Dress Detective: using Brighton’s Dress History Teaching Collection

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Sarah-Mary Geissler (MA in Design and Material Culture), reflects on how one seemingly uninspiring garment led her to unexpected places…

Fig. 1: Front, side & back view of the 1880s Mauve Altered Afternoon Dress. Photo by Sarah-Mary Geissler

Fig. 1: Front, side & back view of the 1880s Mauve Altered Afternoon Dress. Photo by Sarah-Mary Geissler

It really is amazing is how far one project can take you. From what started simply as a class presentation led to assisting lectures, journal publication and even curating a display just a year later!

During my final year studying the BA (Hons) Fashion and Dress History at the University of Brighton, we had the privilege of being taught by Professor Lou Taylor, pioneering dress historian. The spring term Special Subject module focused on case studies of objects in the Dress History Teaching Collection. Throughout her career, Taylor has amassed a wealth of dress objects which now reside at Pavilion Parade, an incomparable resource waiting to be utilised by students. Each piece has a fascinating backstory – rejected by museums, donated by alumni, rescued by students – though only a small percentage of the collection has been thoroughly researched. The aim of our module was to improve our own analytical and interpretive skills as dress historians, but also to provide a selection of objects with proper catalogue entries. The garment I had my heart set on was already selected by someone else, so I unenthusiastically settled on researching an 1888 Mauve Day Dress. I began the project totally convinced that there was nothing exciting about the Victorian era, and grumbled to friends how boring this project would be. I was so wrong!

View inside the dress bodice. Photo by Sarah-Mary Geissler

Fig. 2: View inside the dress bodice. Photo by Sarah-Mary Geissler

Eventually I found how to apply my own interests to the research. Once I moved past my preconceptions of 19th Century dress, the analysis process became fascinating. I studied the dress inside and out, then compared it to other dresses from the period: it was clear that it wasn’t a straightforward example of 1880s fashion. As a dressmaker myself, the garment’s messy construction intrigued me. Other evidence in the garment led to the conclusion that it could have been an 1860s dress altered over 20 years. My project became a detective-style investigation into who the wearer was; where/when was the dress first made? Why was it altered so dramatically? And was this dress renovation typical for the period?

View of the skirt hem, showing previous stitch perforations. Photo by Sarah-Mary Geissler

Fig. 3: View of the skirt hem, showing previous stitch perforations. Photo by Sarah-Mary Geissler

Throughout the assignment, I contacted several museum-based professionals regarding the dress, and became more confident networking as a researcher. I looked into museums policies regarding altered garments, and how different keepers of costume interpret their collections. Over the course of the module, I developed a specialist understanding of mid-late 19th Century home-dressmaking, strengthened my ability to read dress, learned how to properly mount costume, and found out a great deal about the theory of dress history and the field today. Outside of university, this project gave me the confidence to submit an exhibition review to Textile History Journal, which was selected for publication last November!

Knowing how invested I was with my case study, Professor Taylor asked me to assist with her first year lecture and object handling session, and to do a small talk about the dress. I was so nervous about speaking in front of a large group, but the session went brilliantly. It was surprising how much information I could recall about the dress; I started to feel like a proper historian! This year I was asked to help out again, and so came prepared with notes and printed images to aid my talk.

Dress on display in the Pavilion Parade Foyer. Photo by Sarah-Mary Geissler

Fig. 4: Dress on display in the Pavilion Parade Foyer. Photo by Sarah-Mary Geissler

The success of this led to a conversation about displaying the dress in the School of Humanities’ Pavilion Parade foyer. With help from Clare in the office, mounting the dress was straightforward, though preparing information for the posters was challenging. I had to figure out what story was being told and how to make it interesting for a public viewer. Revisiting an undergrad project as a postgrad student, it was clear to see how much my work has strengthened in just a year (frustratingly, I found a spelling mistake on the first page of my original paper!). Displaying my research made me consider how museums and heritage sites interpret their collections, and this little display pushed me to develop my own curatorial skills.

