Coco Chanel 31 Rue Cambord, Paris

October 31, 2015 Mary Brown

31 Rue Cambord is where Chanel entertained and worked. It is a 4 storey building. In Chanel's time the 1st floor was a showroom, the 2nd floor for haute couture dressing, 3rd floor her apartment for entertaining only (she had a permanent apartment at the Ritz for sleeping) and her workrooms were on the 4th floor.

This is the renowned faceted mirrored spiral staicase that Chanel designed. It connected all 4 floors. Supposedly she could stand in one particular spot and see what was happening on all floors!

Coco Chanel 31 rue Cambord, Paris. An embroidered gown from a 2015 Chanel collection.

Coco Chanel 31 rue Cambord, Paris. A detail of an embroidered gown from a 2015 Chanel collection.

I asked for permission to photograph this gown because 31 Rue Cambord is 'hallowed ground' - I could happily 'snap away' in the Galeries Lafayette, but it would not be at all appropriate in this couture showroom. Obviously permission was granted, but it was for this dress only!

Coco Chanel 31 rue Cambord, Paris. A beautiful ensemble from a 2015 Chanel collection.

Of course there is nothing to stop you from photographing gorgeous garments that are in the windows! But you do have to cope with the reflections in the windows.

Galeries Lafayette, Paris

October 29, 2015 Mary Brown

This over 100 year old department store in Paris has the most awesome (in the true sense of the word!) glass dome. It is so renowned but I will feature it on this post as well as a few of the pret-a-porter designer clothes on the designer floor that are 'beyond my reach', but I would wear them if I could! And embroidered clothes will always get a 'look-in' with me.

Galeries Lafayette, Paris. Mary Katrantzou embroidered top.

Galeries Lafayette, Paris. Mary Katrantzou skirt. An acrylic material has been manipulated for the border of the skirt.

Galeries Lafayette, Paris. Mary Katrantzou 'duffle' coat!

Galeries Lafayette, Paris. Acne collection 2015

Galeries Lafayette, Paris. Delpozo coat 2015

Galeries Lafayette, Paris. Detail of embroidery on the Delpozo coat 2015

More embroidery detail shots on another Delpozo 2015 garment below.

La Villa Savoye, Poissy, France

October 28, 2015 Mary Brown

The Villa Savoye was designed by the very renowned Le Corbusier and his cousin Pierre Jeanneret in 1928. We have previously visited one of their villas in Paris. This villa is a short journey outside of Paris. It was the 'weekender' for the Savoye family. In designing this home (they were given absolute 'carte blanche' by the Savoyes) Le Corbusier applied his five points for a new architecture - the house would be built on piles (so that the house would appear to 'float' in the landscape). It would have to have a 'sky garden', open plan living, free facade (that is no ornamentation - and it had to be WHITE) and strip windows! I took at least 100 photos inside and outside - I will share only a few of them with you.

La Villa Savoye, Poissy, France. Designed by Le Corbusier and Pierre Jeanneret in 1928

At long last I have arrived at this Villa! We always have such a full programme when we come to Paris, and this trip I had determined that we would travel out to see this villa, before doing anything else in Paris. It had top priority! When you enter the property , you do not see the front entrance to the villa.

This is the front entrance to the villa.

This photo of the circular staircase was taken on the ground floor. It goes up through the house and also descends into a cellar.

There is also a ramp that you can use instead of the circular staircase. This will take you up to the 'sky garden' or solarium - sun baking was considered a healthy pursuit!

The kitchen looks spartan by today's standards, but it was intended to be purely functional.

This open plan living room is vast. I have only photographed it from the centre of the room because they had some very bizarre objects in the room which I wanted to avoid but I have noticed that I was not entirely successful. They were setting up for a function when we arrived - maybe these objects have just been installed for whatever???? I was disappointed though that they have not furnished the villa with the furniture that these two men designed, as has been done in the villa that we visited in Paris. Notice the strip lighting - could be very NOW!

This is the courtyard which opens off the open plan living room. It also extends up to the Savoye's private domain.

