labricoleuse: (top hats!)
I've posted before about the hat museum in Stockport, UK, from the perspective of a museum visitor (Reader's Digest version: well worth the trip for anyone who loves hats), but this year, i returned as a scholar. 

The museum has an archive of hat resources and a study room, which you may peruse by appointment. I did exactly that last week, and had a fantastic experience poring over old documents, reference books, catalogues and the like. 

The archive is not huge--25 archival boxes, a row of hanging files, and a full cabinet of books and periodicals--and largely pertains to the historical hatting industry in the UK, with minor sections on other European countries. The information mostly pertains to mens hat production as opposed to ladies millinery, and it was extensive enough to keep me busy for a full 7-hour day (the museum was open from 10am-5pm). 

I spent the majority of my time sifting through loose documents stored in archival boxes--these are sorted generally by subject but not taxonomized. For example, a box might be described as "industrial equipment and tools" and all the papers and catalogues inside pertain to that topic. So, from a researcher's perspective, if you have specific areas of interest, it's easy to determine which boxes might contain items of relevance to your research. 

Once you open a box, the documents inside are not yet catalogued or databased. One of the curatorial assistants said they had plans to do so, but as with all institutions time and money were short. I didn't mind this though--there's something more like a treasure hunt about sifting through such things, and the nature of serendipity can provide the opportunity to chance upon something randomly fantastic that you might not have otherwise found, had you just gone directly to the document you needed.

Read more... )
labricoleuse: (shoes!)
In this blog, I've often mentioned the CoStar collection, an archive of antique and vintage clothing housed here at UNC-Chapel Hill (hosted by our graduate program, curated by program head Judy Adamson, and jointly utilized as a research tool by the Department of Dramatic Art and PlayMakers). CoStar has a continually-expanding online presence in the form of a searchable web archive of the collection of largely 19th and 20th century women's couture, which can be accessed by anyone with a browser. If you've used the site in the past, you'll notice that CoStar has undergone a design overhaul, to a more user-friendly browsable structure than its previous layout.

Each garment in the collection depicted online is accompanied by specific information about its construction, history and provenance if known, and some even have scalable patterns, images of graduate thesis reproductions, and attached research papers, such as this striped silk taffeta bodice worn by Mrs. Edgar Grout for her wedding on June 30, 1897, featuring a scaled pattern and analysis by Emily VanDervort (MFA '08), or this bodice also in striped silk taffeta from the same era (of unknown providence) which includes an analysis and photos of a reproduction by Jade Bettin (MFA '06). The online archive will only continue to grow as present and future research assistants slowly make their way through the documentation process--what's currently shown is perhaps 10-15% of the entire collection, which itself is continually expanding through the generosity of donors.

But, the real point of this post is not to focus on CoStar, which is probably a familiar topic to long-time readers. It's to announce something exciting and new!

In addition to the CoStar resource (which is primarily Western women's clothing of the past couple centuries), an entirely new archive site has gone live, NowesArk, an online catalogue of our non-Western clothing collection! NowesArk is curated by Professor Bobbi Owen, whose collection forms the bulk of its pieces.

The site is super-brand-new (to the point where the "about" section isn't up yet, and the splash page has a couple of typos), but already features 74 items to look through--primarily Japanese and Chinese garments and accessories, though also a few Vietnamese, Tibetan, and Middle Eastern pieces. Graduate research assistant Amanda Phillips (MFA '09) spent her final semester of graduate school supervising a team of several undergrad work-study students on this project, all of whom devoted many hours to documenting these pieces and getting this web resource up and running. Bravo, y'all!

With both of these archives, in the course of researching you can assemble a collection of "favorites" in a scrollable sidebar window (titled "My Stars"), by clicking on the little star/plus graphic next to a garment's title on its description page. So, suppose you are looking at the CoStar collection for bodices in the 1895-1900 window--you could add the two bodices linked above to your My Stars section, keep looking for more bodices that fit your specs and then later go back to read through the particulars or print out the extra info for all the bodices you find. If you are perusing the NowesArk collection for furisode examples, again, the star/plus graphic allows you to quickly weed through the garments and collect up specific furisode links to easily navigate between later. "My Stars" spans both archives, so if you add a bustle dress from CoStar and a haori from NowesArk, you'll see both no matter which archive you are perusing.

