New video! We visit with the manager of the Bankfield Museum in a wide ranging discussion talking about their fashion collection, access to the collection and how it inspires reproductions and new fashion.
Save the date! The next 19th Century Dress and Textiles Reframed "At Home" online talks will be on Sunday, June 30, "focused on photography and its connections to 19th century fashion".
Programme:
📸 Robyne Calvert: Artists & Photographic Fantasies
📸 Erika Lederman: 'Counterfeit Specimens'. Isabel Agnes Cowper's Needlework Photographs for the South Kensington Museum
📸 Beatrice Behlen: Mrs Broom's photographs of suffragettes
Walking in style in a library in 1654. The shoes he's wearing while transporting 4 big books in Wolfenbüttel's Herzog August Bibliothek were trending in mid-seventeenth century Europe.
Finally, on Sunday April 28, there'll be another "At Home with c19th Dress and Textiles Reframed" event!
Programme:
🧵 Linda McShannock - A Living for the Earnest, A Fortune for the Capable: Dressmaking in Minneapolis, 1880-1920
🧵 Cecilia Soares - A transatlantic wardrobe: an analysis of the Belle Époque sartorial goods from the Ivy House Museum, in Vassouras, Brazil (1870-1910)
🧵 Alden O'Brien - TBD
Long shot but does anyone know information about this dress (see picture)
TinEye (reverse image search) says that it's a "Black figured silk dress with high neck chemisette of cream lace, early 1890s (silk & lace)" from Bath Fashion Museum, Dated sometime between 1890 - 1895 ( ?? ) but I can't find it in the Museum online catalogue.
It also does not appear to be part of any public collection at the Louvre Museum in Paris
Happy birthday to chemist William Henry Perkin (1838-1907)! This #lino print ‘William Henry Perkin Discovers Mauve’ is about how the British chemist & entrepreneur made the serendipitous discovery of the 1st synthetic organic dye: mauveine.
Perkins entered the Royal College of Chemistry in London in 1853 when he was only 15, studying with August Wilhelm von Hofmann. 🧵1/n #linocut#printmaking#sciart#chemistry#syntheticChemistry#dye#histstm#chemist#FashionHistory#histchem#MastoArt
February 12th, 1947 saw Christian Dior stage his first couture collection, which would quickly be dubbed "The New Look".
Although I adore the look, I understand why some women felt then and still feel now that it represented an attempt to constrict not just women's waists but their social roles after the scrambling of gender norms by the war.
Or maybe that is a simplistic interpretation, one that disregards the pleasure the weaer migh gain from escaping boxy utility garments and instead moving and being seen in more shapely apparel.
This week we are mythbusting corsets with biological anthropologist Dr Rebecca Gibson — what they do to the body, why men wanted to ban them, what period dramas get wrong, and why they may actually be feminist!
Today at the EFHA International Conference 2023 in Utrecht, S. de Günther shares #DataVis prototype #ReFaReader combining narration and exploration – collaborative and cross-disciplinary research project #RestagingFashion on digitizing fashion history by @SabineDG Giacomo Nanni @dielindada@ikyriazi@nrchtct:
Portrait of May Sartoris by Frederic Leighton (English artist, lived 1830–1896). May (aged 15) is painted life-size, dressed in dark colours apart from the bright red sash. The fallen tree represents mortality. Hampshire countryside.
The Andalusian Fates (c. 1910-13) by José Villegas Cordero (Spanish artist, lived 1848–1921). Three brightly dressed young women representing the three fates – Clotho, Lachesis and Atropos – who spin, measure, and cut the strands of fate which represent human life in Greek Mythology.