Spoiler Alert! Alexander McQueen: Savage Beauty

Here at the Ministry we have written many an exhibition review in our time. But never one we thought we needed to start with a #spoileralert. If you are planning on going to see Alexander McQueen at the V&A, don't read this post. In fact, if I were you I wouldn't read any reviews, let alone watch that Tinie Tempah tour. The exhibition is an immersive experience unlike anything we've seen before - so you'll want to experience it for yourself with fresh eyes. Although if you are in fact going to try and see it GET YOUR TICKETS ASAP! (Unless you are an MA member then you can of course just rock up). Now that you've been adequately warned, we can move on to our thoughts on #McQueen...

Because I was good and hadn't read any reviews, I didn't have any idea of what to expect. When I first walked into the exhibition, it didn't really seem that special. An industrial looking room, with some mannequins in McQueen clothes. McQueen took inspiration from London, McQueen was a visionary, McQueen had unique lines - yes yes. But when I strolled into the next space, I almost started crying. The floor to ceiling antique mirrors,the towering mannequins in their dark crow-like masks, the evocative soundtrack. This isn't an exhibition...its a journey into the mind of Alexander McQueen.

I think really the best way to think about Savage Beauty is it's not really like an art gallery at all, it's an immersive experience. I mean, I certainly can't imagine any historical exhibition with music that loud, lights that flashy, and labels that tiny, and not being absolutely slammed for it. On that note, the text panels are actually incredibly hard to read - in one room the gilded words were so difficult to read I watched a number of people in front just shrug and walk away. In the next room, one main panel actually used the words 'avatistic', 'fetishistic' and 'dialectical'  - at least two in the same sentence. I can't help but think how many accessibility guidelines are being ignored.

But don't be confused, the exhibition is AMAZING! And that is it's purpose- to overwhelm and amaze, to be an experience, in the style of McQueen. Each room is its own environment, inspired by the collections. Whether its a futuristic cabinet or curiosities or a low, darkly-lit cave evoking the ancient past, the designers have made the intention beyond the clothes into a lived experience.

Something I must say I hadn't quite expected was the diversity of people there with me. Of course it's a huge blockbuster show so why wouldn't a huge range audiences come along. But actually, everyone seemed to be engaging with the subject matter. I heard people pointing out different pieces they were familiar with - isn't that Lady Gaga's dress? I know that headdress! Did you see the clam shell blouse? It's a testament to McQueen's pervasive influence, even for those of us who aren't particularly high-fashion conscious.

What more can I say really - Savage Beauty is something that you have to experience for yourself. It's not an art exhibition, it's art in itself. A truly fitting tribute to McQueen, even if they had to break some of our museum rules to get there.

'Always accentuate the head and the feet' - Isabella Blow:Fashion Galore at Somerset House

Isabella Blow at Somerset House proves to be an exciting delve into the wardrobe of one of the most influential fashionistas of the 90’s and 00’s. Showcasing the talents of much loved British designer:  Alexander McQueen, Phillip Treacy and Hussain Chalaylan Isabella Blow: Fashion Galore is an exploration of Isabella’s life in the spotlight through her costumes.

Isabella Blow and Alexander McQueen

But who was Isabella Blow? Throughout the exhibition it’s hard to get to past the  and her outer image. A daughter of British aristocracy, Anna Wintour’s assistant at Vogue in the 80’s and fashion director for Sunday Times Style and Tatler are common facts  on Isabella, but the depths of her personality are left to be interpreted from her pink scrawl on her desk notes exhibited. With her suicide only six years ago perhaps Blow behind the fanciful hats and outfits is still too raw to explore. Especially with Daphne Guinness a close friend, now owns Blow’s incredible collection of clothes, shoes and hats. The exhibition at Somerset House explores Blow’s life topically, how the gossip magazines and the fashion world saw her – a muse, a talent spotter, personality and visionary, Isabella Blow: Fashion Galore Shows the dramatic legacy of her life in the hearts and minds of British Fashion. 

Entering the exhibition and passing through black heavy velvet curtains visitors are greeted with the eerie shadow of Isabella herself, projected from one of her hats on a stand it provides a staunch reminder that Isabella was hiding behind her costumes. What is most notable about this exhibition is that the late Alexander McQueen and the royal’s favourite hatter Phillip Treacy feature heavily. Their relationship with Isabella began when she bought their whole graduate Masters collections from Central Saint Martins and the Royal College of Art respectively. Giving them a space in her basement to explore their work Blow became their muse, their friend and their connection.

