BIBA

Biba label

Biba was one of the most popular fashion stores in London by the end of its life in 1975. It originally started out as a mail order service created by the Polish-born Barbara Hulanicki with the help of her husband Stephen Fitz-Simon. Biba’s postal boutique had its first significant success in May 1964 when it offered a pink gingham dress to readers of the Daily Mirror. The dress had celebrity appeal, as a similar dress had been worn by Brigitte Bardot. By the morning after the dress was advertised in the Daily Mirror, it had received over 4,000 orders. Eventually, some 17,000 outfits were sold.

Biba Mini dress

The first store was opened in September 1964 on Abingdon Road in Kensington. As the Biba style of tight cut skinny sleeves, earthy colours and its signature logo became more and more recognisable, the more and more people wanted to be seen in it. The second store in Kensington Church Street opened in 1965 and series of a mail-order catalogues followed in 1968,which allowed customers to buy Biba and the style that came with it, without having to come toLondon. The next move, in 1969, was to Kensington High Street into a store which previously sold carpet. Again the shop was a unique mix of Art Nouveau decor and Rock and Roll decadence.

Blouse, 1969

In 1974, the store moved to the seven-storey Derry & Toms department store know as the ‘Big Biba’, which immediately attracted up to a million customers weekly, making it one of the most visited tourist attractions in London. There were different departments, and each floor had its own theme, such as a children’s floor, a floor for men, a book store, a food market, and a “home” floor which sold items such as wallpaper, paint, cutlery, soft furnishings and even statues. Each department had its own logo or sign, which was based on the Biba logo and had a picture describing the department; these were designed by Kasia Charko.

The store had an Art Deco-interior reminiscent of the Golden Age of Hollywood interspersed with non-traditional displays, such as a giant Snoopy and his doghouse in the children’s department, where merchandise based on the Peanuts comic strip was sold. The Biba Food Hall was also designed ingeniously, each section being aimed at one particular kind of product. A unit made to look like a dog displayed dog food; a huge baked beans tin displayed tins of baked beans and so on. The new “Big Biba” was also home to “The Rainbow Restaurant”, which was located on the fifth floor of the department store and would become a major hang-out for rock stars, but which wasn’t solely the reserved of the elite.

The Biba look appealed to mostly teenagers or twenty year old women. The employees were from the same demographic; among them at one point was a young Anna Wintour, later the editor of Vogue. The Biba look consisted of what Hulanicki called “Auntie Colours” – blackish mulberries, blueberries, rusts and plums. Biba smocks were uncomfortable and itchy, and stopped women’s arms from bending – something that didn’t prevent customers from buying the clothes. These clothes became the uniform of the era with the added bonus of matching accessories available to purchase with most of the clothing.

Biba court shoes

Miniskirts were causing a scene of their own, every week they got shorter. Although Mary Quant was the first British designer to show the mini skirt, Biba was responsible for putting it on the high street and as miniskirts were in fashion, everyone needed to be associated with them.

 

Maternity smock and trousers, 1973

 

Biba’s second store inLondon, the Kensington Church Street boutique, looked like an old apothecary on the outside with an interior that was dark and boudoir like where the clothes were hung up on old fashioned coat racks.

Suit, 1969

The clothes in the beginning of Biba’s life were extremely affordable and reflected the sentiments of the fashion conscious teenagers of that era, with soft fabrics that were form fitting, very stylish and also extremely comfortable. At the time, Biba used bright colours like blue’s, gold’s and silvers in flouncy chiffons with whirls of muted psychedelic colours and bright boas. Many different kinds of fabric were used including satin, crepe, chiffon, metallic, a fabric that looked like soft felt (which had not been seen before). Biba also had dresses with sleeves that covered most of the hand with thumb holes.

Dress

Later in 1969 when Biba moved to its first upscale store on the north side of Kensington High Street, across from where they would later open up their department store, there was a radical change in that the clothes became more expensive and the styles of clothing appeared to be designed for more sophisticated and richer young women in their 20s. The Kensington High Street store also lost the cozy boudoir look of its predecessor, which had been so appealing to its teenage customers, and took on the more sophisticated look of the upscale Kensington/Knightsbridge designer stores.

Jacket, 1973

After some years of severe financial difficulties, Dorothy Perkins and Dennis Day bought 75% of Biba. This led to the formation of Biba Ltd, which meant that the brand and the store could now be properly financed. However, after disagreements with the Board over creative control, Hulanicki left the company and shortly afterwards in 1975, Biba was closed by the British Land Company. There have been various attempts to re-launch the brand but few have been successful until the recent Topshop revival of the brand for which Hulanicki designed a capsule collection. Once again Biba is being enjoyed and appreciated by young women and teenagers around the country.