All in all, I never expected the work done for one assignment to be the basis for such fantastic things. Having the Teaching Collection as a resource has been an invaluable part of my education at Brighton, and has reinforced the importance of understanding objects as sources of information to be read. I’ve been fortunate to have opportunities at the university to provide me with experience I can take into my career. It would be great for more students to get involved showcasing other pieces from the Teaching Collection in future, as there are many, many more fascinating stories to be shared!

 

Perspectives on Fashion Curation

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What does it mean to exhibit fashion today? Student Jade Bailey-Dowling (BA (hons) Fashion and Dress History) visited the London College of Fashion event Perspectives on Fashion Curation to find out.

For a two week period, London College of Fashion (LCF) took over House of Vans in Waterloo with an exhibition and programme of events called Found In Translation, showcasing work from the School of Media and Communication postgraduate courses at LCF.  These include Master’s courses of interest to Brighton’s History of Art and Design BA programme students including Costume for Performance, Fashion Cultures, and perhaps most relevant for those studying Fashion and Dress History, Fashion Curation.

On Friday 17 February, I attended Perspectives on Fashion Curationa series of presentations by some of the leading figures who teach on LCF postgraduate programmes in Fashion and Dress History and Fashion Curation. The event was chaired by Ben Whyman, the manager for Centre of Fashion Curation, and began with presentations from several experts in the field talking about different areas of fashion curation and exhibition making.

Perspectives on Fashion Curation. Photo by Jade Bailey-Dowling, 17 February 2017

Perspectives on Fashion Curation. Photo by Jade Bailey-Dowling, 17 February 2017

Susanna Cordner introduced the London College of Fashion Archive which is open by appointment only and has a vast array of fashion objects, literature and other artefacts. The collection includes 650 shoes from the Cordwainer College Archive dating back to the 18th century. Cordner has worked hard to create an immersive experience from the archive and organises events such as the Object Reading Group, where an object is presented and attendees discuss them, and Sartorial Stories, when a guest speaker from the industry, from designers to editors, bring in an object and discusses it in relation to their career and the fashion industry.

Jeff Horsley explored concepts of exhibition making, and spoke in great detail about the fashion displays in Antwerp that he has been researching for his PhD. Themes of his talk included the importance of exhibition entrances, concepts of what ‘objects’ are within a museum context and the use of mannequins for historical dress vs. contemporary haute couture that could be displayed on a live model. This is something Claire Wilcox  – curator of the exhibition Alexander McQueen: Savage Beauty – has explored with Fashion in Motion at the V&A by presenting contemporary fashion on live models around the museum rather than confined to a glass cabinet. Wilcox, who began working at the V&A in 1979, also spoke about changes in fashion collecting and the shifting attitudes towards fashion exhibitions and contemporary designers in a museum collection.

The penultimate presentation was an overview of the Fashion Space Gallery that is at the campus just off Oxford Circus. The space relaunched in 2014 and was described by Ligaya Salazar, the gallery director, as an ‘interdisciplinary incubator of ideas about fashion” and a “think tank for curatorial ideas and experimentation.” Although it is a small space, there is arguably more freedom than at a larger establishment, leading to innovative use of space and creative curatorial decisions. The current exhibition, Museum of Transology, curated by E-J Scott, documents objects of importance to members of the trans community and runs until 22 April 2017.

Their work also goes outside of the gallery with the travelling Polyphonic Playground. This off-site project is a kind of playground apparatus that can be used to make sound art as all of the surfaces use touch technology or electrical conducting thread to create sound.  Similarly, Alison Moloney spoke about a traveling exhibition she worked on called Cabinet Stories in which 7 curators would use the small cabinet space to display objects in different venues, including a women’s prison, an NHS hospital ward for people with suffering with personality disorders, a charity shop in Poplar and an old peoples home. At all the venues, people were encouraged to then display objects that meant a lot to them. This meant that people could get involved from the community in curation, showing the diversity of fashion outside of the museum. Moloney also introduced the project 1914 – Now, a series of films and essays summarising the themes of this event, which was displayed in the exhibition space at House of Vans and also available on SHOWstudio. Fashion films explore initiative ways to present fashion using film, visuals and sound, much in line with the inovations presented at this talk related to new ways to exhibit fashion and dress.

