Costume Society Newsletter

Autumn 2018 Vice Chairman’s Newsletter Report Fashion, Femininity and Power Venue Autumn 2018 Autumn Study Day, Killerton, Broadclyst, Exeter Killerton House, Killerton, Saturday 15 September 2018 Broadclyst, Exeter, Devon, EX5 3LE

Date Programme Welcome and Housekeeping Saturday 15 September Despite the terrible news that our Chairman Deirdre had 10.00 Professor Angela Smith, University 2018 10.00 – 16.00 passed away in May, and the madness that was London’s 10.15 of Plymouth: World War 1 and the Gay Pride almost bringing London to a halt, the Society held a Suffrage Movement Tickets fantastic summer study day at London College of Fashion on 7 July Dr Becky Munford, Reader in English Members: £30.00, Non- celebrating our Patterns of Fashion Award. We had two fascinating 11.00 Literature, Cardiff University: members: £40.00, Student and engaging talks this year. Michele Clapton, costume designer Women in Trousers, a Visual Archive members: £5.00, Student best known for her work on Game of Thrones and The Crown gave Coffee non-members: £10.00 an inspiring insight into her process and practice, and Regency 11.40 Amy Towle, Assistant Exhibitions Tailor Zack Pinsent enthralled us with his performative presentation 11.55 Entrance to house and Officer, Cosprop:WSPU and the discussing the Regency gentleman’s wardrobe. The Patterns of Fashion parking free for National Politicisation of Dress Award, judged for the last time by John Bright of Cosprop, preceded Trust members, there is a Break for Lunch these talks. I would personally like to thank John for his contribution 12.20 charge of £11.60 (house) Meryl Powell sailing in and welcome Michele Clapton as our new judge. This year we had 14.00-16.00 Behind-the-scenes tours and £2.00 (parking) for alternating with exhibition tours. the Fal Estuary, 1935 twelve entries, from which four finalists were chosen. For the first time non-members. we had two international entries and the award was won by Chu Siu- Parking: Please use the visitor car park. The Ming (Jason) from Hong Kong, for his beautiful circa 1770 Polonaise mansion is a short walk along the drive. There The Costume Booking and underskirt. Joanna Jarvis and Louise Chapman also outlined their is a small parking charge for non-members of Society’s annual Costume Society plans for the development of the Patterns of Fashion Award going the National Trust. autumn study Bookings, 12 Red Square, forward (see article on page 9 of this issue). Previous Society events Admission: Admission to the house is not day this year Piano Lane, Carysfort this year were a very successful Behind the Scenes visit to the V&A’s included in the booking fee. This is free for Road, London N16 9AW, Clothworkers’ Centre with curator Edwina Ehrman, and the Si Wi Yah: members of the National Trust and their will take place or via the website.. Sartorial Representations of the African Diaspora conference that the guests. There will be an admission charge for at Killerton, the Society supported. non-NT members. National Trust There is a booking Refreshments will be provided mid-morning. house near form on page 30 of this Lunch is not provided, please make your own Exeter. The newsletter I am delighted to announce that we have appointed to one of our two arrangements. There is a restaurant on site theme will link Conference Organiser posts. I would like to welcome Amy Wilson who and two cafes for snacks and sandwiches. will look after the venue arrangements (her biography is included on in with the National If bringing your own there are picnic tables Trust’s headline page 15 of this newsletter) and we are in the process of assessing around the property and indoor cover if wet. applications for the ‘Content’ post. With this news I am also happy to programme for 2018, say that plans have begun for the 2019 Conference that will be held Women and Power, to in Birmingham, and I encourage you all to keep your eyes peeled for mark the centenary of the granting of the first voting rights to details and a call for papers that will appear in the near future once we women, and take a broad view of dress and politics. There have a our team in place. In the meantime we have a wonderful autumn will be an opportunity to attend talks linked to the theme in study day to look forward to: Fashion, Femininity and Power at Killerton the morning, and in the afternoon a chance to view the three House in Devon, as well as a visit to Whitchurch Silk Mill. exhibitions in the public spaces in the mansion, and take a Please let us know if there are events that you would like to see the closer look at some objects from the stored collections. The Society undertake, and keep in touch through our facebook, blog, behind-the-scenes tour will include a view of some of Queen twitter and new Instagram accounts as well as the website Victoria’s clothing in the Costume Department’s workroom. www.costumesociety.org.uk The morning talks will be held in the Heartspace, which is located at the back of the mansion. On arrival please wait in the entrance hall where you will be met by a volunteer who Shaun Cole will show you to the meeting room.

2 3 Fashioned from Nature Venue Construction: Venue Victoria and Albert Museum Victoria and Albert Exhibition tour and costume store visit Beecroft Art Gallery, Victoria Avenue, Exhibition visit Museum, South Beecroft Art Gallery,Southend-on-Sea Kensington, London Southend-on-Sea, Essex Tuesday 25 September 2018 SW7 2RL. Thursday 11 October 2018 SS2 6EX.

Date Date Tuesday 25 September This exhibition Thursday 11 October 2018, 14.00. explores notions 2018. 11.30 – 13.30 of construction

Tickets in fashion, Tickets Costume Society Members £14.00, members £12.00, image creation Non-members £16.00. Non-members £15.00. and persona. Numbers are strictly Members who are also Through limited, so don’t delay, V&A members £5.00 physical, social apply today. (no need to book for the and historical exhibition). lenses, the Booking construction of Costume Society Booking garments and Bookings, 12 Red Square, Costume Society accessories, Piano Lane, Carysfort Bookings, 12 Red Square, Road, London N16 9AW, Piano Lane, Carysfort along with their or via the website.. Road, London N16 9AW, ability to project There is a booking or via the website.. an image or form on page 29 of this There is a booking persona will be newsletter form on page 30 of this considered. Pulling together garments and newsletter paintings from Southend Museums Dress The Gallery is a short walk from Southend and Textiles collection, the Fine Art collection Victoria Station This exhibition presents Muslin day dress decorated and through private loans, this exhibition will with beetle wing cases 1868-9; (trains from London fashionable dress Britain unpick the creation and projection of personal Liverpool Street). alongside natural history © Victoria and Albert Museum, identity. If you are arriving at London specimens, innovative Southend Central, on ‘Rootbound # 2’ dress, Diana An introductory talk by the exhibition curator the London Fenchurch new fabrics and dyeing processes, inviting Scherer, 2017, Netherlands. Street line, the Gallery © Diana Scherer Ciara Phipps will be followed by a curator- visitors to think about the materials of fashion led tour of the exhibition. Afterwards we will is roughly a 5-10 minute walk away. and the sources of their clothes. visit the costume store to have a look at some Travelling by car: the interesting pieces within the collection with Gallery is on Victoria Meet curator Edwina Ehrman for an conservator Claire outlining the care of the Avenue, Southend- introductory talk before a visit to the collection and some of the potential hazards on-Sea, next to the exhibition. faced when dealing with costume and textiles. Central Museum. The car park is Pay & Meeting point: Cromwell Road foyer. Look Display. The Beecroft for your Costume Society representative. Meet 11.30 am at Gallery entrance. Duration Art Gallery is to your of visit approx two hours. left as you walk from the car park.

