BLOW.
Be inspired to inspire Fashion is a vampiric
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thing; it's the hoover on your brain. That's why I wear the hats, to keep everyone away from me. They say, 'Oh, can I kiss you?' I say, 'No, thank you very much. That's why I've worn the hat. Goodbye.' I don't want to be kissed by all and sundry. I want to be kissed by the people I love." – Isabella Blow
Isabella Blow – quite possibly was one of the most interesting, quirky women in fashion. Her style and fashion were notably the most bizarre outfits to have become of fashion in the last 10 years not to mention, her involvement with the true discovery of Phillip Treacy and Alexander McQueen. The exhibition displays work that has been influenced, supported and inspired by Isabella herself. It invites the public to a look inside the mind of those who understood and loved
Isabella and followed her manic lifestyle. Assistant to Anna Wintour, who we all know from The Devil Wears Prada, is no job for an unfashionable boring simpleton – a job role perhaps suited for Isabella, but would seem a little dull in comparison to her personality. She had a CV boasting numerous job roles all with great importance – including editor of Tatler magazine. Somerset House has collaborated with the Isabella Blow Foundation and Central Saint Martin’s University to create this extraordinary exhibition that takes you round a chronological look at Isabella’s life. The layout of the exhibition features room upon room of McQueen couture garments and eccentric Treacey hats, all amongst the most gorgeous Manolo Blahnik shoes.
The first room of the exhibition is surprisingly dark, it creates a gloomy feel amongst the lit up boxes with articles pressed against about her mother and her family. With the knowledge of the tragedy that was Isabella’s suicide it would be expected that the exhibition would be a celebration of her life, so it builds up to the end of the exhibition as the content becomes more spectacular with a finale of incredible
"For someone who was suicidal, she was constantly dazzled by life and life was constantly dazzled by her,"Rupert Everett garments and hats. Her brother died at two in their family swimming pool which caused tension between her Mother and Father which eventually led to their divorce which Isabella saw the end of from a final goodbye hand-shake from her Mother. Something that
I’m sure would stick with someone for life. The exhibition has no real introduction to
Isabella as a person; it simply goes straight into depth about her family’s history, her mother and her peculiar, unusual pets, her mothers work and how she knew Andy Warhol. The quote “it’s not what you know, but who you know” comes to mind - she already had connections in the art world which was exactly the type of links that lead to McQueen and Treacy’s success. Isabella couldn’t get tickets to McQueen’s final catwalk but bought his whole collection with weekly instalments that are all shown in the second room on worn mannequins, which
gives a real ‘lived-in’ feel. That, accompanied with the cigarette holes, stains and rips that showed how Isabella loved them so much she wore them out numerous times. The exhibition talks much further on about how she loved to wear things down. It has a pair of her shoes that are velvet covered that are split at all the seams. She would wear fashion down to its very core. The corridor and previously dark rooms that lead to the incredibly high ceilinged room with phenomenal, in comparison, lighting, displays a beautiful collection by McQueen featuring several lilac tones,
delicate lace and a lot of intricate beadwork. This collection, although perhaps a
placebo effect influenced by the lighting change, appears far superior to the final collection of
McQueen’s graduating year. The choice of mannequins suits an exhibition of this standard far better. The white clay body parts randomly dispersed between each of the garments, some with missing limbs, and some with only a bottom half, all poised in the air held up by silver metal rods. The whole crisp, white illusion of the entire room brings awe to any of those looking. With the availability of a full 360° view of each of the garments individually, it becomes an experience rather than an exhibition.
Phillip Treacey’s hats are above and beyond anything you would ever expect from the dull noun that is ‘hat’. He takes headwear to an entirely new level – they become works of art simply coincidentally placed on the head. They are all of such different and interesting materials and each intriguing in their own way. The colours used are so vibrantly brilliant that they become magical – that no occasion would ever be wacky enough for these hats to blend in. There are many videos and images of Isabella in the hats as she was Treacey’s inspiration. They first met when she was at his university and she poached him to design and make her wedding headdress. To no surprise, it was not a traditional white veil, it was purple and like no other. Everything her personality screamed was on top of her head. Blow saw Treacey’s work as something of a cover up, she once said, "I don't use a hat
as a prop, I use it as a part of me. If I am feeling really low, I go and see Philip, cover my face, and feel fantastic. Although, if I'm on a real low it requires going to the doctor for a prescription," a very unsurprising comment to make considering the events of her heartrending family background and tragic suicide.
“It was unbelievably incredible. I felt like there was magic in the room.” - Olivia Ames Intimate details that let you get to know Isabella so much more, for instance the fact she wrote in fuchsia pink ink - something that would never be taken seriously in a professional environment which made the fashion industry so perfect for her to be absorbed in as her creativity could run wild. It has an anklet that she wore
covered in spiralling metal wires which cut her opposing ankle yet she still wore it because she loved it that much. A real commitment to fashion and belief in her new found designers. The long corridor of mannequins in their individual dewy blue booths gives the perfect amount of space for viewing. Nothing is crowded and the black contrasting against the hazy background gives a very strong image. The different portals allow a close look at several of Treacey’s hats with the humorous red lip shapes on the
now, characterised, mannequins. They are all poised in their postures which give further life to the women behind the hats.
The extensive volume of work in the exhibition really makes it worth a visit as there is so much to take in. The garments are all so beautifully made and inspire all those who view. It is very heavily other designers work and the title of the exhibition deserves a huge mention of Treacey and McQueen. The lack of involvement or information about her personal life is a fall back for the exhibition as perhaps with further insight to what inspires her from her background would give the audience a different understanding of the garments, designers, colours and themes that feature in the exhibition. The end of the exhibition has seating for a projection of a slideshow of the several different photo shoots using the garments featured within the exhibition. An eyeopening experience as it brings the garments to life and shows further vision that the designers had in the
way they portray the entire location, model and shoot. The exhibition as a whole is a fantastic experience and well worth the money. For someone fashion or not fashion orientated, the display of labour, inspiration, thought process and general style is enough to entice any eyes. The exhibition has a calm and relaxing atmosphere, giving plenty of time to admire each and every part of Isabella’s influential direction. The order and flow of the rooms, corridors and collections reflect the progression of Isabella’s mind. The exhibition is one to remember and a great tribute to the life of Isabella Blow. It truly is: Fashion Galore!
Olivia Ames
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