Liberty of London

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A fixture in the London shopping scene, Liberty is a department store in Great Marlborough Street, in the West End of London. It sells highly curated selections of women’s, men’s and children’s clothing, make-up and perfume, jewelry, accessories, furniture and furnishings, stationery and gifts. The firm is well known for its floral and graphic prints.

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I love any business with a great history and didactic information in a store window.  They could just as well be showing their product line for sale, but they choose to edify.  That’s my kinda store. Especially when it’s Liberty of London!

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While the exterior of this classic London stop has remained in its mock Tudor style best, the interior and the product lines have changed vastly, even in my lifetime.  While I prefer the way the store was when I first visited it with my mother in the 1980s, I have no doubt the management knows how to keep the store vital.  I always enjoy a visit to this lovely emporium on any trip to London.

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Before this summer, the last time I was at Liberty was in the early 2000s with my then 11-year-old red-headed son. At that time, Paula Pryke had a flower shop at the Liberty main entrance.  It was dynamic! Her shop is gone and the store still has a ghost of a flower shop at its front door.  But, I miss seeing Paula Pryke’s gorgeous arrangements there.  He was less interested in Liberty than in going in and out of tube stations and traveling by train.

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Liberty was created by Arthur Lasenby Liberty, who was born in Chesham, Buckinghamshire, in 1843. His father was a draper and, beginning work at 16, he was apprenticed to a draper. Later, Liberty took a job at Farmer and Rogers, a women’s fashions specialist in Regent Street, rising quickly up the ranks.

He was employed by Messrs Farmer and Rogers  in 1862, the year of the International Exhibition. By 1874, inspired by his 10 years of service, he decided to start a business of his own, which he did the next year.

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With a £2,000 loan from his future father-in-law, Liberty took the lease of half a shop at 218a Regent Street with three staff members. His shop opened in 1875 selling ornaments, fabric and objets d’art from Japan and the East.

Liberty hadn’t wanted to open just another store — he dreamed of an “Eastern Bazaar” in London that could fundamentally change homeware and fashion. Naming his new shop “East India House,” his collection of ornaments, fabrics and objects d’art from the Far East captured the attention of London, already in the crux of orientalist fervor.

It only took 18 months for Liberty to repay his loan, purchase the second half of the store, and begin to add neighbouring properties to his portfolio. From the beginning, the store also imported antiques, with the original V&A museum actually purchasing pieces of Eastern embroidery and rugs for its collection. As the business grew, neighboring properties were bought and added.

In 1884, he introduced the costume department, directed by Edward William Godwin (1833–86), a distinguished architect and a founding member of The Costume Society. Godwin and Liberty created in-house apparel to challenge the fashions of Paris.

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In 1885, 142–144 Regent Street was acquired and housed the ever-increasing demand for carpets and furniture. The basement was named the Eastern Bazaar, and it was the vending place for what was described as “decorative furnishing objects”.

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Liberty renamed the property “Chesham House,” after the place in which he grew up. The store became the most fashionable place to shop in London, and Liberty fabrics were used for both clothing and furnishings. Some of its clientele included famous Pre-Raphaelite artists.

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To show the kind of innovative approach Liberty had for his business, in November of 1885, he brought 42 villagers from India to stage a living village of Indian artisans.

Liberty’s specialised in Oriental goods, in particular imported Indian silks, and the aim of the display was to generate both publicity and sales for the store.

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During the 1890s, Liberty built strong relationships with many English designers. Some of these designers, including Archibald Knox, practiced the artistic styles we now call  Arts and Crafts and Art Nouveau.  Liberty helped develop Art Nouveau in England through his encouragement of such designers. The company became associated with this new style, to the extent that even today in Italy, Art Nouveau became known as the Stile Liberty, after the London shop.

In 1882, author and playwright Oscar Wilde went on a tour of the United States, bringing with him a wardrobe full of clothes from Liberty, creating a demand for the store’s fashions with Americans. Wilde was obviously a huge fan of Liberty.

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The iconic Tudor revival building was built by Liberty so that business could continue while renovations were being completed on the other premises.  This great building was constructed in 1924 from the timbers of two ships: HMS Impregnable (formerly HMS Howe) and HMS Hindustan.

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HMS Impregnable (c.1900), one of the two ships used to build Liberty

The emporium was designed by Edwin Thomas Hall and his son, Edwin Stanley Hall. They designed the building at the height of the 1920s fashion for Tudor revival.

