Charles and Patricia Lester - Designer collections

Their use of colour is unsurpassed, as are the innovative techniques; which they have developed over the years. Every idea and invention is experimented with until the evolved process is perfected. Beyond the concept of couture - they paint into each piece of cloth the shadows and light that an artist would use to show the richness and luminosity of a garment, casting spells of colour and dimension that deceive the mind and the eye. The fabrics are then crafted by their small skilled team into extraordinary pieces. All the work is completed 'in house' including the painting, hand printing and hand pleating as well as the final construction. Unhindered by the constraints of conventional sewing traditions, the clothes are moulded onto the body using the qualities of the cloth to dictate the method of construction. The clothes are sensual and minimalist, uncluttered and refined in shaping.

 

Patricia's hallmark - meticulous attention to detail - has attracted an impressive number of admirers, who appreciate the craftsmanship as well as the 'inspired' qualities of the collections. They are luxurious clothes that touch the spirituality and femininity of the wearer as no other designer can. Royalty and icons of the film world and the pop world alike enjoy the unique fashion style of these designers.

The Lesters' passion for textiles has lead to the extension of the business into the film and opera world as well as an interesting home interior collection. They undertake commission work for theatre and interiors including costumes, tapestries, bedcovers, cushions, throws, screens and curtains. Pleated silks, sumptuous velvets, all painted and printed in such a way as to compliment the most exotic antiques or futuristic interiors. The textiles have a timeless quality, which adapt like a chameleon to any environment.

Charles and Patricia's daughter Georgina is now a valued member of the design team continuing in the spirit of her parents work but adding her own dimension having previously worked as a stained glass artist.

THE ON-LINE SHOP: 

www.gallery-of-wearable-art.com

The Studios

To convey something of the unique nature of our work I have taken some snapshots around the studio.  This shows that we are about colour - the glorious variety and excitement of colour - we are not a size ghetto, we make for all sizes, shapes and all ages - for those who appreciate something that is original and genuinely made in this country.  Looking around the studio one would never believe that such a small team make so many things, but we do.  There are only six of us at the moment actually producing things, Georgina is working on the internet, Charles is building our palace by the seaside and the others do the supportive things like paperwork etc.  As well as the clothes we make interior pieces, but these seem to be hidden behind the rails.

 


The studio showing the stained glass made by Georgina.  AND Charles - to prove that he is there sometimes - when he isn't building.

 

We are colour - every piece of fabric is painted by hand in the studios - then printed, pleated - all by hand.

 

There are scarves and shawls - a treat to you or a lovely gift for a friend.

 

Soft hand marbled shawls

 

A tiara made by Georgina.

 

More colour

 

Some velvets

 

Herb bags

 

Decorative lavender bags made using our own organic lavender

 

Unusual necklaces made out of buttons by Georgina

 

Tee-shirts marbled and painted by our granddaughter Anouska to give her a bit of income while at Oxford

 

Some rare archive pieces - this jacket is made in a velvet that is so sensual to touch - sadly no longer available as the French company that wove this stunning fabric is no longer in business.  We have a few pieces of fabric left which we will gradually make up and put in the collection as 'Art pieces'.

 

Colour for cruise

 

Colour for summer

 

More scarves and shawls

 

There is nothing better to cheer the spirits than a splash of colour.

 

For a Golden wedding party.

 

A Black tie 'do'.

 

All seasons.

 

Richness of a winter wardrobe

Now for a little bit of the dye room

 

Marbling - the first stage on a steel table that is just over 3 yards long

 

So that the dye does not bleed and spoil the effect of the marbling we have to lay it out on clothes on the floor until it is almost dry.  This takes quite a while due to the viscosity of the mix.

 

The fabric is then hung on the lines in the dye room to cure

 

 

 

Then it has to be swilled off carefully and steamed to fix the colours.

 

More colours in the marbling.

 

 

Sometimes they turn out quite wild and dramatic - completely unrepeatable and these pieces are reserved for special art work.

