Spring 2012 - Dress and Textile Specialists
Spring 2012 - Dress and Textile Specialists
Spring 2012 - Dress and Textile Specialists
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DATS<br />
<strong>Dress</strong> <strong>and</strong> <strong>Textile</strong> <strong>Specialists</strong><br />
<strong>Spring</strong> Journal <strong>2012</strong>
Contents<br />
Page<br />
Committee 3<br />
Conference <strong>2012</strong> 4<br />
DATS Conference & Papers 2011 4<br />
News & Events 39<br />
Exhibitions 43<br />
New Books 47<br />
Front cover image: detail of pink silk bodice dating to the 1650s embroidered with a feather design<br />
in black bugle beads.<br />
Image courtesy of Gallery of Costume, Platt Hall, Manchester<br />
2
DATS Committee <strong>2012</strong><br />
Chair<br />
Christine Stevens<br />
e-mail christine.stevens@newcastle.ac.uk<br />
Treasurer<br />
Danielle Sprecher<br />
Leeds Museums <strong>and</strong> Galleries<br />
Discovery Centre<br />
Carlisle Road<br />
Leeds LS10 1LB<br />
Tel: 0113 214 1557<br />
e-mail: d_sprecher@yahoo.com<br />
Newsletter Editor<br />
Alex Ward<br />
Assistant Keeper<br />
Art <strong>and</strong> Industrial Division<br />
National Museum of Irel<strong>and</strong><br />
Collins Barracks<br />
Dublin 7<br />
Irel<strong>and</strong><br />
Tel: 00 353 1 6486469<br />
e-mail: award@museum.ie<br />
SSN Officer<br />
Jenny Lister<br />
Curator, 19 th Century <strong>Textile</strong>s <strong>and</strong> Fashion<br />
Department of Furniture, <strong>Textile</strong>s <strong>and</strong> Fashion<br />
Victoria & Albert Museum<br />
South Kensington<br />
London SW7 2RL<br />
Tel: 020 7942 2665<br />
e-mail: j.lister@vam.ac.uk<br />
Secretary<br />
Rebecca Quinton<br />
Curator, European Costume <strong>and</strong> <strong>Textile</strong>s<br />
Glasgow Museums<br />
Burrell Collection<br />
2060 Pollokshaws Road<br />
Glasgow G43 1AT<br />
Tel: 0141 287 2571 (Wednesday - Friday)<br />
Email: rebecca.quinton@glasgowlife.org.uk;<br />
rebecca.quinton@glasgow.ac.uk<br />
Membership Secretary<br />
Ruth Battersby Tooke<br />
Norfolk Museums <strong>and</strong> Archaeology Service Shirehall<br />
Market Avenue<br />
Norwich NR1 3JQ<br />
Tel: 01603 223873 (Tuesday - Friday)<br />
email: ruth.battersbytooke@norfolk.gov.uk<br />
Web Editor<br />
Kate Reeder<br />
Social History Curator<br />
Beamish North of Engl<strong>and</strong> Open Air Museum<br />
Beamish<br />
Co. Durham DH9 0RG<br />
Tel: 0191 370 4009<br />
e-mail: katereeder@beamish.org.uk<br />
National Museums Representative/London<br />
Beatrice Behlen<br />
Senior Curator, Fashion <strong>and</strong> Decorative Arts<br />
Museum of London<br />
150 London Wall<br />
London EC2Y 5HN<br />
e-mail: bbehlen@museumoflondon.org.uk<br />
Conservation Representative<br />
Ann French<br />
Conservator (<strong>Textile</strong>s)<br />
The Whitworth Art Gallery<br />
University of Manchester<br />
Oxford Road<br />
Manchester M15 6ER<br />
Tel: 0161 275 7485<br />
e-mail: ann.french@manchester.ac.uk<br />
South East Engl<strong>and</strong> Representative<br />
Veronica Issac<br />
Curatorial Assistant<br />
Department of Theatre <strong>and</strong> Performance<br />
Victoria & Albert Museum<br />
South Kensington<br />
London SW7 2RL<br />
e-mail: v.isaac@vam.ac.uk<br />
Keeper of Costume (maternity cover until Oct)<br />
Chertsey Museum<br />
e-mail: veronica.isaac@runnymede.gov.uk<br />
3
South West Engl<strong>and</strong> Representative<br />
Currently vacant<br />
North of Engl<strong>and</strong> Representative<br />
Caroline Whitehead<br />
Email: cs.whitehead@tiscali.co.uk<br />
East of Engl<strong>and</strong> Representative<br />
Ruth Battersby Tooke<br />
Norfolk Museums <strong>and</strong> Archaeology Service Shirehall<br />
Market Avenue<br />
Norwich NR1 3JQ<br />
Tel: 01603 223873 (Tuesday - Friday)<br />
email: ruth.battersbytooke@norfolk.gov.uk<br />
Irel<strong>and</strong> Representative<br />
Valerie Wilson<br />
Curator (<strong>Textile</strong>s),<br />
Ulster Folk <strong>and</strong> Transport Museum,<br />
Cultra<br />
Holywood<br />
Co. Down BT18 0EU<br />
Tel: 028 9039 5167<br />
Email: Valerie.Wilson@nmni.com<br />
Scotl<strong>and</strong> Representative<br />
Rebecca Quinton<br />
Curator, European Costume <strong>and</strong> <strong>Textile</strong>s<br />
Glasgow Museums<br />
Burrell Collection<br />
2060 Pollokshaws Road<br />
Glasgow G43 1AT<br />
Tel: 0141 287 2571 (Wednesday - Friday)<br />
Email: rebecca.quinton@glasgowlife.org.uk<br />
Wales <strong>and</strong> Midl<strong>and</strong>s Representative<br />
Althea Mackenzie<br />
Hereford Heritage Services<br />
Museum Learning <strong>and</strong> Resource Centre<br />
58 Friar Street<br />
Hereford HR4 0AS<br />
Tel: 01432 383033<br />
Email: amackenzie@herefordshire.gov.uk;<br />
althea.mackenzie@nationaltrust.org.uk;<br />
DATS Conference <strong>2012</strong>, The Burrell Collection, Glasgow,<br />
8 th & 9 th November<br />
The Autumn conference is being at The Burrell Collection in Glasgow on the 8 th <strong>and</strong> 9 th November<br />
<strong>2012</strong>, with the probability of an add on day on Saturday 10 th for a visit to another museum. The<br />
suggested themes of the <strong>2012</strong> conference are, “Collaborations” <strong>and</strong> “Working in Partnerships” .<br />
Further details will be circulated when confirmed, via the DATS email group <strong>and</strong> the website.<br />
____<br />
DATS Conference 2011<br />
The 2011 DATS Conference was held in York <strong>and</strong> the theme was Unlocking the Wardrobe – access to<br />
collections – intellectual, virtual <strong>and</strong> physical. During the conference delegates were given tours of<br />
the York Castle Museum Stores, the Quilt Museum <strong>and</strong> Gallery as well as a visit to Fairfax House to<br />
see the exhibition, Revolutionary Fashion . The addition of a third day to the schedule allowed for a<br />
very well attended day trip to the Bowes Museum in Barnard Castle, where Joanna Hashagen<br />
introduced delegates to the new Fashion <strong>and</strong> <strong>Textile</strong> Gallery <strong>and</strong> Janet Wood spoke about the<br />
development of the unique acrylic mounts created for it. Annabel Talbot gave an overview of her<br />
work on the Blackbourne Lace project in the Fashion <strong>and</strong> <strong>Textile</strong> Gallery’s Glass Study Cube.<br />
2011 Conference Papers<br />
4
Effective Collections – making the most of the Herbert's costume collection,<br />
Ali Wells, Keeper of Collections, Herbert Art Gallery & Museum<br />
Background<br />
The Herbert has recently undergone a £20million redevelopment with 8 new permanent galleries<br />
<strong>and</strong> 3 temporary exhibition spaces opening in October 2008.<br />
Since then many of the objects have been re-housed in new stores <strong>and</strong> in 2009 we carried out a<br />
collections review. The curatorial team looked at completeness of the collection, potential for<br />
creative use, potential for loans, priority for evaluation for disposal as well as documentation <strong>and</strong><br />
storage. This highlighted the strengths <strong>and</strong> weakness across the museum. In the costume, textiles<br />
<strong>and</strong> Coventry silk weaving collection there are about 8000 items of regional significance. The<br />
costume's strength is in women's dresses from 1800 to 1980 but it has relatively little use compared<br />
to its size.<br />
It was recognising the underuse <strong>and</strong> potential of the costume collection that led us to apply to the<br />
Museums Association (MA) <strong>and</strong> Esmée Fairburn Foundation funding stream, Effective Collections.<br />
Effective Collections funded museums proposing new <strong>and</strong> innovative ways of making better use of<br />
their stored collections through loans, transfers <strong>and</strong> alternative forms of disposal. In June 2010 we<br />
received £10k for the project.<br />
The project<br />
From our collections review we knew that the costume collection was well documented <strong>and</strong> its<br />
strengths well known so during the initial phase we focussed on a conservation assessment of key<br />
parts of the collection. I worked with a local freelance textile conservator, Victoria Allan, in our<br />
stores <strong>and</strong> we highlighted areas where the storage could be improved. At this time we also recruited<br />
a project assistant who worked with us for a year.<br />
Outcome 1 - temporary exhibition<br />
We had about 4 months to develop <strong>and</strong> deliver a temporary exhibition. All <strong>Dress</strong>ed Up looked at<br />
evening <strong>and</strong> occasion wear from 1890s, 1920s, 1950s.<br />
We used Effective Collections money to purchase 12 new mannequins <strong>and</strong> a beaded dress was<br />
prepared for display by a textile conservator.<br />
To date it has been our most popular exhibition in that space with over 10,000 visitors in 10 weeks.<br />
The biggest criticism was that at 14 mannequins there just weren't enough dresses on display!<br />
The exhibition was supported by a costume study day which looked at dresses <strong>and</strong> accessories in<br />
detail with a small group. Similar sessions had previously been delivered using a private collection<br />
but this project encouraged us to use our own collections.<br />
Outcome 2 - loans<br />
We worked with two local museums with small costume collections.<br />
Nuneaton Museum <strong>and</strong> Art Gallery has a strong <strong>and</strong> regularly changing temporary exhibition<br />
programme. We decided the best way forward was to support gaps in temporary exhibitions such as<br />
their Blitz commemoration exhibition <strong>and</strong> touring All <strong>Dress</strong>ed Up to them.<br />
Rugby Art Gallery <strong>and</strong> Museum have very few collections-based temporary exhibitions <strong>and</strong> limited<br />
space in their permanent galleries, so the project funded a case which would take one dress at a<br />
5
time <strong>and</strong> is located in their reception area. It was built by their technician for about £500 <strong>and</strong> the<br />
dress will change four times a year. The curator said 'everyone is thrilled with [the dress] <strong>and</strong> the<br />
display case… little things or steps can make a huge difference over here'.<br />
Although the National Trust was not in our original bid we identified them as a good match with<br />
strengths in our collection. We are working towards loans to local (<strong>and</strong> not so local!) properties.<br />
Outcome 3 - training<br />
We felt strongly that sharing skills was an important outcome of the project. We delivered a session<br />
on costume h<strong>and</strong>ling, storage, transport <strong>and</strong> display to in-house learning <strong>and</strong> inclusion staff <strong>and</strong> as<br />
well as our partners.<br />
Outcome 4 - assessment criteria<br />
Possibly the most important part of the project was developing assessment criteria for the use of our<br />
collections. The core principle is that the Herbert has a good collection which should be used –<br />
especially as it is not a unique collection.<br />
Working with a textile conservator I went through the collection identifying what could be used <strong>and</strong><br />
in what kind of way.<br />
Which dress should we use? By identifying this project we were acknowledging the importance of<br />
giving visitors the opportunity to interact with high quality historic costume. Any use of museum<br />
costume involves calculated risk, even if it is going on display in a showcase. We believe that<br />
h<strong>and</strong>ling costume does not mean the dress would be worn or it would be h<strong>and</strong>led to destruction.<br />
Each item is assessed individually <strong>and</strong> within context of our whole collection.<br />
There are four key factors to consider<br />
1. duplication - how many dresses do we have from a period? For example with only have one<br />
example of the 'oriental opulence' style from about 1910, so we reserve this dress for display only.<br />
2. suitability for display - if, for example, a dress is in too poor a condition for display it should be<br />
prioritised for other uses such as a study piece for design <strong>and</strong> construction.<br />
3. how robust it is - by considering materials, construction <strong>and</strong> treatment some items will lend<br />
themselves better for close study or h<strong>and</strong>ling. However we don't want to assign all our cotton<br />
dresses for h<strong>and</strong>ling just because they are more robust than silk ones, this factor must be considered<br />
within the context of the collection.<br />
4. what we can afford to take more risks with - Objects with no provenance or connection to<br />
Coventry are less relevant to our collection <strong>and</strong> should be considered for more varied uses before<br />
ones with a Coventry connection.<br />
What to do with the dress? There are different grades of use, each with their risks <strong>and</strong> benefits.<br />
These include display, hanging on rail for group inspection, examining closely on a table, passing it<br />
around small group.<br />
Precautions are always put in place to minimise the risk to the object for example flat textiles on a<br />
board, giving h<strong>and</strong>ling training, wearing gloves or using clear boxes to allow close examination of<br />
items without touching them.<br />
We would also asses where the costume is being taken, especially for outreach <strong>and</strong> loans. We can<br />
then reduce risk at the venue e.g. shutting curtains, asking for constant invigilation.<br />
6
This assessment method could be applied to any kind of collection.<br />
Outcome 5 - h<strong>and</strong>ling resources<br />
Once separate, our Learning collection is now much more integrated with the main collection.<br />
Objects can move back <strong>and</strong> forth between the main collection <strong>and</strong> Learning's but always in<br />
discussion with the curatorial staff.<br />
The project worker developed a h<strong>and</strong>ling collection for a fashion session. Some items will be<br />
permanently in the h<strong>and</strong>ling box but others will stay in the main collection <strong>and</strong> will be 'on loan' to<br />
Learning for the event. This session was offered for a limited period (Herbert Fashion Week!) <strong>and</strong><br />
was very successful, we plan to run the session again in September.<br />
Working with our Social Inclusion team we created h<strong>and</strong>ling boxes based on technique (e.g. lace,<br />
embroidery) to target local Further Education <strong>and</strong> Higher Education tutors. To date the take up has<br />
been poor, probably due to reduced budgets making off site visits not viable. These boxes will be a<br />
useful resource for any staff wanting to do object h<strong>and</strong>ling.<br />
Initially we planned to create h<strong>and</strong>ling boxes to use with other groups but the assessment criteria<br />
has been more useful <strong>and</strong> has given the confidence to use the entire collection in more daring ways<br />
at events such as Museums at Night <strong>and</strong> International Women’s Day.<br />
Outcome 6 – collections work using volunteers<br />
We have been primarily working with NADFAS volunteers who have created base garments for<br />
dresses displayed in temporary exhibitions <strong>and</strong> padded hangers, have been documenting <strong>and</strong><br />
repacking our boxed textiles/costume <strong>and</strong> are currently mounting our samplers onto padded boards.<br />
Secondary project<br />
We were one of a small number of projects who were successful in getting a further £5k to deliver<br />
additional outcomes identified by the project. For us this was to work with Coventry University to<br />
develop the collection as a teaching resource for fashion students.<br />
We liaised with tutors to develop tailored sessions on the history, design <strong>and</strong> construction of<br />
costume <strong>and</strong> textiles which would make use of items from the collection.<br />
Firstly we supported third year fashion students in their module Postmodern Androgyny. The project<br />
worker developed a lecture that covered fashion history <strong>and</strong> social context from 1820 to 1960 <strong>and</strong><br />
illustrated it with dresses from collection.<br />
We also developed a lecture on the history of fashion using items from the collection ready to<br />
deliver to college <strong>and</strong> first year university students. This complements their courses as they mainly<br />
focus on contemporary fashion.<br />
Conclusion<br />
The project has fitted in with the MA’s vision for the funding <strong>and</strong> we have been sharing it at different<br />
forums. We can use this experience in other parts of the collection <strong>and</strong> disseminate it to other<br />
museums. Before this project we had been investing a lot of resources in storing <strong>and</strong> looking after an<br />
important collection which, through Effective Collections, is now fulfilling its potential.<br />
7
_____<br />
Trowbridge Museum <strong>Textile</strong> <strong>and</strong> Weaving Festival 2011 -<br />
Museum Assistant<br />
Sarah Jane Kenyon,<br />
Trowbridge Museum is housed in Salter’s Mill <strong>and</strong> is a Grade 11 listed<br />
building, which was constructed 1850. The Museum is also incorporated into<br />
The Shires Shopping Centre which along with the Museum opened in 1990.<br />
The Museum is the only Museum in the West Country with comprehensive<br />
displays telling the story of the once dominant, but now vanished West<br />
Country woolen cloth industry.<br />
In its heyday, Trowbridge’s success in textile production was such that it<br />
became known as the ‘Manchester of the West’.<br />
(copyright Trowbridge Museum)<br />
<strong>Textile</strong> <strong>and</strong> Weaving Festival aims:<br />
• To highlight the historic impact that weaving<br />
<strong>and</strong> textile production had on Trowbridge.<br />
• Raise awareness of current weaving <strong>and</strong> work<br />
of contemporary textile artists.<br />
• Bring more of the public into contact with<br />
Trowbridge’s rich textile history.<br />
(copyright Trowbridge Museum)<br />
Community involvement: Partnerships were developed with the community of Trowbridge.<br />
• Wiltshire College.<br />
• Fabric Magic.<br />
• Trowbridge Library.<br />
• Bath Spa University.<br />
Budget: The project was generously sponsored by:<br />
Wiltshire Council Museums Project Fund, Bath Spa University, Wiltshire College, Fabric Magic <strong>and</strong><br />
Trowbridge Town Council. Total cost £1,200<br />
The festival included a fabulous programme of free events:<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
6 Exhibitions.<br />
2 Lectures.<br />
A guided historic weaving walk.<br />
Various Spinning demonstrations from the Wiltshire Guild of Spinners, Weavers <strong>and</strong> Dyers at<br />
