Category Archives: Architecture

City Oasis

RIPPONLEA GARDENS

The Ripponlea Estate was named after the wife of a local politician Sir Frederick Thomas Sargood. It provided a social setting for his influential guests and bountiful garden for his nine children yet despite the opulent setting that he placed himself within, he supported the factory worker by shortening their day and imposing wage awards.

In the pleasure garden the Sargood era is evoked by the staging of a range of performing arts events including opera, theatre, chamber music and outdoor activities. Culture Victoria

Today within the urban tangle of the traffic riddled roads that engulf the Elsternwick area there is a sanctuary where you can withdraw from the chaos and stroll down the paths of a botanical paradise.  The garden explores the traditions of European landscaping with areas of French aristocratic order, Italian features and the avant-guard bend toward naturalism that softened the rigidity of control.

Sargood worked with his head gardener Adam Anderson to create a space rich with imported plants, an orchid and vegetable produce. William Sangster a landscape designer, that would create the Victorian Gardens, added his vision to the project, which included sweeping areas of lawn, a lake and an entry path lined with Oaks.

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The fashion of the garden that was inspired by the movements of the time and morphed with each new owner is a gem of landscape history that has survived, despite the encroaching suburban sprawl and government acquisitions. What separates it from other public areas is that it was designed to be private and therefore there is an intimacy and charm that is unique.

The predominate aspect at the lake is a small bridge across the water, underlie with lily ponds, brush grass, towering vegetation and flowers it is as picturesque as Monet’s garden. There is also a cave under the waterfall, a small pergola on the waters edge and meandering paths , it re-creates the romantic inclinations of the Pre-Raphaelite movement that were blossoming in England during the 1880’s.

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In 1910, Benjamin Nathan who established Maples, the furniture stores, took over the property, he introduced more native plants into the area, displaying a discernment  to the Australian environment that his predecessors had ignored. When he died, his daughter Louisa (Lulu) took over in the 30’s.

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Art-Deco hedonism that was in full swing, when Lulu took control of the property and brought in some modern appliances and ideals. Featuring a tennis court, swimming pool, boats and a stable of horses on the grounds, the parties of young heiresses would not have been lacking friends.

The grounds attract an assortment of birdlife and the duck society is in full force, providing endless entertainment, there is a resident kookaburra and in its ‘hey-day’ peacocks graced the lawns. People come to the property sporadically and blend into the environment, it invites the quiet visitor.

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Currently the property is in the safe arm of the National Trust with the park open to the public for a small entry fee, the pool side party room is available for hire and hosts local weddings.There is a tea-room with an open fire on cold days and a small nursery to buy some of the specimen’s offshoot’s, including the apple trees. It’s the go-to place for escaping the city drone and being an heiress (heir) for the day.

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The Fabric Architect

“I wanted to be an Architect” Dior

French designer Christian Dior craved an artistic life as the economic world collapsed under the weight of the war machine that had eaten into Europe. He fell into the company of artists, and sought the bohemian path in the aftermath of terror. They had new hope, a brighter path, where he could be an artist or an architect and became a Fashion Designer.

Dior learnt the sophistication of simplicity through his training with designer Robert Piguet from 1937, yet his spatial designs grew out of his visual comprehension of Architecture, creating elaborate folds and abundant material to create contrasts that would highlight a slim waistline through his A-line skirts that dropped just short of the floor to make the model appear taller.

“I drew flower ladies” Dior

This return to the former traditions and the excessive indulgence of fabric angered the post-war women that had achieved a degree of independence through taking on jobs during the war that required a higher hemline and sensible attire. Material was still rationed and his designs also mocked the practice accessibility of the ‘new look’.

“The women were very closely tailored and it wasn’t easy, there was no freedom, morally women were veering toward a freer , more equal way of being, of course 68′ proved this many years later. Dior was fastening them into inconvenience with skirts like the BON BON dress that must have used 30 meters of fabric. It was tailored to the waist……tight fitting shoulders..breasts lifted with bra and corset, the dress even had an inner frame” Pierre Cardin

Dior’s vision was a cog that sent women back to the home, as the men returned from war and re-entered the workforce. Fashion that ornamented womens figures, new kitchens and pushing prams was the road into the 1950’s. Celebrities, Royalty and Movie stars modelled his frocks and set the scene in womens magazines for women to admire and sew.

Dior designed all of the dresses worn by Marlene Dietrich in Alfred Hitchcock’s classic ‘Stagefright’.

 “So long as I have the dress I am the one who decides how long this show will run, .. and everything else(quote from movie Stagefright)

Dior did not enjoy the celebrity life, he preferred life outside of the spotlight of his Haute Couture kingdom, however his business acumen rarely failed him. Despite his success, he didn’t have a Fashion House until he was 42 years of age.

‘Australian women were among the first outside of Paris to witness, model and purchase original Dior designs. Less than a week after Dior’s dramatic debut of February 1947, articles celebrating his talent appeared in local newspapers.’ NGV

Up until the late 70’s most women could sew clothes for their families and magazines promoted dress patterns over shop purchases. Fashion designers had to be a step ahead of their acute audience and the dazzle of Dior’s complex silhouettes continued to challenge women who tried to make what few could afford. David Jones (Sydney) presented a Dior fashion parade in 1948.

The elegant French designs were tempered into frocks that marked ‘the look’ of the 50’s. As fashion relaxed in the 70’s, puffed up in the 80’s and went grunge in the 90’s, the Dior sophistication excites a retrospective desire for elegance.

During the week the NGV was wall to wall with women visiting the gallery, marking the Spring Carnival of fashion in Melbourne.

Christian Dior The Man behind the myth, Phillipe Lanfranch