First World War stories: Saving the ‘Sunik’

2014 will see the Centenary of the start of the First World War. The Archives holds many fascinating records, showing how the War impacted on the Tyne & Wear area. Over the next few years we will be sharing some of these with you to commemorate this tragic, world-changing event.

The nature of the conflict meant that it drew many men away from their homes in the North East and into foreign theatres of War. Those events are usually less well documented in our Archives. However, I recently came across a small but fascinating set of personal papers, which shed a little light on the War beyond these shores. These documents belonged to George Cuthbertson, a marine engineer from Tyneside.

George Cuthbertson, 1910s (TWAM ref. DX1539/5)

George Cuthbertson was born in South Shields in 1886. By the age of 14 he and his family were living in Dunston, where he served an apprenticeship as a colliery fitter. At the age of nineteen George’s father died and he took on the responsibility of looking after his mother and younger brother and sisters. It appears that his work at Dunston Colliery didn’t bring in enough to support his family so in 1912 he went to sea as a marine engineer.

By 1918 he was serving as 2nd engineer on the ‘Sunik’ an oil tanker built by Armstrong Whitworth & Company Ltd. The vessel had been requisitioned by the Admiralty (Oil Transport no. 57). On 9 April 1918 disaster struck and the ‘Sunik’ was torpedoed off the coast of Sicily, north of Messina Harbour. The website uboat.net identifies u-boat UC 52 as the source of the attack.

The vessel was struck in the engine room and the stern sank under the water, with the bow sticking out.

'Sunik' sinking at Messina, April 1918 (TWAM ref. DX1539/4/3)

Fortunately, the ship was saved. A large wooden ‘patch’ measuring 50 feet by 37 feet 6 inches was made and secured to the hull with hawsers passed around the ship.

The wooden patch is floated across to the 'Sunik', April 1918 (TWAM ref. DX1539/4/4)

 

The patch is fixed in place on the port side of 'Sunik', April 1918 (TWAM ref. DX1539/4/4)

The vessel was made water tight at Palermo and in due course the vessel was towed back to Liverpool where the vessel could be properly repaired.

View of 'Sunik' in dry dock, showing the patch, c1919 (TWAM ref. DX1539/4/3)

 

View of 'Sunik' with patch removed, showing the torpedo damage, c1919 (TWAM ref. DX1539/4/3)

The conduct of the crew through all this was later recognised. In a brief set of biographical notes, Cuthbertson’s son recorded:

“The Captain said to my father ‘Geordie they are talking about giving us medals, or you can have the money’. Dad said ‘The money will be of more use to my mother’. In due course the Captain and First Mate were awarded OBEs and dad got £29.19.11” (TWAM ref. DX1539/7).

The repairs in Liverpool were clearly successful since the ‘Sunik’ gave a further twenty years service until suffering a collision in July 1939. George Cuthbertson went on to become a chief engineer. He died in South Shields in 1946 at the age of 60.

Guest blog – My School Work Experience Placement at Discovery Museum, by Daniel Cockling

When I was first told about work experience, I only had the vaguest of ideas what that would involve; and more importantly, where I would do it. I have always been interested in History and museums, so after a lot of drafts just to get it perfect, I finally sent a letter off to John Clayson. And luckily he said that yes, I could come for a week to follow people around the place to do work for them. Of course, it wasn’t quite as simple as just turning up at the door. There were, naturally the health and safety forms, as well as my school having to agree that the Discovery was ok to go to. Happily for me they did, and here I am three months later, sitting in the Learning Office telling you all about it.

Sadly, I could not take part in a full week here, since there were not enough people with enhanced CRB checks to allow me to legally be in, but on Tuesday I was in the entrance hall by Turbinia signing in. It was then, once installed at a desk in the office (with my own phone) that I found out how much working in a job was just a little bit like hard work. On that day, I actually got a mini tour of the museum, even getting to go into where they conserve objects, and then store them out of the way because they don’t have enough space to show everything. One of the many weird things I saw in the depths was a giant freezer, which they use to destroy any harmful bugs on artefacts before they are put back into controlled conditions – it’s not very good to have moths eat away at your clothes at the best of times, but 200-year-old dresses need to be extra protected.

On the Wednesday Sarah showed me the database of everything TWAM has stored away in its many locations. This was very fun, just because of the sheer range of objects filed away; like a letter from Tony Blair about a petition to him or the switch from the first electric cooker in the area, a display model mistakenly sold to the donor before anyone had had the chance to show it off in the shop. I also worked up in the History Office, going through questionnaires my classmates had completed, all about electric lighting and how they use them. Although they had not been very keen do them, I still got them back in, giving a rough idea of what we should keep for the future generation’s history lessons. The whole idea around it was to eventually expand the current light bulb collection here; using modern examples just like John Henry Holmes did back in his day.

