Ryerson Fashion Research Collection

Opening the closet door to a Canadian fashion archive


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Elite Syncopations Leotards: Part 3, Contextualizing the Ballet

Part Three will explore the context of Elite Syncopations and its role as part of the National Ballet’s repertoire.  I also analyse footage of a performance by the Royal Ballet in order to see the costumes as they were used onstage.

Elite Syncopations was first premiered by the Royal Ballet at Covent Garden, October 7, 1974 and was choreographed by Sir Kenneth MacMillan.  The ballet has come to be known for its jaunty rag-time music and demanding virtuosic performances, but it had an uncertain debut.  As Crisp states though “widely thought, at its premiere, to be a lightweight novelty, the ballet has, in fact, been often revived at Covent Garden and mounted for Sadlers Wells Royal Ballet, the National Ballet of Canada, the Bavarian State Ballet and the Houston Ballet” (Note 1).

The National Ballet premiered Elite Syncopations on November 10th, 1978.  It is usually performed grouped with other short ballet pieces such as Song of a Wayfarer and Chroma such as in the 2012 season (Note 2).  The ballet is non-narrative and focuses on a series of characters showing off their dancing to each other as a live band performs the rag-time tunes.  The National Ballet describes it in their 2012 Ballet Note as “free-form fantasy on situations and social dances of the dance-halls in the early years of the 20th century; the dance contest, the cakewalk, the slow drag and the stop time” (Note 3).  By including this ballet in its repertoire, the National Ballet can show off the athleticism of their dancers with a crowd-pleasing ballet.  The bright colourful costumes and shorter run time along with cheerful subject matter may seem less intimidating to those unfamiliar with dance, and encourages new viewers to attend.

Elite Syncopations Dress

As mentioned in Part One, I watched recordings from the Royal Ballet as a visual aid to better understand the costumes within the context of the ballet.  Since they were made in order to replicate Ian Sperling’s designs, the video could give me a close approximation to how they would look in the National Ballet’s productions. I am choosing to focus on the Shy Girl costume for this analysis because I am most familiar with the design.  It is important to remember that each company would inherently have slightly different interpretations of the choreography and costuming.  It should also be noted that the recording was at a fair to low quality, so some details may have been missed.  While a good resource, a recording is not a perfect substitute for a live performance of the National Ballet performing Elite Syncopations.  

As seen in the video, the female dancers wear either leotards with long sleeves and full tights, or a variation on the Shy Girl costume silhouette.  Many of them are outfitted with various hats.  Like the Shy Girl, many of the corps dancers are wearing tights of different colours. One thing that all the female dancers have in common is that their pointe shoes have been dyed to match their tights. Having dyed-to-match pointe shoes makes the dancer’s legs even longer and lengthens their lines so that they are more visually appealing.  One new detail I noticed in the recording were the dark purple gloves that the Shy Girl was wearing.  They had been dyed to match the dark purple of the sleeves, and caused her hands to seemingly disappear into the black backdrop. (Note 4)

The Shy Girl can be seen in various dances with the corps and features in a pas de deux with her partner the Shy Boy.  As this part of the recording was focused on these two dancers, it was much easier to pick out small details on her costume.  The “shy girl” and “shy boy” enter stage right, swinging hands and gazing at each other.  Their dance features some comedic awkward partnering and eventually the culminates in a series of lifts.  In this version she is wearing a four pointed tiara-like hat, as well as dangling chandelier earrings.  By seeing the dancer dressed in her costume, we are now able to see how the personality of the dancer is enhanced and shown through her clothing. The two dancers seem quite smitten with each other, therefore hearts are an appropriate adornment for her tights.  She has a shy but flirtatious and fun personality, so the short circle skirt suits her perfectly.  To emphasize this warm personality even further, Spurling used circles and other curvilinear forms to decorate her costume.  Spurling’s costume design ultimately gives the audience an idea of who the Shy Girl is, even before she starts to dance.