MA Fashion Curation final show at LCF. Photo by Jade Bailey-Dowling, 17 February 2017.

MA Fashion Curation final show at LCF. Photo by Jade Bailey-Dowling, 17 February 2017.

The final portion of the event was a panel discussion with Amy de la Haye, Alison Moloney, Jeffrey Horsely, Ligaya Salazar, and Claire Wilcox, where they discussed what curation meant for them, motivations when creating an exhibition and generally what it is like to curate a fashion exhibition. It was fascinating to hear differing approaches on the subject of fashion curation and to learn more about how experimental the field is.

 

From kitsch to Frankfurt Kitchen: Berlin’s Museum der Dinge

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Student Wendy Fraser (BA (hons) History of Art and Design) opened the cupboards in a real-life Frankfurt Kitchen whilst learning how ‘good design’ was promoted in Germany

In November, second year students on the History of Art and Design trip to Berlin visited the Werkbundarchiv-Museum der Dinge (Museum of Things) in the creative Kreuzberg district. The museum houses a collection of 40,000 German objects manufactured in the 20th and 21st centuries in addition to 35,000 documents in the archive of the Deutscher Werkbund (German Association of Craftsmen). The Werkbund, an association of designers, architects, industrialists, publishers and teachers founded in Munich in 1907, shared similar concerns to William Morris’ earlier Arts and Crafts Movement in Britain. However, although they advocated aesthetic education, sensitivity to materials, quality and durability, their interests diverged from Morris’s ideals in their promotion of modern design and excellence in mass production, aiming to create a cultural utopia.

Figure 1: The museum's main dispaly area with contrasting exhibits displayed in glass-frontedcabinets. Photograph by Armin Hermann. Image courtesy of Museum der Dinge. Figure 1: The museum’s main display area with contrasting exhibits displayed in cabinets. Photograph by Armin Hermann. Image courtesy of Museum der Dinge.

The Museum der Dinge is located at 25 Oranienstraße and its compact space on the third floor of the building houses a shop, the main display area with glass-fronted shelved cabinets and a separate room with an example of the modernist Frankfurt Kitchen. The cabinets contain an astounding array of exhibits including crockery, kettles, toys, lamps, clocks, shoes, typewriters, tools, telephones, technology, glassware, furniture, and tins. The objects displayed exemplify the concerns of the Werkbund to preserve the quality of manufactured goods during the industrialisation of Germany and their aim to create a cultural utopia via excellence in German factory production. Handcrafted objects are shown with those that are mass produced by machine, named designers alongside anonymous makers, professionally made next to inexpertly produced items, articles made in West Germany compared with those made in the DDR (East Germany) and genuine products displayed alongside counterfeits.

Figure 2: Selection of items made in the DDR. Photograph by Armin Hermann. Image courtesy of Museum der Dinge.

Figure 2: Selection of items made in the DDR. Photograph by Armin Hermann. Image courtesy of Museum der Dinge.

The Werkbund also aimed to educate in matters of taste. The Department of Aesthetic Aberrations was created at the Stuttgart State Crafts Museum in 1909: 900 ‘bad taste’ articles chosen to demonstrate to the public what not to buy. Conversely, the publication of the ‘Deutches Warenbuch’ from 1915-1927 showed 1600 approved everyday objects as a guide for retail buyers and a pattern book for designers. While all of this may sound a little dry, the museum’s display concept invites the visitor to compare the contrasting qualities of the exhibits. The Werkbund viewpoint of appropriate design is juxtaposed with objects of opposing values. Accordingly, examples of ‘good design’ are shown with the kitsch holiday souvenirs they abhorred, licensed character merchandise and some chilling Third Reich goods such as SS figurines and Swastika mugs.

My favourite exhibit was the room containing the Frankfurt Kitchen: visitors can walk into the room, open the cupboards, pull out the aluminium storage containers and chopping board and really feel what it would be like to use the space. As it was the topic of my forthcoming seminar presentation, it was really valuable to experience the kitchen I had previously been studying only in books.

Figure 3: View of the Frankfurt Kitchen from the doorway. Photograph by Armin Hermann. Photograph courtesy of Museum der Dinge.

Figure 3: View of the Frankfurt Kitchen from the doorway. Photograph by Armin Hermann. Photograph courtesy of Museum der Dinge.

Ultimately, the Museum der Dinge is an account of the Werkbund’s achievements as an association and with the exception of the Frankfurt Kitchen installation, what is missing for me is the human element. Although a large number of the exhibits are everyday possessions rather than the elite items that we are most used to seeing in museums, it is not the stories of the makers and the owners that are being prized in this museum. That is not to say that there are not fascinating things to see – despite the rather academic narrative, the museum is full of wondrous objects and is worth a visit. It is a trip through the mind boggling factory output of the 20th century and the ‘bad taste’ items are as pleasurable to view as the ‘good design’ products are inspiring and informative.

Volunteering at Brighton: Gladrags Costume Store

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Emmy Sale, a second-year student studying BA (hons) Fashion and Dress History tells how Brighton University helped her to get involved with a fascinating costume project…

Life at university can offer many new opportunities: volunteering can not only help others, but also give you new experiences that can be helpful for your future career.

To complement my studies, I decided to undertake a volunteering placement with help from the university’s Active Student scheme. There are a broad range of placements in and around Brighton that are available, whether it may be to gain experience in a museum environment, assisting events organisation or in education and teaching. Whatever your interests and aims may be, the co-ordinators help to understand these in order to ensure the placement will be suitable and fulfil your aspirations.

As a Fashion and Dress History student, I understood how competitive the field is within the museum and heritage sector. I wanted to use my spare time to be productive, learn new skills and meet new people alongside my course and university experience. After meeting with Active Student, I chose to undertake a Research volunteer placement with the community charity, Gladrags.

Gladrags is a volunteer run charity and offer a unique resource for the hiring of costumes to schools, community groups, amateur art groups and individuals. The store has over 6000 costumes and garments, that volunteers find themselves overwhelmed by when first entering the store. Through the role and time dedicated per week to helping at the store, I found myself putting away costumes, which was always a test of knowledge but also enabled me to learn new things about historical clothing from other volunteers. I also enjoyed spending time in the sewing area to fix, rejuvenate or make garments requested by users of the store. Outside of my time at the store, I undertook research into Roman clothing and artefacts for the education boxes that can be hired by schools to compliment and enrich the national curriculum.

Macduff costume sketch by Duncan Grant c. 1910

Figure 1: Scanned image of the Macduff Sketch, from the Sketchbook of Duncan Grant, c.1910

Through this placement, an opportunity to be part of a project with Charleston House arose. The project was proposed as part of the Centenary Celebrations of the House and to bring together community groups to discover and explore Charleston House and its history. It involved the use of costume sketches from a sketchbook given to Charleston by Angelica Garrett, the daughter of Duncan Grant which were originally intended for a production of Macbeth dating from 1911. The production was going to be directed by Harley Granville Barker at the Savoy Theatre in London, but in the end the costumes were never made. With help from costume designer, Suzanne Rowland, a group of 15 volunteers at Gladrags set to interpret, imagine and reproduce the costume sketches of Macbeth, Lady Macbeth, a witch, Lennox and Macduff.

Figure 2 The author of this article working on the Macduff costume at the Gladrags Costume Store. Image from Gladrags Facebook Page, 26 May 2016.

Figure 2: Emmy Sale working on the Macduff costume at the Gladrags Costume Store. Image from Gladrags Facebook Page, 26 May 2016.

We spent several workshops together to learn about Charleston House and to produce the garments. I was excited to work on the costume of Macduff. The costume sketch featured a tunic with squares and circles erratically placed and adorning all spaces of the fabric. It was inspired by Gustav Klimt’s The Kiss (1907-08) and the various sized squares featured on the covering of the bodies. Appliqué squares of different sizes and proportions would cover the calico tunic in a colour scheme of gold, browns, blacks and silver toned textured fabrics.

To exhibit the costumes, actors from Burgess Hill Theatre performed a mini-Macbeth within the gardens of Charleston House which we were invited to help with and share our project with those at the centenary events. It was a truly unique and wonderful experience to see a piece of history that could have just been hidden in an archive but has been somewhat revived and as a result Duncan Grant’s vision was realised through the interpretation and construction of the garments.

Figure 3: Actor wearing the finished garment in the garden of Charleston House. Image courtesy of Gladrags. Taken 29 May 2016.

Overall, my volunteering with Gladrags has been one of the most valuable experiences I have had since moving to Brighton and starting university. It helped me to contextualise my studies as well as testing what I already knew or did not know. It is an experience that I will be able to talk about to future employers as well as one that expresses my commitment to expanding knowledge to both my studies and the job roles I may want to have in the future. I would highly recommend to anyone how helpful the Active Student service at the University is and the advantages that volunteering can have on both personal development and preparing for future job roles.

What is ‘African’ fashion? Creating African Fashion Histories conference

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Jade Bailey-Dowling (final year BA (hons) Fashion and Dress History) attended a recent conference for the exhibition Fashion Cities Africa that questioned whether ‘fashion’ is just a European idea…

On 2 November 2016, the Royal Pavilion & Museums with the Sussex Africa Centre at the University of Sussex and the University of Brighton held a one-day conference titled Creating African Fashion Histories. This event accompanied the much anticipated first major UK exhibition dedicated to contemporary African fashion, Fashion Cities Africa at the Brighton Museum & Art Gallery. It was an engaging and well-attended conference which saw fourteen speakers summarizing their recent research on particular periods or focusing on different places pivotal to African fashion. The day was split into four sections, with allocated time for a panel discussion at the end of each of the sections, enabling academics and attendees to interact and participate together.

The eclectic research topics, varying from place to period, led to a fascinating and thorough exploration of the history of African fashion. While some focused on the origins of African fashion and styles of the past – such as Jody Benjamin from the University of California who discussed the 18th and 19th century cloth trades and costume trends from surviving prints and a few rare pieces of  cloth – others took a more contemporary focus, for example Christopher Richards of Brooklyn College who looked at the styles present in 1960s Ghana. Carol Tulloch, who co-curated the V&A’s Black Style exhibition in 2004, developed her research by using Ebony magazine to investigate the styles, fashions and dress of African American women looking at their aesthetic choices.

Other presenters included M. Angela Jansen, a visiting researcher at the Victoria and Albert Museum, who focused on 20th century Moroccan fashion history, looking mainly at photographs as sources and examples. Jansen pointed out a central theme that ran through all talks of the day: that fashion is not a European idea. This idea was reaffirmed by Tulloch who described the criticism of an exhibition for not ‘seeming’ African enough to a Western audience, highlighting the Europeanized constructed view of what is ‘African’; an interesting idea to hold on to when visiting the exhibition itself.

When explaining the main focus of the exhibition, Nicola Stylianou & Edith Ojo, who both worked on the exhibition, emphasized the desire to ensure the exhibition was inclusive and accessible to anyone. A longstanding battle within the fashion exhibition field is to ensure that exhibitions are educational, informative and entertaining. Putting too much emphasis on academia means it is not accessible to the masses, yet making it too ‘fun’ almost discredits it. However, Fashion Cities Africa is a perfect blending of the two, opening up a new focus on African fashions to the wider audience.

