Ryerson Fashion Research Collection

Opening the closet door to a Canadian fashion archive

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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 is in the Ryerson Fashion Research Collection (FRC2014.07.600) and was a gift of the Suddon-Cleaver collection. 



I remember so clearly being put on display and supported by an upright Wadco easel. I was beautiful and I sparkled. I was the newest Whiting & Davis mesh bag on display at the jewellery shop and I think I cost about $2.25 at that time (Schwartz 88). It was 1925, just after the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris, that Whiting & Davis, a mesh handbag manufacturer,  embraced the Art Deco style. Although this look did not last long (as styles dramatically changed during the Great Depression), I loved my enamelled flat surface links, called Armour Mesh, patterned with pink geometric flowers, centred around a red point and encircled with two shades of green. The pattern regularly repeated all over me and only changed at my bottom edge. The edge was pinked and the floral design deviated ever so slightly with a smaller pink flower.


Some time has passed, but I still maintain many of those original qualities. I must admit that my ageing well is in part due to the excellent artistry and craftsmanship of Whiting & Davis. Founded in 1876, William H. Wade and Edward P. Davis manufactured jewellery. It was not until 1896 that Charles A. Whiting and Edward P. Davis purchased the company, changed the name and began to make mesh bags. Although my predecessors were handmade, in 1912 the world’s first automatic mesh machine was invented, and Whiting & Davis became the first company to use it, later patenting it (Schwartz 74). I was, of course, made by one of those machines. The company guaranteed my durability and strength allowing me to carry a minimum of 2.26 kg. or 5 lbs. (Schwartz 74)! Imagine that! What could a girl possibly need to carry?

Well, as petite as I was, I had the strength to carry a fair bit. My brass frame is 10 cm wide, and is embossed with a delicate pattern of small leaves and flowers. It is straight across the top and elegantly dips down on each end. My angles are clean and strong, and very modern. I am 21 cm long from the top of my rounded gold metal clasp to the bottom tip of my last flat link. My chain is a series of linked infinity symbols that measures 32 cm in length; just long enough to have me sway from a woman’s wrist while still making a stylish impact. My flat mesh looks like liquid gold and drapes beautifully. My flat mesh body is joined to my metal frame using an innovative process called hanging up (Schwartz 74), implementing a fine spiral wire without opening a single link (Schwartz 74) (Fig. 4). The Whiting & Davis Mesh Bags logo is impressed into the inside of my metal frame on the top left-hand side (Fig. 4), and I have no other label, although, indeed I say, my design and artistry speak for themselves. Continue reading

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Sustainability and a Paper Jumpsuit

By Emilie Chan and Zoe Yin, MA Fashion Students  

FRC2014.07.001AB_Front_Web (1)

Paper Jumpsuit FRC2014.07.001 Gift of Suddon-Cleaver Collection

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 the waist, and is adorned with a self-tie paper strap and a ruffled neckline. The jumpsuit shows evidences of wear through the pilling and thinning in the movement areas, and there are observable jagged edges on the bottoms of the pant legs. This paper garment is dated between 1967 and 1969 by an unknown maker. In this essay, we analyze the sustainability of paper as a textile.

Historical Context & Elements of Sustainable Design
Paper clothing was a fashion fad of the 1960s. As printing technologies became increasingly advanced in the 1960s (Kent & Williams, 1990), Scott Paper Co., an American company, introduced paper dresses as a marketing tool in 1966 to promote their ability to print beautiful colours onto paper products (“Scott Paper,” 1966). They were composed of paper bound with a synthetic material (rayon) called Dura-Weve (“Paper-Dress Fad,” 2014). Economic expansion and increased discretionary income (“United States GDP,” 2018) allowed consumers embrace these colourful paper garments, prompting other manufacturers and brands to produce paper clothing (Schaer, 1999). The psychedelic colour and pattern combinations seen in this garment represent the aesthetic of  the counterculture “Hippie Movement” of the late 1960s (“The Sixties,” 2018).

American environmental policies and regulations moved away from a wilderness and resource preservation mentality to one that better understood the relational value between the environment and the American society in the 1960s (“New Environmentalism,” 2018), arguably sparked by the release of Silent Spring (1962) by Rachel Carson (Levy & Wissenburg 2004). Paper clothing embodied a throwaway culture—although made with arguably less resources than today’s fast fashion, they were still intended to live a short product lifetime. Daphne Mohajer (2018) suggests that the 1960’s paper fashion “represented a lack of ecological awareness highlighted by its impermanence and disposability” (Mohajer 253). Nonetheless, paper garments were easily hemmed and customizable by the consumer with scissors, evident in the orange paper jumpsuit. Cut off material was then used as hair bows and other accessories (Schaer 1999)—these acts align with “zero-waste” bodies of thinking. Simultaneously, there was prevalent use of synthetic materials in commercial products, aided by government support for the industry (“Timeline,” 2018).