Spurling’s designs for Elite Syncopations were not always favoured by critics, as they were deemed overly decorated and colourful, even likened to licorice allsorts candy (Note 5).  However, I argue that these costumes demonstrate a combination of function and pleasing aesthetics.  The costumes do not impede the dancer’s movements, and also convey personalities of each character immediately. A leotard is a paradoxical garment, as it conceals the dancer’s skin, but reveals the dancer’s body.  By choosing to paint the leotards as if they were clothing, Spurling subverts expectations and delivers quirky, playful costumes.    

Notes

Note 1: Clement Crisp, “Into the Labyrinth: Kenneth MacMillan and his Ballets,” The Journal of the Society for Dance Research 25, no. 2 (2017): 188, accessed August 2, 2017,http://www.jstor.org.ezproxy.lib.ryerson.ca/stable/40004138?pq-origsite=summon&seq=2#page_scan_tab_contents

Note 2: “Elite Syncopations & Song of a Wayfarer & Chroma Ballet Note” (2012) The National Ballet of Canada. Accessed July 17 2017,https://national.ballet.ca/Tickets/Archives/Ballet-Notes/elite-syncopations-ballet-notes-(2012).aspx

Note 3: Ilbd.

Note 4: Elite Syncopations ; the Judas Tree ; Concerto. Film, Directed by Acosta, Carlos, Leanne Benjamin, Yuhui Choe, et al. Opus Arte, 2010.

Note 5: “Ian Spurling; Obituary.” Times (London, England), Apr. 15, 1996, p. 21. AcademicOneFile,go.galegroup.com/ps/i.do?p=AONE&sw=w&u=rpu_main&v=2.1&id=GALE%7CA115106285&it=r&asid=5d8bbb8ec92dea1882c9c96030f75b2b. Accessed 17 July 2017.

Bibliography

Bell, K. (1993). “The Art of the Costumes (for the National Ballet’s Elite Syncopations)”. Performing Arts & Entertainment in Canada 28, no.1 (1993): 19. Accessed July 17, 2017.http://ezproxy.lib.ryerson.ca/login?url=https://search-proquest-com.ezproxy.lib.ryerson.ca/docview/224893640?accountid=13631.

Crisp, Clement. “Into the Labyrinth: Kenneth MacMillan and his Ballets.” The Journal of the Society for Dance Research 25, no. 2 (2007): 188-198. Accessed August 2, 2017.

“Alumni Where are They Now?,” The National Ballet of Canada. Accessed July 17 2017, https://national.ballet.ca/Meet/Alumni/WATN

“Ian Spurling; Obituary.” Times (London, England), Apr. 15, 1996, p. 21. Academic OneFile,go.galegroup.com/ps/i.dop=AONE&sw=w&u=rpu_main&v=2.1&id=GALE%7CA115106285&it=r&asid=5d8bbb8ec92dea1882c9c96030f75b2b. Accessed 17 July 2017.

“Elite Syncopations & Song of a Wayfarer & Chroma Ballet Note” (2012) The National Ballet of Canada. Accessed July 17 2017, https://national.ballet.ca/Tickets/Archives

/Ballet-Notes/elite-syncopations-ballet-notes-(2012).aspx

Elite Syncopations ; the Judas Tree ; Concerto. Film. Opus Arte.

Mida, Ingrid and Alexandra Kim. (2015) The Dress Detective: A Practical Guide to Object-Based Research in Fashion. New York: Bloomsbury.


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

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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, “sketching is a method of helping the mind to slow down and, in the process of doing so, take notice of small details” (Note 1).  With this in mind, I attempted to put the technique to use when studying the men’s Bluebird costume from the National Ballet of Canada.

Before diving into the artifact itself, it is important to discuss preparation for drawing in a research setting.  I found it useful to have a few goals in mind before I began drawing.  The following three goals are general prompts that I used to guide my experience, but each individual researcher may have different goals in mind specific to the artifact they are studying.  

  1. The main goal of the observation stage according to Mida and Kim is to ensure that “factual evidence related to the object is retained and recorded” (Note 2). Drawing will help you capture details that could otherwise be missed.  
  2. You are creating a memory aid to help you remember and describe specific elements of the artifact.  Since fashion is a visual medium, visual aids are important to include in any research project.
  3. Drawing should be an engaging experience to help you during the reflection and interpretation stages of your research.  Your sensory and personal reactions will be heightened if you spend time dedicated to the careful observation of the object.  

