Documenting the Installation: Amy de la Haye
Wild & Cultivated: Fashioning the Rose an exhibition by Amy de la Haye and Simon Costin
Garden Museum 16 March – 19 June 2022
@amydelahayecurator
The lead image for Wild & Cultivated is a modern femme fleur photographic portrait by Tim Walker (of Primrose Archer, decorated with roses from Tim’s garden). It exemplifies the look and feel of our exhibition which explores perceptions of the tensions between wild and cultivated, natural and un-natural. The small gallery is painted black which makes our objects ‘sing’; the sole decoration comprises black briars inspired by Arthur Rackham’s illustrations for ‘Sleeping Beauty’.
Our preoccupations lie not only with elite fashion, but also occupational, rural and folk dress along with broader cultural notions of high and popular culture. Objects include a bejewelled rose designed by Oliver Messel for Glyndebourne; a scarlet knitted dress by Comme des Garçons; portraits of roses painted by Fantin-Latour and photographed by Nick Knight; millinery by Stephen Jones and Philip Treacy; souvenir postcards of rose queen festivals from the 1900s; Walter Crane’s illustrations of rose personification; rose decorated tea-cups and a group of studio portraits we titled ‘poses with roses’.
The book went to print three weeks prior to opening. We had one week to install. At the end of each day, I posted a ‘Grafting Roses’ diary of our ideas and progress on Instagram. I did not think of it as such at the time, but Judith Clark pointed out that it feeds actively into our commitments to documenting practice for CfFC. Within my own and teaching practices, I am exploring strategies for distinctive styles of curatorial writing. Here are some of my posts
Grafting Roses
(L) Thank you Tim Walker for this image which perfectly captures our juxtaposition of wild and cultivated. Primrose Archer Dressed In Flowers From My Garden, Hackney, 2020 © (R) Tim Walker Studio Photomontage. 1904. For ‘Masquerading Roses’ theme.
Worth it! Every minute, every weekend, right through Xmas…Final colour matching before we go to print at lunchtime.
vaserosewomanrosebudrosewomanrose
Waiting…
Now, awaiting rosy transformation … The joy of meeting carefully selected museum and private loan objects (most selected remotely because of Covid) and observing how they speak to each other. Then introducing them to the ‘rosy-rabble’ we have picked up in recent months to see how well they mix.
Grafting Roses Day One: (L) The gallery is painted black, the dress cases are in place, others being built by Scena. Meanwhile, we planned our displays for Rose Queens and Poses with Roses. Simon is shopping for trellis, pins and paper (not giving any more away!) first thing tomorrow. Enjoyed ultra-delicious lunch in the garden museum cafe (thank-you!). (R) Simon Costin’s model box, outside the gallery. Also an invaluable tool working on-site.
Grafting Roses Day Two: the build is still taking place, so we continue to prepare outside of the gallery. Simon showed me how to use a glue gun and made the base plate and I was away…. making rosy headdresses for visitors to be photographed with. (This one is not yet finished). Simon making trellis and enlarged photograph album pages and Gesa dressing mannequins with such incredible skill. At 7pm there was an event at the museum to raise money for the Ukraine and Simon treated us to wine whilst we work .. I like working with Simon.
Grafting Roses Day Two: (R) 2000 books and I arrived simultaneously at the museum this morning. We unloaded them onto a trolley that buckled under the weight and then heaved the whole lot into the museum. Thank you @webbandwebb. You’ve done a brilliant job! (L) Some more spreads from our exhibition catalogue.
Grafting Roses Day Three: Simon poses with roses – the way he catches the viewer’s eye makes me think he’s done this before! Modelling his ‘Stovepipe Museum in a Hat’ – custom made by Stephen Jones – for the caravan tour of the UK for the @Museum of British Folklore. Soon to be displayed in the millinery (and as of today, teacups too) case.
Grafting Roses Day Three: Tiny props that make all the (unseen) difference. This morning Adam arrived (@plowden_smith ) with these beautifully precise stands he’d crafted to support the Oliver Messel and Erte roses borrowed from Glyndebourne. Such a joy to meet someone with such a specialist skill who takes such pride and care.
