London Embroidery School

Central London Embroidery School

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(Flashback) Visiting the Kimono: Kyoto to Catwalk Exhibition

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As a member of the V&A, I try to visit most of the temporary exhibitions they put on in the fine institution that is the Victoria and Albert Museum. At the start of March, they opened their doors on their newest addition ‘Kimono:Kyoto to Catwalk’.

Held in North Court of the building, this exhibition brings a little Asian influence to their corner of the world. The Kimono is a fascinating piece of social history, carrying so much culture and responsibility within its relatively simple folds.

Kosode: From Edo period demonstrating Yuzen dyeing (Cloth tube fitted with a metal tip used to apply a thin ribbon of rice paste, then dyes are brushed within the paste boundaries) 1730-70

I won’t go into all the history as you should be able to make your own discovery of the exhibition and enjoy it fresh yourself, but I will show you a few of my highlights which may stir your interest. For an embroiderer or anyone interested in textiles, the exhibition is full of wonderful examples of hand embroidery and lesser known textile techniques. They draw a lot of attention to them, which was something I had not necessarily expected of the exhibition but was delighted to realise. As the basic form of a kimono is very clean and unfussy, once the structure of the garment has been addressed and the pattern explained there is not very much more to say about the shape. It is the varying and evolving elements of the details displayed on them which holds all the intrigue. Even though this is a fashion exhibition it is the textiles that does the lion’s share of the talking.

Design for a Kimono 1800-50

The historical examples at the start of the exhibition were very strong, the pattern books were a surprise but of course it makes great sense to sell such a garment in this way, with patterns being chosen and customised from a book rather than remade examples. The women of the elite military class could have designs made specifically for them, particularly for special occasions.

Detail from Kimono of a Geisha- a very elaborate example demonstrating the parallels between fashion and the theatre in 18th Century Japan

On the embroidery front, there are many great examples of goldwork and silk floss/ silk shading styles throughout the exhibition. The lion above is quite an extravagant example, taken from the back of the kimono shown in the first image of this blog. Amazingly, the lion is only a very small part of the work on that kimono probably only measuring about 20-25cm high and isn’t even the main centre back motif. However I’m sure you will agree it is an exquisite use of Japanese thread (cotton core wrapped with gold leaf paper).

There are also a few pieces that feature a dying technique called Shibori which you may have heard of. It’s use is using much larger scale and bolder than the examples on the kimonos where it is used to create very small and delicate designs, creating a much more subtle and quietly expensive impression. The technique is quite labour intensive as it require parts of the fabric to be tied off very tightly before dying so they are left in negative as can be seen in the white squares pattern.

Uchikate- Outer Kimono for a young woman featuring Shibori and embroidery 1800-50

When Japan opened up its began trading with western countries such as Holland and Portugal, we can start to see the cultures influences each other, as Japanese kimono makers start to make kimonos from cottons South-east Asia and foreigners eager for everything Japanese started to use Japanese fabrics for their own pieces.

Day Dress: Misses Turner 1876-8

Japanese influenced robe, Victorian Era

Towards the end of the exhibition they turn the attention to more modern applications and influences of the Kimono. This includes pieces from modern fashion houses such as Dior, Commes De Garçons and Alexander Mcqueen. This room brings the exhibition full circle, they also demonstrate the cyclical nature of fashion as you can pick out the elements of kimonos that have influenced that ‘new’ piece.

‘High Voltage Power-Lines’ Yamawaki Toshiko 1956

Evening Dress: also by Yamawaki Toshiko (1956) featuring Obi like bow and scrolling asymmetric designTextile details, couched goldwork and red embroidery imitating kanoko shibori 

While this last room holds many beautiful pieces, the real gems of this exhibition are the historical pieces. Many people will be familiar with what a Kimono is on sight from walking through the Asia exhibits, but this exhibition delves so far into this garment and unpicks the elements of it. The V & A puts on lots of great fashion exhibitions and in London we are spoilt that we have fashion specific exhibitions at all. But as this one puts so much detail into the textiles and processes, it has something special to offer in my opinion.