The use of different materials will affect the outcome of the drawing.  Each medium has its benefits and drawbacks.  Ink creates harsh outlines and it may be more difficult to show three dimensional form, but it is the most useful for capturing small details.  It is the ideal medium when clarity is desirable, and it scans and photographs well.  Pencil is better for shading to show form and texture, but it can be messier and may smudge on the paper.  It can also be more difficult to photograph and scan since graphite becomes shiny as it is layered.  For this example I used acid-free India ink pens, but I would advise using whatever you feel most comfortable drawing with.  You do not necessarily need to purchase expensive equipment, especially if you are just drawing for your own notes.  As Mida and Kim state, “the goal is not to create a work of art, but simply to aid the process of observation.  The sketch might end up being a crude line drawing, but this is a valuable method of recording key information and embracing the Slow Approach to Seeing” (Note 3).

Case Study: Bluebird costume from the National Ballet of Canada

 

Left: Inside view showing hand stitching and finishing.  Right: Back view focusing on placement of applique trim. (FRC 2014.08.015A) Drawings by Teresa Adamo 2017

The Sleeping Beauty has been part of the classical ballet cannon ever since it premiered at the Mariinsky Theatre in St. Petersburg in 1890 (Note 4).  Marius Petipa created the choreography, and commissioned Pyotr Ilyich-Tchaikovsky to compose an original score for the ballet.  Sleeping Beauty has been part of the National Ballet’s repertoire since its premier in the company on November 26th, 1953 (Note 5).  The performance has gone through several revisions throughout the NBC’s history, but this particular Bluebird costume was designed for the 1972 version, which first premiered September 1st with choreography by Rudolf Nureyev, after Marius Petipa (Note 6).  While the previous performances featured costumes by Kay Ambrose, the designer Nicholas Georgiadis was responsible for the set and costume design of the 1972 production.  This production was a resounding success and boosted the NBC to international fame.  The opening performance at the new Four Seasons Center In 2006 was The Sleeping Beauty, for which the original sets and costumes by Georgiadis were restored (Note 7).

This design features a streamlined silhouette which lies close to the body.  It has fitted set in sleeves and princess seams down the front and back, creating a symmetrical 8-paneled design.  The shell fabric is mauve jacquard with metallic rose gold filaments that create an organic wave pattern. The shell fabric is pilling, most notably on the sleeve and side panels where the fabric was under stress and friction.  The garment opens at center front with hook and bar tape, as well as 6 sew-on snaps.  There is an additional row of single hook and bars, each individually sewn on the front so that the garment has a small amount of adjustability depending on which dancer is wearing it.  Since the sleeves are fitted and only have a 7 ¾” wrist opening, there is a 5” slit which also features hook and bar closures.

bluebirdcuff

Detail of sleeve showing slit, trim and internal construction. (FRC 2014.08.015A) Drawing by Teresa Adamo 2017.

One of the most striking features of this artifact is its three distinct decorative elements: applique, silver trim, and ribbon loops.  Applique arabesques cover the front and back of the shirt.  They are made of yellow fabric with gold metallic thread, and are covered with black hexagonal net, the layers being held together by a dense black zig-zag stitch around the edge.  Some of the black net has ripped from the wear and tear of the costume over time, exposing the yellow fabric.  There is also silver trim in two styles, one with a foliage pattern and another with a fleur de lis pattern.  The thin trim is  ¾” wide.  The large trim is 1 ⅝” at its widest point.  The ribbons are applied as loops to the shoulders, wrists, and bottom hem in a pattern alternating the three colours.  

bluebirdsmalltrimbluebirdlargetrim

Detail of small “fleur de lis” and large “foliage” silver trim. (FRC 2014.08.015A) Drawing by Teresa Adamo 2017.

