When Philip Met Isabella

I'm currently agonising about my next watercolour. I want to do a view of the still water on the lake at the back of Ballynahinch Castle Hotel, from a picture we took last summer. It's all delicate colours subtly blending into each other, with very little movement. I still don't know how I'm going to do this, so I'm finding any possible excuse to delay the moment when I put paintbrush to paper.

One of the books Brendan gave me for Christmas is "taking risks with watercolour" by Shirley Trevena. Her watercolours are nothing like what you'd expect watercolours to be - they are a vibrant riot of colours blending and merging together with little regard for the standard "rules". One of the pieces of advice she gives to fight off the fear of the white page is to do an abstract painting, using all the colours you plan to use for your "proper" painting, and letting loose on the page. A great excuse for me to splatter paint all over the page, and a great way to enjoy putting colours together, without fear of getting it wrong!

Well, thank you Shirley - I did this last night and had a great time with beautiful, vibrant colours. It looks nothing like what my lake painting will eventually look like, but I've put together a lively painting which I'm very happy with. A painting which reminds me of a Philip Treacy hat, hence the title...

When Philip Met Isabella

Last Sunday week, we went to the Design Museum in Collins Barracks to have a look at the Eileen Gray permanent exhibition (on the top floor), which was very good. I'll probably talk about it more some other time. On the way out, we stumbled upon the exhibition "When Philip met Isabella, Philip Treacy's hats for Isabella Blow". And we are glad we did! The exhibition (which is free by the way) is all about mad hats designed by Philip Treacy (who studied in the NCAD) for his muse and sponsor, Isabella Blow. The exhibition is temporary, but has been extended until 2 April.

There are hats that look like turrets, like a French 18th century sailing ship, like mad horns , like UFOs, in all colours, black, bright pink & green, with and without feathers (most of the feathers are carefully cut to look just perfect).

There is even a sculpture, which I think is supposed to represent Isabella's face in profile when you look at the shadow it casts on the wall - well, that sculpture has got heads of crows, the head of a red-robbin, it also has bits of a rat, of a rattlesnake and a lipstick. I'm glad to say I couldn't make out the rat bit! It's gross, but it's also fascinating. I won't put a picture of it here, but you can find it on the web!

Now, I have to say that Isabella Blow is not a particularly pretty lady, but she is supposed to be "one of the world's most influential creative directors!"

A matter of taste, I guess!!

What you have to admire is the quality of the work - these hats are works of art - there isn't a stitch out of place. Actually, there isn't a stitch visible!

You can find some pictures of the hats at the British design museum site: here
There are also pictures from his shows at his own website: here