Trowbridge Library <strong>and</strong> Trowbridge Museum.<br />
‘The Big Weave’– visitors has the opportunity to take part in producing cloth.<br />
Events during Heritage Open Days to highlight the wealth of heritage the museum has to<br />
offer.<br />
A selection of fun children’s activities, including a weaving with words poetry workshop.<br />
8
Mad Hatter Knitting<br />
‘The Big Weave’ Copyright Sarah Jane<br />
Kenyon<br />
Access to the Collection: ‘Live Project’ with Wiltshire College<br />
Museum Study Day:<br />
<br />
<br />
To observe the collection through drawing <strong>and</strong> photography.<br />
To view items from the Archive Collection.<br />
The project had a theme based on 3 prominent figures <strong>and</strong> the associated museum collections:<br />
<br />
<br />
<br />
Sir Isaac Pitman (shorth<strong>and</strong>).<br />
Thomas Usher (brewing).<br />
George Crabbe (fossils, poetry, religion).<br />
Final outcomes after 9 weeks:<br />
Exhibition at Trowbridge Museum, Copyright Sarah Jane Kenyon<br />
As part of the BTEC Diploma course each student was required to produce.<br />
<br />
<br />
<br />
<br />
<br />
A sketchbook.<br />
Presentation boards.<br />
An ‘A’ line skirt.<br />
A textile piece using print <strong>and</strong> stitch.<br />
A series of digital patterns.<br />
Access To The Collection: Old, But New<br />
<br />
A project developed with 3rd year Bath Spa Creative Arts Students. 3 Students viewed<br />
museum objects on display <strong>and</strong> from the Archive collection.<br />
9
The result was a body of creative work playing with the idea of old <strong>and</strong> new. Contemporary<br />
work was displayed alongside museum objects to appear as though it was part of the<br />
collection <strong>and</strong> not new contemporary work.<br />
Contemporary work by Kate Ward, Copyright Sarah Jane Kenyon<br />
Access To The Collection: Old, But New at Fabric Magic<br />
A partnership was developed with Fabric Magic on Silver Street, in Trowbridge. Bath Spa students<br />
had access to their shops windows for 3 weeks, to display Old, But, New.<br />
Contemporary work by Sarah Finch, Copyright Sarah Jane Kenyon<br />
Festival debuted in an International Exchange of Fabric<br />
2 Photographs from Leer Museum<br />
Trowbridge is twinned with Leer in North West Germany <strong>and</strong> Elbag in Northern Pol<strong>and</strong>. Leer had a<br />
history of flax growing <strong>and</strong> linen manufacture, started by the Mennonites. Elbag is home to the<br />
British Eastl<strong>and</strong> Company from the 16th century onwards <strong>and</strong> was the primary port of entry for<br />
English woolen cloth, including West of Engl<strong>and</strong> cloth.<br />
To symbolize this shared textile heritage, Leer Museum sent Trowbridge Museum linen cloth <strong>and</strong> 2<br />
photographs, also a piece of Trowbridge woolen cloth was “exported” to Elbag Museum.<br />
‘AND SEW TO READ’ at Trowbridge Lending Library<br />
10
An exhibition from the Embroiderer's Guild, Frome <strong>and</strong> District Branch, displayed at Trowbridge<br />
Lending Library.<br />
<br />
<br />
<br />
Work was inspired by the 25th anniversary.<br />
A theme of book titles.<br />
Use of silver thread to present the anniversary.<br />
With kind permission from Trowbridge Lending Library<br />
CRAFT ACTIVITES:<br />
Copyright Trowbridge Museum<br />
Copyright Trowbridge Museum<br />
Outcome: Programme of FREE EVENTS<br />
<br />
<br />
<br />
<br />
<br />
Publicity for the Museum by promoting heritage.<br />
Access to the collection not on display.<br />
Creating exhibitions beyond the Museum.<br />
Passing on skills: How to make cloth, Rag Rug Brooch, Felting, Weaving.<br />
Building partnerships with the community- Fabric Magic, Trowbridge Library, Leer Museum,<br />
Elbag Museum.<br />
_____<br />
Collection access strategies at the Fashion Museum, Bath - Elly Summers <strong>and</strong> Elaine<br />
Uttley, Fashion Museum Collections Assistants<br />
The Fashion Museum holds a world-class collection of historic <strong>and</strong> contemporary fashionable dress<br />
<strong>and</strong> is designated as a collection of outst<strong>and</strong>ing significance. The collection numbers well in excess of<br />
70,000 objects, <strong>and</strong> the museum is visited by over 100,000 people each year. Most visitors to the<br />
Museum are tourists to Bath <strong>and</strong> it is this fortuitous siting in a World Heritage city, a place that<br />
people seek to visit, that has shaped our current collection access practice. We have decided to<br />
eschew the pursuit of an on-line catalogue of the collection <strong>and</strong> instead, concentrate our resources<br />
11
on making sure that people can see the actual objects; moreover, that we can listen <strong>and</strong> talk to<br />
visitors to make sure that we underst<strong>and</strong> their needs, <strong>and</strong> can respond to them.<br />
Our paper will explore this practise by showcasing principally, three areas of our current endeavour.<br />
First, our displays, particularly, Behind the Scenes: The Historic Collection where our collections of<br />
19th century dress are presented as if visitors were entering the museum store. Secondly, <strong>and</strong><br />
leading on from this, storage of our collections <strong>and</strong> the way in which we are making our stores<br />
accessible. Thirdly, we will discuss the development of the Fashion Museum Study Facilities, which<br />
are currently visited by over 1,200 people each year.<br />
Background to the collection<br />
One of the reasons we were so keen to attend the DATS conference this year was to achieve our aim<br />
of spreading the word about the Fashion Museum <strong>and</strong> introducing as many people as possible to the<br />
collection. The Fashion Museum is housed in the historic Assembly Rooms on Bennett Street. For<br />
centuries Bath has been a centre of fashion, attracting visitors to its spa <strong>and</strong> social diversions. The<br />
Assembly Rooms is one of Bath’s finest Georgian buildings <strong>and</strong> is still central to the city’s social life<br />
today.<br />
Bath's magnificent 18th century Assembly Rooms were opened in 1771. Designed by John Wood the<br />
Younger, they were known as the New or Upper Rooms, to distinguish them from the older<br />
Assembly Rooms in the lower part of the town. An ‘assembly’ was defined in 1751 as ‘a stated <strong>and</strong><br />
general meeting of the polite persons of both sexes, for the sake of conversation, gallantry, news<br />
<strong>and</strong> play’, which basically meant that guests amused themselves at cards, danced in the ballroom,<br />
drank tea or just walked around talking <strong>and</strong> flirting.<br />
The Fashion Museum came to Bath as the Museum of Costume in 1963. It was founded by Doris<br />
Langley Moore, an inspired collector, writer, historian <strong>and</strong> costume designer who was passionate<br />
about fashions of the past <strong>and</strong> who generously gave her private collection of historic dress to the<br />
city of Bath. The Museum of Costume actually found its first home in 1955 at Eridge Castle in Kent, a<br />
little outside London. At Eridge Castle, Doris Langley Moore established her particular style of<br />
costume display, which was to display her collection on ‘realistic’ mannequins.<br />
Doris Langley Moore believed that you needed to underst<strong>and</strong> the context of the dress, something<br />
that we still strive for today at the Fashion Museum, albeit in different ways. In the mid-1950s<br />
however, this was not the usual approach to the display of dress within a museum, where more<br />
often than not, dress was viewed solely as a textile <strong>and</strong> as a branch of the decorative arts. The<br />
Museum of Costume remained at Eridge Castle for three years, <strong>and</strong> in 1958 was transferred to the<br />
Royal Pavilion in Brighton for a special exhibition. But eventually in 1963, the Museum of Costume<br />
found its permanent home in the newly re-opened Assembly Rooms in Bath.<br />
The museum was called the Museum of Costume, Bath until the name change in 2007. It was a big<br />
decision to change the name of the museum <strong>and</strong> one we only undertook following careful audience<br />
evaluation <strong>and</strong> testing. The feeling was that ‘Fashion’ rather than ‘Costume’ was a better fit with the<br />
museum collection <strong>and</strong> with visitor expectation; <strong>and</strong> it has been a seamless <strong>and</strong> successful<br />
adjustment in our identity.<br />
The Fashion Museum galleries are on the lower ground floor of the Assembly Rooms. The displays<br />
are arranged (by <strong>and</strong> large, chronologically) in a series of non-uniform showcases following a<br />
labyrinthine route. There are currently just over 180 figures on display, plus displays of accessories.<br />
There are also feature areas within the museum galleries that present dress thematically. For<br />
example in 2011, we have a display of wedding dress, <strong>and</strong> in <strong>2012</strong>, the year of the Olympics, there<br />
will be a display of fashion <strong>and</strong> sportswear.<br />
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This special exhibition will examine the close connection between active sportswear <strong>and</strong> fashion by<br />
showcasing examples of historic sportswear from the museum collection alongside modern fashions<br />
<strong>and</strong> the very best of today’s sportswear. Highlights will include a cream wool suit with red <strong>and</strong> blue<br />
stripes worn by a member of the Park Tobogganing Club in London in the 1880s, the winning catsuit<br />
worn by Olympic gold medallist Amy Williams, at the Vancouver Winter Olympics in 2010 <strong>and</strong> a gold<br />
<strong>and</strong> silver catsuit inspired by active sportswear, by designer Pam Hogg who has created second skin<br />
stage-wear for pop star Jessie J.<br />
Our aim in the gallery displays is that there is something there for everyone. Everyone may not like<br />
everything, but we hope that every visitor will find something of interest or of enjoyment. We aim<br />
for engagement, at many different levels so as to take account of the interests of many different<br />
visitors. The displays in the galleries are aimed at showcasing, sharing, presenting <strong>and</strong> interpreting<br />
the collection; <strong>and</strong>, arguably, it is the collection upon which the whole action <strong>and</strong> purpose of the<br />
Fashion Museum st<strong>and</strong>s.<br />
We cannot put an exact figure on the number of objects in the collection as we are still working on a<br />
project that started just over 20 years ago to create a database listing for each object. As the years<br />
have gone by, the format of the database has changed, but the project continues. As of the end of<br />
October 2011, the total number of object records on our Micromusée collection management<br />
database st<strong>and</strong>s at 57, 558, testimony to the hard work <strong>and</strong> dedication of the many people who<br />
have worked on the project. We continue the work, <strong>and</strong> our best guess at this stage is that the total<br />
number of items in the collection will be in excess of 80,000 objects.<br />
What we can say, <strong>and</strong> with certainty, is that the collection includes fashionable dress for men <strong>and</strong> for<br />
women from the 18 th , the 19 th <strong>and</strong> the 20 th centuries, with good collections of exquisite Elizabethan<br />
<strong>and</strong> Jacobean embroideries, plus work from cutting edge 21 st century fashion designers. The<br />
collection also includes accessories to dress, photographs, prints & drawings, magazines <strong>and</strong> archive<br />
collections. Our approach to collecting is what could be described as ‘passive’ collecting: we do not<br />
have a purchase grant <strong>and</strong> must rely on donations to the collection. However, we do select from<br />
what we are offered. The decisions are of course, all subjective, but we hope that they are subjective<br />
in an informed <strong>and</strong> thoughtful way, mindful of the nature <strong>and</strong> identity of the Fashion Museum, <strong>and</strong><br />
the visitors <strong>and</strong> users whom we serve.<br />
Our <strong>Dress</strong> of the Year collection is an exception, <strong>and</strong> allows us an avenue of ‘targeted’ collecting.<br />
Since the scheme began in 1963 under Doris Langley Moore, each year the Fashion Museum has<br />
asked a fashion expert to choose an outfit that they feel sums up the mood or look for that year. The<br />
selected outfit becomes part of the <strong>Dress</strong> of the Year collection, a roll call of the most famous names<br />
in international fashion. The collection includes the work of top designers who have made the<br />
headlines <strong>and</strong> set the trends in fashion, including notable contemporary designers such as Giles,<br />
whose giant knit scarf ensemble was chosen as <strong>Dress</strong> of the Year 2007 <strong>and</strong> British doyenne of<br />
fashion, Dame Vivienne Westwood, whose pale olive green ribbed shot silk dress was selected as<br />
<strong>Dress</strong> of the Year in 2010.<br />
Fashion Museum displays<br />
One of the key ways in which all museums make their objects accessible is through display. We have<br />
two guiding display principles at the Fashion Museum: firstly, that the gallery should have changes of<br />
pace <strong>and</strong> focus (rather like a magazine); <strong>and</strong> secondly, that the displays as a whole should have a<br />
chronological backbone, but interspersed with thematic feature displays. Equally, the way in which<br />
we display our objects through choice of mannequin <strong>and</strong> styling has a great impact on the way in<br />
which they are interpreted, understood <strong>and</strong> enjoyed by our visitors. One of our Rootstein<br />
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mannequins used to display 1960s fashions for example, has a very 1960s face, a pretty good match<br />
for Twiggy – but whether this is an original Rootstein Twiggy, we can’t be sure. Either way, by using a<br />
mannequin with the right look for 1960s fashions, we hope to make our displays engaging.<br />
There are a number of different styles of mannequins in our displays. Much of our historic<br />
collections are displayed on ‘tailors’ dummy’ style figures, which allows for figures to be altered to fit<br />
the changes in the fashionable silhouette. Fashion mannequins are then used to display our more<br />
modern collections. In fact Adel Rootestein Display Mannequins have donated a figure to the<br />
Fashion Museum for the <strong>Dress</strong> of the Year selection every year since the scheme started in 1963.<br />
Over the past few years our mannequins have been given their distinctive hair <strong>and</strong> make-up by<br />
fashion writer <strong>and</strong> stylist, Iain R. Webb. The success of our recent displays is thanks in no small part<br />
to Iain, <strong>and</strong> the partnership working that has evolved between us. Iain spends hours, literally hours,<br />
in an area of the museum known as Room 53 (none of us can remember why!) with his paints, make<br />
up <strong>and</strong> our tawdry collection of ‘props’ wigs to work his styling magic on our collection of ageing<br />
mannequins.<br />
Our popular ‘Top Trends’ displays present the five top catwalk trends for either Autumn/Winter or<br />
<strong>Spring</strong>/Summer. Styled by Iain using historical pieces from the collection, these are the looks that<br />
you will find in fashion magazines <strong>and</strong> on the High Street. The display for Top Trends Autumn/Winter<br />
2010 showcased the five major trends of the season – Ladylike; Protect <strong>and</strong> Survive; Festival Spirit;<br />
Pure Classics; <strong>and</strong> Fancy <strong>Dress</strong>. Iain is also responsible for the styling of our Helmut Lang display. As<br />
many of you know, recreating a catwalk look on a museum mannequin is no mean feat, but with our<br />
army of figures all carefully primped <strong>and</strong> preened (<strong>and</strong> some even with temporary tattoos!), we feel<br />
we are now providing visitors with a more stylish portrayal of our contemporary fashions.<br />
Our display strategies are formulated to help us achieve our aim of displaying the collection in a<br />
lively <strong>and</strong> engaging way so as to be attractive to our broad visitor base, some of whom may know a<br />
great deal about fashion <strong>and</strong> some of whom may not only know nothing, but also not be particularly<br />
interested in finding out. We’d like to highlight one particular display called Behind the Scenes at the<br />
Fashion Museum: The Historic Collection.<br />
Behind the Scenes is a display of, essentially, 19 th century fashion. The earliest pieces are from<br />
Regency times <strong>and</strong> the most recent from the time of the First World War. The objects are arranged<br />
chronologically; but this is a display with a difference: the idea is that visitors are being invited in to<br />
the museum store <strong>and</strong> will find themselves literally amongst boxes <strong>and</strong> boxes of stored material.<br />
Behind the Scenes is one of the most popular displays in the museum, <strong>and</strong> appeals to a wide-range<br />
of visitors. The key it seems is that the boxes are carefully arranged <strong>and</strong> set as scenes, <strong>and</strong> the<br />
impression is of beautiful, historic pieces spilling out of acid-free card storage boxes. Coupled to this,<br />
is a strong linear chronological narrative, with information on the development of fashionable dress<br />
in the 19 th century. There is an extra element too, to the interpretation, in that each case carries<br />
excerpts from 19 th century novels as a way to convey information about fashionable dress.<br />
The gallery then leads on to a previously concealed corridor <strong>and</strong> reveals to visitors our <strong>Dress</strong>ing<br />
Store, Archive Store <strong>and</strong> new Reading Room facility filled with our collections of fashion magazines.<br />
The <strong>Dress</strong>ing Store is home to all of our display props <strong>and</strong> materials including petticoats in various<br />
shapes <strong>and</strong> sizes; shoes with holes drilled through the soles to fit onto mannequins; <strong>and</strong> lengths of<br />
net, jersey <strong>and</strong> wadding. Behind the Scenes will remain as our principle 19 th century gallery, <strong>and</strong> has<br />
become the principle 19 th century collection store. The feature figures will change on a rolling<br />
programme – probably every three years – but the ‘storage backdrop’ will remain in situ.<br />
