The Red Hat Society

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The Queen: Phoenix Fillies

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The Red Hat Society (RHS) is a social organization originally founded in 1998 in the United States for women aged 50 and beyond, but is now open to women of all ages. As of 2011, there are over 40 000 chapters in the United States and other countries. I had the opportunity to meet a lovely group of ladies from the RHS. The group had travelled from Essex to Somerset House, to see the Isabella Blow exhibition that finished in March 2014. Known as the red ‘hatters’ the ladies often have tea parties and their Queen, Phoenix Fillies, confirmed a taste for the eccentric. The founding hatter, artist Sue Ellen Cooper, initiated the RHS by quoting Jenny Joseph’s poem ‘Warning,’ noting:

“When I am an old woman I shall wear purple
With a red hat that doesn’t go and doesn’t suit me.”

There was something of the absurd, yet subtly brilliant, about the women’s appearance. Whilst they stood out as a group in Somerset House, each had adapted the colour combination of red and purple to create a range of interesting details that oscillated between being quite old fashioned and extremely modern, with details such as a tight seam or white tights set against red lipstick and red nails.

Each woman clearly took pride in their appearance and in belonging to the group. Their ‘Queen’, Phoenix Fillies, was forthcoming about the aims and benefits of the Red Hat Society. Their sense of belonging through colour invoked Jenifer Craik’s research on uniforms and can also be seen to relate to colour theory, demonstrating an outfit choice that resists insecurity and invisibility as older women. Pamela Church Gibson explores the disappointing tendency to become invisible as women get older. As opposed to an invisibility cloak, the red and purple clothes became the insignia of pride and presence. Visibly travelling around and enjoying interesting cultural days out, each woman took a deep-seated pride in her appearance. It was a pleasure to catch them on camera.

Sources:
Craik, J. (1994) The Face of Fashion: cultural studies in fashion. London and New York: Routledge.

Church Gibson, P. (2000) ‘No one expects me anywhere’: invisible women, ageing and the fashion industry. Fashion Cultures: theories, explorations and analysis, London and New York: Routledge, pp. 79-90.

Winter Modes

CostumesParisiens_Pour_St_Moritz_1341_433
Georges Barbier, ‘Pour St. Moritz…’ illustration from Journal des Dames et des Modes, 1. Feb. 1913.

Although summer is well under way, a few of us are already thinking several seasons ahead. Our department has been asked to contribute to Somerset House’s Winter Festival exhibition, which will feature a series of small displays on the theme of winter and fashion. Due to run from December 2014 – February 2015, this promises to be an exciting project and we are delighted to be involved.

Using our Dress History Collections, we have decided to focus on showcasing fashion magazines from the 1910s and 1920s. The imagery in publications, such as the Gazette du Bon Ton and the Journal des Dames et des Modes, built on women’s everyday experience, while simultaneously inviting them to enter a realm outside of the quotidian through lush depictions of fashion.

Our display will explore the dichotomy of function versus fantasy, through the journals’ illustrations of winter clothing and activities. So far, we are in the initial planning stages of the project, but we will update you with the progress we make on a regular basis. Keep your eyes peeled for some magnificent illustrations from the likes of Iribe and Thayaht!

Dress in Autobiography and Autobiography in Dress: A Brief Exploration of Irene Castle’s Dress in Castles in the Air

Castles

“The clothes I wore were practical for me and that is the reason I wore them,” explained ragtime social dancer Irene Castle in her memoir and autobiography Castles in the Air. An icon of the Progressive Era, Irene is remembered primarily for her energetic yet graceful steps, which she performed alongside husband and dance partner Vernon. Their work contributed to the rise of the exhibition ballroom dance craze across America, Britain, and France during the 1910s. However, reading her autobiography revealed that, in addition to her role in dance, Irene also introduced significant clothing innovations with her signature flowing silk chiffon gown (seen in this video). Her detailed and expressive writing about dress also suggested that her interest in fashion equalled or even surpassed her love of modern social dancing. Through a closer look at Castles in the Air, we see how autobiography became a tool for documenting Irene Castle’s fashion, and, perhaps more significantly, we gain an understanding of how dress might offer insight into the dancer’s life and identity.

