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.

Adaptations and Recreations – 50 Years of Costume Design for Television Drama A Study Day at the V&A

On the 10^th of September I attended the above titled event at the V&A. The day was split up into a series of talks/interviews given by various costume designers and makers. Who have worked on seminal productions; that Cosprop had provided most or all of the costumes for.

All the talks were very insightful on many levels, from how different designers work, to how changing needs in the industry have changed the way costumes are produced. Therefore today I am going to share some of my highlights from the day.

Cosprop is a costume house specialising in period authentic costume which can be hired for theatre, film and TV. The day was kick started with a talk given by Cosprop founder John Bright and Oscar/ Bafta winning designer Jenny Beaven who in the early years of Cosprop often co- designed with Bright on many of the Merchant Ivory films and they continue the partnership today. The talk was chaired and introduced by Theatre and Performance curator at the V&A Keith Lodwick.

Firstly Bright and Beaven talked about the process they used in their early films such as A Room with

a View and Howards End. In most cases designs weren’t produced; mood boards would be created to communicate their vision for the look of the whole film and then individual character boards would be produced for each character. When it came to producing the costumes Bright and Beaven explained how the industry expectations and methods of working were very different from today.

Bright explained how often in their earlier films original fabrics from say the Victorian period were used within costumes, an example was on display at the talk of Vanessa Redgrave’s Howards End costume using original Victorian velvet. Bright expressed how today this would not be possible because in most cases two or sometimes even three and four copies of a costume have to be made so period fabrics can’t be used. Furthermore the methods to create some fabrics aren’t permitted due to health and safety today. Therefore as Jenny Beaven said nowadays people have to buy modern fabrics that look period.

I was also lucky enough to find out what inspires these two wonderful visionaries and which is their favourite costumes that they have designed. Beaven said she differed from film to film with inspiration where as Bright often draws from John Singer Sargent and Giovanni Boldini paintings. Beaven’s favourite costume was perhaps slightly surprising choosing Immortan Joe from 2015’s Mad Max Fury Road as she said ‘it was so different from anything she normally does’ while Bright picked a dress from Merchant Ivory film The Golden Bowl.

Back of Elizabeths Dress, Pride and Prejudice

The second talk focussed on the costumes in Persuasion (1995) and Pride and Prejudice (1995) with designers Alexandra Byrne and Dinah Collin. They explained how the first stage was to prepare mood boards and how much of the historical research was done at Winchester, Bath and Whitworth costume museums. The also stressed the importance of researching and using the right underwear as part of a costume to create the right silhouette or construct.

A dress from each film was on display and they discussed some of the features of these garments.

These included now cord had been put into the armholes and back seam of Elizabeth’s muslin dress in Pride and Prejudice, because it was such a fine fabric. Illustrating how period costume has to sometimes be adapted to withstand modern filmmaking.

An interesting fact, the yellow jacket in Persuasion was in fact made of millinery velvet. You can see details of the costume below.

Details of Costume from Persuasion

One of the most useful and interesting facts I gleaned from this talk, was that often designers send colour swatches of all the fabrics used in the costumes to the post production department to ensure fabric colours aren’t distorted in the final edit.

After lunch the third talk digressed from the main focus on the day (Cosprop). This time looking at The Six Wives of Henry VIII (1970), designed by John Bloomfield. Where the previous talks showed what could be done with a fair amount of investment, Bloomfield discussed now he produced the costumes for the six part series on a tiny budget. He explained how a lot of the costumes were very rudimentary by today’s standards using old parts of jewellery glue gunned on card to make embellishments and using cheap upholstery fabric, it also evidenced how much technology has moved on since then and how these techniques just wouldn’t work today due to high definition TV.

The Dowager Countess Dress worn by Maggie Smith

The last talk focussed on the critically acclaimed period drama Downton Abbey looking at both the design and production of this seminal drama. The talk featured series 1 and 2 designer Susannah Buxton and series 3 designer Caroline McCall who was assistant designer on series 1 also. There were also three makers, Donna Simmons a Tailor, and Thais Demontrond and Caroline Green who were Women’s Makers.

They talked about a whole range of points from how different colour schemes were decided for each of the Crawley sisters (reds for Mary, greens for Edith and blues for Sybil) to the search for the right servants cap for the house maids in series 1. The aprons and dresses were actually modelled on originals from the Cosprop archive.

They also explained that because there was such a large amount of costumes needed for the series, many of the costumes were commissioned to be made by Cosprop. This also happened for special props that were needed such as the ‘family tiara’ worn by Lady Mary/ Edith, which was copied from a Cartier but made using less precious stones.

One particularly interesting anecdote explained how an original 1920’s dress that was damaged in the centre back and front was reassembled with the fronts used as sides and sides used as front and backs.

Detail from Dowager Countess Dress

The day ended with a brief presentation about the new John Bright Costume Collection Database which is being launched soon. Over the past year volunteers have been assisting in photographing and mounting costumes from John Bright’s collection of historical dress to be uploaded to an online research database. As the database will be up and running in the next few months I look forward to using it as part of my design research in my next term at university. The only disappointing thing was that I hadn’t heard about it sooner because I would have loved to have helped with the preparation!

Well that concludes my review of the Adaptations and Recreations study day at the V&A. It has defiantly left me with a lot to think about and take in as well as inspired me to keep following my dreams in the world of costume design. I’d like to leave you with this last quote said by Rosemarie Fernandez Day: “John Bright bought attention to real clothes” I don’t know about you but I defiantly agree. Its clear Cosprop and John Bright’s passion for authenticity has had fundamental influence on the way we all perceive period drama and will do for years to come.

 Images of Lady Cora's Dress from Downton Abbey