High Days and Holidays at Totnes Fashion and Textile Museum Review

Totnes Fashion and Textile Museum’s annual exhibition this year focuses on holiday and leisure wear from the Edwardian period to the present day. As always the exhibition showcases a variety of objects in their archive whilst sticking to a central theme. The museum has three large cases which section the exhibition into three parts: travel wear, beach and leisure wear and evening and entertainment. 

The first case looks at travel wear, with garments ranging from the Victorian through to the 1970’s. The accompanying text discusses how clothes for travel changed over the years; from more formal dress, to that which is comfortable for long journeys. Outfits were chosen to reflect the changes in transport for travelling to holidays, for example the growing popularity of the motorcar in the 20’s, which saw a shift to looser fashions. I particularly liked the outfit for this period (pictured) the navy coat clearly of middle -eastern influence, the caption in the catalogue informs us the embroidery could have been Palestinian and bought on a previous holiday abroad. There was also an example of a holiday outfit worn in the time of utility, the dress and coat would have required clothing coupons to buy them. 

Dress for Travel through the Ages

Detail of Possible Palestinian Embroidery on a 1920's coat

Close up of 1940's Utility Coat and Dress

The second case, much larger was split into two halves; the first, clothes worn for leisure while on holidays, exploring the changing styles of beach and swimwear. While the far end of the case showcased pieces for evening events and parties. There were several good examples of 50’s day wear; including a Horrockses dress and c.1954 four piece set of skirt, boned strapless top and jacket/shirt in printed cotton in cool floral colours. I could imagine it being worn by a young woman on a day trip to the seaside. Layed out on the floor were examples of swimwear through the ages; from an 1885 bathing suit to more retro examples from the 50’s including a floral fitted top and knicker combo and modern pieces. Other outfits showcased in this section included Tennis dresses from 1933 and 1905, promenade and tea dresses. 

1950's Cotton Horrockses Dress and Floral Suit

Close up of the dress and Jacket of a 1950's Floral Suit. Very chic and modern.

1950's Peplum Bathing Top and Knickers

1885 Bathing Suit

In the other half of the case were some stunning examples of evening glamour and in turn evidence that dressing for dinner was a much bigger affair in the past. Two standout pieces are an 1878 gown with a sumptuous bustle, clearly a piece to show her status, with its intricate details of pleating and ruffles. The catalogue informs us this level of detail in dress became more popular at this time due to greater access to sewing machines. The other stand out piece for me was a bronze silk satin 1910 dress in the style of those by Paul Poiret. The waist is so tiny; it’s amazing to think how small people were over 100 years ago. Another beautiful outfit was a 1925 ensemble intended for going out to dinner. The sparkling lime green dress and plush fur coat projecting notions of wealth and luxury, she was clearly an important lady of society! In comparison to these pieces though, the examples of modern dinner dress are nowhere near as flamboyant: represented in 90’s formal evening and early 2000’s cruise wear. Like in the 20’s modern styles still have a sparkle but are much more casual silhouettes, with loose smocks, blouses, skirts and jackets.

1911 Paul Poiret Style Bronze Dress

Detail of Paul Poiret Style Dress

1878 Gown with pleated bustle. Background examples of 1990's cruise wear

1925 Opera Ensemble with fur coat and lime green beaded dress

The third case is devoted to clothes suitable for entertaining; be that afternoon tea, a dinner party, or formal soiree. Particularly standout pieces were an 1840’s cotton dress, usually worn at a dinner with friends. The pleating on the v shaped neckline was exquisitely precise along with the pipped waist seam and cartridge pleating. Perhaps the most understated piece in the case, it stands out for its technical details. 