You can read detailed info on browsing and searching the collections here, and learn more about the consolidated archive project in general here.

Because we are clearly totally committed to creatively-relevant acronymous naming conventions, both of these archives are collectively known as the Cloaks Archives, accessible by a central clearinghouse page linking to both archives' sites. I'm looking forward to seeing how these collections continue to grow and develop in the future! (For example, i cannot wait til the archivists get to this one box i've seen in the storage area marked "1920 beaded gowns.")

Happy researching!

BTW, please do drop a comment and let us know how the sites are useful to your research or could be improved, and definitely share your experience should you use one of the scalable patterns to make your own reproduction, or as a starting place for your own "take" on one of our pieces!

ETA: I'd love to see someone make up this 1893 day dress, or this 1886 riding habit, or this intricate 1902 velvet bolero from the provided patterns. Also, i'm feeling a little bit of regret i didn't title or subtitle this post "ZOMG FREE PRD PATTERNS BBQ," since i know a common complaint is that there are really only so many period patterns out there commercially available or scalable in references like Janet Arnold's books.

If your university or institute has its own online archive of a similar or related collection, please comment with a link. And, if you have pieces you wish to donate to either collection, email me at < costume -at- unc -dot- edu > and i'll put you in touch with our Acquisitions Coordinator.
labricoleuse: (history)
Even though i went to see this exhibit a week ago, I wanted to wait to write about it until i'd finished reading the companion book, Zaida Ben Yusuf: New York Portrait Photographer by Frank A. Goodyear III.

About a year ago or so, i discovered the photography of Miss Ben Yusuf while doing some research on her mother, Anna Ben Yusuf, author of the 1908 resource text on millinery techniques, Edwardian Hats. Zaida also worked as a milliner, both before and after she set up shop as a portrait photographer, writing magazine articles on "DIY" millinery techniques for magazines of the time and eventually accepting a leadership role in a milliners' trade organization. Ben Yusuf has been a role model of mine ever since--i am particularly drawn to women of earlier eras who blended craft and art as career fields and who were self-sufficient and independent.

At the time when i was avidly combing millinery sources for evidence of her writing, i discovered that portraiture historian Frank Goodyear had been doing his own inquiry into her work from the photography perspective. I wrote to him and he contacted me, and though we only spoke the once, it was so exciting to talk to another person--perhaps the only other person on earth at the time--who not only recognized her name but knew facts about her life and work. (Mr. Goodyear knew far more than i did, in fact, as her photographic career is much more extensively documented in publication than her millinery career.) It was so gratifying and I've been looking forward to Goodyear's exhibit and book ever since!

The exhibit opened in April and i decided to stop in DC to see it on my way up to NYC this summer. Mr. Goodyear has done an amazing job assembling her work from many disparate collections, though according to the companion book there are still loads of lost images she was known to have made. The book reads like a Who's Who of fin de siecle artistic, scientific, and political realms; Ben Yusuf really photographed a staggering number of successful people in her short photographic career (she only worked for maybe a decade or two as a portraiture photographer, bookending that with millinery endeavors). You can check out some of the portraits in the web exhibit online at the NPG website.

It's funny, in addition to portrait historians, i think costume designers and production specicialists are the folks who spend the most time really deeply analyzing portraiture--it's one of the primary sources of period research on the specifics of what people wore. As such, i'm used to looking more at the attire of the portrait subject than his/her face, and my experience of this exhibit and the entire National Portrait Gallery was informed by that. What an overload of excellent little details! If you're at all interested in historical costuming, the NPG is a great museum to wander through on a lazy afternoon (and, bonus, admission is free).

There are a number of other noteworthy exhibits there right now, from a focus on Kathryn Hepburn to "Recognize: Hip Hop and Contemporary Portraiture," which includes the paintings of Kehinde Wiley, whose work i'd read about and been interested in seeing for ages. Wiley creates huge larger-than-life-size portraits of black celebrities, layered over and backdropped with ornate floral and scrollwork patterns typical of like, Rococo textiles. I also really enjoyed "Ballyhoo: Posters as Portraiture", a collection that spans nearly two centuries of poster art and celebrity.

