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The Orient Express

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Art Deco turned travel into an art form.

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For a lucky few in the 1920s and '30s, the train became something luxurious and wonderful

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and the journey as much a part of the experience as the destination.

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That's really lovely.

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The height of this luxury was to be found on board the Orient Express.

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-Hello there.

-Good morning, sir.

-Thanks.

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In the 1920s and '30s, international travel

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was a stylish and elegant affair.

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For those that could afford it.

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I'm going to fulfil the dream of a lifetime and travel on this,

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the world-famous Orient Express, all the way to Venice. I can't wait.

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I haven't seen one of those since I was a kid.

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And what we used to do is stand here, and the train would jiggle about, and you could actually

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see the tracks underneath. And it was all part of the scary excitement of train travel.

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Ooh! I'll get out of your way.

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Sorry.

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And here, look, you can see forwards. It's fantastic.

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It's the Battersea Dogs Home.

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It is! It is the Battersea Dogs Home!

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The Orient Express took a 19th-century idea, the train, and re-invented it into a luxurious

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trans-European hotel on wheels, patronised by royalty, diplomats

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and wealthy business travellers.

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In the 1930s, the Orient Express and other luxury trains connected Europe's capitals.

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The London to Paris boat train was known as the Golden Arrow.

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When I was a little boy,

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I was brought up in Bickley, briefly, and my dad used to take me out in the pram and hold me up

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over a bridge, not to kill me but so I could see the Golden Arrow come whizzing past.

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And I remember - I was only very, very small - the square end

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of the train with a big golden arrow across the front and this whoosh of steam come up over the bridge.

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And every time I see The Lavender Hill Mob,

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I think of that bridge and the Golden Arrow.

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I'm a bit overwhelmed.

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This carriage is just absolutely sumptuous.

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And the thing about the Orient Express was it was a brand.

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It's a very old train. The train started

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in the early 1880s, and it was a number of routes that went across Europe, ultimately to Istanbul.

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But because of politics and other things, it went by different routes over different times.

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And the English end of the Orient Express really wasn't the Orient Express.

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That began in France.

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But it connected.

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I'm so used to the commuter train

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and everyone hating it and people being grumpy.

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It's smooth, it's comfortable, there's no traffic, there's no noise.

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And, erm, yeah, I could get used to this.

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When the tea cools down.

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And looking around the carriage, I mean, you've got a lot of time to take in

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all the details - the details are crucial.

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And one I really love more than all the others is this little lit-up seat number here, number 12.

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And up here, the emergency chain has a wonderful thing above it which says "Penalty for improper use £50."

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But the pounds on the 50 is just a lovely, lovely bit of typography.

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The original Orient Express ceased in 1977.

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But this was not the end of the line for this illustrious marque. Hello!

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-Hello.

-Hello.

-On board today is the man who bought and restored the train.

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-May I join you?

-Yes, please do.

-Thank you very much.

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So, James, where did the idea come from to relaunch the service?

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In 1977, there was such a tremendous interest in the fact that

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the train was discontinued

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that I thought it might be worthwhile to restore the old train

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to its glory of the 1920s and 1930s

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and put it back into service.

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I bought the first two carriages of the continental train

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in an auction in Monte Carlo...

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-Wow.

-..in October of 1977, and they were the carriages used in the film

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Murder On The Orient Express, which appeared a couple of years earlier.

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And so, in a fit of madness,

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I bought these two carriages. But that was just he beginning, of course. Ultimately, we had to acquire

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-25 of the continental carriages.

-You bought 25 carriages?

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25, which we located all over Europe, particularly in Spain and Portugal.

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So, Shirley, what did you think when your husband bought a train?

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Well, I thought he was out of his mind, quite definitely.

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But then, after a bit,

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you begin to see

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the charm of what were really battered, beat-up carriages

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with no lovely interiors but some of the marquetry left and so on.

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So it got quite exciting seeing them stripped down and started again.

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And the son of the man who'd done the marquetry repaired it.

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-And how did you find him?

-Oh, we found him in Chelmsford.

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And I'm not quite sure how we did find him, but we went to see his work, and, I mean, it was superb.

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And he got very excited about it.

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And these were restored using original veneers from the 1930s,

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which have laid in a warehouse, all rolled up.

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And they're very beautiful.

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When did you decide that you were going to take charge of the interior restoration?

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Oh, no, I didn't take charge of it, but I got very interested in it and I wrote a book about it.

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And, you know, I researched the history of each of the carriages.

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Why do you think these trains have become synonymous with Art Deco?

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-Well, a number of the carriages were from the Brighton Belle...

-Yeah.

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..which was pure, classic Art Deco.