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This ‘storage backdrop’ is something that we are very proud of. Like many museums, we are based in<br />
a historic building, which was never designed to hold collections of dress <strong>and</strong> accessories, <strong>and</strong><br />
storage is something of a premium. The decision to make our 19 th century stores into a display, was<br />
in part an answer to this very problem <strong>and</strong> included the relocation of over 200 boxes from an off-site<br />
store to the Behind the Scenes gallery. We have not only freed up space in our stores to reconfigure<br />
<strong>and</strong> make them more accessible, but now our entire 19 th century collection is on display to the<br />
public.<br />
The display is housed in a large gallery divided into 10 cases. Each case displays fashions from one or<br />
two decades, along with different methods of storage. In this way we can demonstrate not only our<br />
collection but the different ways in which we store objects, according to their needs. For example,<br />
the first case, showing fashions from the 1800s also displays our stored shawls <strong>and</strong> stoles. They are<br />
stored interleaved <strong>and</strong> folded with plain washed calico <strong>and</strong> acid-free tissue on shelving – which also<br />
means that we can lift them out with relative ease for people to see in the Study Facilities. The 1810s<br />
case houses our collection of 19 th century lace in a series of stacking trays, lined with calico. Lace<br />
lengths are rolled around tubes made from sheets of melinex covered with stockingette.<br />
Although we do have plans for store tours, we realise that many visitors like to see objects within<br />
the context of a narrative or theme <strong>and</strong> so we feel we have in some way turned our storage<br />
problems into an opportunity for greater access. Visible labels on stored objects <strong>and</strong> boxes enable<br />
visitors to glimpse at the range <strong>and</strong> scope of the collection within the context of 19 th century<br />
fashionable dress history. Our 19 th century shoes, for example, are stored on individually labelled<br />
shoe trays made from acid-free card <strong>and</strong> plastazote <strong>and</strong> can be seen within the narrative of 1890s<br />
fashion history, while the majority of our 19 th century dresses are stored in acid-free card boxes, <strong>and</strong><br />
are on display alongside mounted examples of mid-nineteenth century underwear <strong>and</strong> dress. Behind<br />
the Scenes is very much a working store <strong>and</strong> not just a display.<br />
Fashion Museum stores<br />
The ‘knock-on’ effect of moving our 19 th century collection to the gallery has been a re-thinking of all<br />
of our storage space. Since September last year, Rosemary Harden, Fashion Museum Manager has<br />
been working tirelessly to reconfigure each store room at the Fashion Museum, which has been, <strong>and</strong><br />
continues to be, a very exciting process. We have discovered things, which we didn’t realise we had,<br />
like just last week when Rosemary discovered a wonderful Callot Soeurs evening coat in pearl grey<br />
<strong>and</strong> delicate pink silk satin from the late 1930s. The systematic re-organisation <strong>and</strong> re-storage of our<br />
objects is enabling us to have a real sense of the collection for the first time <strong>and</strong> in so doing making it<br />
that much more accessible.<br />
Store 3, which houses our 20 th century hat collection, was completed in July of this year <strong>and</strong> uses<br />
‘really useful boxes’ to protect <strong>and</strong> stack the hats. These boxes have made the hat collection<br />
accessible on a number of levels. Previously, the hats were stored in rather nasty brown cardboard<br />
boxes or stacked haphazardly on shelves <strong>and</strong> it was always difficult to find things. Now, we can<br />
clearly see what have - <strong>and</strong> knowing your collection is surely at the root of access. Storing hats in this<br />
way makes them easily transportable between the store <strong>and</strong> the Study Facilities, so that whether<br />
we’re facilitating a study appointment, or looking for something for an exhibition, access to our 20 th<br />
century hat collection has become a pleasure!<br />
Another store which has recently received a makeover is our 20 th century shoe store. Our shoe<br />
collection has gone through many location changes as large sections of the collection have been<br />
moved to other stores or placed on display at different times in the past. We regularly accept new<br />
donations to the collection <strong>and</strong> naturally, over the years, the organisation of the shoe store has<br />
become slowly more chaotic. This store also contained shoes from the 18 th <strong>and</strong> 19 th centuries <strong>and</strong> it<br />
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was only in response to creating the Behind the Scenes gallery that we were able to remove all of the<br />
19 th century shoes, make space <strong>and</strong> re-think the organisation of the store.<br />
Shoes are a popular accessory to view at the Study Facilities <strong>and</strong> so we wanted to devise a quick,<br />
easy way to organise <strong>and</strong> store them, without compromising the objects. Our shoes are stored, by<br />
<strong>and</strong> large, on shoe trays on dexion shelving in chronological order. To make it easy to access the<br />
shelves, our volunteer group from the West of Engl<strong>and</strong> Costume Society, devised a series of Roman<br />
blinds to protect the shoes from dust <strong>and</strong> light. The blinds have been a huge success <strong>and</strong> have<br />
created a store environment that we now feel happy to show to our visitors.<br />
As a result we are currently planning a different type of open access initiative for 2013, <strong>and</strong> will offer<br />
pre-booked ‘store tours’ to small groups of people from next summer. The 45 minute tours will be<br />
conducted by ourselves <strong>and</strong> Rosemary <strong>and</strong> will take a ‘back stairs’ route through our principle<br />
storage area on the second floor level of the Assembly Rooms. We are in the planning stages of this<br />
initiative at the moment <strong>and</strong> are discussing whether to timetable the tours as regular ‘Back Stairs<br />
Tours’, or alternatively bill them as occasional ‘Pop-Up Tours’.<br />
A possibility of a different type of personalised ‘Pop-Up Tour presented itself recently. A menswear<br />
student from the Royal College of Art (mentored by Iain R. Webb, in his role as Professor at the<br />
college) visited to look at examples of menswear. Rather than select pieces for him <strong>and</strong> take them to<br />
the Study Facilities for study, the student spent the afternoon, with Iain in attendance in the<br />
menswear store, which he found really inspiring. Following on from this, we would like to investigate<br />
this ‘Professor’s Pick’ means of access for individual fashion <strong>and</strong> design students a little further in the<br />
future.<br />
Fashion Museum Study Facilities<br />
The Fashion Museum is passionate about increasing access to its stored collections. We have a<br />
positive attitude to opening up <strong>and</strong> making the collections available. The Study Facilities is the<br />
principle form of access to the collection, for those pieces that are not on display in the galleries or<br />
out on loan for special exhibition to other Accredited museums. We welcome everybody who wants<br />
to learn more about objects in the museum collection by encouraging enquirers to book one of our<br />
study tables available on a Thursday or Friday each week. Visitors typically book a two hour selfdirected<br />
study appointment <strong>and</strong> then have the opportunity to examine objects from the stores at<br />
close quarters <strong>and</strong> to browse our reference library of specialist fashion history texts <strong>and</strong> journals.<br />
Visitors to the Study Facilities range from groups, for example the Regency period enthusiasts, who<br />
visit each year as part of the Jane Austen Festival held in Bath, to individuals, including students,<br />
fashion designers, re-enactors, historians, novelists, donors - the list goes on! Nobody is excluded –<br />
<strong>and</strong> no letters of recommendation or references are required - whatever people’s interest, we will<br />
accommodate them <strong>and</strong> pull a selection of pieces from the stores for them to examine. Although we<br />
have no on-line catalogue for visitors to search, in practice, the issue of “how will I know what<br />
you’ve got in the collection so I know what to request” does not present a problem. We encourage<br />
people to talk to us <strong>and</strong> set up a dialogue with the museum about their interests <strong>and</strong> their research.<br />
The Study Facilities were commended in Collections for People, a report published in 2008 by<br />
University College London as a particular strength of the Museum <strong>and</strong> we were cited as one of the<br />
top 36 museums in the UK who give access to collections not on display. The report considered<br />
stored collections as a public resource <strong>and</strong> called for their more effective use, <strong>and</strong> this is something<br />
that we have been keen to explore further as we review our storage needs <strong>and</strong> plan our exhibitions.<br />
We recognise that the Fashion Museum collection is a public resource <strong>and</strong> we have an obligation to<br />
make it publicly available<br />
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Increasingly too, access to the collection is through welcoming people to come <strong>and</strong> work alongside<br />
us as volunteers, or on intern attachment programmes. We have a long-st<strong>and</strong>ing volunteer group<br />
from the West of Engl<strong>and</strong> Costume Society who join us every Friday morning to undertake a variety<br />
of tasks. For the past two years the group have been working on the development of an additional<br />
area of the Study Facilities, known as the Plunge Pool Reading Room. It houses our Fashion<br />
Magazines, <strong>and</strong> will operate on the same appointment basis as the Study Facilities, but will be<br />
supervised by the Volunteer Group. The group have done fantastic work listing, numbering <strong>and</strong> restoring<br />
our collections of Vogue, Queen, Harper’s Bazaar <strong>and</strong> Elle <strong>and</strong> we hope to officially open to<br />
visitors in spring <strong>2012</strong>.<br />
We are also planning to offer a different type of access to the collection to coincide with the 50 th<br />
Anniversary of the Fashion Museum in 2013. This will take place in a room opposite the Study<br />
Facilities, which is currently full to bursting with 19 th century dress (all of which will be boxed <strong>and</strong><br />
stored in the Behind the Scenes gallery throughout <strong>2012</strong>). The ‘expert-led’ sessions will take the<br />
form partially of a lecture with projected images <strong>and</strong> partially of an object session for groups of 15-<br />
20 people. We will tailor-make sessions for groups, offer sessions on popular subjects such as corsets<br />
<strong>and</strong> crinolines, <strong>and</strong> ask a range of ‘experts’ to conduct master classes.<br />
The Fashion Museum has a partnership arrangement with Bath Spa University <strong>and</strong> assists with the<br />
teaching of the BA course in Fashion Design. Fashion students attend lectures in Contextual Studies<br />
on the Assembly Rooms site <strong>and</strong> have the opportunity to examine <strong>and</strong> h<strong>and</strong>le relevant historical <strong>and</strong><br />
contemporary garments from the museum collection in the Study Facilities as part of their taught<br />
course work. We see first year <strong>and</strong> second year students each week <strong>and</strong> work with the Contextual<br />
Studies tutor on delivering this aspect of the course.<br />
We encourage engagement with the objects through close study <strong>and</strong> work with the students on<br />
undertaking an object analysis <strong>and</strong> looking at the design <strong>and</strong> how the garment is put together in<br />
order to build the students’ knowledge of fashion history <strong>and</strong> to inspire them with their own<br />
designs. So far this semester, the second year students for example, have had access to lots of<br />
gorgeous 1930s dresses as part of their studies on drapery, while the first year students have been<br />
looking at woollen garments <strong>and</strong> aesthetic dress in t<strong>and</strong>em with their lectures on the <strong>Dress</strong> Reform<br />
Movement.<br />
Looking outside of the city of Bath <strong>and</strong> at a different kind of higher education, the Fashion Museum<br />
also has links with The Centre for <strong>Textile</strong> Conservation <strong>and</strong> Technical Art History at the University of<br />
Glasgow. The centre now offers postgraduate programmes, <strong>and</strong> the first PhD student, Caroline Ness<br />
is writing her doctorate on the Mattli Archive collection at the Fashion Museum. Since 1984, we<br />
have also worked closely with the Pasold Research Fund in awarding a number of small bursaries in<br />
memory of the late Kenneth Ponting to enable students in higher education to study the collections<br />
at the Fashion Museum.<br />
Kenneth Ponting, the founding Director of the Pasold Research Fund <strong>and</strong> an authority on the wool<br />
textile industry, lived in Bath <strong>and</strong> took an active interest in the museum. He was also eager to<br />
promote the serious study of both the history of textiles <strong>and</strong> the history of dress. Last year, Kate<br />
Strasdin, a PhD c<strong>and</strong>idate at the University of Southampton, spent three days in our Study Facilities<br />
conducting research for her thesis on the surviving garments of Queen Alex<strong>and</strong>ra, of which we have<br />
some prime examples, including a cream wool yachting jacket <strong>and</strong> an embroidered evening dress.<br />
As well as welcoming people to the Fashion Museum we also go out <strong>and</strong> talk to people about the<br />
collection. We offer both general talks <strong>and</strong> papers on aspects of fashion history. For example, both<br />
Elaine <strong>and</strong> I have delivered talks to local WI groups <strong>and</strong> Rosemary contributes to the Bath Royal<br />
17
Literary <strong>and</strong> Scientific Institution (BRSLI) lecture programmes. BRSLI is the best venue in Bath for<br />
lectures <strong>and</strong> building on the existing relationship, we are next year co-convening a series of lectures<br />
on Fashion <strong>and</strong> Sport, which will coincide with our display of the same name opening in February<br />
<strong>2012</strong>.<br />
We tweet at least once a day about our day-to-day activities; keeping people up to date on new<br />
donations, objects viewed at the Study Facilities, progress on new exhibitions <strong>and</strong> store moves as<br />
well as other general fashion-related news <strong>and</strong> events that we are talking about in the office. We<br />
have deliberately kept the style <strong>and</strong> tone of our tweets fairly informal in order to give a more<br />
personal <strong>and</strong> less corporate voice to the Fashion Museum. We feel this helps to foster accessibility<br />
<strong>and</strong> encourages interested users to find out more about the collections.<br />
Using Twitter is helping us to reach people all around the world. Tweets are publicly visible by<br />
default <strong>and</strong> in September 2011, Twitter announced that it has 100 million active users logging in at<br />
least once a month <strong>and</strong> 50 million active users every day. We now have almost 900 followers<br />
including fashion enthusiasts, local residents, museums, designers, bloggers <strong>and</strong> journalists, all keen<br />
to hear about what’s happening at the Fashion Museum.<br />
Images<br />
The Fashion Museum’s access strategies are all about getting people to see the real thing. We<br />
capitalise on the fact that Bath is a city that people either visit, or would be pleased to visit, <strong>and</strong><br />
direct our scant resources to firstly devising <strong>and</strong> then running different types of access schemes. We<br />
also place emphasis on being open <strong>and</strong> available so that people can tell us what they need in terms<br />
of access.<br />
Of course, not everybody will come to Bath, so we also concentrate on getting images of objects in<br />
the collection into the public domain. Vivien Hynes, the Fashion Museum Administrator h<strong>and</strong>les all<br />
enquiries about images of our objects, working closely with Bridgeman Art Library. In this way, while<br />
we do not have an on-line catalogue of the collection, we can offer a professional service to<br />
enquirers, <strong>and</strong> also publish images of our objects on a well-resourced accessible website. Over the<br />
past two years we have also worked with Workman Publishing to publish images of h<strong>and</strong>bags <strong>and</strong><br />
shoes in the Fashion Museum collection in their calendar range. Today’s h<strong>and</strong>bag is an 18 th century<br />
pear-shaped, canvas work, purse with large ribbon closure. The <strong>2012</strong> shoe calendar featuring over<br />
100 of our shoes is on sale worldwide right now – surely the perfect Christmas present!<br />
Dem<strong>and</strong> for photographic images is an increasing global phenomenon. Everybody wants pictures,<br />
whether this is a 10 year old working on his school topic, or a journalist working to his two-hour<br />
deadline. By working in partnership with different types of professionals in this area (such as the<br />
Bridgeman Art Library or Workman Publishing), we can increase both access to <strong>and</strong> levels of<br />
engagement with objects in the collection at the Fashion Museum. And that surely is what the<br />
collecting strategies, the display strategies <strong>and</strong> the access strategies are all about, enabling as many<br />
people as possible to engage with objects in the museum collection for their own learning,<br />
inspiration <strong>and</strong> enjoyment.<br />
____<br />
‘Talking <strong>Textile</strong>s’: A Monument Fellowship, York Castle Museum 2010-2011<br />
Mary M Brooks<br />
Introduction<br />
This paper explores the aims, processes <strong>and</strong> outcomes of the ‘Talking <strong>Textile</strong>’ Monument Fellowship<br />
which I undertook at York Castle Museum (YCM) in 2010-2011. The ‘Talking <strong>Textile</strong>s’ Fellowship<br />
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aimed to enhance the collection’s profile by exploring specific <strong>and</strong> possibly less well-known parts of<br />