In 1922, the builders had been given a lump sum of £198,000 to construct it, which they did from the timbers of two ancient ‘three-decker’ battle ships. Records show more than 24,000 cubic feet of ships timbers were used including their decks now being the shop flooring: The HMS Impregnable – built from 3040 100-year-old oaks from the New Forest – and the HMS Hindustan, which measured the length and height of the famous Liberty building.

The ships were not Liberty’s only association with warfare. Carved memorials line the department store’s old staircase pay tribute to the Liberty staff who lost their lives fighting in WWII for a different kind of liberty – freedom from the regimes of the Axis powers.

One only need to look up to the roof , upon which stands a marvel of a gilded copper weathervane. Standing four feet tall and weighing 112 pounds, this golden ship recreates The Mayflower, the English vessel famous in American history for taking pilgrims to the new world in 1620.

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The interior of the shop was designed around three light wells that form the main focus es of the building. Each of these wells was surrounded by smaller rooms to create a cosy feeling. Many of the rooms had fireplaces and some of them still exist.

 

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Liberty of London was designed to feel like a home, with each atrium was surrounded by smaller rooms, complete with fireplaces and furnishings.

Ever the purveyor of craftsmanship, Arthur Liberty had a furniture workshop in Archway, London. Run by Lawrence Turner, the workshop produced Liberty Arts and Crafts furniture and the intricately carved panels and pillars found throughout the store. The craftsmen allowed his fantasy, ensuring every ornament was a one-off – paving the way for discovery.

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Sadly, Arthur died seven years before the building’s completion and so never saw his dream realised. But, his statue stands proudly at our Flower Shop entrance to welcome you warmly into his emporium of wonder.

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The architectural historian Nikolaus Pevsner was very critical of the building’s architecture, saying: “The scale is wrong, the symmetry is wrong. The proximity to a classical façade put up by the same firm at the same time is wrong, and the goings-on of a store behind such a façade (and below those twisted Tudor chimneys) are wrongest of all”.

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During the 1950s, the store continued its tradition for fashionable and eclectic design. All departments in the shop had a collection of both contemporary and traditional designs. New designers were promoted and often included those still representing the Liberty tradition for handcrafted work.

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In 1955, Liberty began opening several regional stores in other UK cities; the first of these was in Manchester. Subsequent shops opened in Bath, Brighton, Chester, York, Exeter and Norwich.

During the 1960s, extravagant and Eastern influences once again became fashionable, as well as the Art Deco style, and Liberty adapted its furnishing designs from its archive.

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LIBERTY PRINT ‘CONSTANTIA,’ 1961

In 1996, Liberty announced the closure of all of its department stores outside London, and instead focused on small shops at airports.

Since 1988, Liberty has had a subsidiary in Japan which sells Liberty-branded products in major Japanese shops. It also sells Liberty fabrics to international and local fashion stores with bases in Japan.

Liberty’s London store was sold for £41.5 million and then leased back by the firm in 2009, to pay off debts ahead of a sale. Subsequently, in 2010, Liberty was taken over by private equity firm BlueGem Capital in a deal worth £32 million.

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In 2013, Liberty was the focus of a three-part hour-long episode TV documentary series titled Liberty of London, airing on Channel 4. The documentary follows Ed Burstell (Managing Director) and the department’s retail team in the busy lead up to Christmas 2013.

Channel 4 further commissioned a second series of the documentary on 28 October 2014. This series featured four, one hour-long episodes based on six months worth of unprecedented footage. Series two aired in 2014.

Liberty has a history of collaborative projects – from William Morris and Dante Gabriel Rossetti in the nineteenth century to Yves Saint Laurent and Dame Vivienne Westwood in the twentieth.

Recent collaborations include brands such as Scott Henshall, Nike, Dr. Martens, Hello Kitty, Barbour, House of Hackney, Vans, Onia, Manolo Blahnik, Uniqlo, Superga, Drew Pritchard of Salvage Hunters and antique lighting specialist Fritz Fryer.

The website for Liberty also has these suggestions for you to watch for as you sally throughout the sprawling store:

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The clock on the Kingly Street entrance of the Liberty store has some words of wisdom for the shoppers who pass by. It says “No minute gone comes back again, take heed and see ye do nothing in vain.” Above the clock, the striking of the hour chime brings out figures of St. George and the Dragon, to recreate their legendary battle every sixty minutes. On each corner of the clock are the angels of the Four Winds: Uriel (south), Michael (east), Raphael (west), and Gabriel (north).