Paper As a Textile in Today’s Fashion Landscape
Although paper clothing was deemed un-environmentally friendly in the late 1960s and made no effort to be sustainable (Buck 2017), it touched on ideas of sustainable practices and ways of thinking, such as a dye-free manufacturing process, self customization to extend product lifetime, and a somewhat zero-waste culture. A few contemporary fashion designers of the present have used paper as the primary choice of garment materials. Some, like Hussein Chalayan, chose paper to convey a sociological message (Howarth 2015) while others, such as Helmut Lang, chose paper as a design preference (“Collection,” 2018). Small businesses such as Paper No.9 have also developed new paper textiles that are more durable in both garment production and product use (“About Us,” 2018). However, the uses of paper as a clothing textile today largely remains within the elite fashion market, or used within sterile environments with a throw-away mindset, such as disposable hospital gowns.

The throw-away paper clothing fad from the 1960s is similar to today’s throw-away culture, supported by fast fashion. Both forms of fashion short product lifetimes, but paper fashions are arguably more sustainable because of the lower environmental, economical and social degradation required for production compared to fast fashion products of the 2000s.


Detail of Paper Textile FRC2014.07.001

Final Remarks and Future Outlook
Paper as a textile material in the 1960s had unintended sustainable elements—arguably less chemicals were used in production, and was easily customizable by the consumer. However, it posed potential recycling problems (as the paper fibre was coated with synthetic materials). Comparing fast fashion with paper fashion invokes ideas of resource trade-off– trading less use of one resource for the increased use of another. In view of this, there is still value in self-customization and the limited resources used in paper fashion production that designers and manufacturers can learn from this 1960s fad. The use of paper as a garment textile is encouraged by many, including Japanese fashion designer Daphne Mohajer (2018), who suggests that although “paper may not seem like a suitable material for making clothing, [it] can be strong and durable if made in a specific way” (Mohajer 236).


About Us. (2018). “Paper No.9. ” Retrieved from https://paper-no9.com/about_us

Buck, S. (2017). “This wild paper clothing trend of the 1960s was the early version of fast-fashion. Medium.” The Met, Retrieved from https://timeline.com/paper-fashion-1960s-43dd00590bce

Daphne Mohajer va Pesaran. (2018). “People and Placeness: Paper Clothing in Japan.” Fashion Practice 10:2, 236-255, DOI:10.1080/17569370.2018.1458498
Howarth, D. (2015). “Clothes dissolve on the catwalk during Hussein Chalayan’s Spring Summer 2016 show.” DeZeen.
Kent, A., Williams, J. G. (1990). Encyclopedia of Microcomputers (6), CRC Press.
Paper-Dress Fad Began at State’s Scott Paper CO. (2014, May 14), Wisconsin State Journal, Madison Newspapers Inc.
Levy, Y., & Wissenburg, M. (Eds.). (2004). “Liberal democracy and environmentalism : the end of environmentalism?”

New Environmentalism. (2018). University of Wisconsin Oshkosh.

Schaer, S. (1999, Feb 12). “Long Island: Our Future/Back to the Future/Predictions from the Past that Haven’t Come True…yet/Recycling a Fad into Fashion” Newsday.
Scott Paper CO. “Defers Entry into Dress Business” (1966, Apr 21), Women’s Wear Daily, Vol.112, Iss.79.

“The Sixties”. (2018). PBS.Retrieved from https://www.pbs.org/opb/thesixties/timeline/timeline_text.html#culture
“Timeline of Manmade Fibres”. (2018). Textile School. Retrieved from https://www.textileschool.com/351/timeline-of-manmade-fibers/
United States GDP. (2018). Trading Economics. Retrieved from https://tradingeconomics.com/united-states/gdp

This post was edited by Ingrid Mida, Curator and Dress Historian, FRC Collection Co-ordinator

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The Journey of a Chinese Robe: Part 4

In ancient Chinese culture, a robe is a symbol of status depending on the colour, the quality and decorative elements of the garment. In order to compare the robe in the Ryerson Fashion Research Collection (FRC2016.01.001) to others in other collections,  dress historian and curator, Ingrid Mida and I visited the Textile Museum of Canada to examine similar robes. In August 2018, we studied one robe that was similar in colour, rank and decoration  (T88.0261), and another robe that once belonged to someone of much higher status (T92.0276) . In the last blog post of this series, I will compare the two robes at the TMC to the one in the Ryerson collection and consider the use of symbolism and colour to represent rank.