collection <strong>and</strong> encouraging dialogue <strong>and</strong> discovery amongst curatorial staff who did not usually work<br />
with the collection. The approaches used to build long-term knowledge <strong>and</strong> underst<strong>and</strong>ing included<br />
themed videos integrating object-based research, the development of web-based information with<br />
the ultimate goal of e-learning <strong>and</strong> podcasts, training sessions on fibres <strong>and</strong> fabrics <strong>and</strong> research into<br />
the collection’s history.<br />
York Castle Museum<br />
York Castle Museum is one of the largest regional museums in Engl<strong>and</strong>. It developed from a<br />
collection of ‘by-gones’ amassed by Dr John Lamplugh Kirk (1869-1940). In 1890 Kirk moved to<br />
Pickering, a small town near York. Kirk was a keen archaeologist, photographer <strong>and</strong> speed-trials<br />
racing driver <strong>and</strong> became most deeply engaged with the loss of the material cultural of the past<br />
which he saw being discarded as the pace of social <strong>and</strong> cultural change quickened in Yorkshire. He<br />
started to collect in the 1890’s <strong>and</strong> his collection – bought, given <strong>and</strong> sometimes accepted in lieu of<br />
medical fees – grew with a vengeance. It became too large for his home <strong>and</strong> by the 1920s was<br />
housed in Pickering Memorial Hall. Kirk began offering his collections to various institutions but was<br />
dissatisfied with the buildings he was offered. Eventually, the City of York accepted his conditions<br />
<strong>and</strong> with the great support of Councillor John Bowes Morrell, Kirk’s collection came to York <strong>and</strong> was<br />
housed in the old Female Prison. This had been built in 1780 to ease some of the overcrowding<br />
problems in the adjacent Debtors’ Prison 1 which the museum exp<strong>and</strong>ed into in 1952. Kirk had<br />
revolutionary ideas about museum design, influenced by Sc<strong>and</strong>inavian pioneers such as Hazeilus. He<br />
visited Skansen, the pioneering Swedish outdoor museum, in 1910. 2 Kirkgate, the famous street of<br />
relocated shop fronts constructed in the exercise yard of the Female Prison, <strong>and</strong> the period rooms<br />
are the most famous of his display strategies <strong>and</strong>, although they have been changed over time, still<br />
reflect something of his original vision. The YCM Designated Costume <strong>and</strong> <strong>Textile</strong> collection includes<br />
English dress from c.1700 to the present day as well as domestic textiles, quilts <strong>and</strong> embroideries<br />
with particular strengths in the nineteenth <strong>and</strong> early-twentieth century. The collection reflects<br />
mainstream fashions exemplified in the clothes worn by ordinary together with fans, shawls,<br />
underwear, shoes <strong>and</strong> accessories.<br />
The Monument Fellowship Scheme<br />
The Monument Fellowship scheme was established in response to the Museum Association’s report<br />
Collections for the Future (2005), 3 which highlighted concerns that collections knowledge was not<br />
being sufficiently developed, recorded <strong>and</strong> transmitted.The scheme was funded by the Sainsbury<br />
family Monument Trust <strong>and</strong> administered by the Museums Association which provided guidance <strong>and</strong><br />
support through workshops with other Fellows <strong>and</strong> this mentors. 4 The host museum <strong>and</strong> the Fellow<br />
proposed projects enabling past specialists to share their subject knowledge to successors or former<br />
colleagues as well as the wider museum community. The projects initially lasted fifty days with<br />
opportunity of applying for an extension. As a previous Assistant Keeper of <strong>Textile</strong>s & <strong>Dress</strong><br />
(Conservation) at YCM (1988-1993) <strong>and</strong> following the closure of the <strong>Textile</strong> Conservation Centre at<br />
the University of Southampton, 5 I was eligible under Fellowship criteria <strong>and</strong> our application was<br />
successful.<br />
‘Talking <strong>Textile</strong>s’<br />
The ‘Talking <strong>Textile</strong>s’ project aimed to capture <strong>and</strong> share knowledge about the textile <strong>and</strong> dress<br />
collection by explore ways of looking at textiles <strong>and</strong> dress with colleagues who had relatively little<br />
experience with this type of material. It was hoped that using a discovery approach would stimulate<br />
dialogue, build knowledge of textiles <strong>and</strong> dress <strong>and</strong> create systems <strong>and</strong> tools to encourage <strong>and</strong><br />
sustain long term development of knowledge <strong>and</strong> underst<strong>and</strong>ing. In terms of sustainability, this<br />
information would also contribute to the retrospective documentation process The approaches used<br />
to build long-term knowledge <strong>and</strong> underst<strong>and</strong>ing of the textiles <strong>and</strong> dress collection included<br />
19
themed videos integrating object-based research, the development of web-based information with<br />
the ultimate goal of e-learning <strong>and</strong> podcasts, training sessions on fibres <strong>and</strong> fabrics <strong>and</strong> research into<br />
the collection’s history. Underst<strong>and</strong>ing <strong>and</strong> learning from this process would facilitate new ways of<br />
exploring the collection <strong>and</strong>, ultimately, enhance interpretation for the benefit of visitors. These<br />
goals including contributing to the development of a ‘Learning Journey’ for the My Learning website,<br />
fibre <strong>and</strong> fabric training sessions, fact packs <strong>and</strong> a guide for museum visitors to textiles <strong>and</strong> dress in<br />
the museum. An article on the history of the collection in an academic journal is being developed to<br />
capture the outcomes of the project for a different audience. This was a busy <strong>and</strong> ambitious project<br />
<strong>and</strong> we were fortunate in being successful in an application for a full extension of a further 50 days.<br />
‘Talking <strong>Textile</strong>s’ videos<br />
A series of informal videos were made recording object based ‘collections conversations’ about the<br />
specific parts of the dress <strong>and</strong> textiles collection. The objective of making the videos was three-fold:<br />
To disseminate information about the dress <strong>and</strong> textile collection to a wider nonvisitor<br />
group in an exciting <strong>and</strong> innovative manner using the web<br />
To engage with staff from the then History <strong>and</strong> the Learning Teams who did not<br />
normally work with the textile <strong>and</strong> dress collection with aim of:<br />
o enriching their underst<strong>and</strong>ing of the collection through detailed discussion<br />
of specific items in the collection (object-based learning methodology)<br />
o enhance underst<strong>and</strong>ing of the potential of the collection <strong>and</strong> ways of using<br />
it in interpretation, education <strong>and</strong> learning<br />
o<br />
o<br />
raising awareness of relevant research resources<br />
enhance knowledge of the conceptual basis of the physical layout of the<br />
costume <strong>and</strong> textile stores which are based on the ICOM Costume<br />
Committee framework 6<br />
To create resources for specific sections of the dress <strong>and</strong> textile collection<br />
The videos are now in digital format <strong>and</strong> three are being professionally edited to become podcasts. 7<br />
These will be available via the Museum’s website to be used as pre-visit information, provide access<br />
to parts of the collection which are not on display <strong>and</strong> to support learning activities.<br />
As articulated by Kingery, 8 object-based study involves not only studying the physical nature of the<br />
artefact but also considering the context <strong>and</strong> location of its production as well as the use which has<br />
been made of it, both in its original context <strong>and</strong> in terms of re-use, rejection, disposal or collection<br />
(Fig. 1). This process enables the development of deep underst<strong>and</strong>ing resulting in more effective<br />
communication of the artefact’s nature <strong>and</strong> significance.<br />
ARTEFACT<br />
Attributes<br />
Frequency<br />
Associations<br />
Spatial patterns<br />
PRODUCTION<br />
ACTIVITIES<br />
Materials collection<br />
Materials selection<br />
Materials processing<br />
Object design<br />
Object realisation /<br />
production<br />
USE ACTIVITIES<br />
Distribution<br />
Use <strong>and</strong> function -<br />
as tools<br />
as signs<br />
as symbols<br />
Performance /<br />
Meaning<br />
Discard / Refuse<br />
20
Figure 1. Linking underst<strong>and</strong>ing of the object with its use <strong>and</strong> social life (based on Kingery 1996)<br />
Key points from the ‘collections conversations’ were identified for the filmed conversations. An<br />
informal plan for the discussion was made, identifying who was to make which point <strong>and</strong> in which<br />
order. Normally, the starting point was a full view of the garment or item followed by more detailed<br />
close-ups according to the flow of the conversation. When working with groups of more than one<br />
colleague, the conversation was initially mediated by the Fellow but as colleagues grew in<br />
confidence, the discussions were increasingly a creative dialogue between the two of them. When<br />
working in pairs, it was usual for the colleague <strong>and</strong> the Fellow to take turns in leading <strong>and</strong> recording<br />
a conversation. It was important to ensure that colleagues felt comfortable with the process.<br />
Themes which drew on both the strength of the collection <strong>and</strong> the Monument Fellow’s specific<br />
knowledge of the collection were identified:<br />
<br />
<br />
<br />
<br />
<br />
<br />
Spotting the Rot: exploring the causes of degradation in textiles<br />
War time Fabrics <strong>and</strong> Fashions: Utility <strong>and</strong> non-Utility garments <strong>and</strong> accessories<br />
Hardware: Protective clothing for humans <strong>and</strong> animals, including military items<br />
<strong>Dress</strong>ing the 18 th century Lady: using an 18 th century doll as the centrepiece<br />
together with comparable <strong>and</strong> complementary dress <strong>and</strong> accessories <strong>and</strong> images<br />
from York Art Gallery<br />
Gems from the Collection: highlighting some of the most significant <strong>and</strong> unusual<br />
pieces in the <strong>Dress</strong> <strong>and</strong> <strong>Textile</strong> Collection<br />
Fibres <strong>and</strong> Fabrics looking at the main types of fibres <strong>and</strong> different fabric structures<br />
After these themes had been selected <strong>and</strong> objects had been identified <strong>and</strong> located, conversations<br />
about the objects took place using an object-based methodology, supported with information <strong>and</strong><br />
research resources prepared by the Fellow. This information eventually became part of the resource<br />
h<strong>and</strong>book for each theme. Insights from previous encounters with the object where integrated into<br />
the h<strong>and</strong>book.<br />
Knowledge gained through previous conservation treatment <strong>and</strong> radiography of the eighteenth<br />
century doll was included in the h<strong>and</strong>book for <strong>Dress</strong>ing the 18 th century Lady. This discussion was<br />
also framed with information about York’s position as a centre of fashion in the eighteenth century.<br />
The manager of York Theatre from 1766, Tate Wilkinson observed in his Memoirs ‘The ladies of York<br />
without any compliment have a grace <strong>and</strong> manner not often met with out of London’. 9 Using images<br />
from other collections in York Museum Trust was also helpful in contextualising the doll <strong>and</strong> her<br />
dress. A painting in York Art Gallery of New Walk, 10 a tree-lined avenue created in the 1730s by the<br />
corporation of York as a formal space for the fashion conscious to stroll <strong>and</strong> socialise <strong>and</strong> prints of<br />
the Assembly Rooms 11 showed eighteenth century dress in movement both inside <strong>and</strong> outside.<br />
Integrating information about fashionable consumption in York was also important such as a 1740<br />
advertisement by George Roe, Silk Mercer <strong>and</strong> Linen Draper at the Sycamore in the Minster Yard<br />
detailing the range of fabrics he sold. 12<br />
A similar approach was used for the Fibres <strong>and</strong> Fabrics theme. Specific examples of unusual fibres<br />
where highlighted the Ardil nightdress from the Wallis Archive in the collection (YCM 431.78). 13 This<br />
is an example where underst<strong>and</strong>ing that the nightdress contained ICI’s peanut fibre led to a changed<br />
underst<strong>and</strong>ing of the garment <strong>and</strong> a bigger research project. A mourning bonnet made by Rowntree<br />
Milliners of 16 Parliament Street, York was used as an example of a crepe fabric (CCT 1956; YORCM<br />
25/73).<br />
Sharing knowledge with colleagues<br />
21
The work done for this theme fed into the two Fibres <strong>and</strong> Fabrics workshops. One was for museum<br />
staff <strong>and</strong> the other, organised with through the Social History Curator’s Group, was for colleagues<br />
outside the museum. These workshops aimed to introduce participants to the natural, man-made<br />
<strong>and</strong> synthetic fibres <strong>and</strong> their behaviours <strong>and</strong> patterns of degradation. Participants explored fibre<br />
<strong>and</strong> fabrics through h<strong>and</strong>s-on examination of samples <strong>and</strong> an observation activity in the museum.<br />
Although there had been some concern that using microscopes would be off-putting as it was too<br />
‘science’ orientated, participants found the opportunity to make a fibre slide <strong>and</strong> use a simple<br />
microscope to identify a variety of fibres the most exciting <strong>and</strong> rewarding part of the day.<br />
Sharing knowledge with visitors<br />
A self-guided tour for visitors interested in learning more about textiles <strong>and</strong> dress on display in the<br />
museum was developed <strong>and</strong> can be downloaded from the museum website. 14 Called ‘Following the<br />
Thread’, this was evaluated as part of in-gallery CPD sessions with the museum guides. These<br />
sessions aimed to enhance the guides’ knowledge of textiles <strong>and</strong> dress on display so they could<br />
respond effectively to visitors’ questions. They also provided invaluable feedback on which items<br />
visitors found most intriguing or most puzzling. It was also illuminating to ask the guides for their<br />
favourite textile <strong>and</strong> dress objects – <strong>and</strong> also those they found most difficult to underst<strong>and</strong> <strong>and</strong><br />
explain.<br />
Deepening knowledge of the collection<br />
One key aspect of the project which is still on-going was to capture knowledge of the history of the<br />
collection. Research was undertaken in to the earlier registers recording the type of textiles <strong>and</strong><br />
dress acquired names of donors <strong>and</strong> location. Key aims here are to explore Kirk’s interests in this<br />
material, explore the rationality of the collection <strong>and</strong> recognise the huge contribution of YCM textile<br />
<strong>and</strong> dress curators <strong>and</strong> conservators Pat Clegg, Clare Rose, Josie Sheppard <strong>and</strong> Jane Mckinley.<br />
What did we learn?<br />
Through the project, I tried to work as a good reflective practitioner <strong>and</strong> think about the process as<br />
well as the product. It was thought important to record the process for further development as the<br />
museum was undergoing major changes. The Museums Association undertook formal monitoring<br />
<strong>and</strong> evaluation to ensure that projects ran smoothly <strong>and</strong> meet their objectives. They also produced<br />
advice <strong>and</strong> guidance on knowledge-sharing for the wider museum community in the form of the<br />
Sharing Knowledge Toolkit which drew on the work of the Monument Fellows <strong>and</strong> is intended as a<br />
practical guide for museums. 15 An issue of Museum Practice focusing on succession planning also<br />
drew on the Monument experience. 16<br />
It was clear that this level of close working with objects was engaging, enjoyable <strong>and</strong><br />
generated information <strong>and</strong> ideas which feed into underst<strong>and</strong>ing of collection. Colleagues<br />
welcomed the opportunity to work closely with objects <strong>and</strong> use object-research model –<br />
something that is all too rare in daily working life in the museum. Participants enjoyed the<br />
workshops including learning how to use the microscopes <strong>and</strong> found underst<strong>and</strong>ing the<br />
fibres <strong>and</strong> fabrics informed their thinking about textiles <strong>and</strong> dress. Hopefully, long-term<br />
public benefits will grow out of this deeper underst<strong>and</strong>ing of such collections.<br />
Acknowledgements<br />
York Castle Museum: I would like to thank colleagues for their support <strong>and</strong> positive engagement in<br />
the project <strong>and</strong> for sharing their knowledge <strong>and</strong> expertise so generously.<br />
Gwendolen Whitaker, Curator, History; Fellowship supervisor; Sheri Steel, previously Curator, Social<br />
History; Katy Turner, previously Curator, Social History; Sarah Maultby, previously Assistant Curator,<br />
Social History; Michelle Petyt, previously Assistant Curator, Social History;<br />
22
Josie Sheppard, previously Curator, Costume <strong>and</strong> <strong>Textile</strong>s; Sheila Gair. Display & Storage Care<br />
Assistant; Lucy Knock, Assistant Curator of Social History, Learning; Lynda Withers, Education<br />
Assistant<br />
Museums Association:<br />
Lucy Shaw, Diversify Coordinator<br />
Helen Wilkinson, Consultant, museum sector policy<br />
________<br />
1. The architect of the English Baroque style building was possibly William Wakefield, a trained lawyer<br />
rather than a professional architect.<br />
2. Opinions vary as to how much Kirk understood the curatorial principles developing in Sc<strong>and</strong>inavian<br />
museum <strong>and</strong> how far he used them as a display device rather than as an intellectual principle; see<br />
Kavanagh, G. 1986-7. Beyond Folk Life. Social History Curators Journal, 14, 3-6.<br />