At the beginning of their career, Irene and Vernon struggled financially and, during their debut performance at the Café de Paris – “the finest supper club in Paris” – Irene wore her white crepe de Chine wedding dress, as it was the only evening gown in her possession. Such biographic details allow readers to visualise how the Castles’ rose from meagre middle-class beginnings to deliver a breakthrough performance that ultimately launched their dancing career. Yet, despite the imminent success that awaited her, that evening Irene recalled feeling “out of place… in a room where any woman was wearing a quarter of a million dollars in jewelry”. This more personal rumination demonstrated how Irene initially viewed fashion as a symbol of status and wealth, an aspirational fantasy that, according to theatre historian Marlis Schweitzer, many middle- and working-class women shared during the Progressive Era as the rise of the department store and live mannequin parade made fashionable goods more visible and accessible to a wider group.

After the Café de Paris, the Castles’ numerous appearances in nightclubs, theatrical productions, and films greatly increased the couple’s fame, but Irene continued to wear her iconic chiffon dance frocks, despite the reigning popular fashion for the narrow hobble skirt, favoured by designers such as Paul Poiret. By the summer of 1913, as exhibition ballroom dance became the popular choice in evening entertainment in the urban centres of New York, London, and Paris, the dancer remembered that her “Castle frock [simultaneously] became the vogue” in dress among prominent society women and middle-class working girls who aspired to be modern and fashionable. These comments alluded to the idea that Irene’s dress was imitated internationally. However, despite her role as a fashion icon, the dancer insisted: “I had no idea of influencing anybody else’s fashions when I changed my own clothes… I could not dance in a hobble skirt…, therefore I wore simple flowing gowns that would leave my legs free.” This statement suggested that Irene aimed primarily to fashion herself in her own image, aligning herself with other Progressive Era women who gained independence and freedom of expression from the suffrage movement and growing female educational opportunities.

It is my hope that this brief examination of Castles in the Air will offer insight into Irene Castle’s personal relationship with fashion and lead to a broader understanding of how autobiography can be a useful tool for studying dress history.

To read Irene’s autobiography, click here.

Sources:

Castle, I. (1980) Castles in the Air, New York: DaCapo Press.

Schweitzer, M. (2011) When Broadway was the Runway: Theater, Fashion, and American Culture, Philadelphia: University of Pennsylvania.

Troy, N. J. (2003) Couture Culture: A Study in Modern Art and Fashion, Boston: Massachusetts Institute of Technology.

A Juxtaposition of Femininity in The Great Gatsby (2013)

Illustration: Catherine Martin/Warner Bros
Illustration: Catherine Martin/Warner Bros
Illustration: Catherine Martin/Warner Bros
Illustration: Catherine Martin/Warner Bros

The representation of fashion in the 2013 film adaptation of the novel The Great Gatsby, directed by Baz Lurhmann, has raised a number of significant questions with regard to both its role in the portrayal of key notions of femininity and fantasy, but also the tense relationship between the past in which the film is set and the present in which we view and interpret it. In her first scene, the character of Daisy Buchanan, played by Carey Mulligan, wears a cream sleeveless dress consisting of a structured lace bodice and full skirt of organza ‘petals’, cinched at the waist by a flowing beige tulle sash. Daisy’s portrayal of femininity, however, assumes a complex and problematic nature due to its play with the familiar binaries of feminine representation. The delicate elegance of her dress contributes to an ideal, or even potentially overly idealised, image of purity and incorruptibility yet its form-revealing bodice, fleshy tones and transparent panel are highly suggestive of a corporeal sensuality that does not correspond so comfortably with this ideal. The viewer is invited to realise Gatsby’s sexual attraction to Daisy while, simultaneously, fully comprehending her prevailing untouchable nature. Aesthetically, her presentation is undoubtedly beautiful, impeccably and ethereally so. Yet through an emphasis on a dreamlike fantasy of exaggerated femininity, the portrayal of her character is weakened and the audience’s view of her on the whole becomes, much like Nick and Gatsby’s in the narrative, characterised by a certain distance.