4 5 Collections at the Clothworkers’ Centre exhibition, it isn’t often that an opportunity arises to get this level of insight from a senior exhibition curator at the V&A. Behind the Scenes visit to the V&A and British Museum stores Edwina explained how she and her team had worked very 8 March 2018 closely over a period of two years, with, among others, The Natural History Museum, The London College of Fashion, the Centre for Sustainable Fashion, and The European Report by Valerie Wilson, Costume Society Confederation of Flax and Hemp. The exhibition aims to Ambassador address honestly and openly the negative side of fashion Go on – admit it, who doesn’t enjoy a good peek ‘behind and fabric production as much as the inspiring and creative the scenes’ at the contents of someone else’s wardrobe? side. This Costume Society half-day event was an opportunity Edwina had a range of costume and accessories displayed to have a look ‘behind the scenes’ at the Clothworkers’ on tables, for closer study, and described and explained Centre, Blythe House, West Kensington, in the company each one in detail. These included a fabulous parasol of of curators from the V&A and British Museum. marabou tail feathers from India c.1870 and a dress of After registration and introductions the group was led pineapple (!) fibre dating from around 1914. I thought I to the store and study rooms for the British Museum had heard of or seen just about every fabric but pineapple Ruby Hodgson revealing the textile collection where Helen Wolfe, Textile Collections was a new one for me. Other pieces included a mid-18th Norman Hartnell 1957 dress for the Queen Manager, showed some stunning examples of century linen and lace apron, and a stunning embroidered waistcoat from the 1700s. It was a real treat to be able to Below: 1740s court dress embroidered costumes. The collection of ethnographic receiving a littleTLC. textiles at the British Museum numbers over 22,000 study all these pieces at close quarters and to get so much objects and includes material from across Africa, background information from the expert. Oceania, the Middle East and Asia. Helen had selected Ruby Hodgson, Assistant Curator at the V&A, provided some pieces from Palestine, dating mostly from around an exciting finale to the afternoon by walking, and talking, 1900. These included a richly embroidered wedding outfit the group through the V&A costume and textiles stores, consisting of bonnet, scarf, dress, and bolero style jacket. answering questions along the way. When she opened The embroidery was detailed, very colourful, expertly a deep storage drawer to reveal a magnificent Norman stitched, and, in some respects, looked surprisingly Hartnell dress made for a state visit to France by the Queen modern. A dress from Bethlehem, of similar date, was in 1957, there were audible gasps from everyone. The richly embroidered in metal threads. A modern costume dress featured some magnificent embroidery, created at embroidered by women in refugee camps in Lebanon The Royal School of Needlework, with incredible attention was the perfect example of how historic collections can, to detail, right down to the specific kind of bee (Napoleonic, and do, inform contemporary textile practice. explained Ruby) common to a part of Northern France. Helen showed the group some of the ways in which Ruby ended the afternoon in fine style by removing older and more fragile textiles are stored by the British the covers of a 1740s dress of Spitalfields silk, recently Museum, using acid –free cardboard rollers and washed returned from exhibition abroad. The dress, elaborately calico. Over the years she has devised and made and exquisitely embroidered, would have originally been storage boxes for small and very delicate textiles allowing supported on panniers of whalebone or cane, explained study of pieces on both sides without the need of removal Ruby, adding that it was most probably constructed from the box. For anyone with an interest, either personal by mantua makers, with the embroidery showing the or professional, in the care and presentation of historic combined efforts of two workshops. textiles this ‘show and tell’ was really informative. I loved the whole experience and would Then we walked through the stores (ooh! - so many strongly recommend any similar behind- distractions, so many lovely rows of neatly stored the-scenes visits. Helen, Edwina and textiles), past the study rooms with researchers earnestly Ruby were extremely generous with bent over their chosen pieces, and downstairs to meet their time and expertise and provided Edwina Ehrman, Senior Exhibition Curator with the an invaluable insight not only into V&A. Edwina had chosen to show the group a number costume history but also museum practice and exhibition planning. A of costume items that had been under consideration Items from the British for inclusion in the (then) forthcoming Fashioned from Museum’s collections, the roller big thank you to them, and to the Nature exhibition, but hadn’t made the final cut. It was storage units and Helen Wolfe organizers of the event. fascinating to hear Edwina talk about the planning of the talking to the group.

6 7 Patterns of Fashion Award 2018 London College of Fashion Saturday 7 July 2018

Report by Joanna Jarvis and Louise Chapman, Award Co-ordinators

Patterns of Fashion 2018 reached a very successful conclusion In order to give greater emphasis on the line and Previous page from the top: John silhouette we expect entries to be made from Bright appraising the hand stitched at the Costume Society study and embroidered leather doublet, day on 7th July at the London calico, or similar neutral fabric, and to include all the Winner Chu Siu-Ming, College of Fashion. Out of a total underpinnings. The initial judgment will be made from 1892 striped silk evening dress and of twelve entries, there were photographs of the complete ensemble displayed upon the 1866 day dress in calico. a dressmaker’s dummy. Judges will be looking for four finalists who exhibited their This page: Joanna Jarvis and Louise creations alongside all their notes accuracy of line and an understanding of period detail. Chapman, Award Co-ordinators, and working drawings at the announcing the renewed Patterns of study day. John Bright, of Cosprop, Fashion for next year. who is now stepping down after five Patterns for Performance 2019 Finalists lineup:Shaunnah Crosbie, is a new strand to the Award Chu Siu-Ming, judge John Bright, years as judge, commented on each Patterns for Performance Lauren Thompson and Jennifer finalist’s work in a very constructive and that will encourage students to design a period Miller. illuminating appraisal. garment for a character in a performance. The garment should be based on the Janet Arnold patterns for the Below: the winning dress back view. The winner was (Jason), from Chu Siu-Ming primary research, while also taking account of further The dress is shown in full on the Hong Kong, who made a beautiful re-creation of front cover. scholarship such as the work being undertaken by a c1770 Polonaise and underskirt with full period Jenny Tiramani and Susan North. Photos by Shelley Tobin, Liz Booty underpinnings from the Gallery of Costume, and Fiona Starkey Manchester. The design should be based around a character for a performance – dance, theatre or opera. The designs and Highly commended were who Lauren Thompson, final garment will be expected to extend, expand, and created a 1597 -1600 leather doublet, the original develop the theatricality of the garment. in the Stibbert Museum in Florence, and a high- crowned leather hat of 1600-1610, Jennifer Miller for Initially the design, supporting research, will be a c.1892 evening dress in striped silk and velvet, and submitted as a toile made in calico, or another suitable, Shaunnah Crosbie for a c.1866 day dress, which she but inexpensive and neutral coloured fabric. The toile created in calico. should have been photographed on a live performer. Shortlisted entries will be offered the opportunity to Future plans for the Award develop their toile into a fully realised costume. The competition this year received a total of twelve We are currently talking to the Society of British Theatre entries, a number which we would like to build on for Designers about building a collaborative link with next year, so we propose to create two competitions the Patterns for Performance Award. There are also for the 2019 Award. investigations underway as to how we might forge links Patterns of Fashion 2019 with a different museum or costume archive each year Patterns of Fashion will continue as before, with the for the Patterns of Fashion. emphasis firmly on the accurate re-creation of a The deadline for both these awards will be at the period garment based on a Janet Arnold pattern. The beginning of February 2019, with a second deadline patterns are difficult to interpret, so students must later on for those shortlisted for Patterns for Performance. refer to other garments that are contemporary to their Both competitions are open to any student currently chosen piece, and also further scholarship such as studying at second year undergraduate level and above, the work being undertaken by Jenny Tiramani and Susan North. including post-graduate.