3. See Collections for the Future Report http://www.museumsassociation.org/download?id=11121 <strong>and</strong><br />
Collections for the Future: Two Years On http://www.museumsassociation.org/download?id=14112<br />
4. http://www.museumsassociation.org/collections/about-monument-fellowships<br />
5. The textile conservation <strong>and</strong> history of textile <strong>and</strong> dress programmes are now based at Glasgow<br />
University; see The Centre for <strong>Textile</strong> Conservation <strong>and</strong> Technical Art History MPhil <strong>Textile</strong><br />
Conservation http://www.gla.ac.uk/postgraduate/taught/textileconservation/ <strong>and</strong> MLitt <strong>Textile</strong> <strong>and</strong><br />
<strong>Dress</strong> Histories http://www.gla.ac.uk/postgraduate/taught/dresstextilehistories/<br />
6. ICOM Costume Committee; Buck, A. 1982. Vocabulary of basic terms for cataloguing costume.<br />
Waffen- und Kostümkunde, p. 119-152. See http://www.collectionstrust.org.uk/costume/vbt00e.htm<br />
7. For a rough cut see Wartime fashions at York Castle Museum.<br />
http://www.youtube.com/watch?v=r1aJrIMBMSg<br />
8. Kingery, D. W., ed. 1996. Learning from Things. Method <strong>and</strong> Theory of Material Culture Studies,<br />
Washington & London: Smithsonian Institution Press<br />
9. Cited in Grundy Heape, R. 1937. Georgian York. A Sketch of Life in Hanoverian Engl<strong>and</strong>. London:<br />
Methuen & Co. Ltd., 14.<br />
10. After Nathan Drake, New Terrace Walk, York (York Art Gallery 584-1).<br />
11. William Lindley, Assembly rooms, York 1759 (York art Gallery R1482-1). The Assembly Rooms were<br />
designed by Richard Boyle, 3rd Earl of Burlington, drawing on Palladio’s interpretation of Roman<br />
architecture. It was probably the earliest neo-classical building in Europe <strong>and</strong> became one of the most<br />
influential buildings in early 18th century Engl<strong>and</strong>.<br />
12. This is advertisement ‘inform[s] all persons – even those of the meanest capacity - that they can have<br />
the following goods either wholesale or retail, the process being fixed without any abatement: Rich<br />
brocades in the newest patterns, Black <strong>and</strong> coloured Paduasoys, Silk satins, Allopeens, Cherryderrys,<br />
Poplins, Superfine Broad Camblets, Tammils, Plodds, India Dermitties, Wrough Petticoats, Hair<br />
Prunelloes <strong>and</strong> Princess stuffs, for Clergymen <strong>and</strong> gentlemen of the Law, men’s Gouns <strong>and</strong> Banyans,<br />
<strong>and</strong> other goods to tedious to mention’. Cited in Grundy Heape, R. 1937. Georgian York. A Sketch of<br />
Life in Hanoverian Engl<strong>and</strong>. London: Methuen & Co., 67.<br />
13. The Wallis archive is a collection within a collection of dress <strong>and</strong> textiles from one north country<br />
family from the late 18th century through to the 1970s. See Brooks, M. M. 1999. Patterns of choice:<br />
women's <strong>and</strong> children's clothing in the Wallis Archive, York Castle Museum. In: B. Burman, ed. The<br />
Culture of Sewing. Berg: London, 169-192; Brooks, M. M. 1991. Man-made fibres <strong>and</strong> synthetics in<br />
the Wallis Archive, York Castle Museum. In: Per una Stoira della Moda Pronta. Atti del V Convegno<br />
Internazionale del Centro Italiano per lo Studio del Tessuto (CISST), Milano, 26-28 Febbraio 1990.<br />
Florence: EDIFIR Edizioni Firenze, 377-387; Sheppard, J. 1991. The Wallis Archive, York Castle<br />
Museum. In: Per Una Storia della Moda Pronta Problemi e richercha Atti del V Convegno<br />
Internazionale del Centro Italiano per lo Studio del Tessuto (CISST), Milano, 26-28 Febbraio 1990.<br />
Firenze: Edifir Edizioni, 377-387.<br />
23
14. Brooks, M. M. 2011. Following the Thread<br />
http://www.yorkcastlemuseum.org.uk/assets/collections/talking%20textiles%20-<br />
%20follow%20the%20thread.pdf<br />
15. Wilkinson, H. 2011.Sharing Knowledge: a Toolkit. A Practical Guide for Museums based on the<br />
Monument Fellowships from the Museums Association.<br />
http://www.museumsassociation.org/download?id=322812<br />
16. Museum Practice. Succession Planning. http://www.museumsassociation.org/museumpractice/succession-planning<br />
_____<br />
Can you just pop that on a mannequin for me?’ – Object Preservation v Press<br />
Dem<strong>and</strong>s Beatrice Behlen, Senior Curator of Fashion & Decorative Arts, Museum of London<br />
Curators are expected to play a significant part in publicising their institution’s programme, events<br />
<strong>and</strong> collections. Members of museums’ press departments usually underst<strong>and</strong> that the use of<br />
objects dem<strong>and</strong>s certain safeguards. However, in the pursuit of the all-important media coverage<br />
there are sometimes attempts to blur or cross agreed boundaries.<br />
Beatrice described the progress of one particular publicity project. To appeal to an otherwise hard to<br />
reach audience the Museum of London agreed to collaborate with AnOther Magazine on producing<br />
a short stop-motion film for the publication’s website. After almost a year of negotiations a shooting<br />
timetable was agreed at very short notice.<br />
Stop-motion animation involves taking a very high number of photographs of objects in different<br />
positions, which has to be carefully h<strong>and</strong>led. Twenty outfits were transported to a photographic<br />
studio outside a museum, with all the potential loss of control this might entail. Smaller objects were<br />
photographed at the Museum but they also had to be ‘animated’, i.e. moved in ingenious ways to<br />
work with the film’s story.<br />
Beatrice animating a bathing cap<br />
Agata Belcen manipulating spectacles<br />
While the filmmaker, her staff <strong>and</strong> that of AnOther were very underst<strong>and</strong>ing of the constraints<br />
under which curators have to operate, it proved sometimes difficult to ensure the safety of the<br />
objects. Thankfully none were harmed <strong>and</strong> the Museum was very happy with Quentin Jones’ Time<br />
Machine. The film is beautiful <strong>and</strong> can still be seen on AnOther’s website<br />
http://www.anothermag.com/exclusives/time-machine) where it is accompanied by information<br />
about the Museum’s collection. It is, however, hard to evaluate what exactly has been achieved by<br />
this project.<br />
The main lessons learned from this somewhat experimental undertaking were: 1. while this is often<br />
impossible, try to make sure you know beforeh<strong>and</strong> what you are letting yourself in for <strong>and</strong> make<br />
clear what is acceptable <strong>and</strong> what is not, 2. discuss the project’s aims with your press<br />
24
department/officer, 3. if you can, ensure that everyone involved underst<strong>and</strong>s how much time you<br />
can devote <strong>and</strong> 4. keep calm <strong>and</strong> practise a firm <strong>and</strong> authoritative voice in front of the mirror.<br />
____<br />
‘Memories & Reminiscences: Yorkshire Fashion Archive’, Lynne C. Webster, Claire<br />
Watson <strong>and</strong> David Backhouse<br />
Abstract<br />
This paper examines the development of a new clothing archive where the public are an integral<br />
part of the experience of ‘collecting <strong>and</strong> accessing’ <strong>and</strong> discusses its first exhibition at Salts Mill in<br />
Saltaire, West Yorkshire.<br />
The Yorkshire Fashion Archive (YFA) is a collection of garments <strong>and</strong> accessories worn by people in<br />
Yorkshire during the twentieth century. Many of the items have been donated with accompanying<br />
photographic images, information <strong>and</strong> anecdotes concerning the piece itself, the wearer or the<br />
situations in which they were worn. Recognising that dress cannot be separated from the living,<br />
breathing, moving body it covers (Entwhistle & Wilson:1998) the research identifies, exp<strong>and</strong>s upon<br />
<strong>and</strong> appraises significant issues in Yorkshire’s past by exploring ways in which a society’s<br />
experiences, values <strong>and</strong> beliefs are communicated (Barnard: 2002). The first YFA exhibition ‘<strong>Dress</strong><br />
Rehearsal’ April-May 2011 was designed to encourage the future development of the resource<br />
through public interaction <strong>and</strong> dialogue <strong>and</strong> as a conduit for visitor interaction <strong>and</strong> participation in<br />
future research.<br />
Key words:<br />
exhibition • fashion • archive • clothing • community • archives • fashion garment<br />
• identity • local history oral history • 20th century history <strong>and</strong> culture • Yorkshire<br />
Fashion Archive<br />
Introduction<br />
The twentieth century was a crucial period in the cultural, industrial <strong>and</strong> intellectual development of<br />
the Yorkshire textile trade (Honeyman: 2000). In the past it was supposed that old clothes were too<br />
trivial <strong>and</strong> ephemeral to save (Steele: 1998) yet as we progress further into the 21 st century, it is<br />
imperative that this evidence is gathered before the voices are lost forever. In 1999 the fashion staff<br />
in the School of Design at the University of Leeds recognised an opportunity to document <strong>and</strong><br />
research clothing <strong>and</strong> accessories from the Yorkshire Region.<br />
‘...underst<strong>and</strong>ing of the reasons why changes have taken place <strong>and</strong> being able to<br />
contextualise these changes within a socio-historical setting is paramount for the fashion<br />
student, the emerging designer, fashion historian, the avid follower of fashion history.’<br />
(English: 2007)<br />
Fashioning the Archive<br />
When the YFA was first conceived in 1999, the original scope was to collect garments <strong>and</strong><br />
accessories created between the years 1950 – 2000 (Fig.1), in an effort to make the local social <strong>and</strong><br />
cultural history of the late 20 th century visible through clothing. However, it soon became apparent<br />
that there was a large amount of material available that pre-dated 1950. In 2008 the executive<br />
committee was created, bringing together the fashion academic staff at the university <strong>and</strong> other key<br />
individuals, each bringing a different view <strong>and</strong> area of expertise to support the YFA. Colin McDowell,<br />
journalist, historian <strong>and</strong> fashion commentator became Chairman, <strong>and</strong> Christopher Bailey, Creative<br />
Director of Burberry became Patron. Colin McDowell has written about social history <strong>and</strong><br />
community engagement with fashion. Christopher Bailey is a high profile figure in the fashion<br />
25
industry, <strong>and</strong> his presence alone ensures press coverage at openings <strong>and</strong> exhibitions. Burberry’s links<br />
with Yorkshire are established; the famous Burberry Trench Coat has been produced in Castleford,<br />
Yorkshire since the 1960’s. There is also a textile conservator, a respected business director <strong>and</strong> a<br />
research professor.<br />
Figure 1 First YFA postcard c. 2000<br />
The acquisition methodology of this collection involves critically appraising clothing <strong>and</strong> accessories<br />
bought, made or worn in Yorkshire in the 20th century. The personal narratives of the garment’s<br />
owners are investigated <strong>and</strong> preserved through clothing, accessories, photographs, film <strong>and</strong> audio<br />
recordings, <strong>and</strong> anecdote. The 20 th century was a period of enormous change in both clothing<br />
production <strong>and</strong> consumption, the archive provides opportunities for scholars to investigate research<br />
questions related to cultural <strong>and</strong> socio-economic characteristics of this significant era, including<br />
changing social attitudes <strong>and</strong> influences, economic prosperity, global trends <strong>and</strong> the regional<br />
technical excellence in textiles <strong>and</strong> clothing.<br />
The repository’s aim is to provide a historical <strong>and</strong> cultural record of Yorkshire life in the 20th<br />
Century that will engage with business, schools, higher education <strong>and</strong> the local <strong>and</strong> wider<br />
communities to maximize its impact <strong>and</strong> ensure long-term sustainability. The YFA is a collection<br />
of vintage clothing <strong>and</strong> accessories spanning every decade of the 20th century, from debutante<br />
gowns to mill workers overalls, <strong>and</strong> draws upon material from the local community <strong>and</strong> is a<br />
national resource that will continue to develop with historically significant donated pieces being<br />
secured from internationally known UK designers, manufacturers, retailers <strong>and</strong> the general<br />
public. Unlike many other fashion archives, which seek to include examples of all types of<br />
fashion <strong>and</strong> clothing with the emphasis on the artefact themselves, the research materials at the<br />
YFA allows scholars to approach local history from a new perspective, which allows a method of<br />
interaction with a local narrator <strong>and</strong> the experience of a more intimate personal history.<br />
‘Fashion <strong>and</strong> dress are socially salient media that are simultaneously intimate <strong>and</strong> public<br />
<strong>and</strong>, once worn or displayed, can be infused with the wearer’s life story <strong>and</strong> the memories of<br />
those close to them.’ (de la Haye: 2011).<br />
The archive has the support of the School of Design in the<br />
University of Leeds, but it was a grant from the<br />
Clothworkers Company, which enabled the archive to<br />
become publically accessible in 2010. The archive was<br />
able to move into new accommodation, invest in much<br />
needed archiving materials, develop a br<strong>and</strong> identity<br />
(Fig.2), create a website <strong>and</strong> launch the first public<br />
exhibition at Salts Mill in April 2011. The patron,<br />
Christopher Bailey brings support <strong>and</strong> interest from the<br />
business sector. On an ongoing basis, industrial partners<br />
from the fashion industry sponsor student projects using<br />
26
Figure 2 YFA Br<strong>and</strong>ing applications<br />
the YFA as a resource.<br />
The Exhibition<br />
Salts Mill, located in Saltaire, Bradford, West Yorkshire, is an art gallery, shopping <strong>and</strong> restaurant<br />
complex. Originally a former mill built by Sir Titus Salt, a Victorian philanthropist <strong>and</strong> woollen fabric<br />
manufacturer, it is now a World Heritage Site containing an important collection of David Hockney<br />
paintings <strong>and</strong> a venue for regional performing arts <strong>and</strong> community projects. It was decided that this<br />
would be a suitable venue for the exhibition because of its industrial past <strong>and</strong> strong Yorkshire<br />
heritage. The management team at Salts provided space for this first exhibition free of charge,<br />
supplying not only the venue but also hosting the Press launch ‘party’ <strong>and</strong> generously providing all<br />
subsistence for YFA staff at the exhibition. The management team at the mill felt that the exhibition<br />
was of great consequence as it featured the ‘ordinary’ folk of Yorkshire <strong>and</strong> linked to the textile<br />
heritage, which is so important to the mill itself.<br />
Key to the success <strong>and</strong> continued development of the YFA is the concept of ‘community ownership’.<br />
The local community is reflected in the documentation <strong>and</strong> the ‘stories’ revealed relate directly to a<br />
broad <strong>and</strong> diverse regional audience. This was clearly evidenced at this first public exhibition ‘<strong>Dress</strong><br />
Rehearsal’ (Fig.3). The visitors’ experience of the exhibition of clothes in combination with the<br />
narratives <strong>and</strong> photographs, underpinned by a Yorkshire provenance seemed to form highly<br />
personal associations <strong>and</strong> re-awakened memories <strong>and</strong> reminiscences.<br />
The exhibition explored how clothing has a direct intimacy <strong>and</strong> relationship with the wearer <strong>and</strong>/or<br />
donor <strong>and</strong> demonstrated how entrusting treasured garments to strangers can bring back long buried<br />
memories <strong>and</strong> feelings.<br />
Garments can also become inextricably<br />
entwined with lives experienced or can<br />
evoke lives lost: It is not unusual to<br />
cherish as an aide memoir a garment<br />
worn for a rite of passage or special<br />
occasion. (de la Haye: 2011)<br />
Case Study of Mrs H<br />
Figure 3 ‘<strong>Dress</strong> Rehearsal’ Exhibition at Salts 2011<br />
The case study of Mrs H of South Cave, East Yorkshire demonstrates how long forgotten memories<br />
can be reawakened by garments <strong>and</strong> personal possessions. Mrs H donated a range of outfits<br />
belonging to her deceased mother-in-law (also named Mrs H), one of which was a black coat with<br />
white faux fur collar by Dellbury, circa 1967 (Fig.4). Such was Mrs H’s dislike <strong>and</strong> perceived snobbery<br />
of her mother-in-law she insisted the donations were given in the name of her husb<strong>and</strong>.<br />
27
Figure 4 Mrs H’s Black coat with faux fur collar c. 1967<br />
Figure 5 Mrs H wearing her fur coat <strong>and</strong> ‘gold’ jewellery c. 1960s<br />
There was ‘…no love lost’ between Mrs H <strong>and</strong> her mother-in-law, she had been made to feel that she<br />
was ‘…not good enough for her precious son’. Mrs H remembered how her mother-in-law enjoyed<br />
showing they were a ‘…cut above the rest’ as shop owners which at this time, the 1950s <strong>and</strong> 60s,<br />
was considered a class above working class. Wearing a fur coat, stole or fur accessories they felt<br />
‘…better than the neighbours’ (Mrs H, 2011). Mrs H’s daughter-in-law remembers her wearing her<br />
fur coat one day <strong>and</strong> the fur wrap the next so neighbours knew she had both. At this time clothes<br />
mattered a great deal <strong>and</strong> were important class signifiers. As the lower classes gained access to<br />
superior quality clothing, the middle-class shopper had to find other ways to distinguish him or<br />
herself visually; wearing fur was one of the ways Mrs H chose to accent this distinction (Fig.5).<br />
The black coat with white faux fur collar <strong>and</strong> large mother of pearl button featured in the exhibition<br />
was worn by Mr H’s mother on many occasions, including her gr<strong>and</strong>son’s graduation. Mr H’s mother<br />
was very close to her own mother, they spent a lot of time together as they owned <strong>and</strong> ran a<br />
successful grocers shop. They were close in ages <strong>and</strong> looked more like sisters than mother <strong>and</strong><br />
