a user’s guide to the care, documentation, interpretation and display of dress First published 2012. Revised April 2013 Powerhouse Museum PO Box K346 Haymarket NSW 1238 © Powerhouse Museum Authors Lindie Ward, Kate Chidlow, Sarah Pointon Editors Karla Bo Johnson, Judith Matheson Desktop publishing Anne Slam Conservation photographers Nitsa Yioupros, Michael Myers Regional Services manager Rebecca Pinchin Publications manager Judith Matheson Printing Lindsay Yates Group Front cover Detail of cotton drill corset, late 1880s. Powerhouse Museum collection, gift of Berlei-Hestia, 1982. A8211/1. Photo by Sue Stafford Back cover left to right, top to bottom Velvet Afghan jacket, early 1890s, Broken Hill Migrant Heritage Committee • Photo of three boys in black velveteen suits, 1928, Griffith Pioneer Park Museum • Possum skin cloak from the Hunter region of NSW, about 1840, Smithsonian National Museum of National History. Photo by Smithsonian Photographic Services • Photo of Selina Nicholls in her wedding dress, 1909, Port Macquarie Historical Society • Audrey Capuano’s stars and stripes jumper, about 1945, Australian National Maritime Museum • Detail from dress uniform of a NSW Lancer, 1895–1903, Richmond River Historical Society • Bessie Rouse’s crimson silk outfit, mid 1870s, Hamilton Rouse Hill Trust Collection, Historic Houses Trust of NSW. Photo by Alex Kershaw • Photo of Isabella Cooke in her wedding dress, 1883, Alstonville Plateau Historical Society • Woman’s outfit, 1880s, National Museum of Australia. Photo by National Museum of Australia • Detail of Marjorie Florence Smith’s painted chiffon and sequinned ‘flapper’ dress, late 1920s, The Cavalcade of History and Fashion • Depression-era Manly Warringah rugby league jersey, 1930s, Warringah Council • Photo of dancers in Carmen Miranda costumes, 1946, Museum of Riverina • William Charles Wentworth’s court outfit, 1855–65, Historic Houses Trust of NSW. Photo by Historic Houses Trust of NSW • Photo of Ute Bierbaumer in lederhosen, 1943, Albury Library Museum • Blue silk dress, early 1840s, Meroogal collection, Historic Houses Trust of NSW. Photo by Alex Kershaw Any statement or advice expressed in this publication is made in good faith but on the basis that the Powerhouse Museum is not liable to any person for any damage or loss which may occur in respect to taking action or advice referred to in this publication. While every effort has been made to ensure that the material is accurate and up-to-date, you should exercise your own independent skill and judgement. Copyright This work is copyright. Apart from any use as permitted under the Copyright Act no part of this publication may be reproduced, transmitted or stored in any form, electronic or otherwise, without written permission from the publisher. 2 Contents* Introduction .......................................................................................................................................................... 5 Dress: a future for its past • Curriculum perspectives 1. Getting started ............................................................................................................................................ 14 2. Photographs ................................................................................................................................................ 16 Uploading photographs • Simple conservation photography and documentation • Dressing a mannequin • Image copyright • Taking photographs with limited resources 3. Garment details ........................................................................................................................................... 29 Textile timeline • Historical silhouettes 4. Trimmings/decorations .............................................................................................................................. 35 5. Gender and dress ........................................................................................................................................ 36 6. Fibre/weave ................................................................................................................................................ 37 What fabric is it? • Dyes 7. Manufacture ................................................................................................................................................ 39 8. Cut ................................................................................................................................................................ 41 9. Fastenings ................................................................................................................................................... 42 10. Stiffening/lining/padding ........................................................................................................................... 45 11. Measuring a garment ................................................................................................................................. 46 12. History and provenance ............................................................................................................................... 48 History and provenance • Be a detective — links to discovering more about your garment 14. Additional materials ................................................................................................................................... 51 Scanning photographs and documents 15. Condition ...................................................................................................................................................... 63 Identifying types of damage • Steaming a garment 16. Statement of significance ............................................................................................................................ 71 Unravelling significance Appendices Frequently asked questions ................................................................................................................................. 74 Frequently asked technical questions ................................................................................................................ 77 Glossary ............................................................................................................................................................... 78 Products and suppliers list .................................................................................................................................. 87 Other websites ..................................................................................................................................................... 95 * The contents of this booklet are ordered to correspond with the sections of the Australian Dress Register garment entry form. Note, there are no notes for section 13. 3 This sequinned costume with net skirt was worn by Australian performer Annette Kellerman, who became an international celebrity in the early 1900s. This costume may have been for the silent filmNeptune’s daughter in 1914. Powerhouse Museum collection, gift of the Dennis Wolanski Library, Sydney Opera House, 2000. 2000/66/23 4 Introduction The Australian Dress Register is a collaborative, and contrast material across small and diverse online project about dress in NSW. The register collections in the state. Already, useful connections aims to document significant and well provenanced have emerged between garments in far-flung men’s, women’s and children’s garments and places that have enhanced our knowledge of the associated accessories including shoes, hats, history of dress in NSW. This is a model that has underwear or shawls that make up a complete implications for the way we will work and document outfit. While the plan is to eventually take the collections in the future.” register nationwide, the project has begun with clothing relating to NSW up to 1945. One of the reasons dress was chosen for the register is because it is increasingly fragile, and The immediate benefits of creating a collaborative often hard to display. The 1945 cut-off date was online database are enormous. The register allows chosen so that initial effort could be concentrated museums large and small, and private and family on 19th-century garments that are rare or in poor collectors, to share information about significant condition before it is too late. In local communities, garments in their collections with the wider descendants can often provide the family stories, community. Many of these items, particularly those letters or photographs associated with a particular belonging to small regional organisations, have garment. The focus is not just on ‘Sunday best’ but been little known or appreciated until now because also work clothes and every day. their caretakers have not had either the resources, opportunity, or the necessary skills to document It is these stories that are especially compelling, and digitise their collections. says Powerhouse curator Lindie Ward who helped develop the criteria for the register. “It’s not just To support the Australian Dress Register, the about the clothes, it’s the very personal stories Powerhouse Museum developed this compendium about people’s lives and their communities that the of resources for participating organisations clothing reveals. What we wear is such an intimate comprising information sheets, technical advice, part of our lives and by documenting each garment glossaries, timelines and a products and suppliers in detail we can uncover stories that