Everything you ever wanted to know about t-shirts… ‘T-shirt: Cult Culture Subversion’ at the Fashion and Textile Museum

I’m so clueless about t-shirts that it wasn’t until I went on a tour of the new T-Shirt: Cult – Culture – Subversion exhibition that opened this week at The Fashion & Textile Museum in London that I realised they are ‘T shaped.’ I mean how can I be a fashion fan and not know that? Seriously that bit of knowledge completely passed me by, but maybe it’s because in truth I have absolutely no interest in t–shirts.

I don’t own any other than a couple from my youth (three band t-shirts which I didn’t actually wear, I bought them as memorabilia). You won’t even find me wearing them at the gym, I opt for vests, and when I’ve ever been in a situation where I’ve been told to wear one as a uniform, I tend to revolt. That said I did once teach a how to customise a t-shirt workshop but then again, the object of the session was to transform them as much as possible from their original form. So when I heard about this exhibition I wanted to go because I realised this was my opportunity to get a better understanding of what this most common of, casual garment is all about. And while I have in no way converted, I have a new found respect for the humble tee…

Andy Warhol t-shirts

Gilbert & George art-shirt

One of the sections in the main exhibition room

The exhibition ends on a ‘plain white t-shirt’ (I don’t even own one of them) but before you get there, there’s another 100 tees to look through spanning 50 years, sourced from the archives of artists, fans and collectors. It’s not a definitive history (t-shirt shaped garments are thought to be one of the earliest ‘fashioned’ items of clothing worn in as early as the 5^th century – now there’s a fashion fact for you.) But what you will find is 11 distinct sections considered ‘milestones’ in t-shirt evolution.

‘The earliest t-shirt shaped garments can be traced back to the 5th century’

These include techniques such as screen-printing which opened up the ability to make them on bigger scales, band t-shirts which although are now considered a fan item actually originated as the uniform of the roadies and crew and political tees – and there’s me thinking they all came under the heading ‘slogan tees’, there’s so much more to them than that. The message you wear can broadcast a social, political or even musical message and if you truly want to broadcast with todays tech you can, there’s an LED t-shirt on display which can even display live Tweets.

One of the things that is fascinating that I didn’t appreciate before, is that t-shirts are universal because of their price point, you can pick one up for a few pounds, from an ordinary store or you can spend £700 on a designer one (why I’m not sure but it happens!)

Another aspect I found of interest is the ‘power of the t-shirt’ and this dynamic explains one of the reasons I’m not a fan. I like to look ‘unique’ different, knowing it’s highly unlikely I will cross paths with someone wearing the same as me, but because t-shirts are mostly mass-produced that’s not the case but also does that weaken their message too? If there’s one t-shirt with a political message on is that strong alone or will it have no impact and if everyone is wearing the same t-shirt does that empower the message or make it meaningless – so much food for thought? My original feeling at the exhibition was that it lessens the impact but now I think if everyone is wearing the same t-shirt with the same message then that message will make its mark.

Another aspect I found interesting was the smiley faced t-shirts, my association with them was the 90s rave scene but I a) didn’t realise that the smiley was actually from the 60s and 70s and more interestingly b) the current emoji faces are also versions of the smiley – yup that never clicked with me either, maybe I’m just really late but it does help me make more sense of why humans have taken to them so much, smileys in general have a universal appeal.

‘How does the meaning of a Superman t-shirt change when a woman wears one?’

Contemplating the Superman tee

There’s also a display of unisex t-shirts. In stores you often find male and female sizes of the same t-shirt or variations (yes the pink and blue versions) but one could just ignore that and wear a t-shirt meant for a different body, and if you do is there any specific effect? How does the meaning of a Superman t-shirt change when a woman wears one? It’s again not something I considered but in truth if you asked me I would associate a girl with wearing a Superman logo as being Supergirl but now I realise I’m completely rigid in my thinking a girl can be Superman if she wants right?

