Tiptoeing Through Time: Tracing the Provenance and Conserving Pasticcia
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Tiptoeing through time: Tracing the provenance and conserving pasticcia costumes from the Royal Winnipeg Ballet By Deborah L. Hodgson A Thesis submitted to the Faculty of Graduate studies in partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE Department of Clothing and Textiles University of Manitoba Winnipeg, Manitoba @October, 2OO1 NationarLibrarY nationare l*l !ltå2.i:å:" Acquisitions and Acquisitions et BibiiographicServices servicesbibliographiques 395 Wellingrton Street 395, rue Wellington OttawaON KIAol\.l4 OttawaON KIAoN4 Ganada Ganada 'le voú€ rélé6t co Ou¡ib I'lúetéléßnæ Ihe author has granted a non- L'auter¡r a accordé une licence non exch¡sive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce,loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film" de reproduction surpapier ou sur format électonique. The ar¡thor retains ovmership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'autern qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des exfraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sâns son permission. autorisation. 0-612-76959-3 Canad'ä THE TINTYERSITY OF MANITOBA FACIILTY OF GRADUATE STT]DIES ***** COPYRIGET PERÙIISSION PAGE Tiptoeing through fime: Tr¿cing the Provenance and consening Pasticcio costumes fron the Royal Winnipeg Ballet BY Deborah L. Hodgson A ThesisÆracticum subnitted to the Facuþ of Graduate Studies of The University of Manitoba in partÍal fulfill¡nent of the requirements of the degree of IVIASTER OF SCIENCE DEBORAH L. HODGSON @2001 PermÍssion has been granted to the Library of The University of Manitob¡ to lend or sell copies of this theslVpracticum, to the National Library of Canada to nicrofilm this thesis and to lend or sell copies of the film, and to University Microfilm Inc. to publish an abstract of this thesisþracticum. The author reserres other publication rights, and neither this thesis/practicum nor extensive extracts fron it may be printed or otherwise reproduced without the author's written permission. Abstract Pedormance costurnes are frequently recycled making original historic samples very valuable for researchers. Documentation on ballet costume cpnstruction, cleaning and restoration is limited. This study explores all of these aspects of costuming while focusing on three tutus from the collection of the Royal Winnipeg Ballet (RWB) said to have been produced in the New York City costume shop of world renowned designer Barbara Karinska. The purpose of this study was to examine a piece of mâterial history relevant to winnipeg's cultural history by exploring its use, significance, components, construction and storage needs. From a material cultural perspective this study has two components: an attempt to trace the provenance of the costumes trom the RWB ballet Pastíccio, and a second component of textile conservation. There were five objectives to the study: to verify attribution of the RWB Pasticcio costumes to Karinska, to gain knowledge of historical construction techniques and fabrics in dance costumes, to initiate conservation of costumes with historical significance to the RWB, stabalizing them so they could be displayed, to create a permanent storage system, and finally to provide material to assist the RWB in educating the public regarding the value of costumes generally and Karinska's in particular. These objectÍves were met using a material history approach based on the work of Flemming (1972), Prown (1982), Steele (1999), and Condra (199g). Costumes and costuming techniques of several bailet companies were compared with those seen in the Pasticciotutus. Pastiecia participants were interviewed. Condition reports were prepared for each tutu to document its state and understand construction details. Treatment opt¡ons were explored, carried out and documented. Storage containers were designed and construc'ted. The provenance of the RWB Pasticcio tutus was established. llt Acknowledgements The Apparel Certificate Program led me to the Faculty of Human Ecology and Dr. Cecile Clayton-Gouthro who was instrumental in encouraging and advising me, first through the Pre-Master's Program, then the Master's Degree. As my thesis advisor, I am grateful to her for leading me along this road and for always being no further than a phone call away. My respect for her has continued to grow throughout the years. I am also gratefulto committee members Dr. Jose Gonzalez and Dr. Marilyn Baker who provided constant support and guidance during the process. I would also like to thank Ann Armit, Director of Wardrobe, Royal Winnipeg Ballet who provided access to the Pasticcio tutus that formed the base of my study. Thanks are also due to the support of the Royal Winnipeg Ballet alumni who allowed