Orla Kiely can probably lay claim to having an item of clothing or home ware in most 30 to 40-something homes I’d wager. From the ubiquitous bags seen on every yummy mummy to the stem-printed jugs, jars, towels and bedspreads infiltrating kitchens, bathrooms and bedrooms in any discerning middle class household, you see her patterns everywhere in all sorts of shades. Personally I’m not into flowery prints but Kiely continues to thrill me with her never-ending range of retro-modern colour palettes and there’s just enough for a male fan like myself to buy for the home without it looking too feminine. Her current retrospective at the Fashion & Textile Museum in Bermondsey is chock full of two decade’s worth of designs, a total Orla overload.

I love her patterns, preferring the more geometric ones with autumnal colour schemes.

Entering the museum you’re confronted with huge flower prints and cases of bags, I couldn’t pull these off myself but love the pattern designs.

Next are several corridors with an explosion of Kiely products for the home including pattern design concepts (some still forthcoming) kitchenware, toys, stationery, mugs, wallpaper, luggage, books… You name it, it’s there with an O.K. pattern on it. In their colour-coded glory it’s quite something to behold, you want to steal it all but a whole house of this would be overkill.

The main room consists of huge versions of dresses, as if made for giants, guarded by life size rotating block models that shift outfits like a children’s mix and match book depending on their alignment. The oversize garments are offset by handmade dolls wearing the same outfits in miniature, lining the walls. This was an interesting concept in showing off a collection but it didn’t work for me after the complete overload of the previous corridors of kitchen and homeware. The wow factor was initially there but very little was contained in the biggest room on closer inspection, they’d crammed it all in the preceding space because they needed the height to show off the hanging frocks.

Last but not least is a wall of bags, followed by a photo retrospective of various seasons and styles. Kiely has a great eye for modernising old 50s/60s and 70s styles and colour combinations whilst continually reinventing key logos and patterns from previous lines. It doesn’t always work but her hit rate is high and the body of work has a definite personality and flow to it that makes it unmistakably hers. I came away only wishing she’d one day hit the late 60s and do her take on psychedelia and flower power, what a riot that could be.