8 9 Costume Designer Michele Clapton talks dressing the cast of Game of Thrones Saturday 7 July 2018

Report by Francesca Scantlebury, Costume Society Ambassador At the Costume Society’s Summer Study Day in early July BAFTA and Emmy award winner Michele Clapton spoke about her role as costume designer for the immensely popular Game of set showed clothes being Opposite page: Michelle Thrones. Immediately it was clear Michele is very mixed together in dye Clapton on the Game of Thrones set with some turning darker passionate about her work and that the research The opening image to whet the she completed before starting GoT helped to build than others depending appetite this detailed fantasy world. on their position in the Initial sketches for one of Designing everything from armour and clothing to all of pot. This alluded to why Cersei’s outfits and more the jewellery and crowns featured in the show Michele the uniforms worn differ sketches for Caitlin Stark’s in shades of black, grey costumes took on a huge role. As fans will know, there are many, Fittings for Kit Harington and many different locations and characters involved in the and brown. Michele also Richard Madden show, and it was important to looked to emphasise create a convincing environment the differences between This page: Metal worked for each one. This led Michele characters who had planned to join renaissance influenced armour to take inspiration from all over the Night’s Watch and those who One of Joffrey’s more the world, merging patterns, had not. Jon Snow’s clothing for gorgeously embellished outfits example is deep black and he has Sansa Stark standing apart techniques, and materials to from her family in a light blue create believable and visually equipped himself with much a much cloak pleasing clothing for viewers. warmer outfit than most of his poorer In one particular instance of counterparts. Below: Though not mentioned this merging Michele explained Using costumes in this way to help in the report, the latter part of characters ‘fit’ into the space around them, Michele Michele’s talk concerned The how the armour worn in King’s Crown - another meticulously Landing shows elements also spoke about details added to costumes that researched series. of Renaissance and Italian in many cases will be overlooked by viewers at first embellishment, with the cut of the metal deliberately glance. For Theon Greyjoy who was held in comfort similar to Japanese armour. but still in hostage by the Starks in Season One, rabbit Discussing her thought process and the research she fur is shown on his cloak instead of the wolf pelts worn completed before filming began, Michele decided to by the Stark family. Again to emphasise feelings of focus on having distinct colour palettes for different entrapment in Season One, Queen Cersei’s dresses are regions. This would hopefully lead to viewers being able often embroidered with little caged birds as she suffers to immediately recognise locations at the start of the through her marriage to Robert Baratheon in her formerly show. For Winterfell a palette of dark blues and greens ‘powerless’ position. The characters in King’s Landing was chosen, alluding to the inhabitants’ relationship also have their style of clothing changing more often with nature and their worshipping of the Old Gods. compared to those in other locations as more trade is In the first ever episode Sansa Stark stands next to taking place there than in the isolated North leading to her family in a much lighter blue cloak, illustrating her faster fashion. eagerness to leave Winterfell. Throughout Michele’s talk it was clear every detail had For some settings specific colours worn by characters been thought through, no matter how small or whether had already been stated in the books. For the Night’s it would stand out on screen. In doing so, Michele’s Watch at the Wall Michele debated on how to make designs have helped to create a rich and layered world their rigid black uniform more visually interesting to with costumes playing a large part in making the show viewers. Putting a large cauldron in the background of the the success it has become.

10 11 Zack Pinsent Yarwood Award Regency Gentleman Report 2018 The Dress Pattern Industry of the 1930s and how far it was influenced by fashion in Hollywood films

Report by: Victoria Haddock, The last speaker for the Patterns MA History of Design of Fashion Day (how do you follow and Material Culture, I am studying for an MA in the Game of Thrones?) was Zack University of Brighton. History of Design and Material Pinsent. Culture at the University of Brighton and I am currently Pinsent Tailoring prides itself on I am very fortunate to writing my dissertation on the producing historically accurate have been awarded topic of dress patterns, and clothing and Zack’s talk was packed The Costume Society’s the influence that Hollywood with information of the hands-on kind Yarwood Award, film costumes of the 1930s concerning the day wear of a regency which commemorates gentleman from banyan (not quite as had on the pattern industry. I the work of costume informal as a modern dressing gown) am particularly interested in film costumes historian Doreen on arising to hat and gloves on leaving worn by the actress Katharine Hepburn, and I am Yarwood, by helping the house. focusing my research on two of her films from the 1930s, an MA student with Christopher Strong (1933) and Alice Adams (1935). Both He was charming expenditure relating to of these films featured costumes that were produced in presentation and their dissertation. patience, answering and sold as dress patterns by the Hollywood Pattern many questions at the Company and Butterick Starred Patterns. By analyzing end of a very hot day. these dress patterns, and recreating the jacket from a Tricky not to make copy of the Butterick Starred Pattern that I have been Fashion Service: Women’s sartorial comparisons able to purchase, I hope to discover more about the Institute Magazine January later in the Green dressmaking skills of women of the period and how easy 1931 Room... sorry Shaun. these patterns were to construct. I aim to find out how The Glass of Fashion Article much of an influence Hollywood stars such as Hepburn Vogue Pattern 6332 were on women, and whether the designs had any impact on the fashion trends of the decade. Through receiving the Yarwood Award, I can now finance more research visits to collections that I have since discovered have links with my dissertation topic, and I am planning to visit Worthing Museum and the Museum of London very soon. I would like to find more examples of dress that I can match to patterns produced in the 1930s and I am also on the lookout for any rare examples of clothes copied from film costume designs that were manufactured and sold through tie-ins with the big Hollywood studios. I look forward to being able to update the Society on my work with a summary of my research after I have handed in my dissertation in October.

12 13 Catwalking: Fashion Through the Lens of Chris Moore Introducing new Committee members The Bowes Museum, Barnard Castle, Co.Durham 7 July 2018 – 6 January 2019 Amy Wilson Report by Christine Stevens Conference Venue Organiser The Bowes Museum has once again created a Amy is currently researching fashion leaders of the eighteenth century and the clothing choices they must-see exhibition. The launch on the evening of 6 made during pregnancy and early motherhood. She July was a huge event, including what seemed like is particularly interested in garments that demonstrate hundreds of people of all ages, from Chris Moore the bodily lives of women, and how these objects are himself to recent graduates from Northumbria kept and displayed by museums. She hopes to use her University, who provided the live catwalk research to explore attitudes to women and their bodies, performance on the evening. today and in the past. I had expected some amazing images from Chris Before her current projects, Amy undertook a research Masters Degree at the University of Newcastle looking at Moore’s archive, housed in Newcastle where he was ‘Luxury, Practicality and Comfort’, based on original work born, and beginning in the 1950s from his days as in an archive she discovered in York. She also worked a photographer’s assistant at Vogue Studio to the with Archbishop Rowan Williams at Lambeth Palace launch of his catwalking.com website in 1999, and looking after the events programme and community onwards to 2018. engagement. After Lambeth Amy worked at Hall Place Amy Wilson Conference Venue Organiser The images were there in plenty, from superb black and Gardens, designing their marketing and web and white imagery in the salons of the 1960s to presence. today’s dramatic productions. Every big name in the couture business and every supermodel you might New Editorial Team for Costume from 2019 ever have heard of were included. Following the retirement of Valerie Cumming as Joint Editor this year, there are changes to the Editorial Team. Editor Alexandra Kim will continue for a further five year term and will be joined by Christine Stevens as Joint What was a surprise – and what made this into such Comme des Garçons, Spring/ editor and Charlotte Nicklas as Reviews editor. Summer 2017 Ready to wear a stunning exhibition – was the number of original garments which appeared in the photographic Joint Editor: storage for Newcastle specialising in the history images which Joanna Hashagen and her team Christine Stevens has University, Christine has of dress and textiles of at Bowes had managed to assemble. Over forty worked for over thirty years kept up curatorial interests the nineteenth and early garments from houses such as Valentino, Comme as a museum curator as an active member twentieth centuries. She is and past Chair of Dress Co-editor (with Annebella des Garçons, Louis Vuitton, Paco Rabanne , and collections manager; almost all of this time and Textile Specialists in Pollen) of Dress History: Vivienne Westwood, Chloe, Yves St Laurent, and was spent at the Welsh Museums and Reviews New Directions in Theory so on, including a special section devoted to National History Museum, editor for the Costume and Practice (Bloomsbury Alexander McQueen. The number of generous St Fagans, as collections Society Journal; she is also 2015). Her monograph loans is a testament to the growing reputation of the manager, dress and textile a former Treasurer and on colour, science and Bowes since the ground breaking partnership with curator and then as head immediate past President fashion in the nineteenth the Yves St Laurent collection in 2016 and also to of domestic collections. of the Society for Folk Life century is forthcoming the admiration for Chris Moore within the industry. This was followed by Studies. from Bloomsbury. She has four years as Head of published in Costume, If you are anywhere near the North East this year – Catwalking Collections at Beamish Reviews Editor: Fashion Theory and the or even if you are not - then this is a must to visit. If Alexander Fury and Chris Museum, County Durham. Dr Charlotte Nicklas is Journal of Design History. you can’t get here, try to get the book, or at least the Moore Recently retired after Senior Lecturer in History handlist. Amsterdam: BISPublishers, 2017. 496pp. eight years managing of Art and Design at the ISBN 978 17 8627 063 4 library and central archive University of Brighton,