daughter. They regularly went on outings to resorts such as Blackpool wearing their fur coats. Casual<br />
clothing is seen as being the ‘norm’ today but formal dress was the usual attire in the 1950s <strong>and</strong> 60s<br />
for a day at the seaside.<br />
Figure 6 Mrs H <strong>and</strong> her daughter c. 1960s<br />
Figure 6 shows Mrs H <strong>and</strong> her mother on the promenade at Blackpool circa 1960s both wearing their<br />
fur coats. A large emerald ring, known as the ‘…family jewels’ <strong>and</strong> passed down from mother to<br />
daughter, can be seen on Mrs H’s left h<strong>and</strong>. When Mrs H eventually inherited the ring it was found<br />
to be coloured paste <strong>and</strong> not the precious jewel her mother-in-law had always told her it was.<br />
28
Without the YFA Mrs H would not have had a reason to discuss her mother-in-law’s garments <strong>and</strong><br />
the impact they had on her <strong>and</strong> her family enabling Mrs H to articulate <strong>and</strong> structure her memories.<br />
Conclusion<br />
The exhibition drew a diverse range of more than 7,000 visitors. Although often perceived as an<br />
ephemeral pursuit, the study of fashion, shown in the case of Mrs H, can be a valuable tool for<br />
democratising history. The case study demonstrates how a multidisciplinary methodology is applied<br />
through the genre of fashion. It enabled the scholars to ‘contextualise artefacts <strong>and</strong> objects in a<br />
multi-layered fashion’ (Palmer: 1997) to build a picture of the person <strong>and</strong> through their narrative<br />
<strong>and</strong> perceptions, a view of history. Before the second half of the 20 th century, key historians<br />
excluded segments of society from the gr<strong>and</strong> narrative of world history by focusing on the records of<br />
the ‘great men’ (Lerner: 1975). Many of the records donated <strong>and</strong> kept at YFA are of normal men <strong>and</strong><br />
women who passed their lives in Yorkshire. To gain a deeper underst<strong>and</strong>ing of history, one should<br />
examine many records of ordinary people, not just documents focused on the obvious power of<br />
kings, princes, <strong>and</strong> popes (Pelteret: 2008). The ‘<strong>Dress</strong> Rehearsal’ exhibition, <strong>and</strong> the YFA, makes<br />
studies of local people possible.<br />
References:<br />
Barnard, M. (2002) Fashion as Communication. London: Routledge.<br />
de la Haye, A (2010) Introduction: <strong>Dress</strong> <strong>and</strong> Fashion in the Context of the Museum. In: Berg<br />
Encyclopedia of World <strong>Dress</strong> <strong>and</strong> Fashion, Vol 10, part 5. September [accessed 26 October 2011<br />
through Berg Fashion Library]<br />
Entwhistle, J & Wilson, E (1998) The Body Clothed in: Addressing the Century: 100 years of art <strong>and</strong><br />
fashion. London: Hayward Gallery.<br />
Honeyman, K. (2000) Well suited: A History of the Leeds Clothing Industry 1850-1990. Oxford: Oxford<br />
University Press.<br />
Lerner, G (1975) Placing Women in History: Definitions <strong>and</strong> Challenges. Feminist Studies 3:1/2<br />
(Autumn), 5-14<br />
Palmer, A (1997) New Directions: Fashion History Studies <strong>and</strong> Research in North America <strong>and</strong><br />
Engl<strong>and</strong>. Fashion Theory, 1(3)<br />
Pelteret, DAE (2008) Medieval Slavery: Problems <strong>and</strong> Possibilities in AMARC (Association for<br />
Manuscripts <strong>and</strong> Archives in Research Collections) Newsletter 50:1, 5-6<br />
Steele, V. (1998) ‘A museum of fashion is more than a clothes-bag’, Fashion Theory, 2(4), 327-335.<br />
Yorkshire Fashion Archive. Oral history of Mrs H, interviewed 2011<br />
Lynne Webster is a Senior Teaching Fellow, School of Design, University of Leeds.<br />
Claire Watson MA is a Senior Teaching Fellow, School of Design, University of Leeds.<br />
David Backhouse MDes RCA is Programme Leader Fashion, School of Design, University of Leeds.<br />
Lynne, Claire <strong>and</strong> David’s main research interests are centred on the Yorkshire Fashion Archive <strong>and</strong><br />
they are all founding members of the Executive Committee. Based in the fashion area, the archive<br />
chronicles the cultural history of Yorkshire <strong>and</strong> aims to reflect changing social attitudes <strong>and</strong><br />
29
influences, economic prosperity, global trends <strong>and</strong> the regional technical excellence in textiles <strong>and</strong><br />
clothing over a 100 year period using clothing, accessories, photographs, film archive <strong>and</strong> narratives.<br />
_______<br />
How to move a dress collection without a database, Meg Dorman, Curator, Kensington<br />
Palace<br />
I work at Kensington Palace for Historic Royal Palaces. In 2009 we were asked to move the Royal<br />
Ceremonial <strong>Dress</strong> Collection to an interim store as a building project was about to start <strong>and</strong> the<br />
current stores were to become part of the new visitor hub. We decided to make the most of the<br />
move. We had no central database that contained catalogue information <strong>and</strong> locations of objects in<br />
one place - we had several different ones that had to be used simultaneously.<br />
In 2009 the collection was spread over 6 different rooms <strong>and</strong> two floors. We found a space in the<br />
Palace that could hold the entire collection in one area which was a bonus. This meant that visits to<br />
the stores could be more easily managed <strong>and</strong> we wouldn't have to carry objects through the visitor<br />
route.<br />
The first step we took was to take inventory. We wanted to plan where every object was going to go<br />
in the new store so that the actual move could be done as smoothly as possible.<br />
In the new store (with a new layout) everything would be in a different place. To make the transition<br />
a bit simpler we took photos of every hanging object <strong>and</strong> an overall photo of every drawer. These<br />
were printed out in advance ready for the move.<br />
We wanted to change the inventory as little as possible so as we were moving from drawers into<br />
boxes we had boxes made to the same size as the drawers. Then the contents could be easily packed<br />
into the new boxes without lots of changing locations. The photos were attached to the outside of<br />
the box to make it easier to find things in the new stores. We printed new labels in advance as well<br />
<strong>and</strong> these were placed in Melinex envelopes on the outside of the boxes.<br />
The actual move went quite well. It was done with in-house staff moving boxes before we opened<br />
(the route to the new stores went through exhibition spaces) <strong>and</strong> then placing them during the day.<br />
Every object was listed on a spreadsheet showing its old location <strong>and</strong> its planned new location.<br />
We tried to make the most of the move by improving access as much as possible for ourselves <strong>and</strong><br />
the visitors to the collection. To keep the collection together we had to stack boxes on racking<br />
almost to the ceiling. This makes it difficult to run a stores visit on one's own as the boxes are large<br />
<strong>and</strong> sometimes high. Some objects we knew we accessed frequently <strong>and</strong> these were placed in rooms<br />
with spaces for tables <strong>and</strong> on lower shelves.<br />
We learned some lessons - you can't plan carefully enough! Planning where every object goes in<br />
advance was incredibly helpful. If you have the time/money make sure the boxes you use can be<br />
h<strong>and</strong>led by one person if possible. If budget permits then movers would be helpful as well - moving a<br />
collection for months on end takes a toll on your staff! The photos have been great, especially when<br />
looking for objects on high shelves.<br />
We re-used about 200 boxes <strong>and</strong> purchased 350 new ones. We moved 21 hanging racks of<br />
garments. The move took three months with six members of staff working constantly. The Royal<br />
Ceremonial <strong>Dress</strong> Collection contains approx 12,000 objects.<br />
_____<br />
30
Access <strong>and</strong> the new Fashion & <strong>Textile</strong> Gallery, The Bowes Museum Joanna<br />
Hashagen, Keeper of Fashion & <strong>Textile</strong>s<br />
The Design Brief stated that the new gallery was to be ‘spectacular by presenting textiles in an<br />
exciting way, using the latest display ideas <strong>and</strong> materials <strong>and</strong> to be serious by providing access to<br />
study collections <strong>and</strong> storage within the gallery.’<br />
The main priority was to enable greater access to the extensive textile collections for the general<br />
visitor <strong>and</strong> the specialist, through changing displays, study facilities <strong>and</strong> accessible storage in a new<br />
purpose built gallery.<br />
The aims of the new gallery were:<br />
<br />
<br />
<br />
<br />
To promote wider public appreciation of, <strong>and</strong> access to, the textile <strong>and</strong> dress collection by<br />
new ways of presentation <strong>and</strong> interpretation.<br />
To present each object accurately <strong>and</strong> in context, to encourage the visitor to look closely at<br />
the detail, to appreciate its beauty <strong>and</strong> the technical skill involved in its making.<br />
To provide simple methods of changing displays <strong>and</strong> graphics with nothing screwed down or<br />
permanently fixed.<br />
To create a flexible system for displaying objects; to enable layering <strong>and</strong> placing of objects at<br />
their appropriate height, such as lace collars at shoulder height, curved, as if around a body,<br />
to give visitors a clearer underst<strong>and</strong>ing of how these items were used originally.<br />
Image – view of gallery showing permanent display with monitors <strong>and</strong> hanging system<br />
The permanent display cases<br />
The aim of developing a hanging system was to create a contextual ‘interplay’ of objects. The<br />
designers devised a system of metal hanging bars which hook over the top frame of the large<br />
showcases. They slide along the outer rails, so they can be positioned anywhere <strong>and</strong> objects hang<br />
from a rod or wire, at any position or height. The objects are easy to remove as they just unhook.<br />
This means objects <strong>and</strong> labels can be quickly <strong>and</strong> easily changed, with no need for technicians.<br />
The ability to hang actual portraits inside the cases, with this system, has created an evocative,<br />
intimate relationship with the dress on display.<br />
31
There is a clever use of magnets on the steel structure which support small object mounts <strong>and</strong> label<br />
st<strong>and</strong>s <strong>and</strong> allow for a flexible lighting system. Each LED, on a flexible neck, is attached by magnets,<br />
to enable each one to move along the structure. The energy saving LED lighting, the easily available<br />
<strong>and</strong> re-useable magnets <strong>and</strong> shop kit hanging elements, make this a good sustainable system for the<br />
future.<br />
This section of the display for the 1830s is a good illustration of the approach we took –<br />
<br />
<br />
To layer a range of costume, textiles <strong>and</strong> accessories of that period, so that they come<br />
together visually, at appropriate heights, making their history <strong>and</strong> the period more tangible.<br />
For example, the placing of the portrait in front of a hanging quilt of richly coloured <strong>and</strong><br />
patterned dress fabrics.<br />
To have all mounts <strong>and</strong> mannequins custom made in acrylic, to safely support the object but<br />
not distract the viewer. The acrylic forms have allowed the visitor to see the interior of a<br />
garment <strong>and</strong> the success of this innovative method has been overwhelming. Visitors are<br />
intrigued to be able to see inside garments gaining glimpses of otherwise hidden details,<br />
such as makers’ labels <strong>and</strong> stitching.<br />
The monitors at the end of each case create a further context with fashion illustrations <strong>and</strong> Punch<br />
cartoons, for example. We also filmed close-up details of items on display, like fine embroidery or<br />
lace, the camera moving slowly over the surface of the textile. Most importantly the films introduce<br />
movement, revealing how clothes would have looked when worn, using archive footage or in the<br />
case above, a clip from BBC’s dramatisation of Cranford.<br />
In conclusion, the success of the gallery displays seems to be the combination of the three new<br />
interpretive elements:<br />
<br />
<br />
<br />
the discreet acrylic mounts<br />
the setting in context by layering objects<br />
the addition of paintings to create a sense of time <strong>and</strong> place, <strong>and</strong> through film, which also<br />
introduces movement.<br />
These elements crucially work together, creating, for the visitor, a more accessible <strong>and</strong> engaging<br />
relationship with the objects on view.<br />
Temporary displays<br />
Two spaces at either side of The Glass Cube are used for temporary displays, both fitted with<br />
projectors for AV use, one with a large ‘display wall’ a flexible structure adapted from high quality<br />
shop-fit systems.<br />
32
A review of temporary exhibitions, mounted since the gallery opened, illustrates how adaptable<br />
these spaces are for different types of shows, which is becoming a formula for future programming,<br />
to attract wider audiences.<br />
Contemporary fashion or textile designers (e.g. Vivienne Westwood Shoes June 2011)<br />
Showcasing new talent from Fashion & Design courses in the North of Engl<strong>and</strong>, project work<br />
based on items <strong>and</strong> displays from our collection ( e.g. displays of work from fashion<br />
students, Northumbria <strong>and</strong> Sunderl<strong>and</strong> Universities, July <strong>and</strong> December 2011)<br />
Focus on technical aspects of the historic collections, with accompanying demonstrations<br />
<strong>and</strong> workshops ( income generating) (e.g. Knit 3TOG March-April 2011)<br />
Focus on one or two dresses by one designer, highlighting their career but also revealing the<br />
story of the life of the wearer. (e.g. Vionnet, to April 2011, Paquin Dec 2011- 9 April <strong>2012</strong>)<br />
Artist residencies to create new work inspired by historic collections (e.g. Between the Lines.<br />
An installation by textile artist, Naseem Derby). This show was seen by the conference<br />
delegates.<br />
New audiences <strong>and</strong> indicators of success<br />
The greatest achievement has been the increase in popularity for our textile collections, attracting<br />
new <strong>and</strong> younger audiences. Visitor surveys conducted by Audiences North East show that the<br />
highest percentage of visitors (44%) named the Fashion <strong>and</strong> <strong>Textile</strong> Gallery as their favourite in the<br />
Museum <strong>and</strong> the highest percentage of visitors (36%) named textiles <strong>and</strong> dress as the collection they<br />
would return to see again.<br />
Contemporary fashion has undeniably been the most successful, so far. Visitor numbers for the<br />
Vivienne Westwood exhibition versus the same period the previous year showed an increase of<br />
87.4%, with student concessions showing an increase of 1326.7%.<br />
Before visiting the gallery, delegates were shown the film which is an introduction to gallery <strong>and</strong> The<br />
Art of <strong>Dress</strong>ing with Luca Costigliolo, which plays in the gallery <strong>and</strong> on our website. See link:<br />
http://www.indigomultimedia.com/portfolio/art-of-dressing<br />
Acknowledgements:<br />
Gallery Design: Blue the design company ltd.<br />
Acrylic mounts <strong>and</strong> mannequins: The Museum Workshop Ltd.<br />
Mounting of costume: Janet Wood<br />
Conservation: Caroline Rendell<br />
Audio- visual: Indigo Multimedia Ltd.<br />
Display lighting: FusionLX<br />
33
Glass structures: Peterlee Glass<br />
Motorised hoists for quilts <strong>and</strong> tapestries: Eagle Designs<br />
Funding: Department for Culture, Media &Sport (DCMS) / Wolfson Gallery Improvement Fund; The<br />
Monument Trust; The Clothworkers’ Foundation; The European Regional Development Fund (ERDF);<br />
The Friends of The Bowes Museum.<br />
_____<br />
Creating the ‘No mannequin, mannequins in the new Fashion <strong>and</strong> <strong>Textile</strong>s<br />
Gallery, at the Bowes Museum, 2008-2010 - Janet Wood, Costume conservation <strong>and</strong><br />
display<br />
How do you create a ‘no mannequin’<br />
mannequin? The development of the acrylic<br />
forms used to display the garments in The<br />
Fashion <strong>and</strong> <strong>Textile</strong> Gallery at the Bowes<br />
Museum were the result of a statement<br />
from the exhibition’s designer, Claire<br />
Gresswell, of Blue The Design Company, that<br />
she only wanted to see textiles <strong>and</strong> costume<br />
in the cases, no dead bodies! Her objection<br />
to any anthropomorphic form was that as<br />
soon as there was a ‘visible form’, i.e. a<br />
representation of a human body inside the<br />
costume, the body became the focus <strong>and</strong> a<br />
distraction from the costume.<br />
A survey was made of all the different types of garment st<strong>and</strong>s previously used in the museum.<br />
They were an eclectic collection of fibreglass museum figures, shop mannequins <strong>and</strong> garment st<strong>and</strong>s<br />
with different neck heights, paint finishes, poles <strong>and</strong> bases .<br />
Museum mount maker, Roy M<strong>and</strong>eville, known for his work with acrylic mounts, was contracted to<br />
source the acrylic forms. A web search found an Italian company manufacturing acrylic shop<br />
mannequins. These were modern torsos, suitable for some 20thc costume but generally too large<br />
<strong>and</strong> athletic for historic dress. It was obvious that we would need to create new shapes for costume<br />
from the 18th, 19th <strong>and</strong> early 20th centuries.<br />
34
Photo 1: Bowes 1<br />
Photo 2: Bowes 2<br />
Looking back through the mannequins used for previous displays new torsos were designed which<br />
incorporated the most appropriate characteristics from these forms. Budget <strong>and</strong> time constraints on<br />
manufacture meant that it was only possible to create 2 completely new forms, Bowes 1 <strong>and</strong> Bowes<br />
2, (see photos 1 <strong>and</strong> 2).<br />
The contemporary Italian male, female <strong>and</strong> child acrylic mannequins were also used in the gallery.<br />
Whether a modern Italian torso or Bowes 1 or 2 all forms needed individual adaptations. In order to<br />
