Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Drawing of the Day: A Costume Design by Victor Stiebel, 1928

Costume Design
1928
The Victoria & Albert Museum

Victor Stiebel was one of Britain’s best-known fashion designers of the mid-Twentieth century. While attending Cambridge, he designed costumes for many university productions and continued to produce stage dresses for several theatrical leading ladies after opening his own couturier house in 1932.

Here, we see one of Stiebel’s most engaging costume designs. The face, with the heavily emphasized, khol-encircled eyes, follows the tradition established by silent-screen star Theda Bara, who popularized the word “vamp” (a contraction of the word “vampire,” which she played in one of her films) to mean a predatory female.

This drawing shows a full-length female figure with black slicked-back hair which ends in kiss curl on the left cheek and with a deep black band around neck. The rather ghoulish figure wears a black fitted dress, the left shoulder bare, with a short bell sleeve. The left side of the skirt ends in a short tail while the right is split on the right hip. The dramatic slit is covered with layers of narrow fabric strips.

A rather theatrical adornment, on the shoulder is a bold corsage of orange, carmine and purple flowers. While, at the hip are one purple and one orange flower.

The costume seems designed entirely to emphasis onto the eyes and blood red lips. Not for one moment, does anyone doubt that this is, indeed, a vamp.

Drawing of the Day: A Costume from “The Bell Flower Ballet,” 1890

Costume Design from "Dick Whittington"
Wilhelm, 1890
The Victoria & Albert Museum

Charles William Pitcher (1858-1925), under the name “Wilhelm,” was one of the most prolific English costume designers of the late Nineteenth to early Twentieth Centuries. “Wilhelm” began his career at an early age, designing costumes for pantomimes at the Drury Lane Theatre. His innovative designs quickly caught the eye of Britain’s most notable producers, and “Wilhelm” was soon highly in demand. 

This design by Wilhelm shows his idea for the costumes for the twelve “Lilies of the Valley” featured in the “Bell Flower Ballet,” from the pantomime “Dick Whittington.” The panto was performed at the Crystal Palace on Christmas Eve of 1890.

Drawing of the Day: A Design by Vermont, c. 1913

Dress Designs
Melanie Vermont, 1913
The Victoria & Albert Museum

Melanie Vermont created these pencil sketches in 1913 as designs for two evening gowns. They’re an excellent window into the mindset of a designer of the 1910s, a time when flowing material and drapery were quite en vogue. To this end, lighter and softer textiles were being employed. These free-flowing designs allowed a woman to be less-corseted and restricted.

Drawing of the Day: Record Drawing of the Royal Throne in the House of Lords, 1901

Record Drawing of the Royal Throne in the House of Lords
1901
The Victoria & Albert Museum

This is truly a rare treat. Here we see a drawing of the Royal Throne in the House of Lords. This drawing was made by the furniture manufacturers at Holland & Sons to use as a reference. After the death of his mother, Queen Victoria, King Edward VII prepared for his coronation, but wanted to make sure that his consort, Queen Alexandra, would also have a proper, if not smaller, throne. He ordered this drawing to be made of the original Gothic throne that was added to the House of Lords at the Palace of Westminster during its rebuilding. The original throne was designed by A.W.N. Pugin who was responsible for the interiors of the palace.


Pugin’s throne was partly modeled on the Coronation Chair (St. Edward’s Chair) and how it must have looked when still painted and gilded. Edward VII wanted Holland & Sons to make a diminutive version of the throne for Queen Alexandra. The furniture makers used this drawing as their reference, but later made minor changes to the design at the request of Edward VII.

Drawing of the Day: A Costume Design for Cyrano de Bergerac, 1946

Click for bigger Ralph Richardson-ishness

Costume Design for Cyrano
Old Vic Company, 1946
The Victoria & Albert Museum

This drawing shows the design for the wig and makeup for the title character in the 1946 production of Cyrano de Bergerac staged at the New Theatre by the Old Vic Company. The drawing of pencil and watercolor is the work of the accomplished costume designer Tanya Moiseiwitsch (1914-2003). She’s taken the time to show the details for the makeup, false beard, prosthetic nose and intricate wig.

These sorts of detailed designs not only ensured that Moiseiwitsch’s specific vision could be realized for each character, but also made the work of her dedicated team much easier by showing specifically what was required for each actor.

