Proud Archivists
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FEATURES FASHION Proud Archivists The fascination with fashion’s past has never been greater. Ben Olsen investigates the brand goliaths plundering their archives – and how the process impacts the industry a touching tribute at Versace’s AW18 show, or Karl Lagerfeld describing his first couture collection for Chanel as “like doing a revival of an old play”, basing the present on the past is proving a popular approach. “Brands need ‘house codes’ in order to establish a strong point of view,” says Lauren Sherman, chief correspondent for the Business of Fashion in New York, on the importance of an archive. “Refer- encing and reinterpreting iconic pieces from past collections helps a designer to write a brand book In a fast-paced fashion industry that celebrates rather than a series of disjointed chapters.” Sher- newness, inspiration is everything. To keep this man points to Christian Dior as a key example. three-trillion-dollar global business firing, de- “The house of Dior was founded in 1946 and Chris- signers must dig deep to produce the hundreds tian Dior passed away in 1957. Those 10 short years of looks shown across up to four seasons each of fashion continue to ultimately define the brand. year. Yet for all the focus on the current, one What would Dior do without its archive?” key form of inspiration lies in the past. That is, in the fiercely guarded archives of fashion’s Christian Dior will be the main focus of a major ex- major players, which preserve past glories and hibition at the V&A at the start of next year, draw- play an increasingly important role in today’s ing from an extensive archive to showcase more contemporary collections. than 500 objects and 200 rare haute couture piec- es. According to the show’s curator Oriole Cullen, As evidenced by a succession of blockbuster Christian Dior’s creations have transcended the era retrospective exhibitions gracing the world’s they were born into. “In their own individual ways, biggest galleries this year alone (including each of the house’s six successive artistic direc- Azzedine Alaïa at London’s Design Museum tors have referenced and reinterpreted Dior’s own and Martin Margiela at the Palais Galliera in designs and continued the legacy of the founder, Paris), the fascination with fashion’s past has ensuring that the house of Christian Dior is at the never been greater. Whether it’s Raf Simons forefront of fashion today,” she says. sifting through historic sketches in the Dior and I documentary, Donatella Versace repro- Reinvention plays a major role in today’s col- Photo © Laziz Hamani Page This Opposite page Opposite Dior Écarlate afternoon dress, Autumn-Winter 1955 Haute Couture collection, Y line. V&A Museum. 1948 circa Sylvie, model with Dior Christian Courtesy of Christian Dior ducing her late brother Gianni’s bold prints in lections, with incoming creative directors often 82 83 FEATURES FASHION “It’s advertising campaigns and ephemera that reveal the heart and soul of a brand.” This page and opposite page: Courtesy of Levis Strauss & Co. putting their own spin on a label’s out- in abundance on the runway. Last year, head designer at Levi’s Vintage Cloth- arriving at a new company. When Becky put yet rooting it within the brand’s lin- Dries Van Noten celebrated his 100th ing. “When creating something new it’s French took up the role of head of de- eage, whether that be through shapes, show by bringing back signature prints important to understand the classics. sign at Turnbull & Asser earlier this materials, colours or – more abstractly – from past collections, and Carol Lim and It is full of classic designs like the 501 year, she had to immerse herself in a essence. For Sherman, Demna Gvasalia Humberto Leon dug deep into an archive Jean and the Levi’s Trucker jacket and history that stretches back to 1885. “I’ve has excelled in finding a balance since that stretches back to 1970 for their Ken- with this history and knowledge we been working here for six months and taking over as creative director at Balen- zo La Collection Memento project. More have the building blocks to move for- it has been vital for me to dig into the ciaga in 2016. “He has done a singular recently the likes of Valentino, Prada ward and create new exciting products.” archives to get a sense of what they are job of reinterpreting one of fashion’s and Katharine Hamnett have all reintro- For O’Neill, dipping into this resource about, delving through more than 130 most oft-referenced archives,” she says, duced pieces, logos or patterns from pre- is a crucial part of his working prac- years of history,” she says. French, who referring to his debut collection