Conversely, the viewer’s introduction to the character of Tom Buchanan’s mistress Myrtle Wilson, played by Isla Fisher, is defined by a heightened fantasy of blatant and unashamedly erotically suggestive imagery, as she appears in her husband’s garage in a blur of glossy Bakelite bangles, heavy make-up, brightly coloured prints and fishnet stockings. Although the most significant and obvious function of this depiction is to offer further juxtaposition of the figures of devoted wife and wanton mistress, the viewer’s sensory perception of each operates very differently. Every element of Myrtle’s physical appearance, from her red lipstick to the vivid clash of green headscarf against tight, red curls of hair, visually magnifies her sexuality to the point that it begins to border on clichéd fantasy and even caricature. We can see how the fabric of her dress clings to and reveals her physical form, and a mass of red ruffles draws the eye towards a historically anachronistic display of cleavage. The notion of touch is only a secondary consideration in this instance since the flat, graphic lines of the dress and texture, which is suggestive of a cheap synthetic quality, is offset by the plastic sheen of her stacks of smooth, thick bangles.

By contrast, throughout the course of the film the presentation of Daisy’s dress is dominated by an engagement with touch, from her variously embellished dresses to the juxtaposition of a luxuriously soft fur coat and intricately textured lace dress, which are worn in the final scene. The use of conventionally feminine colours, such as cream, pale pastel and shades of gold, displace the sensual emphasis of sight and transfers it to touch, by allowing the muted hues to provide a foil for the textured fabrics, iridescent pearls and hard glitter of diamonds. These present an overall and lasting impression of luminous wealth and decadence rather than, as in Myrtle’s case, sexual availability and immediate sensual gratification.

The film’s emphasis on fashion, hairstyles and visual display can be considered an essential factor in the film’s overall audience appeal. The decorative excess of these visual codes, however, is also necessary in the formation of a feminized world in which extravagant and exciting performance predominates, thus creating a pleasingly disordered synthesis of historically conflicting styles and influences – all wholly appropriate, of course, to the original novel’s privileging of desire and escapism.

‘Bravo la confection française!’ Researching French Ready-to-wear, 1947-1957

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Dress, collection of the Musée de la Mode de la Ville de Paris, Palais Galliera, Paris.
Dress, collection of the Musée de la Mode de la Ville de Paris, Palais Galliera, Paris.

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On 11 April 2014 I presented a paper at ‘Couture, Fashion and Consumption: Britain/France, 1947-1957’ held at Paris’ Institut d’Histoire du Temps Présent (CNRS). This was the latest study day in the ongoing cross-cultural collaboration between dress history researchers from the IHTP and the University of Brighton. The following extract is the introduction to my paper, entitled, “Bravo la confection française! Researching French Ready-to-wear, 1947-1957: Industry, Modernity, and the Image of Women.”

In the 1 October 1956 issue of Elle, fashion editor Claude Brouet wrote: “Bravo la confection française! The bet is won. Won by the young industrialists of ‘Prêt à Porter’ who rescued French confection from its routine.” The accompanying photograph presented a model who wore a gray-brown wool coat by Albert Lempereur, an important proponent of ready-to-wear and then president of its trade organisation, the Fédération Française des Industries du Vêtement Féminin. The model followed the speed and direction of modernity, evoked by blurred horizontal lines that represented the frenzied mass-populated city of Paris. With her legs cropped out of the photo frame, the reader could not tell if she was caught in mid-step, moving with the times, or caught off-guard, slowing down in fear. The image captured well the electric push to modernise both industry and city and presented fashion that would parallel it. However, in contrasting sharp focus, the model seemed to exist outside of modern time. Rather than resist its thrust, uncertain, she questioned the move forward. Her stance could be seen to reflect France’s contradictory reception of its abrupt post-war modernisation, which, as Kristin Ross noted, was “experienced for the most part as highly destructive, obliterating a well-developed artisanal culture.” Prêt-à-porter, a product of the industry that perturbed mainstream notions of French artisanal production, was directly implicated in the country’s reconstruction. Articles in the fashion press, such as this one, which insisted on the success of French confection, thus sought to combat those views against modernity, but simultaneously laid bare a host of contradictions through their visual hesitancy and contrivance.

