BALENCIAGA in MANHATTAN, BALENCIAGA in the NEWS

the Queen Sofia Institute, 684 Park Avenue, New York; photo Queen Sofía Spanish Institute

Balenciaga has been very much in the news lately, and I'm not referring to the innovative fashions of Nicolas Ghesquière. Rather, there have been excellent museum exhibitions of the work of the master himself, Cristóbal Balenciaga (1895-1972).

Four years ago there was an outstanding Balenciaga at the musée des Arts décoratifs at the Louvre, and last summer there was a charming exhibition, curated by Hubert de Givenchy, at the Chateau de Haroué, beautifully written about by Diane Dorrans Saeks in her wonderful blog, the Style Saloniste. In interviews over the past couple decades, Hubert de Givenchy has repeatedly acknowledged Balenciaga as his master, and is ceaseless in his admiration. Coming from a person of such peerless taste, this is the ultimate accolade.

ww.thestylesaloniste.com/2010/07/la-vie-de-chateau-elegance-and.html

Currently, there is a wonderful exhibition at the Queen Sofía Spanish Institute in New York, just inaugurated by Queen Sofía of Spain herself. The exhibition is curated by Vogue editor Hamish Bowles, a collector of vintage Balenciaga couture. The show was conceived by Oscar de la Renta, who worked at Eisa of Madrid, one of Balenciaga's outlets in Spain run by his sister. The show runs from November 19, 2010 until February 19, 2011.

What can be said about Balenciaga? He has been written about extensively, and yet he maintains great mystique and prestige. One can understand him better if he is compared with his highly esteemed contemporaries. His work is bolder and much more innovative than the designs of Chanel. It often has a distinctly Spanish look, with Flamenco ruffles, strong contrasts of colour with black, or toreador-like embroideries. But the inspiration is never literal or costume-y, a problem often seen with ethnic inspired looks of Yves Saint-Laurent. Balenciaga pieces often have a quasi-religious feeling (he attended mass regularly), inspired by clerical garments and the plain, but heavy and voluminous robes of saints and angels in oil paintings of centuries ago, notably the works of Francisco de Zurbarán.

circa 1948 evening coat of heavy black silk ottoman, collection of Hamish Bowles; photo SwF

vintage photo of priest in a cassock; photo, the Aesthetic Traditionalist

Compared with Dior, the works are less precious and bourgeois. Compared with André Courrèges or Cardin of the period, Balenciaga is not futuristic, and therefore more classic. Balenciaga's work was progressive and evolving; his very last designs were pure, and appeared simple, but were never minimalist. They strike the perfect balance of sobriety and innovation, creativity, and conservatism. His designs defy the dated aspect of fashion, so that they are eternally beautiful.

For the clientele of couture and fashion, and for experts who have worked in the garment industry, there is an irresistible attraction back to Balenciaga. In his lifetime, the Balenciaga name never appeared on inferior or mass produced products. It never seemed to require advertising or self promotion, because it existed above such mundane matters as financial concerns. The atmosphere of his couture salon on Avenue George V in Paris has been described as "hushed" and "monastic." His taste was so rarefied, that in 1968 he retired; the youth quake of the 1960s, with fast fashion, vulgar exhibitionism, and inferior quality, offended him, and he was undoubtedly weary from his relentless perfectionism and refusal to dilute his product, or veer from his highly personal style.

For the most elegant women of the world such as Pauline de Rothschild and Mona Bismarck, his farewell was a tragedy. It has been said that when wearing a Balenciaga, no other woman in the room existed. I supposed the wearer was conferred with a certain nobility, impeccable elegance, and perfect taste. If you cannot make it to the New York Balenciaga exhibition, take a look at these meticulously crafted designs, and consider the thought, repeated editing and revisions, often within millimetres, that went into these deceptively simple clothes.

