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© Provided by The iĪmy: Beyond The Stage brings together personal items including clothes, photos and notebooks (Photo: Ed Reeve) She spent hours, too, with Winehouse’s mother, Janis, who shared memories of her daughter over endless cups of tea.
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Khanchandani was given unique access to Winehouse’s belongings: clothes, wigs, notebooks and folders and folders full of her handwritten song lyrics, some of which never quite made it to the recording booth. It’s very much a show that seeks to sever Amy the artist from Amy the addict – but you simply don’t have one without the other. It’s admirable and subtly done but, if anything, the balance has tipped a little too far the other way. “It was important to me that we strike that balance, that we address things like Amy’s body image and her addictions but without overpowering the story.” There are, too, the magazine covers that failed to see the Winehouse beyond the “troubled woman” that had already received so much attention. “The point of the exhibition was to critically engage with Amy as an artist and as an icon,” curator Priya Khanchandani told me on a tour as the finishing touches were made to the installation. Similarly, among a small army of Amy-sized mannequins displaying her wardrobe, there is a note about her changing body shape and the disordered eating that dogged her for much of her life. This is the one nod to Winehouse’s struggles with substance abuse. It’s infamous, the concert in Belgrade, Serbia, in June 2011 featured in Asif Kapadia’s 2015 documentary AMY and viewed millions of times on YouTube, at which a clearly drunk Winehouse stumbles around stage and barely sings two notes while the disgruntled crowd boos. Elsewhere in the show – in a quiet corner, gently lit and in its own space, is the dress that she wore at her last ever live show. It takes the physical evidence of Amy’s life and arranges it around the nebulous, conceptual parts of her imagination and experience.
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This is what the exhibition does so well.
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The show is a vital celebration of Amy Winehouse the artist – not the tabloid catnip (Photo: Kirsty O’Connor/PA Wire)
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But though these artefacts tell us the start of her story, they are physically laid out around a reminder of the end: a street sign from Camden Square covered in condolences and remembrances from the days after her death. In the early days of 2020 I spent several months reading and watching and listening to everything I could about the singer for a short biography, published this March. It’s in this first room of the exhibition where Winehouse feels most human and alive to me. She might not have got around to her Hollywood make-under but she did have a fashion line with Paul Smith and the hair: well, she made her own mark there.
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She planned to “do a movie where I look ugly”, launch her own shoe collection, and have “Marilyn hair”. From the very first space, which is filled with childhood photos, teenage diary pages and pre-fame CD collections, you get a sense of the musician Winehouse was to become in fact, a page ripped from a notebook shows her list of “Fame ambitions”, the sort of thing we all write as teens alongside pages of carefully practised autographs, the difference being that in Winehouse’s case most of them happened. Wandering around the exhibition, the sheer depth of feeling that Winehouse had for music is inescapable. That’s what the Design Museum hopes to correct with its new exhibition, Amy Beyond The Stage, which features never-before-exhibited outfits, pages and pages of handwritten song lyrics and some very impressive audio-visual installations that seek to remind you that Amy Winehouse was not just tabloid catnip nor “troubled woman”: she was an artist. The circumstances of her death – complications arising from alcohol dependency – and the drama that overshadowed her music in the last years of her life have conspired to keep “Amy the Artist” somewhat out of the spotlight. Winehouse was somehow simultaneously a timeless voice and an icon so concretely of her time that she came to define music and fashion in the early 2000s. Equally it seems unfathomable that only 10 years have gone by. It seems impossible that 10 whole years have passed since that sunny July day in 2011 when the news trickled slowly out to the world. This July marked the 10-year anniversary of Amy Winehouse’s death, a milestone that felt horologically off.