Alexander McQueen Flagship

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London is very lucky to be able to offer a wealth of great free exhibitions and museums on many subjects. This open to all attitude really helps to keep feeding the minds of our designers and innovaters that one can go out and have your eyes opened to all sorts of  information. One such jem that might be a little lesser known is the top floor of the flagship Alexander McQueen store on Old Bond Street.

They have started to use the stop floor as more of an exhibition type space, sharing insights from the vast archives that the house of McQueen holds. At the moment, the space is dedicated to roses, curated by the Creative Director Sarah Burton.

What we found really special about this space, as an embroiderer in particular is that you can get right up close to the pieces to see the details often lost in show and large scale exhibitions. Something that we found even with very well done exhibitions like Savage Beauty. In addition to this they are sharing a lot of the background research and technical craftsmanship that goes into making a collection and show with this kind of dramatic results. There are development moodboards, fitting notes, embroidery placements onto pattern pieces and draping directed onto the model. There is also a viewing booth with footage from the shows to fully round out the experience and see it in the final context for which it was intended to be consumed.

If you find yourself in the area, it’s definately worth a trip it to see some beautiful things and get some of the background scoop on how these things all come together. The notes and quotes from behind the scenes really give you a sense of being emersed into their world. We are already looking forward

S.E.W’s first Embroidery Exhibition

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Last month, the Society for Embroidered Works held their very first exhibiton dedicated solely to embroidery. The International Contemporary Stitched Art Exhibiton was held in a characterful space in Clerkenwell, the turn out for quite a niche exhibition looked to be pretty good.

‘Despite her strength she remained on guard 1’ 25×21 cm by Christina MacDonald

The exhibition a great cross section of stitched art in its many forms, as you can see from the few photos included here, the range was quite broad so there was a little something to interest everyone.

‘Lady Gaga’ 34×34 cm by Sarah Gwyer

Providing a platform for stitched art is an important step in elevating the stitched art’s status within the artwork as historically it has been downgraded from art and though of more as ‘women’s work’ or ‘home crafts’. Whilst one might argue these terms to be fair, it would be equally fair to say that given the skills and conceptual strenghts of these pieces shown are most certainly ‘art’.

‘A Benediction  from the Old World’ 62×46 cm by Kate Tume

Presenting them in this manner is an important part of S.E.W’s bigger mission to ‘redefine’ the stitched arts to a more apropriate status. If you would like to read more about S.E.W’s mission, have a look at their website.

‘Sisters’ 56x72cm by Bridget Steel-Jessop

Given the level of work on display at this first exhibition, we can’t wait to see what they will present to the art world next year!

‘The girl of the Vale’ 33x30cm by Rowena Liley

New Designers 2019

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As the weather hots up, so does the competition as July also marks the start of New Designers at the Business Design Center in Islington. Showcasing the brightest and best this year’s graduates have to offer, we are delighted to say that we have not just one, but two of our former interns showing at this years show!

Charlotte Pearson

”My final major project, Oh Kingdom Come In The Absence of Evil, is a collection based on the idyllic dream-esque, glossed over perception of the American dream. Inspired by the beauty of run down motels and shop fronts, places once loved for the part they played in the people’s stories that passed through them. Artists such as David Hockney and Edward Hopper also provide influence. All of the pieces have defining tactile, and visual, details which calls for the attention of the viewer.”

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Lauren Stewart

”To ensure a bright future in British manufacturing it is imperative that we connect the designer with the consumer. Stewart’s designs are ethically conscious, with a commitment to local produce that creates a new appreciation for authentic British craftsmanship enabling Lauren Louise Embroidery to create bespoke denim jackets for individual clientele.”

As you can see they have both gone on to produce tremendous work. Follow the links to find our more about them. Well done ladies!

