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Spring Newsletter 2014

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Spring Newsletter 2014 Spring Newsletter 2014 1 Contents Page Committee 3 & 4 Conference papers 2013 5 - 10 Call for papers 2014 conference 11 News 11 – 18 Exhibitions and Events 19- 29 Books 29-33 Front cover image: Detail of the pocket of a lady’s jacket c.1750. Arlington Court collection. Image © National Trust 2 DATS Committee 2014 Officers Chair Secretary Edwina Ehrman Rebecca Quinton Curator, Textiles & Fashion, Curator (European Costume and Textiles) Furniture, Textiles & Fashion Department Glasgow Museums Victoria & Albert Museum Burrell Collection Cromwell Road 2060 Pollokshaws Road London SW7 2RL. Glasgow G43 1AT Tel: 020 7942 2673 Tel: 0141 287 2571 Email: [email protected] Email: [email protected] Treasurer Membership Secretary Danielle Sprecher Veronica Isaac Leeds Museums and Galleries Curatorial Assistant Discovery Centre Department of Theatre and Performance Carlisle Road Victoria and Albert Museum Leeds LS10 1LB South Kensington Tel: 0113 214 1557 London SW7 2RL Email: [email protected] Email: [email protected] Newsletter Editor Web Editor Paula Martin Kate Reeder House & Collections Manager Social History Curator The National Trust Beamish North of England Open Air Arlington Court and the National Trust Museum Carriage Museum Beamish Barnstaple Co. Durham DH9 0RG Devon EX31 4LP Tel: 0191 370 4009 Tel: 01271 851129 Email: [email protected] Email: [email protected] SSN Officer Jenny Lister Curator, 19th Century Textiles and Fashion Department of Furniture, Textiles and Fashion Victoria & Albert Museum South Kensington London SW7 2RL Tel: 020 7942 2665 Email: [email protected] 3 Representatives East Wales and West Veronica Isaac Sarah Jane Kenyon Curatorial Assistant Museum Curator Department of Theatre and Performance Dents Museum Victoria and Albert Museum Furnax Lane South Kensington Warminster BA12 8PE London SW7 2RL Tel: 01985 212291 Email: [email protected] Email: [email protected] Exhibitions & Arts Officer Trowbridge Museum The Shire Shopping Centre Court Street Trowbridge BA14 8AT Tel: 01225 751 339 Email: [email protected] Central Northern Veronica Main Natalie Raw Significant Collections Curator Curator (Costume and Textiles) Luton Culture Leeds City Council Wardown Park Museum Discovery Centre Old Bedford Road Carlisle Road Luton LU2 7HA Leeds LS10 1LB Tel: 01 582 547 968 Tel: 0113 37 82103 Email: [email protected] Email: [email protected] Scotland Ireland Rebecca Quinton Valerie Wilson Curator (European Costume and Textiles) Curator of Textiles Glasgow Museums National Museums of Northern Ireland Burrell Collection Cultra 2060 Pollokshaws Road Holywood Glasgow G43 1AT Co. Down BT18 0EU Tel: 0141 287 2571 Tel: 028 9039 5167 Email: [email protected] Email: [email protected] Conservation London Ann French Beatrice Behlen Collections Care Manager / Conservator Senior Curator, Fashion & Decorative Arts (Textiles) Museum of London Whitworth Art Gallery 150 London Wall Oxford Road London EC2Y 5HN Manchester M15 6ER e-mail: [email protected] Tel: 0161 275 7485 Email: [email protected] 4 Papers from the 2013 Conference. Thank you to all the speakers who contributed to the conference and made it such a success. Caroline Ness and Christina Parker have kindly written synopses of their papers for this newsletter. The Mattli collection at the Fashion Museum: evidence for couture construction – synopsis By Caroline Ness PhD, Centre for Textile Conservation, University of Glasgow I was particularly thrilled to be invited to speak at the 2013 DATS conference as my PhD research is based upon the Mattli archive at the Fashion Museum in Bath. The title of my thesis is: Famous, Forgotten, Found: rediscovering the career of London couture fashion designer Giuseppe (Jo) Mattli, 1934-19801 My research focussed on researching Mattli’s long career in the form of a case study for investigating how to recover hidden dress histories effectively. Mattli is a good example of a once famous and then just about forgotten mid-twentieth century London couturier. A Swiss National and the eleventh member of that elite group of couturiers known as the Incorporated Society of London Fashion Designers, Mattli reached the height of his fame during the mid-1950s. Mattli retired from making couture in 1975, and his ready-to-wear business finally closed in 1980, barely two years before his death. My paper for DATS concentrated on how I used object-based evidence combined with oral history to investigate and interpret surviving Mattli garments in the Fashion Museum collection. Object-based research often results in evidence that cannot be found elsewhere. I wanted to determine which garments were constructed in the couture method of the time and which were produced as ready-to-wear. Eight garments in the Fashion Museum collection contained ‘Mattli London’ and one a ‘Mattli Ready To Wear’ label along with 19 that were unlabelled. Examination of the garments supported by first-hand knowledge from oral testimonies revealed that typical couture construction methods of the time had been used on all the ‘Mattli London’ labelled garments. The ready-to-wear garment was found to have been made to almost the same standard as the couture but with less evidence for personalised fitting. The unlabelled garments were interpreted as original model designs used for showing to clients before individual orders were made. Seven unfinished garments showed evidence of workshop construction techniques including colour-coded basting stitches used when garments were made from a toile rather than a paper pattern. Much of the evidence was obtained through looking at the objects and using information gathered from people who had worked in the London couture industry. This 1 Caroline Ness, unpublished PhD thesis, University of Glasgow, 2014. 