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Art Deco turned travel into an art form. | 0:00:05 | 0:00:08 | |
For a lucky few in the 1920s and '30s, the train became something luxurious and wonderful | 0:00:08 | 0:00:13 | |
and the journey as much a part of the experience as the destination. | 0:00:13 | 0:00:19 | |
That's really lovely. | 0:00:22 | 0:00:24 | |
The height of this luxury was to be found on board the Orient Express. | 0:00:24 | 0:00:28 | |
-Hello there. -Good morning, sir. -Thanks. | 0:00:30 | 0:00:33 | |
In the 1920s and '30s, international travel | 0:00:35 | 0:00:38 | |
was a stylish and elegant affair. | 0:00:38 | 0:00:40 | |
For those that could afford it. | 0:00:40 | 0:00:42 | |
I'm going to fulfil the dream of a lifetime and travel on this, | 0:00:42 | 0:00:45 | |
the world-famous Orient Express, all the way to Venice. I can't wait. | 0:00:45 | 0:00:50 | |
I haven't seen one of those since I was a kid. | 0:01:04 | 0:01:07 | |
And what we used to do is stand here, and the train would jiggle about, and you could actually | 0:01:07 | 0:01:13 | |
see the tracks underneath. And it was all part of the scary excitement of train travel. | 0:01:13 | 0:01:18 | |
Ooh! I'll get out of your way. | 0:01:18 | 0:01:19 | |
Sorry. | 0:01:19 | 0:01:21 | |
And here, look, you can see forwards. It's fantastic. | 0:01:24 | 0:01:28 | |
It's the Battersea Dogs Home. | 0:01:31 | 0:01:34 | |
It is! It is the Battersea Dogs Home! | 0:01:37 | 0:01:39 | |
The Orient Express took a 19th-century idea, the train, and re-invented it into a luxurious | 0:01:41 | 0:01:47 | |
trans-European hotel on wheels, patronised by royalty, diplomats | 0:01:47 | 0:01:53 | |
and wealthy business travellers. | 0:01:53 | 0:01:55 | |
In the 1930s, the Orient Express and other luxury trains connected Europe's capitals. | 0:01:59 | 0:02:05 | |
The London to Paris boat train was known as the Golden Arrow. | 0:02:05 | 0:02:09 | |
When I was a little boy, | 0:02:11 | 0:02:13 | |
I was brought up in Bickley, briefly, and my dad used to take me out in the pram and hold me up | 0:02:13 | 0:02:19 | |
over a bridge, not to kill me but so I could see the Golden Arrow come whizzing past. | 0:02:19 | 0:02:24 | |
And I remember - I was only very, very small - the square end | 0:02:24 | 0:02:29 | |
of the train with a big golden arrow across the front and this whoosh of steam come up over the bridge. | 0:02:29 | 0:02:35 | |
And every time I see The Lavender Hill Mob, | 0:02:35 | 0:02:39 | |
I think of that bridge and the Golden Arrow. | 0:02:39 | 0:02:43 | |
I'm a bit overwhelmed. | 0:02:46 | 0:02:48 | |
This carriage is just absolutely sumptuous. | 0:02:48 | 0:02:51 | |
And the thing about the Orient Express was it was a brand. | 0:02:51 | 0:02:55 | |
It's a very old train. The train started | 0:02:55 | 0:02:57 | |
in the early 1880s, and it was a number of routes that went across Europe, ultimately to Istanbul. | 0:02:57 | 0:03:03 | |
But because of politics and other things, it went by different routes over different times. | 0:03:03 | 0:03:08 | |
And the English end of the Orient Express really wasn't the Orient Express. | 0:03:08 | 0:03:12 | |
That began in France. | 0:03:12 | 0:03:14 | |
But it connected. | 0:03:14 | 0:03:15 | |
I'm so used to the commuter train | 0:03:20 | 0:03:23 | |
and everyone hating it and people being grumpy. | 0:03:23 | 0:03:26 | |
It's smooth, it's comfortable, there's no traffic, there's no noise. | 0:03:26 | 0:03:32 | |