from left to right: Hamish Bowles (Curator), Teresa Valente and husband Ambassador Jorge Dezcallar, Her Majesty Queen Sofía of Spain, Oscar de la Renta (Chairman, Queen Sofía Spanish Institute), Inmaculada de Habsburgo (President & CEO, Queen Sofía Spanish Institute) at the opening of the Balenciaga Exhibition, Wednesday, November 17, 2010; photograph by Mary Hillard

flamenco inspired looks in bold black or hot colours; frills are substantial and more bold than delicate; photograph by Kenny Komer

toreador inspiration, exquisite referencing of silhouette and proportion, without lapsing into costume; photograph by Kenny Komer

the solemnity and dignity of uncompromising Balenciaga's black; the look is wearable for any woman of any age or stature; photograph by Kenny Komer

neither slim nor excessively voluminous, late (1960s) Balenciaga defies being outmoded; photograph by Kenny Komer

Balenciaga's unusual colour combinations didn't follow those of other trends of the period; clear silhouttes, heavy embroideries, and richly draped silks are typical of his work; photograph by Kenny Komer

Balenciaga used the very finest fabrics, and was fond of material with body and structure; note his graceful signature hemlines that lower at the back; photograph by Kenny Komer

Curator Hamish Bowles and Chairman Oscar de la Renta lead Her Majesty Queen Sofía of Spain through the exhibition galleries, Wednesday, November 17, 2010; photograph by Mary Hillard

Three Centuries of Meissen White Gold, 1710-2010

The Gardiner Museum of Ceramics at Bloor & Avenue Road in Toronto; photo SwF

Snowball vase with birds, model probably by Johann Joachim Kaendler, Meissen, 1741, Lustheim Palace Porcelain collection, Bavaria; every detail and individual rosette is painstakingly applied while moist and pliable, later hand painted, and then the piece is fired

the above piece is a special, highly limited edition in the "snowball" style, made almost 300 years after the early 18th century piece above; it is priced at €45,000.00; photo Meissen Porcelain

This year marks the 300th anniversary of the founding of the Meissen Porcelain Manufactory in the historic town of Meissen, located in Saxony, Germany. Prior to 1710, the only fine porcelain in Europe was imported from China and Japan. In Europe, there have been special exhibitions marking this amazing anniversary, but in North America, there has been little if any recognition of this culturally significant discovery. The blossoming of a highly specialized craft, the manufacture of fine porcelain art objects, table wares, and utilitarian things, has influenced our lives in the way we eat at every meal, and through the objects we use in our home, such as porcelain sinks or wall tiles. Porcelain is highly suitable for objects that are both functional, decorative, or both.

Fine, translucent porcelain fired at very temperatures had been available since the Han Dynasty (approximately 100-200 B.C.). As Europe began to trade with Asia, porcelain, along with other luxuries like spices and silks, was greatly admired and valued. Because of the distance and great difficulty of importing porcelain from China, it was extremely valuable, reserved only for royalty and the rich, and called "White Gold."

From Renaissance times, Europe tried, unsuccessfully to come up with a formula to approximate fine oriental porcelain. In the early 18th century, there was success at Meissen in Germany, and the production began under the patronage of Augustus the Strong, Elector of Saxony and King of Poland. In the ensuing decades, it became a mark of great prestige for the royal houses of Europe to have their own porcelain factories, and some of these that began with royal patronage such as Berlin (KPM), Meissen, Royal Copenhagen, and Nymphenburg, have existed since the 18th century. It can be argued that western porcelain reached the finest period of creativity and excellence in the 1700s. The arts of 18th century Europe cannot be discussed or understood without reference to the mania that society embraced for this refined product, and the story is linked to changing fashions and tastes for tea, coffee, and chocolate which were also imported at great cost. To drink oriental tea from a fine porcelain cup was to be educated, au courrant, and successful.

The Meissen style was widely copied by other factories, and a style derivative of Meissen exists to this day in the prestige porcelains of Nymphenburg, Royal Copenhagen, Herend, Richard Ginori, and of course Meissen. The Meissen influence was also continued in lines by great British manufactories, but sadly the great majority which were located in Staffordshire, have closed in the last decade, after 250 years of continuous production.

