Tagged: The Bowes Museum

Aug 23

Laura Ashley stories

 

Laura Ashley fans, this week’s your last chance to catch the exhibition at the Fashion Museum. But there’s good news for anyone owning a vintage ’60 or ’70s Laura Ashley dress: you can get into the expo FREE this weekend if you wear that dress along! 

I must mention the retrospective just one more time to share with you some of the background stories of the dress loans. One of my favourite elements of the exhibition was the stories behind the dresses: who owned what, when, and why. I’m a sucker for social history, so this aspect really floated my boat. Many of these stories were shared in the display cards, and in the accompanying booklet (see below). I’ll retell a few here to whet your appetite.

 

Joan Gould and Ruzi Buchanan, LA launch

Joan Gould and Ruzi Buchanan with their dresses at the Laura Ashley expo launch

 

The pinafore-over-maxi was a key Laura Ashley look in the 1970s. Joan Gould (left) bought hers when working as a copy-editor on scientific journals in London. She tells a great story, recounted in the exhibition booklet:

‘I wore the red dress with green Anello and Davide button shoes with flesh coloured tights, no jewellery. This was my “party dress” in the early 1970s when I was in my early 20s. I bought it from the Fulham Road shop where the changing room was downstairs. There were a few cubicles, but on Saturdays it was so busy everyone just removed clothes in the area outside the cubicles in a seething, hot and bothered mass of partially clothed young women and piles of billowing clothes. Anyone seeing an item on someone else would grab it to try on themselves when they saw it had been rejected. A few boyfriends would sit upstairs on a sofa in the window, glassy-eyed and exhausted, saying “looks lovely” to the stream of young women staggering from this underworld.’

 

Beverley Peach, a former landscape architect and now volunteer at The Bowes Museum (where the exhibition will relocate from September), made this skirt from patchwork pieces bought in the Bath store in 1975 for the outlay of 50p. Here’s some of her story, again taken from the exhibition booklet:

 

‘The skirt is made entirely from remnants that were all different shapes and sizes. From the age of about 15, I made most of my own clothes. Fabric was cheap and my mum taught me how to dressmake. For a teenager in the 70s there were few shops with acceptable, affordable clothes. Chelsea Girl was a revelation! …

I remember the skirt taking a long time to make. I spent evenings sewing when I worked as a nanny in Spain during the summer of 1975, between school and university. The skirt went with me to university in Newcastle. Everything travelled in a large blue trunk, which still holds all the clothes I can’t bear to part with, including the patchwork skirt.

I wore the skirt with a white cheesecloth shirt and a long blue corduroy jacket, both of which my daughter now wears.’

 

Patchwork skirt

Beverley Peach’s patchwork skirt, 1975

 

Patchwork Laura Ashley skirt

Beverley Peach’s patchwork skirt

 

 

Rose Gollop, whose picture is on this Fashion Museum press release, wore Laura Ashley on her wedding day, and her dress stands prominently at the entrance to the exhibition.

 

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Rose Gollop’s wedding dress

 

‘I was married on 11 August 1973, two days after my 21st birthday. I spent very little time looking for the dress. I didn’t want anything traditional and knew that I was likely to find what I wanted at Laura Ashley. I was lucky to live near the Bath branch, which is where I bought it…

In keeping with the non-traditional theme, I wore nothing in my hair, a simple “daisy chain” bead necklace, and Greek strappy open-toed sandals that I bought in a hippy-type shop at the top of Park Street in Bristol. Unfortunately, the formal flowers that my parents persuaded me to to have did not really complement the overall look! I would have preferred to go out into the fields and gather up natural flowers. I had no bridesmaids, and was slightly dismayed to find that my new mother-in-law had made matching lime green frilly dresses for her three little grand-daughters, so that when they stood together – and near me – they did indeed look like bridesmaids.’

 

Do you have a Laura Ashley story to tell? The exhibition may be leaving Bath, but the Fashion Museum would still love to hear it. Take a moment and share.

