1942-1996 Ossie Clark

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Printed chiffon top, satin trousers. Print by Celia Birtwell. C. 1969

This was the 'Dress of the Year' at the Museum of Costume in Bath. The ensemble embodies three of Clark's favourite design elements: a Celia Birtwell print, trousers for women, and ruffles to break a garment's surface. Prudence Glynn wrote in The Times,'This outfit exemplifies the 1969 look at its most appealing and its most subtle'.

Printed satinised cotton. Print by Celia Birtwell. Given by Hilary Anne Milne. Trouser suit c. 1969. This suit's sharp tailoring contrasts with the romantic sheerness of the other trouser suit in this case, designed in the same year. The donor wore this suit at her wedding in the spring of 1969.

Model Twiggy in a similar ensemble.

vam.ac.uk

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Wool dress 1966. Ossie Clark's graduation collection featured in the August 1965 issue of Vogue. This important exposure coincided with his first designs for Alice Pollock's Chelsea boutique Quorum. The blue and yellow minidress pictured is from this first Quorum collection. Lent by Celia Birtwell.

Fashion sketch 1962
This sketch for two blouse designs is one of 25 that won Clark a scholarship to the Royal College of Art. It demonstrates his delight in details such as the hip tie and bib-shaped ruffle. The trim silhouettes show his ability to accentuate the female form.

Sketch reproduced with kind permission of Celia Birtwell.

vam.ac.uk

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Crêpe de Chine dress 1971. The skirt of this dress is cleverly pieced together from two different lengths of fabric, a small multicolour floral print and a bolder red poppy print. They coil around the figure in two continuous strands. This construction demonstrates Clark's superb understanding of the interaction between clothes and a woman's body. Print by Celia Birtwell. Lent by Alfred Radley.

Watersnake jacket c. 1967. Shown here is one of Ossie Clark's innovations: snakeskin clothing. In 1966 Clark discovered rolls of unused snakeskin in a warehouse. The designs that resulted - subtle exoticism in classic shapes - were an instant success. The unexpected material updates the bomber shape. Lent by Celia Birtwell.

vam.ac.uk

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Printed chiffon dress c. 1971. An Ossie Clark design could be both delicate and complex. In this romantic creation, he enlivens a simple shape with a single spiral of ruffles. Winding its way around the body, it creates the impression of layer upon layer of fabric. Lent by Celia Birtwell.

Cream chiffon dress with purple floral print, c. 1970. Lent by Alfred Radley.

vam.ac.uk

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PHOTOGRAPHY 1968-1969. Ossie Clark was interested in the power of photography as a creative medium. In the late 1960s he collaborated with the photographer Jim Lee in finding new and unexpected ways to present his clothes.

With suggestions from Clark and unfettered by editorial rules, Lee produced a series of provocative images. These narrative scenes contrast markedly with mainstream fashion photographs of Clark's work. Lee used some of Clark's favourite models such as Kerri-Ann Jagger and Gala Mitchell. Several of these images became posters in the Quorum shop.

Photographs courtesy of Jim Lee.

vam.ac.uk

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Ossie Clark's work is commonly associated with the romantic chiffon dresses and Celia Birtwell prints seen throughout this display. However, Clark was also an expert cutter. He executed an accomplished range of superbly fitted classical coats, suits and jackets in wool, Harris tweed, suede and crepe. The cut and construction of these clothes demonstrate Clark's extraordinary precision and his understanding of how textiles behave on a three-dimensional form.

In 1970 the French manufacturer Mendes invited Ossie Clark to design a collection for distribution in France.

Wool coat c. 1972. Clark produced this design for the French manufacturer Mendes. Intricate seaming and a precise row of buttons emphasise the restraint of the deceptively simple wool coat. Lent by Celia Birtwell

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Jacket 1969. Intricate pin-tucking enlivens the surface of this suede jacket. Its linear design is reminiscent of the diagonal patterning seen in men's doublets of the 1590s. The jacket shows Clark's skilled use of animal skins. Lent by Celia Birtwell.

1969 and 1971 sketches.

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By the late 1960s, despite its glittering clientele, Quorum was burdened by debt. In 1968 Alice Pollock and Ossie Clark approached clothing manufacturer Alfred Radley, who agreed to purchase the business.

While continuing to produce his own exclusive label, Clark also designed a line called 'Ossie Clark for Radley'. The garments were made in larger quantities at lower prices. In developing this range, Clark would often start with a prototype or pattern. Radley designers such as Rosemary Bradford - like Clark, also a Royal College of Art graduate - would then translate his concept into a series of stylish variations. 'Ossie Clark for Radley' was one of the first 'diffusion' lines. Its affordable prices combined with worldwide distribution made Clark's designs accessible to a much broader market.

Moss crepe dress 1970. Its simple, flattering lines make this a classic Ossie Clark design. The flowing silhouette, waist tie and deep decolletage suited a variety of figures and sizes. Radley produced the dress in printed fabrics as well as a range of coloured crepes. It became a top seller.Ossie Clark for Radley. Given by Mrs Valerie Mendes

vam.ac.uk

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1970's Ossie Clark Black Moss Crepe and Satin Jacket

source: poshvintage.com

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1970's Ossie Clark Blue Moss Crepe Gown

Source: poshvintage.com

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1970's Ossie Clark Cream Moss Crepe Button Down Gown

source: enokiworld.com

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1970's Ossie Clark Plum Moss Crepe Keyhole Dress

source: poshvintage.com

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1970's Ossie Clark Black Halter Gown

source: enokiworld.com

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1960's Ossie Clark Black Wool Double Ruffle Collar Dress

source: enokiworld.com

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1970's Ossie Clark Black Embroidered Gown

source: enokiworld.com