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-Mm-hm.

-I mean, most of the carriages are Art Deco.

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You know, when we first got on the train, I didn't really like

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Art Deco very much but have become very excited by it since.

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Somehow, I always think, it's appropriate to transport, because most people don't have

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an Art Deco house and so it's a style that is linked to things like ships

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and trains and department stores and cinemas, kind of luxury but semi-public experiences, you know?

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Yes, I suppose that's true, yes.

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The Sherwoods even commissioned one of the last surviving designers of

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the Art Deco era to create the posters for the relaunch.

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There was a time when the carriages of the London to Paris service were loaded onto a ferry.

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But for us, it's the tunnel.

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At Calais, a gleaming rake of restored carriages a quarter of a mile long awaits us.

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Thank you very much.

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Agatha Christie wrote, "All my life I'd wanted to go on the Orient Express."

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"When I travelled to France or Spain or Italy, the Orient Express had

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"often been standing at Calais and I'd longed to climb up into it.

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"Simplon Orient Express. Milan, Belgrade, Istanbul."

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-Can I have your name or cabin number?

-Yeah, my name's David Heathcote.

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-Brilliant. Cabin five.

-Right.

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Ah, I see.

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Wow! Do you know, this is a perfect little room.

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Masses of shiny wood and brass and marquetry, tiny little fan.

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And it's a bit like being on an old ship.

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Everything is tiny and perfect and in its place and there's lots of little cubbyholes I can explore.

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Switches, lights

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and reflective surfaces generally.

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Look, this is the marquetry. This is so Deco.

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I think this is by Rene Proux.

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Even the octagonal shape just really shouts out Deco. And these flowers.

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Very French. Not the American Deco at all.

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They're colourful, they're bright, and it just makes everything a bit more domestic,

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almost like this lampshade, which is improbably pink.

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Even the upholstery on these seats is

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a really lovely jazzy pattern.

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These big flowers again, very Deco.

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Somewhere, under all these cushions,

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is a bed. I have no idea where.

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TANNOY BEEPS

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'Ladies and gentlemen, good evening and on behalf of the crew welcome aboard the Orient Express.

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'The continental time is five past five.'

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The train leaves Calais in the late afternoon and we arrive in Venice this time tomorrow.

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In 1930, the journey from Paris to Constantinople took 57 hours,

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which is probably long enough, as the train has never had bath or shower facilities on board.

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But hot water is still supplied from coal-fired boilers located in each coach.

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I'm reading a Cook's handbook for Egypt and the Sudan.

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It is interesting, Cook's handbook recommends that you can

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catch a train down to Venice and then go on to Egypt.

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This edition is for 1925 and it includes, for the first time,

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a supplement about the discoveries in Egypt in 1922, when Howard Carter discovered the tomb of Tutankhamun.

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Egyptomania was really a very important part of Art Deco.

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Egyptomania was all the rage. The imaginations of Art-Deco designers were fired

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by the gilded and lacquered artefacts that Carter unearthed.

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While the Orient Express allowed the well-heeled to travel and experience

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the wonder of these ancient civilisations for themselves.

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Personal grooming. I think I need a haircut, perhaps some hair oil, to get that authentic look.

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HE LAUGHS

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I am an artiste!

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HE LAUGHS

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-Have a seat.

-Thank you very much.

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That is really lovely.

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You know, it's quite hard to define Art Deco because it has many styles,

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but the thing it really is an attempt to make a modern luxury.

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Sitting here in this dining room,

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you really get a sense of what Art Deco is properly about.

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It's an escapist movement.

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It's something that is trying to get away from the immediate past of World War One.

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The years after World War One in France were called the crazy years, because everybody in almost

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every way, was trying to throw the past behind them and invent something new.

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So it was a mood, and the great thing about

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a mood is you can apply it anything, from a salt cellar to a motor car.

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Paris is the birthplace of Art Deco. The International Exhibition of Modern Decorative and Industrial Art

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held in 1925, exhibited the work of the world's most opulent designers and craftsmen.

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# There may be trouble ahead

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# Do, da, do-do, do... #

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As you walk through this train, every surface is decorated in some way or other.

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That is a really essential part of Art Deco.

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Everything, whether necessary or unnecessary, has some kind of decorativeness all over it.

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It is flush and shiny. There are no lumps or bumps or carving.

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It's just a lush material under a deep, glossy coat of varnish.

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I don't even know what this is. It's like jazz vegetation,

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but it's lovely!

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Looking through this architectural review of the Paris Exhibition of 1925, it is obvious

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the British were spitting with envy.

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Beside every lush photograph there's a bitter and long text about

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how un-modern, how ill-considered, how unfinished and how unprincipled French modernism is.

