The Hidden Pin Up #26 - Yaaaas Bitch!

I've been getting work ready for The Hidden Pin Up's next outing taking place as part of the Sexuality Summer School 23rd May at the University of Manchester. 

The school is a five day event that discusses and debates queer and feminist sexuality studies bringing together researchers, international scholars, filmmakers and artists and I'm really thrilled that we are taking part in this year's programme.

The performance is taking place in the magnificent Victorian Samuel Alexander building which epitomises historic western ideals of beauty with it's neo-classical columns and sweeping architecture. I cannot wait to see our dancer and spoken word artist perform against this backdrop highlighting centuries of stereotypes and misconceptions of just what beauty can be.

I recently came across this brilliant short video made by BBC 3 and in this film alone we revisit ALL the preconceived ideas and fetishes attributed to women of colour that have already been touched on in my research for The Hidden Pin Up. The comments on this video in themselves are an education!

Taking this as a cue I have been adding new embroidered feathers to the hessian burlesque fans that Lenai from the House Of Ghetto will be dancing with. The fans already hold a number of embroidered true stories collected from women of colour about their experiences of stereotyping and marginalisation and soon one fan will be filled. Here's just a few of the new embroideries so far,

Myself and Darren Pritchard, the project's choreographer, dancer Lenai Russell and spoken word performer Justina Aina will be staying after the performance next Thursday to chat to audience members about the work and give you a chance to see the fans and related Hidden Pin Up artwork up close. 

The performance is free to attend and begins 7.15pm. I recommend you arrive earlier to avoid missing anything and grab a good spot. Hope to see you there!

The Hidden Pin Up #21 - Choreography part 2

In mid May we had scheduled a trial performance of The Hidden Pin Up at a venue in Manchester, which for reasons beyond our control had to be cancelled. It was a bit of a blow but rehearsing in situ and developing the performance to a near finished version gave everyone a chance to see our collective ideas weave together.

Lenai, our fantastic dancer from Manchester's House Of Ghetto (HOG), did sterling work picking up where we'd left off from our first choreography session a few weeks back. For the trial performance we wanted to use a staircase as the stage area as this was to be an intervention, treating the audience to an unexpected experience from their viewpoint gathered at the stairs base.

Using our chosen song of Miss Celie's Blues for the first half it took Lenai no time to adjust to the diagonal ground of the stairs while using the hessian fans to recreate a traditional fan dance. The results were stunning as the stairs lent an air of magic to the piece, literally letting Lenai appear far above our heads with natural light shining behind her and through the fans. As she made her way down the steps instinctively matching her moves to the words and breaks in the song, both myself and HOG choreographer Darren Pritchard, knew that this was going to be a very strong piece.

 

 Once Lenai was on a level with the audience our idea to flip the script and introduce a modern Vogue beat for the second half of the performance took shape. This was especially exciting for me as I was intrigued to see how the very different moves of Vogue dancing would fit the piece and I was not disappointed. As a professional dancer with a strong Vogue background Lenai added a sophisticated sensuality that matched the fluid movements of the burlesque section to perfection.

Our plan was to have live vocals performed by Justina Aina the fab singer who we recently worked with to create our own Vogue track for the piece. Her confrontational use of the words I have stitched into the fans would have juxtaposed brilliantly with Lenai's graceful ascent back up the stairs, eventually to disappear like a dream that once was. Unfortunately we never got to try this out but from the groundwork already done, both Darren and I know this would be a powerful blend that would leave a lasting impression on the audience. As we progress on this project there will be much more to come so watch this space!

The Hidden Pin Up #20 - Taking the Mic!

Friday was a very exciting day where The Hidden Pin Up got taken to the next level via song and spoken word as we spent the morning recording our very own vogue track!

Since we have the first half of the fan dance performance mapped out to a chosen song that evokes the bluesy burlesque of the vintage era (see this past post for details), it was important that the second half was just as strong yet gave our dancer the chance to move and tell her story in a totally different way.

Myself and co collaborator Darren (house mother of the House of Ghetto) decided to go down a vogue route as that is something the House of Ghetto are especially famous for and can be tailored, much like burlesque, to convey whatever message you want. 

With his strong knowledge of dance and music Darren suggested using the words from the feathers on the burlesque fans as direct inspiration to create our own customised track. Cue the arrival of talented performer Justina Aina (check her out, she's great!) who came with us to the Salford's Lowry Theatre to record some samples that will be laid over music.

It was fascinating to see how Justine worked. Having already been given the full set of stories from the fans, she had put them into sections and created a poetical arrangement that could be broken down, repeated, spoken and sang.

With technical manager David Wimpenny on the sound desk (he really knows his stuff and is a technical wizard, thanks so much Dave!) we were able to record several layers including, repeats of lines, whispered paragraphs and free-styled sections.

The next step will be putting everything together and creating the finished track, however we will be having a trial run of the performance including the fan dance and live vocals later this month, more info to follow!