that vious collections to great acclaim. tice. “Once I decide the seasonal story, previously worked for Aquascutum, saw him draw heavily from Balenciaga’s the archive is my first port of call,” he adds that an archive can be pivotal, with 1930s and 1940s designs before – his re- It’s not just luxury brands that have em- says. “There is so much there to draw evidence not just of previous collections spect for the house now clear – making braced their past. The launch of Levi’s from and reimagine. As a brand, hav- but advertising campaigns and ephem- his own mark on later collections. Vintage Clothing in the mid-1990s saw ing this archive grounds us and shows era that reveal the heart and soul of a the release of innovative selvedge den- us how things were done in the past and brand. “I have worked with brand ar- While some rip up the rule books (Hedi im pieces inspired by the brand’s 145- informs decisions for the future.” chivists at Aquascutum and Turnbull & Slimane at Saint Laurent and Alessan- year history. “Our archive is incredible Asser, and they are fountains of knowl- dro Michele at Gucci two recent exam- and provides a rock-solid foundation Getting to grips with a brand’s heritage edge and references,” she says. “A con- ples) archival elements are appearing for us to build on,” says Paul O’Neill, is a task all designers now face after versation or image can strike a modern 84 85 FEATURES FASHION chord and spark an idea for a new con- cept, photo shoot or product.” These include a series of evening shirts referencing archive shots, including one of Terence Stamp wearing a baby blue poplin shirt and tie, and a long-point collar shirt sample that led to a new collar style being created for the same collection. “During my time at Aquas- cutum an outerwear cloth from 1953 was rediscovered from the archives that was used by explorer Edmund Hillary and his team during their first ascent of Mount Everest,” she says. “We worked with a fabric mill to recreate this histor- Alaïa/Design Museum. Photo by Mark Blower ic cloth and then reproduced it in more contemporary styles.” has become increasingly important for The digital age has been a game-chang- Sherman. French agrees, arguing that Many brands use their archives to pro- those fashion houses seeking to put er for designers, students and fashion historic material has a time and place duce crowd-pulling exhibitions that ex- their history in order. lovers. More and more brands now have and should be used in balance. “While tend their message by expressing their an online archive, making it easier to I love looking to the past and striking cultural heritage. The Fondation Pierre Yves Saint Laurent started keeping piec- research and reference than ever before. a nostalgic tone in my work, my job is Bergé – Musée Yves Saint Laurent opened es during the 1960s and as a result it’s a According to O’Neill, digitisation has to add modernity and create relevant, Turnbull & Asser: Terence Stamp. Photo by Susan Wood/Getty Images in 2017 on Avenue Marceau in Paris, truly comprehensive collection accom- made his job even easier. “Everything exciting products for now,” she says. holding 5,000 garments and 15,000 ac- panied by sketches, specification sheets is now catalogued and research can be “It’s essential to draw from a variety of cessories. And the opening of the Gucci and press clippings, with a specialist done remotely,” he says. “We can re- sources for inspiration and it is this mix Garden in Florence this year, designed staff dedicated to documenting and pre- search a lot faster, so when we visit the of art, music and film, as well as archive by creative director Alessandro Michele, serving these pieces. Others have been actual archives we are more focused.” references and conversations, that all explores the eccentric creativity innate to “A conversation or image created more recently, with the likes of play into creating newness.” the brand through pieces dating back to Givenchy and Gucci, archiving since Of course, too much retrospection can Gucci’s origins in 1921. This rich heritage can strike a modern chord 1997, playing catch-up. Meanwhile, hinder progress and true innovation. Christian Dior: Designer of Dreams is at is displayed alongside recent work, mem- Helmut Lang famously shredded his ar- Mining the past for inspiration has its the V&A from 2 February to 14 July 2019 orabilia and contemporary art delivered and spark an idea for a chive after quitting the fashion industry limits and there’s an argument that it vam.ac.uk as an interactive experience. in 2005, with 6,000 items lost forever. can prevent designers finding new ex- new concept, photo shoot For new brands on slim budgets, keep- pressions.