The French ready-made clothing industry during the Fourth Republic developed against the backdrop of heightened modernisation in terms of industrialisation, women’s lives, and France’s physical landscape, characterised by large-scale urbanisation. Images in the fashion press used ‘blurred’ photographic techniques, such as these, to depict the changing city that, from the 1950s was characterised by a new energy after its occupation during the war. The growth of mass motorised transport from the late 1950s, largely out of sight during the war and in the years following it, was a tangible reminder of urbanity. Such photographs “that achieve a truly dynamic movement,” as Christine Moneera Laennec has argued in relation to 1930s fashion photography, “work in such a way as to evoke various mechanized processes, not the least of which was the mass production that by this time had become central to the fashion industry.” Clothing and women were conflated with the automobile, the period symbol for urban, speedy modernity and the consumer object that most clearly referenced industrialised assembly-line production; which the repetitive imagery of models visualised. Certainly, the magazine’s distinctive use of highly saturated colour photography had as much to do with Roland Barthes’ characterisation of Elle as “a real mythological treasure” as the subjects it portrayed so that dressed bodies became shiny, streamlined, “magical” goods.

Women in this decade were also objectified through their clothing, with, according to Rebecca Arnold, “focus placed on a hard body created by corsetry and shiny dress fabrics that suggested a metallic finish and touch.” A dress sold at the fashionable boutique, Claude Mérel, with its crisp synthetic material veiled under a printed pattern of flowers, intimated painterly, handcrafted creation. Similarly, the boutique’s label hid any trace of a manufacturer. The dress implied a lavish, historic femininity with its voluminous skirt and large collar, which, in contrast, recalled men’s suits and workwear. Freedom of movement to work however, was repressed and contained through the dress’s construction: besides a small zipper at its side waist, the garment had no opening and included a belt for the body’s further containment. Magazines’ new construction of fashion and femininity, as seen above, negotiated components of industrial modernity and disseminated them in relation to prêt-à-porter and the image of women. Yet, as suggested by the Claude Mérel dress, postwar femininity was a site of contradiction, comprising a mixture of identities. This paper asks how the history of postwar French ready-to-wear can shed light on several contradictory narratives and, therefore, the transitional, dual nature of the 1950s, a period that encompassed limitations and possibility, modernity and tradition, flux and stasis.

Sources:

Arnold, R. (2013) “Wifedressing: designing femininity in 1950s American fashion,” in Adamson, G. and Kelley, V. eds., Surface Tensions: Surface, Finish and the Meaning of Objects, Manchester: Manchester University, p. 127.

Barthes, R. (2009 [1957]) Mythologies, London: Vintage Books, pp. 89, 101-103.

Laennec, C. M. (1997) “‘The Assembly-Line Love Goddess’: Women and the Machine Aesthetic in Fashion Photography, 1918-1940,” in Wilson, D. S. and Laennec, C. M., eds., Bodily Discursions: Genders, Representations, Technologies, Albany, N.Y.: State University of New York, p. 89.

Ross, K. (1995) Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, Cambridge, Mass. and London: MIT, p. 22.