A: The Typography of T-Shirts

Featured in Susan Barnett’s photography exhibition

Separate to the main sections in a room of its own is an extraordinary exhibition by New York photographer Susan Barnett. Her work spans a decade during which time she’s photographed hundreds of people she’s spotted on the streets, from the back, and 65 of them are on display. It’s so striking to see all the same composition but each image telling such a different story. Her work touches on themes of identity and how you can form an opinion about someone just from seeing what the back of their t-shirt says. Susan was at the exhibition opening where she said: ‘Their choice of t-shirt tells us who they are, who they want us to think they are, who they aren’t – they want to be noticed, they are putting their message out there and it starts a conversation.’

‘You can form an opinion about someone just from seeing what the back of their t-shirt says.’

I’d never thought of it life this. Commonly I see people in what I think are ridiculous messages which I feel says nothing about their personality but in fact I have over-looked the fact that they have made a conscious decision to wear that t-shirt so it must mean something to them.

Susan has also made some fascinating observations about how messages can change over time, explaining that in the US in 2009 just after Obama has been elected in the States she saw a lot of people wearing hopeful messages but as time has gone on and people have started to get more angry and dissatisfied the more political their slogans become and the more swear words you’ll see.

While the main exhibition is all about the front of t-shirts, seeing just backs of them worn on people is a completely different experience because we get just a hint of the person, but we never see them. It’s a powerful piece and has really got m thinking about when I next see someone wearing a t-shirt, in particular with words or a slogan, I’m going to wonder more about what kind of person they are for choosing to wear it.

‘T-shirt: Cult Culture Subversion’ takes place at the Fashion and Textile Museum London from 9^th February to 6^th May 2018. Tickets cost £9.90 for adults and there are also a series of accompanying talks.

http://www.ftmlondon.org

 

Colourscape is coming back to London: it’s a must visit for #colourlovers

Ever since I watched Pulp’s video for Lipgloss, back in 1995, I have been completely obsessed with inflatable tubes. There’s was called an ‘Eggopolis’ and consisted of four giant egg shaped inflatable rooms linked by inflatable corridors. I waited over 20 years (aka last year!) until I finally found my chance, at the Colourscape music festival in Clapham Common, which it turns out started in 1989, and remains the only musical festival to take place inside a sculpture.

Visitors enter an inflatable rainbow universe where they can get lost amongst a vibrant aerated world, while listening to live performances, taking place inside, the sounds which echo through the inflatable rooms, guide your way. The experience remains one of my highlights of my year as it was so much fun. Entrance is by a very reasonable priced ticket which gives you access to explore the rainbow labyrinth for an hour. There’s no need to worry about what to wear, before entering you need to remove your footwear and are given a coloured cape to wear – this enhances the experience especially as it makes other people you encounter inside less distracting, everyone seems to be part of the exhibition and experience.

Though you will see other people, I found that even on a busy Sunday afternoon it was still perfectly easy to find secret, quiet spaces with ample opportunity to take fun photos, have a lie down, a thorough exploration and still sit and enjoy the entertainment – I saw contemporary dance accompanied by live electro sounds. This year the line-up includes live music performed on experimental percussion instruments.

Colourscape takes place over nine days and consists of over 100 interlinked chambers, covering one acre of space. Every step you take is an experience, you never know what colour or colour combinations await you around each turn. I particularly like that there is such a universal appeal to the exhibition/festival/experience. It’s a captivating surprise for all ages and it crosses language and cultural barriers because it’s a physical space you can enjoy without any prior knowledge: simply step in and get immersed in the dream-like surroundings.

Afterwards there’s a temporary café outside in the park, serving home-cooked goodies like salads, quiches and yummy tea and cakes. I can’t think of a more fun way to spend some time doing something different (and of course getting lots of Insta-perfect photos with no need to use any filters – the vibrancy is real!)

Colourscape
Dates: 16^th-24^th September 2017

Location: Clapham Common, near the Long Pond boating lake and The Windmill pub, London SW4 9DE.
Cost: Weekends, Adults £10, Children £5 (family tickets available) Cheaper weekdays. Check the website for full programme of events which take place inside Colourscape.
www.colourscape.org.uk

 

If you go down to Regent’s Park today…a peek at Frieze Sculpture 2017

Let’s start with the weather. I’m British after all! But my oh my….how glorious the summer of 2017 has been so far. We’ve had more warm summer evenings in the last few weeks than we get in some entire years and it has been so, so dreamy. I won’t lie I have been ditching work in favour of lazing in the park a lot of late and though my To Do list is spiralling out of control, I’m feeling thoroughly content from all the hours spent simply lazing on a picnic rug and getting to know my neighbourhood dogs. I’m lucky because there’s a huge public park close to where I live but when I get the change I also adore exploring London’s many other green spaces and you can’t beat London’s Royal Parks.