The Meissen manufactory has gone through various periods of difficulty, notably during World War II and after, and the factory was in the east zone until the fall of the Berlin Wall in 1990. In spite of these difficulties, the firm was regarded as culturally and historically significant, and received the financial support of the government. I had the pleasure of visiting the factory and museum of Meissen in 2008, and found it beautifully maintained. The renovated, restored, and expanded exhibition halls of the museum, and the extensive showrooms for new products were bustling with delighted visitors from around the world.

Meissen Porcelain of Germany continues to produce pieces in the manner of the 18th century and takes great pride in maintaining highly specialized skills such as modelling, painting, and gilding, in every way as superb as in the 18th century. Some of the most detailed and elaborate pieces are not for the faint of heart. An historically accurate limited edition of the snowball flower teapot, completely covered with dimensional white blossoms, is priced at €45,000.00. While maintaining the skills of the 18th century with absolute fidelity, they also produce new designs that are extremely original, innovative, and unusual. After 300 years in production, their archives hold documents and artifacts of priceless historical and cultural value, making it the most esteemed and important manufacturer or porcelain in the world.

Here in Toronto, Canada, The Gardiner Museum, on Queen's Park directly across from the Royal Ontario Museum, has an exceptional collection of international repute, of early and later 18th century Meissen porcelain. Representative pieces show the development of the porcelain as different formulae were tried, until it was perfected and works of great beauty and technical expertise were achieved.

For those who wish to see more works of Meissen, I highly recommend visiting the porcelain factory and museum in Meissen, and the major museums devoted to Meissen in nearby Dresden, Germany.

http://www.gardinermuseum.on.ca/

http://www.meissen.com/de/museum/einkaufsmoeglichkeiten/meissen-boutique

http://www.magazine-deutschland.de/en/business/companiesindustries/article/article/300-jahre-meissen.html

For a fascinating account of how this historically and culturally important discovery evolved, I highly recommend "THE ARCANUM, THE EXTRAORDINARY TRUE STORY," by Janet Gleeson, Warner Books, 1998.

a Meissen yellow-ground chinoiserie single-handled beaker and saucer , c.1735-1740 G83.1.591a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the yellow ground colour of this cup and saucer is much sought after

pair of beaker-form vases , Manufacturer: Meissen Porcelain Manufactory, Date Label: c.1735-1740 , G83.1.681.1 -2 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the "sea green" ground colour of these vases makes them rare and desirable

confectionery dish from the "Swan Service" , Meissen Porcelain Manufactory, c.1737-1741 G83.1.642 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner

cup and saucer from the "Swan Service" Meissen Porcelain Manufactory, c.1737-1741, G83.1.644a-b, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; not evident in the photo is the highly detailed relief of the pattern, depicting aquatic elements and wave-like ripples

Dolphin Saltcellar for the "Swan Service," Meissen, c.1737-1741 , G83.1.641 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner ; this dinner service is considered one of the most fanciful and extravagent ever created

figure of a pug-dog and a pug-dog with pup, Meissen Porcelain Manufactory, c.1745, G83.1.668.1 - .2, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; in 18th century Europe, the pug dog was a popular pet among the royal and aristocratic classes; in the 20th century the Duchess of Windsor had a collection of Meissen pug dog figurines

the Greeting Harlequin, Meissen c.1740 , G83.1.0908 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the Commedia dell'arte was popular among the upper classes

Royal hunting clock for Augustus III , Meissen, c.1732-1733, G87.1.1 , The Gardiner Museum of Toronto,Gift of George and Helen Gardiner; not evident in this photo is the great attention to fine detail in figures, details, and decorative painting on a hunt theme

cased tea and coffee service with harbour scenes, approximately 68 pieces, (G83.1.616.1)-(G83.1.616.53), Meissen Porcelain Manufactory, c.1740-1745 G83.1.616.1-31 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; a fully fitted case of porcelain suitable for serving tea, chocolate, or coffee would have been a costly and very prestige product

