YIELD:Zandra Rhodes – Chinese Squares
Zandra Rhodes studied printed textile design at The Royal College of Art in London. In 1969, she took her collection to New York where it was featured in American Vogue. Zandra was UK Designer of the Year in 1972 and by 1975 founded her own shop in London. Her clothes were soon worn by the rich and famous including Jackie Onassis, Elizabeth Taylor, Freddie Mercury and Diana, Princess of Wales. Awarded nine Honorary Doctorates and a CBE from Queen Elizabeth II, Zandra has been institutional in setting up London’s Fashion and Textile Museum. Today, she continues to clothe the rich and famous with collections sold around the world. Zandra also designs sets and costumes for opera as well as licensing her name for various products.
The piece shown in YIELD: Making fashion without making waste is titled Chinese Squares. It is a beautiful example of a textile leading the garment design, with the pattern being cut around the hand painted square motif so as to not disrupt the painted lines and form.
The resulting garment is both simple – being constructed essentially from a series of squares, and complex – with open pleated sleeves and an ornate print. It wraps around the form of the body without side-seams and hangs languidly in silk crepe de chine. The pattern for Chinese Squares is very close to zero waste, however the selvedges appear to have been removed. The design references historical ‘square-cut’ garments in particular the way the sleeve/body is arranged. Pieces removed for fit around the neckline and waist are reinserted to form the wrap-around mechanism at the waist.
The garment looks timeless in person, although it was made in 1980, and is in almost pristine condition. The garment was generously loaned to The Dowse Art Museum by The San Diego History Centre for YIELD and it was donated to them by Lucretia G. Morrow. It is part of the Chinese Collection from Spring/Summer 1980 and other examples of how the same print was used by Zandra can be seen below.
Zandra Rhodes work in YIELD acts as an anchor, as although it is not the earliest example of zero-waste fashion it remains eminently accessible and beautiful despite being made over 30 years ago and the respect for cloth evident in all her work is plain for all to see.