Switching focus to the inside of the garment, I observed that the visible seams have been finished with a three-thread serger, and the widths of the seam allowances range from 1” at center front to ¼” at the top of the center back.  The center front seam allowance on either side has a ¾” slash at the approximate waist, possible to allow the dancer more movement.  The front panels were also advantageously cut so that the center front is along the fabric selvedge so that it does not have to be finished and saves yardage.  The body has been sewn to a layer of fairly thick basket weave beige canvas, while the sleeves are lined with a lighter plain weave cotton in a similar color.  The lower panel has metallic blue lining which clean finishes the hem, and would look more aesthetically pleasing than the canvas if it were to show during a performance.    

bluebirdclippedseam

Detail of center front seam allowance showing slash and blanket stitch. (FRC 2014.08.015A) Drawing by Teresa Adamo 2017.

After I finished recording all of my observations in writing and drawing, I looked back at the goals of the exercise to judge whether or not they were accomplished.  I do feel that I captured more of the small details that I would not have seen from simply writing my observations.  For example, at first I did not know how to represent the silver trim, so in order to make detail drawings I had to closely look to see that they were made of metallic filaments very tightly wrapped together.  From there, I could find a way to draw them accurately.  I did find that while describing the garment, it was useful to have the memory aid with me to prompt descriptions, especially of the interior of the garment which could easily be overlooked because of the amount of surface detail on this costume.  Although this post will not cover the reflection and interpretation stages of researching an object-based design, it definitely aided in my understanding of the garment’s construction.  

Creating observational drawings can be a great start to object-based research.  Drawing gives you a comprehensive and in depth understanding of the physical properties of the artifact.  It also makes research more memorable and engaging.  Fashion is a visual and tactile industry, so fashion research benefits from an observational method which takes advantage of the same characteristics.

Notes

Note 1: For more information on object-based research and the Slow Approach to Seeing, refer to Ingrid Mida and Alexandra Kim, The Dress Detective: A Practical Guide to Object-Based Research in Fashion. (New York: Bloomsbury, 2015), 36.

Note 2: Ibid, 28.

Note 3: Ibid, 35.

Note 4: For more information about The Sleeping Beauty, please visit the National Ballet’s Virtual Museum,“The Sleeping Beauty,” The National Ballet of Canada, accessed February 28, 2017, https://national.ballet.ca/Tickets/Virtual-Museum/The-Sleeping-Beauty

Note 5: Ibid.

Note 6: For more information about Nicholas Georgiadis, please visit the National Ballet’s Virtual Museum, “Nicolas Georgiadis,” The National Ballet of Canada, accessed February 28, 2017, https://national.ballet.ca/Tickets/Virtual-Museum/Designers/Georgiadis

Note 7: Ibid.

Bibliography

Mida, Ingrid and Alexandra Kim. (2015) The Dress Detective: A Practical Guide to Object-Based Research in Fashion. New York: Bloomsbury.

“Nicolas Georgiadis,” The National Ballet of Canada, accessed February 28, 2017, https://national.ballet.ca/Tickets/Virtual-Museum/Designers/Georgiadis
“The Sleeping Beauty,” The National Ballet of Canada, accessed February 28, https://national.ballet.ca/Tickets/Virtual-Museum/The-Sleeping-Beauty


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Introducing the Newest Member of the FRC Team

Every year I have the privilege of working with one or two work-study students. I am grateful for their help and still keep in touch with many of them, who have since gone on to other wonderful adventures.

This year I am delighted to introduce Hannah Dobbie, who will be working with me on writing the FRC blog, evaluating our social media sites, and also photographing some of the collection. Initially we will be focussing on photographing our most recent donations, many of which include extensive documentations of family histories.

hannah-dobbie

Hannah Dobbie

Hannah Dobbie is a second year Fashion Communication student at Ryerson University. In addition to her work-study position in the Fashion Research Collection, she is a representative for the Fashion Union, a member of the StyleCircle team, and the producer of the student run INTRO fashion show. She hopes to bring together her creative eye and love of art to one day pursue a career in graphic design.

Please join me in welcoming Hannah to the FRC team!