14 15 Fashioning the Future: the launch of the Commonwealth Fashion Exchange at Buckingham Palace Shelley Tobin London Fashion week celebrated the Commonwealth construction. Sydney-Davies hopes to create a this spring with a particular emphasis on traditional legacy of craft and inspiration to develop similar crafts and skills. The launch was followed by an workshops. Sustainability is also at the heart of her exhibition of work by designers and artisans from 53 work. Her latest collection, Gold Rush, includes Commonwealth countries. dresses made from recycled plastic. The reception at Buckingham Palace was held ‘The idea was that every piece would be a gown’ on February 19 and was hosted by the Duchess of Representing the Costume said Livia. Her cause is to improve economic Cambridge and the Countess of Wessex with Princess Society at the Reception: opportunities and empowerment for many millions Beatrice. Fiona Starkey and I were invited to attend as Shelley Tobin (left) and Fiona of artisans, mainly female, who are low-paid and representatives of the Costume Society of Great Britain. Starkey whose contribution is largely The reception turned out to be a fabulous party held unrecognised. ‘In a world where around the exhibits shown in several rooms at the fashion is fast and brands try Palace. It was a Who’s Who of fashion...first clue was the to hide the real impact of their red carpet and bank of photographers on the way in endless production cycles, 73 year old Mama (I was way too unfabulous and unfamous to be worthy actions speak louder than words. Tukna Turia from We wanted to create a powerful the Cook Islands of a flashbulb). While admiring HM’s collection of old headed up a masters in the gallery I turned around to find myself right example of how fashion can be team of women, next to Anna Wintour, editor of American Vogue, and the at its best’. the Kuki ‘Aivani queen of fashion herself. The exhibition aims to do more Creative Mamas’, who partnered Guests included other well-known fashion editors: than connect cultures. In a world with New Hamish Bowles, who has curated the Australia House of fast fashion, worker abuses Zealand designer Stella Walker. exhibition, Edward Enninful, Suzy Menkes, Justine Picardie, including forced labour are a constant risk in global supply They stitched Jess Cartner-Morley and Lisa Armstrong to name a few. traditional tivaivai I can recognise a journalist, designer, photographer chains. floral patterns on and fellow curator but am hazy on some of the other The handing-on of traditional wool for Walker’s evening gown. people who were there. However, there were more than skills is hugely important, and The age range of a few supermodels (So tall! So thin!) Arizona Muse was something which many of the designers took inspiration the group is 60 to 91. Mama one I recognised, as well as the unmistakeable Naomi from. Craft techniques including shell embroidery from Tukna Turia was almost, but Campbell. the Solomon Islands were showcased in the 30 designs not quite, overwhelmed with the occasion and was happy Then there were the designers and makers. Within on display. to share the story of the minutes of the reception closing the press had released ‘Craft is the second largest employer of women in the embroidery with anyone who pictures of Kate and Sophie highlighting what they developing world’ said Ashia Dearwester of Nest, which stopped to talk. wore for the evening (Erdem and Burberry) and British supports a global network of artisan businesses. The Seventeen year olds Keeanna designer Stella McCartney who worked with Burberry, project aims to bring to life the core Commonwealth Ible and Shavaniece Lake of but very few covered the real story of the night. values of ‘fairness, economic growth, poverty reduction Iridescent Fashion are from and female empowerment’ through fashion, as St Kitts and Nevis. They The launch and exhibition are part of a project hatched worked with artisan Neisha by Livia Firth (wife of Colin) and her company Eco-Age. described by Lady Scotland, Secretary General of the LaTouche from Grenada to Their message highlights sustainability and skill sharing, Commonwealth. create this ‘Sugar and Spice’ outfit combining carnival partnering designers from one country with the crafts themes of St Kitts and Nevis and skills of another. Euphemia-Ann Sydney-Davies, Sadly, photography was only allowed in the digital and Grenada. Swarovski a former refugee from Sierra Leone, is now based in media room. However there is more information about crystal supplied the sparkling ingredients for the gown. England and an established designer. She worked with the project and exhibition online, including interviews local makers in Freetown, Sierra Leone, teaching seven with designers and artisans. http://eco-age.com/ men and women the basics of dress-making, cut and behind-the-commonwealth-exchange

