La Suite in the Highlands

Fashion Off the Beaten Track

Home shopping is no longer associated with the mass market approach, which served me well as a teenager, in the 60’s. It comes with a whole new elevated meaning. You become a VIP invitee to a secret, often upstairs or a gaited address, allowing you entry into a special and pampered one to one, curated experience. Who doesn’t love a private invitation?

La Suite Dior in Paris, offers such a space with a no-limit to how your dreams can become a reality. The only requirement is a high net worth pocket.

A recent feature, illustrated several less well known brands, offering such intimate fashion led experiences, beyond the bricks and mortar shop. It looks as though my Sandra Murray Bespoke below the radar brand, has entered unique territory. Ok, Inverness doesn’t quite have the fashion cache of Paris, but we are all in competition, on what constitutes a great experience. This is today’s buzzword.

Creativity is a permanent source of intrigue and curiosity, when it comes to how Artists practice, and especially how they source their inspiration. Consequently, having the opportunity, to have face to face hospitality and chat, with the Artist directly, suggests its great currency at the moment.

Apparently, true fashion luxury started in homes at the beginning of the 20th century, when one’s Couturier came for fittings. Its an old idea, revisited.

La Suite Inverness, might be the only necessary tweak..

Lady Agnew Unframed

On the last days of February, it was a quick easyjet hop, skip and jump from Inverness to London then Paris, to capture three exhibitions, first hand. I had to see them for myself, yet again. Especially as there were actual dresses on show, alongside the paintings, at Tate Britain.

For me, John Singer Sargent’s extraordinary portraits are significant. With both Madame X, and Lady Agnew images featuring on my own “go-to” formal dresses, they have been worn more times than I can remember. They fit every occasion, and my every whimsical mood.

Seeing the original dress belonging to Ellen Terry as Lady Macbeth was a revelation, and surprisingly unlike the painting. Sargent didn’t shy away from artistic license, when it came to composition or colour, declaring the coat IS the painting, should you ever question his alteration!! A greige crocheted underdress resembling chainmail, was embellished allover with irridescent beetle shells. The red velvet faded full length cape was embroidered with corded motifs, and fastened at the neckline with more rope type tassels. The most exquisite smokey quartz gold brooch which reminded me of the Louise Bourgeois spider, sat high at the neckline, then a garnet necklace. Altogether, a picture to behold.

The first garment on entry, is a black silk taffeta full length cape with tulle collar andsilk  rose  centre front fastenings. Several portraits followed, all clad in formal black attire. Then, more exquisite frocks, but this time in pink, some with embroidery, or a deep lace collar.  Some sixty paintings, all expressing elegance personified.

Exit London.

Hello Paris, and the Louis Vuitton Foundation for an eleven gallery intake of Rothko, that is hard to put into words, except to say, truly magnifique. Seeing the canvas nose-up, and not just  a paper publication, made the experience so much more alluring.

Dash next, to the Alaia Foundation in the Marais, to see Alaia and Madame Gres and consume more exquisite engineering of dresses. It was easy to see how Alaia was inspired by the architecture of the humble frock. The last time I saw him in person was at the launch of his perfume at Corso Como, Milan. I don’t think I was supposed to be there. The girl with the list, didn’t ask for my name.

You have to learn some tricks in this trade.  Till the next  story time, au revoir.

Beyond the Brand

Bliadhna Mhath Ur from my atelier in the Scottish Highlands.

Working alone as an artisan, I find quotes and editorials, a very reassuring way of reminding and encouraging me, that I'm engaged in the craft of slow fashion.

Giancarlo Giammetti, Valentino’s long term business partner, on recently receiving a life time achievement award, admitted “We left, because the industry changed and meetings were all about money and not design. Sales forecasts decided what got created. The conglomerates made each label work to the same model. WE COULDNT LAUNCH TODAY. If we did, we would be doing slow fashion, inviting fewer people to buy, at the highest quality. You dont have to be judged on the number of dresses you make. Sustainability must be everyone’s

pre-occupation right now”. Michael O'Flaherty in the FT.

Alas, I have been following that sustainable code since 1976, using exquisite top of the range fabrics. I'm able to restyle if necessary, as our taste evolves. More recent pieces, I consider heirlooms.

Lisa Armstrong, of The Times recently wrote.

