FOR MY MOTHER, JULIA Back cover 30. Nick Knight, Sunday 8th July 2018. Hand-coated pigment print, printed 2019, 63.2 x 50.8cm Edition of 10, with 3 Artist Proofs Courtesy of Nick Knight RAV THE ROSE IN FASHION First published by Yale University Press 2020 302 Temple Street, P.O. Box 209040, New Haven CT 06520-9040 47 Bedford Square, London WC1B 3DP I SH yalebooks.com | yalebooks.co.uk To accompany the exhibition Ravishing: The Rose in Fashion … at Museum at the Fashion Institute of Technology, New York Copyright © 2020 The authors AMY All rights reserved. This book may not be reproduced or transmitted in any form or by any means, electronic or mechanical, DE LA HAYE including photocopy, recording or any other information storage and retrieval system (beyond that copying permitted by Sections 107 and 108 of the US Copyright Law and except by reviewers … for the public press), without prior permission in writing from the publisher. ISBN 978-0-300-250084-0 HB Library of Congress Control Number: 2020931942 10 9 8 7 6 5 4 3 2 1 2024 2023 2022 2021 2020 Designed by Charlie Smith Design Copy edited by Faye Robson Printed in Italy I NG CONTENTS CONTENTS FOREWORD VI VALERIE STEELE THE NINETEENTH CENTURY: ‘I WOULD LIKE MY ROSES TO SEE YOU’ AMY DE LA HAYE INTRODUCTION THE ROSE: FLOWERS THAT ARE LOOKED AT’ VII AMY DE LA HAYE THE TWENTIETH CENTURY: ‘A ROSE IS A ROSE IS A ROSE’ AMY DE LA HAYE I NICK KNIGHT ON ROSES: A CONVERSATION WITH AMY DE LA HAYE VIII THE SCENT OF ROSES: ‘THE INWARD I I FRAGRANCE OF EACH OTHER’S HEART’ RAVISHING: THE ROSE IN CONTEXT MAIRI MACKENZIE JONATHAN FAIERS IX III THE TWENTY-FIRST CENTURY: ROSES AND CONCRETE EIGHTEENTH-CENTURY FASHION: AMY DE LA HAYE PERENNIAL REIGN COLLEEN HILL NOTES IV BIBLIOGRAPHY THE ROSE: THE UNFADING ACKNOWLEDGEMENTS FLOWER OF JEWELLERY INDEX GEOFFREY MUNN V PERMANENT BOTANICALS: FASHIONING ARTIFICIAL ROSES AMY DE LA HAYE 1. Couturier Charles James, notes for a speech given at the Chicago fashion guild dinner, Sherman ‘FASHION IS Hotel, 3 June 1958. A LITTLE LIKE RADIUM… OR LIKE ESSENCE OF ROSES, WHICH IF UNDILUTED WOULD ASPHYXIATE’ CHARLES JAMES, 19581 9 Foreword It has been a joy to collaborate with Amy de la Haye on Ravishing: The Rose in Fashion. Her book and exhibition exploring the rose in fashion make an original and important contribution to fashion studies, while also presenting a beautiful and dramatic story that is sure to appeal to readers and museum visitors. The rose is not only beautiful and fragrant, its symbolism is powerful and multifaceted. As a result, when designers are inspired by the rose, their work draws on powerful emotions and ideas about love, sex and death. Ravishing: The Rose in Fashion draws on a wealth of scholarship across the disciplines, but it wears its learning accessibly. Each chapter of the book is an invitation to make a voyage of discovery, beginning with Amy’s conversation with the brilliant image-maker, Nick Knight. The Museum at the Fashion Institute of Technology seldom works with outside curators, but Amy’s depth of experience as a curator and as professor of fashion curation at the London College of Fashion puts her in a category of her own. Colleen Hill, Curator of Costume and Accessories at The Museum at FIT, has worked closely with Amy on co-curating the exhibition, and their multiple collaborations have strengthened the relationship between the London College of Fashion and The Museum at FIT. Valerie Steele Director and Chief Curator, The Museum at FIT, New York INTRODUCTION THE ROSE … FLOWERS THAT ARE LOOKED AT AMY DE LA HAYE 12 RAVISHING – THE ROSE IN FASHION THE Rose: ‘Flowers that are looked at’ 13 … ... for the roses had the look of flowers that are looked at. … T.S. Eliot, ‘Burnt Norton’, 1936 1 The rose – the most ravishingly beautiful and fragrant of flowers almost everyone can wear, and feel transformed by wearing or – is inextricably entwined with fashion and dressed appearances holding, one or more fresh rose. As the author of the immensely (the latter embraces perfume, grooming, jewellery, body popular nineteenth-century book Le Langage des Fleurs (1819, first adornment and gesture.) Roses, like fashion, are a luxury and translated into English 1820; see p.118) made explicit, while the they are ephemeral. Both are ‘shown’ (on catwalks and at flower rose is undoubtedly queen of flowers, it is also the ‘commonest’.3 shows); their appeal is multisensory; they are avidly collected and incite passion and obsession (a scarlet-red floribunda, My written and curated projects are usually ignited by the bred by Stanley George Marciel in 1990, has this very name). desire to interpret a single or group of dress items, or archival In her seminal book The Symbolic Rose (1954), Barbara Seward documents. Ravishing: The Rose in Fashion evolved from the wrote, ‘Not only do its roots extend at least