see through the acrylic to the inside of the costume padding was only applied to areas of the torsos<br />
invisible to the visitor, photos 3 <strong>and</strong> 4. This was a complicated process as the safety of the costume<br />
was paramount but for the visitor to fully experience each costume it’s historical context was also<br />
extremely important.<br />
The method proved very effective <strong>and</strong> enabled printed linings inside jackets, designer labels, <strong>and</strong><br />
inner structures of costumes to be seen inside a museum display for the first time. Some torsos<br />
were suspended on rods from bars on top of the cases, <strong>and</strong> others with larger skirts were displayed<br />
on poles <strong>and</strong> bases. This gave the effect of the costume ‘floating’ in its own space inside the cases,<br />
with no immediately visible supports, (see photos 5 <strong>and</strong> 6).<br />
Perspex has long been used for museum mounts but all the acrylics from which the torsos were<br />
made were ‘Oddy’ tested to make sure that they were inert <strong>and</strong> would not degrade <strong>and</strong> give off<br />
chemicals detrimental to the textiles. All passed conservation tests for long-term display.<br />
35
Photo 3: <strong>Dress</strong> with the inside of the bodice visible<br />
to visitors<br />
Photo 4: Padding on the front of the torso<br />
Even with the limited range of torsos, with skill <strong>and</strong> ingenuity it was possible to<br />
cover three centuries of costume in the gallery.<br />
Photo 5: Costume installed in the gallery<br />
Photo 6 : Suspended male costume<br />
Acknowledgements: With thanks to Claire Greswell, Blue The Design Company, for the inspiration,<br />
Joanna Hashagen for her support <strong>and</strong> dedication to this project, Roy M<strong>and</strong>eville for his skill <strong>and</strong><br />
patience <strong>and</strong> to The Bowes Museum for the use of images.<br />
____<br />
An Access Project in Progress - The Blackborne Lace Collection Annabel Talbot<br />
A tour of The Bowes Museum's Fashion <strong>and</strong> <strong>Textile</strong> Gallery’s Glass Study Cube <strong>and</strong> an introduction to<br />
The Blackborne Lace Project.<br />
36
I am currently working on The Blackborne Lace Collection Project which is funded by the Esmée<br />
Fairbairn Foundation.The project will secure public access to a representative range of lace in The<br />
Blackborne collection <strong>and</strong> meet the dem<strong>and</strong>s of researchers <strong>and</strong> specialists; giving access to<br />
different levels of scholarship.<br />
Key aims <strong>and</strong> purpose of The Blackborne Lace Project - Documentation <strong>and</strong> Access<br />
<br />
<br />
Unpacking, recording (digitally) <strong>and</strong> sorting The Blackborne Lace Collection into category,<br />
date, type <strong>and</strong> condition.<br />
Selecting key pieces of lace from The Blackborne Lace Collection for the accessible drawers<br />
<strong>and</strong> storage boxes in the Fashion <strong>and</strong> <strong>Textile</strong> Gallery’s study area, The Glass Cube.<br />
Project location - The Glass Cube, the Fashion <strong>and</strong> <strong>Textile</strong> Gallery, The Bowes Museum<br />
<br />
<br />
<br />
The primary objectives of The Glass Cube <strong>and</strong> the concept <strong>and</strong> design behind the space are<br />
directly connected to recurring access issues relating to collection care, curatorial needs <strong>and</strong><br />
researcher/visitor wishes within the Fashion <strong>and</strong> <strong>Textile</strong> Department.<br />
The space will hold a significant part of The Bowes Museum's lace, embroidery, tapestry <strong>and</strong><br />
quilt collection improving long term storage <strong>and</strong> facilitating increased access for object<br />
based research.<br />
The Glass Cube has a variety of functions; it gives the visitor the opportunity to see "behind<br />
the scenes" providing a visible workspace for curators, conservators <strong>and</strong> volunteers <strong>and</strong> a<br />
storage area to house part of the fashion <strong>and</strong> textile collection. This multi-functional space<br />
also works as an area for general <strong>and</strong> specialist study, talks <strong>and</strong> demonstrations. The design<br />
even allows for collection interpretation <strong>and</strong> display, working as a large case for gallery<br />
exhibitions.<br />
The Blackborne Lace Collection background<br />
The Glass Cube in the Fashion <strong>and</strong> <strong>Textile</strong> Gallery<br />
The Blackborne Lace is a historic collection, including study collections <strong>and</strong> the surviving stock <strong>and</strong><br />
documentary material of the lace dealers A. Blackborne <strong>and</strong> Company. Anthony Blackborne (1824-<br />
1878) <strong>and</strong> his son Arthur Blackborne (1856-1952) built up a thriving business, which was at the<br />
forefront of the growing trade in antique lace. Their deep knowledge, <strong>and</strong> the rarity of many of the<br />
pieces they acquired, earned The Blackborne Collection worldwide recognition. In 2006, the<br />
descendants of Antony <strong>and</strong> Arthur Blackborne presented the entire collection, of approximately<br />
5,000 pieces to The Bowes Museum.<br />
Project outcomes <strong>and</strong> developments<br />
37
Digital Record<br />
<br />
A database has been created to record the accession number, category, date, type,<br />
condition <strong>and</strong> location of The Blackborne Lace Collection.<br />
Storage, Conservation <strong>and</strong> Display<br />
<br />
<br />
Lace from the 5 main collection categories is being selected <strong>and</strong> relocated into accessible<br />
drawers <strong>and</strong> storage boxes within the study area.<br />
The storage <strong>and</strong> display solutions have been established for the lace collection, which allow<br />
for increased accessibility <strong>and</strong> assist with collections management <strong>and</strong> care.<br />
Main issue <strong>and</strong> result<br />
A substantial amount of the lace Study Collection was originally mounted on purple silk, which had<br />
started to break down, shattering into small pieces. It was evident that the dye used in the fabric had<br />
in some instances transferred onto the lace. Therefore, it was concluded for reasons relating to<br />
continuity of display, increased stability <strong>and</strong> long term storage, that it was necessary to re-mount the<br />
whole of the Study Collection on Correx board covered in Baumann’s conservation grade fabric. A<br />
few examples of lace have been left with their original mounts to highlight how they were previously<br />
displayed. This decision, though integral to the successful display <strong>and</strong> care of the collection, has<br />
substantially increased the time spent on this section of the project. It also required focused training<br />
<strong>and</strong> added commitment from the team of volunteers working on the project.<br />
Original mount<br />
New storage<br />
Project Outcomes<br />
The relocation <strong>and</strong> digital documentation has allowed for increased access <strong>and</strong> study. A variety of<br />
collaborative projects, research, loan requests <strong>and</strong> exhibitions, which already have occurred as a<br />
result of the project, have highlighted the potential of The Blackborne Collection as a study resource<br />
<strong>and</strong> The Glass Cube as an integral element to the Fashion <strong>and</strong> <strong>Textile</strong> Gallery <strong>and</strong> the textile<br />
department. There has been a growing interest <strong>and</strong> enthusiasm for the collection <strong>and</strong> increasing<br />
dem<strong>and</strong> for access, as more people become aware of the resource.<br />
Acknowledgments: I would like to acknowledge Santina Levey Fashion <strong>and</strong> <strong>Textile</strong> historian,<br />
Caroline Rendell, <strong>Textile</strong> Conservator, Joanna Hashagen Keeper, of <strong>Textile</strong>s <strong>and</strong> the team of textile<br />
volunteers at The Bowes Museum as they have all contributed to The Blackborne Lace Project.<br />
38
NEWS <strong>and</strong> EVENTS<br />
LIFE IN THE OLD CLOTHES YET?: ACCESSIONING, DE - ACCESSIONING AND DEALING WITH DONORS…<br />
As a discussion at the last DATS committee meeting revealed, there are few curators who don’t have<br />
a story about garments which have either been previously donated, or recently offered, to their<br />
collections which really aren’t suitable for retention.<br />
I’m not advocating a mass disposal of all items that people feel are taking up valuable space in<br />
already overcrowded stores, but my own recent experience with donors desperate to donate<br />
garments to a museum led me to begin research into finding alternative homes for their precious<br />
items…<br />
I therefore wanted to write this plea to DATS members to help me begin to assemble a list of<br />
institutions who might be able to make use of that “important” Wedding <strong>Dress</strong>; those scraps of<br />
fabric which “we might be able to use to ‘restore some of our items”; that faded <strong>and</strong> slightly moth<br />
eaten, suit, in fact of any items which could never be displayed, <strong>and</strong> yet might still offer a useful<br />
reference point for research.<br />
I’m particularly interested in identifying teaching collections within universities or independent<br />
institutions where we can confidently assure prospective donors that their garments will be used for<br />
research <strong>and</strong> valued.<br />
Any information, or contacts, that members could provide for their regions would be gratefully<br />
received! Contact Veronica Isaacs v.isaac@vam.ac.uk or veronica.isaac@runnymede.gov.uk<br />
____<br />
The <strong>Textile</strong> Society is a charity which promotes<br />
the history, culture <strong>and</strong> study of textiles.<br />
Established in 1982 it is 30years old this year, so<br />
as well as offering the usual annual awards <strong>and</strong><br />
bursaries, which includes the Museum Award,<br />
this year the society is also offering two new<br />
awards: the Conservation Award <strong>and</strong> the Natalie<br />
Rothstein Silk Award.<br />
The Conservation Award of £2,000 is for a textile conservation project within a museum or archive.<br />
The Award is designed to support the conservation of a textile related object/s from a collection that<br />
will help achieve greater awareness <strong>and</strong> access for the public. This together with the use of new<br />
technologies, where appropriate, will also be considered. Deadline 1 st April <strong>2012</strong>.<br />
The Natalie Rothstein Silk Award Natalie Rothstein was an eminent curator <strong>and</strong> researcher of<br />
textiles at the V & A. Her specialist field of study was the English silk industry from 1600-1850. The<br />
<strong>Textile</strong> Society has received donations in her memory to fund two activities, first, a piece of critical<br />
writing on new research, which reflects a continuity of Natalie’s research interests <strong>and</strong> philosophies.<br />
Second, the finalists will be invited to present their papers at a special symposium on the theme of<br />
silk in spring 2013. The sum of £1000 will be awarded to the winning paper. Deadline 31 st August<br />
<strong>2012</strong>.<br />
39
The Museum Award is an annual award of £3000 for a textile related project within a museum or<br />
archive. It is designed to support projects such as exhibitions or publication that will help achieve<br />
greater awareness <strong>and</strong> access to the public. Deadline this year will be 1 st June <strong>2012</strong>.<br />
The Professional Development Award is an annual award of £1000, which is aimed at professionals<br />
who wish to progress in their career <strong>and</strong> have a genuine enthusiasm for their project. The deadline<br />
date for this is August 1 st <strong>2012</strong>.<br />
For more information on the awards see www.textilesociety.org.uk<br />
The <strong>Textile</strong> Society’s 3rd London Antique <strong>Textile</strong>s Fair will be held on the 7th<br />
October <strong>2012</strong> at Chelsea Old Town Hall, London SW3. For more information see the website or email<br />
atf@textilesociety.org.uk<br />
_____<br />
Fashion at the V&A www.vam.ac.uk/page/f/fashion<br />
Redesigned Fashion Gallery<br />
The V&A’s fashion gallery has been housed in Gallery 40 since the 1950s <strong>and</strong> is one of the most<br />
popular in the Museum. As part of the ambitious FuturePlan to transform the Museum, the fashion<br />
gallery is currently undergoing architectural renovation <strong>and</strong> redesign by 6a Architects. It will re-open<br />
in May <strong>2012</strong> to coincide with the Ballgowns exhibition.<br />
It will open with a completely re-curated display of fashion from the collection, led by the V&A’s<br />
Senior Fashion Curator, Claire Wilcox. Around 100 outfits will be arranged chronologically to reflect<br />
the quality <strong>and</strong> breadth of the V&A’s collections. It will include many outst<strong>and</strong>ing items, from a<br />
magnificent mantua from the 1760s, a man’sfrock coat from the 1790s, to an 1850s wedding dress<br />
with veil <strong>and</strong> shoes <strong>and</strong> a splendid magenta silk crinoline by Mme. Vignon from the 1860s. There will<br />
be late 19th-century tailored costumes <strong>and</strong> high laced walking boots, an embroidered evening coat<br />
in the Japanese style by Worth, brightly coloured flapper dresses with an ostrich fan <strong>and</strong> early tennis<br />
wear <strong>and</strong> swimwear. Also on display will be a Schiaparelli evening coat with embroidered design by<br />
Jean Cocteau, a black satin evening dress by Charles James accessorised with an aluminium Art Deco<br />
evening bag, a Utility suit with Ascher printed silk scarf, ‘Zemire’ by Christian Dior (1954), as well as<br />
other evening dresses by Balmain, Balenciaga, Givenchy <strong>and</strong> Lanvin Castillo. Op Art designs, works<br />
by Ossie Clark <strong>and</strong> an original Biba dress worn by Barbara Hulanicki will represent British fashion in<br />
the 1960s <strong>and</strong> 1970s. A punk outfit by Vivienne Westwood will rub shoulders with a deconstructed<br />
ensemble by Comme des Garcons while a case dedicated to contemporary fashion will include<br />
recent acquisitions from Versace, Gaultier, Armani, Helmut Lang, Dior <strong>and</strong> Dries van Noten. These<br />
will be accompanied by shoes by Nicholas Kirkwood <strong>and</strong> Prada, <strong>and</strong> fashion photography by Tim<br />
Walker. The renovation of the gallery will allow a new, multi-faceted approach to the display,<br />
which will incorporate underwear, accessories, textiles, lace, fans, scarves, <strong>and</strong> jewellery. Fashion<br />
dolls, miniature dresses, pattern books, photographs, portraits <strong>and</strong> chairs from each period will<br />
provide contextual background.<br />
The Architectural Refurbishment<br />
Gallery 40 was designed as a spectacular Edwardian domed court with large alcoves,<br />
architectural columns <strong>and</strong> ornate mosaic flooring. The refurbishment project will reveal <strong>and</strong> restore<br />
the gallery’s original architecture to provide a sense of gr<strong>and</strong>eur, ambience <strong>and</strong> light. The project will<br />
enhance the features of the domed ceiling with a new lighting scheme. The gallery will be fully<br />
redecorated, the mosaic floor will be revealed <strong>and</strong> restored, <strong>and</strong> the original gr<strong>and</strong> entrances <strong>and</strong><br />
40
vistas reopened, reinstating the dramatic scale <strong>and</strong> architecture of the gallery. This project will also<br />
reclaim the mezzanine gallery for displays of fashion <strong>and</strong> textiles, adding over 400 square metres of<br />
display space.<br />
____<br />
Kensington Palace, London, W8 4PX www.hrp.org.uk<br />
Kensington Palace will reopen on 26 March <strong>2012</strong> after the conclusion of a £12 million pound<br />
transformation. Four new narrative routes will allow visitors to explore Kensington’s history since<br />
1688, while a temporary summer exhibition, opening on 24 May <strong>2012</strong>, will explore Queen Victoria’s<br />
Diamond Jubilee. Woven into these exhibitions will be displayed examples of royal <strong>and</strong> ceremonial<br />
dress from Kensington’s Designated Royal Ceremonial <strong>Dress</strong> Collection. At the heart of the new<br />
entrance space of the palace will be a specially commissioned light sculpture designed <strong>and</strong> made by<br />
design studio Loop.pH, which has been inspired by historic lace from Kensington’s dress collection.<br />
The palace’s new permanent exhibition Victoria Revealed explores Queen Victoria’s life <strong>and</strong> reign<br />
through her own words. Set within the very rooms that Victoria lived in as a child the exhibition<br />
brings together an extraordinary, rich collection of over 300 objects including paintings, furniture,<br />
jewellery <strong>and</strong> sculpture. Items of dress include Victoria’s wedding dress <strong>and</strong> early examples of her<br />
mourning dress, as well as her first pair of baby shoes, mourning jewellery <strong>and</strong> Prince Albert’s<br />
dressing case, all providing a truly intimate account of her extraordinary life.<br />
The radically transformed State Apartments will tell two stories. Through the Queen’s Apartments<br />
the fragile history of the Stuart Dynasty will be uncovered, in an installation created by theatre<br />
makers Coney. Coney have also devised a hidden game to be discovered in the King’s Apartments,<br />
which explores the social <strong>and</strong> political games at court, as everyone vied succeed <strong>and</strong> obtain the eye<br />
of the King. Beautiful pieces of 18 th century court dress including a Spitalfields mantua <strong>and</strong> George<br />
III coronation robes will be on display.<br />
A small but elegant display Diana, glimpses of a modern princess will contain five dresses worn by<br />
the Princess of Wales <strong>and</strong> showcase the Princess’s evolving style over the years. It includes the<br />
famous Emanuel-designed black silk taffeta strapless gown worn by the newly-engaged princess in<br />
1981 <strong>and</strong> a classic Versace dress which she wore in her later life.<br />
Jubilee – A view from the crowd tells the story of Queen Victoria’s Diamond Jubilee in 1897 from the<br />
perspective of the thous<strong>and</strong>s of people who celebrated it from duchesses to newspaper sellers.<br />
Items of dress include the lace flounce from Queen Victoria’s wedding dress (worn for her Diamond<br />
