Falling Down Forever
Fifteen DaysHere are a couple of little random poems I assembled in this last week – or should that be in the last 15 days? They’re daydreams with seasonal themes, and they stop me falling down forever …
A Mermaid’s Deep-Sea Salon
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.
Whimsy for Winter
Here is a cute illustration for my July Frankie calendar page. Let me interject here to exclaim and fling my hands up in horror off the keyboard at the fact that half the year is officially done with. But this lighthearted image is a lovely contrast to the winter outside.
The illustration is by American artist Jill Labieniec. Her drawings have a lovely retro vibe. By limiting herself to a simple colour palette, contrasting one or two muted shades of flat colour that are punctuated by strong black shapes, Labieniec creates striking images full of the inherent charm of 50s style paper cut illustrations. I do love those big red cheeks too.
Check out more of her work at her website, where you can also click through to her Etsy shop and make one of her prints or a letterpress card your own.
Have a great July!
Sundays Have No Soundtrack
The Clouds :: Tinto 1848 // C-Type Plate // No flash
Some days have no soundtrack. When all you can hear is the wind in the trees, and the happy cheep of birds and the crackle of the fire*. The clouds move in fast-forward and the faraway drone of an aeroplane whisks me off into holiday mode; I wonder where all those people are going. And the best of those days are Sundays that are quiet and contemplative, when I don’t have to rush around anywhere.
But today is not one of those days. I’m heading off to the family home for lunch and a day of bedlam – which is wonderful too.
This photo gallery celebrates Those Days With No Soundtrack.
*I’m totally being poetic here: ‘crackle of the fire’ translates to ‘quiet hum of the gas heater’.
The Rain :: Tinto 1848 // D-Type Plate // No flash
Wigging Out
Aren’t these paper replicas of eighteenth century wigs extraordinary? I have to admire anyone with the patience and skill to create intricate sculptures out of paper. Nikki Nye and Amy Flurry, who co-founded the Paper-Cut Project in 2009 are such a pair. These wigs were created for the Bay Holiday windows and are only one of many such projects.
The Atlanta-based duo has been commissioned by top fashion houses and galleries, including Hermès, Cartier, Kate Spade and Valentino. They recently collaborated with the Victoria & Albert museum to create paper wigs for the Hollywood Costume exhibit – unfortunately these did not travel with the rest of the exhibition (which is currently showing at ACMI) to Melbourne. See more of their intricate work at Paper Cut Project.