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A Comparison of 1860s dresses

by Alys Mak-Pilsworth

As the book The Dress Detective makes clear, an important step in reproducing historic dress is studying comparable examples from the same era. This step aids in identifying the typical attributes of the period as well as anomalies of the artifact being studied.This article compares the  white sprigged muslin day dress (FRC2014.07.409) from the Ryerson Fashion Research collection (shown below) with five comparable examples of 1860s dresses. Two dresses from the Fashion History Museum were examined in person and three comparable dresses of the same period were identified from the online collections of the Victoria & Albert Museum, the Kyoto Costume Institute, and the Metropolitan Museum of Art. 

FRC_2014.07.409_rightside_threequarterview_oweb

White sprigged muslin day dress, ca. 1860s, FRC2014.07.409, Suddon-Cleaver Collection, Gift of Katherine Cleaver

The white sprigged muslin day dress from the Ryerson FRC, and the two following examples from the Fashion History Museum came from the Suddon-Cleaver collection, and were gifted to the respective collections by Katherine Cleaver in 2014. Originally collected by Alan Suddon, they have a shared past. From the examination of these three dresses, it appears that they were all homemade.

IMG_20150814_161641

Blue silk striped dress with black velvet trim, ca.1860s, Fashion History Museum, FHM15.01.95, Suddon-Cleaver Collection, Gift of Katherine Cleaver

On first glance, this blue silk dress(FHM15.01.95)  from the Fashion History Museum might appear to be distinctly different than the white muslin dress from the Ryerson FRC. The most noticeable differences are the colour, weight of the textile, and the type of surface embellishment. The blue silk textile is a slightly heavier weight, and the woven pattern of two tones of blue, and black and white vertical stripes is very large and vibrant in comparison to the delicate muted pattern on the Ryerson FRC dress. The blue silk dress also has more embellishment with black velvet trim on the bodice and sleeve at the shoulders and cuffs (with lace edging), as well as a row of decorative black velvet buttons along the centre front. 

However, what is similar is that both dresses share a similar silhouette, and have long sleeves, high necklines and long full skirts. The waist sits at the same level,  slightly above the natural smallest part of the female torso. Both skirts have straight waistbands that are constructed in a similar fashion with multiple panels gathering into the waist, and with the excess seam allowance left hanging on the inside of the dress. However, on this blue dress the waistband is only visible on the inside and the skirt seems to be constructed with less fabric, as it is not as closely gathered at the waist. The embellishment of the skirt is very similar with a ruffle along the hem of the skirt.

Dress 1 Fabric

Skirt hem ruffle detail. Fashion History Museum, FHM15.01.95

Both dresses also share similarities in construction of and closures for the bodice. The dresses close with hooks and eyes all the way down the centre front to the waist, and then along the waistband. Though the blue dress does not have a separate inner bodice, its bodice has been boned in the same fashion, having two bones on each front side encased within the darts, as well as having one bone on the left centre front. Instead of including an inner bodice, the bodice has been flat lined. Additionally the sleeves are slightly fuller, with a little more volume at the elbow.

IMG_20150805_124729

Detail of bodice interior. Fashion History Museum, FHM15.01.95

The green and brown checked dress from the Fashion History Museum  (FHM15.01.92) shown below is very similar to the blue checked dress. The neckline is of the same design, as is the skirt shape and sleeve length. The waist line is also similar in terms of placement, and construction. The closure along the waist seems to be very similar, again carrying on from the centre front to the left side ending with hooks and eyes, although reaches slightly farther to the side then the previous example. The waistband, like the last example, is similar to the Ryerson FRC dress, but is also only visible on the inside.

IMG_20150814_161307

Green and Brown Checked Dress, 1860s, Fashion History Museum, FHM15.01.92, Suddon-Cleaver Collection, Gift of Katherine Cleaver

The skirt creates a similar silhouette, but again does not have as much fabric pleated into the waistband. The skirt has been cut in panels similarly to the Ryerson FRC dress, and is also finished the same way at the waist, leaving the excess seam allowance hanging on the inside of the dress. The sleeves, like the previous example are also fitted at the shoulder and cuff, but again are slightly wider at the elbow.

IMG_20150805_151323

Inside bodice detail. Fashion History Museum, FHM15.01.92

The bodice is boned, but the centre front bodice bone is on the right hand side, instead of the left, and there are no bones at the back of the bodice. The front bones have been encased within the two darts on either side of the front of the bodice, like both the Ryerson FRC dress, and the previous dress. The bodice has been flat lined instead of having a separate boned inner bodice, like the last example.