16 17 Information Exchange Information Auction of Pavilion Opera Costume Wardrobe In Memoriam Gorringes Auctioneers, Lewes, E Sussex, are auctioning the entire stock James Robert Snowden of Pavilion Opera, including costumes, wigs, props and weapons from October 1924 - April 2018 23 productions of classical operas, on Wednesday 24 October 2018. Viewing is from 19 – 23 October. We have recently heard of the death of Gorringes Auctioneers, North Street, Lewes, E Sussex, BN7 2PE. James Snowden, a former Chairman Tel: 01273 472503 of the Costume Society, at the age www.gorringes.co.uk/news/pavilion-opera-costume-auction- of 93. He was Chairman from 1987 wednesday-24th-october-2018 to 1992, having previously served on the committee as Vice Chairman for a number of years, We Wear Culture and presided over the Costumes of Website Society’s Silver Jubilee Old Switzerland: We have been celebrations in 1990. watercolours by D A Schmid c.1840 informed of a Below: James Snowden website, We Wear James was a librarian by with his wife Margaret Culture, hosted by profession, and the latter Google Arts and part of his working life was Culture, which spent as Arts Librarian for we think will be of Nottinghamshire County interest to members. Libraries. His special It is packed with interest was folk dress, articles about many and he was the author of aspects of fashion The Folk Dress of Europe and dress. (Mills & Boon, 1979). He compiled occasional lists self-effacing good humour, www.artsandculture.google.com/project/fashion compiled the Costume of specialist booksellers his courtesy, and as Society Bibliography of who dealt with dress and Chairman, his appreciation European Folk Dress textile books, his final of the support and hard Richard Davin Barber Collection (1973), listing 555 books list appearing in volume work and contributions Richard Davin, whose death last December we noted in the spring and other sources, 30 (1996) His attention of fellow members to the newsletter, was a Vice-Chairman of the Society and an avid and and a supplementary to detail was such that Committee and Society. discerning collector of costume. His niece Elizabeth Stafford and his bibliography in 1993, he had approached Those who went with him family felt that he would have wanted his collection to be available European Folk Dress 2, individually every dealer on the Costume Society for public access, so are very pleased that the Fashion Museum, Bath, covering the years 1973- from the previous list trip to Paris in 1998 will has accepted a substantial portion of it, and some of his 20th century 1993. He also contributed (1982) to ensure that the remember James as fashion books. an article to Costume 7 information was correct. very good company, Elizabeth said: (1973), Painters of Folk He was a truly dedicated entertaining the party with The Richard Davin Barber Collection will be a most fitting memorial Dress: Czech and Slovak librarian, though by this a fund of amusing stories to him as it reflects not only his personality and taste, but also his artists of the 19th and early time he had in fact retired. in the bar before bedtime. enchantment, enthralment and fascination with design. 20th centuries. In the 2005 issue of Richard’s collection of antiquarian books, including costume– related James made a quiet Costume celebrating the books, are to be sold by Auctioneers Bearnes, Hampton & Littlewood James left in his will a but very significant Society’s 40th birthday, of Okehampton Street, Exeter on 12 September. substantial legacy to the contribution to the Society his contribution was a Society, for which the as compiler of the new descriptive catalogue Committee is extremely books lists in of all of the Society’s Costume grateful. A fuller obituary for an incredible 30 publications. will appear in Costume 52 years, from 1981 to He is remembered by No1, March 2019. 2011. In addition he many members for his

18 1917 In Memoriam Travels with Deirdre Deirdre Murphy: A much-loved Chair Beatrice Behlen 6 June 1975 - 23 May 2018 Deirdre and I were colleagues for about four Shaun Cole years in the early 2000s. Deirdre and I joined the Costume Society During this time, we shared Executive Committee at around the same offices at Kensington Palace and I could not time, in 2010: I became a Trustee and Deirdre have wished for a better looked after the Society’s Yarwood Award (with office-mate. There was a Beatrice Behlen). lot of laughter in our room, I knew Deirdre a little; by reputation through her even when, or especially curatorial work at Kensington Palace and the V&A, when there was a lot and in person as she had done some teaching of work to do. We were on the Master’s course I ran at London College of always on the hunt for Fashion. A drink and a chat in the pub after my first characters and scenes Executive Committee meeting quickly established for our sit-com which that we would be friends as well as colleagues, was going to be set in a laughing and discussing common areas of introduced new events like the Christmas Quiz, she museum, which Deirdre interest. As well as administering the Yarwood oversaw revising the constitution and streamlined the wanted to base on Dante’s Inferno. We managed to Award Deirdre’s enthusiasm for getting involved executive committee system setting up a series of working gather a big cast, but sadly quickly led to the forming of a new subgroup in subgroups to address communication and publications, never worked on the script. which she, Beatrice and I planned an update of the alongside the existing programming subcommittee. She challenged us at the Executive Committee to think about When we moved to another website and to address the Society’s social media office after a few years, presence. Deirdre was full of ideas and driven to the future, considering how the Society would continue to grow and be a relevant organisation after 50 years. It was we had fun making plans ensure that we didn’t just talk but that we made for our new home. In pride positive action. under Deirdre’s leadership that the Jubilee Award Fund was set up, utilising donations to increase the Society’s of place behind Deirdre’s desk was a large poster Deirdre’s passion for the subject of dress history Awards to make even more difference to students and she had found showing and contemporary fashion and her understanding young people interested in fashion, dress and costume. of established institutions - Historic Royal Palaces, Nico (‘chanteuse’ of the Deirdre’s strength and determination became even more Velvet Underground) in a the V&A and the Costume Society – meant that apparent when she was first diagnosed with cancer in she trod an admirably diplomatic line between long dark cape standing in 2016, when she determinedly forged ahead with all her front of the Palace. pushing for change and development for the future work, even during her treatment, continuing to inspire and You probably could not and acknowledging the heritage and history that lead the Society with her enthusiasm, diplomacy and wry needed to be upheld and celebrated. Deirdre’s find two people looking sense of humour. In one of the last conversations I had more different if you tried, persuasive nature become particularly apparent with Deirdre, she was resolute that she wanted to continue to me when she was approached about becoming but for a while we became with her work with the Society, even though she knew that interchangeable to some the new Society Chairman and she (rather quickly) it was getting increasingly difficult for her. talked me into becoming Vice Chairman, flattering of our colleagues. We were wondering whether me that it was important that I continue to work Deirdre will be sorely missed on so many levels by so Deirtrice or Beardre should closely with her if she accepted the role. Of course many within (and outside) the Costume Society – for her be our collective name, I accepted, knowing that she was going to build on wit, her encouragement, her drive, her diplomacy, her candour, her innate sense of fashion and her friendship. neither great choices. the excellent work of past Chairs but also drive the During particularly hectic Society into the 21st century. Deirdre will be impossible to replace but I know that she would have wanted us to carry on with the sterling work times in the run-up to In her role as Chairman, Deirdre set up a new that she oversaw in her time as Chair, and we will be exhibitions, we would Ambassadors scheme that brought younger looking at a suitable way to recognise her many many sneak off at lunchtime, people with a passion for the subject into the contributions to the Society and the broader field of discussing whatever problems had come up. If Society and helped promote the Society’s fashion, dress and costume. mission and activities through social media. She Continued on next page