Fashion, Violence, and Colour: Interwar Modernity as an Assault to the Eyes

Maddening Hues

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In 1923, the Gazette du Bon Ton employed what they termed a ‘Professor of
Colourism’ to provide advice for an article entitled ‘Dangerous and Virtuous Colours’.
Set upon a solid background of vivid, mustard yellow, the text and accompanying line
drawing, both printed in strong black, create a stark contrast, and subsequently
jarring visual sensation for the reader. Could this uncomfortable viewing be an
example of the danger of colour referred to by the article? Can colour perform an
assault on the senses in this way? If this explains the Gazette du Bon Ton’s
reference to danger, what, then, associates colour with the journal’s second
description, of ‘virtuous’? Such ideas on colour were not obscure, and in fact
appeared over a range of contemporary media, particularly the fashion press. Two
years later, in 1925, for example, Vogue mused that ‘there is… a touch of the
soldier’s swagger… of flaunting danger… in red hats.’ It proposed, then, that colours
have an ability to project characteristics. In this case, the characteristics were
associated with military violence, closely connected to the recent experience of the
First World War.

The aftermath of the war had a huge impact on the advertising of skincare products.
In the immediate post-war years, beauty advertisements engaged with women’s
wartime experiences, appealing to notions of wounds and trauma on a psychological
level. They presented the enticing image of peaceful care, healing and wholeness,
taking direct visual inspiration from new developments in medicine. However, this
caring image of comfort soon placed women in potentially threatening situations, and
a new, medicalised and violent aesthetic, which I term ‘beauty doctoring’, both
appealed to, and exploited, women’s war-invoked vulnerabilities.

In the years following, the impact of violence upon beauty advertising did not
diminish. References to colour and its potential dissonant danger appeared
frequently, particularly from the mid-1920s onwards, which coincided with
developments, and the increasing presence of colour, in beauty, fashion, and culture
– including publishing, photography, and film – alike. Women’s changing role amongst
this led to new methods of both their perception and self-agency, and within this,
colour played a crucial role.

Sources:
Gazette du Bon Ton, No. 5, 1923.
US Vogue (1st March, 1925).

A closer look at Renoir’s La Loge through the lens of fashion

Pierre-August Renoir, La Loge, 1874, oil on canvas, 80 x 63.5 cm, (The Courtauld Gallery, London)
Pierre-August Renoir, La Loge, 1874, oil on canvas, 80 x 63.5 cm, (The Courtauld Gallery, London)

Renoir placed fashion at the heart of La Loge, which he painted in 1874. His representation of a fashionably dressed young couple seated in a theatre box expressed the desire of the Impressionists to capture the beauty and excitement of modern life through a new language of painting. The physical transmutation of dress onto canvas shows that fashion is both a vibrant form of visual and material culture and a major economic force, indicative of wider social and cultural meanings.

The woman in the foreground, who some critics have referred to as Nini, has an elusive sophistication that dominates the painting, reliant on her character and deportment as much as on her dress. Her pose, in which one hand is placed on her handkerchief by her left hip, whilst her figure is emphasised by expert corsetry and luxury fabrics, renders her every bit the fashion model. Nini’s face is executed in minute detail, her features carefully and delicately modelled in such a way that our eyes flicker between the bodice and her face in search for the principal focus of the composition.

Renoir expresses the sensual tactility of Nini’s overall appearance. Her silvery painted face and neck has a slightly blurred texture that complements the gauzy fabric of her dress. Her sparkling jewellery captures the viewer’s eye and evokes the visual and literal consumption so fundamental to fashion. Renoir produces a poetic interpretation of the more prosaic details of dress through delicate, softly brushed forms of varying colour and tones. His paint handling is varied and fluent. Forms are delicately rendered without crisp contours. Nini’s gown provides a strong monochrome and triangular underpinning to the composition. Black and blue paint are mixed to suggest a play of light and shade. Surrounding this focal point are varied nuances of blue, green and yellow, which recur in the white fabrics, acting as a counterpoint to the rosy warm hues of the woman’s flesh and the pinks and reds that form the flowers in her hair and on her bodice.