Thursday was all about researching where on earth you could get certain types of light bulb, and how much they would cost. In fact, for almost every type of bulb I could find a supplier – except for street lights. Obviously, one does simply buy a street light, so this proved quite challenging. But, at last, I did discover that the new street lights being set up around the north east were in partner with SSE, so I’ve left John with that task to contact them and get hold of one. If I’d have been here for longer, I would have contacted them myself, but a week is just too short in which to get used to the long term side of running a museum. I was also given the opportunity to observe the media side of the museum, watching a new pamphlet being designed by Rachel for the Hatton Gallery. This was more challenging than the previous leaflet they had, because it features a tear-off side as well as every other side already there, making it instantly more confusing to put together. With the advent of the new gallery on Weddings, I was then used as free labour to peel of vinyl labelling from a wall, resulting in a great chat with Richard, the guy I was working alongside, and several chipped nails. They really do know how to stick stuff down so that it stays there! I rounded off the day by doing a walkthrough of all the galleries with two of the men, Mick and Tom, who bimonthly do this, and are responsible for keeping everything securely screwed down and non-lethal. They then deal with their entire list of problems throughout the next two weeks and begin it all again.

Finally, on my last day here at the Discovery Museum, I ended up finishing off the initial research into acquiring light bulbs for the expanding collection and, as you can probably guess, writing this blog for the website. I was, however, put into use to help get the final preparations for the new gallery on migrating to Newcastle ready. This, nicely for me, involved carrying various bits of Victorian dressing up clothes around the building – giving a much needed break from sitting and staring at a computer screen all day.

Throughout all of my four days working here I have thoroughly enjoyed it. I came here to find out what work was about, and what people do when they put together professional history displays and educate visitors. And now, upon leaving, I have decided that it is extremely enjoyable thing to do, and the amount of variation in your job means that you can never get bored – you’re constantly preparing stuff and turning over new galleries to present more history. My greatest respect goes to those who come in, in their free time, to help with their own expertise in organising everything the museum has. They are the true heroes; using knowledge they gained from working in the industries now considered bygone and helping us to understand it today. Without it, TWAM would be useless, since there would be no one to teach the next generation all that they consider important. Without that, there would be no History.

I think that I will pursue a career in history; I may not know how far I wish to be involved, whether it is purely academically for my own good, or as a teacher working in a school.

Update on the work at the Great North Museum: Hancock Library

Work is well underway at the Library to install equipment that will improve the conditions in which the old and rare books and archives in the collection are stored.

The first stage in this work was to remove a large amount of material from the storage section area of the Library and relocate this into the area that is usually used by customers.

You can see from the images below why the closure of the Library was needed.

 

 

 

 

 

 

The next stage of the project will involve contractors installing the required kit. This process should take around two weeks. Then the task of reocating all the items that have been removed back to their original location.

We hope that the Library should re-open for business on Monday 12 August.   In the meantime if you have any comments or queries please send an email to gnmlibrary@twmuseums.org.uk, or telephone 0191 222 3555.

 

 

 

 

 

Lost Ralph Hedley pictures

Papers, notebooks, press cuttings, sketches and photos relating to the Tyneside artist Ralph Hedley were left to the Laing Art Gallery by the artist’s great-grandson Julian Brown. Some of the sketches are on show in the exhibition Ralph Hedley: Painting the North East at the Shipley Art Gallery until 21 December 2013. But there’s loads more. I’ve been working with a team of volunteers to sort out and record the piles of papers so that they can be made accessible. As the work progresses we’re finding photos of missing or lost paintings. Here are a few.

Ready for a stroll (1887) is only known from this press cutting. The chair makes another appearance in Market morning (1888) in the Shipley exhibition, and a similar hat to the one on the chair is in Hedley’s self portrait on display in Northern Spirit at the Laing Art Gallery, Newcastle.

These pictures are only known from old photos that were probably taken in Hedley’s studio.

The horse thresher (1900) shows workers at a huge threshing machine driven by four horses – the farm at Beamish museum has a similar machine.

The rope walk (1899) shows workers twisting a long length of rope.

These pictures have been tracked more recently but they have disappeared again.

On the look-out (1883) is an early hand-drawn colour print (chromolithograph) of a Hedley painting.

Age and want; oh, ill-matched pair (1899) shows a woman in her home with no fire and no food.