Daniel Lismore
is the most fabulous Living Work of Art. Queerguru first met him at Art Basel in Miami Beach in 2016 when he was about to launch a Retrospective of his Work at SCAD FASH Museum of Fashion + Film in Atlanta, Georgia.
It was based on his revealing memoir with the very brilliant title “Be Yourself; Everyone Else Is Already Taken,” and would serve as the first U.S. exhibition of this London-based artist, stylist and designer. Lismore distinctive flamboyant style has earned him the title “London’s Most Outrageous Dresser” by Vogue, but we discovered under his wonderfully outrageous outfits, that this disarmingly charming man is nowhere near as loud as his art.
We bumped into Lismore again 2 years later when he was visiting Art Basel. At 6’4″ this striking 34 year was impossible to miss. He was wearing one of his outfits that brilliantly combine haute couture with charity-shop finds, yards of vintage fabrics and tartans, plastic trinkets, found objects, ribbons, feathers, chainmail, shells, ethnic jewelry, retro accessories etc.
His energy comes through his very unique sartorial point of view, and he is always such a refreshing vision to behold.
We caught up with this week after he had just finished a Commission at London’s ENO and was not about to open a Retrospective of his work in Poland
QG: Congratulations on a very successful First Night of Harrison Birtwistle’s The Mask of Orpheus at the English National Opera (ENO) at the Coliseum last night for which you designed the most extraordinary stunning costumes.
I think this is your first Opera commission, so how did you get the gig?
DL: Daniel Kramer the director of the Opera saw my book (Be yourself; everyone else is already taken) and invited me into the ENO to design The Mask of Orpheus.
QG: They knew who they were hiring so they were obviously wanted something spectacular, but did you get a total free reign or were there ……how can I put this …..polite suggestions?
DL: The whole process was a collaboration to make it a masterpiece and something that would not be forgotten by anyone who sees it. I did exactly what I wanted and had the most amazing team from the English national opera. The specialist techniques they use and my way of working we’re perfect match.
QG: The Mask of Orpheus has not been performed for over 30 years and has a complicated plot in an elaborate setting , where did you draw your own inspiration from on how to proceed?
DL: I asked Harrison Birtwistle where his head was 2-years after we started on the Opera and he told me dreams. Fortunately most of my ideas came from dreams. There were a few characters in the show that were based on people I know in my life , and jellyfish were huge inspiration.
QG: It is reported you used over 400,000 Swarovski crystals in your designs (surely no-one actually counted them all?) why did you make them an integral part of the costumes.
DL: They were counted. The most amazing thing on stage is light and when the reflections of the crystals hit people’s eyes it’s a personal moment because they’re the only one that can see their rainbow. When crystals go on stage with theatre lighting it’s a perfect match. They also went perfectly with the clothes and costumes and all the choreography. My initial thought when coming to design the opera was crystals first.
QG: Operas should always look ravishingly beautiful, so this would make it a natural home for you, so would you like to do more.
DL: I’d love to do as many operas as I could. I believe the budgets seem to be a huge problem in the opera world so I might be inclined to only work on larger projects. I don’t have my own studio and I prefer to collaborate with amazing teams and bring some of my own people in.
QG: After ENO you are off to Poznan in Poland for a major Exhibition of your work named after your memoir “Be Yourself Everyone is Taken” . What can we expect to see there?
DL: The exhibition has over 40 life-size version of me wearing 17 years of my life living as art. They’re like 3D tapestries full of culture and stories. Every single thing in there are which there are over 6000 pieces has a memory tied to it.
QG: How did this Exhibition come about?
DL: Raphael Gomes the great fashion museum curator said yes to my idea after he consulted with the Savannah college of art and design.
I was homeless and luckily had been taken in by a friend. When he went away for 3 days I turned my phone off after I called my mum to tell her she wouldn’t hear from me for a while because I need you to figure out what I wanted to do.
The thing is I had so much success previously but now I really needed to focus on what I actually do which is live as art. Because I have no money for my storage I decided to think of an exhibition which would involve everything that I’ve worn living as a sculpture and o do ao I would create an army based on the terracotta warriors, standing in waiting with their eyes closed. It seemed like the perfect idea as what I wear is a form of armour which accompanies me in my life.
Raphael saw my collection and said yes and then SCAD give me the opportunity to show in their fashion museum in Atlanta and then Miami Art Basel .
QG: What excites you about this particular show?
DL: I find it very interesting all the different reactions of the people that come through the doors from all over the world the show has been in in five cities in different parts of the world so far and I feel honoured that people take a lot from it. Some people however take nothing away from it which I think is really interesting also.
QG: Although you are now recognised as Living Art and an Ambassador for London’s Tate Gallery, and have been recognised by Vogue as England’s Most Outrageous Dresser, all your major Exhibits so far have been at prestigious International Galleries. Do you think that your work at the Opera and the attention it is getting may finally get you the Retrospective you deserve in the UK?
DL: London is a funny place. I’m really not that bothered if it goes there. I think it’s more important to show so in other cities around the world. Maybe one day but so far everyone there has said no. It’s the kind of mentality that happens in London. and so many designers and artists have had to move away and become successful, and then they’re invited back. I’m really not bothered about that as I live and breathe in the capital most of the year.
QG: Before we say goodbye to you and thank you for your time, is there anything specific in your future that we NEED to know about?
DL: The exhibition will be travelling to other parts of the worlds in 2020. Hopefully to far away lands.
http://www.daniellismore.comLabels: 2019, art, Daniel Lismore
