In 1917, a British marine painter, Norman Wilkinson, began designing the most amazing patterns to be painted on to ships, using violent colour contrasts and bold designs.
Wilkinson recognised that an object as large as a ship could not be hidden using camouflage patterns in the same way that a soldier or tank could. Instead, he used patterns designed to confuse the enemy by making it hard to judge the shape, size and course of the vessel.
The word 'camouflage' is usually associated with patterns and colours that blend in with their backgrounds. Although such patterns are prominent in Camouflage, a new temporary exhibition at the Imperial War Museum in London, there are also many other ingenious camouflage devices and techniques on display, such as Wilkinson's Dazzle designs.
The exhibition has four sections: Conceal, Distort, Deceive and Advertise. The first three examine the development of military camouflage, a story dominated by the work of artists.
Advertise shows how, in more recent times, camouflage has infiltrated popular culture, and has been used by fashion designers, artists, pop stars and anti-war protesters.
The posters and publicity are stylish, emphasising the popular-culture aspect of the exhibition. They feature images of a Dr Martens boot in military camouflage design, and a Philip Treacy shoe designed using Andy Warhol's pink camouflage print.
Parked opposite the museum is a London cab painted in pink camouflage, while visitors can enter a competition to win one of the exhibits, a Maharishi camouflage jacket with 'all you need is love' emblazoned on the back. It is clear that the advertising is designed to appeal to the young and trendy - people who might otherwise not visit the Imperial War Museum.
The design of Camouflage is stylish. The introductory area plays with perspective, with lines on the wall, floor and cases that do not run parallel to one another. The whole effect disorientates, cleverly imitating one of the aims of military camouflage.
The display case contains a camouflage jacket and skirt from Japanese designer Yohji Yamamoto. This area skilfully suggests the exhibition's themes, showing the use of camouflage both as a military tool to disguise, and as a fashion tool to create clothing designed to stand out.
Similarly, the ship models demonstrating Wilkinson's Dazzle patterns are displayed on diagonal steps in a large case. Again, the design confuses our perceptions and creates a visual illusion, mimicking the effect of the Dazzle designs.
In the first part of the exhibition, dimmed lighting and the muted earthy tones of camouflage colours are used as backdrops to the objects on display.
The museum could have chosen to display some of the objects against mocked-up landscapes to demonstrate first-hand the effectiveness of the designs. But this approach would have compromised the stylish design and the scheme that has been chosen is almost as effective.
In the cases housing camouflage uniforms, the dim lighting also serves a conservation purpose. There was only one item that was not effectively displayed in these light levels - a faded, hand-painted coat designed and worn by Frenchman Eugène Corbin, the pattern on which could barely be seen.
In contrast, throughout the Advertise section, the walls and cases are the bright white associated with modern art galleries. In keeping with the section's name, these designs are definitely not meant to blend into the background.
I was impressed by the use of booklets and pamphlets, which are an integral part of the design and provide additional information and context. Some of these were specially created for the exhibition, while others were reproductions of original texts, such as the War Office's 1941 publication, Surprise, the First Principle of Attack.
Camouflage techniques are used on some big pieces of military equipment, and the exhibition uses videos, models, sketches, plans and photos to portray these.
As there are examples of larger equipment decorated with camouflage designs on display in the main hall of the museum, it was a shame that the opportunity was missed to signpost them from Camouflage or, better, to have included them in a camouflage trail around the museum.
Military uniforms from many different countries and periods of time also feature. Most are displayed in one long case. I loved the effect of all the uniforms together, producing a sort of camouflage vista. But there was some confusion over labelling, and it was hard in places to match the label to the uniform.
Camouflage is very much about how we see things. With this in mind, the exhibition works best in the areas that demonstrate the visual effectiveness of camouflage techniques. The video clips are particularly impressive.
My favourite was the clip showing the construction of dummy tanks; you see what you think is a tank, but then two soldiers push it over showing its wooden frame beneath.
Other highlights included the photographs of camouflaged animals, the decoy tree used as an observation point, and the lifelike decoy soldier heads designed and made by sculptor Henri Bouchard.
In the section entitled Deceive, there is a computerised interactive quiz. This features an image of camouflaged soldiers in their surroundings, and the participant is asked to spot them.
Camouflage would have benefited from more of this sort of interactive (not necessarily computerised) as it visually demonstrates the theories expounded in the exhibition. This may also have made the exhibition more attractive for younger children for whom there is little to specifically hold their attention.
Camouflage is an excellently curated and designed exhibition that cleverly combines the story of military camouflage with a fantastic display of modern art, couture and street style.
Julia Edge is a freelance arts journalist and a former collections manager at the Horniman Museum, London
Project data
Cost: £450,000
Main funders: Imperial War Museum, Maharishi
Curators: James Taylor/Jonathan Miller
Exhibition designer: Casson Mann
Graphic design: Imperial War Museum
Lighting: Luminance
Audiovisuals: General Observation/Imperial War Museum
Exhibition ends: 18 November 2007
Wilkinson recognised that an object as large as a ship could not be hidden using camouflage patterns in the same way that a soldier or tank could. Instead, he used patterns designed to confuse the enemy by making it hard to judge the shape, size and course of the vessel.
