Design

It’s to be expected. You take photographs in order to document things — Paris in the case of Eugène Atget in the late 19th and early 20th centuries, the shacks of the American south in the case of Walker Evans in the 1930s — and these documents then acquire a quality of elegy. What is extraordinary is the speed with which this happens, the brevity of the ‘then’. As soon as the images emerge in the developing tray — even, conceivably, the moment the shutter is clicked — they are imbued with how they will be seen in the future. The photographs in Fred Sigman’s book Motel Vegas were commissioned

I think I probably qualify as the oldest fashion editor in the world, because in spite of my advanced age I am still writing about clothes (in the Oldie). This gives me one USP: it means that I was actually around — even wearing them myself — when the revolutionary fashion ideas that are now the stuff of museum exhibitions were being invented. Next month the Mary Quant exhibition opens at the V&A, and sure enough I have been asked to talk about those giddy times for a video that will be shown at the museum. I was 16 in the autumn of 1955 when Quant’s shop, Bazaar, first shocked

MacDonald ‘Max’ Gill (1884–1947) is less well known than his notorious brother, Eric. But was he less of a designer, less of an artist? The son of a Brighton clergyman, his career was built on a sequence of remarkable connections. The architect Halsey Ricardo, a descendant of the economist, was his tutor. While working for church builders Nicholson and Corlette, Gill very likely met Edwin Lutyens at the Art Workers’ Guild. And for Nashdom, the neo-Georgian house Lutyens built in 1909 for Prince Dolgorouki at Burnham in Buckinghamshire, Gill drew an imaginative ‘Wind Map’. Somewhere between illustration and cartography, this was a pointer of what was soon to come from

On 10 September 1973 the 1930s Kensington High Street department store formerly known as Derry & Toms reopened as Big Biba. It sold the dress designer Barbara Hulanicki’s distinctive look in furniture, paints and wallpaper, sports equipment and food, as well as her familiar fast fashion. If you had to define that aesthetic then, you’d have said it was campy and kitschy. But above all you’d have said it was deco, an increasingly familiar word for the between-wars moderne style in everything from buildings to jewellery. Derry & Toms itself was a 1933 moderne temple of commerce, slathered in stylised ironwork and bas-reliefs. It had a ‘Rainbow Room’ upstairs, which

In 1675 Lady Bedingfield wrote to Robert Paston, first Earl of Yarmouth. Never, she exclaimed, had she seen anything so fine as the latter’s mansion, Oxnead Hall. It was ‘a terrestriall paradise’, the ‘gardens so sweet — so full of flowers’, the house so clean. ‘Nor,’ she concluded, ‘did I ever in my life find anything in poetry or painting half so fine.’ Almost all this splendour vanished long ago. But its essence survives, compressed into a single painting, ‘The Paston Treasure’, currently the centrepiece of an exhibition at Norwich Castle Museum. It is a cornucopia of baroque bric-à-brac, crammed with a jumbled abundance in which curvilinear tropical shells, ornate

In the Moderna Museet in Stockholm there is a sculpture by Katharina Fritsch, which references Chekhov’s famous story ‘Lady with a Dog’. It was part of a Jeff Koons mini-show. At the time (2014), I thought it was by Koons. The postcard disabused me. It shows a woman in unapologetic Barbara Cartland pink, with a parasol, accompanied by a white fighting Pekinese. Both are constructed entirely from shells — she mainly scallop shells, her ample bust the bulging hinge of a clam, her arms fashioned from auger shells like mini-whelks. We have seen this ‘art’ before in a thousand evening classes for housewives who couldn’t get into the over-subscribed flower-arranging

‘When I’m on good form,’ Edward Bawden told me, ‘I get to some point in the design and I laugh and talk — and if I’m laughing, it probably means the work is rather good.’ You can see his exuberance everywhere in the exhibition of his work at Dulwich Picture Gallery. It is a thoroughly jolly affair, but it also raises a delicate question: was Bawden (1903–89) really a serious artist? He was certainly a tricky one to pigeon-hole. Bawden is, deservedly, one of the most popular of 20th-century Britishartists. But when one thinks of him, it is hard to bring a major work to mind — much harder than

One of the prettiest pieces in the V&A exhibition Fashioned from Nature is a man’s cream waistcoat, silk and linen, produced in France before the revolution, in the days when men could give women a run for their money in flamboyant dress. It’s embroidered with macaque monkeys of quite extraordinary verisimilitude, with fruit trees sprouting all the way up the buttons. And what we know is that they were derived from the Comte de Buffon’s Histoire Naturelle, générale et particulière, of 1749–88. As Edwina Ehrman, curator of the exhibition, observes in her introductory essay, ‘choosing monkeys from Buffon’s publication… to create an embroidery pattern for a waistcoat reflected the fashionable

Since 2006, someone called Kirsten Dirksen has been posting weekly videos on YouTube about ‘simple living, self-sufficiency, small (and tiny) homes, backyard gardens (and livestock), alternative transport, DIY, craftsmanship and philosophies of life’. But don’t let that put you off. Basically, Dirksen makes short films about people’s quirky homes: ‘Tiny Parisian rooftop terrace transforms for work and leisure’, ‘Extreme transformer home in Hong Kong’, etc. Fear not: this not some shoestring Grand Designs. There is little or no enthusing, there are no vacuous summings-up, there is no false jeopardy. The videos vary in length: some of them last for less than ten minutes, others for close to an hour. Many

Looking at the sketchbook of William Whitelock Lloyd, a soldier-artist who joined a P&O liner after surviving the Anglo-Zulu War, I’m reminded why I avoid cruises. On board this India-bound ship were: a ‘man who talks a great deal of yachting shop and collapses at the first breeze of wind’, ‘a successful Colonist’, and ‘the victim of mal de mer who lives on smelling salts’. It would be just my luck to be stuck in the cabin between ‘One of our Flirts’, the busty lady with pretty eyes, and what Lloyd affectionately called ‘Our Foghorns (automatic)’ — two bawling babies. By the late 19th century, ocean liners attracted all sorts,

Has a more beautiful machine in all of mankind’s fretful material endeavours ever been made than a ’60 Ferrari 250 Granturismo? Go to the Design Museum and decide. I have driven many Ferraris and the experience is always unique. They are alive, demanding, feral, sometimes even violent or truculent. Addictive, too. Once, in Haverfordwest, I arrived sweating and puffing after seven hours in traffic. I parked the 246 GT at the hotel for a moment but then, unable to ignore the hot, seductive car, I got back in and drove up and down the coast road; up and down, up and down. Just because it was there. Kierkegaard thought that

Every weekday, I travel by Tube to The Spectator’s office, staring at the posters plastered all over the walls. I like looking at the plays and exhibitions that have recently opened or wondering whether that shampoo really will add more ‘oomph’ to my hair. Often there is a pretty girl on the poster. A picture of a woman can sell almost anything. I’ve rarely thought much about the individuals who produce the posters. But as a new exhibition at London’s Transport Museum called Poster Girls reveals, there is a rich history of female art running through the city’s concrete veins. For more than 100 years, the transport network has provided