“Balenciaga alone is a couturier in the true sense of the word. Only he, is capable of cutting material, assembling a creation and sewing it by hand. Others are simply fashion designers”.

No, he isnt the only one with such skills. What I would add, is that one can become a so-called fashion designer at any age but to become the “true sense of the word” artisan of hand needlework, takes a lifetime.

I recently created the unique Ae Fond Kiss timeless coat-dress in Burns tartan. Starting with a sketch, I drafted the bias cut pattern, hand stitching it and embellishing it with black grosgrain ribbon. It has an overlay of black French flocked tulle. I am now waiting to see who will be it's custodian, to treasure.

We live in a different fashion world from the one Cristobal inhabited in Paris. For those of us, below the fashion journalist’s immediate radar, it is increasingly difficult to gain and retain visibility, above the billion marketing spend of the Conglomerates.

I hope to continue to “invite fewer people to buy, at the highest quality” and not “be judged by the number of dresses” I create.

Atelier des Grande Complications

My title is usually attributed to horology, but finetuning belongs to all artisan worlds, including couture.

Earlier this month, I’ve been concocting strong Scottish cocktails in my Highland atelier, not in the feintest, alcohol related. It does require a measure of taking in, as well as out, and even boldly destroy. All in the name of sustainability, which is something which Ive been doing, long before the word became fashionable. Discarding high end precious fabrics is for me, a no no.

Beginning with a total restyle, of what was once a kilt-dress which in its past life, graced the National Trust Gala in New York as well as an event at the Cannes Film Festival. With 4 metres to indulge, I recreated a lavish evening skirt, with layer upon layer of black, purple and cappuccino soft French tulle as well as an overlay of embroidered black French tulle. I love evening skirts for their versatility. Hence, the asymmetrical bias one shoulder matching bodice, suitable for any Scottish Outlander themed party or wedding. Dressed down, I would suggest a black cashmere pull or velvet jacket.

My next restyle was a new look at a quiet, subtle shift dress from the Skibo Castle Fashion Show 2009, while lovely, but on reflection, suffered from poor hanger appeal. Not enough Wow. Short lace sleeves removed, my 70’s student day nostalgia looked back to the era, when every hem had a flounce, and every sleeve and collar had a frill. Stitch ripper in hand, I began, to carefully unpick. The revamped version, is now a full-length dress, and baptised Drumochter, which is the area of Scotland with it’s rugged landscape, where you leave Perthshire and are welcomed into the Highlands. The fabric, which I hand sourced from Como, is a viscose and silk panne velvet and for me represents the Scottish equivalent of “safari” of mossy greens, sludgy hues, and brown animal print colours. The palette literally comes alive. At least, to the artist it does. This frock is now a useful number, with it’s new wow element attached.

My personal bet this winter, is on black sequin palazzo’s for the Festive time, now upon us. Mine are almost complete!

As I rummage through my cabinet of curiosity fabric collection, the tastebuds begins to savour and imagine what might become the next, as they say in French, piece unique!

I look forward to hearing what 2024 means for you in the realms of wardrobe desire, because we know, its no longer really about need. But we definitely need fun.

Nollaig Chridheil agus Blaidhna Mhath Ur.

Fashioned by Sargent

I could hardly contain my excitement, when I learnt about the current Boston exhibition called Fashioned by Sargent. It shows paintings alongside the actual clothing worn. Meticulously fussy apparently, about all aspects of what was worn by the sitter, it was, for him, like setting up a still-life. Precision styling, can become obsessive, that much I know.

The last time I expressed such excitement, seeing paintings, dresses and jewellery together with the paintings, was in Madrid, and by artist Joaquin Sorolla. In fact, I’m still trying to source a black and ivory narrow stripe silk satin duchesse, I saw in a Galliano lookalike jacket in one of his very paintings! Could that count as an obsession?

My personal fashioning by Sargent began in 2005, when I purchased a long silk georgette scarf of Lady Agnew, at the Museum of Scotland shop. It inspired me to create the first of my portrait dresses. In fact, a late friend Edwin Robertson, from Nairn Antiques, used to call me” Sandra the frock”, which I regarded as a complement.