Regent’s Park is a favourite. Many years ago I went on a Bat Walk there. It has all the elements a great park should have from rivers and boating to pristine flower beds and secret spaces as well as outdoor theatre and the iconic Regent’s Park Mosque. And if you pop down between now and October 8th you’ll be to wander along giant pieces of art.

Last week saw the opening of the very first alfresco summer Frieze Sculpture exhibition where for free you can immerse yourself in the work of 25 contemporary artists.

Here’s a list of the works:

The display is  condensed into one area of the park so you don’t need to worry about getting lost in the park’s vastness but it’s a good excuse to go to the park if you’ve not been in the while. I’m a massive supporter of free public art and I love the fact you can get really close and personal with these pieces, even touch them if you so wish without fear of getting told off. They are simply there in the park to be admired.

Hooray for art that’s accessible. I’d love to see more events like this please!

(Oh and once you’ve had your fill of art I recommend wandering down to the water the views – especially at sunset are beautiful.)

The World of Anna Sui – In Conversation with Anna

I nearly exploded from excitement the day I heard there was going to be an Anna Sui exhibition at The Fashion and Textile Museum in London. Embodying everything fashion should be, I love how Anna’s work is deeply rooted in counter-cultures and scenes like punk rock and pop art. Anna has taken alternative lifestyles and celebrated them on international catwalks not just for one season when they might be ‘on trend’, but always: these styles and influences are intrinsic to all her work, whatever the year or decade, she’s stayed true to herself and the Anna Sui brand.

Seeing Anna’s work on the pages of a magazine or online is the closest I had previously got to seeing her work, but now with the opening of The World of Anna Sui, the biggest retrospective there’s ever been of the New York Designer, everyone can experience her cool and quirky designs in the flesh. There are 125 items on display at the new exhibition at The Fashion and Textile Museum, with pieces from her first fashion show in 1991 right up until her 2017 collection; it’s the ultimate exhibition of modern fashion.

The exhibition is thematically arranged showing Anna’s different archetypes such as The RockStar, The School Girl, The Punk Grunge (above) and The Nomad. Within each collection you can get up close with her gorgeous designs, admiring the cuts, textures and colourful printed fabrics. The exhibition is one two levels, a main room which is filled with mannequins and then an upper level where you can see the accessories, cosmetics ranges and even the mood boards which Anna creates to help her design her collections.

The main room resembles what I would love my own walk-in wardrobe to be. I wanted to wear every outfit and I’m sure they would all look great on me too!! Instead however I took home my own piece of Anna Sui DIY fashion mentality by getting an iron-on patch from the museum’s shop where there are also some other cool Anna memorabilia, I’m going to save for the notebook and go back to get it before the exhibition closes!

Bring money for The Fashion and Textile Museum shop!

In the opening days of The World of Anna Sui, Anna was there too (on the 25^th for a main launch and on the 26^th where she did a public book signing of the book that accompanies the exhibition.)

Hearing first hand from Anna at the launch about her experiences and influences was rather special so I decided to share her ‘In Conversation With’ which she did in front of an audience to coincide with the launch of her new perfume Fantasia. I was thrilled that she also answered one of my questions in the Q&A…

Anna being interviewed at the launch

How did you feel when you walked in today and saw your life’s work unfold in front of you?
I really feel that this has been one of the biggest thrills of my career. As a Designer we’re always looking forward, thinking about deadlines, trying to make things happen on time for a show, a launch, ensure there are fabric deliveries, that you never tend to look back. One of the most exciting things is actually seeing these outfits together again because I haven’t seen them since the fashion shows 20 years ago or however long ago, so it’s kind of like seeing all my different babies.

What was it like to know that your clothes were being worn by celebrities?

So exciting and it gave me the confidence to go on because when Madonna was wearing my dress I hadn’t even thought about doing my own fashion show. But then I thought hang on, here’ someone who could have worn anything and she was wearing my design. So when we went back to New York, I started on my own show as I thought if Madonna likes it than other people will too.