The exhibition reflects her influence on the pair dramatically. The first few rooms are dictated by their responses to Isabella Blow and her eccentric style showing the visitors the McQueen Dante A/W 1996 Collection that he dedicated to her. With dramatic exhibition design the space feels foreboding and you instantly feel that a tragic loss has occurred. 

With life installations by acclaimed set designer Shona Heath it’s upstairs where the really exciting way to exhibit a fashion exhibition come into play. The fifth room titled ‘'Isabella at work/Head and Feet'’ is my favourite space. Mannequin’s legs and arms are attached to boxes where her shoes are adorned; among the manolas is a pair of unmatching shoes that Andy Warhol loved of her. And boxes containing her rolodex from Tatler with her standard pink scrawl.

The exhibition design is ingenious and even more thrilling when it comes to the ‘shop windows’ here sits my favourite piece  The Ship hat. Sits upon the 'waterline' adorning the mannequins head and body underwater and accompanied by 'the lady gaga' lobster (Blow wore it first) 'The Ship' was directly influenced by Blow for Treacy, pondering 18th Century French engravings Blow had become fascinated with French women wearing miniature model ships in their hair to commemorate a naval win against the English. Treacy made a modern day equivalent with feathers black satin and the piece is as shockingly effective.  

Perhaps the real emotion of the show comes in the last room where Treacy and McQueen collaborate for McQueen’s S/S 2008 collection dedicating their work to her after her death. Inspired by Isabella the collection invokes her legacy and importance and how she should never be forgotten with one of the most important wardrobes of the late 20th early 21st Century. 

Isabella Blow:Fashion Galore is a must see. At Somerset House until 2nd March £12.50, £10 concessions, £6.25 on Mondays

#Museumstyle

Here at The Ministry of Curiosity we aim to break down the stereotypes of those who work and love Museums, we're not whip wielding creeper loners stroking objects in damp basements. We're sociable, fun and actually like to see daylight. However there is one stereotype that unfortunately we can't rebuff... 

We're a bit scruffy. 

 As a Collections Care worker I've tried to keep myself preened at work but it never lasts long! After work outings are normally accompanied by an attempt to change my clothes on the bus and using wet wipes to mask the smell of collections. How do I try to look, well... tidy and why do we get so scruffy? 

DUST

A big myth is that museums are dusty old places but its the stores where the dust gathers! Clambering to find objects or move those that haven't been on display for years often means fighting a thin layer of the stuff, after a day searching you end up covered in the debris. It's pretty grim luckily wearing old clothes, jeans or even standard issue fleeces can make sure your only covered in a very very thin layer by the end of the day.

HEAVY LIFTING

Moving objects around all day requires strong arms and a pair of steel toe capped boots. Now steelies aren't my footwear of choice and so I often add frilly socks in an attempt to make them look a little less builder more museum lover. 

HAZARDS 

Museums are full of hazards, what you see on display is often the most stable and safe objects, however in the stores I like to play hazards bingo. I've seen it all from the notorious asbestos to deteriorating cellulose nitrate and litre bottles of ammonia. There is only one way to remain safe, wearing a hazmat! 

Tyvek is the outfit of choice for so many museum workers, the suits can be uncomfortable, but I like to think of them as blank canvas', I'm yet to cover mine in diamante's and feather in an aim to infuriate conservation.

GLOVES

Gloves are a key part of any museum workers outfit coming in a range of sizes and colours. Cotton gloves are out and nitrile gloves are in this season ladies and gents and an absolute must when working with objects! Unfortunately the plastic blue pairs look less professional (and less like Minnie Mouse) than white cotton gloves.

Away from our apologetic look in the Stores we do attempt to look our best, where are we then? In other museums. Looking tidy and taking #museumselfies!

What do you wear when working with the collection? Let us know @curiositytweet with the #museumstyle

Playing dress-up at the Bath Fashion Museum

Much like wealthy of yesteryear, when the Ministry need a weekend away we put the spa town of Bath at the top of our list. Sadly unlike the highest classes of Georgian Society, we were not there for the season nor to spend entire days in the hot baths (well…not the whole day anyway). But when the Ministry travel you can be sure that museum visiting is still high on the agenda. So, it may not be a London museum but today’s post is about our wonderful neighbour to the West, the Bath Fashion Museum.