20 21 Deirdre had by the lake, surrounded Deirdre: An Lagerfeld pieces with sparkled, a natural like no learned how to by trees. Deirdre was Unforgettable our tiny budget. Large other, seducing the viewer use a professional, uncharacteristically Colleague and shouldered, often cerise with her personality. We broadcast quality nervous about the or electric blue, and rarely continued our friendship on film camera interview but it went Friend in natural fibres, I hated my many visits to London, adding yet another well and was followed Miles Lambert them! ‘Fashion isn’t about and I met her husband to skill to her large by tea and cake served Deirdre arrived at Platt you or me, Miles’ she would be, Andy. Their wedding collection. She on an impossibly fragile Hall in 2003, a whirlwind say, ‘but about genius’. was probably the most needed someone porcelain service. While of youth, enthusiasm and As a legacy, Deirdre’s enjoyable one I have ever to keep an eye that was exciting enough, a type of cross-Atlantic far-sighted determination attended – wonderfully we had not found solutions on the sound levels while the best part for me confidence. Her first job, to embed our collections warm, informal and sincere, then, there was always the she was asking questions was the two of us sitting she seemed particularly full in the loam of couture ending as a take-over of a walk to the tube station so I tagged along as her on a bench watching of energy. Commissioned meant that I was later superb Italian restaurant. after work. Deirdre often assistant to the two most the sun go down over to help to set up a specific successful in a bid to the My partner, Anthony, also accompanied me but of high profile interviews. Lake Geneva, before website for Manchester HLF Collecting Cultures for became firm friends, taking course did not rely on One was with the French we headed back to the City Galleries’ costume a major grant to acquire a Deirdre to the Buckingham public transport herself. correspondent of The airport. It was a magical collection (a site that is, in capsule couture collection, Palace garden party as Unlike me, she could walk Times during the Queen’s day. essence, still in place) she a project during which I his guest in 2016 after her fantastically well on high visit (I believe it was John After we had ceased raced around digging out have often made a grateful recovery from the initial heels and there was no Ardagh). He talked about working together, Deirdre costume to photograph, nod to her. cancer treatment. Typically, outfit that would have ever having neither knowledge she insisted that they both and I managed to find trawling for interesting Whilst at Manchester, stopped Deirdre cycling. of, nor any interest in cycle there in their finery a new excuse to go on provenances and drafting Deirdre and I became firm Despite fierce competition clothes and somewhat and there is an amusing day trips, albeit “only” to fascinating text. The friends, and must have from people with much resenting being forced photograph of the two of Brighton, during the two post was only for a year often presented as a rather higher disposable to write about what the them proudly holding their years we administered but within that short time strange couple on long incomes, Deirdre was Queen wore during her bikes. the Costume Society’s she made an enormous evenings trawling round usually the best-dressed visit. Yarwood impression on both Anthea fashionable bars (Deirdre My memories of person at any private view. Deirdre Award (that Jarvis and myself. Her role only ‘did’ fashionable). One Deirdre are legion - of a In around 2006, Deirdre could was the main (and her obsession) was to of the happy side effects personality undaunted and had come up with the idea be very reason we make our collections more for me was the remarkable unrestricted, of a life writ for a small but ground- persuasive took it on …). I accessible via the whole attention that we (Deirdre) large, of a contagious and breaking exhibition. There and also always looked range of burgeoning media attracted from a range mischievous wit. I, like was only one object on managed forward to that we were only rather of fellow revellers. Her many, will miss her in a display: Norman Hartnell’s to get an spending time cautiously embracing. She glorious black hair, her pale myriad of so-called Flowers of the appointment with Deirdre. was also keen to push for Irish complexion, her wildly ways. Fields of France dress with Joan She was a greater appreciation of avant garde outfits, and made for the Queen for a Sutherland. funny, a great the crucial role of couture her piercing eyes and gaze state visit to Paris in April The opera storyteller and in fashion generally. Platt weren’t easily forgotten. 1957, and subsequently singer had Deirdre at work at Kensington one of the Hall had an overwhelmingly Of course, she took all taken part Palace: photos courtesy best people to middling collection of worn again in London. Historic Royal Palaces the attention in her stride, Deirdre wanted to explore in a gala ask for advice. clothing, social history seeming hardly to notice. the history of the dress performance of La Particularly in the last few orientated, and with only On leaving Manchester in detail and planned Sonnambula at the Royal years there have been a smattering of high-end in 2004, Deirdre moved interviews with a range Opera House in 1960 to many occasions when designer outfits. Deirdre to be a curator at the of people who had a which the Queen wore she steered me through magnified my concerns Historic Royal Palaces, connection to the garment, her Paris dress. The difficult decisions. I am about this omission, and not entirely a dream job, such as the embroiderer, interview meant that still finding it very hard to even dragged me around but one that offered her a textile conservator and Deirdre and I could go believe that I cannot ask the charity shops on hugely high-profile media an usher working at the on a day trip to Montreux Deirdre for help anymore High Street Kensington to opportunities. In front of the opera the night the Queen to visit Sutherland at her and that we cannot plan purchase a few 1980s/90s camera, she shone and attended. house, which was on a hill any more trips together. Cardin, Lacroix and

22 23 In Memoriam Karen Finch, inspirational teacher, conservator and founder of the Textile Conservation Centre at Hampton Karen Finch Court, died on 15 April aged 96. She was a long- pril 1922 -15 A 2018 standing member of the Costume Society. In Costume 45, (2011) she gives her own account of her early Philip A. Sykas life and training in Denmark, her work at the V&A and setting up the Textile Conservation Centre; How it All Began, a Life in Textile Conservation. Obituaries have I first met Karen Finch appeared in The Times (22 June) and The Guardian (23 and to think in 1980 when I began July), and will be in the March 2019 issue of Costume. beyond the three-year Diploma Below is a personal memory of Karen by Philip Sykas, present-day course in Textile a close friend and former student at the Textile research Conservation that she Conservation Centre. questions to organised in conjunction those of the with the Courtauld two steps, then along a dyes. future. Guest lecturers From left to right: Caroline Clark (Head of Tapestry workroom), Barbara Institute. narrow dogleg passage Karen’s day would have Heiberger (2nd year student), Kate Gill (upholstery apprentice), Michael Howard were plentiful, We were taught alongside and up a spiral staircase been spent in fundraising, (1 year preventive conservation course), Jenny Barnett (1st year student), these were Philip Sykas (1st year student), Karen Finch (Director), Pitsa Kavassila (1 year students on the one-year to reach the studios organising lecturers, often past preventive conservation course) and Lucy Fotheringham (1st year student). preventive conservation on the first floor. Karen dealing with clients, and students now course, new apprentices arranged everything with a myriad of tasks related working in museums or metre-length was finished in Amsterdam, Athens, in tapestry conservation, a designer’s eye: white to the building, staffing historic sites. Karen drew and the tapestry was Edinburgh, Manchester, and the first upholstery walls and flooring but and management. But upon her enormous range rolled forward to the next New York and Toronto. We conservation apprentice. strong green accents in she always put time aside of museum contacts not section was breathtaking. all owe a debt of gratitude At that time, there were chairs and equipment to deliver the set of 30 only to bring lecturers to In the other workrooms, I to Karen whose intellectual over twenty students and tabourettes. Every bit of introductory lectures for the Centre, but to gain especially recall the two curiosity enabled her to apprentices at the Textile space was put to use. The the first-year students. behind-the-scenes access Jeremys: the clothing envision how textiles might Conservation Centre, tapestry workroom had Karen was an inspirational for students. Study days (and underclothing) from be preserved in a way housed in grace-and- its own gigantic frames, teacher. Her lectures were held a packed schedule of Jeremy Bentham’s auto- that allows us to see them favour apartments at but otherwise, all the intended to open up a outside visits with advice icon, and the costume as their designer/maker Hampton Court Palace. furnishings were modular: world, making stimulating white melamine worktables obtained directly from worn by the frog Jeremy intended, and whose These apartments were connections between past on adjustable trestles and present, between top curators, archivists Fisher in Sir Frederick organisational abilities initially an enfilade of able to be reconfigured to and scientists. I recall the Ashton’s ballet The Tales set up a thriving centre rooms between Base Court facts and personal accommodate the scale experience. Karen’s excitement of waiting for of Beatrix Potter. Such of intellectual rigour and and Carpenter’s Court, but of any combination of the next term’s timetable to things were just part of remarkable craft skills grew to three apartments workroom experiences projects. The dye room provided vivid lessons, like be posted, neatly mapped everyday life at the TCC combining academic before I finished the had a special aura, a in calendar squares under Karen’s leadership. teaching, apprenticeship, course in 1983. The layout the tar stains she expertly slight aroma of acetic packed with famous The Centre was indeed a commercial activity and and changing levels of removed from sailor’s acid and the gentle whirr names and places. magical place, filled with charitable advice that the rooms were quirky in trousers only to learn years of automated baths In the tapestry workroom, the quiet hum of intense had no parallel elsewhere the extreme, and it took later that the composition agitating yarns in circular who could forget Francis activity and a sense of in the world. Yet Karen Karen’s designer vision to of the tar might have arrangements of glass Cleyn’s Hero and Leander great purpose. Students, always retained something imagine them as efficient provided information tubes; the palette could tapestries with their always an international of the art school party workrooms, as if somehow on dating. Such honest change from deepest baroque figures and lot, went on to work girl, a twinkling eye and it were quite natural for critique inculcated into murk to bright Turkey red extravagant goldwork (now and teach in museums, broad smile, disguising such activities to inhabit a hundreds of students their depending on the work in on view at Lyme Park); archives, historic houses the formidable resolve of Tudor palace. We all had responsibility to preserve hand. My sense of colour the full set took about and conservation units purpose that led her to to master the technique the historical evidence was changed forever by eight years to complete. around the world: those achieve this phenomenal of bobbing through a low of the objects they had learning to match the aged the privilege to work with, The moment when one from my cohort alone success. narrow opening down appearance of natural