How did you get into being a Fashion Designer?

At my aunt and uncle’s wedding I was the flower girl and I was so taken by New York City and the glamour of my aunts all dressed up for the wedding that when I got back to Michigan I said to my parents I wanted to design. At the back of my babysitter’s Seventeen magazine there was an advert for registering at Parson’s School of Design in New York so I wrote to Parsons got the registration catalogue and applied. That’s why my saying is live your dreams because a dream can really take you further than anything.

Were you making clothes at this point?
My mum did sewing at home so I would take the scraps and make doll clothes for my cousins and I would change their Barbie outfits into things I had created, much to their own trauma and then eventually I took sewing classes and learned how to sew myself. I started taking patterns and taking the sleeves and putting them with the bodice of another pattern. I kind of knew I had to understand the structure of clothing and know how to sew, not that I was ever a great craftsman, but I started making all my own clothes so that I had lots of outfits to wear.

You have a myriad of inspirations where does your love for colour and pattern come from?

I think the fact my parents were so modern. They were both educated in France but they both came from China. So they were educated in France met, married and then my father went to university in Michigan, so I think that was quite adventurous for both of them and it made the world seem like a smaller place for me because I always heard them talking about different cities they had visited in Europe. I think it helped when I was offered freelance jobs like working in Italy or working in Japan, I was never afraid to do it because I thought well my parents went from China to France to the United States  so gave me that gift of having a global spirit. I think that it also coincided with the world becoming globalised and that helped me think about it as one whole unit, rather than places being so far away.

Are there standout pieces we should look for out for in the exhibition?
When you first walk into exhibition on the left there’s the dress from my Marie Antoinette inspired collection. So this is an example of my thought process. I had gone to Paris and seen my friend Sofia Coppola filming the ballroom scene of Marie Antoinette and I thought ok I’m going to use this inspiration for the collection but then I went on vacation with two of my nephews and we went to Turkey and we went to a palace and there I saw the harem and I thought to myself oh my god, this is the same period as Marie Antoinette so I’m going to incorporate some of what I’m experiencing on this trip. We had also gone to see a museum display of Barbarossa the pirate so I thought ok pirates and Marie Antoinette why not? But I also had my favourite band the New York Dolls poster on the wall and there was a dress code back in that day – you could wear black, white, red, stripes, roses and you can see all of that in that dress: it’s all those things mixed together and some how it comes out an Anna Sui thing.

Also the inspiration boards, they tell the design team and the people I work with what the collection is going to be about. All the boards are grouped by colour and the fabric swatches below reflect that colour. I think that one of the craziest was a collection inspired by punk rock but then I saw a catalogue by Madeleine Castaing and they were auctioning off her possession and in the catalogue you can see all the personal furniture they collected which was all Napoleon the third. She loved blue and aqua and that became the colour palette for the collection while the designs and prints we chose really reflect Madeleine Castaing’s style but then the style itself has all those punk elements thrown in: fishnets, zippers, studs, leather, and there’s just a total mixture but if you look at the garments it just works.

Where do the designs for your cosmetics range come from?

My lifestyle, the style of how I decorate and how I dress is really incorporated into my work and when we started designing the packaging for the cosmetics I was wearing these rings and we decided ok all packaging has to reflect these rings which had roses carved from black lacquer. It was also what I put into my first store I ended up painting it black lacquer. One of the most important aspects of my job is I have to make my product as exciting as my fashion. I think not everyone has the lifestyle or budget or accessibility to buy an Anna Sui dress but I want them to have the same thrill the same tingle when they have a tube of lipstick or a nail polish so that’s why I make boxes that you’re not even ever going to throw away because you have to save them. The container itself too has to be so evocative of my world and then of course the best quality products and the most beautiful interesting textures and colours.

How did you create your own signature make-up look?
Once I started being able to wear make-up I experimented and had colours on my face, glitter, whatever, but then I fell into this black eyeliner and red lipstick look and I’ve stuck with it and that was the first product we developed in the cosmetics line, my signature red no. 400 lipstick and to this day I wear it every day.

Where does fragrance fit into this fantastical universe for you?