Notably, Cyrano was being played by the great Ralph Richardson who is, I’m sure, very familiar to fans of the film, “The Heiress.”

Drawing of the Day: A Design for a Brooch by John Brogden, c. 1860

Design for a Ruby Brooch
John Brogden, c. 1860
The Victoria & Albert Museum

I’ve always enjoyed the work of English Victorian jeweler John Brogden. In fact, I’ve often found the drawings he made while designing his jewels to be just as attractive as the finished products.

This design for a brooch is from an album of designs which Brogden created between 1848-1884. The album contains 1,593 designs for jewels and demonstrates the wide range of styles which Brogden produced.

Brogden’s firm was founded by John Brogden the Elder around 1796. For awhile, the firm was called “Brogden & Garland,” and, then, until 1841, it was styled “Garland & Watherston.” Around 1848, J.W. Garland departed the firm, leaving his partner, J.H. Watherston to move the concern to a new location. At this time, the son of Thomas Brogden (who may or may not have been the son, or maybe the nephew, of John Brogden the Elder) was working as an apprentice with the firm. The younger Brogden joined forces with Watherston, and, ultimately took over the firm, returning it to its original name. 


The younger Brogden quickly became the toast of London Society and this design shows why. This drawing of pencil and watercolor on card depicts a design for a gold brooch in the Renaissance style. It features a large red ruby and a hanging pendant with gold tassels. The brooch was produced in the 1860s. 

Drawing of the Day: The Fairy of the Woodland Glades Costume Design, 1945

The Fairy of the Woodland Glades
Costume Design
Oliver Messel, 1946
The Victoria & Albert Museum

The 1946 production of “The Sleeping Beauty” at The Sadler's Wells (now Royal) Ballet is considered the greatest triumph of Britain’s leading theatre designer of the mid-Twentieth Century, Oiliver Messel (1904-1978).

Messel created a feeling of a “real” world for the fantastical production. Instead of focusing on the fairytale elements, Messel depended on visual themes based on the architecture and fashions of Seventeenth to Eighteenth Century English, Spanish and French styles. The clever overall look was one of stepping back in time, but not so otherworldly that the character and action seemed false.

In the production, the good fairies arrive to visit Princess Aurora on the day of her christening. They present her with a variety of gifts. Notable, the character of “The Fairy of the Woodland Glades” offers the little princess the gift of “generosity.”

Here is Messel’s proposed costume for “The Fairy of the Woodland Glades.” This design features a train. We know from photographs of the performance that this is not the costume which was created for the show. Obviously, the design was later rejected. It is noted that Messel decided against this design since he had initially wished for all seven fairies to wear costumes with long trains. The extra fabric proved cumbersome and filled the stage so that the dancers’ movements were hindered.

Still, it’s interesting to see how the production design developed over time.

Painting of the Day: A Design for Berlin Woolwork, 1825-50

Design for Berlin Woolwork
1825-50
The Victoria & Albert Museum

This watercolor design in pink, green, yellow, orange and red is an example of the sort of hand-painted templates which were created by young ladies who were preparing a piece of Berlin Woolwork. This particular design is for a wreath of roses.

Berlin woolwork is embroidery relies on thick wools worked on canvas by means of copying a colored chart known as a Berlin pattern. Popular during the Nineteenth Century, the technique derived its name from the wool that came from Merino sheep in Saxony which was taken to Gotha to be spun and then to Berlin to be dyed.

Drawing of the Day: Pugin's Carpet Design, 1846

Design for Carpet for the Throne at the House of Lords
Palace of Westminster
A.W.N. Pugin, 1847
The Victoria & Albert Museum

Augustus Welby Northmore Pugin (1812-52) will always be considered one of the Nineteenth Century’s most significant and influential architects, designers and theorists.  He is, perhaps, almost single-handedly responsible for the Gothic Revival.  Despite his many triumphs, Pugin will remain best remembered for his work on the Palace of Westminster.

This design by Pugin shows his concept for the carpet for the throne of the House of Lords Chamber. The rose, labeled white, is actually shown colored red as it was in the finished carpet which was in place for the opening of the House of Lords in 1847.   The carpet design in place remained unchanged until 1980.

