THE HACIENDA TO BE REBUILT at the V&A, a shop named SEX & fashion

Hacienda exhibit at the V&A

"The history of dance music is littered with stories of excess, success against adversity and club owners with a distinct lack of business acumen. But none more so than that of The Hacienda. Opened by Factory Records boss Tony Wilson and New Order in 1982, the Manchester club became the epicentre of the acid house explosion and was universally declared the greatest club in the world, before disappearing in a blaze of gangland violence and financial disarray in 1997. But now, The Hacienda is back, albeit as part of a gallery exhibition. Original designer Ben Kelly has erected a smaller version of the club inside London's V&A as part of an exhibition celebrating great British design. Speaking of the decision to include the Hacienda in the exhibition Kelly said, "It was so influential. I’m, of course, hugely honoured that they chose the Haçienda as one of the items and that I was asked to work on the overall design." The model will be displayed alongside one time Factory Records in-house designer, Peter Saville's seminal album covers". The exhibition titled, 'British Design 1948-2012' runs at The V&A from March 31-August 12. For more details click here.

By Sean Griffiths, MIXMAG

 It is strange to think that a part of Manchester is now replicated in The V&A museum. It would make Tony Wilson smile to see his club centre stage in a mainstream exhibition. Nice one Tony. The theme of margins, outsider, elite, keeps popping up in the blog. I think that a good idea is original, different and able to survive over extended periods of time. It gathers people as it grows and eventually is accepted by the main stream. Then one day it becomes a classic and is seen in a gallery or a museum. Finally the next generation study it for their GCSEs.

Collage by Ben Kelly for the exhibitionContemporary interior design by Ben Kelly

I was interested in how Ben Kelly developed as a designer after the Hacienda. In this current interior I can see his early style, in the clean lines and warehouse style fittings. He collaborates with Urban Splash who have worked on many reclaimed and redesigned building projects in Manchester and surrounding towns.

Factory records cover design for the Mondays by Peter Saville, reminiscent of Pop art.

Chequers; Fashion - plate

Terence Conran initially designed the 'Chequers' pattern on this plate to be used on a David Whitehead fabric, which was displayed at the 1951 Festival of Britain on South Bank. Roy Midwinter, from the Staffordshire Midwinter pottery, recruited Conran as a freelance designer after seeing his textile designs, thinking they showed "a lovely loose and free style". Conran adapted his 'Chequers' pattern to be applied to ceramics, and the range went into production from 1957.

Calyx textile print by Lucienne Day

Calyx, a multi-coloured design printed with unusual abstract shapes, was to make her famous. The inspiration for Calyx was taken from the paintings of her favourite artists Paul Klee and Joan Miro. The fabric was first exhibited at the Festival of Britain in 1951. The original design was lime yellow, vermilion, black and white, on an olive background, but she later extended the colour ways of the print.

I have always liked the designs produced for the Festival of Britain in 1951. These were an influence on British design for many years. Terence Conran became a design Guru and provided stylish furniture and accessories for average people who were eager to have very different homes from their parents. Lucienne Day has been and still is an influence on textile design.

 T-Shirt designed by Vivienne Westwood worn and adapted by Johny Rotten

Westwood and Mc Claren opened a shop selling her designs in 1970. It was always full of anarchic clothes, music and people. An event rather than a retail experience. It is now called Worlds End, but today you cannot walk in, first you ring the bell and wait. She started at the margins but is now in the centre of fashion.

 

Westwood started her career by shocking the public. She has always produced work that has caused controversy. She is very serious about her work and despite being seventy this year, has continued to design collections that are timeless, outrageous, exciting and tailored with perfection. Like Conran and Day, she is a great British designer.