Anna’s new fragrance Fantasia

Fragrance is another accessory it really completes a look, evokes the mood and as a child I remember my mum wearing Chanel no. 5 and every time I smell that fragrance I remember her all dressed up and going out with my dad. I think that it becomes almost your second signature when you recognise a scent that someone wears you always think about that person so I was so excited when I got approached to do a fragrance collection and I wanted it to be my signature. You’ll notice fragrances have been named  after me Sui Love, Sui Dream and Dolly Girl after the mannequin heads that we decorate the store with.

There’s a British mood to your work but there’s no British in you, do you feel British?
Ever since I saw The Beatles and Rolling Stones I dreamed about London even though it seemed like such a far away place. Whatever glimpses I got these inspired me. I came to London first in the punk days I knew a lot of the bands went to see a lot of shows, went to see Vivienne Westwood’s collection, every chance I got I came to London and I think you see a lot of that inspiration in my work.

How has international travel influenced your work?

Well I think I’m kind of a gypsy and like gypsies themselves, they travelled and picked up culture along the way and incorporated it into their dress, their traditions, their lifestyle and I think everywhere I go, the first thing I want to see is a flea market and I go to the museums there and then I also go shopping and see what the stuff is there that I haven’t seen before, so all of that really inspires me – there’s nothing better than to discover something I knew nothing about.

What would you like people to understand from seeing this exhibition?
If you want to be a Fashion Designer, you have to establish your identity and you have to stick with that identify. You can see throughout the exhibition book where and how I decorated my apartment all became icons of my brand;the butterflies, the roses, the black and purple and as we developed the licensed products each off these have that same identity so I think that it’s important for fashion designers to come up with their own icons and identity too.

I also want people to know there’s a team behind the brand, the fragrance, the cosmetics, the shows, all the people involved are essential in making a total look, I couldn’t have done it all myself, I want people to realise it’s not just a name, but a team.

At the end of the In Conversation With I had a chance to speak to Anna briefly she said she really liked my colours and my glitter lips so I guess it’s apt out photo came out pink!

The World of Anna Sui
26^th May – 1 October 2017
The Fashion and Textile Museum, 83 Bermondsey Street, London, SE1 3XF
www.ftmlondon.org/exhibitions

Utopian Design – A look back at the inaugural London Design Biennale

(Chakra View, India, image: Ed Reeve)

Back in September Somerset House became a homage to contemporary design from 37 countries in a new annual exhibition called the London Design Biennale. The theme was Utopia By Design and each country was asked to depict what Utopia means to them.

(Installation by Albania)

Consisting of installations, artworks, protypes and experiences, visitors where able to interact with world-leading architects, designers, scientists, writers and artists.

I first came across the buzz of the event on social media. The exhibition, although lasted three weeks was part of London Design Week. This event stood out because of the ‘international appeal.’ The chance to visit 37 countries in one exhibition was too exciting an experience not to embark on, so I popped along on the last weekend to have a look at what it was all about.

Split across different, floors, wings and even outside the venue, it was a mammoth exhibition and a day (as I had also heard on the grapevine) wasn’t enough, but I took in as much as I could, and as well as discovering the fascinating backgrounds to each piece, I also took the opportunity to pose in the exhibitions -well, the backdrops were made for Instagramming!

From roaring digital fireplaces (Germany) to huge animal swing chairs (South Africa) and a giant gumball machine dispensing water (Saudi Arabia), there was plenty of imagery and objects to spark the imagination, and installations so striking they were instantly memorable.

I think I managed to get around to see all of them. Here were my favourites…

PAKISTAN
An installation entitled Daalaan, this was a huge room filled with beautifully printed textile hanging and wooden stools that spun round; sitting on them was a perfect break to all the walking around the exhibition entailed. Created by Karachi based Coalesce Design Studio, their interpretation was that Utopia is ‘a place where strangers become friends.’ Consisting of architecture, design, furniture and fabric screen prints made from henna dyes, it had a relaxing and welcoming feel and it was a pleasure to relax there, (as much as one can at a busy public exhibition!), and take it all in.

INDONESIA
With its sci-fi spaceship theme, this was one of the most fun exhibits. The literature accompanying the exhibition was fascinating and told of an agreement assigned by 29 countries in 1955 to create a satellite. It consisted of a floating satellite surrounded by interesting dome like structures.