 

Laura Ashley A Romantic Heroine celebrates 60 years of the Laura Ashley label. The exhibition is on display at the Fashion Museum, Bath, until 26th August 2013, then at The Bowes Museum, County Durham, from 21st September 2013 to 5th January 2014.

The booklet accompanying the exhibition features an introduction by Rosemary Harden and Joanna Hashagen, and contains several of the dress-owners’ personal stories. It is still available at the Fashion Museum shop price £5.99, while stocks last. 

Laura Ashley The Romantic Heroine - exhibition booklet

 

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Aug 13

Laura Ashley the Romantic Heroine

 

 

With apologies to Jane Austen, it’s a truth universally acknowledged that a girl who grew up in the 1970s must have been in want of a Laura Ashley dress. Last month I went to the opening of a stunning new landmark exhibition marking 60 years of this major fashion label: Laura Ashley the Romantic Heroine. And it helpfully confirmed my theory.

Laura Ashley the Romantic Heroine - image c/o Fashion Museum

Laura Ashley the Romantic Heroine – image c/o Fashion Museum

 

I never actually owned a genuine Laura Ashley dress* but I’ve rarely felt so personally invested in an exhibition.  Laura Ashley was the designer who dominated my formative years. I blogged about that unbearably brown-Draloned decade and some Laura Ashley fabric scraps last time, in case you missed it. It’s really the early ’70s that I’m talking about, when Laura Ashley was in her creative prime. This was when I was developing my sense of what being a woman was about, and Laura Ashley’s designs grew to dominate my internal landscape, her patterns virtually etched on the inside of my eyelids. 

So my heart was seriously aflutter when I arrived at the Fashion Museum  last month for the exhibition launch. Despite the heat (Britain was still in the grip of an atypical heatwave) there were quite a few others who appeared to share my enthusiasm. The high-ceilinged Assembly Rooms – the Georgian setting of so many dances and assemblies and home to the museum since 1969 – were packed. I gratefully accepted a glass of something cool and sparkling. Looking around, the crowd was largely female and of-a-certain-age. As we awaited the speakers, we fanned ourselves with our invitations, like so many Jane Austen heroines. 

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After an introduction by a council official, legendary Fleet Street fashion journalist Felicity Green rose to recount her Laura Ashley memories. Now in her eighties, Green explained how Laura Ashley dresses gave British women just what they wanted in the early ’70s: a non-threatening response to Quant’s ’60s Youthquake mini. The mini had forced the wearer to be somewhat confrontational and angular, whereas Laura Ashley’s layered, pleated, gathered and ruffled styles wrapped women up in what Green described at the time as ‘soft-core femininity’ (Daily Mirror, 1st January 1970).  What did women want? They wanted an escapist, wholesome Romantic idyll. Most of all, to feel comfortable and unashamedly feminine. Laura Ashley happily supplied all that.

Green explained that one special thing which set Laura apart was her husband, Bernard Ashley. Green was not easily intimidated, but had she been rather frightened of Bernard, she confessed. He did not suffer fools and was very sharp-witted on the business side. Green also knew Mary Quant and Barbara Hulanicki (the designer behind Biba) and their husbands, who, by contrast, were totally charming but lacked Bernard’s business orientation. Both Quant and Hulanicki subsequently lost their trademarks, and this was the crucial difference between them and Ashley.  Thanks to Bernard’s nous, Laura Ashley became the first truly international label.

Turning to the exhibition itself, Green bestowed the strongest praise: “Unparalleled,” she said. ‘Truly a combination of fashion and style and presentation. Outstrips the V&A.” High praise indeed for curators Rosemary Harden and Ian R .Webb.

As we listened to Felicity’s fascinating memories, I spotted this young woman in a gorgeous floor-sweeping vintage Laura Ashley swan-print strappy summer dress. She told me later that it had been her mother’s.

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Guest wearing her mum’s original ’70s dress

Then we filed into the exhibition itself. The first sight to greet us was that distinctive lower-case logo, plus a row of simple, serene cream and white dresses.