24 25 Exhibitions 2018-19 Fashion and Textile Lotherton Hall Victoria Walker Art Gallery Museum Off Collier Lane, Aberford, and Albert William Brown Street, 83 Bermondsey Street, Leeds, LS25 3EB Museum Liverpool L3 8EL South Kensington, London Dressed to Impress: London, SE1 3XF Himalayan Fashion Abegg-Stiftung Chertsey Museum SW7 2RL. Fashion in the 18th century Orla Kiely: A Life in 23 March – 26 October 2018 Werner Abeggstrasse 67, The Cedars, 33 Windsor 4 August 2018 - Spring 2020 Pattern www.leeds.gov.uk/ Frida Kahlo: Making CH-3132 Riggisberg Street, Chertsey, Surrey, www.liverpoolmuseums.org. 25 May – 23 September 2018 lothertonhall Her Self Up KT16 8AT uk/walker A Taste for the Exotic Tel: 01132478256 16 June - 4 November 2018 Night and Day: 1930s Tel: 0151 478 4199 European Silks of the Dressed for Best: Fashion and photographs www.vam.ac.uk Eighteenth Century Dress for formal and Cecil Beaton: Thirty Museum of Fashion Fashioned from 29 April - 11 November royal occasions Nature 2018 22 September 2018 – 31 from the 30s/Fashion, and Lace Film and Fantasy until 27 January 2019 www.abegg-stiftung.ch August 2019 Cité de la Dentelle et de www.vam.ac.uk Tel: +41 (0)31 808 12 01 www.chertseymuseum.org.uk 12 October - 20 January la Mode, 135 Quai du Tel: 020 7942 2000 Tel: 01932 565764 2019 Commerce, 62100 Calais. Bexhill Museum www.ftmlondon.org Haute Dentelle: Egerton Road, Bexhill-on- The Design Tel: 020 7407 8664 Designer Lace Sea, East Sussex TN39 3HL. Museum 9 June 2018 – 6 January 2019 Conferences 2018-2019 East and West 224-238 Kensington High The Fitzwilliam www.cite-dentelle.fr until 10 November 2018 Street, London W8 6AG Museum Tel: 03 21 00 42 30 www.bexhillmuseum.co.uk Azzedine Alaia: The Trumpington Street, Bayerisches Nationalmuseum Tel: 01424 222058 Couturier Cambridge, CB2 1RB Sudley House International Conference Until 7 October 2018 Sampled Lives: Mossley Hill Road, Prinzregentenstrasse 3, 80538 Munich, Germany Bowes Museum www.designmuseum.org Samplers from the Liverpool, L18 8BX Structuring Fashion: Barnard Castle, Co. Durham, Tel: 020 7940 8783 Fitzwilliam Museum Model Image: Foundation garments through history DL12 8NP. Until 7 October 2018 13 – 14 September 2018 The Fan Museum Fashion and photos from www.fitzmuseum.cam.ac.uk/ the 1950s www.bayerisches-nationalmuseum.de 12 Crooms Hill, Greenwich, calendar/whatson/sampled- 20 April 2018 - Spring 2019 London, SE10 8ER lives-samplers-fitzwilliam- www.liverpoolmuseums.org. Association of Dress Historians A Bird in the Hand: museum uk/modelimage Art Workers’ Guild, 6 Queen Square, London WC1N 3AT Feather fans from around Tel: 01223 332900 Tel: 0151 724 3245 the world International Conference 2018 Dress and War: Clothing and Textiles at Home and Catwalking: Until 23 September 2018 Kensington Palace Abroad during the First World War Era, 1910-1920. Fashion through the lens of www.thefanmuseum.org.uk Kensington Gardens, Chris Moore. Tel: 020 8305 1441 London W8 4PX 26 October 2018 7 July – 6 January 2019 Diana: Her Fashion www.dresshistorians.co.uk www.thebowesmuseum.org. Story uk Until end of 2018 Ulita Textile Society Annual Conference 2018 www.hrp.org.uk St Wilfred’s Chapel, Wellcome Collection, 183 Euston Road, London NW1 2BE Chateau de The Fashion Tel: 0844 482 7777 Maurice Keyworth Building, Inspired By….. Museum Prangins University of Leeds, LS2 9JT 3 November 2018 Assembly Rooms, Bennett Killerton House Musée National Suisse, Av. Resists: Exploring www.textilesociety.org.uk Street, Bath, BA1 2QH Broadclyst, Exeter, EX5 3LE Général Guigner 3, resist-dyed textiles across CH–1197 Prangins A History of Fashion Branded: Fashion, cultures Costume Colloquium 1V in 100 objects Femininity and the Right Until 13 December 2018, Indiennes: Un tissu Florence, Italy revolutionne le monde! Until 1 January 2019 to Vote Tuesdays – Thursdays. Textiles in Fashion – Creativity in Context 22 April – 14 October 2018 Royal Women 10 February –31 December www.ulita.leeds.ac.uk 14 – 18 November 2018 www.chateaudeprangins.ch 3 February 2018 - 28 April 2018 Tel: 0113 343 3919 Tel: +41 (0)22 994 8890 2019 www.nationaltrust.org.uk/ www.costume-textiles.com www.fashionmuseum.co.uk Killerton Tel: 01225 477173 Tel: 01392 881345 Conferences continued on next page

26 27 DATS Annual Conference 2018 OPEN, 20 Bank Plain, Norwich, NR2 4SF Making Hidden Histories Visible 22 – 23 November 2018 www.dressandtextilespecialists.org.uk/events/dats- conference-2018 Booking Bernat Klein Foundation forms National Museum of Scotland, Chambers Street,

Edinburgh, EH1 1JF Tel postcode If you need 11 October 2018 Thursday Eye for Colour Symposium further forms, this 29 November 2018

complete newsletter www.nms.ac.uk is available to $ Association for Art History Annual download from the Conference 2019 website. City Centre Campus, University of Brighton. Dress and Dissent: Embodying Protest Booking is also 4 – 6 April 2019 available direct Proposals for papers to: [email protected] by 5 online at November 2018 www.

www.forarthistory.org.uk/our-work-conference/2019-annual- costumesociety. Art Gallery Beercoft conference/ org.uk

Medieval Dress and Textiles Society

or contact the Members’ tickets at £14.00 Non-members’ tickets at £16.00

(MEDATS) AGM and Conference 2019 Booking Secretary St Stephen’s Church Hall, 48 Emperors Gate, Knightsbridge, booking@

London SW7 4HJ …...... …...... Wool: Cloth, Clothing and Culture. costumesociety.