This is one of the most photographed bathrooms ever! This is in the Savoye's private domain.

This is the corridor that leads to the son's and the guest's bedroom, plus bathroom.

Issey Miyake, Hanover St Store in London

October 28, 2015 Mary Brown

I have loved Issey Miyake's designs eversince the early 1980s. I started buying Issey Miyake Vogue Designer patterns at that time, andmy mother (she was a superb dressmaker - she used all couture finishes) would make them up. I did make an Issey Miyake jacket myself in 1981 and I still wear it because it is both classic and edgy. To add to these garments (yes, I have kept them), I have acquired 4 Issey Miyake Pleats Pleaz garments on the last 3 trips to the Northern Hemisphere (including this one), and being timeless I will be able to wear them forever. I call this investment buying! They also pack up to nothing when travelling! When I went into the Hanover Store I asked if I could photograph for my blog and they were very happy for me to do so.

Issey Miyake - Hanover Street London 2015

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015

October 27, 2015 Mary Brown

This exhibition opened in October 2015. I was so looking forward to this exhibition and it far exceeded my expectations. The public are allowed to take photographs without flash. In this museum we always have the added advantage of not having to view exhibits behind glass as in the V&A and at the Bath Fashion Museum.

Illustration for wall mural in the Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015 designed by Naomi Kratz

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. These two exhibits are a c1910 afternoon dress and an 1895 collar

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. A detail of the embroidery on the 1910 afternoon dress.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. A 1895 satin collar embroidered with white floss, crystal beads and pastes.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This is a traditional silk embroidered kimino that had been imported by Liberty in the 1920s.

Even the Liberty's sales assistants wore these kiminos to promote their sales in the store!

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. These dresses are mostly from the 1960s and show the influence of the Art Nouveau Revival at the time.

From 1958 to 1960 there were a series of exhibitions on the Art Nouveau period (from 1895 through to WWI). This movement had been dismissed and forgotten after WWI. Liberty saw the potential of referencing their own archives from that period for possible new designs to print for their current textiles. One of their designers, William Poole, redrew a selection of the company's original Art Nouveau patterns, and to contemporise them he repainted them in the vivid Pop colours of the early 1960s. They became known as the 'Lotus' collection. They were sold as dress fabrics. They became popular with British designers in the 1960s.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. The maxi dress in the middle is a late 1960s Colin Glascoe (London designer) dress.

Liberty's were very annoyed that Colin Glascoe never acknowledged that he was using their prints for his designs. He ordered thousands of metres from Liberty. Still goes on today. Very rarely do we see the artistic directors of embroidery ateliers or fabric print designers being acknowledged today - and their studios are design laboratories.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. The 'Swinging Liberty' exhibits. All the fabrics are by Liberty and the garments are designed by young British designers in the 1960s.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This print was designed by Richard Nevill. The dress was made for 'Through the Looking Glass, the most popular fashion shop in Liverpool, UK

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. The prints for these 1970s garments were either designed by Richard Nevill, Susan Collier or Sarah Campbell - all design consultants for Liberty.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This early 1970s dress was designed by Foale and Tuffin. They loved to mix prints and here they have used prints designed by Richard Nevill, Susan Collier an… — Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This early 1970s dress was designed by Foale and Tuffin. They loved to mix prints and here they have used prints designed by Richard Nevill, Susan Collier and Sarah Campbell.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This ensemble was in Foale & Tuffins A/W 1972 Collection. The prints are Richard Nevill's.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. The print is Richard Nevill's.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This is Richard Nevill's print from his landscape range that he designed in 1968. He was inspired by 1930s travel posters.

Liberty in Fashion exhibition at the Fashion & Textile Museum, Bermondsey, London 2015. This print has been borrowed from a tapestry designed by Gunta Stolzl, a Bauhaus student in the 1920s. This was a very popular design for Liberty.

Alke Schmidt's 'Tangled Yarns' exhibition at Cromford Cotton Mill, Matlock UK

October 25, 2015 Mary Brown

Alke's work in this exhibition explores the politics and the morality of the textile industry from the 18th century to the present day. It has been and still is a very exploitative industry. It could have been a very confronting subject for art but the very decorative nature of most of Alke's work probably makes it too palatable for us. The artist gives us many links for us to do our own research on this industry, particularly in the fashion area. I will enter some of the links on this post.