And, erm, yeah, I could get used to this. | 0:03:32 | 0:03:36 | |
When the tea cools down. | 0:03:38 | 0:03:41 | |
And looking around the carriage, I mean, you've got a lot of time to take in | 0:03:45 | 0:03:49 | |
all the details - the details are crucial. | 0:03:49 | 0:03:52 | |
And one I really love more than all the others is this little lit-up seat number here, number 12. | 0:03:52 | 0:03:58 | |
And up here, the emergency chain has a wonderful thing above it which says "Penalty for improper use £50." | 0:03:59 | 0:04:06 | |
But the pounds on the 50 is just a lovely, lovely bit of typography. | 0:04:06 | 0:04:12 | |
The original Orient Express ceased in 1977. | 0:04:12 | 0:04:16 | |
But this was not the end of the line for this illustrious marque. Hello! | 0:04:16 | 0:04:20 | |
-Hello. -Hello. -On board today is the man who bought and restored the train. | 0:04:20 | 0:04:24 | |
-May I join you? -Yes, please do. -Thank you very much. | 0:04:24 | 0:04:28 | |
So, James, where did the idea come from to relaunch the service? | 0:04:28 | 0:04:31 | |
In 1977, there was such a tremendous interest in the fact that | 0:04:31 | 0:04:37 | |
the train was discontinued | 0:04:37 | 0:04:40 | |
that I thought it might be worthwhile to restore the old train | 0:04:40 | 0:04:47 | |
to its glory of the 1920s and 1930s | 0:04:47 | 0:04:52 | |
and put it back into service. | 0:04:52 | 0:04:55 | |
I bought the first two carriages of the continental train | 0:04:55 | 0:04:59 | |
in an auction in Monte Carlo... | 0:04:59 | 0:05:03 | |
-Wow. -..in October of 1977, and they were the carriages used in the film | 0:05:03 | 0:05:11 | |
Murder On The Orient Express, which appeared a couple of years earlier. | 0:05:11 | 0:05:15 | |
And so, in a fit of madness, | 0:05:15 | 0:05:19 | |
I bought these two carriages. But that was just he beginning, of course. Ultimately, we had to acquire | 0:05:19 | 0:05:25 | |
-25 of the continental carriages. -You bought 25 carriages? | 0:05:25 | 0:05:30 | |
25, which we located all over Europe, particularly in Spain and Portugal. | 0:05:30 | 0:05:35 | |
So, Shirley, what did you think when your husband bought a train? | 0:05:35 | 0:05:40 | |
Well, I thought he was out of his mind, quite definitely. | 0:05:40 | 0:05:43 | |
But then, after a bit, | 0:05:43 | 0:05:45 | |
you begin to see | 0:05:45 | 0:05:48 | |
the charm of what were really battered, beat-up carriages | 0:05:48 | 0:05:52 | |
with no lovely interiors but some of the marquetry left and so on. | 0:05:52 | 0:05:57 | |
So it got quite exciting seeing them stripped down and started again. | 0:05:57 | 0:06:02 | |
And the son of the man who'd done the marquetry repaired it. | 0:06:02 | 0:06:09 | |
-And how did you find him? -Oh, we found him in Chelmsford. | 0:06:09 | 0:06:13 | |
And I'm not quite sure how we did find him, but we went to see his work, and, I mean, it was superb. | 0:06:13 | 0:06:19 | |
And he got very excited about it. | 0:06:19 | 0:06:21 | |
And these were restored using original veneers from the 1930s, | 0:06:21 | 0:06:28 | |
which have laid in a warehouse, all rolled up. | 0:06:28 | 0:06:31 | |
And they're very beautiful. | 0:06:31 | 0:06:33 | |
When did you decide that you were going to take charge of the interior restoration? | 0:06:33 | 0:06:38 | |
Oh, no, I didn't take charge of it, but I got very interested in it and I wrote a book about it. | 0:06:38 | 0:06:45 | |
