Volume XV Issue 5 Sep-Oct 2016

International Costumer Volume XV, Issue 5 September-October 2016 Safely displaying historic textiles. Courtesy of Vicky Assarattanakul. Researching, Preserving, and Honoring Costume Lady with a rather plain solid dress but her History Rather plain undersleeves visible with belt appears to be the same color, only a pagoda sleeves, Courtesy of Lisa Ashton. shiny fabric with a center buckle. Courtesy of Lisa Ashton. President's Message pipeline of precise call times for actors to be By Philip Gust made up, get into their costumes, go on stage, take off their makeup and costumes, My wife, Kathe, and I just returned from a and leave. There’s simply no room to linger. trip to Laguna Beach, California to see a The Pageant has been running for over 80 performance of the “Pageant of the years, so they’ve had plenty of practice. Masters” https://www.foapom.com/pageant- of-the-masters/ part of the city’s Festival of One of the things that I love about the Arts. The “Pageant of the Masters” is a costuming is the diversity of styles, staged, 90-minute-long show that presents approaches, and uses of materials and over 50 works of art as tableau vivants techniques to create costumes for many (“living pictures”), where actors become purposes. Our visit to the “Pageant of the characters in paintings, sculptures, jeweled Masters” provided an opportunity to brooches, and even crystal perfume bottle explore a unique kind of costuming. But stoppers. while it is done for a very special purpose, it shares with all other kinds of costuming the Over 1000 people volunteer for many pride of the maker and the wearer, and the months to put on the show every night enjoyment of all those who appreciate Philip Gust as “Prof. Lysander Phillpotts” (Muggle seeing the costumes. during July and August, including over 100 Studies) and Kathe Gust as “Prof. Estelle Sinstra” actors who must remain perfectly still for a (Astronomy), await the release of “Harry Potter minute and a half per scene. While that and the Cursed Child.” The ICG held a ceremony at the 74th Worldcon in August to commemorate its doesn’t sound long, for performers who are painted on. The stage lighting “blows recognition of Myrtle R Douglas as the must stay in whatever positions the out” the actual shadows, leaving a perfect “Mother of Convention Costuming.” See artworks require, it can seem like an replica of the characters who stand against eternity. Music and narration describing the giant matching painted muslin my article in this issue for more about artwork accompany each scene. The backgrounds. Nothing is wasted: parts of Douglas, the recognition, and the performances are at night because precision the costume that don’t show aren’t made, ceremony. The vote for the 76th Worldcon lighting is critical to creating the illusion. and makeup that doesn’t show isn’t went to a bid by Silicon Web Costumers’ applied. The effect is stunning. Guild President Kevin Roche and his One of the most amazing aspects of this team. It will be in San Jose, California in amazing show is the costumes, which are Kathe and I were lucky enough to be 2018, and Kevin will serve as conference unlike anything most costumers are used to. invited backstage before the performance to chair. Congratulations to Kevin and All the costumes are made of heavy muslin, meet the costuming director and view some everyone involved in the bid. The website and all the colors, patterns, pockets, of the costumes. The backstage operation is is http://worldcon76.org. buttons, neckwear, props, and even the a well-orchestrated machine, with a shadows that fall on them in the artworks International Costumer Volume XV Issue 5 1 September-October 2016 Preserving Costumes cause to a fabric, but did you know that By Vicky Assarattanakul incandescent light also causes damage over time? We also see water damage in textiles Nestled among the cornfields and small after a flood, but I had never really towns of Northwestern Illinois is a little considered that condensation in the house gem – The International Preservation can also damage fabrics. Studies Center (IPSC). Located in Mount On the final day of the course, we were able Carroll, Illinois, the center exists to educate Identifying fibers through microscopy. to document the condition of a piece from people, mostly museum professionals, in our personal collection. With the assistance best practices for preservation. The Formerly known as the Campbell Center, of our classmates, and the instructor, who is programs are hands-on, and unlike any IPSC has multiple preservation courses on a professional conservator, we also other programs in the world. This past July, everything from textiles to masonry. In the formulated plans for cleaning, storing, and I had the opportunity to take a course on Introduction to Textile Preservation course, displaying our pieces. Textile Preservation. we learned how to identify fibers via microscopy, what types of treatments are considered best practices for museum preservation, and things to think about when exhibiting or displaying textiles. My interest in preservation really took off when I inherited my grandmother’s wedding dress. I wanted to ensure that I was taking care of it so that it would stay in A dress from my personal collection. In good condition, but has some silk shattering. good condition for years to come. She never wore it, as she and my grandfather eloped I am now enrolled in the Care of Textile when he returned from World War II, but it Collections Certificate Program at IPSC. still has a few condition issues that I was This is primarily a future career endeavor, concerned about. but I hope that the knowledge I have gained and will continue to acquire can serve the I learned many things about preserving ICG, so that we can preserve our physical historic textiles, but also things I can do to history. If you would like more information preserve my personal clothing and about IPSC and its courses, please visit Metcalf Hall. One of the buildings costumes right now. For example, most of http://www.preservationcenter.org/. on the IPSC Campus. us have seen the damage that sunlight can International Costumer Volume XV Issue 5 2 September-October 2016 Report on the Civilian Symposium substances, synthetic such as hard rubber at Harrisburg 2015, Part Two which could be molded into various designs By Lisa Ashton or monograms, thread-covered buttons, “drop” buttons which have a tassel or drop Part Two: “The Details Make the Dress” hanging from the face (acorn shapes were This is a synopsis / discussion of the formal quite popular), every shape button presentation by Colleen Formby at the imaginable, steel or wood buttons, metal Civilian Symposium of 2015, titled “Little latticework buttons containing braided hair Things Mean a Lot”. In the presentation, as mementoes, and more. Buttons could be Ms. Formby discussed how significant dress tiny or quite large and dramatic, and were accessories became during the mid-19th often sewed on as decoration, while the century, and that they were often pieces closure was actually accomplished using that could be made at home by ladies. hidden hooks-and-eyes. 1860’s gem portrait of a lady with large oval Accessories could transform an outfit (one- shaped buttons—they appear to be carved piece or two-piece dress) that was wood. presumably already well-known by one’s bodice, to enable greater flexibility of family and acquaintances, into an outfit that wardrobe). To this discussion I have added could be considered new, different, or more some of my own subsequent explorations stylish. into and discoveries about mid-19th century Fashion and details at that time were accessories. primarily dictated by the most recent Ms. Formby introduced many possibilities fashion magazines; Godey’s Lady’s Book for personalizing one’s own style, even if and Peterson’s Magazine were popular one did not sew one’s own gowns. There examples, as was Arthur’s Magazine, but were many types of accessories that could there were many other sources for new be easily added or substituted, even with styles, and the market for fashion and minimal sewing skill. The following is a society publications only expanded as the somewhat complete list (and Ms. Formby Victorian era progressed. (Another meaning offered magazine notations for almost all of for “transformation” was the not these, and a slide show of photos for uncommon practice of completing a skirt others): (requiring the most fabric) with both a day Lovely hand-worked brown crochet-type bodice and an evening or fancy dress Buttons: made of natural materials such as buttons that are functional with buttonholes on mother-of-pearl, jet, minerals or other a striped silk 1860’s bodice International Costumer Volume XV Issue 5 3 September-October 2016 removed for harsh laundering, saving the 1860’s CDV of dress itself from such treatment. a lady with a very full skirt, Undersleeves: were an easy way to change very puffy an impression. With pagoda sleeves and undersleeves other open types of sleeves as popular as under pagoda the Bishop (or coat) sleeve (which was sleeves, and a Swiss belt, usually self-piped at the cuff end), attractively undersleeves could be quite elaborate or defining her quite plain. The ones I’ve seen or have waist. photographs of were generally light colored, and often feature lower cuff neckties pleating or lace, sometimes almost like the for ladies Elastic garters from the 1860’s, with hand lace “insertions” of a later time. They are a often embroidery on pink silk. way to “dress up” a relatively plain sleeve.

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