The day ended with a drinks reception and an opportunity to view the Fashion Cities Africa exhibition, which celebrates the current fashion scene, and (like the conference) is supported by the Sussex Africa Centre at the University of Sussex and the University of Brighton, both of which are key partners in the project. The exhibition, like the conference, is split into four sections, however the sections in the exhibition relate to contributions from designers from four cities: Nairobi, Casablanca, Lagos and Johannesburg. Much like the range of research presented at the conference, the exhibition echoes the necessity to explore a wide variety of source in order to attempt to fully understand the topic. Sources such as short films, photographs, a handling corner with long swathes of fabric to touch as well as actual garments are used to illustrate the fashion cities of Africa. The exhibition will run until January 8th 2017.

Living with art and design: a trip to Charleston

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Wendy Fraser, a second year studying BA (hons) History of Art and Design  at the University of Brighton, delves into the lives of the Bloomsbury Group on a visit to their idiosyncratic and highly decorated home, Charleston.

On Thursday the 29th of September a group of second year students enjoyed a trip to Charleston, a 17th century farmhouse set on the Firle Estate deep in the Sussex countryside. The artist Vanessa Bell (1879-1961) moved into Charleston in 1916 with her two sons, her lover the painter and designer Duncan Grant (1885-1978) and his lover, the writer Bunny Garnett. The house was perfectly located nearby to Vanessa Bell’s novelist sister Virginia Woolf’s Sussex home and the neighbouring farm provided Grant and Garnett with essential war work thus releasing them from conscription during WWI.

Bell and Woolf were original members of ‘The Friday Club’, a group of writers, thinkers and artists who met weekly from 1905 onwards to discuss ideas in their home at 46 Gordon Square, London. After the artists exhibited at the ‘Post-Impressionism Exhibition’ in 1912 they became known as ‘The Bloomsbury Group‘. Charleston was to remain their home, studio, and hub of Bloomsbury activity for over 60 years until Duncan Grant’s death. Many key figures from the period’s literary and artistic worlds visited the house including Lytton Strachey, Dora Carrington, E.M. Forster and Roger Fry (who had established the Omega Workshops for which both Bell and Grant designed textiles and ceramics). The stories and interpersonal relationships behind the inhabitants of Charleston are almost as interesting as their artistic endeavours. There are eyebrow-raising tales of the sexual shenanigans within the group, unrequited love and personal tragedy.

On our guided tour we viewed 10 rooms: Clive Bell’s study (Clive Bell was an art critic, Vanessa Bell’s husband and father to her sons), the Dining Room, Library, Garden room, the bedrooms of Clive Bell, Vanessa Bell, Duncan Grant and their friend, the economist Maynard Keynes, the spare room and the pièce de résistance – the studio shared by Grant and Bell. Charleston was always rented from the so the interior decoration of the house was always an organic process with nothing intended to be particularly permanent or durable. The dining room walls were stencilled by Duncan Grant in a geometric design with the paint drips clearly visible, there are numerous examples of hand-painted furniture with headboards, chimney boards, wardrobes and tables decorated with either artist’s work and a peak behind the doors reveals some beautiful paintings. A number of the window embrasures have been painted and touchingly around Vanessa Bell’s bedroom window Grant painted Henry, their pet lurcher to watch over her while she slept and a cockerel above the window to wake her up in the morning.

Photo of students and staff in the garden at Charleston

History of Art and Design Year 2 Welcome Week study visit to Charleston Farm House. From the left, Wendy Fraser, Harriet Dakin, Dr. Anna Vaughan Kett, and Lisa Hinkins in the garden of Charleston. Photo by Dr. Yunah Lee.