In reading Goodyear's companion volume, i realized that in working at the Public Theatre right now, i'm less than a block from Ben Yusuf's first 5th Ave studio location, just up from Union Square (which is the subway stop i take every morning). The book mentioned that she married late in life to a textile designer and possibly settled in Brooklyn--i have a vague notion that perhaps this summer i'll comb through a couple old Brooklyn cemeteries in search of her lost grave. We'll see if that happens. It'd make a nice weekend picnic afternoon.

Unrelated, being in NYC this summer reminds me every now and then of these little details that separate city living from rural or town life. Not the huge obvious things like 2934892384 more people and skyscrapers, but the stuff you tend to actually forget, like that your cell battery life is way shorter if you ride the subway regularly and it's forced to do a lot of time searching for service. Speaking of riding the subway, i need to head into work soon. I think i'll be going to a couple of exhibits this weekend and seeing at least one play, so maybe there will also be time to blog about that.
labricoleuse: (paraplooey)
I've had a couple queries about the nature of my parasol book, which i figured i'd answer here.

Q. What kinds of projects are in the book?

A. There aren't specific projects, per se. The book was developed as a textbook for a graduate level production course that i teach, and contains information on custom patterning techniques that you utilize and adapt according to the type of parasol you desire. It's intended to be a reference manual for artisans who may be given a research image or costume design rendering that they will then have to realize. It's a guide for making your own patterns, not a step-by-step book with specific projects included. If that is what you are looking for, the book Victorian Parasols by Millicent Rene contains several pre-drafted patterns for specific parasols. (Of course, to use them you need to make sure that you have a parasol frame with the right number of panels in the canopy. Six and eight panel frames are the most common so you shouldn't have trouble locating the right type.) For non-industry costumers, it will be helpful in situations like, "I saw this amazing parasol on eBay but it went for way more than i could afford...wonder if i could make one just like it?"

Q. What sort of photos are included?

A. Most of the practical illustrations are diagrams, hand-drawn illustrations, and period references. Some of the photos illustrate the text, and there is a short section at the end of photographs of various kinds of parasols in my own collection and the collection at my workplace, the University of North Carolina at Chapel Hill. Most of the book is information-based, not research image based. For research images (19th century mostly), try either the Rene book mentioned above or Ladies' Vintage Accessories by LaRee Bruton.

Q. Do i need to be an advanced costumer to use the information in the book?

A. That's a tough one. As i said, i wrote it for graduate level students in our Costume Production MFA program, who are by and large quite advanced in their skill level. However, I do describe three different canopy patterning methods--drafting with geometry principles, draping, and generating a "sloper" from an existing cover. I think if you are a good seamstress and can do pattern adjustments like moving a dart or changing a sleeve shape, you will find one of the methods that will work for you. It depends on how your brain works! Parasols look simple, but can be deceptively difficult to work with. I would say, this is not a book for a beginner, but should be useful for intermediate stitchers with an interest in parasol making.

Q. How much history is included?

A. There is a short section on history in the introduction, which touches on the development of the sunshade in various cultures as well as etiquette and innovations in frame design. There are already a few very good resources out there with more comprehensive, in-depth historical information; this book is more like the equivalent of a tailoring method book. For a good chunky history book, try A History of the Umbrella by TS Crawford. I will say that one thing i'm quite proud of is the extensive glossary at the end of parasol terminology. It sure beats talking about them in terms like "the hingey part rubbed a hole in the fabricky part where the spiny part attaches, and there's a broken spokey thing at the top near the whatsit." I'm a big vocabulary nerd.

Oh, and shipping through Lulu can be strange--sometimes it's really expensive for a single book, but way cheaper if you meet a minimum. It may be beneficial to pair up with friends and order multiple copies, or surf the site for other books of interest. There are a lot of cool costume-related small-audience texts on there on subjects like costume armor, historical needlework, vintage knitting patterns, etc.!

And now, some links:

This thread on the Fedora Lounge board has a wonderful series of photographs of a hatter making a custom fedora.

ThreadBanger is an online "television show" site with tons of DIY clothing alteration videos as well as a recent piece on the costumes of Sweeney Todd.

Research paper writers, you need to know about, which will automatically generate a bibliography for you in a given style of your choice. And it's FREE.
labricoleuse: (history)
I've been sitting on this review for a while, meaning to post and and continuing to forget. Oops!

If you don't know the story of the treasure of the steamboat Arabia, it's a pretty incredible one.

Loaded to capacity with an enormous cargo of goods, the Arabia set sail up the Missouri River in 1856; her aim was to distribute merchandise to a number of frontier-town general stores north of St. Louis. A submerged spar (broken tree stump) punctured her hull and the ship with all its cargo sank within minutes. The passengers and crew all escaped with their lives; the only casualty was a mule tied to the ship's rail whose owner neglected to free him before swimming for shore. Over time, the course of the Missouri changed so drastically that the Arabia wound up discovered in the late 1980s in a Kansas cornfield!

Archaeological crews exhumed the entire ship and her contents; the ship has been rebuilt complete with original working sidewheel, and the museum contains displays of all the lading of the Arabia. This includes medical supplies, household goods, preserved food, bourbon whiskey, hardware and tools, fabric and notions, readymade clothing, shoes and boots, luxury items such as china and jewelry, firearms, you name it! All of it has been painstakingly preserved and displayed. There's even a restoration lab open on one wall to the public--you can watch as technicians work to restore items before your very eyes using equipment like a freeze-dryer, dental tools, tiny brushes, etc.

What was so amazing to me was the quantity of recovered items--not just a few buttons, but thousands of them; not just one pair of shoes, but dozens; not a single bolt of cloth, but a whole stack of them. The opportunity to inspect multitudes of everyday objects of 1856 was indescribably excellent. I took some time out of my drive back to Carolina from Utah this summer to visit the museum--only a short jaunt off of the interstate highway--and am so glad that i did. I kept saying to my friend that accompanied me, "This is awesome. This is awesome!"

My main criticism of the museum is its crummy gift shop. They are on the right track with some of their items--they reproductions of some of the recovered artifacts, a couple perfumes, a tiny child's doll, a bell, a key, a button--but by and large the merchandise blows. I wanted a range of t-shirt and hoodie designs to choose from, a whole array of postcards, a coffeetable book with excellent photos and documentation, etc., and they don't have much of that. It's largely stocked with standard generic state-souvenir crap you can get at any truckstop. Disappointing. Where are the parasols, reticules, ascots, fun sutlery things that would sell like hotcakes? The museum is well worth the trip regardless; they ought to fire their merchandising director though, because i really wanted to spend a ton of money in their gift shop but there wasn't enough quality merchandise for me to purchase. I bought a necklace made from one of the calico buttons and a single postcard.

Graspy shoppy acquisitivity aside, i highly recommend the museum to anyone interested in American 19th century history, particularly those with an enthusiasm for the minutiae of daily life. It's decidedly worth checking out!

* * *

And, speaking of costume related history, I've got a link from the GBACG list via La Bricoleuse reader (and pal) [ profile] trystbat: the Danish site Tidens Toej is an amazing resource for period garments! All the text is in Danish, but it's fairly easy to navigate anyway using intuition and online translating sites. The coolest thing about the site I think is, not only do they have excellent photos of their archived garments, but they have period research images (engravings, illustrations, etc.) *&* in some cases, downloadable PDFs of patterns for the garments! I like the format of the site so much, i'm going to forward the info to the folks that run our online historic costume archive, CoSTAR!

Also of interest, a page about shipwreck indigo. Essentially, dye professional Jenny Balfour Paul had the extraordinary opportunity to dye some cloth using indigo recovered in an archaeological exhumation of the Nuestra Señora de la Concepción, the flagship of a fleet of ships that sank off the Caribbean Turks Islands in 1641.
labricoleuse: (hats!)
Here's something i'm inordinately excited about: Dickinson College hosts an online database of costume collection storage images--basically, pictures of how different facilities store costumes, all over the world. The archive includes all sizes and types of costume facilities, from universities to community theatres to rental businesses to professional companies, all kinds of stuff! This is a wonderful resource for those looking to overhaul their existing storage, expand their storage, or build a new facility. You can see how others deal with different storage issues, and adopt ideas that you like!

The site allows guests to view it, but if you want to upload images of your own you need to contact Sherry Harper-McCombs about getting a password.

To search the site though, go to ICON, Dickenson's virtual media center (choose Guest Account) and click on "Browse Collections" in the sidebar. You will be given a list of categories with radio buttons. Choose "Costumes." This will take you to the primary search page.

You can search based on article of clothing (for example, if you want to see how other facilities store difficult items like hats, boots, or armor), on construction material (if, say, you have a bunch of unused pegboard wall and want to look at ways others have utilized pegboard for storage), or on the type of facility--university, rental house, etc.