The exhibition has been installed at the now defunct Cromford Cotton Mill at Matlock in Derbyshire.

Cromford Cotton Mill Matlock, Derbyshire UK

Alke Schmidt - 'Stained' - oil and embroidered appliques on an 1840s style printed cotton

A woman in an elegant ball gown is confronted by the women who have been responsible for the creation of this dress - "a US cotton plantation slave, a Lancashire weaving mill worker and a dressmaker". We know that the conditions for slaves in the US were inhumane. According to information given to us at the exhibition, the living conditions of Lancashire mill workers was deplorable and the dressmakers were paid a paltry amount for their labours.

Alke Schmidt - 'Calico Madams' - oil, khadi paper and transfer print on 18th century stile printed cotton.

The 'Calico Women' were English women who dared to wear dresses made from imported Indian printed cotton. Indian printed cotton became so popular that it impacted on the English wool and silk weavers. They ran such a violent campaign against women wearing these 'offending' garments that the government had to ban the import of Indian printed cottons. Why naked female bodies??? Attackers would strip women of their 'offending' garments. They would then burn the garments or throw acid on them.

This is Alke Schmidt's response to the collapse of the Rana Plaza building in Dhaka in 2013. 1138 Bangladeshi workers were killed. Alke has used garments that she sourced in Walthamstow but they could well have been made in Bangladesh. She has also inserted a shalwar kameez, the traditional garment in South East Asia worn by the Bangladeshi garment workers.

Alke Schmidt - Memorial 1138 and Counting

This work is a memorial to the 400 workers who died in two fires in garment factories in Pakistan and Bangladesh. The work was inspired by an image of rows of abandoned sewing machines covered in ash in a small newspaper.

These are some of the links Alke Schmidt has given us on the garment industry today.

www.labourbehindthelabel.org

www.cleanclothes.org

www.fairwear.org

www.measureup.org.uk

www.ethicalfashionforum.com

www.betterfactories.org

A Rule of Tum Burger Shop, Hereford, UK

October 20, 2015 Mary Brown

Our friend Carol in Hereford suggested we go to her sons' friend's Burger Shop for our last dinner with her. She warned me that knives and forks were not used! In case I could not cope she took a fork with her! (As it turned out she needed a fork for her dish but she was provided with a fork.) On seeing the menu I could see that flatware would be a nonsense. It is a limited menu but it has been the best food experience so far on this trip. The address is: 32 Audrey Street, Hereford. They do takeaway as well. They will be opening up a restaurant as well next door in the near future. Food will be 'plated'.

A Rule of Tum Burger Shop 32 Audrey St, Hereford

Philip and I shared the Wigmore Pheasant Burger - this was confit of pheasant with beef patty, bramble ketchup, walnut & chervil mayo, fennel & watercress on a brioche bun. We also had rabbit croquettes (I want to replicate these) with smoked tarragon mayo, cauli cheese croquettes with a hot sauce and rosemary potatoes. All so memorable.

This was Carol's choice - Lentil Burger - this was puy lentils with a soft cheese patty, burnt red pepper chutney, celeriac & yoghurt slaw, roast garlic mayo, ketchup, leaves - Carol asked to have this without the brioche bun - hence the need for a fork! I had a couple of mouthfuls of this delectable dish.

Philip and I had a Spiced Pear Crumble. This was a Black Hole Lane Pear compote with an oat crumble served with an apple and blackberry icecream.

Carol said I had to pay a visit to their loo! This is what I saw!

A Rule of Tum Burger Shop 32 Audrey St, Hereford (their loo!)

A friend of Dorian and Edwin's (the two brothers who own this enterprise) painted these murals for them. I did write down her name on a slip of paper and now that scrap eludes me. The lads have acknowledged her as the creator of the murals in the loo.

