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

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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

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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

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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. included a “frontlet” or what we might call a “dickie” Collars and Cuffs: a tremendous diversity Ladies Cravats and Neckties: Godey’s of cotton or silk, mostly white, with the of these items existed, and were made at Lady’s Book from June 1864 mentions that necktie around the collar. The drawings home. Every type of fabric from plain “the latest styles for silk and muslin show it is not a long, hanging necktie, such cotton and linen to fancy laces, homemade neckties for gentlemen and ladies has the as we are familiar with, but more often was crocheted laces, leather, fur, and silk was initial embroidered on the ends”. These akin to a wide ribbon tied around a rather used. Patterns abounded in the journals for narrow collar with a central or slightly collar and cuff patterns, from a gauntlet asymmetric knot. Sometimes the frontlet cuff, rounded, edged with contrasting or was known as a “guimpe” or chemisette, similar color or lace, beaded patterns, of thin or translucent fabric, and could be embroidery with cotton, wool or silk even made of tulle, and added into a threads; the variations were truly endless. lower neckline for a different look. Even in later Victorian decades, adding a As a side note, monographs have been lace or crocheted collar to a bodice or dress written about men’s neckties from this was the often fastest or easiest way to period, and how the size, type, and change one’s look. These collars and cuffs position of the knot defines how to date were often basted on, sometimes quite the image. sloppily, I’ve found, and could be easily Photos of matching whitework embroidery cotton collar and gauntlet pointed cuffs on a brown plaid silk 1860’s dress

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. Puschel: Frequently called “velvet balls” or loops, in order to draw up the dress clear of “plush balls” in most of the English the pavement in muddy weather.

magazines, these were used to embellish Hats, bonnets and hoods: Obviously there numerous fashion items, and were a huge were many different types available, and fad in the 1850’s, although their popularity each could easily be personalized for the Lady with faded somewhat by 1860. They were added season, the occasion, the outfit, and the fashionable onto everything from knitted and velvet cravat tied personal style of the wearer. Silk or hoods, bonnets, headdresses for the hair, around the embroidered flowers were popular, as were collar and wide and larger puffs to cuffs and shoulders. lacy bits, various colors and sizes of belt with a Later in Victorian times they became large, dramatic feathers, ruffled shapes, or pom-poms. extremely popular again and are found on buckle. Headwear of the 1860’s is a whole book bodices, shoulders, dress yokes, belts, even unto itself. Needless to say, hats and skirts. bonnets could easily be re-used by replacing

Handkerchiefs: pocket handkerchiefs were the embellishment. The profile would de rigueur for any lady of society. “The ornamented handkerchief is now as much a

part of a lady’s toilette as the embroidered collar and sleeves…” (The Lady’s Newspaper, Jan. 2, 1858). They could be in

colors, or have embroidery, especially Wristlets: which could be worn over the monograms and lace trim, and the ends of sleeves with no cuffs, were fragrances with which to imbue them were commonly made of ribbon, either silk or printed in the periodicals as specific velvet, beaded or not, as an “ornamental formulae, including how to blend the finish”. Sometimes they were called “velvet extracts and oils to achieve the most bracelets” and could be decorated with a pleasing and agreeable odors. ruffled flower or silk embroidery. Elastics Porte jupe or skirt lifters: A belt worn were frequently employed to wear them; under the dress from which depends they could also be worn over the tops of Fur cuffs, c. 1850-1860. Fur accessories were widely multiple pieces of strong braid joined worn in the mid-19th century, especially between 1840 gloves or attached to the gloves themselves, together in front and sewn to a button, then and 1860. A spring steel band is in the middle of each of or a small buckle could be used, which these cuffs. They “strap” around the wrist like a modern fixed to the hem of the skirt with ribbon doubled as decoration. bracelet.