And, you know, I researched the history of each of the carriages. | 0:06:45 | 0:06:49 | |
Why do you think these trains have become synonymous with Art Deco? | 0:06:49 | 0:06:53 | |
-Well, a number of the carriages were from the Brighton Belle... -Yeah. | 0:06:53 | 0:06:58 | |
..which was pure, classic Art Deco. | 0:06:58 | 0:07:02 | |
-Mm-hm. -I mean, most of the carriages are Art Deco. | 0:07:02 | 0:07:06 | |
You know, when we first got on the train, I didn't really like | 0:07:06 | 0:07:10 | |
Art Deco very much but have become very excited by it since. | 0:07:10 | 0:07:15 | |
Somehow, I always think, it's appropriate to transport, because most people don't have | 0:07:15 | 0:07:20 | |
an Art Deco house and so it's a style that is linked to things like ships | 0:07:20 | 0:07:25 | |
and trains and department stores and cinemas, kind of luxury but semi-public experiences, you know? | 0:07:25 | 0:07:32 | |
Yes, I suppose that's true, yes. | 0:07:32 | 0:07:34 | |
The Sherwoods even commissioned one of the last surviving designers of | 0:07:36 | 0:07:40 | |
the Art Deco era to create the posters for the relaunch. | 0:07:40 | 0:07:43 | |
There was a time when the carriages of the London to Paris service were loaded onto a ferry. | 0:07:55 | 0:08:00 | |
But for us, it's the tunnel. | 0:08:00 | 0:08:02 | |
At Calais, a gleaming rake of restored carriages a quarter of a mile long awaits us. | 0:08:07 | 0:08:12 | |
Thank you very much. | 0:08:13 | 0:08:15 | |
Agatha Christie wrote, "All my life I'd wanted to go on the Orient Express." | 0:08:17 | 0:08:22 | |
"When I travelled to France or Spain or Italy, the Orient Express had | 0:08:22 | 0:08:26 | |
"often been standing at Calais and I'd longed to climb up into it. | 0:08:26 | 0:08:30 | |
"Simplon Orient Express. Milan, Belgrade, Istanbul." | 0:08:30 | 0:08:34 | |
-Can I have your name or cabin number? -Yeah, my name's David Heathcote. | 0:08:34 | 0:08:38 | |
-Brilliant. Cabin five. -Right. | 0:08:38 | 0:08:41 | |
Ah, I see. | 0:08:46 | 0:08:49 | |
Wow! Do you know, this is a perfect little room. | 0:08:49 | 0:08:54 | |
Masses of shiny wood and brass and marquetry, tiny little fan. | 0:08:54 | 0:08:59 | |
And it's a bit like being on an old ship. | 0:08:59 | 0:09:03 | |
Everything is tiny and perfect and in its place and there's lots of little cubbyholes I can explore. | 0:09:03 | 0:09:10 | |
Switches, lights | 0:09:10 | 0:09:13 | |
and reflective surfaces generally. | 0:09:13 | 0:09:16 | |
Look, this is the marquetry. This is so Deco. | 0:09:19 | 0:09:21 | |
I think this is by Rene Proux. | 0:09:21 | 0:09:25 | |
Even the octagonal shape just really shouts out Deco. And these flowers. | 0:09:25 | 0:09:31 | |
Very French. Not the American Deco at all. | 0:09:31 | 0:09:33 | |
They're colourful, they're bright, and it just makes everything a bit more domestic, | 0:09:33 | 0:09:38 | |
almost like this lampshade, which is improbably pink. | 0:09:38 | 0:09:41 | |
Even the upholstery on these seats is | 0:09:41 | 0:09:47 | |
a really lovely jazzy pattern. | 0:09:47 | 0:09:49 | |
These big flowers again, very Deco. | 0:09:49 | 0:09:51 | |
Somewhere, under all these cushions, | 0:09:51 | 0:09:54 | |
is a bed. I have no idea where. | 0:09:54 | 0:09:56 | |
TANNOY BEEPS | 0:09:56 | 0:09:58 | |
'Ladies and gentlemen, good evening and on behalf of the crew welcome aboard the Orient Express. | 0:09:58 | 0:10:05 | |
'The continental time is five past five.' | 0:10:05 | 0:10:09 | |