 

The Wallace Collection, London. Wow! …and Manolo Blanik too.

 

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If you are a regular reader of my blog, you know that I rarely post images of the decorative arts.  I am typically not a fan of fussy porcelains or fine cabinetry.  I just don’t seem to have the gene that lets me appreciate that stuff.

But, today in London, I visited the Wallace Collection and it knocked my socks off.  I mean, this place is crazy!  The former mansion of the Wallace family was gifted to the country of Britain in the last years of the 19th century, and is still set up in a similar manner to the way in which the family lived.

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As you might know, I’ve been to a few museums and house museums in my day, but this place is more opulent than any other.

All I can say is WOW!  And then show you some (a lot, probably too many) pictures of this amazing place.

Oh, and p.s….Manolo Blanik shoes were also on display.  I’ve never owned a pair and never will.  But, to see the shoes interspersed with the collections added an element I’d not thought of before.  My guide at the Wallace Collection told me that Blanik was an Anglophile and was particularly interested in the Wallace Collection.  This is a new point of approach for me, and I could dig it!

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Let’s go!

The first thing I heard in the excellent tour I joined, is that when this Japanese chest (and its matching partner) arrived in Europe, it absolutely blew the minds of connoisseurs.  They were obsessed with the black lacquer and wanted to emulate it.  They couldn’t, it turned out, because the plant that produces the lacquer did’t grow in the west.

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Here’s my guide, standing in front of the Japanese chest.

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That didn’t daunt them.  The king of France set up a artisanal workshop, patronizing the best of the artistic producers known to France, and they experimented and experimented, trying to produce–if not lacquer itself–at least something that looked very close to it.

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Above, King Louis XV, the king who developed the French fine arts.

This is the time period in which France is lifted by the decorative arts.  France would no longer import fine luxury goods–they would produce them.  It started then and is still going strong today.

The wardrobe below was produced in this workshop.

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Before having a gander at the million photos I took today, introduce yourself to the Wallace Collection here with the director:

 

 

Now, please join me as I wander through the collection:

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Can you say “opulence?”

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Also, the Wallace Collection has a lovely restaurant!

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And then, on to the armor!

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And to a Gothic crown.  Because, why not?

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Check out the line of matching armor head pieces and shields.

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Below: a portrait of Madame de Pompadour, commissioned by herself.  My guide told the fascinating story of this woman and her involvement with the French king, and discussed the fascinating iconography of this portrait.  Please note her tiny shoe peeking out from under her “Pompadour pink” gown, for which she set the fashion of the day.  This is the type of detail by which Blanik was inspired.  Looking at his shoes today, I could see it.

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And, then there is this Jean-Honoré Fragonard masterwork: The Swing (1767).

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Busatti, it’s got what it takes

There’s a revered business association in Italy called the UISI, or the Unione Imprese Storiche Italiane, which in English means: the association of Italian Historical Businesses.

In order to become a member of this august group, a company must have been in business for over 150 years and owned by the same family that started the business originally.  This association was begun in Florence and only includes as members businesses that represent the great tradition and history for which Italy is known.

I only recently learned of this association when I visited a great textile store in the Oltrarno section of Florence.  There are no signs announcing this shop; you must be in the know to find it.

It isn’t hidden, au contraire, it is located smack dab between a very famous little artistic studio of the street artist, Clet, and the ancient church of San Nicola.

Check it out online and visit it if you are in the market for some fine Italian textiles: towels, sheets, draperies, and some ceramics.

 

 

Crèche scenes in Italy

Every church, chapel, and town in Italy has a crèche scene.  Sometimes an entity can have multiple crèche scenes.  They are always fun to examine.

 

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Last week in Vernona, I saw this crèche  in the duomo there.  It is a sweet crèche and reminds me to tell something I have only seen in Italy. The figure of the baby Jesus is always left out of the scene until midnight on December 25.  Only then can the baby be added, for indeed, he was “just born.”

 

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Verona, Italy in December

What a lovely small city is Verona.  I understand why Shakespeare chose it as his setting for Romeo and Juliet!

I had the good fortune to spend a few days in Verona recently and the city was all decked out for Christmas.

