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My V&A: Sir Paul Smith, Designer
Poziom:
Temat: Sztuka i rozrywka
It’s a tough call to just choose just three things for a start.
I chose this because I’m quite well known for my colour,
if you look at things like linings for Paul Smith suits.
I could show you some other parts but I won’t.
So I’m quite well known for my colour
so as you can see a lot of the glass in the gallery is clear or just tinted.
And this one is real fun.
It’s got a sort of whimsy about it because it’s very fine and it’s very delicate;
it’s patchwork and patchwork is normally completely square because of practical reasons
or octagonal but this one is sort of very abstract and that’s also quite clever.
The designer, I think he’s called Bianconi, he studied in Venice for a start
and he studied as an artist - a graphic designer, caricaturist,
so I think his vision is quite wide and that’s why you’ve got something that’s,
it’s probably a very naughty word to use to describe something so beautiful, but it’s very quirky.
Especially in my industry where everything is cut with a laser, machined by robots or whatever now,
so doing things by hand is a delight.
So I mean, for instance, the jacket I’m wearing is handmade,
hand stitched, even the arm holes are stitched in by hand.
The fact this is made by hand, and also made in the fifties so it’s that optimism after the war.
Suddenly using colour which they had been playing with before the war
and suddenly getting that again.
What’s the process for you Paul? You come to the V&A, you see, you look, you become inspired.
You try to take photographs, get told-off by the security people.
No, I’m joking!
For instance, I always have my little notepad and pencil with me
so I might just come…I mean just what I described there which is the unevenness
of the patchwork which is just lovely in it’s own right
and the fact that he’s got blue and turquoise together which is sort of very clashing colours
and the fact that you put two colours that are very similar together
that could be the stripes of a sock, the stripes of a shirt.
So just in this room I could get probably twenty collections for the next ten years.
This book was the catalogue for the 1939 World Fair in New York.
The cover is just so simple;
I mean it’s just the sort of simplicity of it.
The fact that it’s…if you bought a notebook these days with black and orange
you’d be so excited but we’re talking about 1939 here
before you even get in the book you’re already sold on the fact that this is something modern,
something for the future
and of course the theme behind the whole thing was 'pilgrimage to tomorrow'
so it was about moving into the future with ideas and with architecture.
So I mean, just talking about the actual book itself,
first of all one of the first things it shows is the exhibits,
the modern buildings to be in the exhibition,
again, which are very very of now in many ways
but then you’ve got this delightful little section
where it suddenly turns into black pages and that is ‘what my camera and I saw at the fair’
so you can take photographs and put them into the book
so it becomes like a little photo album.
Your own recording.
Absolutely.
And then there’s a little section called ‘diary’
are obviously things you can write as you go along.
I'll put my specs on for this.
And then lots of little sayings at the bottom.
Well the nicest one, which is absolutely true everybody,
are you all listening?
‘You will never find time for anything. If you want time, you must make it’.
That is so true.
Graphic Design is very important to Paul Smith would you say?
Well all aspects of design are important for me because a lot of creativity runs in parallel,
so I mean you might be doing something which is quite minimal
in terms of clothes, say in the early eighties – black, white and very simple
and at that time interiors were very black and white and simple
and graphic design was embracing the age of computers but now,
twenty something years later,
people are willing to wear colour a bit more, interior designers are using things like wallpaper
and rugs and decoration which they haven’t done for a while
and of course a lot of people are going back to illustration and using their hands.
But it’s always running in parallel so a room like this is such an amazing joy for designers to come along.
And look at the modernity of it,
it’s so modern.
Thank you very much everybody.
I was attracted to this because it was designed on a mad day at Cecil Beaton’s house.
Cecil Beaton who took great photographs, designed sets,
designed clothes, designed room settings.
He was one of the few British dandies.
He was a real character.
When he was at university he was famous for making jackets out of curtains
and looking very extravagant.
He had this room in his house that was turned into a circus room one afternoon by him and his mates
and that’s how this came about.
We're so sort of immersed in ‘good’ design today
that’s its quite nice to see these things that are just self-indulgent and witty and humour
and its almost got a coat of arms,
like a crest on the back of two drumsticks which just makes me smile.
You can just imagine them having a bit of fun with it.
So would you say this was a very Paul Smith object?
Yes, absolutely.
Kitsch, sense of fun and actually probably very beautifully made,
so yes I would.
In today’s world we're immersed in marketing and what you should do
and the financial world and everything being manufactured and sent around the world
and so many things looking the same;
so what a joy to find something that’s one-off and mad.
That will do me.