Meissen Dish with harbour scene, c.1721-1722, hard paste porcelain, underglaze cobalt blue and iron oxide, G83.1.657 , The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; this piece of porcelain recreates the sought after blue and white Asian porcelain that was imported at great cost

a Böttger red stoneware covered jar, made at Meissen circa 1704, The Gardiner Museum of Toronto, Gift of George and Helen Gardiner; the formula for this type of stoneware was discovered in the quest for fine white porcelain; the hardness of the ware allowed it to be cut, engraved and polished like stone

late 18th Century coffee or tea pot with the desirable Meissen Yellow" ground and strewn Saxon flowers; note the simplicity of the form which allows for the brilliance of colour and hand painting to be fully appreciated; image courtesy of Hide and Go Keep Antiques, Durham, New Hampshire

Meissen saucer, 19th century, after an 18th century original, turquoise ground with quatrefoil cartouche painted with a courtly musician couple in the style of Watteau, collection of SwF; in this fine example of Meissen painting, the details are microscopic

Square with Flair gratefully acknowledges the help and assistance of the Gardiner Museum, Toronto, Canada.

Skull and Crossbones; the macabre fashion shows no sign of dying

children's hoodie by "725 ORIGINALS"; photo SwF

☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠ ☠

Give the blog a bone. As Halloween approaches, we are exposed to images of death and spirits on decorations and in illustrations. In the past, skeletons and skulls were traditional motifs of this holiday, along with owls, pumpkins, ghosts, and witches, but the skull motif seems less evocative of Halloween because we see it throughout the year.

In my book, wearing a skull and crossbones is associated with negative things such as 1) convicts, toothless pirates, and rebel outlaw biker gangs and, by association, organized crime and drugs, 2) nuclear and hazardous chemical waste, 3) a motif on tombstones and memorial monuments from the 15th to 18th century, 4) toxic household products such as drain cleaner or chlorine bleach, 5) Nazi SS regalia and medals. Skeleton chic seems to have arisen simultaneously with the current, insatiable taste for tattoos. Why, when there is so much violence, darkness and crime in the media and in entertainment such as video games and music, is it necessary to add a negative aspect to one’s daily presentation of self?


detail of a label of Recordsol Paint Thinner Poison showing skull and crossbones symbol, early 1990s; photo SwF

Earlier this year, I viewed television news coverage of people protesting against a Whitby, Ontario waste incineration facility. One person carried a large sign with the skull and crossbones symbol on it. In western culture, one becomes aware of this symbol from a very early age. Children see it associated with villains and evil as is seen in many Disney films and it has become shorthand for death or danger. The message that the skull on the protesters sign conveys is, “Incineration equals death," or, "Beware of toxic effects on our health.”

In a recent Canadian criminal trial, a father was convicted of murdering his young daughter. Entering the courtroom, he wore a grey sweat shirt with a very large skull motif on the chest. Amazing that none of the journalists covering the case commented on the irony of it. Certainly his solicitor wasn't dispensing any sartorial suggestions. Is it that the "numb skull" is now so ubiquitous we barely notice it, let alone make the association with toxic materials, death, or criminals?

The motif was first appropriated by Goths and then high stylers like Alexander McQueen. Subsequently it filtered into mainstream fashion, and went from being predominantly on male clothing and moving to young women's wear. It is now available from street market vendors as the least expensive, mass produced, Asian manufactured clothing. The last group to take up the bone head was the young; it now emblazons the clothes of toddlers to teens. Symbols of death, decadence and toxic dangers being worn by children is a disturbing trend. I don’t understand what is appealing about youth, our hope for tomorrow, wearing the skull and cross bone motif. Surely our future isn't that bleak.

In the 1960s and 1970s, young people wore daisies, yellow happy faces, and peace signs. Nowadays many of them wear tattoos, piercings, and skulls. What does this say about our culture? What does it say about parents who allow impressionable children to wear these subversive motifs? I suppose that in the development of the adolescent mind, I can understand the proclamation of independent thinking and a wish to assert identity, and independence; thus we see the edgy, rebellious trend of youth wearing skulls, smoking, and listening to antisocial music with profanities. But after half a decade, I cannot see that it still has the desired anti-establishment effect.