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remain but otherwise it would look in front, and tie in the back, giving a very Lady in elegant completely different. different appearance to the front of the print dress with dress. fancy, Muffs: While gloves were a necessity embellished whatever season, in winter in cold locations, A “bertha”, or a shawl-like piece of draped Swiss Waist, a muff could do double duty as both a lace or netting, could be added to the lower with scalloped areas on its hand-warmer and a small purse. Muffs neckline of a ball gown or evening dress to lower edge. She could be made of velvet, wool, fur or thus “convert” it to a new look. A also has sheepskin (or whatever was on hand), and “pelerine” was an earlier type of shawl, translucent undersleeves. often had a flannel, silk or satin lining, popular during the 1830’s through the wherein a small pocket could be sewn. 1850’s, more triangular in nature, and was often made of the same fabric as the dress Shawls: demonstrated a tremendous range or bodice itself. It could be fringed, edged or or possibilities: from very expensive plain and often buttoned or closed over the cashmere or fine wool in any color, and main part of the bodice, giving a different with many types of designs from paisley to shape and accenting the shoulders. plaid to floral, they could also be the homeliest of homemade items. A relatively The shawl or pelerine was often pinned in Fans: could be made of a multitude of narrow knitted wool shawl could encircle place, known by the many pinholes that materials, silk, bamboo, feathers, paper, or the shoulders and neck, cross over the chest extant examples display. The pelerine could cardboard, and could be embroidered, also be used with the larger part over the painted or decorated with lace, beads, etc. front of the dress and pinned in the rear for Fans were generally an accessory for use a completely different look. Pelerines are with a ball gown rather than day dress. even known that have sleeve extensions They were sometimes used as autograph (similar to an open pagoda sleeve) that tie “albums”, and some are known that were on at the shoulders. A “fichu” was paper printed with photographs. considered similar to a pelerine, only made A Diagonal sash worn over the bodice: of lacy, gauzy materials, and much more reminiscent of a military sash, could be ethereal appearing. made of velvet or silk, embroidered or Parasols: were well-known, came in many beaded, and could have an embellished silk colors and fabrics, with and without flower or fabric ruffle or bow at the waist. Seed bead woven floral matching bracelets and belt, decorations, both with and without fringes, I’ve seen photographs of this on ladies apparently a wedding gift or trinket, 1860’s; part of and could be used in any season. Much like wearing ball gowns and it is quite dressy. rotating exhibit at the Conference. with a fan, they could be used for flirtation.

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Belts: Many day dresses of the Civil War sometimes just one at the top of the center Myrtle R Douglas: Mother of era were belted. In addition, there is the front, sometimes multiple ones in a vertical Convention Costuming “Swiss waist”, which is a (usually) boned line down the center front. By Philip Gust “waist cincher” that could be beaded or Final Thoughts decorated, and that often had a hidden closure in the center front and laced up the Undoubtedly, there were many ways to center back. It was wider than a plain belt change one’s appearance even with a very and was tapered at the sides, giving a limited wardrobe, especially with a little “pointed” look to the center front and back. sewing skill. Many extant dresses show It worked well with skirt-and-blouse indications of having had sewn combinations; the Garibaldi blouse became embellishments added or changed during very popular in the 1860’s. their lifetime, from additional pleats, ruffles, edge treatments such as binding or narrow The Garibaldi was often white or light lace edging, layering or tiers of skirts, , colored, and could have pinstripes or a draping, applique, trim or textural elements subtle floral pattern, sometimes added. My objective of this summary has embroidered with whitework flowers or been to describe the variety of accessories designs. This was a great way to “extend” that ladies could make at home to add the wardrobe, by having a day (or day AND interest and visual appeal to their daily evening) bodice for a single skirt (the skirt dress. Myrtle R. Douglas c. 1940. Source: required the most fabric for the pleats or Efanzines.com (“I Remember Morojo”). I would like to again thank the ICG and the gathers, often 6 yards or more, especially if The tradition of convention costuming Marty Gear Costuming Arts and Sciences layered with lace over it), as well as a began at the first World Science Fiction Fund for the grant enabling me to attend Garibaldi. Convention. It was held in Caravan Hall, on the Civilian Symposium at Harrisburg 2015. the third floor of a building on 59th Street in Belts were often a dark or contrasting color, It has been exciting to share what I have Manhattan in early July of 1939. Just two could be self-fabric of the dress or a fancier learned with ICG members and the attendees wore costumes that year, inspired fabric (such as using a plaid or print with a costuming community. Miss Lizzy’s is by the 1936 science fiction movie Things to solid color dress). They could close with a expanding its sphere of knowledge, and Come. decorative buckle, buttons, or hooks-and- welcomes dialogue. eyes, or even be pinned closed with a straight pin. Follow Miss Lizzy's on Facebook Forrest J Ackerman wore a green satin cape, at https://www.facebook.com/MissLizzy peg pants and a yellow long-sleeve button- Large fabric flowers: have been seen in sTravelingHistoricalFashionShow down shirt embroidered with his nickname: photos to decorate the front of bodices,

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“4SJ.” Myrtle R Douglas, known by her At Conadian, the 52nd Worldcon in 1994, Esperanto name, Morojo (Mor-OY-o), had ICG President Pierre Pettinger presented a envisioned, designed, and made plaque to Ackerman, recognizing him as the Ackerman’s “futuristicostume,” for that “Father of Convention Costuming” for first Worldcon, as well as her own space- wearing his “futuristicostume” at that first age gown that converted into a cape-romper Worldcon. combo. Over 20 years later, in a special ceremony at They were both active in the Los Angeles MidAmeriCon II, the 74th Worldcon on Science Fantasy Society, the oldest sci-fi fan August 19th 2016, the ICG recognized club, and had traveled to New York by train Myrtle R Douglas as the “Mother of with several other members to attend the Convention Costuming,” and presented a event. The idea of convention costuming special award video in her honor. The video quickly caught on, and Morojo continued is available on the ICG YouTube channel https://youtu.be/DasGQQkj-xY.

