Like many people from money, Cecil Beaton has gotten involved in many things. He is proficient in painting and photography. He designed suits and costumes for ballet, opera and film, most notably My fair lady. When he wasn’t working, he hosted a luxurious costume party, first at the Ashcombe House and later at the Reddish House in the English countryside. The British upper class has an idle place, but Beaton likes to stay busy.
Thankfully, for visitors to the London Garden Museum, Beaton’s practice wreath has a unified vine: garden, flowers and gardening. “Cecil Beaton’s Garden Party” opened earlier this year was the first exhibition that focused solely on Beaton’s plant obsession. Curated by Emma House, the exhibition brings together objects from various professions of Beaton: diaries, photographs, costumes, paintings, and even the Oscars he won My fair ladyfor this, he wore Audrey Hepburn as Cockney Flower Seller Eliza Doolittle.
Biton’s trade is America. Indeed, the exhibition is beautiful, and there are several compelling people to watch, such as the black and white portraits of the royal family taken by the artist in front of his own flowering background. The show also includes the surreal rose coat he designed and wore and served as party host for his “Fête Champtre” in 1937, a dramatic summer party of dances attended by 300 guests, including many “bright young things.” (Even if it’s just a wall flower.
The exhibition occupies a small corner of the Garden Museum, which itself is located in a converted church in London’s Lambes area. (The temptation to describe the exhibition as “beyond the Beaton track” is high, but in fact, the museum is right on the Thames in the Parliament Building.) Although small, there is a lot worth going around the room in the exhibition. Clothing sketch My fair lady Especially exciting, so is Beaton’s painting of flowers created throughout his life.
The exhibition’s appearance comes from British artist and designer Luke Edward Hall. Hall painted beautiful murals adorned with the walls of the exhibition, which were flowers and vases inspired by Beaton’s own sketches. These add characters and charm to the exhibition. Fake flowers hanging from the ceiling and halls use tin foil too generously: it is placed under exhibition items such as letters and photos. The reason for the foil comes from Beaton – he uses it in the background to make early photos, and Hall wants to incorporate the foil into the visual frame of the exhibition. It’s a good idea in theory, but in such a tight space, the foil looks cheap. Nevertheless, it’s a small but impressive show with clear conception and execution.
The superficial theme of “Garden Party” is of course flowers. But another definition of characteristic is the upper class of life in Britain. Beaton is a preparatory boy. He found his foothold in Cambridge. He hosted a luxurious garden party at his country house. He is Fashion and decorated the stage of the Royal Opera House. Keats said beauty is a fact. Truth, beauty. But in Beaton’s wonderful life, he performed well. Literally (he was a man of theatre and opera after all), but also in his lifestyle: partying, decadence, luxury- a symbolic beauty of his who could describe the life of all the upper classes in England.
Nevertheless, apart from class politics, chrysanthemums, geraniums and bluebells have undeniable charm. They inspired artists and poets for centuries. Whether sewn on the fabric of the dress or painted on the murals, flowers continue to inspire Beaton in his rich talent. Watch this exhibition while it is still in full bloom.
“Cecil Beaton’s Garden Party“In the Garden Museum until September 21, 2025
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