To begin, here is our home away from home, with a beautiful terrace next to the Adige River.  A large persimmon (cachi in Italiano) tree attracted many local ucelli!

 

Here are some of my favorite pictures:

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L’amore materno–Mother Love

 

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I love a decorative octopus!

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Check out the foot still attached to this prosciutto!  OMG!

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Verona’s magnificent Duomo below:

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The apron front of the facade reminded me of church architecture in Lucca.

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The altar below is painted and has matching sculptures in front.  I’d never seen anything like this before.

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The altar below beckons from across the church.  Such lavish gold, again, I’ve never seen anything quite like this and I’ve seen a lot of altars in my day.  I love that Italy is always surprising me.

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See what I mean below:

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The ubiquitous December creche scene: the figure of the baby Jesus will not appear until midnight of the 25th.

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I guess the placard below is for those sinners who don’t remember or know how to confess.

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These pictures are from the interior of the duomo in Verona.  It is a beautiful church.  Verona was obviously a wealthy city during the Renaissance and after, as it still is today.

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I’ve looked at a lot of paintings in my day, but I’ve never seen such a foreshortened putto flying in from this angle, to crown with laurel the knight in armor.

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While this sculpted doorway below looks to be monumental, it was actually at my eye level on a wall in the duomo, and measured about 12 inches tall.

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Back out in the lovely streets of Verona, I admired this art nouveau wrought iron in a window.  It’s unusual for Italy and I love it.

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Below is the gorgeous facade of the duomo.

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There are Roman ruins on the hillsides in Verona.  I took this picture to remind me of this new (to me) fact: I want to go back and see more of the town.

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The facade below is getting some TLC.

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Walking along on the sidewalk along a wall, there are death notices posted.  I find these fascinating.

 

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Flower shops are magnets to me:

 

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I am obsessed with this crystal lamp with the red tassels.  Obsessed.

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Obsessed I tell you!

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Finally, the end.  A shout out to my girl, Jenny, for being an awesome traveling companion.  More to come, I am sure!

Oh, and p.s., I have a few more Verona posts coming, including Giardino Giusti.  Watch this space!

 

 

 

 

 

 

 

 

 

 

 

A marvelous May fair in Florence

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  XXIV EDITION

ARTIGIANATO E PALAZZO 2018

The great tradition of italian craftsmanship
from its origins to the present

The 24th ARTIGIANATO E PALAZZO exhibition (Florence, Corsini Gardens, May 17-20, 2018) gets underway with the history of one of the leading examples of Made in Italy excellence, the “Mostra Principe” dedicated to the Richard Ginori porcelain Manufactory and fundraising for the reopening of the Doccia Museum, recently acquired by MiBACT (Italian Ministry of Cultural Heritage and Activities and Tourism).

“The hundreds of requests to take part that we have received this year represent an excellent sign of recovery in the artisan sector, because craftspeople are the lifeblood of Made in Italy,” said Giorgiana Corsini and Neri Torrigiani who, for over twenty-four years, have been involved in organizing the ARTIGIANATO E PALAZZO event and in promoting Italy’s artisan heritage.

During the four-day event in the Limonaia Piccola of the 17th-century Corsini Gardens (open to the public for this occasion), the Richard Ginori company will recreate various phases in the creative process through which, daily since 1735, it has produced unique porcelain pieces, with special live demonstrations to reveal to the public a story that has survived to the present day with a rich tradition of know-how, innovation and beauty.

For the first time, it will be possible to admire outside the plant in Sesto Fiorentino the Manufactory’s artisans at work in their various areas of expertise: from slip casting to decoration, evidence of a wealth of knowledge that has been handed down without interruption from older to younger generations of craftspeople.

For its part, the Doccia Museum will be the recipient of the major fundraising initiative, “ARTIGIANATO E PALAZZO FOR THE DOCCIA MUSEUM”that Giorgiana Corsini and Neri Torrigiani have decided to launch with this year’s event “so that the priceless collection of the Doccia Museum will once again be open to the public”. 8,000 porcelain, ceramic, majolica, terracotta and lead objects and over 13,000 drawings, engraved metal plates, chromolithograph stones, plaster molds and wax sculptures.

The project involves a series of initiatives that will involve the organizers, public and corporate sponsors of the 24th ARTIGIANATO E PALAZZO exhibition, the full proceeds of which will go to the Associazione Amici di Doccia: