Spring 2012 - Dress and Textile Specialists

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There is a clever use of magnets on the steel structure which support small object mounts and label stands and allow for a flexible lighting system. Each LED, on a flexible neck, is attached by magnets, to enable each one to move along the structure. The energy saving LED lighting, the easily available and re-useable magnets and shop kit hanging elements, make this a good sustainable system for the future. This section of the display for the 1830s is a good illustration of the approach we took – To layer a range of costume, textiles and accessories of that period, so that they come together visually, at appropriate heights, making their history and the period more tangible. For example, the placing of the portrait in front of a hanging quilt of richly coloured and patterned dress fabrics. To have all mounts and mannequins custom made in acrylic, to safely support the object but not distract the viewer. The acrylic forms have allowed the visitor to see the interior of a garment and the success of this innovative method has been overwhelming. Visitors are intrigued to be able to see inside garments gaining glimpses of otherwise hidden details, such as makers’ labels and stitching. The monitors at the end of each case create a further context with fashion illustrations and Punch cartoons, for example. We also filmed close-up details of items on display, like fine embroidery or lace, the camera moving slowly over the surface of the textile. Most importantly the films introduce movement, revealing how clothes would have looked when worn, using archive footage or in the case above, a clip from BBC’s dramatisation of Cranford. In conclusion, the success of the gallery displays seems to be the combination of the three new interpretive elements: the discreet acrylic mounts the setting in context by layering objects the addition of paintings to create a sense of time and place, and through film, which also introduces movement. These elements crucially work together, creating, for the visitor, a more accessible and engaging relationship with the objects on view. Temporary displays Two spaces at either side of The Glass Cube are used for temporary displays, both fitted with projectors for AV use, one with a large ‘display wall’ a flexible structure adapted from high quality shop-fit systems. 32
A review of temporary exhibitions, mounted since the gallery opened, illustrates how adaptable these spaces are for different types of shows, which is becoming a formula for future programming, to attract wider audiences. Contemporary fashion or textile designers (e.g. Vivienne Westwood Shoes June 2011) Showcasing new talent from Fashion & Design courses in the North of England, project work based on items and displays from our collection ( e.g. displays of work from fashion students, Northumbria and Sunderland Universities, July and December 2011) Focus on technical aspects of the historic collections, with accompanying demonstrations and workshops ( income generating) (e.g. Knit 3TOG March-April 2011) Focus on one or two dresses by one designer, highlighting their career but also revealing the story of the life of the wearer. (e.g. Vionnet, to April 2011, Paquin Dec 2011- 9 April 2012) Artist residencies to create new work inspired by historic collections (e.g. Between the Lines. An installation by textile artist, Naseem Derby). This show was seen by the conference delegates. New audiences and indicators of success The greatest achievement has been the increase in popularity for our textile collections, attracting new and younger audiences. Visitor surveys conducted by Audiences North East show that the highest percentage of visitors (44%) named the Fashion and Textile Gallery as their favourite in the Museum and the highest percentage of visitors (36%) named textiles and dress as the collection they would return to see again. Contemporary fashion has undeniably been the most successful, so far. Visitor numbers for the Vivienne Westwood exhibition versus the same period the previous year showed an increase of 87.4%, with student concessions showing an increase of 1326.7%. Before visiting the gallery, delegates were shown the film which is an introduction to gallery and The Art of Dressing with Luca Costigliolo, which plays in the gallery and on our website. See link: http://www.indigomultimedia.com/portfolio/art-of-dressing Acknowledgements: Gallery Design: Blue the design company ltd. Acrylic mounts and mannequins: The Museum Workshop Ltd. Mounting of costume: Janet Wood Conservation: Caroline Rendell Audio- visual: Indigo Multimedia Ltd. Display lighting: FusionLX 33
Page 1 and 2: DATS Dress and Textile Specialists
Page 3 and 4: DATS Committee 2012 Chair Christine
Page 5 and 6: Effective Collections - making the
Page 7 and 8: This assessment method could be app
Page 9 and 10: Mad Hatter Knitting ‘The Big Weav
Page 11 and 12: An exhibition from the Embroiderer'
Page 13 and 14: This special exhibition will examin
Page 15 and 16: This ‘storage backdrop’ is some
Page 17 and 18: Increasingly too, access to the col
Page 19 and 20: aimed to enhance the collection’s
Page 21 and 22: Figure 1. Linking understanding of
Page 23 and 24: Josie Sheppard, previously Curator,
Page 25 and 26: department/officer, 3. if you can,
Page 27 and 28: Figure 2 YFA Branding applications
Page 29 and 30: Without the YFA Mrs H would not hav
Page 31: Access and the new Fashion & Textil
Page 35 and 36: Photo 1: Bowes 1 Photo 2: Bowes 2 L
Page 37 and 38: I am currently working on The Black
Page 39 and 40: NEWS and EVENTS LIFE IN THE OLD CLO
Page 41 and 42: vistas reopened, reinstating the dr
Page 43 and 44: The Costume Project studio is based
Page 45 and 46: powerful images! The three below ar
Page 47 and 48: Dovecot Studios, Dovecot, 10 Infirm

Spring 2012 - Dress and Textile Specialists

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