curation goes to support the notion that current and future knitwear design can still do innovative fresh things, still unseen and yet done by the big names on the catwalk.  

Knitwear has done itself a favour by developing a stigma of being traditional and kitsch as it sparks more and more radical design. Hopefully this transfers to highstreet with more definition, to give push knitting further out of the craft category and more into that of high end design. 

I feel this exhibition is a must see for anyone that knits, that enjoys the history of fashion design, or even just appreciates beautiful clothes.

And of course, I visited both the gift shop and the Teapod café, both of which I'd recommend too!