Dress 2 Front

Bodice detail. Fashion History Museum, FHM15.01.92

The most notable visual difference is the surface embellishment, and the fabric choice. This dress is trimmed with black velvet edged with black beading at the bodice and cuff of the sleeve. It also has black beaded decorative buttons down the centre front on the left hand side. The woven cotton in a green and brown medium sized check  is quite unlike the subtle pattern on the Ryerson FRC dress.

Three similar dresses from the 1860s were identified for comparison from online museum collections including the V&A Museum in London, the Kyoto Costume Institute in Japan and the Costume Institute at The Met in New York. These dresses exhibit more intricacy in construction and embellishment and are made of finer materials, and for these reasons, were likely owned and worn by persons with access to highly skilled dressmakers.

2006AV6107_2500

Cotton  muslin dress trimmed with bobbin lace and machine embroidered whitework, 1869, V&A Museum, T.12 to B-1943, Gift of Miss Ada B. Cooper

This  cotton muslin dress (T.12 to B-1943) from the Victoria & Albert Museum is similar in season, fabric, and general silhouette to the Ryerson FRC dress. It shares the same high neckline, waistline placement and full skirt, but has a more distinct bustle shape, and appears to have a more substantial train. This dress is highly embellished with contrasting trim, and appears to have a separate waistband. 

Another key distinction is that the V&A dress is described as being three separate pieces, comprised of a blouse, skirt, and polonaise. As well the sleeves also have a slight width added to the elbow area, like the previous two dresses. The description makes no mention of boning or a lining.

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Day dress, late 1860s, The Kyoto Costume Institute Online Collection, AC4324 82-17-43AE. Photo by Taishi Hirokawa , Copyright of The Kyoto Costume Institute

This dress from the Kyoto Costume Institute is labelled as a summer day dress, and is made of a comparable fabric – a white cotton tarlatan with woven stripes. The silhouette of the dress is very similar with fitted long sleeves, a high neckline, a straight waistline sitting slightly above the natural waist, and a full floor length skirt. The skirt has a more defined bustle and a train than the Ryerson FRC dress, and is also distinctive with its use of a bright contrasting red trim, and its construction as it consists of a separate bodice and skirt. The description does not provide any information about the dress closure, nor does it specify  whether the dress has boning or is lined. Nonetheless, given the very transparent look of the top layer of the dress, the garment is likely lined or meant to be worn with an under-dress.

dress 5

American Silk Dress, 1865, Metropolitan Museum of Art, CI.69.33.8a, Gift of Mary Pierrepont Beckwith             

This silk dress dress from the Costume Institute at the Metropolitan Museum of Art bears a most striking resemblance to the Ryerson FRC’s white sprigged muslin day dress. Although the textile is silk instead of muslin, it still looks to be a very comparable weight and has a similar small repeating pattern in contrasting colours.

C.I.69.33.8ab_d

Detail of textile. Metropolitan Museum of Art, CI.69.33.8a

Both dresses share a similar silhouette, with a full floor length skirt, a straight waistband with the same placement, fitted long sleeves, a high neckline and a small collar. The surface embellishment is very similar, featuring self-fabric ruffles, in a very similar scale and amount. The most noticeable difference is the more defined bustle and train on the skirt.

C.I.69.33.8ab_TQR2

American Silk dress, Metropolitan Museum of Art, CI.69.33.82, 1865.

From what is visible in the photographs, the skirt looks to be cartridge pleated at the waist. Although there is no mention of an inner bodice in the short description, there seems to be a very similar outline of a capped sleeved inner bodice with a low neckline trimmed with lace. The pictures also appear to show an indication that the closure is at the centre front and carries along the waistband to the left side as it does the dress on the Ryerson FRC dress.

Conclusion:

This analysis of dresses from the 1860s has led me to better understand the common and uncommon attributes of 1860s dresses.