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Entrance to the exhibition

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Serene white

 

We turned the corner to face the breathtaking spectacle of almost 100 dresses.

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Laura Ashley The Romantic Heroine

 

What strikes you immediately is the pastiches of various periods: this Regency style, that Victorian governess outfit. You could see how Laura was influenced by what must then have been on TV at the time, which historical serial was capturing her (and the nation’s) imagination. Laura had such an uncanny ability to capture the zeitgeist. And her interpretation of the styles is so interesting: she wasn’t copying those earlier styles, but borrowing elements to make very wearable dresses.

 

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High necks, pleats and lace frills

Some of the high collars looked a little uncomfortable, at least from the vantage point of a very hot summer’s day.

Beccy and I at LA launch, July 2013

Beccy (right) and I, thoroughly engrossed

 

There is no glass between the visitor and the exhibits, and it’s very tempting touch; all that cotton certainly screams “FEEL ME!” It’s quite special to be able to get so close to exhibits like this.

Early on in the exhibition are Laura’s first dresses dating from the ’60s. Recognisably of the period, but distinctive Laura Ashley tones and prints.

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A row of 1960s dresses

 

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Regency-style ruching

 

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The Governess look

 

I persuaded my friend and neighour, Beccy, to join me at the exhibition. She has just established re-be, a business selling upcycled clothes for children, and an early Laura Ashley dress had featured as the makeover target in her range, so I hoped that she’d find the exhibition both useful and interesting.

She brought the little outfit along, and how fabulous to find a sister-dress to the one she’d upcycled! Before you get upset, the purple object of her upcycling had been her business partner’s mother’s dress (following?) and had been ruined before Beccy’s scissors took to it.

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High necks and frills

re-be reinterpretation of vintage Laura Ashley dress

re-be reincarnation next to identical dress in different colourway

I was drawn to this grass-green pinafore, partly because I recognised that pansy fabric, partly because I made something very similar (but with long sleeves) from a commercial Laura Ashley pattern about 10 years later. This one had a great story attached. It was chosen by Alpen to use in their advert when they launched the breakfast cereal in Britain. At the time, all things continental were in favour (I remember the ‘continental quilt’ or duvet arriving in the ’70s, ousting the tradition British two-sheets-and-a-blanket combination). The slogan for the advert reflected how well Laura Ashley’s wholesome image dovetailed with the new breakfast cereal’s image: ‘more natural goodness every morning’.

Alpen dress

The Alpen dress

And then there were some extraordinary offerings, much more on the psychedelic end of the spectrum than I would have thought possible. My photos don’t quite capture their shock value. In real life, those checked fabrics really zing.

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Psychedelic checks

My only disappointment was wandering a little later up to the Bath shop, the first Laura Ashley shop to be opened outside of London. They had a lovely window display; note the same fabric used here as in that Alpen pinny.

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Current display in the Bond Street branch of Laura Ashley in Bath

But there were no nostalgic Laura Ashley goods to be found inside. What a pity.For those itching to get their purses out, there is a really nice little exhibition booklet available which can be purchased at both the Fashion Museum and The Bowes Museum for about £5.

This compelling exhibition set Laura Ashley much more firmly in context for me. She plugged right into the early ’70s hunger for the wholesome. I can see now how much she drew on historical styles, but without slavishly copying them; the dresses are not made in a historical way, but are her interpretations. But I was surprised to see how many of the fabrics were much brighter, the designs more eye-popping than I’d remembered. I can’t wait to visit it again and really hope that you’ll get a chance to see it for yourself. 

 

Laura Ashley A Romantic Heroine celebrates 60 years of the Laura Ashley label. The exhibition is on display at the Fashion Museum, Bath, until 26th August 2013, then at The Bowes Museum, County Durham, from 21st September 2013 to 5th January 2014.

In my next post… some personal Laura Ashley stories from women who loaned their dresses to the exhibition.

 

*though I did make myself a couple from a purchased Laura Ashley pattern

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