When I changed artistic direction in 2005, I decided that I too, needed a unique personal dress code, because I would be attending global events. My portrait dresses have been my reliable best friends ever since. I now have 3 timeless dresses. Lady Agnew, Madame X and a less often worn one, called (one of) The Wyndham Sisters. I might look again to restyle it. With slides from the Met NYC, the Glasgow School of Art printed each one, on silk georgette. I had earlier designed one of Lady Macbeth, for a shoot at the Cannes Film Festival, to promote Scottish textiles. All of my dresses are well travelled, and have taken me to Buckingham Palace, Glyndebourne, National Trust of Scotland Gala in NYC. The Carnegie Club at Skibo Castle, and many more places besides.

Madame X, also appears in 2 portraits of me, one is in oils, by artist Eugenie Vronskaya, and one is a photograph in a book, called Artfully Dressed, Women in the Art World, by Carla von de Puttelaar. Sometimes, I choose to wear each dress with a black vintage frockcoat. I also wear a long Murray of Atholl tartan coat covered with black wool lace, over Lady Agnew. Then, I’m pretty much ready, to just choose the hat.

There is something empowering, about wearing a statement on the front of a dress, when all the surrounding side panels, back and sleeves of complementary fabrics, play second fiddle, both in colour and texture. Maybe, it even touches on the Dior statement t-shirt ”lets all be feminists”, only my dresses are in silk, with no logos, and no politics. However, it’s not unlike wearing your own coat of arms!

Speaking of Coat of Arms. A recent USA commission, was a pair of Loch Ness wool tartan pillows, featuring the client’s own Coat of Arms. A further commission of a bedspread in Murray of Tullibardine wool tartan, with two smaller embroidered pillows followed. I’m longing to see the book called Classical Shindig, they feature in.

I’m having postcards printed, of the two oil paintings that’s I created during lockdown, which feature the mosaic- like overlapping patterns pieces of two actual coats. A John Singer Sargent again, came up trumps and supplied me with his most appropriate quote, “the coat IS the picture”. In case it’s not obvious!

To Glove or not to Glove

KINGS AND QUEENS may come and go, but great style, according to Yves, is eternal.

It was, for me, a real thrill to see gloves, my favourite accessory, play such a significant part within the recent Coronation regalia. The Coronation gauntlet was presented to His Majesty King Charles, while he wore a single white cotton glove. VIP guests, like Queen Letizia, Dr Jill Biden, Crown Princess Mary (nee Macdonald), and Katie Perry in all their splendour, wore matching gloves. Think again, if you haven’t paid too much attention to this very important accessory, which can and does, dot the i, on your special day or night ensemble.

The current tartan exhibition at V&A Dundee, hugely tapped into my memory bank, after forty plus years of apparel making and accessory styling. First cabinet, displayed a ruched tulle and tartan skirt by Belgian Designer Jurgi Persoons, identical to the skirt worn by the late Hilary Alexander, at my catwalk show at Skibo Castle. A clumpy tartan boot, reminded me of the more exquisite high heeled, Skibo tartan toeless boots, made by the late Terry de Haviland, for the same show. A Black Watch carpet exhibit, reminded me of why our Highland home, hall and stair carpet was made bespoke, by former carpet manufacturer, Hugh Mackay. Over 30years ago, I had seen Christian Lacroix’s home feature the same, in his hallway, in an Interior Magazine, inspiring the choice. High maintenance but beautiful.

Bespoke tartans reminded me of when in 2013, I created pieces for Julie Fowlis for her Hollywood Premier, in the Brave tartan…each dress included fingerless gloves. Then, there were the tartan cars! At dress to Kilt NYC 2007, I remembered Sean Connery arrived in his Connery tartan Jaguar and I spent the afternoon, making him a tartan tam-o-shanter!

My kilt-dress, could have sat very comfortably among the 100 Tartan story exhibits. On press day, I arrived to review it for BBC Radio Scotland in Gaelic, and realised the entire exhibition, was inspired by a Tartan book by Jonathan Faiers, leaving little room for deviation from the brief. He is Professor of Fashion Thinking at Winchester University. I can’t help wondering, what his personal take on the glove subject is? One thing for sure, II need to think of my own independent exhibition.