5 highlighted the effectiveness of object-based research and the importance of oral history where it is possible still to gather. With thanks to Rosemary, Elaine, Elly and Vivien at the Fashion Museum for allowing me access to the Mattli collection of garments, press books and drawings, for always making me most welcome and for providing wonderful support, advice, and encouragement during my research project. A World in a Wardrobe: Case Study Christina Parker, Head of Education, Holburne Museum In the Spring of 2013, the Holburne Museum in Bath held an exhibition called Painted Pomp: Art & Fashion in the Age of Shakespeare. The exhibition centred on nine full- length Jacobean portraits by William Larkin on loan from Kenwood House during its closure for restoration. The paintings originally came from the collection of the Earls of Suffolk and Berkshire at Charlton Park, Malmesbury and show members of the extended Howard and Cecil families – the cream of Jacobean courtly society. One theory is that they were made to mark the marriage of Thomas Howard and Elizabeth Cecil. The most striking feature of the portraits is the costume, painted in exquisite detail, so at an early stage in the planning it was decided that this should not just be an art exhibition but that the focus should be on the clothes. The portraits were exhibited alongside early 17th century clothing and accessories from the Fashion Museum, The Ashmolean, The Royal Collection, the Worshipful Company of Glovers and private collectors as well as two costumes on loan from the Royal Shakespeare Company and a video showing the actors being dressed in the different layers of that costume. We were keen to maximise the opportunities that this exhibition presented and were successful in our bid to the Heritage Lottery Fund for funding to enable us to develop and deliver a rich and varied programme of activities, workshops and interpretation to complement the exhibition. The funding enabled us to take risks and to experiment. Unsurprisingly, one of the grant conditions was that we evaluated all of our activities. We used a variety of questionnaires to suit the different audiences that we worked with and analysed the evaluations using ‘Generic Learning Outcomes’ –a system developed by the former Museums, Libraries & Archives Council – dividing responses into evidence 6 of Knowledge & Understanding; Skills; Enjoyment, Inspiration & Creativity; Activity, Behaviour & Progression, and Attitudes & Values. We were already working with Jane Malcolm-Davies in an advisory role and the funding enabled us to engage her to help us to offer some new experiences both for us and our visitors. Generous as the HLF grant was, we couldn’t run to having reproductions of any of the lavish costumes in the Larkin paintings made but Jane had costumes of the correct period that we could hire. We knew that these would still enable us to interpret the paintings as, due to their quality, we could still demonstrate fabrics, construction, accessories and the complexity of what people wore. Our experience at the Holburne of using costume as an interpretative tool was limited. We have had actors at events in period costume and we use child-size costumes in some of our school workshops, not to teach about the costume however but to reproduce the composition of paintings – so purely as a prop and of the ‘recreation standard’ referred to by Jane Malcolm-Davies. I think it’s fair to say that we thought the costume would provide a nice entertaining ‘add-on’ but its popularity and its effectiveness took us all by surprise. Jane ran an excellent, highly enjoyable training day for education staff, freelancers and volunteers. This was essential to the success of the activities. Not only did Jane teach us about the costume of the period but she had numerous practical hints about running the sessions. Although the training day was obviously focused on enabling us to provide activities for the exhibition, many of the outcomes, as identified by the participants, were transferable skills: • increased knowledge of Jacobean fashion and the historical period • increased skills in demonstration techniques • increased skills to engage with a variety of audiences and their needs • raised awareness of the importance of ‘hands-on’/interactive opportunities.
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