Exquisite Pleating on an 1840's cotton tea dress

In contrast there are plenty of luxurious beaded creations: including a splendid 20’s cocktail dress with gold satiny shawl, oozing sensual decadence its rich colours evocative of the Art Deco art movement. While another has a royal connection; a black velvet and sequin gown (c.1900) worn by Marie Corelli, the Price of Wales (Edward VII) favourite author. One of my favourites was a simple blue and white polka dot nylon dress worn with a white fur jacket, the nylon fabric would have made it easier to pack as it doesn’t crease easily. The link between travel and clothes is again demonstrated in this final case of clothes worn for the most important occasions, in turn tying the whole exhibition together. This was communicated rather innovatively in the last object in the exhibition. A gold and cream 1886 dress constructed in two parts of bodice and skirt a new invention at the time which made it easier to pack a lady’s dresses and would then be worn at a country house dinner. It showcased how fashion for festivities has always been designed with frivolity and function in mind.  

1920's Art Deco style Cocktail Dress

Evening Dress worn by Marie Corelli (c.1900)

Blue nylon Polka Dot dress with fur jacket

1886 Country House evening dress with separate bodice and skirt

To conclude a clever exhibition that showcases some lovely examples of fashions through the ages from high fashion to the everyday and in turn through the sartorial depictions reflects how travel, tastes and activities have changed and developed alongside.  

References:

Fox, J., Totnes Fashion and Textile Museum 2017. High Days and Holidays. 16^th May - 29^th September  2017. Totnes: Totnes Fashion ad Textile Museum.

Inside a Costume Hire House: Bristol Costume Services

Spread across two floors Bristol Costume Services houses an array of costumes from the medieval to the modern day for men and women. Period costume from ancient to the 19^th century is on the first floor and 20^th century costume is on the second floor along with ‘light entertainment’ costume such as those used for pantomime, burlesque etc.

It is a vast place so as you can imagine I only saw a tiny snap shot of what they have in the two hours I was there. I mainly used the trip (with my university course) as a chance to research costumes that related to my latest project, a 1980’s outfit with an 18^th century twist, in the jacket style . Therefore I firstly looked for 1980’s suit jackets and late 18^th century caraco bodices. I was able to find several jackets and three bodices.

Starting with the 18^th century bodices I examined the practical features of the garments, to gain a better understanding of the standard of production used in theatre costume making. The combinations of fastenings used in the three different examples of bodice were really insightful: one bodice was fastened with giant poppers as well as hook and bar tape for extra security. Another had hook and bars sewn on individual but alternated the sides the components were sewn on to. One wasn’t lined, perhaps to make the costumes more washable. However one was lined and sweat patches were sewn under the armholes to protect the silk fabric lining. The third one was only half lined on the tail coat style draped panel. This was probably because it was very full and long and may have shown on the underside.

Hooks and Bars and Poppers

Hooks and pars are sewn on alternative sides each pair for a more secure fasten.

Sweat patches preserve the fine silk lining

From a design perspective they were also inspirational. My design incorporates a peplum that forms into two points. Each of the three bodices had interesting examples of similar effects. One created a sharp point at the centre back by adding an extra pointed panel; this folds in when lying straight, by I reckon would splay out over a bum roll/full skirt. The second created a short flared peplum using box pleats; this doesn’t create any sort of point but would create a nice fit and flare line. 

The third bodice was fitted with a stomacher front panel which then flares out into a full almost tailcoat style shape at the back. This is cut in panels to create the very full shape. It was a very heavy garment because there was so much fabric in the back panel. The exaggerated, oversized collar and panelling suggested to me it had been a comical costume, also reflected in the fabric, and binding. The strong royal blue buttons and binding infer it was for a confidant character, the colour combination’s producing a bold striking design. I was also interested in the placement of the stripe pattern: the front and back panels in particular I felt was cut in an attractive way. However they didn’t match the stipes on the bodice/peplum waist seam, which would have improved the costume.  

I also needed to research 1980’s suit jackets so also went up to the 2^nd floor to look at their 80’s stock. The 2^nd floor I wouldn’t say is as ordered as the 1^st. there is no lighting, and it is difficult to see the costumes if you are in the centre of the room so have to take everything over to the windows to see it properly. I mainly wanted to look at 1980’s jackets to examine their construction, Such as the size of shoulder pads and lining construction.