TURKEY
A ‘wish machine’ – with a name like that, this was already going to be one of my favourites! A cultural tradition deeply rooted in the ancient Anatolian faith and found in ancient Greek, Kabala and Persian beliefs, Wish Machines operates on a simple mechanism that involves affixing a note or a memento to a branch of a tree as an act of hope.

SPAIN

The Spanish offering consisted of a tube you walk through with distorted mirrors at the end that symbolised a ‘utopic next century city’, a habitat where technology, life standards and health coexist, even when natural resources are scarce.
It’s a scary thought that this is an actual reality: we will have to face such times.

AUSTRIA
I get over excited whenever I see lights so this kinetic light installation had instant appeal. The theory on the other hand of why it lit up was one of the more complicated of the entire exhibition.
I’m not going to try to explain it because in truth it went ovr my head in a too-academic-for-a-public-exhibition-kind-of-way, but aesthetically speaking I had much appreciation for it.

LEBANON
A real-life miniature city was set up for this alfresco exhibition where artist Annabel Karim Kasser recreated a bustling street scene from Beirut including a wet shave bar, falafel hut and juice bar. Attention to detail was everything and the falafel, which was on sale, tasted great!

INDIA

(Image: Bradley Barnes)

The India space Chakra View was one of the major commissions and took up an entire wing. Weaving together India’s cultural heritage it used traditional textiles and ancient mythology, with modern design innovations to portray a sense of modern India. Colourful creative and a complete experience, stepping into the main space was a joy from every angle it was viewed from.

CraftandTravel’s Editor posing by the installation

Alongside the exhibition there was a number of talks at The London Design Biennale and I attended one chaired by Priya Paul, Chairperson of The Park Hotels in India. I was keen to go because I stayed at their Kolkata hotel in 2014 and loved every minute of my stay. Cool design was present in every aspect of the hotel and it remains one of the most memorable places I’ve ever stayed in. Priya chaired a discussion about contemporary design in India and in particular, the role Indian crafters and artisans play in it.

Priya is an avid supporter of art and crafts and invited respected figures from the Indian design world to give their thoughts on the subject, including Rajshree Pathy, Founder of India Design Forum who created the colourful Chakra View installation.

A common theme in their discussion was around how businesses (such as hotels) can incorporate the work of artisans and crafters to help preserve their heritage which I thought was a positive approach. Certainly design-led hotels, rather than chains which look the same, can have unique, one, off and hand-crafted pieces as part of their décor, though of course it was be amazing if bigger chains could also see the value it would have.

The discussion began with some observations by Author Sunil Khilnani who explained that design has been important in India for 60 years – in 1958 the India Report was the blueprint for the national institute of design who were committed to contemporary design being part of India’s heritage.

He commented how Gandhi was an anti-industrialist because he didn’t like how mass produced goods could mean the loss of handicrafts. Bringing the conversation up-to-date,  Researcher Alice Ciccolini described her own experiences of the jewellery industry where the children of mastercrafters do not want to work in the industry, so work is being done to encourage them to see the benefits.

One issue is that middle-class wealthy Indians are going to art school and becoming artists but the lower paid artisans and crafters who are poor, cannot see the value in what they are doing, so this gap between how art and craft is perceived needs to be changed.

Practicality wise the mobile phone has been beneficial to crafts people as they can now cut out the middle-man and take orders directly. Priya also referenced the resurgence there has been in the weaving industry and how wealthy Indians appreciate owning hand crafted pieces as a form of patronage.

A fascinating conversation which informed my visit to the exhibition, it made me realise how important the ‘talks’ that are programmed alongside exhibitions are; I’ll certainly be looking at attending more of them for future exhibitions I visit.

For more information about the exhibition visit www.londondesignbiennale.com

Momtaz Begum-Hossain, CraftandTravel.com

Fiji Art & Life In The Pacific – the biggest exhibition about Fijian art ever!

I’m a little bit obsessed with the fantasy of Polynesia – the popular culture version of exotic islands, the kitsch tiki chic side of themed cocktail bars, bright floral leis and tribal dancing – to the point I’ve even attended Polynesian dance classes at Pineapple Dance Studios in London, but the truth is, that’s all stereotypes.