If we look at La Loge in close proximity, all that can be seen are brushstrokes. When viewed from a distance, however, the dress sits back to display the three-dimensional forms lying within its stripes. This interplay between the informal, sketch-like appearance of the paint and the extraordinary amount of detail conveyed in the painting can be read as a visual manifestation of fashion’s complex and dualistic nature. Likewise, fashion can have the intensity of the personal, expressing individual taste and emotion, yet the power and impact of the general, encouraging everyone to dress in a certain, often homogenous, way.

Chris Marker: Visualising women post-war, post-apocalypse

© Chris Marker Courtesy Whitechapel Gallery
© Chris Marker
Courtesy Whitechapel Gallery

The French documentary filmmaker Chris Marker wrote of the women he photographed on his travels: ‘I stare at them, but not enough, not long enough’. Paraphrasing the poet Valery Larbaud he mused: ‘perhaps, if I could catch up with them [his female subjects]… perhaps I could conquer a world. Or rather they would conquer a world for me’. The first photographs in Marker’s ‘Staring Back’ series, which spanned six decades (c.1950s- 2000s), featured subjects of both sexes in a post-colonial Cold War world, one in which France’s grip on its colonies was continually challenged, and the balance of global power had shifted from Europe to the United States and the USSR.

Marker, a progressive left-wing intellectual was conscious that he did not want to replicate the conventions of colonial European photographers who shot their subjects from the position of perceived racial and intellectual superiority. His above comment, that no amount of staring was sufficient to fully grasp the character of the subject, is pertinent because it suggests that he relinquished the photographer’s traditional claim to mastery over the subject. In a photograph of Russian girls listening to poetry, made in the 1950s, Marker positions himself as a witness to their engrossment. The girls are shot side-on in soft focus with their eyes downcast. The edges of the auditorium seats around them are blurred so as to suggest that everything is touched by the poetry’s rhythm. The girls’ sweaters seem non-descript second skins and the highlights at the crown of their heads take on a dandelion texture, which gives the impression that they too dissolve into the verse’s cadences. The vagueness of the composition appeals to the spectator’s sense of ‘haptic visuality’ which, as the film theorist Laura U. Marks argues, acknowledges the limitations of visual knowledge and uses the ‘resources of memory and imagination to complete’ the image. Haptic images, Marks continues, ‘force the viewer to contemplate the image instead of being pulled into the narrative’. Thus, the vague apparitions in Marker’s image elude their exact location and ethnicity and instead evoke the immediate and universal act of listening. While Marker does not pretend to fully compass his Soviet subjects, his soft-focus treatment indicates his empathy with their poetic transportation.

Marker’s interest in his female subjects’ elusiveness forms the subject of his 1962 ciné-roman La Jetée, a film composed almost entirely of black and white still images, which centres on the protagonist’s obsession with the image of a woman from his childhood. Even after he enters the post-apocalyptic scenario of World War III, he greets her in parallel universes. Although the film is set in the future, the female protagonist played by Hélène Chatelain aspires to a 1960s French New Wave conception of timelessness. Styled in unadorned black and white shift dresses, her face free from obvious make-up and her shoulder-length blonde hair flyaway or in a statuesque high chignon, Chatelain recalls Jeanne Moreau in Francois Truffaut’s 1962 film Jules et Jim. In both films the heroine’s understated styling enables a focus on the corporeal essentials that define the hero’s relentless fixation: the smile, the hair and the hands flying up to frame her face. As Janet Harbord argues, the woman’s hands ‘do not so much obfuscate her expression as stand in the place of it, and mediate it’. The fleeting encounters of the man and woman in their post-apocalyptic worlds reach varying levels of communion, as the film shows how an encounter with a childhood vision can be richly experienced, but not fully achieved.

Marker’s post-war images of women express his extraordinary sensitivity to the tiniest mutations in the female face. However, in the course of this poetic journey, he also exposes the futility of the photographer’s quest to capture the true essence of his mutable subjects.

