Tartan: Take Two

I bought the skirt pattern I had my eye on with regards to that fabulous tartan fabric - it paid to wait a bit, as lo and behold, it was half-off! Then again, I had gone in to the shop to purchase elastic for another project and ended up spending more money than anticipated, so it remains to be seen if I actually saved in the long run. (Sewing paraphernalia is fast becoming my recreational drug of choice, and Fabricville my go-to connection). Anyway, it so happens I like the pattern very much and it falls under the 'easy' category, which pleases me no end.

As I was thinking more about tartan - and yes, I have been - I have pondered why I've had it on the brain. I think, first of all, it's because I love time-tested, durable fabrics - English woollens, Scotch plaids and Tweeds - I love them in their classic forms, made with integrity by hand and woven in colours that reflect their natural environments. But I'm noticing I also really respond to the work of designers who use these classic fabrics in new ways - who value the history and workmanship that have made it was it is today, but aren't afraid to use it in entirely new ways. I think the first time I encountered this was with the American designer Vera Maxwell, a key figure in the development of American sportswear and the subject of my master's thesis at NYU. Maxwell had a classic sensibility, some would say a bit stodgy at times, but she was not afraid to kick things up a notch. She created a simple evening gown in loden wool, with a matching coat - a nod to her Austrian heritage. In the 1940s - or '50s, I'd have to reread my work - she began travelling to Scotland to work with a small mill, commissioning the company to create classic tweeds in brilliant colours. It's hard to describe why this kind of thing drives me crazy, but it does...

I came late to an appreciation of the late Alexander McQueen's work, really only looking more closely at it when I was asked to write a short profile about him for the Grove Art Online database. I came away from it with a greater appreciation for him and his work, for his desire to stay true to himself and not please everyone, for his dedication to finding beauty in dark and unexpected places, and perhaps most importantly to me, for the fact that he dug history. His Highland Rape collection was a nod to his ancestors, but also to the brutality he felt they'd suffered at the hands of the English.

Vivienne Westwood is a piece of work and one of the most creative, fascinating and seemingly unafraid individuals in any profession (as far as I'm concerned). If I get started on her here in a big way, I won't stop. I only want to say that she takes tweeds and tartans and uses them in the most fabulous, humorous ways. She's fascinated by classic British textiles, British and European history and combines them uses them in the coolest, most kick-ass ways imaginable. I love that woman, I really do.

But because I want to include only images here that I took myself, I am going to show you my favourite designs - and there were a lot of fabulous ones - featured in the recent Jean Paul Gaultier exhibition here in Montreal. Let's take a look at my my current plaid crush, shall we?

Exquisite workmanship, detail, quality, but who the hell has ever seen a bias-cut, one-shoulder tartan evening gown? Punked up with a Whiting & Davis mesh biker jacket that smacks of tough and elegant, all at once?

Oy, Govnah. This is crazy. Crazy good.

There's a cameo on that scary, spiked clutch. This is tough-looking, but fun-loving all at the same time. And garters? Seriously, stop right now.

Plaid mohair waistcoat, high collar approximating the 19th century dandy, equestrian top hat, feathers as mohawk.

The cut of the waistcoat is about the only thing that's traditional here - woah, Nelly. I love that. And the shimmer of the silver blouse and gold mesh jacket is soft and ethereal - dreamy and beautiful, really...

One last look...I shall let you know how my skirt turns out.