Ryerson Fashion Research Collection

Opening the closet door to a Canadian fashion archive

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Introducing Victoria Hopgood

It is my pleasure to introduce Victoria Hopgood as a member of the FRC team. She is a talented photographer and this summer, she will photograph artifacts from the collection, as well as assist with research and design related projects in the FRC. She has also taken over the FRC’s instagram account @RyersonFRC. Last week, she began with the theme of polka dots and will adopt a new theme each week of the summer. I invite you to join in to see her selection of beautiful garments in the FRC on Instagram.

In the fall, Victoria Hopgood will commerce her third year in the Fashion Communication program at Ryerson. Victoria has interned for Mass Exodus and volunteered for many fashion events and weeks. She hopes to use her artistic skills and eye for design to pursue a career in graphic design.


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The Patricia Rogal Collection of Photographs

By Ingrid Mida, Collection Co-ordinator.

Another significant donation to the Fashion Research Collection was received from Patricia Rogal in 2002. In donating her personal collection of 984 carte de visite, cabinet cards and photographs dating 1860-1920, Patricia Rogal hoped to help students see “what real people wore” in the past. 

Carte des visite 003_LR

Cabinet card, backing removed. Undated. No photographer label.

Carte de visite and cabinet cards are albumen prints made from glass negatives, attached to stiff card backing usually printed with the photographer’s name. In this medium, we can  revisit the past to see the clothing that ordinary people wore in the latter half of the 19th century.

Carte des visites002_LR

Cabinet Card, Undated. Photographer’s stamp cut off. Donated by Patricia Rogal.

This small cache of rare carte de visite and cabinet cards is unusual in that it includes a substantial number of photographs in Canadian studios from Toronto and other Ontario towns. In a few cases, names have been carefully written in blue ink just below the image or on the back of the card. The thick cards are yellowed at the edges and some have faded. These artifacts are extremely fragile and ideally should be scanned to limit their handling. (Unfortunately, time did not permit that in the grant received from the Learning & Teaching Office.)

I find these photographs haunting. In studying these cabinet cards and carte de visites, my eye fixes on items of clothing that remind me of the specific historic pieces in the collection, including one of the oldest garments in the collection, a greed plaid silk taffeta bodice and crinoline skirt from 1860. In these photographs, I feel like I am looking into the face of the wearer and seeing what is now a fragile artifact reborn. Through the image, the dress comes to life in a way that it will never be again.