Left to right - Alex, Ally, Colin & Edwin (Dorian the chef disappeared). A Rule of Tum Burger Shop 32 Audrey St, Hereford

The Skenfrith Cope

October 20, 2015 Mary Brown

I first saw the Skenfrith Cope in 2006 when I was researching for my book on Gold Embroidery (published in 2007 by Sally Milner Publishing). At that time the glass cabinet that housed the cope was covered by a heavy green cloth to protect it from UV light. My husband, Philip, held the curtain up but it made photographing the work almost impossible (and I only had a manual camera at the time which meant one took very few pictures without knowing if they were going to be at all satisfactory). Before seeing the cope again on this trip, I knew that it had spent considerable time down at the London Restoration Studio, so I knew it was going to be in a better state than in 2006. What did surprise me on entering the Skenfrith Church was seeing the cope in its glass cabinet, minus the heavy curtain! Now with a digital camera I could photograph the embroidery on the cope with gay abandon!

Just a few facts about the cope. It is a pre-Reformation Catholic vestment. It would have been made sometime between 1450-1500. After the Reformation so many of these embroidered vestments were destroyed and those that survived were either taken over to the Continent or they were hidden by Catholic families and clergy in England to be used in clandestine meetings. It is not known where this cope was kept for the 300 years before it was discovered in the 1840s.

The cope is in 3 parts. The cape shape (made of red silk velvet), the orphrey (the band running across the top of the cope when laid out as a semi-circle - it is linen) and the hood (the shield-like shape in the centre at the top of the cope - it is also made of linen). The embroidered figures and flowers on the red velvet were worked off the velvet and when completed, were appliqued onto the velvet. Coloured silk threads and silver-gilt threads have been used for the embroidery. So much of the silk embroidery has disappeared making the saints on the orphrey and the Virgin with the Christ Child on the hood barely recognisable.

The Skenfrith Cope in its glass cabinet in St Bridgets, Skenfrith, Wales in 2015

The Virgin and Christ Child on the top half of the hood on the Skenfrith Cope

The lower half of the hood on the Skenfrith Cope

A saint on the orphrey of the Skenfrith Cope

The Assumption of the Virgin Mary on the velvet of the Skenfrith Cope

Do not mistake the angels on either side of the Virgin Mary for rabbits!

A hybrid' creature on the velvet of the Skenfrith Cope

A Seraphim on the velvet of the Skenfrith Cope

A fleur-de-lys on the velvet of the Skenfrith Cope

Exiting St Bridget's Church at Skenfrith, Wales

Fashion Museum, Bath, UK

October 19, 2015 Mary Brown

Whenever in Bath, a visit to the Fashion Museum is a must. I have spent time in this museum in the past researching in their library and I have also called out many garments from their archives to study closely. Currently (2015) 'Georgians: Dress for Polite Society' is on exhibition. There was a sign up in the exhibition to say that photography without flash was welcomed and that they would appreciate seeing these images on the social media - an enlightened museum!

'Georgians: Dress for Polite Society' exhibition at Bath Museum, UK 2015

How I wish these gowns had not been installed behind glass because I would love to take close-up photographs of the Georgian embroidery.

I particularly love the Georgian Court Mantuas. They were cumbersome and disfiguring but they were great 'canvases' for artistic embroidery.

The Fashion Museum, for many decades, has featured 'Dress of the Year' They show the current 'Dress of the Year', as well as a few from past years.

'Dress of the Year' Bath Fashion Museum - Gareth Pugh's plastic ensemble was Katie Grand's (editor-in-chief of LOVE' magazine) choice for 2014.

Notice the boots - they are are constructed from twisted calico!

