labricoleuse: (history)
The students in Judy Adamson's period pattern class presented bustle dresses today, and coincidentally all their project source images were from 1885! Here are some images.

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labricoleuse: (frippery)
I initially thought this was a two-part post but i've realized that i'm going to need to split this into three, i think. t the end of the prior post on the topic, all four multiples had been blocked into the desired shape, using a terra cotta flowerpot as a crown block and a brim block i made a couple years ago for The Importance of Being Earnest.

The next step for all the hats was to wire and bind the brim edges and line them.

For some felt styles (say, a fedora), you might choose not to wire the brim edge, but I chose to on these for a couple of reasons. First, the wire and binding will go a long way in helping to maintain the upward curl of the brim in places, since it offers a strong reinforcement to the shape which was initially created in the blocking and sizing process.

Second, these hats are taken off and put back on multiple times an evening, by both the actress herself and her dressers. They need to be as sturdy as possible to withstand that much handling (consider that in "real life," you might wear this hat once a week, tops, if it were your favorite hat, whereas this hat is being worn every night of the week and twice on matinee days).

And third, the designer wanted them finished with this super-cute pinked-edge burgundy suede binding from Mokuba, so we had a perfect means to hide the wiring built into the look itself.

I also tend to line my hats for stage before trimming them out. For a streetwear/fashion hat, you would wait til after trimming to line it to hide the interior stitches securing the trim, but because hats for stage go through SO much aesthetic change in the tech process (on these we have changed the trim on three of the styles twice now, and we aren't even through previews yet), i line before trimming. On felt hats like this one, the lining serves as a stabilizer, too, so that the felt of the hat doesn't bear all the stress of the stitches attaching the trim, so that's a nice secondary benefit to this decision.

My primary assistants at this point were first year graduate Leah Pelz and PRC's staff Costume Technician, Adam Lukas Land, though on at least one occasion i had five undergraduates all at some stage of some craft process working in my room as well. It was fun, all of us working on hats in various stages of completion a taste of what it must have been like to work in the production room of a 19th century milliner's studio when these types of hats were originally made.

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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.

January 2017

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