Captivating Style
On the weekend while visiting the Ian Potter Centre at Federation Square, I wandered through the fashion exhibition Captivating Style, 1950s Melbourne for a second time. It celebrates the work of Melbourne fashion designer Hall Ludlow, milliner Thomas Harrison and photographer Athol Shmith.
Although the exhibition is very small (it would be amazing if it was three times the size at least), it is still full of some exquisite examples of mid twentieth century fashion.
Hats by Thomis Harrison
Turban of draped and stitched sisal, trimmed with cubes of wood; by Thomas HarrisonThomas Harrison (1897–81) established his own millinery house in Collins St, Melbourne in 1929, and it operated until 1981 – a magnificent length of time by anyone’s standards. His salon was decorated with eighteenth-century furniture, an opulent setting for showing two seasonal collections a year. In addition, Harrison created bespoke hats for regular clients.
Hall Ludlow’s stunning coat with architctural lines is made of wool, acetate and plastic Hall Ludlow immigrated to Australia in 1947 from New Zealand, and, like Harrison, opened a boutique on Collins St. It was also similarly and lavishly furnished with satin drapes, gilded mirrors, golden cherubs and chandeliers. The consummate couturier, Ludlow handled everything, from fabric selection to finishing, often working without patterns as he cut his avant-garde designs.
This lustrous gown makes a feature of the décolletage with a high-standing collar and v-shaped neckline framed by fine rows of parallel stitching, one of Ludlow’s signaturesThe four garments shown were donated to the National Gallery of Victoria by Peggy Stone, who was a longstanding client and friend of the designer. She commissioned him to create numerous special occasion dresses that she wore to business conferences and balls she attended with her husband.
Leah McCartney, c 1954, by Athol Shmith
Beauty, 1950s, by Athol ShmithAthol Shmith was a celebrated fashion photographer whose career spanned more than fifty years. He began to photograph in the early 1930s, working from a studio in St Kilda before he two moved to the ‘Paris End’ of town in Collins St. Adopting European trends of clean lines, sharp angles and dramatic lighting, his work became synonymous with sophisticated and modern glamour.
Model Virginia Grey, 1951, by Athol ShmithCurrently showing at NGV Australia in the Ian Potter Centre. Visit the exhibition and add a touch of vintage elegance to your day. Open 10am–5pm, Tue-Sun; entry is free.
Dingbat Design
Ray Gun, 1994One of the funniest design stories that never fails to make me giggle is that of David Carson – art director of Ray Gun magazine – outrageously printing what he considered a boring story on Brian Ferry in Dingbat font.
Carson is best known for innovative magazine layout, and his use of experimental typography. At art school we were taught one of the most aspects of graphic design was communication, but as Carson says:
Don’t mistake legibility for communicationIn fact, the Brian Ferry story was published in a legible font at the back of the same issue of the magazine. A sense of humour is important too.
To Know Her Was to Burn and Be Burned
Of late I have been researching pulp fiction book covers in preparation for a photoshoot on the theme. HOW some of these ridiculous or over-the-top sexpots on these covers make me laugh! ‘To know her was to burn and be burned … but when you are dealing with drug traffickers you must keep cool … and alive.’ Or, ‘She was gorgeous – and her curves spelt death!’ They’re like the bodice rippers aimed at women. There is a thesis in here somewhere, but I’m sure it’s been done already. I also love these pulp fiction reimaginings of modern tales: Blade Runner, The Matrix and George Orwell’s 1984.
Dumb Ways to Die on the Metro
Melbourne Metro, in a bid to end – or at least reduce – deaths on the railway system due to testosterone-driven stupidity (I’ve yet to hear of any young girls train-surfing) have launched a new campaign called Dumb Ways to Die. The poster campaign features endearing little bean-shaped characters whose collective fates graphically illustrate the link between stupid life choices and violent death.
The poster copy is cleverly written in rhyme, and most of the suggestions are obviously ridiculous –coupled with the simple drawings, therein lies their humour. Amongst the silliness there are a couple of serious messages however. One can only hope that these sink into the minds of those most likely to take foolish risks. The bold simplicity and the catchy rhyme of the illustrations certainly make them memorable and attention-grabbing, which is a good start.
Click images for larger versions.
The results of poking grizzly bears …
French Scents
Aren’t these vintage perfume ads for Lancôme simply gorgeous? I tore them from a Greek magazine many years ago. Unfortunately I can’t make scents of it at all, (it’s all Greek to me, teehee!) – and there does not seem to be any indication of dates alongside the images. From the style I am guessing that these were created in the 1930s and 40s.
… the name ‘Lancôme’ was inspired by the ruins of a castle …
The beauty brand was founded by Armand Petitjean in Paris in 1935. According to Wikipedia, the name ‘Lancôme’ was inspired by the ruins of a castle, le Château de Lancosme, while the roses in the area inspired the company’s symbol of the single golden rose. These early ads don’t carry a logo at all however.
They sure don’t design ads the way they used to though, do they? How much more evocative are these than the style of today’s beauty advertisements, with their brash typography and endless array of airbrushed Hollywood actresses? It’s the age-old argument of illustration versus photography, and I for one am happy to see illustration returning a little to the fore in magazines these days. Variety is the spice of life after all.
