The Absent Presence of Evelyn Wilkie in Photographs

When donors offer clothing to the Ryerson Fashion Research Collection, I always ask if there are related photographs.  Clothing tells only one part of the story. Photographs can help reveal other clues as to the fashioning of identity since accessories and other details of body language are also relevant to unravelling clues to their persona.…

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Absent Presence and the Remaking of a Wedding Dress

The wedding dress worn by Evelyn Wilkie on November 15, 1927 cannot be displayed on a mannequin since the dress is in very poor condition and small fragments of silk shatter each time the dress is moved. For this reason, a replica of the dress was created by Ryerson University Fashion Design student Olivia Da Cruz…

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A Handbag’s Tale

Editor’s Introduction: This post was a creative project by MA Fashion student Anna Pollice for a special topics class called “Fashion Beyond the Clothed Body” with Dr. Esther Berry. In this post, Anna writes the narrative of an object biography from the point of view of a handbag (and her imaginary owner Eleanor). This handbag…

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Sustainability: The Kimono and The Haori

by Jennifer Dares and Cecilia Martins Gomes, MA Fashion Students  The word kimono means “thing to wear” in Japanese; the original word is kirumono (Steele 2005; Milhaupt 2014; ). This paper seeks to analyze what aspects of kimono are sustainable. To answer that question two styles of kimono from the Ryerson Fashion Research Collection were…

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Sustainability and a Paper Jumpsuit

By Emilie Chan and Zoe Yin, MA Fashion Students   This woman’s one-piece jumpsuit from the Ryerson Fashion Research Collection is made from a paper textile with repetitive printed patterns in highly contrasting colour combinations—pink, orange, yellow, and green (FRC2014.07.001AB). This jumpsuit is structured with a zipper back, long sleeves, wide legs that flare out from…

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Julian Rose, the Forgotten Dressmaker

by Guest Author Anya Georgijevic In the 1950s, during the post World War II opulence, the expansive silhouette of crinoline skirts came back  into fashion, especially for evening gowns. As is well documented, leading couturiers like Christian Dior and Hubert de Givenchy embraced this bell-shaped silhouette for both day and evening wear. Ready-to-wear designers followed this…

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