Jubilee portrait) <strong>and</strong> the Duchess of Devonshire’s dress for her fancy dress ball held in the same<br />
year.<br />
_____<br />
Centre for Eighteenth Century Studies<br />
CECS Day Conference at the King's Manor, University of York, Exhibition Square, York<br />
Saturday 23 June <strong>2012</strong>, 9.30AM to 5.00pm<br />
Desiring Fashion: The Consumption <strong>and</strong> Dissemination of <strong>Dress</strong> 1750-1850<br />
41
This day conference brings together academic <strong>and</strong> curatorial work on the desire to dress fashionably<br />
in the eighteenth century. From faces to feet, the fashionable men <strong>and</strong> women of the eighteenth<br />
century strove to achieve aesthetic perfection. This series of papers explores the process of fashion<br />
dissemination, production <strong>and</strong> consumption which enabled the fulfilment of these desires, <strong>and</strong> how<br />
this related to the concepts of desire, gender <strong>and</strong> beauty. The papers to be presented cover subjects<br />
such as cosmetics <strong>and</strong> beauty, fashion plates, silk manufacture <strong>and</strong> the relationship between<br />
dressmaker <strong>and</strong> client. A small exhibition of fashion plates <strong>and</strong> accessories from the period will<br />
accompany the conference.<br />
For details of speakers see<br />
http://www.york.ac.uk/eighteenth-century-studies/events/desiringfashionconferencejune<strong>2012</strong>/<br />
____<br />
Reinventing the Corset – Ironbridge Gorge Museum Trust<br />
‘Reinvention corsets’ are a range of corsets created by the Costume Project at the Ironbridge Gorge<br />
Museum Trust, Shropshire. Historic corsets are used as the inspiration to create this modern<br />
interpretation which explores key functions of the original design.<br />
The Costume Project has been producing bespoke clothing for museums since 2004, specialising in<br />
reproducing eighteenth <strong>and</strong> nineteenth century costume. The aim is to make historic costume more<br />
engaging <strong>and</strong> accessible to the public. All work is based on original patterns <strong>and</strong> historic sources, <strong>and</strong><br />
the bespoke services offer three levels of interpretation.<br />
Reproduction costume is a faithful copy of an original historic costume, which can be used for display<br />
but also allows visitors to get close to <strong>and</strong> interact with the textiles.<br />
Reconstruction costume can be worn <strong>and</strong> tried on by staff or visitors, <strong>and</strong> whilst it retains the look<br />
<strong>and</strong> function of the original clothing, it is graded to modern sizes <strong>and</strong> uses robust materials.<br />
The unique Reinvention range of corsets was born out of a partnership<br />
between the Ironbridge Gorge Museum Trust <strong>and</strong> the Fashion<br />
Museum, Bath. They are a fun <strong>and</strong> accessible ‘try-on activity’ that give<br />
an immediate impression of what it was like to wear a corset. The<br />
corsets use rucksack clips, cord <strong>and</strong> toggles as their fastenings – items<br />
that everyone is familiar with <strong>and</strong> know how to use, removing barriers<br />
between the public <strong>and</strong> the corset. The corsets are made of an<br />
upholstery fabric which is incredibly robust <strong>and</strong> st<strong>and</strong>s up to intense<br />
visitor use <strong>and</strong> include bold front <strong>and</strong> back labels, with text <strong>and</strong><br />
Image: Ironbridge Gorge pictures.<br />
Museum Trust<br />
A Reinvention range of corsets are currently being produced for the First Garden City Heritage<br />
Museum, Letchworth, to complement their exciting upcoming exhibition: The Spirella Company -<br />
Corset Makers & Corsetieres which will run from 26 March <strong>2012</strong> – March 2013.<br />
Reproduction, Reconstruction <strong>and</strong> Reinvention are essential in costume interpretation as they<br />
encourage a deeper underst<strong>and</strong>ing of the history of clothing by allowing visitors to try-on, explore<br />
<strong>and</strong> interact with the garments instead of only gazing upon historic costume that is behind glass.<br />
42
The Costume Project studio is based in Enginuity, part of the Ironbridge Gorge Museum Trust, has<br />
regular open afternoons – for more information please email gillian.crumpton@ironbridge.org.uk or<br />
visit the website www.ironbridge.org.uk<br />
____<br />
Current <strong>and</strong> forthcoming exhibitions<br />
London<br />
Victoria <strong>and</strong> Albert Museum, Cromwell Road, London SW7, www.vam.ac.uk<br />
Ballgowns: British Glamour Since 1950 19 May <strong>2012</strong> – 6 January 2013<br />
A spectacular exhibition of more than 60 ballgowns from 1950 to the present day will go<br />
on display at the V&A next May in the newly renovated Fashion Galleries <strong>and</strong> will feature beautiful<br />
ballgowns, red carpet evening gowns <strong>and</strong> catwalk showstoppers.<br />
Golden Spider SilkGol Until 5 June <strong>2012</strong> den Spider Silk<br />
The V&A plays host to the world's largest pieces of cloth made from spider silk.<br />
Amazingly beautiful, but possibly not one for any arachnophobes out there.<br />
____<br />
Fashion <strong>and</strong> <strong>Textile</strong> Museum, 83 Bermondsey Street, London, SE1 3XF www.ftmlondon.org<br />
Designing Women - The Art of <strong>Textile</strong> Design in Postwar Britain 16 March – 16 June<br />
<strong>2012</strong><br />
Pop! Culture <strong>and</strong> Fashion 1955 – 1976 6 July - 27 October <strong>2012</strong><br />
____<br />
The Design Museum, Shad Thames, London, SE1 2YD www.designmuseum.org<br />
Christian Louboutin 1 May – 9 July <strong>2012</strong><br />
The Design Museum presents the first UK retrospective of iconic French shoe designer Christian<br />
Louboutin, celebrating a career which has pushed the boundaries of high fashion shoe design.<br />
Southeast of Engl<strong>and</strong><br />
Waddesdon Manor, near Aylesbury, Buckinghamshire, HP18 0JH www.waddesdon.org.uk<br />
Diplomatic <strong>Dress</strong>: The Rothschilds as Consuls General of Austria 28 March-28<br />
October <strong>2012</strong><br />
Driving <strong>and</strong> Sporting Pursuits: A Selection of Gloves lent by the Worshipful<br />
Company of Glovers’ Charity 28 March-28 October <strong>2012</strong><br />
43
There are three costume displays at Waddesdon for the <strong>2012</strong> season. A selection of lace acquired by<br />
Baroness Edmond de Rothschild (1853-1935), shows 18 th -century lappets, part of a fashionable<br />
woman’s headdress. Baroness Edmond collected the exquisite French, Brussels <strong>and</strong> Venetian lace<br />
now at Waddesdon, along with the popular buttons, on long-term display. Also featured is a pair of<br />
uniforms, newly on loan from the Rothschild family, thought to have been worn by Baron James de<br />
Rothschild (1792-1868) <strong>and</strong> his son, Gustave (1829-1911), as Consuls-General of Austria. Finally,<br />
pairs of early 20 th century gloves for driving are displayed, exploring the Rothschild family interest in<br />
cars <strong>and</strong> on loan from the Worshipful Company of Glovers. You can find out more about the history<br />
of the Company <strong>and</strong> their historic glove collections at www.thegloverscompany.org<br />
Southwest of Engl<strong>and</strong><br />
TOTNES FASHION & TEXTILE MUSEUM, Bogan House, 43 High Street, Totnes, Devon TQ9 5NP,<br />
www.devonmuseums.net<br />
SPORTS & SPECTATORS - THEN & NOW, 1880 – <strong>2012</strong><br />
22 May to 28 September <strong>2012</strong><br />
The <strong>2012</strong> Summer Exhibition will show clothing worn by recent local<br />
sporting heroes (including Olympians) <strong>and</strong> their historic counterparts,<br />
along with clothing worn by spectators of various periods.<br />
The Museum, home of the Devonshire Collection of Period Costume, is housed in the most intact<br />
Tudor merchant's house in Totnes. The Collection includes items of clothing from c1650 to the end<br />
of the C20th. Research opportunities available by appointment Tuesday to Friday inclusive, 11 am to<br />
5 pm (last entry 4.30 pm). Outside these times <strong>and</strong> during October by appointment.<br />
Midl<strong>and</strong>s <strong>and</strong> Wales<br />
Northampton Museum <strong>and</strong> Art Gallery, Guildhall Road, Northampton, NN1 1DP,<br />
www.northampton.gov.uk<br />
<strong>Dress</strong> the World: The World at Your Feet 31 March – 23 September <strong>2012</strong><br />
The World at Your Feet explores the role of shoe fashion in creating cultural identity through the<br />
Museum’s world footwear collection. Join us on a journey across the world looking at how shoe<br />
traditions are symbolically involved in key moments in people’s lives including birth, coming of age,<br />
marriage <strong>and</strong> death. www.dresstheworld.co.uk<br />
North of Engl<strong>and</strong><br />
Gallery of Costume, Platt Hall, Manchester<br />
www.manchestergalleries.org.uk<br />
From 2 June <strong>2012</strong>, in the temporary exhibitions gallery, the Gallery of Costume will be showing<br />
photographic portraits from three Mali artists, mainly taken in the 1960s <strong>and</strong> 70s. They are very<br />
44
powerful images! The three below are by a photographer called Male <strong>and</strong> are lent by the National<br />
Museum of Mali.<br />
From Wednesday 15 Feb until June 30 <strong>2012</strong>, the large 18th century display will be reconfigured with<br />
interventions led by a group of young people in collaboration with the Stories of the World project.<br />
Smart new cases made by Mayveart, a Belgian company, have been installed in the 17th century<br />
gallery <strong>and</strong> with new outfits <strong>and</strong> pieces chosen for display, including a remarkable pink silk bodice<br />
embroidered with a feather design in black bugle beads, <strong>and</strong> dating to the 1650s, from March <strong>2012</strong>.<br />
_____<br />
Harris Museum & Art Gallery, Market Square, Preston, PR1 2PP www.harrismuseum.org.uk<br />
Uthra Rajgopal has been working at the Harris Museum on the<br />
Preston Guild costume collection. The photo shows Uthra working<br />
on a Venetian fancy dress costume, as worn by the Guild<br />
Mayoress, Mabel Astley-Bell in the 1922 Guild. This costume, along<br />
with other pieces from the collection, including diary accounts,<br />
ephemera <strong>and</strong> photographs will go on display on 27th July <strong>2012</strong> at<br />
the Harris Museum. The exhibition has been designed to mark this<br />
year's Preston Guild celebrations <strong>and</strong> will take a look at how<br />
'dressing up' for pageants, costume balls <strong>and</strong> trades processions all<br />
played an integral part in reinforcing civic pride in the town. The<br />
Preston Guild is celebrated every twenty years <strong>and</strong> the town was<br />
first granted its Royal Charter in 1179. Uthra has been working<br />
alongside Stephanie Murfin who is now the acting Keeper of<br />
Decorative Arts while Caroline Alex<strong>and</strong>er is on maternity leave.<br />
Anthea Jarvis will also be visiting the Harris to look at the collection<br />
in March. Uthra Rajgopal has been generously supported by a<br />
research grant provided by the Coats Foundation Trust.<br />
____<br />
Lotherton Hall, Off Collier Lane, Aberford, Leeds, LS25 3EB www.leeds.gov.uk/lothertonhall<br />
The Victorian Look Book - Fashion <strong>and</strong> Furnishings 1837-1901<br />
2 March <strong>2012</strong> to 31 January 2013<br />
45
The Victorians drew upon a rich archive of global <strong>and</strong> historical influences when choosing what they<br />
wore <strong>and</strong> how they decorated their homes. This exhibition explores the styles that dominated the<br />
period. From Gothic to Aesthetic, Exotic to Arts <strong>and</strong> Crafts visitors will discover <strong>and</strong> find their<br />
favourite Victorian look.<br />
Temple Newsam House, Temple Newsam Road, Off Selby Road, Leeds, LS15 0AE<br />
www.leeds.gov.uk/templeNewsamhouse<br />
Bedtime Stories Chapter Two: Beds <strong>and</strong> Bedding in Britain 1650 -1850 Opens May<br />
15 <strong>2012</strong><br />
This is the second part of the year-long celebration of beds at Temple Newsam House accompanying<br />
the major restoration of the Queen Anne State Bed. This exhibition explores the history of beds <strong>and</strong><br />
the social <strong>and</strong> material culture of bedrooms in Britain between 1650-1850. On display will be a<br />
selection of fine <strong>and</strong> decorative arts, textiles <strong>and</strong> costume which tell the bedtime stories of Early<br />
Modern Britain.<br />
____<br />
Quilt Museum <strong>and</strong> Gallery, St Anthony's Hall, Peasholme Green, York, YO1 7PW<br />
www.quiltmuseum.org.uk<br />
Celebrating Diversity 4 May – 1 September <strong>2012</strong> An international exhibition of new quilts<br />
<strong>and</strong> textiles from the European Quilt Association<br />
Small is beautiful 4 May – 1 September <strong>2012</strong> An exhibition of some our smaller items from<br />
the collection, including miniatures, cot quilts <strong>and</strong> even tea cosies.<br />
Scotl<strong>and</strong><br />
National Museum of Costume, Shambellie House New Abbey, Dumfries DG2 8HQ<br />
Off the Peg: Fashion from the 40s <strong>and</strong> 50s 1 April <strong>2012</strong> – 31 October <strong>2012</strong><br />
Be transported back to an era of elegance <strong>and</strong> glamour in our <strong>2012</strong> special exhibition. Evening<br />
gowns, day dresses, beach wear <strong>and</strong> housecoats in bold innovative prints form the centre piece of<br />
this dazzling exhibition organised in conjunction with The Fashion & <strong>Textile</strong> Museum, London. Find<br />
out more at www.nms.ac.uk/offthepeg<br />
Fabulous 50s Day on Sun 22 July 11:00–16:00<br />
Recapture the glamour of the fabulous 50s at our family event. Watch Lucy from The History<br />
Wardrobe as she sheds her rubber gloves <strong>and</strong> transforms herself from domestic drudge to domestic<br />
goddess. <strong>Dress</strong> up in vintage clothing <strong>and</strong> pose for your own Fifties snapshot. Look out for crafts <strong>and</strong><br />
style tips, all set to a rock <strong>and</strong> roll soundtrack.<br />
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Dovecot Studios, Dovecot, 10 Infirmary Street, Edinburgh, EH1 1LT, www.dovecotstudios.com<br />
Weaving the Century: Tapestry from Dovecot Studios 1912-<strong>2012</strong> 13 Jul - 07 Oct <strong>2012</strong><br />
The first major exhibition of tapestry in Scotl<strong>and</strong> for over 20 years <strong>and</strong> the highlight of the Dovecot’s<br />
centenary year celebrations in <strong>2012</strong>.<br />
Books<br />
The Art of Modern Tapestry: Dovecot Studios from 1912 edited by Elizabeth<br />
Cumming, (Lund Humphries/Dovecot Studios, July <strong>2012</strong>)<br />
Setting out to celebrate, document <strong>and</strong> discuss the work <strong>and</strong> role of an international tapestry<br />
workshop, Dovecot Studios, since its foundation in Edinburgh in 1912, this ground-breaking<br />
publication uniquely explores the artistic value, nature <strong>and</strong> identity of modern tapestry through<br />
images, essays <strong>and</strong> the commentaries of weavers, artists <strong>and</strong> patrons.<br />
Artist Designed <strong>Textile</strong>s 1940-1976, Geoffrey Rayner, Richard Chamberlain <strong>and</strong><br />
Annamarie Stapleton (Antique Collectors' Club, June <strong>2012</strong>)<br />
An important <strong>and</strong> comprehensive survey of textile design, featuring over 200 colour<br />
illustrations. Includes exciting new discoveries <strong>and</strong> never-before-seen designs, alongside specially<br />
commissioned photography.<br />
Facing Beauty: Painted Women <strong>and</strong> Cosmetic Art, Aileen Ribeiro, (Yale University<br />
Press, <strong>2012</strong>)<br />
TEXTILES Critical <strong>and</strong> Primary Sources, Edited by Catherine Harper, (Berg Publishing, <strong>2012</strong>)<br />
<strong>Textile</strong>s: Critical <strong>and</strong> Primary Sources is a major multi-volume reference work that draws together 80<br />
seminal texts on textiles. <strong>Textile</strong> culture stretches geographic, historical, methodological <strong>and</strong><br />
disciplinary boundaries, <strong>and</strong> defies chronological ordering. The contents are therefore gathered into<br />
four thematic collections dealing with history <strong>and</strong> curation; production <strong>and</strong> sustainability; science<br />
<strong>and</strong> technology; <strong>and</strong> identity, each supported by an introductory editorial essay that serves to<br />
critique <strong>and</strong> supplement each textual collection <strong>and</strong> theme.<br />
February <strong>2012</strong> / 4 volumes / 1,600pp HB SET 978 0 85785 035 5 £550<br />
Irish People, Irish Linen, Kathleen Curtis Wilson, (Ohio University Press, 2011)<br />
The Princess <strong>and</strong> Dior’s New Look - Free download from Maney Publishing<br />
To mark the 65th anniversary of "New Look", the first collection by Christian Dior, Maney Publishing<br />
are making the recently published article in Costume by Beatrice Behlen, `Does Your Highness feel<br />
like a gold person or a silver one?' Princess Margaret <strong>and</strong> Dior free to download . Recent research by<br />
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Beatrice Behlen reveals the extensive relationship between Princess Margaret <strong>and</strong> the House of<br />
Dior. Margaret was considered a patron of the house until her death in 2002.<br />
The article ’Does Your Highness feel like a gold person or a silver one?’ Princess Margaret <strong>and</strong> Dior by<br />
Beatrice Behlen is published in Volume 46 No.1 (January <strong>2012</strong>), of Costume. The article is available<br />
free of charge during Paris Fashion Week from February 28 - March 7, <strong>2012</strong> at<br />
http://www.ingentaconnect.com/content/maney/cos/<strong>2012</strong>/00000046/00000001/art00004<br />
Costume, published by Maney Publishing on behalf of The Costume Society of Great Britain, is a<br />
scholarly, refereed publication presenting current research into contemporary <strong>and</strong> historic dress.<br />
The journal publishes articles from a broad chronological period <strong>and</strong> with a worldwide remit; it<br />
maintains a balance between practice <strong>and</strong> theory <strong>and</strong> concentrates on the social significance of<br />
dress. The journal also includes reviews <strong>and</strong> listings of new books, journal articles <strong>and</strong> exhibitions.<br />
For more information visit www.maney.co.uk/journals/cos<br />
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