 


 

Body shapes

 

I look like a turnip

 

This week I bought some turnips – is that a mind shattering development in the world of fashion – no not really. I was curious to see exactly what a customer meant when she looked at herself in an outfit and said: ‘I look like a turnip’. I smile every time I think of her comment that day. So examining the shape of the turnips – I understand what she meant. As she stood in front of the mirror in a lovely coloured pleated two piece her waistline just seemed to bulge – it was not so much her body, but the effect of a two piece with a pretty curly edge on the hem of the top that gave a look of bulk in the middle of the whole outfit. She then tried on a simple column of a dress and immediately she stood tall and slim. The combination of how she perceived herself and the shape of the garment caused a certain dropping of the spirits and drooping of the body.

 

 

Interestingly someone of a very similar shape can try on the same outfit and look much less like a turnip because they do not see that part of their body as being a problem. It is absolutely no use telling someone that they do not see themselves as others see them. What can you say when someone is twisting round and examining their bottom and exclaiming: ‘does this make my bum look big?’ Well perhaps distorting your body shape in order to examine it at a funny angle might make it look big to you, but the onlooker does not see the same picture. But you cannot dissuade the wearer – it is how they see themselves, not how we see them that is important.



'Does my bum look big?' - a butternut squash perhaps!

 

Something that is difficult to explain to others is the fact that the person trying something on is very used to seeing themselves – more than anyone else in the world and that person is her own worst critic. They immediately focus their attention to the ‘problem’ areas and do not consider that that is not where they should be looking. Instead they should look at their best features – lovely skin deserves exposure –  heavy breasts should show a provocative bit of cleavage which in turn can be used as a focus for a pretty jewel. Slim ankles does not mean that you have to wear mini-skirts – thin ankles does not necessarily mean that you have pretty knees – but a sexy glimpse and dainty shoes will show off those pretty ankles.

 

Another point about how people play with the clothes that they try on – so many times they will pull a jacket or top down in the front so that at the back it is tight into the neck. Now we are built like turtles – our heads come out of the front of our bodies and if we exaggerate the back by yanking the garment forward we can end up looking like a tortoise. And if there is a slight dowager hump beginning to appear as we age – disguise that by having a collar that sits away from the neck giving a straighter line down the back. Optical illusion – who cares – what I tell people is think Geisha – the back of the neck is sexy!

 

What I find interesting and quite emotional is when someone tries something on that they would not normally consider – then looking at themselves in the mirror they see that they can still look stunning – despite the fact that they are older, fatter, thinner – whatever. Finding the right shape that enhances the best parts is something that should not be done in a hurry, it should be savoured like enjoying good food. So shopping for an outfit, for a very special occasion, should be taken slowly. Experiment with new shapes, new colours – I never wear red – then try it on – sometimes your conviction might be proved right – other times – well we all change and evolve in our style and our taste as well as our colouring.

 

Mothers of the bride or groom are classic. They often come with the conviction that they should play a certain role. A tailored suit – a hat and a handbag. Now do they really want to look like their mothers at their weddings? Absolutely not – these mothers are still young, sexy and pretty and do not need to be bound up in something that will remain forever at the back of their wardrobes. Feminine, flattering, floaty, comfortable, fun – go for something that you will want to wear over and over again.

Spring - a touch of sunshine and we need to get out there and feel the warmth and look for signs of the end of winter.

Colour for a mother of the bride?

 

Or perhaps something more dramatic?

And you don't HAVE to be sixty to wear purple.

Corset restrictions

 

I recently watched a period drama where there was a sub-story about the restriction of corsets and how women were controlled physically by that period's obsession with what was perceived to be the correct way to look and behave.  It suddenly struck me how we are still corseted today psychologically.  The whole way that society challenges people who are not below average weight and I say 'below' advisedly because plus size is now considered to start at a size 14, which is below average size.

 

Recently during London Fashion Week a designer had the temerity to choose models who were a size larger than the usual size 8.  Sadly he chose garments for the larger girls that gave them a sausage look and for the slimmer girls a draped look.  Both models did not look their best - the larger girls showed their bulges and the slender girl looked like a waif with the garment hanging on her.  Was he making a point or was he just stupid?  Interestingly one of my staff looked at the larger girl and said: 'I would be happy if I looked like that'.  Not that she is very large, just average and used to her own bulges, of which you are not aware because she is wiser in the way that she dresses.

 

This whole obsession with how we should look and what size we should be is ridiculous.  Considering the number of people in the world and understanding that each one of us is an individual - why not relax this whole ugly condemnation of people who do not conform - stop corseting them with the whole psychological bombardment of guilt induced publicity and instead celebrate the glorious variety in which we are made.