'Dress of the Year' Bath Fashion Museum - this gown designed by Sarah Burton for Alexander McQueen was the 'Dress of the Year' in 2011

'Dress of the Year' Bath Fashion Museum - Raf Simon's ensemble for Dior was voted 'Dress of the Year' for 2012

'Dress of the Year' Bath Fashion Museum - Christopher Kane's dress was voted 'Dress of the Year' for 2013

'Dress of the Year' Bath Fashion Museum - Ossie Clerk & Celia Birtwell's ensemble was 'Dress of the Year' in 1969

Simon Jackson Decorative Antiques, Bath, UK

October 19, 2015 Mary Brown

Frauke and Simon Jackson are friends of ours. Both of them are professional restorers and conservators. They have the most beautiful store in London Road in Bath. There are many antique stores on this road, but their's is the most attractive because visual merchandising is of the utmost importance to them. There are 3 levels to explore in the store. They are now specialising in mid-century furniture and decorative art objects. They have a good eye for the unusual. I have my eye on two bedside cabinets!

Frauke Jackson and me outside their Antique Store

Simon Jackson Decorative Antiques and Interiors

Simon Jackson Decorative Antiques & Interiors, Bath UK

Frauke Jackson and Philip in Simon Jackson Decorative Antiques & Interiors, Bath, UK

Selfridges London Oct 2015

October 18, 2015 Mary Brown

Selfridges is my favourite department store in London. The window displays are always spectacular. Once inside I ascend to the designer floor - JUST TO LOOK - and now to photograph for my blog!

Detail of embroidery on a Prada dress 2015

Detail of the print on a Mary Katrantzou dress 2015

I took photos of these windows from the inside.

Olympia le Tan at Marc Jacobs

October 16, 2015 Mary Brown

Mount Street in London is the street of fashion boutiques - one of many. I popped in to Marc Jacobs, one of my favourite designers. When I stepped in I thought I was in a bookshop that carried art & design books. Then on closer inspection I noticed that Olympia Le Tan's embroidered and appliqued books were interspersed with 'real' books (hers are as well - it is just the covers that are embroidered). Then there happened to be Marc Jacobs accessories sitting in with the books.

Olympia Le Tan's embroidered books in the Marc Jacob's store in Mount Street in London

Olympia le Tan's embroidered books at Marc Jacobs in Mount Street, London

Olympia le Tan's embroidered books in Marc Jacobs, London

Hand and Lock, Margaret Street, London

October 15, 2015 Mary Brown

I had an appointment at Hand & Lock (the largest embroidery firm in the UK) while in London. I was their liaison person in Sydney, Australia, in 2007 for an embroidery conference at the Powerhouse Museum in Sydney - also curated an exhibition for the firm at the Powerhouse. I have been approached again to be their liaison person for another embroidery conference to celebrate the firm's 250th anniversary in 2017. There is to be a conference in Sydney, then Chicago and finally London. After the meeting with Alastair McLeod (the chairman), Jessica and Robert, I took numerous photographs for my blog, with their permission of course.

Hand & Lock have work by Jess de Wahls in their windows

A metal thread embroidered sample at Hand & Lock

An metal thread embroidered sample at Hand & Lock

An embroidered garment from a Hand & Lock Collection

A detail of an embroidered garment in a Hand & Lock Collection

Elena Ciarrocchi's entry for the Hand & Lock Prize. She was a prizewinner.

A detail of Elena Ciarrocchi's entry for the Hand & Lock Prize

Poovoo in Finland

October 15, 2015 Mary Brown

Poorvoo is about 50km East of Helsinki. We travelled on a coach to Poovoo. This city has an Old Town which dates back as far as the 13th century. Except for the medieval cathedral, all the buildings are wooden structures, painted in the same colours as the grand buildings in St Petersburg, Russia - blue, golden yellow, delicate pink with white trims.

The Medieval cathedral in the Old Town of Poovoo in Finland

A commercial street in the Old Town of Poovoo in Finland

We had the most delectable and memorable lunch in a restaurant in the Old Town of Poovoo. I ordered pumpkin soup because I wanted something light. It was more than light - it was delicate and frothy with unexpected little textured pieces that were zingy in the mouth. Real designer cuisine. Philip had divine pork belly. So wish I had recorded the name of the restaurant but I have taken photos of these two dishes.

My pumpkin soup in a restaurant in the Old Town of Poovoo

The pork belly dish in the restaurant in the Old Town of Poovoo

My European sojourn in 2015

October 14, 2015 Mary Brown

Helsinki was our first 'port of call'.