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#spitalfields
threadtalk · 1 year
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No, you are not imagining things. This is not a Betsey Johnson dress somehow masquerading as a historical garment. There was no time travel. This is a real gown from the mid(ish) 1700s made of Spitalfields silk.
Like many extant gowns, the secret is in the stitching. We know a few things about this dress due to its construction. 1) it was remade to fit changing aesthetics, likely during the same century and 2) it's a selvedge dress, meaning that unlike mantuas, it's made of pieced together silk (most expertly done) to show the appearance of an undisturbed piece of fabric.
The bright, floral brocade pattern is not at all uncommon, as the motifs of this era were certainly vivid in every sense. I particularly love the contrasting deep brown of the stomacher with the rest of the dress. It's relatively simple in terms of the times, but I adore it!
From Cora Ginsburg.
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henk-heijmans · 2 months
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Frustration, Petticoat Lane, Spitalfields, London 1948 - by Grace Robertson (1930 - 2021), English
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haxanbroker · 4 months
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The Telephone Box. Spitalfields, London, October 2023.
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aneverydaything · 1 year
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Day 1680, 28 January 2023
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leenaml · 2 months
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Spitalfields
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itsstreetlove · 2 years
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ELEVEN and A HALF Fournier Street
Spitalfields  ~ London
For @thoughtfulbirdpolice  I found this one of No.11 taken back in 2016. I believe the conceptual artists Gilbert and George may have lived here.....or possibly still do.
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jeff-rees-jones · 2 years
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I was in Fournier street, Spitalfields, east London recently, photographing some of my favourite houses and front doors when I noticed this chap, instantly recognisable as George Passmore of the infamous artistic duo Gilbert and George, they live in the street (this isn’t their house, just a favourite of mine) and can often be found eating breakfast in the local cafe.     http://www.gilbertandgeorge.co.uk/
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English Restaurant, Spitalfields, London.
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londiniumlundene · 2 years
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Dennis Severs’ House
Not quite a museum, historic house, or art gallery, the house at 18 Folgate Street in Spitalfields is a bit of all three, yet at the same time quite undefinable and unique; the closest description is perhaps installation art, but even that fails to capture something that really has to be experienced to gain a full appreciation.
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American artist Dennis Severs purchased the house in the late 1970s, at a time when Spitalfields was an unfashionable area, and the 10-room 18th Century property was relatively inexpensive. Severs reputedly moved in with a candle, a chamber pot, and a bedroll, and set about living in the house as he imagined its original inhabitants would have done. Sleeping in every room, he gradually began to give life to the imaginary Jervis family, Huguenot silk-weavers whose lives and fortunes formed the basis of the “still life drama” that visitors to the house would be able to explore.
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Severs furnished each room with furniture, fittings and homeware purchased from local antique shops, creating a series of rooms each evoking a different period spanning the years 1724 to 1914, following the Jervis family from a prosperous Georgian era, through to the tough times of the Victorian age. The experience is more than just antiques though, as each room is filled with appropriate food and drink (put out fresh every day, one assumes), including half-eaten boiled eggs and toast, and glasses of various wines; fires and candles light the rooms at dusk and night, and in dark corners unpleasantly full chamber pots and mouldering items can be found lurking.
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Accompanying these, sounds from inside and outside can be caught – whispered conversations from the house’s inhabitants, horses on the street, and distant tolling church bells. It all adds up to give the impression that the family have just left each room, with the visitor stepping into each scene. Guests are asked to remain silent during their visits, something Dennis Severs was known to enforce quite strictly before his death in 1999. As he said: “You either see it or you don’t”, and it would be hard to lose yourself in the experience listening to the chatter of other visitors…
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hellololla · 2 years
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simonjohns · 1 year
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Spitalfields
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threadtalk · 1 year
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This dress might look simple upon first glance, a very classic 1830s silhouette, but it's got a wonderful secret.
This dress is made of Spitalfields silk brocade that dates from the previous century! As you probably know by now, Spitalfields silk is one of my favorite topics, and it's not that uncommon to find dresses made of the prized fabric dating to decades, or even a century, after it was made. You also find lots of gowns that are re-cut from extant gowns of the 18th century to fit the fashion sentiments of the more modern time.
As Spitalfields go, this is a pretty tame pattern. The modiste paired the subtle stripe-and-floral silk with enormous puffed pink sleeves and a wide collar big enough to take flight. That dropped waist puts us firmly in the 1830s. As the museum notes, the color is a cream white now, but it was likely much brighter in its day.
From MFA Boston.
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mapsoffun · 9 months
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Some Spitalfields and Shoreditch highlights from 2010! The Old Spitalfields Market was fantastic--I still remember the super-refreshing gazpacho I enjoyed there--and it was so cool to just walk around and take it all in. 
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sond3rwrld · 11 months
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bulkbinbox · 1 year
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homem dormindo, spitalfields, londres, 1970, don mccullin
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suzylwade · 1 year
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Bandele Ajetunmobi “He was the youngest brother and he was disabled as well but he was very good at art, so they apprenticed him to a portrait photographer in Lagos. It suited him yet it wasn’t enough, so he packed up and, without anything much, left for England with my Uncle Chris.” - Victoria Loughran, niece of Photographer, Bandele “Tex”” Ajetunmobi. Bandele Ajetunmobi - widely known as “Tex” - was one of Britain’s first black photographers. Ajetunmobi was born in Nigeria in 1921 and was apprenticed to a portrait photographer in Lagos. In 1947, at the age of twenty-six, he stowed away on a boat from Nigeria. In Nigeria, Ajetunmobi found himself an outcast because of a disability from polio as a child. He settled in Spitalfields, East London, an area he documented through photography for almost half a century, focusing on immigrant communities and the multi-racial nature of the area. These images serve as early documents of a multi-cultural London in the post-war years at a time when a growing number of men and women were immigrating to Britain from the former colonies. They depict the Whitechapel area where many immigrants from the Caribbean settled. The music clubs in Whitechapel were shaped by and for black people - but from the start were also frequented by white people. Art historian Kobena Mercer noted in Britain “the nightlife surrounding black music was always a cross-cultural affair”. Most of Ajetunmobi’s work was destroyed when he died in 1994 apart for some two hundred negatives that his niece Victoria Loughran rescued. These are housed in the archive of ‘Autograph ABP', London. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #design #words #pictures #love #nigeria #polio #disability #stowaway #commercialstreet #spitalfields #streetphotographer #nightlife #multiracial #multicultural #crosscultural #immigrants #blackphotographer #autographabp #bandeleajetunmobi #tex (at East End of London) https://www.instagram.com/p/Ckfs6WoIG5O/?igshid=NGJjMDIxMWI=
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