access to archival materials and faciliated contact with several original members of the Ballet that resulted in interviews. Special thanks go to Lorrie Storr, Senior Conservator of Textiles and Organics at the Parks Canada, Western Canada Service Centre in Winnipeg. Lorrie and her staff not only shared their lab and knowledge but provided the expertise necessary to proceed with the conservation portion of this study. The Textile Testing Service, University of Manitoba provided not only facilities but student employment. ln this regard, I am especially indebted to Judy Manness, Manager of the TTS whose life-long service in textile science provided invaluable. She also managed to fit in a few miracles with the digital camera. lv I would also like to acknowledge the financial support received through the University of Manitoba Graduate Fellowship and a Special Scholarship in Human Ecology. Finally I am indebted to my family who, without question, supported me through the twists and turns this project has taken over the years. I am especially indebted to my dear friend pat tomczyszyn who has been here from the start as a supporter, photographer and patient extremely editor. To all my friends, both new and long- standing, thank you for being there. TABLE OF CONTENTS Page ABSTRACT i ACKNOWLEGEMENTS ¡ii LIST OF FIGURES ix LIST OF TABLES X LIST OF ABBREVIATIONS xi CHAPTER I. INTRODUCTION Barbara Karinska 1 Pasticcio tutus at the RWB 2 Justification 3 Purpose 4 Definitions 5 Objectives 5 il. LITERATURE REVIEW Ballet Costumes 7 Costume Design Process I History of the Tutu 11 The Royal Winnipeg Ballet 15 Pasticcio 19 vl Madame Barbara Karinska 20 Conservation 25 Conservation Process 26 Conserving Ballet Costumes 28 ilt. RESEARCH APPROACH Material History 31 Model 34 Four Stages in Analysis 36 Material Conseruation 37 tv. FINDINGS Condition 42 Anatomy of a tutu 43 Description of Pasticcio tutus 48 Bodice 49 Basque 51 Plate 51 Frill 51 Panty 52 Yellow tutu #1 52 Blue tutu #2 55 Yellow tutu #3 58 vll V. FINDINGS Treatment 61 Wet cleaning of lulu #2 and #3 66 Web-Re-Stor cleaning of tutu #1 69 Cleaning results 70 Storage 71 VI. FINDINGS Provenance 74 Establishing Pasticcio provenance 75 Ballet lnterviews National Ballet 75 Ballet BC 78 New York City Ballet 78 Pacific Northwest Ballet 80 lnterviews with Pasticcio participants Ted Patterson and Marilyn YoungSl Beverly Barkley 84 Jill Alis 85 Kit Copping 86 John Graham 87 Uniqueness of Pasticcio tutus 89 Table of key feature comparisons 93 vlll VII. CONCLUSIONS Searching for Ruthanna Boris 96 Are costumes of value? gg What do the findings mean? 1Oz Critique of the research model 103 Recommendations 104 Future study 105 REFERENCES 107 APPENDIX A Pasticcio programs APPENDIX B Tutu comparison chart APPENDIX C Sample condition and treatment reports from other museums APPENDIX D Pasticcio condition reports APPENDIX E Construction diagrams of Pasticcio tutu components APPENDIX F Pasticcio treatment reports APPENDIX G Qualitative Analysis of fibre content and images of fibres and fabric. APPENDIX H Web-Re-Stor brochure APPENDIX I Milne stain removal procedure ix List of Figures Page Figure 1 Classical, short, powder-puff tutu 10 Figure 2a & 2b Opera length tutu and Full length romantic tutu 10 Figure 3 Greek inspired transparent dress 19 Figure 4a Picture of Ruthanna Boris and husband Frank Hobi 18 Figure 4b Program cover from February 1956 18 Figure 5 Rehearsal picture for RWB's Pasticcio ZO Figure 6 Madame Barbara Karinska Zz Figure 7 Model for the study of costume as material culture 95 Figure I Anatomy of a tutu 45 Figure 9a-c Tutus #1-3 as first examined 4T Figure 10 ldentification label for tutu #1 B. Ken 54 Figure 1l ldentification of tutu # 2 M. Young 56 Figure 12 ldentification label lor tutu fJ E. Zargo 58 Figure 13 Lower label on tutu #3 E. Wullem 59 Figure 14 Storage shelves at the RWB 71 Figure 15a & 15b Ted Patterson and Marilyn Young 83 Figure 16 Beverly Barkley 85 Figure 17 Kit Copping 87 Figure 18 John Graham, John Russel, Betty Farrally, 88 and Ruthanna Boris. Figure 19a & 19b Karinska's tutus 91 List of Tables Table 1 comparison chart of Karinska tutu key features and Pasticcio tutu features. xi List of Abbreviations BC British Columbia CBC Canadian Broadcasting Corporation CCI Canadian Conservation lnstitute NYC New York City NYCB New York City Ballet RWB Royal Winnipeg Ballet UV Ultraviolet CHAPTER ONE lntroduction ln 1963 choreographer George Balachine was asked by the Ford Foundation what he needed most for his work.l He answered with one word: Karinska. lndisputably, Madame Barbara Karinska's name had become synonymous with excellence in ballet costume. lt was also a name known in Winnipeg. This thesis is a material culture study of several historic ballet tutus said to have been created by renowned costume designer Barbara Karinska.