For the past few years, the skull and cross bone motif has been seen in various forms in fashion. When I was in Paris two years ago, I visited the Dior Joaillarie Boutiques on Place Vendôme and on Avenue Montaigne. I was surprised, actually I was disappointed, to see that talented Dior (formerly Chanel) jewellery designer Victoire de Castellane has included pieces with jeweled skulls in the Dior precious jewelry collection. Considering that Dior is associated with refinement, quality, and taste, and is the paragon of Paris couture, I was perplexed by this inclusion. If it was intended to shock and surprise, I don't think that any fashion feathers were ruffled, although for me it would certainly detract from the grace and prestige of Dior.


“Tête de mort” pendants/charms(☠), Dior Joaillerie design, 2004, by Victoire de Castellane detail from a child's hoodie by "725 ORIGINALS", photo SwF

As the motif becomes more and more familiar, and loses shock value, I wonder if it will take on a different, less sinister aspect, somewhat like the skull and skeletons one sees everywhere in the Mexican Dia de los Muertos celebrations

CIAO ROBERTA DI CAMERINO 1920-2010; the Loss of an Italian Fashion Legend

Roberta di Camerino, circa 1970, wearing a dress of her own design with a printed, trompe l'oeil 5-buckle belt; image courtesy of irenebrination.typepad.com

Roberta (Giuliana) di Camerino in 2005, note the cardigan with panels of silk twill printed with trompe l'oeil effects; photo, legacy.com

Fashion today is so democratic. The most prestige houses often have entry level goods such as fragrance, scarves, key chains, or limited edition diffusion lines. Greater availability raises awareness of a brand and brings in a younger customer base, but in the 1960s and before, high fashion had an entirely different demographic, and it was much more exclusive. Unlike today, Vuitton and Gucci boutiques were not in every major city around the globe. While more customers have access to good design and to quality, there is a certain loss of mystique when goods are readily available both in person or through Internet purchase.

One of the very creative designers who never really became a household name, but held a special place in the hearts of the fashion cognoscenti, was Roberta (Giuliana) di Camerino(née Coen) of Venice. While recently researching vintage di Camerino pieces I discovered, I reread her fascinating biographical details but was saddened to learn that this exceptional designer died in spring of this year. She passed away exactly 3 months after Alexander McQueen, but her death was not reported or discussed in many fashion or news forums. The two designers couldn’t have been further apart in design philosophy. McQueen was a still young rebel, and his most documented and memorable clothes were conceptual art to be observed. They were dark, often sinister, and difficult to wear. Camerino clothes and accessories, while unique and creative, were eminently wearable and light hearted. As a Jew, she found it unecessary to create anything sombre after living through the fear, darkness, and pain of the war.

Her fashion house was founded in 1945, and still exists in Venice. Imagine a designer working successfully in a signature style for 70 years. That has to be a record of some sort in the world of fashion, where designers fall quickly out of fashion. She was best known for her superb velvet handbags, and for interesting trompe l’oeil effects that appeared as pleats, buttons, buckles, saddle stitching, pockets, and other details, but were in fact printed on the textiles of accessories and clothing. Her work made use of centuries old Venetian crafts, artisans, and traditions. The pigments, textiles and hardware were of the finest quality done in ancient, historic workshops. The fittings were made by the same artisans who made fine bronze hardware and mounts for Venetian gondolas. The artisanal, two centuries old textile firm of Bevilacqua, wove Camerino's velvets on ancient hand operated looms that have made fabics for the Vatican and the most prestigious and historic Italian villas and palazzi, not to mention palaces and embassies around the globe.
shop facade of Bevilacqua, supplier of velvets for Roberta di Camerino's signature purses, and purveyor of deluxe handmade textiles for 200 years; the shop is in the centre of old Venice
http://www.bevilacquatessuti.com/indexingl.htm

early 1970s dress printed to look like a sporty nautical blazer, necktie, and pleated skirt ; CoutureAllure.com

a trompe l'oeil effect evening gown printed to appear as wrapped and draped silk jersey; image from CoutureAllure.com

What is wonderful about Roberta di Camerino is that the look is original and distinctive, and has maintained a signature look throughout its long history. I would put this design house in the same league as Chanel, Pucci, Gucci, Vuitton, Lacoste, Burberry, and Hermès, but prior to the global distribution of today. You see it, you know what it is, and a venerable and prestigious history is evoked.