I actually don’t know much about Fiji, other than the fact I really, really want to go there! It’s just so unknown to British people. The average Brit will venture to Spain, maybe the US and quite possibly Thailand, but few will ever make it as far as Fiji and the 330 or so islands that make it up. And other than when Fiji takes part in tournaments like the Rugby World Cup, it’s a nation that rarely makes British news. So when I heard there was a new exhibition in the UK, specialising in Fijian art (the biggest exhibition there’s ever been about Fiji outside of Fiji ever), I was intrigued. And despite the fact it’s around 2.5hrs outside of London and I had heaps of work to do the day the exhibition opened, I knew I had to be there!

Located at the Sainsburys Centre inside the University of East Anglia in Norwich, the exhibition comprises sculptures, textiles, ceramics, fashion, costumes and ivory and shell regalia. It’s the largest and most comprehensive exhibition there’s ever been about Fiji since the late 18^th century (I know, what took them so long?!), and is the result of a three year project, led and curated by Professor Steven Hooper from the university, who first went to Fiji 39 years ago and has been going back ever since.

As it’s housed at a university, it does feel like an ‘academic exhibition’ and there’s plenty of historical artifacts and context, which if like me, you don’t know too much about Fiji, is very useful to help paint a picture. With over 270 works of art to explore you’ll need a good two to three hours to go around and take in the exhibition.

Here are some of my highlights….

BARKCLOTH

Natural materials are a key feature of Fijian arts and crafts and there are items on show to reflect this like fans made from coconut and hibiscus leaves, and even a large life-size wooden boat. The most fascinating discovery for me was learning about barkcloth as it’s not a material I was familiar with. Barkcloth originates from tree bark and it’s a material that can be found throughout islands in the Pacific Ocean. Cultivation takes place all year and production of the material is incredibly labour intensive.

Initially you need to extract the bark which is stripped from the inner section of mulberry trees – it is a natural white cream colour. The strips are then soaked and beaten together with mallets, making them felt together.

The cloths which are essentially like very strong paper, are then painted or embellished with patterns or prints and designs are stenciled on and that’s how they can be recognised as being from different regions as each region, island and Pacific country has it’s own specific techniques.

FASHION

Barkcloth wedding dress

Barkcloth fashion is a fascinating part of the exhibition as it shows how traditional Fijian art is being kept alive through contemporary uses. There are several dresses made from barkcloth on display which includes this wedding dress, made in 1993 for a wealthy New Zealand woman.

The first time barkcloth was seen as a high-end couture fabric, the dress elevated what was an ordinary material into something special. The dress, though made of paper was incredibly sturdy, yet also ever so intricate.

IVORY

Whale ivory necklace

To be honest when I read that there would be ivory at the exhibition I felt uncomfortable. I don’t condone any kind of crafts than harm animals and with there being so much recent emphasis on the decreasing number of African elephants because of the continued ivory trade, I wasn’t keen to look at ivory items. But our guide explained that Fijians have no intention of harming animals either.

Breastplate worn by Fijian tribal Chiefs

The ivory that’s on display and found in artifacts like breastplates worn by Chiefs, jewellery and weapons comes from whales, so it’s whale ivory – and Fijians only take it from whales that died naturally, and are found beached. Once I learnt that, I felt much more comfortable being around such incredible feats of craftsmanship.

Fijian crafts to take home from the centre shop

There’s a plethora of handcrafted items around the exhibition like earthenware pots, baskets, instruments and paintings and while you’re there you can even enter a competition to win a trip to Fiji – another good reason to go and check it out!

Fiji Art & Life In The Pacific
15^th October 2016 – 12 February 2017
Sainsbury Centre For Visual Arts
University of East Anglia, Norwich, NR4 7TJ
Entrance: £10-£12

Momtaz Begum-Hossain
Images: CraftandTravel

Queen’s Gallery, Bangkok: Crafts from the Hands of the Hills…to the Hands of the Queen

Colourful, character-filled and creative, Crafts from the Hands of the Hills…to the Hands of the Queen is a textile-based exhibition which opened at The Queen’s Gallery in Bangkok on August 1^st 2016 as part of the auspicious celebrations to mark Her Majesty Queen Sirikit’s 84^th birthday. Combining the techniques of hand-weaving, sewing, hand-embroidery, hand-stitching and patchwork, each piece of work on display represents different elements of life in the Hill Tribes of Northern Thailand, a region that’s rich in arts and crafts.