Grafting Roses Day Four: These unfired porcelain and black clay-fired roses bloomed in the genius hands of Phoebe Cummings. Such roseate beauty delivered from our exhibition, delivered and assembled by Phoebe this morning. Thank you @phoebe_cummings
Grafting Roses Day Four: Such highly skilled hands; hands that truly care. Gesa Werner, V&A dresser and maker extraordinaire, preparing a bouffant rosy headdress by Christian Lacroix for Jean Patou. Lent by Alex Fury.
Grafting Roses Day Four: Jacob Moss came from the Fan Museum. This detail is of an exquisite painted leaf embellished with the scales from butterfly wings. Obviously unacceptable today. The plump pink rose so gorgeous and the dew drops an outstanding example of trompe l’oeil painting. Scroll to see the finely tooled gold insects on the guard.
Grafting Roses Day Four (more from yesterday). Working in the nave. Custom-made fan mounts brought by Jacob Moss to support the fans we are displaying in our vertical, fan-shaped, display case. I am thrilled to discover specialist display mounts like these, often created by curators and collectors in response to a very specific need.
Grafting Roses Day Five: Today I’m working on dress. Here, a comparative lesson on the effects of time and acid build-up on non-acid-free tissue packing (from a straw hat with roses bought on e-Bay).
Grafting Roses Day Five: 2 collectors + 1 small gallery = too much stuff! And no voice of moderation. Here, Simon’s work in progress for Masquerading Roses.
Well, they had to go somewhere …Grafting Roses Day Six: Finishing touches; most fun.
Roses on roses … Grafting Roses Day Six: Heads and juxtaposing mannequins. I think that the proportion of the head is vital for appreciating a garment, especially when a dressmaker figure is placed beside a full-body mannequin. Vivienne Westwood printed silk shirt borrowed from Fashion Museum Bath. John Galliano printed silk dress borrowed from Alex Fury.
These impossible subversive blue roses (so beloved of late-19th century Decadents) startled me, when they wept with rage when I tried to steam them. A Curator’s Cautionary Tale. Heavy printed cotton dress, late 1950s, bought on e-Bay).
Grafting Roses Day Six: The poor wee nightingale had its heart and then it’s body broken (completely disintegrated after 10 years in storage). So, for now, we have a finch! Simon Costin (detail) ‘The ‘’Nightingale’’ and the Rose’. (Oscar Wilde) I fear elsewhere we may have ranunculus where roses should reside…
Grafting Roses Day Six: Life-like. Adel Rootstein mannequin. This innovative firm employed highly skilled sculptors to create their body forms and the finest wig makers and painters for hair and make-up. She feels so ‘right’ for the mood of our show. There are of course fashions in mannequins and exhibition subjects, as well as clothes. For the last 20 years, I would have deemed her old fashioned as she was the top-level standard when I started working as a fashion curator. We haven’t bought new mannequins; instead we’re using a mix of those already in circulation, three of whom were made by Rootstein. Others borrowed from Judith Clark @prefigured_ (thank-you!), Fashion Museum Bath and some of mine. Her rosy bustle dress is gorgeous! 🌹 Sarah @atelier_nine and Gesa @fannell17 are the very best dressers. It is joy to behold their skills and work alongside.
Grafting Roses Day Seven: Finishing touches! My view from the floor where I am happily seated hemming at 100 mph the soft furnishing fabrics in Simon’s rosy cosy corner. Officially titled ‘The Domestic Rose’.
Our rosy selfies, now complete. I’m covered in glue gun burns! Never used one before; never had more fun! Dedicated to our many friends who can’t attend the party due to Covid, including @nick_knight @geoffreymunn @shauncole @hettymahlich @fishertomlin
Grafting Roses: Final Hours; the clean up. Polishing glass, sweeping the floor, clearing rubbish. And with time to get ready for the party and to pause and admire our rosy trellis Rose Queens installation. Mr Costin certainly has a way with roses…
Grafting Roses: Final Hours: Lulu Guinness’s gorgeous rose bucket bag. And a rosy dolly dress; a dolly rosy dress.
#fashioningtherose
Such a treat to see the wonderful activities and display made by Garden Museum Curator Emma House to support ‘Wild & Cultivated’. Quote courtesy of my mother who is the true rosarian.