There have been two exhibitions of her work; in 1980 at the Whitney, and in 1999 at the Fashion Institute of Technology. In the 1950s her bags were carried at Neiman Marcus, and like Chanel (in 1957), Yves Saint-Laurent (in 1958), and Dior (in 1947), she was honoured to receive their fashion award in 1956, along with Cecil Beaton. Undoubtedly, there will be exhibitions and perhaps a book in the near future, as her recent death has brought about greater interest in her work.
Roberta di Camerino accepting her Neiman Marcus award with Cecil Beaton, 1956; note the black cut velvet evening bag of her own design; image courtesy irenebrination.typepad.com

What is important about di Camerino as a designer? What sets her apart from the hundreds of others who struggle to reach success in this unforgiving and competitive field? The designs were absolutely unique but wearable. They were of the finest quality. Essentially, she took centuries old crafts and concepts (printed and woven Venetian velvet, and trompe l’oeil), and made them relevant and amusing for the 20th century woman. She was commercially successful but the products were never ubiquitous. Her work promoted Italian and Venetian heritage, skills, and products. In an age of excessive self promotion, she subtly changed her real name for commercial use, in order to maintain a degree of privacy for herself and her family, and preserve a sense of discretion and mystique. I am reminded of other great designers such as Mainbocher, Mad Carpentier, and Louiseboulanger who also adapted family names for business purposes, creating a sort of sartorial nom de plume, or rather a nom de ciseaux.

A wonderful story about her has often been repeated. Di Camerino was a client of Chanel. It isn't surprising, as she admired quality, fine workmanship, wearable design, and fashion talent. She was upset about the blatant copying of her distinctive velvet bags. At the time, they were seen on the arms of stylish women such as Grace Kelly, Soraya, Maria Callas, Sophia Loren, Paola of Belgium, and Elizabeth Taylor. Chanel told Camerino that she should only cry when they stop copying her. Her influence is seen in many vintage inspired fashions today. The designs of Moschino have shown Camerino influenced pieces, especially things with whimsical trompe l'oeil, in several collections over the past 25 years. The house of Moschino has also maintained a powerful image that is both humourous and ironic, and at this time is the one house that best carries on the sheer inventiveness and wit of di Camerino, and at times, Elsa Schiaparelli.

a soignée Roberta di Camerino with her iconic velvet bags, late 1950s; like Chanel, her pearls were a constant; image courtesy of irenebrination.typepad.com

During the 1970s in Toronto, Canada, a handful of her designs were carried at the old flagship Eaton’s (a cross between Macy’s and Bloomingdale's) department store in Toronto. I remember the first time I saw them around 1975, and I was intrigued by the trompe l’oeil effects that made them unlike anything I had ever seen. Within the last decade, Camerino velvet handbags were available at Canada’s most exclusive clothing store, Holt Renfrew. As beautiful as they were, the luxury accessory client in North America seemed pretty much devoted to the more widely promoted luxury brands, and sadly Holt’s ceased to carry Camerino's wonderful printed velvet doctor-style satchels.

Splendid examples are available on eBay and through vintage clothing shops. For anyone who appreciates Italian heritage, unique design, quality, and an amazing history, a Roberta di Camerino bag or trompe l’oeil scarf or dress is a fantastic addition to the wardrobe. And as serviceable as black is, isn't nice to know that there are colourful alternatives?