6 April 2019 org.uk I enclose a cheque for £...... made payable to The Costume Society www.medats.org.uk Costume Society

Proposals are invited for 20-minute Please send your cheque with this form and a stamped self-addressed envelope to: papers on relevant topics dated Bookings, 12 Red between c.500 and c.1600 Square, Piano Lane, Costume Society Bookings, 12 Red Square, Piano Lane, Carysfort Road, London N16 9AW. We are particularly looking for new Carysfort Road,

N ame Address email Please send me research. Topics might include: London N16 9AW. Visit and Exhibition: Behind the Scenes Production, Fashions in wool fabrics and garments, Techniques, Wool textile The Bayeux Tapestry art, Trade and transport, Utilitarian and recycled wool cloth. 11th century Please submit your title and a 200-word synopsis to the By special permission of the city Events Secretary, Gale R. Owen-Crocker, of Bayeux. [email protected]. The absolute deadline is 30 October 2018, but please don’t delay till then if you have a proposal. Send it NOW. The Conference will be held at 11am-5.30pm and will be preceded by the AGM of the Society at 10am. If there is a waiting list your ticket can be resold. cannot confirm your booking. If you are not supply a SAE for return of ticket, we booking. Please bring it with you. If you do This portion will be returned to confirm your Name Beecroft Art Gallery, Victoria Avenue, Southend-on Sea, Essex SS2 6EX Thursday 11 October 2018 11.30 – 13.30 Ticket number unable to come, please ring 0207 923 2834. 28 Behind the Scenes Visit: Art Gallery Beecroft Costume WECS Costume Society West of Scotland Calendar England www.costumesocietyscotland. 2018-2019 Costume co.uk Society All meetings are held at www. Augustine United Church, Costume Society wofecostumesociety. 41 George IV Bridge, www.costumesociety. org Edinburgh EH1 1EL org.uk Bath Cricket Tel postcode Tel postcode Killerton, Broadclyst, Exeter, Club, North The Evolution Devon, EX5 3LE Parade, Bath of Scottish Autumn Study Day: BA2 4EX Police Janet Arnold Uniforms

Saturday 15 September 2018 Saturday Fashion, Femininity and Power* Study Day: Alastair Dinsmor $ Masculine MBE, Curator, 15 September 2018 Attire Attire: Glasgow Police Museum. Details page 3 It isn’t always 1 October 2018 black or blue V&A Museum, South 6th October 2018 From Red Coats to Kensington, London Camouflage; a brief SW7 2RL Bath Bowls history of uniforms in Exhibition Visit: Club, Pulteney the British Army Fashioned from Road, Bath Desmond Thomas, Tuesday 25 September 2018 Tuesday Nature* BA2 4EZ Curator, Museum of the The Queen’s Bodyguard Royal Regiment, Edinburgh 25 September 2018 of the Yeomen of the Castle. Details page 4 Members’ tickets at £12.00 Members who are also V&A Friends tickets at £5.00 Non-members’ tickets at £15.00 Members’ tickets at £30.00 Non -members’ tickets at £40.00 Student members’ tickets at £5.00 Student non-members’ tickets at £10.00 Guard 12 November 2018

Saturday 17 November Beecroft Art Gallery, Victoria 2018 Christmas Party

…...... …...... …......

…...... …...... …...... …...... Avenue, Southend-on-Sea, 3 December 2018

Fashion, Femininity and Power Fashion, Essex SS2 6EX Southern Counties I enclose a cheque for £...... made payable to The Costume Society I enclose a cheque for £...... made payable to The Costume Society Exhibition Tour and Costume Society “Embroidered Stories”, behind-the-Scenes www.sccostumesociety.org. The Needlework uk Development Scheme,

Please send your cheque with this form and a stamped self-addressed envelope to: Visit* Please send your cheque with this form and a stamped self-addressed envelope to: its revival and re- 11 October 2018 invention Costume Society Bookings, 12 Red Square, Piano Lane, Carysfort Road, London N16 9AW. Costume Society Bookings, 12 Red Square, Piano Lane, Carysfort Road, London N16 9AW. Fashioned From Nature Fashioned From Details page 5 The Gurkha Museum Lindy Richardson, Library, Peninsula Barracks, Edinburgh College of Art

Name Address email Please send me

Name Address email Please send me Visit: Visit: Autumn Study Day: Autumn Study Day: Winchester, SO23 8TS 7 January 2019 A Passion for Kimonos 13 October 2018 Japan and Shanghai: how this trip influenced Blythe House, Blythe Road, my work Olympia, London Sheana Stephen DA, Artist W14 0HA jeweler Visit to the V&A Theatre 4 February 2019 and Performance Collection 27 November 2018 *Booking Forms with this newsletter If there is a waiting list If there is a waiting list your ticket can be resold. your ticket can be resold. cannot confirm your booking. If you are cannot confirm your booking. If you are not supply a SAE for return of ticket, we not supply a SAE for return of ticket, we booking. Please bring it with you. If you do booking. Please bring it with you. If you do This portion will be returned to confirm your Name V & A Museum, South Kensington, London SW7 2RL Tuesday 25 September 2018 14.00 Ticket number This portion will be returned to confirm your Name Killerton, Broadclyst, Exeter, Devon, EX5 3LE Saturday 15 September 2018 10.00 – 16.00 Ticket number unable to come, please ring 0207 923 2834. unable to come, please ring 0207 923 2834. Autumn Study Day: Autumn Study Day: Femininity and Power Fashion, Visit: Fashioned From Nature 31 continued from previous page Textile Society Membership subs due 1 January www.textilesociety.org.uk There is a membership form for 2019 included with this newsletter. Trip to Switzerland, If you subscribe via Paypal, or send a cheque, please put a note visiting Abegg Stiftung, in your diary that subs are due 1 January. Would you consider a Bern Historical Museum Standing Order? It would save having to remember every year. and Chateau de Prangins If you already pay by standing order, thank you very much - 1- 4 October 2018 the reminder doesn’t apply! Chelsea Old Town Hall, Gift Aiding King’s Road, London HMRC have updated their Gift Aid guidelines. SW3 5EE By ticking the Gift Aid box on the 2019 membership form London Antique and or on the website, you are agreeing that we can share your Vintage Textile Fair information with HMRC with regards to our claiming Gift Aid 13 October 2018 on your subscription. atflondon@textilesociety. org.uk

Wellcome Collection, 183 Euston Road, London NW1 2BE Annual Conference: Inspired by…. 3 November 2018

Events listed include those organised by costume and textile societies which Front cover images have close links with the Costume Main image:Patterns of Fashion winning 1770 polonaise, page 8. Society. Information published in Frieze from left to right: Deirdre Murphy, page 20; Highly good faith. The Costume Society commended C17th leather doublet, page 8; Michele Clapton, page cannot be responsible for errors, 10; Buckingham Palace, page 16. omissions or alterations. Background image: Palestininan embroidery, page 6.

CostumeSociety.org.uk

Costume Society contacts [email protected] [email protected] All copy for the Spring [email protected] 2019 Newsletter must be [email protected] received by [email protected] 31 January 2019. [email protected] Email [email protected] newsletter@ costumesociety.org.uk and for anything not covered by one of the above: [email protected] Post to Anthea Jarvis, The postal address for membership correspondence only is The Shambles, Sham Castle Lane, Bath BA2 6JH 10 Highgrove Park, Registered address (not for correspondence) Liverpool L19 9EQ The Costume Society, 150 Aldersgate Street, London EC1A 4AB

32