The train leaves Calais in the late afternoon and we arrive in Venice this time tomorrow. | 0:10:09 | 0:10:15 | |
In 1930, the journey from Paris to Constantinople took 57 hours, | 0:10:15 | 0:10:21 | |
which is probably long enough, as the train has never had bath or shower facilities on board. | 0:10:21 | 0:10:26 | |
But hot water is still supplied from coal-fired boilers located in each coach. | 0:10:26 | 0:10:30 | |
I'm reading a Cook's handbook for Egypt and the Sudan. | 0:10:34 | 0:10:39 | |
It is interesting, Cook's handbook recommends that you can | 0:10:39 | 0:10:43 | |
catch a train down to Venice and then go on to Egypt. | 0:10:43 | 0:10:47 | |
This edition is for 1925 and it includes, for the first time, | 0:10:47 | 0:10:54 | |
a supplement about the discoveries in Egypt in 1922, when Howard Carter discovered the tomb of Tutankhamun. | 0:10:54 | 0:11:02 | |
Egyptomania was really a very important part of Art Deco. | 0:11:02 | 0:11:07 | |
Egyptomania was all the rage. The imaginations of Art-Deco designers were fired | 0:11:07 | 0:11:13 | |
by the gilded and lacquered artefacts that Carter unearthed. | 0:11:13 | 0:11:16 | |
While the Orient Express allowed the well-heeled to travel and experience | 0:11:16 | 0:11:21 | |
the wonder of these ancient civilisations for themselves. | 0:11:21 | 0:11:25 | |
Personal grooming. I think I need a haircut, perhaps some hair oil, to get that authentic look. | 0:11:25 | 0:11:33 | |
HE LAUGHS | 0:11:41 | 0:11:43 | |
I am an artiste! | 0:11:51 | 0:11:53 | |
HE LAUGHS | 0:11:53 | 0:11:54 | |
-Have a seat. -Thank you very much. | 0:11:54 | 0:11:57 | |
That is really lovely. | 0:12:09 | 0:12:11 | |
You know, it's quite hard to define Art Deco because it has many styles, | 0:12:16 | 0:12:21 | |
but the thing it really is an attempt to make a modern luxury. | 0:12:21 | 0:12:25 | |
Sitting here in this dining room, | 0:12:25 | 0:12:29 | |
you really get a sense of what Art Deco is properly about. | 0:12:29 | 0:12:32 | |
It's an escapist movement. | 0:12:32 | 0:12:35 | |
It's something that is trying to get away from the immediate past of World War One. | 0:12:35 | 0:12:40 | |
The years after World War One in France were called the crazy years, because everybody in almost | 0:12:40 | 0:12:45 | |
every way, was trying to throw the past behind them and invent something new. | 0:12:45 | 0:12:51 | |
So it was a mood, and the great thing about | 0:12:51 | 0:12:55 | |
a mood is you can apply it anything, from a salt cellar to a motor car. | 0:12:55 | 0:12:58 | |
Paris is the birthplace of Art Deco. The International Exhibition of Modern Decorative and Industrial Art | 0:13:06 | 0:13:12 | |
held in 1925, exhibited the work of the world's most opulent designers and craftsmen. | 0:13:12 | 0:13:18 | |
# There may be trouble ahead | 0:13:26 | 0:13:28 | |
# Do, da, do-do, do... # | 0:13:28 | 0:13:29 | |
As you walk through this train, every surface is decorated in some way or other. | 0:13:29 | 0:13:36 | |
That is a really essential part of Art Deco. | 0:13:36 | 0:13:40 | |
Everything, whether necessary or unnecessary, has some kind of decorativeness all over it. | 0:13:40 | 0:13:46 | |
It is flush and shiny. There are no lumps or bumps or carving. | 0:13:46 | 0:13:49 | |
It's just a lush material under a deep, glossy coat of varnish. | 0:13:49 | 0:13:53 | |
I don't even know what this is. It's like jazz vegetation, | 0:13:53 | 0:13:58 | |