I know from experience, planning overhauls to a costume storage facility can be difficult and daunting, and seeing how others have arranged storage (both efficiently and with less than optimum success) can be an invaluable help. If you've been wanting to brainstorm how to gussy-up your storage areas, surf around the Dickenson archive! You might discover some inspiration.
labricoleuse: (history)
From time to time, i post about donations we receive to our vintage clothing and costume archive, CoStar. We are in the process of digitally documenting the collection, but our grant money only goes so far, and as such, we are perhaps 10-15% of the way through. The things i post about will eventually be more formally documented and become part of the online archive, but i am often so excited about particularly well-preserved donations that i "preview" them here. (For example, this post on a complete 1877 ensemble with underpinnings.)

The piece i want to share today is, as best i can determine from research, a straw hat dating from around 1907, donated to the archive by Anna Marchland.

photos, including interior structural view! )
labricoleuse: (history)
If you read a range of sources in the blogosphere, you probably are already aware of the fact that this week has been International Blog Against Racism Week (August 6-12, ending today).

I've read with interest--and often exasperation--discussions sparked in other blogs about a whole panoply of issues relating to race, bigotry, and prejudice.
I think that discussion itself is of great import--airing of feelings, respectful debate, even heated argument is better than silence and avoidance. Talking leads to thinking, and sometimes thinking facilitates changes of heart and mind. Even in the discussions that have exasperated me, i know many people's hearts are in the right place, that they are trying to understand or to make others understand, and that in and of itself is hopeful.

I did not want to make a randomly off-topic post, along the lines of "I know this blog is normally all about costume craftwork, but today i'd like to talk instead about the social and economic challenges faced by an interracial couple in rural Tennessee!" However, in the past couple of days, two situations have presented themselves which are both topical for La Bricoleuse, *&* address aspects of racism and race-based prejudice (and, in one of the two cases, sexism as well).

straw hat bigotry and stereotype masking )
labricoleuse: (history)
I've been out of town for a few days, so no exciting projects in the completion stage yet, but I do have a collection of interesting links for your delectation, on such subjects as hats, shoes, crochet, and parasols! What's not to love about that?

Historical millinery:

If you sign yourself up for their mailing list, you can access the online magazine at, which currently features an archive of 15 issues. Some of the articles are modern research pieces on historical elements of Victoriana, but many are reprints of period articles from original sources (Harpers, Ladies Home Journal, etc.). There are several period articles on hatmaking techniques, including an excellent one entitled "Wings, Breasts, and Birds" about the applications of avian taxidermy in period millinery, as well as lots of fashion plates and the like.

Shoe modification: features a whole section of the site on ideas and techniques for customizing footwear. The author has written the site from a modern fashion perspective, but the techniques could also be utilized for altering modern footwear for the stage using historical inspiration. (This link sent to me by [ profile] trystbat.)

Crocheted models of hyperbolic space:

What? No really. So, obviously theoretical math is way off-topic for this blog, but i saw this posted on a discussion board i read and had to share the link here. Essentially, Cornell mathematician and fiber crafter Daina Taimina worked out a means of creating physical models of hyperbolic space using crochet. The results of her work are visible in an online exhibit hosted by the Institute for Figuring. Longtime crochet enthusiasts will recognize such things as "circle ruffles"/"lettuce edging" (hyperbolic plane) and "lettuce tassel" (pseudosphere). Crochet instructions are listed along with the forms, should you feel the overwhelming need to trim your parasol with a few pseudospheres or run a hyperbolic plane along a sleeve hem.


Speaking of parasols, various news sources are predicting the return of the parasol as the next big thing. Concerns about the climate, environment, global warming, and the projected potential increased risk of sun-related cancers are the rationale. Here are two recent parasol articles you may enjoy perusing:

News & Observer, Raleigh, NC
LA Times

And, perhaps it's premature to announce, but I've been working on a chapbook on parasol repair and construction and it's almost finished! It's my goal to get it completely written/illustrated and galley-proofed and available for purchase by the time i teach my unit on parasols in the spring 2008 semester.
labricoleuse: (dye vat)
More notices of resources, today they're for dyers!