T88.0261. Photograph by Maciek Linowsk. Courtesy of the Textile Museum of Canada.

The first robe (T88.0261) is quite similar to the one in Ryerson’s collection (FRC2016.01.001) in that the colours are alike, the striped hem is identical, and there is even a stain in the same area on the lower front. However, the structure of the robe is slightly different. The sleeves are shorter and have a curved opening whereas FRC2016.01.001 does not have the same detail. The robe at the TMC has slits up the front and back of the garment, but the back one has been hand stitched closed. It is believed that front openings allowed for easier movement when horseback riding. The robe in the TMC has significant discolouration and staining implying that it was worn quite often. There is even a section in the left armpit that has been replaced with a different piece of fabric. It is probable that the area was repaired due to heavy wear.

T88.0261. Detail of hem, brass closure and sleeve. Photograph by Victoria Hopgood, 2018.

Nine dragons have been woven into the robe. The four dragons around the neckline point to each cardinal direction when aligned at a certain point in the Forbidden City. The two dragons on either side of the robe represent the intermediate directions and the dragon on the inside of the robe satisfies the “well-field system”. This idea is based on the wu xing system which is a harmonious balance represented by the nine dragons as fields (note 1).

Ingrid and I were able to find seven of the Eight Precious Things including the rhino horn (happiness), books (learning), medicinal mushroom with a handle (health and healing), coins (wealth), pearls (granting of wishes), leaf (good luck and disease prevention) and the open lozenge (victory). The symbols always come in groups of eight since eight is a lucky number in Chinese culture (note 2). However, after hours of searching, we were not able to find a motif that explicitly looked like the solid lozenge (unbroken conjugal happiness). Ingrid suggested maybe the diamond pattern in the background was representational of the solid lozenge as the pattern is continuous and never breaks. We decided that that was the most probable answer.

All eight of the Eight Auspicious Things have been woven into the robe. This once again, reinforces the idea that the garment belonged to someone of higher status. The parasol protects from the obstacles of life. The fish swim without fear or resistance from happiness. The vase brings the fortune of a glorious life. The lotus frees one from all the stains of mistakes. The conch shell accomplishes work for the benefit and happiness of themselves and others. The glorious peu supports others in one continuous connection. The banner symbolizes victory and the Wheel of Dharma represents the teachings of Buddha (note 3).

T92.0267. Detail of fish, conch shell and glorious peu. Photograph by Ingrid Mida, 2018.

Aside from the Eight Precious Things and the Eight Auspicious signs, the robe is also covered in bats. As mentioned in the last post, the word for bat has the same pronunciation as as abundance and happiness and therefore a bat represents a long life of happiness. There are also peonies which represent prosperity, another symbol seen on the FRC robe as well. A new symbol that I have not seen before looks like it has the head of a dragon and the body of a fish. Unfortunately, I was not able to find any information of this creature.


T88.0261. Detail of dragon-fish creature. Photograph by Victoria Hopgood, 2018.

The second robe (T92.0276) has all the same symbolic elements as the previous robe; all eight of the Precious Things and the Auspicious Signs, other floral elements and bats. However, the key difference is in the quality of materials and degree of detail. The main aspect that sets this robe apart from the other one is the gold leaf threading (note 4). Yellow reveals in itself that it was worn by someone of high rank as the colour “was reserved for monks and the Emperor” (note 5). More detail also went into the creation of the motifs such as the additional embroidering in the dragon eyes. Even the balls used for the closures are larger and more decorative.


T88.0261. Photograph by Maciek Linowsk, Courtesy of the Textile Museum of Canada.

The robe is in immaculate condition and has hardly any signs of wear. The sleeves are full length with a section of black brocade and additional detailing. The trim that lines the sleeves and neckline is more decorative than the other robes with yellow and black floral designs. Rather than a plain silk lining, a gold patterned brocade lines this robe with no slits on either front or back. An aspect that is quite surprising is the misalignment of the fabric on the back. The patterns do not perfectly line up which is surprising for a garment of such quality and value.

   T92.0267. Detail of hem, lining and misaligned fabric. Photograph by Ingrid Mida, 2018.

The background pattern of both of the robes include swastikas. Before it ever had any negative connotations associated with it, the swastika was a symbol used in Buddhism, Hinduism and Jainism. In Buddhist culture, the swastika symbolizes auspiciousness and eternity and is often used on maps to locate a temple (note 6).


T92.0267. Detail of swastika. Photograph by Ingrid Mida, 2018.

After days of research and hunting for symbols on these robes, I have learned that nothing is ever as it seems. A geometric shape may represent mountains or the placement of dragons can hold a very significant meaning. Even the colour of a garment can separate the Emperor from his court officials. In conclusion, these robes tell us about the beliefs and values of people in China from more than a hundred years ago. These garments can help us understand the traditions and lives of people from another culture. And finally, it can provide a very unique and captivating story.


Note 1: Vollmer, J. E. (2004). Silks for thrones and altars: Chinese costumes and textiles. Paris, France: Myrna Meyers.

Note 2: Kozakand, R. (2017, September 4). Dragon robes of the qing dynasty. Retrieved from http://folkcostume.blogspot.com/2017/09/

Note 3: Rinpoche, L. Z. (2014, February 4). The eight auspicious signs. Retrieved from https://fpmt.org/mandala/archives/mandala-for-2014/july/eight-auspicious-signs/

Note 4: Information provided by Textile Museum Collection.

Note 5: Daveno, H. (2016, October 2). The stitchery series: part iv – symbolism in chinese embroidery. Retrieved from http://www.augustphoenix.com/The-Stitchery-Series-Part-IV–Symbolism-in-Chinese-Embroidery_b_70.html

Note 6: Swastika. (2016, April 4). Retrieved from http://www.chinabuddhismencyclopedia.com/en/index.php?title=Swastika

This post was edited by Ingrid Mida. 

A special note of thanks goes to Roxane Shaughnessy, Senior Curator, Manager of Collection, and her staff at the Textile Museum of Canada for providing us with access to these beautiful robes. 


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The Journey of a Chinese Robe: Part 3

Everywhere we look, symbols abound. In historic dress originating from the Chinese culture, symbols on a robe can be read like words on a page. In this post, I will continue my analysis of the robe that has been the focus on the last two blog posts (FRC2016.01.001).  In this part, I will dive deeper in uncovering the meaning behind the symbols strategically placed on this robe.

In Chinese language, words are single syllables that can share pronunciations that are the same or similar to others. Thus, they can share the same meaning depending on the context of the phrase. This also applies to the symbols that decorate the robe. For example, the word fu, which is a bat, has the same pronunciation as “abundance” and “happiness”. Therefore, a bat represents happiness and long life. Numerous bats have been woven onto this robe (note 1).


FRC2016.01.001 Detail of bat. Photo by Victoria Hopgood, 2018.

Multiple floral elements are visible on this man’s robe including peonies which symbolize prosperity and chrysanthemums which represent longevity due to its health-giving properties (note 2). The cranes also symbolize longevity but in the way that it lives a long life (note 3).

FRC2016.01.001. Peony, chrysanthemum and crane. Photographs by Victoria Hopgood, 2018.

Of the Eight Auspicious Signs, which are Buddhist symbols, the parasol, vase of great treasure, banner and lotus appear on the robe. The parasol protects from the obstacles of life; the vase represents the bringing of desired things and the fortune of a glorious life; the banner symbolizes victory, while the lotus frees one from the stains of mistakes (note 4).

FRC2016.01.001. Parasol, vase, banner and lotus. Photographs by Victoria Hopgood, 2018.

Four of the Eight Precious Things can be found of this robe including the pearl, coin, rhino horn and leaf. The pearl is associated with wish granting and the coin represents wealth. The horn embodies happiness and the leaf wishes good luck and prevents disease (note 5).

FRC2016.01.001. Pearl (top left), coin (top right), rhino horn (bottom left) and leaf (bottom right). Photos by Victoria Hopgood, 2018.

The Eight Auspicious Signs and the Eight Precious Things are commonly mixed together. However, they always appear in groups of eight as it is a lucky number in Chinese culture. This is because the pronunciation of eight sounds similar to the pronunciation of the word for fortune (note 6).

As with many old things, the symbols have changed or been reimagined over time. Some sources call the symbol of two rectangles, books whiles others consider it bolts of silk or scrolls. One source considers a medicinal mushroom with a handle a symbol while the other considers a leaf instead. Since the motifs are so old, it is difficult to pinpoint exactly which ones are the original ones and which have been added subsequently.

This robe is decorated with nine five-clawed dragons that have been strategically placed on the garment. Beginning in the 18th century, robes were designed with nine dragons. Four are placed on the back, chest and shoulders around the neck. And when “aligned with the axial organization of the Forbidden City”, each dragon points to a cardinal direction. The other two dragons on the front and two on the back point to each intermediate direction. The single dragon located on the inner flap is the ninth. This specific organization represents Confucius’ ancient ideal of land division called qingtien or “well-field system”. The idea of qingtien is derived from the wellhead character which is the intersection of two vertical lines and two horizontal lines – like a tic-tac-toe board. The outer eight fields protect the ninth and the fields that share a border with the center one implies the cardinal directions. This establishes “the harmonious balance implied by the wu xing system”. In Chinese culture, the number nine symbolizes heaven and infinity and therefore the nine fields are represented here (note 7).


FRC2016.01.001. Detail of dragon on inner flap. Photo by Victoria Hopgood, 2018.

During the Yuan dynasty, the five-clawed dragon became an emblem of the emperor. It was placed on all works the emperor used or represented. Robes of dragon patterns eventually became the official garment of the Chinese court and was the highest diplomatic gift. The robe may have been presented to Philip for his efforts and dedication to developing Chinese medicine (note 8).


FRC2016.01.001 Detail of 5-clawed dragon. Photo by Victoria Hopgood, 2018

The structure of the dragon robe represents the universe and is only complete when worn. The diagonal stripes on the hem and the semi-circular motifs embody the “universal ocean surrounding the earth”. At the centre-front, centre-back and side seams the cardinal directions, there are geometric shapes which represents the mountains. The main body filled with clouds and fire, is also decorated with dragons representing authority. When the robe is worn, the wearer supports the universe by becoming the earth’s axis. The neck opening is the gate of heaven while the head is heaven itself (note 9).

Every element on this robe has been created with thought and intent. Everything from the placement of the dragons to the structure of the robe holds some form of symbolism behind it. While I have uncovered a significant amount of meaning behind the robe, there is always more that might be revealed, since it is possible that the motifs have been reimagined or changed since the robe was created. In addition, depending on the artists who created the garment, the symbols may have been more abstract or different than the ones that I consulted. These two possibilities can make it difficult to determine each motif and its meaning in isolation.

With all the time, patience and thought that it would take to create such a detailed and exquisite garment it is no wonder why it required up to thirty months of work to make one robe. Although I could spend an infinite amount of time uncovering the symbolism behind this robe, the rest will have to remain a mystery.


Note 1: Vollmer, J. E. (2004). Silks for thrones and altars: Chinese costumes and textiles. Paris, France: Myrna Meyers.

Note 2: Kehoe, T. (2012, September 24). Symbols in silk. Retrieved from http://www.museumtextiles.com/blog/symbols-in-silk

Note 3: The British Museum. (n.d.). Chinese symbols. Retrieved from https://www.britishmuseum.org/pdf/Chinese_symbols_1109.pdf

Note 4: Rinpoche, L. Z. (2014, February 4). The eight auspicious signs. Retrieved from https://fpmt.org/mandala/archives/mandala-for-2014/july/eight-auspicious-signs/

Note 5: Eight precious things. (n.d.). Retrieved from http://gotheborg.com/glossary/eightpreciousthings.shtml

Note 6: https://www.travelchinaguide.com/intro/social_customs/lucky_number.htm

Note 7: See note 1.

Note 8. Ibid.

Note 9: Ibid.

This post was edited by Ingrid Mida.


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The Journey of a Chinese Robe: Part 2

In Part I of the series, I reviewed the history of Philip Brunelleschi Cousland, the original owner of the robe (FRC2016.01.001 shown in the photo below). In this part, I will consider the structural and decorative elements of the garment using the Observation checklist from the Dress Detective (note 1).


Man’s Chinese robe dated to 1893-1902 Ryerson FRC2016.01.001. Photograph by Victoria Hopgood, 2018.

With a lining made of lilac silk, the outer shell of this robe is constructed of natural materials – heavy cotton, brocade and silk. There is also a layer of royal blue silk in between the outer and inner layers, as visible where the stitching has come undone underneath the armpit (see photo below). The body of the robe is ornamented in various symbolic motifs including dragons, clouds and mountains that will be discussed in more depth in Part III.


FRC2016.01.001. Detail of royal blue interfacing. Photograph by Victoria Hopgood, 2018.

The robe is an asymmetrical design with the opening on the right side of the garment. The inner flap reaches from the right side seam to the center front and the over flap crosses over the body from the left to right. The main portion of the inner flap is made of the same heavy blue cotton used for most of the garment and there is a singular dragon motif a few inches up from the hem. The flap is slightly discoloured which is most likely due to rubbing against the lining of the over flap. The hem is a simple striped pattern with alternating shades of blue in sections abut 0.25 inches/0.6 cm wide.


FRC2016.01.001. Illustration of robe front by Victoria Hopgood, 2018.

The over flap has a center front seam where the pattern of the fabric almost perfectly lines up. Whereas the back of the robe has a center back seam until 27.5 inches/70 cm down where the seam opens up into a slit. This would allow for flexibility in movement as the robe is full-length.


FRC2016.01.001. Illustration of robe back by Victoria Hopgood, 2018.