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That's what you would expect from

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an architectural magazine, where they are more interested in the modernism of Le Corbusier.

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But Vogue was interesting, because Vogue said that, "The Paris exhibition is like a city

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"in a dream and the sort of dream that would give the psychoanalysts a run for their money."

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Which is, you know, trendy and vague, but it gets the sense of drama,

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of glamour, of complication,

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and of something underlyingly erotic and passionate about Art Deco.

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It's the end of a long day and my room has turned into a bedroom, just like on a liner.

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And it's been a long day and a very interesting day.

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The whole train is gorgeous, it's like this huge horizontal hotel, full of drama, well-dressed people

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marching up and down, people having fun. It's like the audience of an opera but no opera.

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I'm looking forward to tomorrow when I can throw up this

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blind early in the morning and look at Switzerland.

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And it's strange, you go to bed in France, you wake up

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in a completely different other place with a completely other view.

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Tomorrow, the day should be beautiful, through the Alps

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and down to Venice, which I cannot wait to see.

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It's lucky they've got this piano here to hold me up.

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The thing about the train in the morning is it's the quietest it's been.

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It's almost like you've got it all to yourself.

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It's so peaceful. Actually, I can have a look at the decor.

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It's unusual.

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It looks quite old fashioned, but all the carriages have got the dates on. This one's actually 1931.

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But these tinted mirrors, which are very '30s,

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the actual detail is rococo revival,

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which came really before Art Deco.

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But the general shininess, and these low lamps and these

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gentle light effects, are also very much part of the Deco scheme.

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Pools of light reflected on to people, I think the idea is to flatter everybody.

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Even in the morning.

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I've come into the dining room again to a closer look at these Lalique panels.

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Lalique took part in the 1925 Art Deco exhibition in Paris, and this glassware is really

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synonymous with Art Deco all over the world because it was exported all over the world.

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And in the restaurant car here, this set of panels are

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particularly appropriate because it's a bacchanalian revel.

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You've got these grapes, you've got these nymphs dancing to a tune played by Pan.

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And of course, this link with mythology and with primitivism

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and with the savage life is all part of what Art Deco's about.

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And of course, in a restaurant, these figures

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imply to the characters in the restaurant that they're part of this great, luxurious, primitive life.

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DH Lawrence in Lady Chatterley's Lover described the train as having an atmosphere of vulgar depravity.

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But there were many others who loved its debauched grandeur.

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One of the things about the Orient Express was that it was a kind of fashion catwalk.

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All the public areas really are places to see and be seen.

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They're great social encounters with the great and the good of the day.

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And in the '30s and the late '20s, all the most fashionable people would have been on this train.

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But the arteries of fashion and style were magazines.

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New printing processes that allowed very detailed photographs to be put in magazines meant that

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everybody all over the world could keep up with the fashion of the day.

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So Art Deco spread very fast through the medium of the magazine,

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from Thailand to Tiger Bay, as they say, from France to America.

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And of course, there were new stars in these magazines, real, modern celebrities like Anna May Wong, here

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in a suitably Deco pose photographed by Cecil Beaton.

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The great thing about Deco was it was a complete style.

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From the magazines to the photographs to the cutlery to the fashion to the carriages,

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it all had the same luxurious but futuristic and very, very cosmopolitan vibe.

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Getting on the train at Innsbruck is Bevis Hillier, the original expert on Art Deco.

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-You must be Bevis.

-Ah, David, very good to meet you.

-Good to meet you. Shall we get on?

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Before you wrote your book, how widely understood

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amongst the general public was the term Art Deco?

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Well, in the period itself, I mean the '20s and '30s,

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the phrase Art Deco was never used.

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It only came in much, much later.

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In the period, they used the phrases Jazz Modern and Moderne, with an "e" on the end.

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-The phrase Art Deco, I think, was first used in 1966, in an article in the Times.

-So late?

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So late. I picked up on it because I was already taking an interest in what I thought of as the '30s.

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And a young antique dealer in Kensington Church Street London,

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called John Jess, said to me with a kind of muffled snigger, "Do you know what they're calling that stuff?

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"Art Deco."

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And a lightbulb went on above my head and I thought, "Ah, that's the right title for my book."

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Deco seems to have an interest in the primitive and the exotic and almost the savage.

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Where do you think that comes from?

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Well, in essence, Art Deco is to me domesticated Cubism.

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And if you think about Cubism, it's primarily from Picasso and Braque.

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And they, who were they influenced by?

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Primarily by what was then thought of, in the early years of the century

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and the '20s, as savage or primitive art of Africa.

