After Amy Could See Again After Amy Could See Again in the Movie
Looking Once more at Amy Winehouse, 10 Years After Her Death
In "Amy: Beyond the Stage," the Blueprint Museum in London explores — and tries to somewhat reframe — the "Back to Black" singer's life and legacy.
LONDON — On the wall of a museum here hangs a handwritten page from Amy Winehouse'due south teenage notebook, listing her "fame ambitions." There are 14 goals, including "to exist photographed by David LaChapelle" (the photographer who would later straight the music video for her song "Tears Dry on Their Ain") and "to do a motion picture where I look ugly."
A decade after her death at 27, the exhibition "Amy: Beyond the Stage" at the Design Museum displays both intimate items — similar the goal list — and objects that point to the singer's influences in an attempt to add new dimensions to how we sympathise Winehouse'south short career and legacy, both of which are often overshadowed past her struggles with addiction.
Winehouse's memory has been shaped, in part, by documentaries like "Amy" from 2015, which won an Oscar, and by artists who cite her every bit an influence — "I owe ninety percent of my career to her," Adele said onstage in 2016.
Speaking in an interview at the museum, Janis Winehouse, the singer's mother, said that her girl was "hard" growing up. "Nosotros had a relationship: I would say, 'Amy don't,' and she would have it as, 'Amy carry on,' and that's how it worked," she said.
Winehouse's stepfather, Richard Collins, added that the musician "was very strong, very charismatic, she was manipulative, she was loving, she was naughty, headstrong and she could sing — and it was obvious."
The idea for an exhibition that could touch on many of these facets was brought to the Pattern Museum by Naomi Parry, Winehouse's friend and stylist, in the summer of 2020. Subsequently 10 years, Parry hoped that people would be receptive to thinking about Winehouse'due south story in a different style.
In the years immediately after her decease, "people weren't ready to talk almost annihilation but the tragedy, which I understood," Parry, who is an adviser to the exhibition, said in a contempo interview. But more recently, she has "needed the narrative to shift slightly to a more than positive focus on her life because information technology was a existent struggle constantly seeing books and stories and negative things most my friend."
There was also another motivation. Concluding calendar month, in that location was an auction of a number of the singer'southward belongings from her estate, which is administered by her begetter, Mitch Winehouse. "It was kind of our last opportunity whilst we had things in our control to do this," Parry said.
The exhibition charts Winehouse'due south development and influences, from her early years growing up in the Southgate suburb of due north London to the Black artists who inspired her, as well as the clothes and hair that made up her distinctive aesthetic.
Here's a look at some of the items on brandish, and what they reveal virtually the vocalist.
Dress by Preen
Winehouse wore a xanthous dress from the designer Preen in 2007 at the BRIT Awards, an annual ceremony celebrating British popular music. That year, "Back to Black" was nominated for album of the year, and Winehouse took home the laurels for best British female artist.
For Parry, the BRIT Awards marked a moment in which the vocaliser's signature vintage way — the beehive, short dresses and thick eyeliner — took shape.
Winehouse customized the outfit by wearing a black bra underneath. "When we did the fitting, she tried it on without a bra, and I was similar, 'It looks incredible,'" Parry said. Before the event, however, Winehouse tried the dress on again over her bra and decided she preferred it that mode.
Parry said that Winehouse often personalized outfits: Earlier one performance, Parry had to cut off the bottom of a Dolce & Gabbana clothes because Winehouse wanted it shorter. "It was always a conversation," Parry said of the alterations. "But she would always win."
'In the Studio' Installation
This installation, created by Chiara Stephenson, a stage and costume designer, is inspired by Metropolis Studios, the London recording studio where parts of Winehouse'south 2006 anthology "Back to Black" were recorded and mixed. The constructed "booth" plays footage of Winehouse, her contemporaries and influences.
"It kind of felt similar it was overnight," Parry said of Winehouse'due south fame after the anthology's release. "Suddenly she had paparazzi camped direct outside her business firm. For anybody, whether they had mental health problems or not, that is a lot."
Jacket From Chanel'southward Métiers d'Fine art Pre-Fall Drove
This piece is from Chanel'south 2008 Métiers d'Art drove, designed past Karl Lagerfeld. On the runway, many of the models sported beehives and heavy eyeliner, inspired past Winehouse.
While Winehouse was confident in her abilities as a singer, Parry said, "I think it completely blew her mind when people, like Lagerfeld, knew who she was and were inspired by her."
Winehouse'south influence on high-fashion houses continued later her expiry — in 2012 Jean Paul Gaultier unveiled a line paying even more direct homage to the singer — as did her outcome on street style more broadly.
"In the wake of Amy's death, at that place were women all over the streets of London, Paris, New York wearing beehives in all different forms," said Priya Khanchandani, the show's curator. "I recall some people were doing it without necessarily realizing that it came from Amy."
Camden Square and Murray Street Signs
Fans and well-wishers wrote on these street signs exterior Winehouse's home in the aftermath of her expiry in July 2011. "The fans were in the square singing Amy's songs and crying," said Collins, Winehouse's stepfather.
The council had planned to take the signs downwards and replace them, Collins said, but Winehouse's manager persuaded officials to manus them over to the family.
Parry, who lived with Winehouse from January to May 2011, said of the public outpouring: "Looking dorsum on it, it was such an amazing matter how many people felt like they experienced her to the point where they feel physical grief."
Fred Perry Collection
These selected items come from the 2010 collaboration between the habiliment brand Fred Perry and Winehouse.
Parry had conversations with Winehouse about starting a characterization together and thought that a collaboration with Fred Perry — a brand that Winehouse loved and that had strong connections to musical subcultures — would be a way for her to enter the manner earth.
Remembering Winehouse's excitement at the prospect of working with the brand, Parry described information technology as "like a child that was about to go into their favorite sweetness shop."
Working on the collection was an escape for Winehouse, Parry said: "It was still doing something creative, but information technology wasn't the pressure of music. Information technology was something new and something she could get her teeth into."
'In the Limelight' Installation
These are a selection of articles written well-nigh Winehouse, many of which address her substance use.
"The exhibition sets out to be celebratory of Amy and her legacy, but it would exist impossible to do an exhibition near Amy and not talk about the struggles that she faced," said Khanchandani, the show's curator. At the time, the media oftentimes fetishized Winehouse'south troubles or didn't "treat them with the gravity that they should take," she said.
Stories included hither describe Winehouse as "a tortured soul" and "the nation'southward loftier priestess of hedonism."
Khanchandani took care to properly frame this part of the exhibition, calling on experts who deal with addiction and torso image to workshop the exhibit'due south language. "I wanted to shift the discourse to approach these issues through a critical lens," she said.
Source: https://www.nytimes.com/2021/12/01/arts/design/amy-winehouse-design-museum.html
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