Made of lilac silk, the lining of the garment is in good condition. It has been delicately hand sewn on in increments of 3 small stitches and then a long stitch between 1 inch/2.5cm and 1.5 inch/4 cm in length underneath the fabric. The stitching has come undone underneath the armpit, exposing the royal blue silk interfacing. The hole is about 12 inches/30.5 cm long. Located slightly to the right of the center back seam are three dime-sized stains, along with some yellow discolouration around the neckline. This is most likely from perspiration. There is also some slight discolouration down the center back which was probably caused from friction. Around openings of the sleeves near the wrist, is also quite a bit of yellow staining.


FRC2016.01.001. Detail of lining. Photograph by Victoria Hopgood, 2018.

Rather than a sleeve sewn into a sleeve hole, it has been cut as a part of the front and back pieces which are then folded at the shoulder and sewn down the sides. The sleeve, which is also lined in lilac silk and royal blue piping, features a section blue brocade with floral patterns on it that reaches 10.75 inches/27 cm up from the wrist opening. It is then accented with a 0.5 inch/1.25 cm band of royal blue fabric with gold threading. There is then a 3.5 inch/9 cm section of horizontal stripe motifs about 0.5 inch/1.25cm wide in different shades of blue, gold, green and beige. The same colours are used in the section of cloud motifs that follow.

The garment is fastened with 5 brass ball closures and an additional hidden closure similar to the others. The first brass ball closure sits horizontally at the center front on top of the band of royal blue trim. The next one is located 4.5 inches/11.5 cm down the edge of the over flap. The third closure sits diagonally underneath the armpit about 13 inches/33 cm away from the previous. 10.5 inches/27 cm down the side seam is the fourth closure and 5 inches/13 cm away from that is the fifth closure. These last two closures have been sewn on horizontally with the loop portion of it sewn onto the back of the side seam. The hidden closure is located vertically, 7.5 inches/20 cm from the fifth closure. This one is has a knot on the end rather than a brass ball.

The brass balls boast intricate detailing and are connected to the bodice with a 2 inch/5 cm piece of royal blue fabric, the same used for the neckline accents and piping. The other half of the closure is also made of the same fabric, but has been folded to create a loop for the ball to go through. The brass balls are all in excellent condition, with the exception of the gold thread fraying from the attaching fabric.


FRC2016.01.001. Detail of brass closures. Photograph by Victoria Hopgood, 2018.

The neckline of the robe is quite high and includes several decorative elements. Closest to the neck is a 0.5 inch/1.25 cm band of the royal blue coloured fabric with gold thread work. Next there is a 2 inch/5 cm section of brown cotton with green, blue and white motifs, followed by another 0.5 inch/1.25 cm band of royal blue fabric. This decorative section starts at the center front of the inner flap, wraps around the neckline, extends 3 inches/7.5 cm past the center front and then drops down, curving until it connects to the side opening. This gives the robe a unique asymmetrical shape.


FRC2016.01.001. Detail of neckline and brass closures. Photograph by Victoria Hopgood, 2018.

The hem of the robe reaches 13 inches/33 cm up from the bottom of the garment and is made of a diagonal striped motif pattern. The stripes are about 0.0625 inch/0.15 cm wide, but the use of different shades of blue, green, gold and brown make it appear as through six individual stripes make up one larger gradient stripe. Above this is a section of cloud motifs about 2 inches/5 cm wide and then a section of overlapping wave patterns in different shades of blue. There is one single dime-sized rust-colour stain on the hem.


FRC2016.01.001. Detail of striped hem. Photograph by Victoria Hopgood, 2018.

For a robe that is over 100 years old, it is in excellent condition with the exception of slight fraying under the right armpit and minimal balling over the body of the garment. Consistent with garment construction of the time, the robe is both hand and machine-stitched. The seams, most are which are not visible, are machine-stitched. Whereas the lining and closures have been carefully sewn by hand. The garment is covered in different patterns and motifs each of which holds significant meaning, and in the next post, I will take a deeper look at the importance of these symbols.


Note 1: Mida, I., & Kim, A. (2015). The Dress Detective: A Practical Guide to Object-based Research in Fashion. Bloomsbury Academic. Retrieved from https://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca

This post was edited by Ingrid Mida.

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The Journey of a Chinese Robe: Part 1

Unlike Europe where a dragon is a representation of evil, dragons are a sacred symbol in Chinese culture as bringers of strength and good fortune. Dragons, although a mythical creature, are composites of real animals with “the trunk of a snake, scales of a carp, tail of a whale, antlers of a stag, face of a camel, talons of eagles, ears of bull, feet of a tiger, and the eyes of a lobster” (note 1). Strategically placed dragons have been intricately woven into this traditional men’s robe (FRC2016.01.001 shown in the photo below) housed in Ryerson’s Fashion Research Collection. It was the dragons on this robe as well as my Chinese heritage that led me to study this artifact.