but it's lovely! | 0:13:58 | 0:14:00 | |
Looking through this architectural review of the Paris Exhibition of 1925, it is obvious | 0:14:13 | 0:14:21 | |
the British were spitting with envy. | 0:14:21 | 0:14:23 | |
Beside every lush photograph there's a bitter and long text about | 0:14:23 | 0:14:29 | |
how un-modern, how ill-considered, how unfinished and how unprincipled French modernism is. | 0:14:29 | 0:14:36 | |
That's what you would expect from | 0:14:36 | 0:14:38 | |
an architectural magazine, where they are more interested in the modernism of Le Corbusier. | 0:14:38 | 0:14:43 | |
But Vogue was interesting, because Vogue said that, "The Paris exhibition is like a city | 0:14:43 | 0:14:48 | |
"in a dream and the sort of dream that would give the psychoanalysts a run for their money." | 0:14:48 | 0:14:54 | |
Which is, you know, trendy and vague, but it gets the sense of drama, | 0:14:54 | 0:15:00 | |
of glamour, of complication, | 0:15:00 | 0:15:02 | |
and of something underlyingly erotic and passionate about Art Deco. | 0:15:02 | 0:15:07 | |
It's the end of a long day and my room has turned into a bedroom, just like on a liner. | 0:15:17 | 0:15:22 | |
And it's been a long day and a very interesting day. | 0:15:22 | 0:15:26 | |
The whole train is gorgeous, it's like this huge horizontal hotel, full of drama, well-dressed people | 0:15:26 | 0:15:33 | |
marching up and down, people having fun. It's like the audience of an opera but no opera. | 0:15:33 | 0:15:40 | |
I'm looking forward to tomorrow when I can throw up this | 0:15:40 | 0:15:43 | |
blind early in the morning and look at Switzerland. | 0:15:43 | 0:15:46 | |
And it's strange, you go to bed in France, you wake up | 0:15:46 | 0:15:48 | |
in a completely different other place with a completely other view. | 0:15:48 | 0:15:52 | |
Tomorrow, the day should be beautiful, through the Alps | 0:15:52 | 0:15:55 | |
and down to Venice, which I cannot wait to see. | 0:15:55 | 0:15:58 | |
It's lucky they've got this piano here to hold me up. | 0:16:49 | 0:16:53 | |
The thing about the train in the morning is it's the quietest it's been. | 0:16:54 | 0:16:58 | |
It's almost like you've got it all to yourself. | 0:16:58 | 0:17:01 | |
It's so peaceful. Actually, I can have a look at the decor. | 0:17:08 | 0:17:14 | |
It's unusual. | 0:17:14 | 0:17:15 | |
It looks quite old fashioned, but all the carriages have got the dates on. This one's actually 1931. | 0:17:17 | 0:17:22 | |
But these tinted mirrors, which are very '30s, | 0:17:22 | 0:17:26 | |
the actual detail is rococo revival, | 0:17:26 | 0:17:30 | |
which came really before Art Deco. | 0:17:30 | 0:17:33 | |
But the general shininess, and these low lamps and these | 0:17:35 | 0:17:38 | |
gentle light effects, are also very much part of the Deco scheme. | 0:17:38 | 0:17:43 | |
Pools of light reflected on to people, I think the idea is to flatter everybody. | 0:17:43 | 0:17:48 | |
Even in the morning. | 0:17:50 | 0:17:53 | |
I've come into the dining room again to a closer look at these Lalique panels. | 0:18:11 | 0:18:17 | |
Lalique took part in the 1925 Art Deco exhibition in Paris, and this glassware is really | 0:18:17 | 0:18:22 | |
synonymous with Art Deco all over the world because it was exported all over the world. | 0:18:22 | 0:18:27 | |
And in the restaurant car here, this set of panels are | 0:18:27 | 0:18:32 | |
particularly appropriate because it's a bacchanalian revel. | 0:18:32 | 0:18:35 | |
