A Mugler Mystery: Part III

My previous post reviewed the styles, colours and power dynamics of women’s fashion during the 1990s using The Dress Detective (note 1). This third and final blog post uses the contextual information gathered about the aqua blue Thierry Mugler skirt suit to consider clothing as a method of communication. More specifically, I ask: who would…

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A Mugler Mystery: Part I

Inspired by his background in theatre and dance, Mugler is known for his futuristic and whimsical designs born out of his wildest fantasies. This series of three blog posts will consider the construction of an acqua blue skirt suit by Thierry Mugler and analyze related contextual information of the 1990s in order to explore the idea of clothing as a symbol of power and method of communication.

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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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Drawing Habits: Learning to Look Attentively at Dress

On Friday, July 20, 2018, artist Sarah Casey and Dress Detective Ingrid Mida offered a drawing workshop hosted at the Contemporary Textile Studio Co-op in Toronto. In this workshop, participants were introduced to methods of examining and interpreting garments through drawing.     Participants were able to draw selected artifacts from the Ryerson Fashion Research…

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Drawing as a Research Tool: Observing The Sleeping Beauty Bluebird Costume

Front view of the Bluebird costume. (FRC 2014.08.015A) Drawing by Teresa Adamo 2017. Observing an historical artifact can be overwhelming at first, especially when presented with a garment that has a large amount of surface details and materials.  Creating observational drawings can be an excellent method for object-based research. As stated in The Dress Detective,…

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