Front of jifu FRC2016.01.001. Photograph by Victoria Hopgood, 2018.

Using the object-based research approach from The Dress Detective by Ingrid Mida and Alexandra Kim (note 2), I will write a series of four blog posts about this robe. In part I, I introduce the garment and the original owner. In Part II, I take a closer look at the construction of the garment and in Part III consider the symbolism. To conclude the series of posts in Part IV,  I examine similar robes from the collection of the Textile Museum of Canada.

A robe, also known as a jifu, is a full-length garment worn to semi-formal occasions such as in court or serving the Manchu imperial government. A jifu was the official costume of the Chi’ing period (note 3).


Back of man’s jifu FRC2016.01.001. Photograph by Victoria Hopgood, 2018.

This robe was dated to 1892 and 1903 based on extensive family history provided by the donor. The original owner of the robe, Philip Brunelleschi Cousland, was born on July 12, 1861 in Glasgow, Scotland. At the age of 21, he earned his Bachelor of Medicine and Doctor of Medicine from Edinburgh University (note 4).


Philip Brunelleschi Cousland. Photo provided by donor.

As a member of the Barclay Church and the Medical Missionary Society, Philip travelled to the South of China where he lived in Swatow, now known as Shantou, for three years and worked in the local hospital to treat patients. Philip then travelled 30 miles up the river to Chao-Chow-Fu, a walled city with no doctors or hospitals intending to provide medical care. Philip received a very hostile reception as “foreign devils” had not been seen there before and although he was not allowed to preach, he earned the community’s trust and treated up to 100 patients a day.

In 1892, Philip travelled home to Scotland. On his way back to China via Victoria, British Columbia, he met a missionary teacher named Susan Harrington. The two were married in Hong Kong in March 1893 and had three children.


From left, top row: Philip and Clyde. Second row: Jessie, wife Susan and Kenneth. Photo provided by donor.

The family lived in Chao-Chow-Fu, and land was purchased there to build a hospital in 1894. At first, many local people opposed this idea, but after rebuilding the walls which had been broken down three times, the Burns Memorial Hospital opened in March of 1896. It was sometime thereafter, but before 1905, when he left China, that Philip received the robe and a number of related textiles as a gift in honour of his work in the community.

In the subsequent years, Philip returned to China periodically to write medical textbooks. He also served for three years as the president of the Council on Publication of the China Medical Missionary Association and helped in the formation of the Nurses Association of China. His work was acknowledged by the Chinese government with the Order of the Golden Sheaf. Philip died on July 7, 1930 in Victoria, British Columbia.


FRC2016.01.001. Close up of collar. Photograph by Victoria Hopgood, 2018.

Passed down through the family as a keepsake, this robe was donated to the Ryerson Fashion Research Collection in 2016 so that it may be examined and studied by students and visiting scholars. After a long journey of 12,378 km from Shantou to Toronto, this robe is now in its final resting place in FRC storage. 


Note 1: Chinese dragon. (n.d.). Retrieved from http://www.newworldencyclopedia.org/entry/Chinese_dragon

Note 2: Mida, I., & Kim, A. (2015). The Dress Detective: A Practical Guide to Object-based Research in Fashion. Bloomsbury Academic. Retrieved from https://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca

Note 3: Collections. (n.d.). Retrieved from http://collections.textilemuseum.ca/index.cfm?page=collection.detail&catId=10013&row=123

Note 4: Written family history provided by the donor.

This post was edited by Ingrid Mida.

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Reading a Cape: Part III

According to dress historian and curator Ingrid Mida, when an item is donated to a collection, the donor can sometimes provide information that helps to date a particular garment. In this case, the donor thought that the cape might have belonged to her grandmother but it might also have belonged to another member of the family. Like many garments that are treasured for many years in the family home, memories fade and that information has been lost.

Dating a cape is more challenging than dating a dress since the general shape of a cape is largely the same whatever period it originated in. In the comparative analysis presented in part II of the series, I observed that the materials used and the type of embellishment on this cape confirmed the date of origin as the late nineteenth century or early twentieth century. In this final blog post in the series, I will compare the label in this cape to that of other T. Eaton Co. garments in the Ryerson Fashion Research Collection to match fonts and attempt to more precisely date this garment.


Using the label to help date a garment is one method to narrow the range of manufacture according to dress historian and curator Ingrid Mida. With an interest in graphic design, I decided to use my knowledge of typography to do exactly that. Fonts go in and out of fashion like anything else. For example, the popularity of blackletter in the fifteen century or the sans serif styles of the 1930s (note 1). With the knowledge of these patterns and when fonts were created, we can determine a more precise date for when this garment was manufactured.