Discussion E-list

The DyersLIST is an Internet mailing list intended for discussion of technical questions, problems and information related to immersion dyeing and to the surface application of synthetic dyes, textile pigments and related chemicals to fabric and fiber. Subscribers should restrict postings to these topics and avoid commercial postings of any sort. Subscription information is available here.

Company Newsletters

Most all of the big dye distribution companies also publish quarterly e-newsletters. These always announce new products, discontinued products, sales, etc., but most also offer tips on safety &/or techniques. If you order from them, you get on the lists automatically, but you can also request to be added.

Dye Pro Services in Calgary are the North American distributors of Dylon products. Their newsletter comes out quarterly and is largely product information and safety updates, with a "folksy" friendly tone. There's no link on their site to subscribe, but i'm sure emailing customer service with a request would get you added.

Dharma Trading Company does have a subscription form on their site, and their list is a bit more informal, issued sporadically. During the academic year, i got one every couple of months, but now it's been a while since they've sent anything out. Their newsletter is written in the same conversational Cali-speak tone as their catalogue, and not only features specials and product info, but has a recurring "designer spotlight," where they feature artists and artisans who work with their products and examples of their work.

PRO Chemical & Dye don't to my knowledge run an email newsletter, but on their splash page, you can click a link at the bottom to be added to their postal mailing list, which will apprise you of their upcoming workshop schedule. PRO Chemical conducts a variety of professional workshops on a number of dyeing techniques using their range of products.

Oil and alcohol based dye ban in CA and CT?

Yesterday i was at my local Tandy Leather Factory doing some restock shopping, and the proprietor informed me that they were phasing out all oil- and alcohol-based leather dyes on a national level (this means Fiebings and other familiar industrial brands sold in quarts and gallons).

Reportedly, the reason for this is that California had banned these dyes--Tandy's corporate headquarters had forbidden them to ship any orders for them to CA addresses--and that Connecticut was moving toward banning them as well. He expressed a concern that, for environmental-protection purposes, this seemed to be a growing trend, which was why as a company Tandy is apparently phasing out all oil- and solvent-based dyes and switching to a line of water-based products released under the brand, "Eco-Flo: Earth-Friendly, Low VOC Products for Leather."

I'm a regular customer there and do a lot of business with them, so he gave me some samples to try out on upcoming products. I'll post a full report when i am finished trying them out, but i thought i'd mention it here and now, in case you live in one of the ban states and are wondering why you are having trouble finding Fiebings dyes or something.
labricoleuse: (history)
One of the most excellent things about where i work is the presence of the CoSTAR historical clothing archive. This means that we frequently receive donations of antique garments in various stages of preservation. Today, we received one such dontation of 19th c. ladies attire that was in utterly pristine archival condition. I took some photos to share here on the blog, though i'm sure these pieces will be steamed and pressed and formally catalogued, photographed, and show up in the archive soon enough.

These pieces were part of a large donation by Ms. Helen Tibbo, a local benefactress who told us that they were the property of her ancestress, a Mrs. Isaiah Howes of Nantucket, MA. From a date label sewn into the garments we can place them as having been completed and delivered in March of 1877.

Amazing bustle gown, hat, and parasol pix. )
labricoleuse: (me)
A quick update to point out a couple of resources of interest to those in costume careers or those wishing to pursue higher education in costuming:

Of particular interest, a resource that would have saved me SO much trouble as an undergraduate, is the Survey of Costume Programs. It lists all the school in the US and a few abroad that have costuming-oriented degree programs, both undergraduate and graduate. Each school's entry has the types of degrees offered, areas of focus (i.e., design, tailoring, history, etc), faculty/staff, contact info, and links to the programs' websites. My only criticism is that at present the programs are listed by region and alphabetically by school, but no search function by which one might, say, look for every school listed that offers an MFA in Costume Technology, or a BA with a costuming focus, etc.

The Costar Vintage Clothing and Costume Archive is an online compendium of the antique and vintage clothing in the collection of the University of North Carolina at Chapel Hill and the Playmakers Repertory Company. It's a searchable archive of actual vintage clothing from 1800 to the present, each entry of which has detailed interior photographic documentation of construction methods, and some of which have accompanying research papers about the garment written by students in the UNC-CH Masters program in Costume Technology. I know they've got about 10 times as much stuff waiting to get entered into the database as is already in there, but the site's fun to surf through and the structure is one that other organizations wishing to create web archives of their own collections may wish to study.

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