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Nowadays, we take a much more enlightened view - Benin bronzes, nothing could be more sophisticated.

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No, exactly. Do you think there any national characteristics to different styles of Art Deco?

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Oh, very much so. I think you could say the most sophisticated, the best Art Deco was French.

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After all, that's where it began, with designers like Emil Jacques Ruhlmann in furniture,

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and Jean Puiforcat in silver.

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But the most extreme and splendid Art Deco was in America.

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America was so powerful and rich in the 1920s before the crash of 1929.

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So in New York, you have the Empire State Building,

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the Waldorf Astoria Hotel, the Channing Building, the Chrysler Building and so on.

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And do you think Art Deco was some kind of collective reaction to the First World War?

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Again, very much so. People had been through the most terrible time.

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Even worse than the Second World War, which I can just remember.

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Many had lost people in their family, loved ones, there had been rationing, there had been privations.

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Everyone in the 1920s wanted a respite from this and they wanted

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a bit of fizz and bubble and to let off steam. And they did.

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What do you think is the legacy of Art Deco?

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Well, in my little book about Deco of 1968, I described it as the last of the total styles.

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And I think that still stands.

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Of course, in the 1950s you got that style called contemporary,

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with those funny legs on tables with cocktail cherry bobbles on the end,

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but that did not affect everything in the way that Art Deco did.

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Art Deco not only affected the top range of things, hotels

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and liners, but also it affected ladies' handbags, lampposts, letterboxes, powder compacts.

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It was the last of the total styles.

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And the important thing is the designers took into account

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the machine and mass-production, perhaps for the first time.

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They didn't just want their objects to be for the rich,

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they wanted them to the mass produced for the less rich.

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In 1971, Bevis curated the largest exhibition of Art Deco ever held.

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It took place in Minneapolis and gathered thousands of Deco objects together for the first time.

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I'm keen to learn more over lunch.

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Minneapolis was able to offer a more or less unlimited budget,

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and so I was able to order things from Paris, New York and all around.

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I went to New York in 1970 to recruit exhibits and I met

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two of the great collectors, Barbra Streisand and Andy Warhol.

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And how many objects did he lend you?

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I'm not sure how many it was, but quite a load.

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I think a lot of people are fascinated by the period before their birth.

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And what you have to understand is that for my generation, our parents

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represented the '20s and '30s as a golden age.

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And, furthermore, the relics of the '30s were all around me in my infancy.

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I grew up in Redhill, Surrey, and there was a place called

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Earlswood Lakes near Redhill, which was a sort of pleasure ground.

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You could swim there or you could go boating, "Come in, number four, your time is up" sort of thing.

0:25:260:25:32

And next to the boating lake there was this large shed,

0:25:320:25:35

you could have tea there or coffee, but there were pinball machines.

0:25:350:25:39

And they were in this marvellous zigzag, jazzy, Art Deco style.

0:25:390:25:44

And I believe it was those pinball machines when I was about five that first turned me on to Art Deco.

0:25:440:25:51

So really, the '60s generation, the Pop Art generation, also were this first post-war generation,

0:25:510:25:57

so they would revive Deco, because that was the style of their parents.

0:25:570:26:02

-That's right. Very much so.

-So in the end, how important a style do you think Art Deco is?

0:26:020:26:07

It was immensely important in that it was the first style that

0:26:070:26:11

really tried to end the enmity between the fine arts and the applied arts.

0:26:110:26:16

In Art Deco, a potter could be as important as a fine artist. It was a style for everyone.

0:26:160:26:23

The Second World War put the brakes on this way of life.

0:26:350:26:38

After 1945, the world had moved on and planes and cars made a luxury train seem old-fashioned.

0:26:380:26:45

The thing that you really realise about Art Deco in these trains is that the carriages

0:26:550:27:00

are an industrial product and all this marquetry and beautiful wood and shininess is just a veneer.

0:27:000:27:07

And Deco gave a veneer of luxury and

0:27:070:27:10

quality to something which was just a load of metal.

0:27:100:27:13

And that's what it does for everything it touches, transforms it from the ordinary to the luxury.

0:27:130:27:19

I wish it could do it for me.

0:27:210:27:23

-Thank you.

-Thank you very much.

0:27:540:27:56

See you later.

0:27:590:28:01

It's hot. Really hot.

0:28:010:28:04

But I've had the journey of a lifetime, really.

0:28:040:28:07

I've always wanted to be on this train and it's never unpleasant to arrive in Venice.

0:28:070:28:12

Coming over that causeway, every time just makes you realise how beautiful it is.

0:28:120:28:17

But I've got to get a beer.

0:28:170:28:19

Subtitles by Red Bee Media Ltd

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