Ok I'll admit I liked this pretty dress

I am not really one for fashion or textile museums. Doesn’t really interest me, I find the interpretation generally pretty boring and staid. I’ve been to see the new fashion galleries at the V&A and found them well, a bit blah. Mannequins in period-era scenes. The development of the corset-induced profile. Tiny shoes. Whatever.

The Bath Fashion Museum knows it is essentially a museum of pretty dresses and you know what? They are ok with that. The Museum is currently showing an exhibition called ’50 Fabulous Frocks’ to celebrate the decades of fashion represented in their collection, and it’s one enormous room full of, you guessed it, mannequins in dresses. What really shone was the audio tour. Each dress was accompanied with a short audio clip which essentially ran: When/where/ how the dress was made in two sentences and another brief phrase or two about why the dress is interesting. Amazing! It shouldn’t be this novel, but the approach was so refreshing. Tell me what I need to know and something I might like to know in 30 seconds so I can actually process it. Genius! The commentary wasn’t dumbed down, it was just succinct and exactly what a non-specialist wanted to hear.

Getting into the spirit of things

Now I couldn’t review this museum without telling you they have ADULT DRESS-UP! You heard me, adult dress-up. A whole room dedicated to ‘Dress Like a Victorian’ with corsets, hoop skirts, top hats, bonnets, coats and dresses all for real-life adults. Hear this all you other museums who think dressing up is only for children, you are missing out on a hugely key audience. Adults want to have fun too! And have fun I did. Possibly too much fun.

Just when I thought I couldn't like the Fashion Museum any more, I came across their ‘Behind the Scenes’ displays. Essentially they have converted their store rooms into open store displays organized by decades. Not only do the public get to have more access to the collections, but you get to physically see how delicate textile collections are stored. Plus (and this cannot be emphasized enough) it saves expensive space. Open storage is something that I think really adds so much to a visitors experience and it was great to see how it was done here.

Impeccable open stores

Essentially the Bath Fashion Museum took a die-hard cynic of textile museums (moi) and turned me into a twirling 10 year old, seduced by adult-size hoop skirts and a comprehensive audio tour. It may not be London, but the museums in Bath are on to something. 

The Fashion Museum at the Assembly Halls: Admission fees apply (unless you are a Museums Association member!) http://www.museumofcostume.co.uk/ 

Take me to the Ball! Ballgowns:British Glamour Since 1950.

I have always loved the V and A’s fashion exhibitions from Anna Piaggi’s crazy costumes in Fashion-ology to Kylie’s golden hotpants (Kylie-  The Exhibition)  they have never failed to woo me.  Ballgowns: British Glamour since 1950 was yet another example of how well  the Victoria and Albert Museum shows off  their fantastic costume collection. The exhibition features sixty  beautiful pieces of  clothing ranging from the truly iconic such as Lady Diana’s ‘Elvis’ dress designed by Catherine Walker,  to the innovative ‘latex’ dress by Atsuko Kudo alongside a selection of shoes, and bags to fit the variety of occasions.

Ballgowns  highlights a key progression in the history of fashion from 1950’s and documents the change from a debuntante private ball in the 1950’s to the very public catwalk or red carpet today. However individuality, extravagance,  and spectcle  remain the core of every design, whilst every design stands along in its beauty the sheer practicalities of making some pieces are inspiring, such as the silver leather number by Gareth Pugh and the feather dress by Alexander McQueen, but unfortunately I have no skills in painting leather or making a skirt of feathers so I doubt I will be seen in any similar dresses soon!

The beauty of the  ballgowns speak for themselves but the exhibition design over two floors makes you feel like part of the occasion, not only  are you celebrating the re opening of the fashion galleries, or the celebration of British fashion designers since 1950, you are joining the dresses, joining the party and picking out what you would wear to the, ball, royal event, or catwalk you feel glamourous and in awe of the courture. The mannequins may be faceless but the pieces and layout bring character, the labels detailing, where it was worn and who by become an afterthought to the beauty of the dresses. Even those innovative designs that sometimes become ugly next to  traditional ballgowns oozed glamour. 

The only disappointing element of this exhibition was the gift shop, where unfortunately I wasn't able to buy a dress like the ones displayed, instead I settled on dreaming about the Elizabeth Emanuel dress worn by Elizabeth Hurley in the Estee Lauder Pleasures campaign of 1999, and hoping to find a swing in a English country garden. 

Ballgowns: British Glamour Since 1950 is open until 6th January 2013. Tickets cost £11.50 and concessions apply.