What all the dresses share is a common silhouette. Whatever the fabric choice, the dresses were long sleeved, high necklines with small collars, and had full pleated or gathered skirts with more fullness toward the back were the prominent look of the era. All had an element of surface embellishment – with trim and flounces or ruffles placed at the bodice, sleeve cuffs and skirt hems. Additionally these examples also show the variety of sleeve styles available; though they are all full length, they have distinctive differences in shape. Hooks and eyes down the centre front and along the waistband appear to be a typical feature of 1860s dresses. 

In contrast, the inclusion of a separate inner boned bodice does not seem to be a very common occurrence. This could be attributed to the resources available, or perhaps could be unique to dresses constructed from sheer fabrics. In any case, this is an interesting feature showcased in the white sprigged muslin day dress from the Ryerson Fashion Research Collection.

References:

Mida, Ingrid and Alexandra Kim. The Dress Detective: A Practical Guide to Object-based research in Fashion, London: Bloomsbury, 2015.

“Day Dress.” KCI Digital Archive. Accessed March 14, 2016. http://www.kci.or.jp/archives/digital_archives/detail_73_e.html.

“Dress.” The Metropolitan Museum of Art, I.e. The Met Museum. Accessed March 14, 2016. http://www.metmuseum.org/art/collection/search/108189?rpp=60.

“Dress.” V&A Search the Collections. Accessed March 14, 2016. http://collections.vam.ac.uk/item/O13844/dress-unknown/.

 

This post was edited by the Collection Co-ordinator Ingrid Mida.

 

 


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Upcoming Event: ICOM Costume Committee Study Day

Balenciaga Gown and Bolero, ca.1955-1960, FRC1992.01.019ab

Balenciaga Gown and Bolero, ca.1955-1960, FRC1992.01.019ab

Ryerson University School of Fashion will be the host of the International Council of Museums Costume Committee Study Day on Tuesday, September 8, 2015.

This event is open to students who are interested in historic dress and/or museum studies and will be held on campus. A limited number of tours of the FRC facility will also be held.

Advance sign-up is required. Interested students must rsvp by September 3, 2015 to Ellen Holzan at ellenhlozan@hotmail.com. Seating is limited to 50 students. 

Programme Details:

12:00 – 1:00 Pre-event Tours of the Ryerson Fashion Research Collection

1:05 – 1:15 Welcome, Announcements, and History of Student Saturday/Tuesday Ellen Hlozan and Vicki Berger

 

1:15 – 1:35 Ingrid Mida, Ryerson Fashion Research Collection Co-ordinator, Ryerson University, Toronto, Canada –The Ryerson Fashion Research Collection and A Preview of “The Dress Detective: A Practical Guide to Object-based Research in Fashion” 

 

 

 

 

1:35 – 1:55 Isabel Alvarado Perales, Interim Director, Museum of National History, Santiago, Chile – The artistic representation as a source of knowledge of the history of women’s clothing in Chile: the case of José Gil de Castro and Raimundo Monvoisin

1:55 – 2:15 Vicki L. Berger, Ph.D., Retired Curator of Costume and Textiles, North Carolina Museum of History; Phoenix, Arizona, USA – A 1942 World War II American Bride: Anita Ruth Bonham Crawford

2:35 – 2:50 Q & A Session with first group of speakers

2:50 – 3:30 Refreshment break and Tour

 

Fashion Victims Cover3:30 – 3:50 Alison Matthews David, Ph.D., Associate Professor and Graduate Program Director, Fashion MA, School of Fashion, Ryerson University, Toronto, Ontario, Canada – Preview of “Fashion Victims

 

 

 

 

3:50 – 4:10 Meg Wilcox, Wardrobe Supervisor, Sherbrooke Village Restoration, Nova Scotia Museum, Sherbrooke, Nova Scotia, Canada – Challenges and Triumphs in Costuming Historical Sites Challenges

4:10 – 4:30 Sofia Pantouvaki, Ph.D., Scenographer and Professor of Costume Design for Theatre and Film, Aalto University, Helsinki, Finland – Performance Costume in the Absence of the Body

4:30 – 4:45 Q & A with speakers

4:45 – 4:55 Farewell and Adjourn Ellen Hlozan and Vicki Berger

4:55 – 5:25 Post-event Tours