Whereas all the period stuff has clearly been made, their 20^th century stock is mostly vintage clothing from the various periods. The jackets I looked at were vintage pieces from Jigsaw, Hobbs, Jacques Vert to name a few. From examining several pieces I was able to identify some key construction features: all have a 2 inch pleat in the centre back of the lining for ease, and the thickness of shoulder pads vary from approximately 6cm – 3cm. I also found a really nice pencil skirt, part of a two piece suit; it had a flattering waistband shape and placement of darts on the skirt back. 

As well as finding costumes to inform my research I also just looked around generally at the different stock. They have a vast selection of unusual pieces. From exquisite examples of fabric manipulation as seen on 18^th century bodices and beautiful scalloped edged flouncy sleeves. To illustrious ethnic and embroidered fabrics used in Tudor dresses, capes and other exotic garments. I also came a across a rather unusual set of headdresses including a massive fairy-tale castle, the Titanic and landmarks of Europe they were very wacky and eclectic indeed. 

Some other highlights included the breaking down section which apparently includes some of the costumes used on the Pride and Prejudice and Zombies film and had a selection of mainly period costumes, that had been in some cases near destroyed; such as the bodice below which had been shredded and ripped within an inch of its life.

It would have been interesting to know if these pieces were once newly made costumes that had just become worn/damaged overtime so were chosen to be broken down or were made to be used as broken down costumes. The last highlight was a rather unusual medieval cape, which appeared to have been made of incredibly thick and weighty canvas and then painted with a design. If this could be done with slightly less heavy fabric, I feel it could be a really unusual way of creating medieval costumes where fabrics are difficult to source if you have a very specific motif that needed to be created. 

 

Facts and Figures

BCS charge £45 per week for a full costume (BCS define a full costume as a dress, petticoat, cape, hat, shoes. However they did say a dress and petticoat may also be considered a full costume in some circumstances)

Consecutive weeks would be charged at £22 pounds.

They don’t charge per item but as a complete outfit

They bought up Bristol Old Vic’s store and BBC Wales store when they sold their stock.

Sometimes they will offer to produce costumes but on condition that BCS keep the costumes for their stock.

I hope this gives you some idea of the wide ranging selection in style Bristol Costume Services has to offer. If you are looking to hire for a show I am sure you will find something to suit your needs, there is a great selection and it is well made especially as much of their stock has come from other wardrobe departments.

Kinky Boots and Aladdin in the West End- Feel Good Witty Humour and Cheesy Escapism are coupled with Dazzling Costume and Lavish Sets

Earlier this week I went on a short trip to London and while I was there I saw two amazing West End musicals, namely Kinky Boots and Disney’s Aladdin. Both are relatively new productions and although very different in style and story are united in their ability to transport you into their worlds and leave you glowing with happiness, well after you have left the theatre. Costume wise they were also both designed by the same man, Tony nominated designer Greg Barnes, although they are different settings it is clear there is a common style between the two. They both have a bold use of colour and utilise glamourous sparkly fabrics creating sumptuous visual displays.

First I saw Kinky Boots, this feel good heart -warming musical, tells the story of a Northampton shoe factory, which on the brink of shutting down decides to start catering for a ‘niche market’ of thigh night boots for drag queens in a range of electric colours. After factory owner Charlie Price has a chance meeting with a Drag Queen called Lola while in London.  

The show is full of catchy songs (written by none other than eighties pop star Cyndi Lauper) that will make you want to sing along. The songs are accompanied by energetic choreography performed by the whole cast. Particular highlights include Lola’s first visit to the factory; which on being presented with Charlie’s sensible but dull  interpretation of drag footwear, breaks into song exclaiming ‘burgundy is the colour of cardigans and hot water bottles red is the colour of sex!’ Lola asserts her vison of what the Kinky Boots of the show’s title will look in the number ‘Sex is in the Heel’ which sees Lola’s entourage of queens known as ‘the Angels’ strut, split and backflip their way around the factory. It really is a fabulous scene!

