Oxford Street in London this summer has a visual treat. Selfridge’s, well-known for eye-catching and innovative window-dressing, has teamed up with some world-famous fashion designers to celebrate the 400 year anniversary of the death of Shakespeare. There are 12 displays – here are five I managed to photograph between the crowds on a very busy Oxford Street.
The Alexander McQueen interpretation is from ‘A Midsummer Night’s Dream’ using the quote “Are you sure that we are awake? It seems to me that yet we sleep, we dream”
More dreamlike, romantic clothes.
‘Romeo and Juliet’, was chosen by Christopher Kane with the quote “But soft, what light through yonder window breaks?” providing inspiration.
‘A Midsummer Night’s Dream’ also gives us another romantic, inspirational couplet for Erdem – “Love looks not with the eyes, but with the mind; and therefore is winged cupid blind”.
Bucking the trend and displaying an alternative, challenging interpretation J W Anderson uses perhaps one of the most famous Shakespeare quotes “To be, or not to be, that is the question” from ‘Hamlet’.
Although I love the unashamedly romantic frills and ornate prints of the Alexander McQueen window, there is something haunting and long-lasting about the Issey Miyake display. “Love sought is good, but given unsought is better” from ‘Twelfth Night’ is the chosen quotation. The textured, structural coat shaped from cloth adorned/woven with words from the significant text captures our contemporary engagement with Shakespeare in a most memorable fashion. Particularly striking, I thought, emerging from the reflections of a 21st-century cityscape.
Sometimes you can’t help but wonder what a critic from a past age would make of our contemporary world. Although not the first to use the expression ‘Art for Art’s Sake’, I expect the Victorian writer, Walter Pater would be amazed at out current convoluted interpretations of ‘Art’. In his book, ‘The Renaissance’, published in 1873, he wrestles with the contemplation and definitions of beauty in a broader discussion of aesthetics. His book is partly a response to the 19th-century changes in manufacturing which brought about factory-based mass production. In his Chapter “Luca Della Robbia”, Pater discusses Italian Renaissance sculptors and their reinterpretation of the work of the Ancient Greeks. Pater draws our attention to the difference between the Ancient Greeks and the Renaissance Italians and gives us his Victorian’s view on the importance of individualism and personal expression through this extract about Michelangelo:
To him [Michelangelo], lover and student of Greek sculpture as he was, work which did not bring what was inward to the surface, which was not concerned with individual expression, with individual character and feeling, the special history of the special soul, was not worth doing at all.
Victorian Pater was looking for an artist to bring something of their inner self to their work. I think we would agree that Damien Hirst understands the value of confidently expressing himself. Although, it is hard to know whether it’s his inner self. He, as an individual almost becomes the brand, certainly his name is. However, I was still surprised to see these digitally printed silk scarves displayed in an art gallery window. They are branded Damien Hirst for Alexander McQueen. I don’t know about Art for Art’s Sake, perhaps Brand for Brand’s Sake. Fashion Houses have long traded on the designer being the brand, but I thought these limited editions scarves interesting blurred the lines between art and fashion.