A cotton canvas tote bay from Old Navy, spring 2010 collection, showing the trompe l'oeil effects that were first shown in the designs of Roberta di Camerino, photo SwF
detail of silk screened faux saddle stitching in the above tote bag, photo SwF

printed wool dress, with boldly graphic draped blowing skirt effect, circa 1980, this very representative piece is available at mlvintage.com

the classic Camerino 1950s velvet satchel that was worn by Elizabeth Taylor and Grace Kelly; the designs were reissued in the 21th century, riding the wave of interest in vintage fashion; CoutureAllure.com

Horticultural Hyacinths in Your Winter Garden

From Christmas until the beginning of spring, forced hyacinths add cheer when days are short and dull. Note the root development.

Forced hyacinths tucked in among green foliage houseplants create a winter garden atmosphere. The planter is a Louis XVI wine cooler with a copper well.

Horticultural hyacinths in your winter garden? That sounds expensive and rarefied, but you don’t need a vast conservatory or staff of gardeners to enjoy the splendid effect. In fact it is easy and inexpensive to have them.

At this time of the year, I am attracted to the colourful displays of spring bulbs at garden centres. Raised to perfection in Holland, world centre of the spring bulb industry for over 200 years, there are tulips, crocus, hyacinths, narcissus and daffodils in hundreds of varieties and colours.

One of my annual autumn rituals is buying spring bulbs for planting in October or November. Winter in Canada is lengthy, and looking forward to springtime flowers helps me through the season. In addition to those in the garden, I buy a few dozen hyacinths which I force for indoor use. From Holland come special glass jars made specifically for forcing the hyacinth. They are hourglass shaped and water is filled to below the "waist,” and the bulb placed above it.

These are put into a cool (but not freezing) dark place, such as a garage, cellar, or refrigerator, for 8-10 weeks. After that, they can be put in a window sill, and soon exquisite, fragrant hyacinths (Hyacinthus orientalis) will grace your window sill. I have them among pots of greenery such as ivy and philodendron, and vases of cut forsythia branches that can be forced after January. The effect is lush and pleasing when ice and sleet cover the view beyond the windowpanes.

This is a very simple, foolproof procedure that will allow you to have spring flowers for most of the winter. The hyacinth bulbs and the special glasses are available at plant stores from September up until Christmas. Hyacinths come in many new colours. There are yellow, peach, and orange as well as the classic purple, mauve, white, and pink.

When filling a bulb glass, make sure the water level just grazes the bottom of the bulb (if it is much higher they tend to get mouldy). Make sure that the cool spot doesn’t drop below freezing. One year we had a record cold spell, and most of my hyacinth glasses froze and broke in the root cellar where I keep them.

The hyacinth bulb sits above the "waist" of the special bulb glass. Water just touches the bottom of the bulb where roots very quickly emerge.

hyacinths in different types of bulb glasses after 6-10 weeks in a dark cold cellar

Within a week of being placed in water, the bulbs develop a vigorous root system.

The glasses themselves can be works of art. Regular plain glass ones from Holland are about $4.00 each, although they are often available at garage sales or thrift stores for a quarter. However, there are many old examples such as Victorian art glass or cut crystal, cranberry glass, tinted Depression glass, mid century Scandinavian or German art glass, and other types that are highly collectable, sometimes costly examples.

a chunky green Depression glass example of a bulb glass

an elegant crystal bulb glass with a swirl design; a very durable heavy glass utilitarian type preferred by serious hyacinth fanciers

Whether you admire forced hyacinths for the bulb itself, or for the interesting vintage containers that have been made to hold them over the past century, the fresh, somewhat cloves-like scent issuing from the up to 70 florets of a single fresh hyacinth will bring springtime to your home, many weeks before it comes to the garden.

a colourful trio of vintage hyacinth glasses; the tall blue one is an unusual 1960s example with a Jetsons aesthetic

The crisp form of these mid century European bulb glasses would look great in a modern interior.

A very deep pink, almost red hyacinth will be ready for Christmas if planted now. This robust and fragrant variety is "Jan Bos."

Photos by SwF