You've got these grapes, you've got these nymphs dancing to a tune played by Pan. | 0:18:35 | 0:18:40 | |
And of course, this link with mythology and with primitivism | 0:18:40 | 0:18:44 | |
and with the savage life is all part of what Art Deco's about. | 0:18:44 | 0:18:47 | |
And of course, in a restaurant, these figures | 0:18:47 | 0:18:50 | |
imply to the characters in the restaurant that they're part of this great, luxurious, primitive life. | 0:18:50 | 0:18:57 | |
DH Lawrence in Lady Chatterley's Lover described the train as having an atmosphere of vulgar depravity. | 0:18:59 | 0:19:05 | |
But there were many others who loved its debauched grandeur. | 0:19:05 | 0:19:10 | |
One of the things about the Orient Express was that it was a kind of fashion catwalk. | 0:19:10 | 0:19:14 | |
All the public areas really are places to see and be seen. | 0:19:14 | 0:19:18 | |
They're great social encounters with the great and the good of the day. | 0:19:18 | 0:19:22 | |
And in the '30s and the late '20s, all the most fashionable people would have been on this train. | 0:19:22 | 0:19:27 | |
But the arteries of fashion and style were magazines. | 0:19:27 | 0:19:32 | |
New printing processes that allowed very detailed photographs to be put in magazines meant that | 0:19:32 | 0:19:37 | |
everybody all over the world could keep up with the fashion of the day. | 0:19:37 | 0:19:41 | |
So Art Deco spread very fast through the medium of the magazine, | 0:19:41 | 0:19:46 | |
from Thailand to Tiger Bay, as they say, from France to America. | 0:19:46 | 0:19:51 | |
And of course, there were new stars in these magazines, real, modern celebrities like Anna May Wong, here | 0:19:51 | 0:19:57 | |
in a suitably Deco pose photographed by Cecil Beaton. | 0:19:57 | 0:20:02 | |
The great thing about Deco was it was a complete style. | 0:20:02 | 0:20:05 | |
From the magazines to the photographs to the cutlery to the fashion to the carriages, | 0:20:05 | 0:20:10 | |
it all had the same luxurious but futuristic and very, very cosmopolitan vibe. | 0:20:10 | 0:20:17 | |
Getting on the train at Innsbruck is Bevis Hillier, the original expert on Art Deco. | 0:20:26 | 0:20:32 | |
-You must be Bevis. -Ah, David, very good to meet you. -Good to meet you. Shall we get on? | 0:20:32 | 0:20:37 | |
Before you wrote your book, how widely understood | 0:20:44 | 0:20:47 | |
amongst the general public was the term Art Deco? | 0:20:47 | 0:20:50 | |
Well, in the period itself, I mean the '20s and '30s, | 0:20:50 | 0:20:54 | |
the phrase Art Deco was never used. | 0:20:54 | 0:20:57 | |
It only came in much, much later. | 0:20:57 | 0:20:59 | |
In the period, they used the phrases Jazz Modern and Moderne, with an "e" on the end. | 0:20:59 | 0:21:06 | |
-The phrase Art Deco, I think, was first used in 1966, in an article in the Times. -So late? | 0:21:06 | 0:21:12 | |
So late. I picked up on it because I was already taking an interest in what I thought of as the '30s. | 0:21:12 | 0:21:18 | |
And a young antique dealer in Kensington Church Street London, | 0:21:18 | 0:21:23 | |
called John Jess, said to me with a kind of muffled snigger, "Do you know what they're calling that stuff? | 0:21:23 | 0:21:28 | |
"Art Deco." | 0:21:28 | 0:21:30 | |
And a lightbulb went on above my head and I thought, "Ah, that's the right title for my book." | 0:21:30 | 0:21:35 | |