The word 'camouflage' is usually associated with patterns and colours that blend in with their backgrounds. Although such patterns are prominent in Camouflage, a new temporary exhibition at the Imperial War Museum in London, there are also many other ingenious camouflage devices and techniques on display, such as Wilkinson's Dazzle designs.
The exhibition has four sections: Conceal, Distort, Deceive and Advertise. The first three examine the development of military camouflage, a story dominated by the work of artists.
Advertise shows how, in more recent times, camouflage has infiltrated popular culture, and has been used by fashion designers, artists, pop stars and anti-war protesters.
The posters and publicity are stylish, emphasising the popular-culture aspect of the exhibition. They feature images of a Dr Martens boot in military camouflage design, and a Philip Treacy shoe designed using Andy Warhol's pink camouflage print.
Parked opposite the museum is a London cab painted in pink camouflage, while visitors can enter a competition to win one of the exhibits, a Maharishi camouflage jacket with 'all you need is love' emblazoned on the back. It is clear that the advertising is designed to appeal to the young and trendy - people who might otherwise not visit the Imperial War Museum.
The design of Camouflage is stylish. The introductory area plays with perspective, with lines on the wall, floor and cases that do not run parallel to one another. The whole effect disorientates, cleverly imitating one of the aims of military camouflage.
The display case contains a camouflage jacket and skirt from Japanese designer Yohji Yamamoto. This area skilfully suggests the exhibition's themes, showing the use of camouflage both as a military tool to disguise, and as a fashion tool to create clothing designed to stand out.
Similarly, the ship models demonstrating Wilkinson's Dazzle patterns are displayed on diagonal steps in a large case. Again, the design confuses our perceptions and creates a visual illusion, mimicking the effect of the Dazzle designs.
In the first part of the exhibition, dimmed lighting and the muted earthy tones of camouflage colours are used as backdrops to the objects on display.
The museum could have chosen to display some of the objects against mocked-up landscapes to demonstrate first-hand the effectiveness of the designs. But this approach would have compromised the stylish design and the scheme that has been chosen is almost as effective.
In the cases housing camouflage uniforms, the dim lighting also serves a conservation purpose. There was only one item that was not effectively displayed in these light levels - a faded, hand-painted coat designed and worn by Frenchman Eugène Corbin, the pattern on which could barely be seen.
In contrast, throughout the Advertise section, the walls and cases are the bright white associated with modern art galleries. In keeping with the section's name, these designs are definitely not meant to blend into the background.
I was impressed by the use of booklets and pamphlets, which are an integral part of the design and provide additional information and context. Some of these were specially created for the exhibition, while others were reproductions of original texts, such as the War Office's 1941 publication, Surprise, the First Principle of Attack.
Camouflage techniques are used on some big pieces of military equipment, and the exhibition uses videos, models, sketches, plans and photos to portray these.
As there are examples of larger equipment decorated with camouflage designs on display in the main hall of the museum, it was a shame that the opportunity was missed to signpost them from Camouflage or, better, to have included them in a camouflage trail around the museum.
Military uniforms from many different countries and periods of time also feature. Most are displayed in one long case. I loved the effect of all the uniforms together, producing a sort of camouflage vista. But there was some confusion over labelling, and it was hard in places to match the label to the uniform.
Camouflage is very much about how we see things. With this in mind, the exhibition works best in the areas that demonstrate the visual effectiveness of camouflage techniques. The video clips are particularly impressive.
My favourite was the clip showing the construction of dummy tanks; you see what you think is a tank, but then two soldiers push it over showing its wooden frame beneath.
Other highlights included the photographs of camouflaged animals, the decoy tree used as an observation point, and the lifelike decoy soldier heads designed and made by sculptor Henri Bouchard.
In the section entitled Deceive, there is a computerised interactive quiz. This features an image of camouflaged soldiers in their surroundings, and the participant is asked to spot them.
Camouflage would have benefited from more of this sort of interactive (not necessarily computerised) as it visually demonstrates the theories expounded in the exhibition. This may also have made the exhibition more attractive for younger children for whom there is little to specifically hold their attention.
Camouflage is an excellently curated and designed exhibition that cleverly combines the story of military camouflage with a fantastic display of modern art, couture and street style.
Julia Edge is a freelance arts journalist and a former collections manager at the Horniman Museum, London
Project data
Cost: £450,000
Main funders: Imperial War Museum, Maharishi
Curators: James Taylor/Jonathan Miller
Exhibition designer: Casson Mann
Graphic design: Imperial War Museum
Lighting: Luminance
Audiovisuals: General Observation/Imperial War Museum
Exhibition ends: 18 November 2007
