Tommy Nutter and David Hockney: Velvet Revolutionaries

A year ago I visited the Tommy Nutter exhibition at the Fashion and Textile Museum in London, and wanted to post my original blog post here too - not just to remind myself of the serendipitous 'Hockney moment', but also because of another moment of serendipity. The 'Inspired By Warhol' exhibition at Ferens Art Gallery explores fashion during Nutter's heyday - in fact, I wrote about him on a men's fashion text label. Unfortunately he didn't make the final edit, but his influence on the era is clearly visible, as is that of Hockney's close friends Celia Birtwell and Ossie Clark. Just as Hockney attracted me into Ferens in the first place, it's come full circle with 1960/70s fashion following me! 

'Tommy Nutter: Rebel On The Row', Fashion and Textile Museum, London (www.ftmlondon.org)

I had just started walking around this exhibition when suddenly I heard someone say "David Hockney!". I was puzzled and intrigued by the curious co-incidence, as I had sent an email enquiring about the Hockney Volunteer Project before leaving for London.

It should have been obvious really. I was standing looking at the work of maverick 1960s tailor Tommy Nutter. As the exhibition programme describes, he was "a designer whose vision carved an original style from the traditions of bespoke tailoring; a style that reflected the heady and liberating spirit of the times". On display were suits of tweed, check, velvet and satin "all referencing the silver screen idols and styles of the 1930s".

The source of the Hockney remark was soon revealed - safely under glass, an original order book, listing Nutter's customers and what they had ordered from him (and what it cost and if they'd paid or not!). Among orders for Elton John and Mick Jagger was an order for a velvet suit - jacket, trousers and waistcoat - for a certain Mr Hockney (I think he'd paid, but can't remember how much). Sadly, this particular suit wasn't on display (I wonder if he still has it? Or wears it?!), but stage costumes for Elton John and The Rolling Stones were, and it's easy to see why Nutter's designs appealed to Hockney.

"(David Hockney) was a major cultural symbol of 60s London - of a new confidence, a generation that was overturning everything" Chrissie Illes, curator at Whitney Museum of American Art, notes ('David Hockney's Long Road Home' by Carol Kino, New York Times, October 15 2009). Close friends with Ossie Clark and Celia Birtwell, who he also depicted in his art, it is easy to imagine how he and his contemporaries, such as Nutter, all influenced each other.

One look at the photos on The Selvedge Yard blog post link shows how much David Hockney has always enjoyed dressing up - the way he knowingly and playfully poses for the camera lens shows how he understands how to be the subject as well as the artist. Perhaps to him, the body is another canvas, another medium of expression.

He still cuts a dash today, attending the 'Bigger Trees Near Warter' preview at the Ferens in a striking ensemble, complete with hat and scarf. A 2006 Vogue interview was accompanied by a brilliant portrait by Christopher Simon Sykes of Hockney beside the beach huts at South Beach in Bridlington. He is wearing a checked suit, pink shirt, lilac scarf and white cap (with his ever-present signature accessory of cigarette in hand). He has always appeared to be fascinated by and revel in aesthetic pleasure, wherever he finds it, which makes him truly inspirational. As the 'Un Homme Un Style' blog post points out, that the Spring 2012 Galliano Menswear collection is a homage to Hockney's 'A Bigger Splash' and his personal style is proof of that, and that fashion and art still influence each other even today.

(Celia Birtwell posts to follow)