The upper class are fraying at the edges; as Grayson Perry this week looks at upper-class taste, he discovers that its major components are age and dishevelment. The reasons for this are manifold. As Lady Bathurst points out when asked to identify which car belonged to the poshest person, “the posher the person, the less they have to prove”. Yet the Cliffords ascribe their shabbiness to inverted snobbery – it’s cool to wear their parents’ and grandparents’ clothes. Furthermore, they have been brought up with ideas of responsibility to their family, their taste an ancestral legacy. Unlike the middle classes of last week’s programme, the upper class seem to be less focussed on what others think of their taste and more concerned with preserving what they’ve inherited.
To counter these demands of inherited taste, Charles Berkley and his young family have moved to a (still quite grand) house on their estate rather than live in the ancestral pile. Here they can implement their own taste, rather than have that of their ancestors forced upon them. More drastically, the 7th Marquess of Bath has rebelled against upper-class taste by covering one wing of his house in his own, quite gaudy, artwork. He describes himself as part of the bohemian set, and Perry also visits Detmar Blow, an art connoisseur who clearly identifies himself as belonging to this group. He “wants the beauty”, and has surrounded himself by art and artists. Yet Perry suggests that this idea of “bohemia” is in itself nostalgic, harking back to a rose-tinted 1920s ideal.
The family at Chavenage House demonstrate that shabby chic can be a necessity rather than a style choice; they ration hot water but it still costs £80,000 a year to run their home. The daughter suggests that in 100 years very few country houses will still contain the same families as they do now. They will perhaps be filled with people like Lisa Maxwell from The Bill, who we see renovating one of these houses. She is making drastic changes to the house, knocking down walls, and seems completely bewildered at the fact that the previous owners didn’t have a telly. While I’m not sure I agree with her idea of attaching a large glass cube to the rear of the building, it seems that increasingly it will be people like Lisa who are owning and renovating these large houses.
Perry meets historian Amanda Vickery, who describes how the eighteenth-century upper class didn’t mind adopting new money into their class to sustain their wealth, and used taste as a direct statement of their money and power. While the Georgian aristocracy had the resources to complete grand redecoration projects, a large part of the modern upper class are struggling just to maintain their houses. It seems that as the upper class preserve the ancient decoration in their houses they are not only trying to honour their ancestors’ taste but also to recapture a little of the aristocracy’s glory years.