Bio
Julia Peyton-Jones studied painting at the Royal College of Art, London, and worked as a practising artist in London and a lecturer in fine art at Edinburgh College of Art. She moved to the Hayward Gallery in 1988 as Curator in the Exhibitions Department. In 1991 she became Director of the Serpentine Gallery, where she has been responsible for both commissioning and showcasing the exhibition, education and public programmes as well as the annual architecture commission, the Serpentine Gallery Pavilion, which she conceived in 2000. Under the patronage of Diana, Princess of Wales, the Serpentine completed a £4 million renovation in 1998. Since then visitor numbers have increased three-fold to 800,000 per year. In 2010, the Serpentine Sackler Gallery opened in 2012, in a Grade II listed former munitions store renovated by architect Zaha Hadid. She has served on numerous committees and panels. In 2003 she was made both an Honorary Fellow of the Royal Institute of British Architects and an OBE. In 2008 she was appointed Professor, University of the Arts, London, and Senior Fellow of the Royal College of Art.
Portrait © 2013 Greg Funnell
Q&A
How closely do you follow fashion?
Design Museum
I do not follow fashion all that closely but I am fascinated by it, in no small part because of its relationship with art, architecture and design. The interplay between fashion and art is something the Serpentine embraces and explores in different ways, especially when we collaborate with a fashion brand.
Julia Peyton-Jones
Do you read a fashion magazine on a regular basis?
Design Museum
Not regularly but I do dip in and out, not least so that I am informed about emerging designers and photographers.
Julia Peyton-Jones
Do you consult fashion blogs?
Design Museum
Never.
Julia Peyton-Jones
When did you become aware of fashion?
Design Museum
I remember a pair of silver/grey stretch ski pants that I wore to death when I was twelve or thirteen. I teamed them up with a rather preppy looking buttoned down striped shirt. I am sure I thought I looked the business, as if I went to Klosters with the cool crowd when the truth is I first went skiing in my forties.
Julia Peyton-Jones
How would you describe your relationship with clothes?
Design Museum
Body conciousness is a huge issue for all women and is arguably amplified if you are regularly in the public eye and under scrutiny for good and bad. My relationship with clothes is intrinsically connected with my relationship with my body. Over the years this relationship has gone through different phases and, perhaps, only now do I feel comfortable in my own skin and therefore with how I look.
Julia Peyton-Jones
When did you develop your own ‘style’ - do you feel that you have one - what is your basic 'look'?
Design Museum
My style has changed over the years, from my student days when I wore a self-imposed uniform of dungarees, plaid shirt (two of each, one on and one in the wash) and either green or red suede boots. Today, I wear another kind of uniform for practicality, ease and speed. I prefer things to be simple and streamlined so that time is not spent on making last minute decisions or having a change of heart about what I am wearing.
Julia Peyton-Jones
Do you have a preference for particular shapes, colours, fabrics or textures?
Design Museum
It might be obvious, but clothes that fit well are an absolute must and I have recently weaned myself off having an almost completely black wardrobe. In an ideal world I would wear the work of designers I admire - both upcoming and established - including some of my favourite High Street brands.
Julia Peyton-Jones
Who are your favourite designers and why (historical and contemporary)?
Design Museum
Elizabeth I was a role model for so many reasons. Her incredible authority was, in no small part, reinforced by the image that was burnt into the popular consciousness by paintings and etchings of her sporting those ornately jewelled dresses and incredible ruffs. The late Alexander McQueen was an artist in every sense of the word, who went beyond the boundaries of fashion in a way that was extraordinary and inspirational.
Julia Peyton-Jones
Do you use a personal shopper?
Design Museum
No, but when it comes to The Summer Party - the Serpentine’s annual fundraiser - I need all the help I can muster, so that I can represent the Serpentine to the best of my ability on the night. The decision of what to wear (always borrowed) is almost always made late in the day.
Julia Peyton-Jones
How much do you involve your partner in clothes buying?
Design Museum
N/A.
Julia Peyton-Jones
What percentage of your income goes on clothes purchases annually?
Design Museum
I shop twice a year, in Autumn and in Spring, and go to very few shops. I keep clothes for a very long time and keep my wardrobe fresh and current by both ‘shopping in my wardrobe’, rotating favourite outfits and adding additional pieces purchased on my bi-annual shopping trips. I do not believe I spend very much on clothes.
Julia Peyton-Jones
How many pairs of shoes or handbags do you have?
Design Museum
I have four pairs of trainers (of which only one is new), a new pair of high heels (which I wear extremely rarely) and a pair of heels that are comfortable but almost worn out. Regarding handbags, I have one that I use daily - as it can accommodate a great number of things - and one for evening wear. I would like more!
Julia Peyton-Jones
How important is hair and make-up to you?
Design Museum
Getting my hair right is incredibly important to me and I would not dream of going out of the door without make-up, unless I was wearing sunglasses.
Julia Peyton-Jones
Do you buy seasonally or when the need or mood dictates?
Design Museum
(See above).
Julia Peyton-Jones
Is there a difference between your public and private wardrobe - if so, what are the reasons behind this?
Design Museum
I never wear jeans or gym clothes to work. So, having clothes that ease the transition from ‘day to night’ is essential, though sometimes quite hard to achieve.
Julia Peyton-Jones
How do you view fashion and clothes in relation to your professional standing, and to what extent does your professional role inform your fashion choices?
Design Museum
I work in a world primarily concerned with the visual, so I need to be aware of how I look. I also work with people who are often stylish and well-dressed, which reflects their creativity not necessarily their purse. As a curator, I am absorbed with how objects are displayed. In many respects, the body can be seen as a platform, capable of displaying a wide variety of different messages. While I always want to look my best I try to keep the time spent achieving this to a minimum, if that does not sound too contradictory.
Julia Peyton-Jones
To what extent does your professional role inform your fashion choices?
Design Museum
(See above).
Julia Peyton-Jones
Does fashion empower you? What outfit would most empower you and why?
Design Museum
It is possible to feel because of what you are wearing; to look good is empowering. Though for me, it is not just about the design or who the designer is. Comfort, fit and appropriateness are all just as important if I am to feel good, and if I feel good I feel empowered.
Julia Peyton-Jones
What does fashion in the future need to do to help women / to empower them?
Design Museum
Gilbert and George’s mantra ‘Art for All’ is a guiding principle for me and I would like to take the liberty of adapting it for fashion. In other words ‘Fashion for All’.
Julia Peyton-Jones
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