Here's a sample of Justina's freestyling over a track, this wasn't recorded for our final piece but gave everyone an idea of how the live vocals could work. Hearing the stories put together in this context is both uncomfortable and funny. I'm loving how this is turning out and I am looking forward to sharing the finished thing with you!

Going to the Vogue Ball

Waiting in the long queue that weaved from under the railway arch and spilled out onto the street, my friend and I were relieved that other people had 'made an effort'. In fact, we were stood behind an Egyptian Goddess in all her golden glory which was a good giveaway, and as we got nearer to the door we watched as an 80's leather clad dream complete with a perfect teal bob, sashayed her way to the line. We were in the queue for Manchester's Vogue Ball and Manchester itself did not disappoint, turning up in all her grandeur to witness the event. 

We had been invited by choreographer, dancer and producer of the night, Darren Pritchard in order for me to to see for myself what he described as the 'inside of your head' and to specifically see Manchester's House of Ghetto who I will be doing some art work with (See my research posts about The Hidden Pin Up).

Rikki Beadle-Blair hosted looking superb in fishnets and denim hot-pants and whipped up the crowd; 'By the end of the night you will all have tapped into that little 15 year old black gay boy from Harlem. In a time before there was ever such a thing as a black president (now any tw*t can do it), when he could only find his true voice, his true family and true identity in the vogue ballroom'. We went wild and the show began...

To sum up the feel of  Voguing, it's about inclusivity, expression, creativity and attitude, it isn't a dance contest or a beauty pageant. Those little bitches from America's Next Top Model would get flattened, these dancers and performers were the real deal. There were a number of bouts themed with different titles, 'Solo' 'Icons' 'Sex Siren' 'Fantasy'... each house taking to the catwalk to own it using a combination of catwalk, costume, dance, burlesque and drag. 

 The House of Ghetto pay homage to Josephine Baker

The 'Sex Siren' bout included a Victoria's Secret model and Barbie and Ken and The House of Ghetto took it old school with an homage to Josephine Baker complete with a golden banana skirt and a pretty x-rated way of sharing the fruit. It was so exciting to see this icon being nodded to after looking into black pin up history and writing about her just a couple of weeks back.

It was also great to see my past muse and model, the ever gorgeous Grace Oni Smith, claiming the stage as she performed with her house The House of Decay in an iconic group dance. 

One of the stand out performances of the night was when the panel of judges couldn't choose between The House of Suarez or The House of Decay to win the 'Realness' bout and they ended up dancing it out against each other. It was full on fierce! The House of Decay deservedly won but both contestants were amazing and what really caught my eye was that despite the intense gestures and savage energy between the two, they began and ended the bout holding hands and hugging one another. That summed up the night for me.

Keeping it raw, The House of Ghetto danced to Missy Elliot

But to get to the real meat of the matter, the 'Choreography' bout at the end of the night was where House Of Ghetto reigned supreme, or they should have, narrowly missing out to Liverpool's House of Lipa. This was where the all black female group took control of the catwalk and blew the crowd away. Dancing to Missy Elliot they were stunning. Slick sexy confident and totally on point, I couldn't sit still watching them, the performance was amazing. Everyone else seemed to feel the same way because, as the judges tried to decide who should win that bout, a chant of Ghe-tto! Ghe-tto! Ghe-tto! took hold. They were robbed.

The sights and sounds and the energy in the room were incredible. I've been to burlesque and drag nights, but this was something else, it worked on a whole other level, it felt more raw and immediate. And as promised, while Madonna streamed over the speakers and the lights went up, at the end of the night each person was tuned into their inner 15 year old black gay boy and we felt fabulous!

Strike the pose!

Last week I was lucky enough to visit the Betty Smithers Collection at Staffordshire University in Stoke as part of my research for the dressing table project with Stoke Potteries Museum and Art Gallery.

Behind an unassuming door at the end of a short corridor there thrives a collection of vintage goodies just waiting for someone to look at them and discover their secrets! Mannequins stand to attention around the floor all gussied up in sequins and crepe, whilst excitable students flock in and out asking, always asking for more information about the items hidden away.

Our visit however took us into the heart of the periodicals. I was there to see the Vogue magazines of the 1940's and 50's! What a treat! Further to my investigations into reading materials for the average working class, middle class woman of the late 40's early 50's I was eager to see what other publications a girl might read.

Last visit it was Home Notes, a modest little edition like the vintage equivalent of Woman's Own. The everywoman magazine that covered everything from making the perfect gravy to how to wear a hint of fur. But as the character of my project has ambitions and a tendancy to dream I wanted to see how the other half might have lived, and see just how much she might have been able to aspire to!

My first problem though was just how and why would she get her hands on a copy of Vogue? Well, lets think: I don't live in Milan and have Heidi Klum as a bff but that doesn't stop me from wanting to read all about these things in todays upmarket glossies, and I think that the same could be said for millions of women around the world from all different backgrounds. So why not a woman from the late 1940's?

That leaves how; Rationing is still happening, and make do and mend is the buzz line everyone keeps hearing. My girl isn't rich and leads a fairly simple existence (at least on surface it seems that way ;) ) so how could she get her hands on THE fashion bible of the upper class?