Deco seems to have an interest in the primitive and the exotic and almost the savage. | 0:21:35 | 0:21:40 | |
Where do you think that comes from? | 0:21:40 | 0:21:43 | |
Well, in essence, Art Deco is to me domesticated Cubism. | 0:21:43 | 0:21:48 | |
And if you think about Cubism, it's primarily from Picasso and Braque. | 0:21:48 | 0:21:54 | |
And they, who were they influenced by? | 0:21:54 | 0:21:57 | |
Primarily by what was then thought of, in the early years of the century | 0:21:57 | 0:22:01 | |
and the '20s, as savage or primitive art of Africa. | 0:22:01 | 0:22:05 | |
Nowadays, we take a much more enlightened view - Benin bronzes, nothing could be more sophisticated. | 0:22:05 | 0:22:11 | |
No, exactly. Do you think there any national characteristics to different styles of Art Deco? | 0:22:11 | 0:22:16 | |
Oh, very much so. I think you could say the most sophisticated, the best Art Deco was French. | 0:22:16 | 0:22:21 | |
After all, that's where it began, with designers like Emil Jacques Ruhlmann in furniture, | 0:22:21 | 0:22:27 | |
and Jean Puiforcat in silver. | 0:22:27 | 0:22:29 | |
But the most extreme and splendid Art Deco was in America. | 0:22:29 | 0:22:32 | |
America was so powerful and rich in the 1920s before the crash of 1929. | 0:22:32 | 0:22:38 | |
So in New York, you have the Empire State Building, | 0:22:38 | 0:22:42 | |
the Waldorf Astoria Hotel, the Channing Building, the Chrysler Building and so on. | 0:22:42 | 0:22:47 | |
And do you think Art Deco was some kind of collective reaction to the First World War? | 0:22:47 | 0:22:53 | |
Again, very much so. People had been through the most terrible time. | 0:22:53 | 0:22:57 | |
Even worse than the Second World War, which I can just remember. | 0:22:57 | 0:23:01 | |
Many had lost people in their family, loved ones, there had been rationing, there had been privations. | 0:23:01 | 0:23:09 | |
Everyone in the 1920s wanted a respite from this and they wanted | 0:23:09 | 0:23:15 | |
a bit of fizz and bubble and to let off steam. And they did. | 0:23:15 | 0:23:19 | |
What do you think is the legacy of Art Deco? | 0:23:19 | 0:23:22 | |
Well, in my little book about Deco of 1968, I described it as the last of the total styles. | 0:23:22 | 0:23:30 | |
And I think that still stands. | 0:23:30 | 0:23:32 | |
Of course, in the 1950s you got that style called contemporary, | 0:23:32 | 0:23:36 | |
with those funny legs on tables with cocktail cherry bobbles on the end, | 0:23:36 | 0:23:41 | |
but that did not affect everything in the way that Art Deco did. | 0:23:41 | 0:23:45 | |
Art Deco not only affected the top range of things, hotels | 0:23:45 | 0:23:50 | |
and liners, but also it affected ladies' handbags, lampposts, letterboxes, powder compacts. | 0:23:50 | 0:23:57 | |
It was the last of the total styles. | 0:23:57 | 0:23:59 | |
And the important thing is the designers took into account | 0:23:59 | 0:24:02 | |
the machine and mass-production, perhaps for the first time. | 0:24:02 | 0:24:06 | |
They didn't just want their objects to be for the rich, | 0:24:06 | 0:24:10 | |
they wanted them to the mass produced for the less rich. | 0:24:10 | 0:24:13 | |
In 1971, Bevis curated the largest exhibition of Art Deco ever held. | 0:24:19 | 0:24:25 | |
It took place in Minneapolis and gathered thousands of Deco objects together for the first time. | 0:24:25 | 0:24:31 | |
I'm keen to learn more over lunch. | 0:24:31 | 0:24:33 | |
Minneapolis was able to offer a more or less unlimited budget, | 0:24:36 | 0:24:41 | |