My new website will include a blog to describe my extraordinary textile palette. Living remotely, in the Highlands of Scotland, doesn’t allow the world to adequately appreciate the full extent of its hand-sourced curiosities. Until now, me-thinks! In the past, I brought stories personally to each client, if a visit wasn’t possible. Perhaps the blog will satisfy what Diana Vreeland described as desire, and bring you something you didn’t know you wanted.

I’m always bemused at how event dressing for most, especially weddings, after a round the block of trials, the final choice becomes a safe choice of plain or plain. Be that in colour or cloth. Yet there is a wealth of the most wonderfully flattering fabrics out there, in oblivious territory. They don’t know what they are missing! If you have spent any time observing Paris Haute Couture shows, you will hardly ever see a plain surface. It may be monochrome, but texture will be present. This is usually created by embroiderers of Lesage, or Vermont in Paris, or skilled Indian artisans, giving depth and richness to every surface. Hours of labour comes at great cost, and I recognise this is way beyond the means of most.

My texture is created with luxurious combinations, chosen by eye, but to divine effect.

During Lockdown, I began some oil paintings, that are works in progress. Suffice to say, my next subject is gloves. Just watch this space!

Unbuttoning Chanel

Unbuttoning the Chanel Manifesto, has to be the September hot topic, as we reflect on Mademoiselle Gabrielle’s legacy, even if we only get a feint glimpse into the real Coco, and her rags to riches story, resulting ever since in monumental global success. Looks like, every aspiring fashionista still desires a piece of her brand, be it lipstick, pearls, or perfume No 5, even if one is unable to ascend to Haute Couture. Spend 10 mins in its honeypot, at Rue Gambon and you will get a fascinating insight of its clientele.

Until I visited the current exhibition at the V&A, and had previously seen Chanel Prive 2015, at the Saatchi gallery, (which was possibly more about Lagerfeld than Coco) I hadn’t realised the subtilty of her influence, on my own forty plus year career. I totally identified with her passion for fabric, recognised how she used it inside and outside garments, right down to sequences of soft ornamental bows.

Coming from The Outer Hebrides, age 19 as a “70’s alumni of The Glasgow School of Art, I hadn’t quite cut my teeth on dressmaking, but was sufficiently enthrawled by the work of home- grown talent, like Bill Gibb, Jean Muir and Zandra Rhodes. I didn’t give much thought to Chanel, who in 1970 luxed living in a Paris, Ritz penthouse.

Speaking of the Paris Ritz, I’ve become newly familiar with a measure of its grandeur, but at below-stairs level, after my recent masterclass in Jus and Sauces at its Escoffier. You may well ask, what this has to do with Couture? In brief, and for over the thirty odd years, my husband and I have enjoyed the highest level of French cuisine. In times past, we have sneaked one of their famous French Bresse hens, (as served at the recent Royal banquet at Versailles) in our luggage. It’s a practice no longer permitted! Learning how to make the most delicious jus from scratch, was exceptional. Patisserie next, methinks.

The Paris experience has been a large part of my aesthetic life. The one address on my list this visit, but missed, was a visit to Azzedine Alaia’s shop. On my return, I realised two

joint exhibitions called Alaia/Gres, between The Palais Galliera and Fodation Alaia, were about to open. It shows items from Alaia’s private collection of 20,000 garments, which he had been collecting in secret at auctions, since the mid 60’s. I thought I had a lot of “stash”, but this is another level! I’ve been a great admirer of his signature, seeing him as a sculptor of clothing. In my mind, he was less interested in traditional textiles, but liased instead with an Italian company, who developed his heavy opaque jersey.

Our King and Queen made a state visit to Paris, 3 days after our trip. In 1938, our Late Queen Elizabeth, age 13, and her sister Princess Margaret, were gifted two dolls by the children of France, when their parents visited Paris, without them. They are called France AND Marianne, along with 360 items of clothing, including a car each. All are now in the Royal Collection. My miniature Collection, shrinks, in comparison.

What I have to keep reminding myself, is that none of these brands is the effort of one individual, but huge teams. Coco Chanel had 4000 employees at her busiest, Alexander McQueen currently has 32,000. I chose the path of the sole-trading artist, because uniqueness continues to be a something I strongly value, and in essence, something that is beyond fashion. I also have to keep reminding myself, lest I or anyone else forgets, that I too have a unique piece in the Royal Collection. www.sandramurray.co.uk