There are approximately 22,530 hilltribe artisans from across 620 villages who are members of the Queen’s support projects whose aim it is to help rural people earn a living through craft skills, many of whom were involved in the creation of the exhibition.

In theory it seems like a commendable project, in reality it is so much more. Visiting this exhibition is a treat for all the senses. Spread across five levels you are led through a rainbow of beautiful work, each one is imaginatively composed with minute details showing intricate craft skills. This isn’t just an exhibition for those with an appreciation for ‘crafts’, it’s art of an exceptional level where you’re constantly surprised by the quality of the work.

Being an appreciator of all things colourful, the first thing I noticed when I walked into the exhibition was the use of colour. It is intrinsic to every piece. They aren’t all made up of vivid hues – it’s more that there are clever colour schemes and palettes at work that together create a remarkable effect.

From a distance the pieces look like interesting examples of textiles but look closely and you’ll uncover stories and depictions of real life. The King and Queen of Thailand spent time together in the hills and during these trips were able to get an understanding of the needs of the rural community, such as the need to improve agricultural techniques, which they addressed, and it’s these visits and moments that are captured in the stories to such a beautiful effect.

Looking around I was taken back by the charm of each piece. I love textiles but I’ve never seen such passionate work before. I’ve been thinking about the exhibition a lot since visiting it. It’s so easy to go somewhere on holiday with a long to-do list and then forget to do everything but if you’re in Bangkok this exhibition will be one of the memories that stay with you.

Here are some of my favourite pieces on display – if you get a chance, go and see  them in real life:

Peaches: a way to conserve forests
Peaches are a cold climate fruit and their cultivation in the hills was tested and proved successful.

Live-changing sturgeon
Because of the cold climate in the hills it’s hard for aquatic animals to survive. The queen initiated an experiment to raise Siberian sturgeon by purchasing fertilised eggs in Russia. By 2014 the project proved successful and led to the first caviar being produced in Thailand.Royal provision of coffee plantations
The royal couple encouraged the hill tribes to grow Arabica coffee in substitute to the narcotic plants they used to grow. They grow in shady areas and benefits contribute to decreasing deforestation.

Symbols of forest conservation
The Queen initiated a project to protect forests from deforestation. Communities with outstanding conservation are awarded with flags inscribed with the motto ‘ Conserving the forest in order to protect our lives’

Fireflies

Rajini Tomatoes
Cultivation of tomatoes have helped increase income for the hilltribes that grow them.

Rainbow trout farming
Trout became a food source and can generate income for hill tribes.

Production of honey
A special hive was built for Indian honey bees where they were able to forage for food which benefited fruit and vegetable orchards.

Details & close ups

Hands of the Hills…to the Hands of the Queen runs at The Queen’s Gallery, (near Phan Fah Leelart Bridge), Bangkok, Thailand runs from 1 August – 11 October 2016. Open 10.00-19.00hrs every day except Wednesdays.

There is an activity programme to accompany the exhibition including handicraft training workshops from the six hilltribes, performances and dressing up in hilltribe costumes, running every day:

Lisu tribe: making Lisu cords

Mian (Yu) tribe: Mian embroidery and making Mia cords

Akha tribe: Akha embroidery

Karen tribe: Weaving with waist loom and Karen embroidery with Job’s tears

Hmong tribe: Hmong applique, weaving of hemp cloth, wax drawing on hemp cloth

Lahu tribe: Lahu embroidery and Lahu bamboo basketry

Pop into the shop of the top floor of the gallery to buy some handmade Thai crafts too:

Momtaz Begum-Hossain
Editor-in-Chief, CraftandTravel.com visited the exhibition on the opening day

ALL IMAGES: CraftsandTravel.com

Mumbai Taxi Art

It’s usually Indian trucks that get all the attention with their bold painted typography and graphics but a new trend is starting up in Mumbai where by taxi interiors are getting the full on arty treatment. Read about the story and see more journey enhancing images over at Designboom.