My first inclination was to think of the back market. Knowing the right people for undercounter dealings could get you perfume, nylons maybe even a copy of Vogue. (The fabulous magazine The Chap currently has an edition out themed around Spiv's, those dodgy gentlemen with the pencil moustaches and big overcoats. It's definately worth a read if you're interested in the diamond in the rough types throughout the ages.)

But Ruth, the Design Collection Manager at the university had another simpler explantion. She told me how her mother used to clean for a wealthy woman during the rationing era, and was given her old copies of Vogue when she had finished with them. Handmedowns, a nice solution, I like both scenarios as they highlight different situations and stories.

Vogue

So, back to the actual magazine; I decided to look at two editions in the end, one from 1949, and one from 1952, this being the latest in the time bracket of the project's story. Being a fan of old movies and vintage fashion my whole life, opening the first page was like unlocking a secret door where I was allowed access to the things the first owner of that magazine saw, and being able to put myself in her place!

Firstly, nothing has changed, there were pages and pages of adverts for high class goods before you got to any actual articles. Fortnum and Mason, Cartier and Hunt and Roskell, purveyors to the royal family, all took it in turns to show off.

Paris

When I did get to the articles they were fabulous! 'Vogue says choose a coat with an easy manner' (incidentaly these coats were priced at £8 9s 2d, £192 by today's standards) and 'Living in the lowlands with Major and Mrs Telfor-Smollett'. There were articles about opera and Vogue's Spotlight introducing an interesting up and coming novelist named Truman Capote. Between these few and far between features were fashion shoots in London and Paris.

In fact Paris plays a major part in all the magazines I've seen from this era. Paris was the epitomy of fashion, to say the word Paris was to conjure up ideals of cutting edge contemporary design! Even Picture Post had features on the new looks.

1949 Picture Post feature on Paris fashions: 'Please concentrate on your hemlines'!

1949 Vogue sets the trend with a feature 'Paris great evenings'

Here I must digress and expalin a little of fashion history:
Between 1941-52 the Utility Sheme was set up, rationing clothing to the basic essentials in style, no excess material or accessories and only getting new clothes if absolutely essential. Fashions were very restricted and didn't move forward for years and buying clothes depended on how many coupons you had.

An advert in Vogue touting Aristoc stockings to the 'coupon wise' shopper

Then as if a ray of sunshine broke throught the fashion clouds Dior introduced his 'New Look' in 1947. This style abandoned all pretence of moderation and championed a full skirt springing from a tiny sinched in waist. His style became iconic and the aspiration of all fashion loving women whether they could afford the real thing or emmulate it. The focus was back on French fashion.

Beauty and living

Another feature I particulary enjoyed reading was the 'Beauty Routine' which listed tips to be followed both daily and yearly for the upkeep of a perfect visage. Tips included a weekly facial and manicure and to use eye pads at the end of the day 'before a gala evening'.

This highly privileged lifestyle was further advocated by the helpful stockists and salons listed at the back of the magazine. All your needs can be catered for including corsets and lingerie, kennels and hairdressing. If you need you pearls restrung or a continental furrier look no further!

Patterns

One of my favourite things to be found in the Vogues were the Vogue Patterns. These were very popular as they gave women the chance to make up their own versions of styles seen within the magazine (if not them then their dressmakers at least).

There is an insightful section in the 1949 edition describing how due to the paper shortage at the beginning of the war the Vogue pattern book had to be incorporated into the magazine but with a 'slightly increased paper allowance' it could now be published seperately.

I think the pattern is a wonderful opportunity for my character to feel she is immersing herself in a more fashionable classier world! and it's certainly a viable option for her to make up her own desiner outfit on a budget.

Adverts

Adverts are brilliant sign of the times and can tell you a lot about the era they appeared in. Adverts featured throughout all the magazines I looked through, and it was interesting to compare them in different publications:

It's easy to guess which is which, Vouge was all about the luxury goods, whereas Picture Post illustrates an existence with more concerns

Certain adverts jumped out as they displayed items from Stoke museum's decorative arts and social history collections, and it was fascinating to see that some brands like Yardley were advertised in both luxury magazines like Vogue and general magazines like Picture Post. Also perfumes like Coty, a pretty general product were advertised in Vogue too. I'm sure my character would have been thrilled that she owns some!

Keeping the project's character in mind other products caught my eye as they glorified Hollywood and the movie stars of the time

Hollywood jewellery anyone? Yes please! Advert found in Picture Post

Another wonderful product giving you the chance to be as charming and fascinating as those movie actresses. Advert found in Vogue

I have to admit it, I think if I was around in the late 40's early 50's I'd be copying the French fashions as best as I could, I'd be dousing myself in Coty and following the privileged lives of the Telfor-Smolletts whilst wearing my Hollywood jewellery (you can't distinguish it from the real thing!). Things aren't so very different between then and now... People love to dream and love to be sold the ideal of a lifestyle. I've found it so interesting finding out just how far a girl could copy that lifestyle within her limited means.