Forry and Morojo in their “futuristicostumes” at the first Worldcon in 1939. Source: ICG Pat and Peggy Kennedy Memorial Archives.

creating costumes that she wore to conventions.

According to Ackerman, “In 1940 at the first Chicon, she & I put on a skit based on some dialog from Things to Come, and won some kind of a prize. In 1941 at the Denvention she wore a Merrittesque AKKA-mask (frog face) devised by the then young & as yet Forrest J Ackerman receives plaque from ICG President unknown master filmonster, model maker Pierre Pettinger at 52nd Worldcon in 1994. Source: and animator, Ray Harryhausen. In 1946 at ICG Pat and Peggy Kennedy Memorial Archives. the Pacificon in LA, I understand she

created a sensation as A. Merritt’s Snake

The sci-fi movie, Things to Come (1936), inspired Mother.” Forry’s and Morojo’s costumes. Source: Alamy photo service.

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About the ICG Officers 2016-2017 .The International Costumer Membership Benefits President: Philip Gust The International Costumer newsletter is

ICG membership benefits include [email protected] published bi-monthly by the ICG. The Vice President: Rae Bradbury-Enslin participation in local Chapters and in Special current issue is for members only. Back [email protected] Interest Groups, voting rights, eligibility for issues are freely available to the costuming Treasurer: Jeanine Swick grants, online forums, learning and community on the ICG website. [email protected] volunteer opportunities, and the Corresponding Secretary: Tonya Adolfson Online Submissions International Costumer. [email protected] ICG Online We welcome short costuming articles, book Recording Secretary: Kathe Gust reviews, event reports, and news items. Visit the ICG website for current [email protected] information and resources: Submit your copy as rtf, doc, docx or txt Helpful Hands files to the International Costumer editor: http://www.costume.org/ International Costumer Editor: Vicky Join us on Facebook: [email protected]. All graphics Assarattanakul formats are accepted. https://www.facebook.com/internationalcostum [email protected] ers Webmaster: (Position available). Contacting the Editor Join the ICG-D Yahoo! group for lively [email protected] discussions on costuming-related topics: Please contact the editor to report problems, Acting webmaster: Philip Gust; Website or to offer comments and suggestions: icg- http://groups.yahoo.com/group/icg-d Assistant: Susan Toker, Andrew [email protected]. Send comments and suggestions to the ICG Assarattanakul, Jacalyn Stanley board and standing committees: Archivist: Pierre Pettinger Newsletter Delivery Board of Directors [email protected] The International Costumer is available as Gallery Admin: Nora Mai [email protected] both an online and print edition. Your [email protected] Budget and Finance Committee: preference is part of your ICG membership GEL Administrator: Bruce MacDermott [email protected] record. To change or verify your preference, Costuming Arts & Sciences Grant Fund [email protected] Assistant administrator: Elaine Sims contact your local chapter. [email protected] Public Relations Committee: Parliamentarian: Pierre Pettinger If your postal or e-mail address changes, [email protected] [email protected] notify your local chapter promptly, or send Publications Committee: The Kennedy Memorial your updated information to icg-membership- [email protected] Archives and Gallery [email protected]. Returned copies of Technology & Web Committee: the print edition cannot be re-mailed. The ICG's Pat & Peggy Kennedy Memorial [email protected] Members who have an e-mail address on Archives is the world's largest archive of record are notified when a new issue is Editorial Board photographs, video and paper ephemera of available. Access the online edition at costuming. Exhibits include an online photo Vicky Assarattanakul, Betsy Marks http://www.costume.org/currentnewsletter The user gallery (http://www.costume.org/gallery2/) and Delaney, Kathe Gust, Philip Gust, Bruce name is "costumer" and the password is the ICGArchives YouTube channel Mai, Patrick O’Connor, Jeanine Swick, “Morojo01”. Randall Whitlock, Tonya Adolfson. (http://www.youtube.com/user/ICGArchives).

International Costumer Volume XV Issue 5 9 September-October 2016