Dancing in the Factory

The set of the factory itself is used to great effect in ‘everybody say yeah’, the unveiling of the Kinky Boots prototype, the cast dance on the production line conveyer belts in a crowd pleasing number that will make you want to get up and dance too.

Rule Britannia

Apart from the visual spectacle to enjoy Kinky boots is also incredibly funny, packed with wit from start to finish; from Lola’s explanation of the difference between drag and transvestism: ‘a tranny looks like Winston Churchill in his mum’s knickers’ to Laurens song ‘the History of Wrong Guys’ which many a women could relate to. The show promotes a positive message of ‘accepting someone for who they are’ but at the same time doesn’t take itself too seriously, it’s all about the spectacle and fun.

Where costume is concerned, the highlight is the finale where Lola saves the day accompanied by her Angels dressed in six fantastically glamourous costumes on various themes. From a Rule Britannia girl to a Vivienne Westwood inspired tartan number, yes the Austrian ballet wore something similar in the Vienna New Year’s Day concert a couple of years ago. The finale is a celebration of glitz and glamour and of course the all-important Kinky Boots; all the cast, even the women join on stage dressed in a pair. More risqué costumes are sported by the angels in the Simon (Lola) vs Dom boxing scene. While in ‘Hold me in your Heart’ Lola is dressed in a Shirley Bassey style flowing gown. The look is so feminine for a second you almost forget she is a drag queen.

The Finale and the Boots

Kinky Boots is probably one of the best musicals I have seen, it is so much fun with uplifting songs, fab choreography and a positive story I would definitely go see it again I left the theatre wanting to strut in a pair of kinky boots myself!

Aladdin

Transferred from Broadway Disneys Aladdin brings tio life the much loved animated film for stage.

The show is one of visual splendour with no expense spared; mesmerizing and spellbinding the world of Acrabah is rendered in sumptuous jewel colours. The sets are lavish and extravagant. None more so than in the biggest number of the show ‘friend like me’ which sees the cave of wonders transform from gold encrusted cavern to dazzling skyscrapers. Complete with a tap sequence that is reminiscent of the classic razzamatazz musicals of old.  This really is the highlight of the show as the ensemble twist and turn in an array of costumes and dance styles. Similar extended sequences are found in Prince Ali and Arabian Nights the opening number.

Friend Like Me

Trevor Dion Nicholas (imported from the Broadway production) is fantastic as the Genie providing

Trevor Dion Nicholas as the Genie

just the right amount of wit and camp splendour. One of the highlights was his 2 minute medley of Disney songs from other shows as part of friend like me, fabulously silly but very enjoyable.

There are some changes and additions from the film, Jasmines father the Sultan is portrayed as less of a buffoon more of a stately, believer in honesty figure, for me this loses the whole feeling of him being taken for a fool and being a comical character. Perhaps this was done to make room for other comic elements, per civically Aladdin’s friends Omar, Kassim and Babkak who provide much of the humour. Baddies Jafar and Iago create humourful baddies complete with ‘scary crackling laughs’.

The classic number ‘A Whole New World’ is a lovely poignant moment Aladdin ad Jasmine are highlighted by spotlights and are set against a backdrop of starry night sky. This simplistic but dazzling staging works well however personally I would have liked to have seen projections (as they are used in other parts of the show) to create the effect of them  ‘flying around the world’ like it is portrayed in the film.  

A Whole New World

Its clear Aladdin is a sumptuous show; almost a pantomime without the dame as Michael Billington from the guardian described it. In terms of authenticity to Asian culture it is a bad example of western appropriation on many levels but as a piece of warm hearted escapism it succeeds in bucket loads. A feast for the senses, it’s a show that will captivate young audiences and does justice to the original animated film which captivated my generation and older.

Aladdin a fabulous wonderful spectacle full of fun!