to the beginnings of combination of three different sources: Nick Knight’s sublime recorded time, but its petals embrace the deepest positive values photographs of ‘Roses from my Garden’; my mother’s lovely, ever held by man. Although the flower is equaled in age and rose-filled walled garden; and the quote that opens this chapter profundity by such fundamental symbols as sea, sun, bird, by T. S. Eliot. This introduction takes up from there and star and cross, it would be difficult to prove that it has been reflects upon some historical, conceptual and terminological surpassed by any.’2 It is worth noting that responses are entirely relationships between roses, fashion and dressed appearances personal and culturally determined; not everyone has approved before introducing the contributors, contents and broader of, or subscribed to, such interpretations. rationale of this fashion-focused book. Not surprisingly, the rose and its savage, deterrent thorns The genus Rosa is believed to date back some 35–40 million (technically, they are prickles) – a conjunction of opposites – years.4 It is resilient, promiscuous and rambunctious, which have provided a fertile source of inspiration for designers, artists accounts for its longevity, mutability and broad geographic and writers, who have drawn out allusions to love, beauty, territory. Roses flourish in China (where they were cultivated sexuality, sin, gendered identities, rites of passage, transgression, from at least 500 BCE), Korea, Japan, Siberia, northern and degradation and death. Ravishing: The Rose in Fashion central Asia, India, the Caucasus, the Arabian Peninsula, demonstrates visually and evaluates critically how the rose has Europe, North Africa, and North and Latin America. Roses, inspired the ways we look, dress, feel and fantasise. It foregrounds like fashion, are bound up with stories of travel, migration, innovative, refined and challenging fashion design dating from international trade and cross-cultural influences. c.1700 to the latest global collections, while recognising that 14 RAVISHING – THE ROSE IN FASHION THE Rose: ‘Flowers that are looked at’ 15 Opposite right above Bottom left Bottom right 4. Isaac Oliver, Portrait of a Lady 7. Rosa ‘Christian Dior’, a double 8. Jeff Bark, Comme des Garçons, Masqued as Flora, c.1605. hybrid tea rose introduced by ‘Blood and Roses’ collection, Miniature, pigment on vellum, Meilland, 1958. Dazed magazine, spring 2015. 5.3 x 4.1cm Christian Dior was mid-twentieth- Stylist Robbie Spencer has placed Rijksmuseum, Amsterdam century fashion’s floriculturist. petals in model Molly Blair’s open The English court of James I enjoyed Although the haute couturier’s mouth, symbolising uncontrollable lavish masqued entertainments, signature flower was lily of the passion or sublime suffocation by roses. often with allegorical and Classical valley, he adored and grew roses; Courtesy of Jeff Bark subjects. Here, a fashionable woman this fragrant double hybrid tea rose is costumed as Flora, with roses was named after him following his in her hair. premature death. Artokoloro Quint Lox Limited/ Yellow Cat/Shutterstock.com Alamy Stock Photo Opposite right below 5. Alexander Roslin, Flora of the Opera, c.1750. Oil on canvas, 91.5 x 72.5cm Musée des beaux-arts de Bordeaux Roslin was a society portrait painter, noted for his fine depiction of fashionable dress and jewellery. His Rococo-style Flora wears a flower wreath armlet and holds a garland in which roses feature prominently. © Mairie de Bordeaux, Musée des beaux-arts Right 6. V Buso, ‘Rose’ shoe, USA, c.1960. Suede and metal The Museum at FIT, New York This gorgeous shoe might be interpreted within the contexts of Surrealism’s preoccupations: with the illusion of nature, displacement and improbability (a rose supports a person). The Museum at FIT, P90.78.2. Museum purchase Previous spread Top 1. Nick Knight, Sunday 10th November 2. Sandro Botticelli, Primavera 2019 (Triptych) (part 2/3). (detail), c.1480. Hand-coated pigment print, Tempera on panel, 207 x 319cm printed 2020, 139.4 x 114.3cm La Galleria degli Uffizi, Florence Edition of 5 with 3 Artist Proofs In the right-hand foreground of Instagram post with the caption: Botticelli’s famous work, Zephyrus ‘Roses from my Garden [...] embraces the nymph Chloris, Remembrance Sunday. To all those whom he transformed into Flora, the who lost their lives in conflict. goddess of spring, who carries roses May we never forget.’ and whose dress is rose-patterned. Courtesy of Nick Knight The Picture Art Collection/ Alamy Stock Photo Above 3. Mr John, ‘Primavera’ hat, USA, c.1950. Cotton, silk and velour The Museum at FIT, New York This rose-like hat is strewn with pink cotton petals and decorated with artificial wild roses with prominent black-tipped stamen, and daisies, violets and small yellow flowers.