The above works can be viewed at Chris Marker: A Grin Without a Cat at the Whitechapel Gallery until June 22, 2014.

Sources:
Marker, C. (2014) ‘Chris Marker: A Grin Without a Cat’, Exhibition Wall Text, Chris Marker: A Grin Without a Cat, Whitechapel Gallery.

Marks, L. U. (1999) The Skin of the Film: Intercultural Cinema, Embodiment and the Senses Durham, N.C.: Duke University Press, p. 163.

Harbord, J. (2009) ‘Chris Marker: ‘La Jetée’ London: Afterall Books, p. 45.

sculptural forms, lush silks and hidden contrasts: the rediscovery of a Charles James dress

Bodice front view
Bodice front view
Bodice interior
Bodice interior
Close up of waistline
Close up of waistline
Close up of bodice interior, showing whaleboning
Close up of bodice interior, showing whaleboning
View of sleeve and self-coloured velvet trim
View of sleeve and self-coloured velvet trim
where the hem has come down, it is possible to see the horsehair interfacing
It is possible to see the horsehair interfacing where the hem has come down
Niccola's mother Jane Smith on her 21st birthday in 1954
Niccola’s mother Jane Smith on her 21st birthday in 1954

The first thing that strikes you is the sheer volume of fabric. Dove grey silk taffeta – and lots of it. Packed into a suitcase, this Charles James dress was a complete surprise. And a wonderful treat for my students and me!

But I’m running ahead of myself, I should backtrack and explain. A couple of weeks ago, out of the blue, I received an email from Niccola Shearman, a research student at The Courtauld. She had seen some quotes from me in an article on the current Charles James exhibition at the Metropolitan Museum in New York, and wondered if I’d be interested to know that she had two James dresses.

You see, Niccola is James’ great niece, and she has inherited two precious reminders of his skill and creativity – the grey dress, which he made for her mother, Jane Smith’s 21st birthday party held at the Café de Paris in 1954, and a wedding dress. The latter is an especially intriguing piece of fashion history, originally designed by Charles Frederick Worth for James’ mother’s wedding in the 1880s, James later adapted it for his sister’s 1930s marriage, and then reworked it again, two decades later, for Niccola’s mother to wear, when she married John Shearman (one-time Deputy Director of The Courtauld).

Hearing this news was thrilling, and you can imagine our delight when Niccola arrived in my office with the grey dress, photographs of both gowns and fascinating stories about her family’s history. Born to an American mother and British father, James spent part of his life here in London. His obsessive approach to pattern cutting produced a series of extraordinary garments that were sculpted to the torso and engineered to spread out from the body in architectural folds.

Niccola’s mother’s dress bears these hallmarks. The bodice is constructed to fit like a second skin, mimicking mid-nineteenth century lines, it comes to a slight point at the centre of the waist. It has whale boning to make sure the fit is precise and that it stayed in place when worn. The sweetheart neckline is edged with self-coloured velvet ribbon, pleated to soften the line and flatter the skin with its textural contrast. The cap sleeves are pleated to make them curve out from the top of the arm to balance the overall silhouette. It is lined with palest peach-pink silk, that provides a secret complement – known only to the wearer – to the opalescent grey taffeta seen by onlookers.

And then there is the skirt. Pleated into the waistband – again an homage to the previous century – it stands out in deep folds from the fitted waist. The hem is held out by a wide band of woven horsehair that ensured the dress maintained its bell-shape swing throughout the party.

The dress therefore combines the fashionable 1950s style with its nostalgic references to Victorian femininity. And importantly, bears James’ signature in its attention to detail – it is hand stitched – his love of sculptural forms, created through clever construction techniques, and his fascination with lush silks and hidden contrasts.

It was wonderful to have the opportunity to examine the dress close up, and we are so grateful to Niccola for sharing this amazing piece of her family’s (and fashion’s) history with us.