Mastery of Design: The Flato Foot Brooch, 1940-50

Pair of Brooches
Paul Flato
U.S., 1940-1950
The Victoria & Albert Museum

Paul Flato (1900-1999), an American designer, was at his creative and peak during the 1930s and 40s as he became known for his innovative designs and whimsical pieces of jewelry which became fashionable amongst society ladies and Hollywood starlets alike. 


Flato was, however, most popular with style-setting actresses like Greta Garbo who wore his jewels in “Two-Faced Woman” and Rita Hayworth who wore them in “Blood and Sand.” Others, such as Joan Crawford, enjoyed his work and proudly displayed Flato’s jewels on their elegant evening outfits.

Among the more whimsical of his designs is this pair of brooches in the form of gold feet with ruby toes. The pair was made in the U.S. between 1940 and 1950. Designed as clips, the pair would have been worn on either side of an open bodice, or, even on shoes.  

History's Runway: Princess Elizabeth's Wine Crepe Evening Gown, 1936-1939

Evening Gown Design
Norman Hartnell, 1936-39
This gown for then-Princess Elizabeth was later made of wine crepe, peach silk
with an intricate embroidery of glass beads, semi-precious stones and sequins.
The Victoria & Albert Museum

Norman Hartnell—perhaps the favorite of the Twentieth Century couturiers to the British royal family—will long be remembered for the glamorous gowns that he created for Queen Elizabeth (the Queen Mother), Princess Margaret Rose and Queen Elizabeth II.  From the late 1930s to the 1970s, Hartnell—from his Mayfair Couture House--designed a wide range of clothes that the female members of the Royal Family wore for their official duties as well as in their personal lives.

This drawing, made between 1936 and 1939, shows the design for an elegant wine-colored crepe evening gown and delicate peach jacket which were created for Queen Elizabeth II, while still Princess, as  part of her personal wardrobe, rather than being intended for state occasions. The Queen wore this ensemble for private dinners or for personal evening engagements. In true regal style, the neckline of the dress and the jacket are encrusted with beading, sequins and gemstones—the sort of intricate embroidery that became a Hartnell trademark.  There is a sample of the pink glass beading, sequins and semi-precious stones along with the crepe fabric attached to the sketch.

To Serve and Project: La Chapellerie; Hatmaking, 1828

Design for a Dessert Plate
Jean-Charles Develly, 1828
The Victoria & Albert Museum

This design of pencil, ink and brown wash by Jean-Charles Develly was made in 1828 for the decoration of one of the plates intended to be added to a dessert service known as the Service des Arts Industriels which was made at the Royal Porcelain Manufactury of Sèvres France between 1820 and 1835.

The drawing shows the interior of a hat-works and depicts men in a workshop steaming, shaping and ironing top hats. Finished examples are displayed on a shelf above. The design is typically known as “La Chapellerie.” The entire porcelain service was meant to illustrate, in an attractive and picturesque way, the progress of technology and its application to different crafts. It would be the equivalent of a dish decorated with a designer using an iPhone now.

King Louis-Philippe famously bought the service and gave it to Prince von Metternich in May of 1836.

Drawing of the Day: A Design for a Chippendale Desk, 1753-62

Drawing
Design for a Desk
Thomas Chippendale
1753-1762
The Victoria & Albert Museum

Thomas Chippendale (1718-1762), perhaps one of the best-remembered fashionable designers and cabinet-makers of Eighteenth-Century London, provided furniture to such famous contemporary figures as David Garrick who adored the Chippendale company’s high-quality furniture.

As fantastic as the finished pieces were, Chippendale's most outstanding skill was his design. He produced a pattern-book, The Gentleman and Cabinet-Maker's Director, which developed through three editions in the 1750s and 60s—inspiring trade catalogues and pattern-books from fellow designers.

Here, we see one of Chippendale’s designs for a desk and bookcase which dates between 1753 and 1762. The desk features four drawers, two on each of two rows, and a drop front, and stands on sumptuous Rococo cabriole legs. The bookcase boasts two doors with an elaborate ogee arch, Rococo ornamentation, and a handsome finial above. A cusped ornamental band separates the desk and bookcase.

This design appeared as Plate 111 in the third edition of Chippendale's pattern-book  and is one of  98 plates engraved for the edition by Matthias Darly.