Ryerson Fashion Research Collection

Opening the closet door to a Canadian fashion archive


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Looking forward and back

By Ingrid Mida, Fashion Research Collection Co-ordinator

The halls outside my door are mostly empty. It is the summer term and time to take inventory – literally and metaphorically. I’ll be checking what’s in boxes and on racks against the locator tags on the inventory files. It is tedious and time consuming work, but necessary to ensure the accuracy and integrity of the database, as well as make it easier for me to find artifacts requested for research appointments. I also thought it would be a good time to take stock of all that was accomplished this past year and highlight some of the projects that took place in the Fashion Research Centre.

MA Fashion students at work in the FRC

MA Fashion students at work in the FRC

My primary focus of the year was accessioning and rehousing the nearly 600 artifacts that came to Ryerson from the Cleaver-Suddon Collection. This rich collection, a legacy of the late Alan Suddon that was sustained by Professor Emeritus Katherine Cleaver, has added much depth to our collection, especially in terms of nineteenth century artifacts. The oldest garment dates back to 1815 and is a long sleeved morning gown in a most delicate muslin with embroidered dots. Contemporary pieces include labels like Jenny, Lanvin, Schiaparelli, Pierre Cardin, and Givenchy. For a lovely photo gallery of images, please see the article by Kathleen McGouran in the Ryersonian here. I also wrote a blog post about one of my favourite pieces from that donation here. There are also many photos on my twitter page.

Schiaparelli label inside fuchsia, purple and blue turban ca. 1950s FRC2014.07.148

Schiaparelli label inside fuchsia, purple and blue turban ca. 1950s FRC2014.07.148

As well, we received about 60 artifacts from the National Ballet of Canada including a tutu that dates from one of their earliest performances. I spent some time in the National Ballet archives to understand what material might be available to students who wish to do research on these costumes and have written a paper myself called “Biography of a Tutu” which I’ve submitted for peer review. Hopefully it will serve as an example of how students might approach this type of research.

And of course, we had many visitors to the Fashion Research Centre, including several class groups from Foundation I, Curation, Scenography, and Fashion Theory II. Outside visitors included a group of visiting scholars and curators from the Jackman Humanities Institute Fashion in the Museum Working Group, as well as a group of former CN Tower elevator operators who saw my tweet about the CN tower uniform for 1976 designed by Pat McDonagh.

Ingrid Mida (in blue sweater) with Scenography Class

Ingrid Mida (in blue sweater) with Scenography Class

Graduate student projects included research into menswear tailoring, sustainability in historic terms, Japanese designers, the wardrobe of Barbara Moon, embroidery and beading techniques, pink dresses in history, and corsets.

Embroidery on black crepe evening gown, ca. 1935 FRC2014.07.422

Embroidery on black crepe evening gown, ca. 1935 FRC2014.07.422

In the absence of dedicated exhibition space, I’ve been working on small collaborative projects with other institutions to help extend our reach. A 1860s apple green silk dress ensemble laced with arsenic dye will soon go on exhibit at the Bata Shoe Museum in Toronto to replace the gown currently on display in the Fashion Victims exhibit there.

Apple green silk dress ensemble, ca. 1860s, FRC2014.07.406 A+B+C

Apple green silk dress ensemble, ca. 1860s, FRC2014.07.406 A+B+C

 

Testing for arsenic in the Physics Lab

Testing for arsenic in the Physics Lab

In spite of very limited hours of operation, the Fashion Research Centre was a busy place this past year. I look forward to welcoming more students to the FRC in the fall as the word gets out about the many treasures therein.