 

Emma Kunz – Visionary Drawings Exhibition Visit

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With this being the first display of Emma Kunz (1892-1963) in the UK, I was initially unsure of what to expect. Born in Switzerland, Kunz had never received a formal art education as well as never having exhibited in her lifetime. She primarily considered herself a healer and researcher of nature, however now she is thought to be a prolific pioneer of spiritual art.
Initially her collection appears to be a technical demonstration of spirographs and abstract structured patterns, with little meaning behind each one. It was quite the opposite. A popular style in computer graphics, it was interesting to observe a stark contrast in comparison. Learning about Emma Kunz’s spiritual and artistic techniques through this exhibition was fascinating, and one I have not experienced before.

In 1938 she began making large pendulum assisted drawings before the outbreak of the second World War. Forty-six at the time, she had previously been practising as a naturopath after discovering her gifts for telepathy, prophecy and healing from an early age. Researching the restorative energies of plants and minerals was her dominating objective, thus leading her to draw, discovering deeper meaning of the natural world around us. Working in rural Switzerland, she would ask the pendulum for answers on world affairs as well as observations of nature and cosmos in macro forms.

Kunz was known for continuously working on her pendulum drawings for long periods of up to 24 hours. Radiesthesia was the technique she used, involving asking her pendulum a question, and discovering the answers by recording the movements, pauses and swings on her graph paper. I’ve never heard of this technique before now, but since discovering this, the intricate drawings hold so much meaning that was originally unclear.

Christodoulos Panayiotou, is an artist uncovering and exploring political and historical records throughout time. His in-depth research and visual fascination echoes those of Kunz, creating an exhibition to embody the spiritual discoveries to the viewers.
In 1942, Kunz discovered a healing stone at the Roman quarry in Würenlos. Naming it ‘AION A’ meaning ‘without limitation’, She would use this to recharge her body and soul. Now the stone is still used for healing mineral remedies in Switzerland for pharmacies.
Panayiotou created benches from this stone, where viewers are able to sit a certain distance away from the drawing, central in the room to reflect Kunz’ practice of ‘recharging like a battery’.

The exhibition begins in an open space with only a few drawings. The room is dimly lit as we are subtly being introduced to each one. Often refusing to give namesor record what each drawing symbolised, it’s easy to be confused on why these drawings were created. Appearing very architectural, they seem to hold a very technical process of consistent measuring, symmetry and straight line. Although the drawings are very precise, I noticed that the finish wasn’t perfected. Kunz often used faded primary colours, but this could have been due to their creation date. She also liked to compliment the colours between opposing patterns.

My favourite room consisted of a large collection of her drawings. You could see the comparison of how different each drawing was, representing a varied answer to each question asked. They were colourful, meaningful and varied. Once you learnt of Kunz technique, the collection was both impressive and overwhelming.

No. 117

One of my favourite drawings was Work no. 117. It was striking with different components, initially appearing symmetrical, it didn’t feel overcrowded unlike some of her work with heavily dense and consistent line. It was open, spatially aware and pleasant to look at. Colours of yellow and blue were bright although slightly muted by the darker illusional lines layering on top. Overall, it was striking; I couldn’t believe how complex the linear work was considering it was a drawing. I began to feel like I had judged this exhibition too soon, as I continued through, each one had a similar level of complexity.

Work No. 020 is striking for its deeper meaning. A radius of dense line to create a gradient of thickness, red dominates the entire radius with a sky blue surrounding. Although most of Kunz’ work is undated, it is known that this drawing was created in 1939. Kunz was so alarmed by the prediction of this drawing that she called a friend about her discovery, interrupting her process. It was a prediction that America were creating a weapon that was capable of destroying the world. This prediction came true. Six years later, America catastrophically detonated Japan with atomic bombs.  

No. 020

With no context behind the artist or drawings, I found it hard to understand the work and enjoy it despite being able to heavily appreciate the precise nature and techniques used. However, once learning how incredibly complex and spiritual these drawings are, they take on a whole other fascinating persona. It was really interesting to learn about Emma Kunz, and despite not being an officially trained ‘artist’ her discoveries and creations can be understood, appreciated and recognised for years to come.

