A century of women designers at the Walker Art Gallery

Creating Visions: Women Designers 1900-2000, the latest costume exhibition in Craft and Design Gallery at the Walker opened a couple of weeks ago. I have been longing to visit, but decided to wait until half-term (which was staggered over two weeks here) was over, so that I could pore over the exhibits in relative peace and quiet. I finally went last week, and it did not disappoint. Be warned, this is a long and picture-heavy post!

Half of the exhibition . . .

First up, we have to have my traditional grumble about glass cases, reflections, and the difficulties of photographing some pieces. As a result, some of the images are of a poorer quality than I would normally include in this blog, and/or taken from a strange angle. On the plus side, the 14 exhibits have been very carefully placed to provide clear all-round views - which is bliss for dressmaking nerds like me!

. . . and the other half

As the title suggests, the exhibition celebrates 100 years of women designers. All of the items on display are from National Museums Liverpool's own collection, so while the actual creators of some of the early pieces are not known, they are included because they show the influence of female designers of the time. For example, the two oldest pieces are evening dresses from 1911-13, both made by T & S Bacon (a high-end ladies' outfitters on Bold Street, Liverpool), which were clearly inspired by the designs of Lucile.

A dress from the 'Young Ladies Department'

Showing the metallic lace on the bodice

A more mature style

Close-up of the beading detail

Next in age is my favourite piece from the whole exhibition. While I have seen some of the dresses before, this silk satin and metallic brocade evening dress, circa 1930, was entirely new to me. The bias cut is reminiscent of Madeleine Vionnet. As well as liking the fabric itself and the clean lines of the design, I was hugely impressed by the quality of the workmanship and the way the maker had handled such a tricky material.

Bias-cut elegance

Back view, showing the train

Such careful placement of motifs on the bodice front

The construction of the skirt is just visible here

The oldest piece by a named designer is from the Paris couture house which at one time employed Vionnet, Callot Soeurs. I had come across this 1936 dress in the Putting on the Glitz exhibition at the Lady Lever some years ago, but this time I was finally able to see the stunning back properly.

Silk satin and metallic net

Stylish back detail

It's back to Bold Street for the next dress - a silk crepe evening dress, circa 1945-50, by local designer Elaine Paquin who had her premises there. The accompanying notes suggest that she chose the name Paquin after Jeanne Paquin (sadly there was no mention of her real name), but I was just thrilled to come across another Elaine. There aren't many of us about, and certainly not dressmaking ones!

Front and back views

Close-up pf the bodice draping

From here it's a big jump, both style and date-wise, to 1966 and a wool jersey dress by Mary Quant.

Very 'youth-quake'

Back view

Somehow, I had never heard of Janice Wainwright, not even registering her obituary when she died in June this year. I really liked her printed jersey acetate dress and overcoat from 1965-68, but struggled to get decent photographs of it. The fact that the overcoat has a pocket on it just adds to its charms.

I was so annoyed that I couldn't get better pictures

The pocket is just below the right elbow

Thea Porter I have heard of, and have come across several of her pieces at auction. This silk velour cape, circa 1970, is beautifully rich and textured.

A lovely ensemble

I tend to associate Jean Muir with jersey garments, so this 1972 leather pinafore dress was a bit of a surprise.

Not typical Jean Muir, but very chic

Obviously not only have I heard of Laura Ashley, but I own one of her dress patterns. I also owned various Laura Ashley dresses in the late 1970s and 1980s. I don't think I ever had anything quite as ornate as this cotton dress from 1970-75, though.

This could not be anyone but Laura Ashley

Pin tucks, piping, and lace insertions

Gina Fratini is another new name to me. I must admit that this 1974 cotton voile dress is far too frilly for my taste, but very of its time.

So 1970s

Beautifully made, but really not me

Definitely not frilly is this Vivienne Westwood printed cotton jersey dress and top from her 1982-3 'Nostalgia of Mud' collection.

Knee-length dress with a long train

The motifs are inspired by Matisse

A decade later, this cotton denim skirt and top printed with the image of a 1930s Rolls Royce are from her 'Always on Camera' collection.

Another one which was hard to photograph

The most recent 'dress' in the exhibition is from 2006 and made by Diana Dias-Leão, who worked for Katherine Hamnett in the 1980s and then became a glass artist. This 'wedding dress' has a skirt of cotton and beads, while the torso consists of iridescent glass fragments fused onto a polystyrene and wood mannequin.

Exploring issues around body image

Glass chrysanthemum details

I've been unable to find out how long this exhibition runs for, but I expect it will be well into next year. According to the press release, there will be slight changes throughout its duration as different jewellery, all by female designers, is displayed alongside the clothes. I often pop into the Walker when I'm in Liverpool so will be going back a few times anyway, but it will be interesting to look out for new pieces when I'm there.