Even so, determining the font used on a label can be tricky. Labels, unlike books for example, are not printed, they are woven. This can make it difficult to make a font appear exactly like it would be printed on a piece of paper using a press. The corners would not be as sharp nor the curves as smooth. Taking this into consideration, I combed through many fonts that were popular at the time to determine which was used on each label. While it is definitely possible that these fonts were used on the labels after the date of creation, it still provides a starting point and suggests the garments were made sometime after that year.

The T. Eaton Company was founded in Toronto in 1869 by Timothy Eaton and in 1905 expanded operations to Winnipeg. Over time, its retail operations spread across Canada (­­­­­note 2). Over the course of the history of the company, different labels appeared in garments and are associated with various fashions in fonts. In the four comparable garments that I examined, the general logo of the T. Eaton Company label remained the same. However, a different font was used for each one. As well, other information on the label also changed. For example, one label says “Made in France for T. Eaton Co” while another whereas another reads “T. Eaton Co. 190 Yonge St. Toronto”.

A black wool cape (FRC2014.07.457) dated to the 1890s (shown below) uses the font Akzidenz-Grotesk Condensed. This font was released in 1898 and designed by Ferdinand Theinhardt for Berlin’s Berthold Type Foundry (note 3). It is sometimes referred to as Basic Commercial or Standard in English-speaking countries. Therefore, the garment was made after 1898.


FRC2014.07.457. Label in Cape. Photograph by Victoria Hopgood, 2018

The label in a white sheer cotton blouse (FRC2014.99.001) is shown below. This blouse was dated to 1900-1910. The font used for this label is also Akzidenz-Grotesk, however it is not the condensed version rather the regular version which was also released in 1898. Therefore, this garment was also manufactured sometime after 1898.


FRC2014.99.001. Label in Blouse. Photograph by Victoria Hopgood, 2018

A black silk shirtwaist (FRC2008.03.007) was also dated to 1900-1910 based on the silhouette. However, the font used on this label is Franklin Gothic Condensed. Franklin Gothic was named after Benjamin Franklin. It was drawn in 1902 by Morris Fuller Benton but released in 1905 by the International Typeface Corporation (note 4). The condensed version was not released until approximately a year later when the family was expanded to include italic and extra condensed (note 5). In addition, the first T. Eaton Co. store in Winnipeg opened in 1905 therefore this garment could not predate that (note 6). Taking this information into consideration, this garment was not manufactured until at least 1905.


FRC2008.03.007. Label in Shirtwaist. Photograph by Victoria Hopgood, 2018

The font used on the label of the cape being studied is the original Franklin Gothic which was released in 1905 therefore the garment must have been manufactured sometime after that (note 7). However, the exact date of manufacture cannot be determined from an analysis of the fonts alone since font usage is not limited to the year they were created. However, at a minimum it tells me that the cape was made sometime after 1905.


FRC2017.05.004. T Eaton Label. Photograph by Victoria Hopgood, 2018

Sans serif fonts like Akzidenz-Grotesk and Franklin Gothic were considered grotesque fonts because they were viewed as ugly compared to the serif and Roman styles before them (note 8). However, in present day they are considered clean and minimalist being widely used everywhere. These sans serif fonts were used for labels because they contain less decorative elements such as serifs, making them easier to weave.

Capes are a type of garment that is difficult to date based on the silhouette. The inclusion of the address on the label indicates that the cape must have been made between 1882 and 1930, when the store moved to a location at Yonge & College (Note 2.) The analysis of typography indicates that this garment was made sometime after 1905. Putting that information together with the knowledge gained from my comparative analysis of capes in Part II, I suggest that the cape can be dated to 1905-1910. 


Note 1: Haley, A., Poulin, R., Tselentis, J., Seddon, T., Leonidas, G., Saltz, I., … Alterman, T. (2012). Typography referenced: A comprehensive visual guide to the language, history and practice of typography. Beverly, MA: Rockport Publishers.

Note 2: McQuarrie, J. (2017, August 14). Eaton’s. Retrieved from https://www.thecanadianencyclopedia.ca/en/article/t-eaton-company-limited/

Note 3: see note 1.

Note 4: Jacobs, M. (2017, October 20). Franklin gothic font family. Retrieved from https://docs.microsoft.com/en-us/typography/font-list/franklin-gothic

Note 5: see note 4.

Note 6: see note 2.

Note 7: see note 1.

Note 8: Harding, M. (2017, August 21). What are grotesque fonts? history, inspiration and examples. Retrieved from https://creativemarket.com/blog/grotesque-fontsv

This post was edited by Ingrid Mida.