Bibliography:

https://www.serpentinegalleries.org/files/downloads/emma_kunz_exhibition_guide_.pdf

https://www.serpentinegalleries.org/exhibitions-events/emma-kunz-visionary-drawings-exhibition-conceived-christodoulos-panayiotou

https://www.serpentinegalleries.org/press/2019/03/emma-kunz-visionary-drawings-exhibition-conceived-artist-christodoulos-panayiotou

Serpentine Gallery 23rd March – 19th May 2019
Free Entry
By Max Williams

Making Memory at the Design Museum

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British based Architect of Ghanaian descent, Sir David Adjaye OBE, known for his beautifully and carefully thought out landmark structures within the architectural world, is showcasing his past, present and future work at The Design Museum.

Adjaye’s international recognition comes from his ability to immerse himself and fully understand a culture’s past in order to design and build a structure that not only holds the information and artefacts of that specific time, but holds the memory and tells the story of those that were involved and lost during those times. Throughout the exhibition, every room is dedicated to a specific building that has been designed by Adjaye to hold, preserve and experience the memories of that specific time.

When you first enter the exhibition, you are met with an introductory room with images of well-known historical landmarks. Here, Adjaye introduces himself with a written statement giving his opinion on how structures of remembrance should be designed, as well as what the exhibition will entail.

 

Gwangju River Reading Room

The first official room of the exhibition was dedicated to the Gwangju River Reading Room which Adjaye was invited to help design. Collaborating with writer, Taiye Salasi, this structure was intended to be designed and made in remembrance of the hundreds of students and citizens who were killed in the South Korean city of Gwangju’s ten day uprising in May 1980. The exchange of book and ideas in this space was intended to keep the memory of those who passed, alive.

The room was dimly lit with the small scale model of the designed reading room, which sat in the middle. Images of the real reading room were lit up on one side of the room and a book shelf on the opposing side. The sombre feel of the room reflected the events, being immersed into the experience of those who suffered all those years ago.

Smithsonian National Museum of African American History and Culture

Moving onto the next room, showcasing a landmark, located in Washington’s National Mall which was solely designed and made to remember as well as celebrate the African American community and their contribution to building America during slavery. Adjaye, knowing and learning about their history, came to know the contribution that African American slaves had in many trades including ironwork. From this information, the exterior panelling of the building honours this trade and the slaves that contribute to it. This is only a small snippet of the how Adjaye and his team designed this building to honour and most importantly remember the lives that were lost during slavery in America.

Sclera Pavilion

One of Adjaye’s smaller and temporary structures was the Sclera Pavilion which was made to be a safe space for self-reflection and contemplation for the public, designed in the shape of an eye. Within the room that was dedicated to this building, was a life size version of the design in the corner of the room. Different levels of wood, with different widths, descended from the ceiling gave the room a feel as to what it would have been like within the structure, alongside a smaller scale model of the building which sat in the middle of the room. This room, unlike the others, was lit up changing the feel and overall experience of the room.

UK Holocaust Memorial and Learning Centre

Out of the 22 countries directly involved in the Second World War, the UK is the last to build a memorial to commemorate the horrific event in our history. However, this is about to change with Adjaye’s proposed plan of a national landmark for the remembrance of the Holocaust which is to be finished in 2020. The memorial will sit next to Parliament,  with the proposed design including a powerful architectural memorial above ground where 23 bronze fins are located which lead to underground exhibitions which reflect the 22 countries before us who have remembered. This building looks to be architecturally striking and I urge you, when it’s built to go and see this long awaiting structure and exhibitions.

There was so much more amazing things to experience and learn about these structures from this, as well as the other rooms that were dedicated to the Adjaye’s planned proposals for structures such as the National Cathedral of Ghana and the Mass Extinction Memorial Observatory. This exhibition left me in awe. The showcase of all the memorials allowed me to enter that time and learn the importance of remembering the past so that we can shape our future the right way by learning from our mistakes. This exhibition should not be missed!

 

By Kiah Fisher. All photos courtesy by Kiah Fisher

 

Exhibition Details:

David Adjaye: Making Memory Exhibition

Dates: 2nd February 2019 – 5th May 2019

Location: The Design Museum

Opening Times: 10:00- 18:00

Last exhibition entry: 17:00

For ticket pricing see the Design Museum for further details