and so I was able to order things from Paris, New York and all around. | 0:24:41 | 0:24:45 | |
I went to New York in 1970 to recruit exhibits and I met | 0:24:45 | 0:24:49 | |
two of the great collectors, Barbra Streisand and Andy Warhol. | 0:24:49 | 0:24:54 | |
And how many objects did he lend you? | 0:24:54 | 0:24:57 | |
I'm not sure how many it was, but quite a load. | 0:24:57 | 0:25:00 | |
I think a lot of people are fascinated by the period before their birth. | 0:25:00 | 0:25:05 | |
And what you have to understand is that for my generation, our parents | 0:25:05 | 0:25:10 | |
represented the '20s and '30s as a golden age. | 0:25:10 | 0:25:14 | |
And, furthermore, the relics of the '30s were all around me in my infancy. | 0:25:14 | 0:25:18 | |
I grew up in Redhill, Surrey, and there was a place called | 0:25:18 | 0:25:22 | |
Earlswood Lakes near Redhill, which was a sort of pleasure ground. | 0:25:22 | 0:25:26 | |
You could swim there or you could go boating, "Come in, number four, your time is up" sort of thing. | 0:25:26 | 0:25:32 | |
And next to the boating lake there was this large shed, | 0:25:32 | 0:25:35 | |
you could have tea there or coffee, but there were pinball machines. | 0:25:35 | 0:25:39 | |
And they were in this marvellous zigzag, jazzy, Art Deco style. | 0:25:39 | 0:25:44 | |
And I believe it was those pinball machines when I was about five that first turned me on to Art Deco. | 0:25:44 | 0:25:51 | |
So really, the '60s generation, the Pop Art generation, also were this first post-war generation, | 0:25:51 | 0:25:57 | |
so they would revive Deco, because that was the style of their parents. | 0:25:57 | 0:26:02 | |
-That's right. Very much so. -So in the end, how important a style do you think Art Deco is? | 0:26:02 | 0:26:07 | |
It was immensely important in that it was the first style that | 0:26:07 | 0:26:11 | |
really tried to end the enmity between the fine arts and the applied arts. | 0:26:11 | 0:26:16 | |
In Art Deco, a potter could be as important as a fine artist. It was a style for everyone. | 0:26:16 | 0:26:23 | |
The Second World War put the brakes on this way of life. | 0:26:35 | 0:26:38 | |
After 1945, the world had moved on and planes and cars made a luxury train seem old-fashioned. | 0:26:38 | 0:26:45 | |
The thing that you really realise about Art Deco in these trains is that the carriages | 0:26:55 | 0:27:00 | |
are an industrial product and all this marquetry and beautiful wood and shininess is just a veneer. | 0:27:00 | 0:27:07 | |
And Deco gave a veneer of luxury and | 0:27:07 | 0:27:10 | |
quality to something which was just a load of metal. | 0:27:10 | 0:27:13 | |
And that's what it does for everything it touches, transforms it from the ordinary to the luxury. | 0:27:13 | 0:27:19 | |
I wish it could do it for me. | 0:27:21 | 0:27:23 | |
-Thank you. -Thank you very much. | 0:27:54 | 0:27:56 | |
See you later. | 0:27:59 | 0:28:01 | |
It's hot. Really hot. | 0:28:01 | 0:28:04 | |
But I've had the journey of a lifetime, really. | 0:28:04 | 0:28:07 | |
I've always wanted to be on this train and it's never unpleasant to arrive in Venice. | 0:28:07 | 0:28:12 | |
Coming over that causeway, every time just makes you realise how beautiful it is. | 0:28:12 | 0:28:17 | |
But I've got to get a beer. | 0:28:17 | 0:28:19 | |
Subtitles by Red Bee Media Ltd | 0:28:20 | 0:28:23 | |
E-mail [email protected] | 0:28:23 | 0:28:27 |