Charleston’s furniture and decorative items are an eclectic mix of heirlooms and contemporary pieces – a 1960’s chintz bed throw from Habitat, beds from Heals, psychedelic fabric Grant brought back from Morocco displayed with 17th century carved and painted Venetian chairs, Julia Stephen’s dressing table (Vanessa Bell and Virginia Woolf’s mother), an 18th century square piano, an ornate north Italian console table, kitsch Staffordshire pottery figures and a rush-seated Sussex settle. The paintings on display are a combination of Vanessa Bell and Duncan Grant’s works augmented with paintings, etchings and prints of artists whose work they admired- Delacroix, Sickert, Toulouse Lautrec, Picasso, George Bergen, Segonzac and Pierre Roy. Some of the paintings Grant swapped his pieces with fellow artists for and there are a few works inscribed to Clive Bell from French artists of his acquaintance through his role as an art critic.

Charleston does still feel very much like a family home where it is easy to imagine the daily life of both domesticity – meals be cooked and eaten, children being educated and weekend visitors being entertained in the beautiful gardens coupled with a prodigious amount of creativity – sketching, painting canvases and furniture, writing, sewing and knitting in a harmonious and productive artistic life. It is a truly fascinating place to visit.

A Visit to Berlin

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In March 2016, nine second-year students and two tutors from the BA (hons) History of Art and Design programme visited Berlin for five days to study the city’s museums, material heritage and art collections in relation to the city’s distinctive history and cultures. Here are some of the students’ highlights from the trip:

Rachel Blyth: The Berlin Jewish Holocaust memorial was designed by architect Peter Eisenman and completed in 2004. Walking into the memorial the sun was shining; however, walking deeper into the labyrinth of concrete it became very cold and isolated. The modern architecture encapsulated the notion that Berlin is a modern city yet still holds the past close to its design.

East Side Gallery, Berlin

East Side Gallery, Berlin

Charlotte Brown: On review of our trip to Berlin, my favourite part would have to be our visit to the East Side Gallery, a surviving 1.3km stretch of the Berlin wall. Famously graffitied in the ’90s after the fall of the Wall in 1989, the works of various artists can be seen along the whole length. Due to tagging over the past years, the wall is now protected by a metal fence which did however inhibit our view and photographs, but the overall experience and art work has influenced me to base my further studies on the remainder of the wall.

Ruby Helms: Visiting the Jewish Museum – A Different Kind of Museum Space. Without visiting, it was difficult to understand the full impact of architect Daniel Libeskind’s ‘Between the Lines’ structure. The museum showed me that it is possible to present history in such a way that it emotionally involves the visitor, through the curation of objects and construction of the museum space.

Elina Ivanov: Out of the places we visited there were two that I felt made the history of Berlin most tangible; Clärchen’s Ballhaus gave a taste of Berlin nightlife of yesteryear, while the Jewish Museum was a powerful reminder of the great extent of the history of Jewish émigrés, as the discourse typically seems to be centred strictly around the Holocaust years.

Shalekhet (Fallen Leaves) in the Memory Void, one of the empty spaces of the Jewish Museum

Shalekhet (Fallen Leaves) in the Memory Void, one of the empty spaces of the Jewish Museum

Emilie Kristiansen: Berlin offered copious sights worthy of recollection, but the installation Shalekhet (Fallen Leaves) by Menashe Kadishman at the Jewish Museum stands out as especially significant. The monumental view of thousands of distraught faces cut out of iron plates is a poignant reminder of the countless innocent Jews whose lives were taken, and the void they left behind.

Sarah Mason: I had never been to Berlin before this trip and I have to say Berlin lived up to all my expectations and more. My highlight and what I chose for my presentation and essay subject was a place called Clärchens Ballhaus. Clärchens Ballhaus is a dance hall built in 1895. This Ballhaus was one of many, 900 in Berlin alone in the early 1900s. Berliners loved to dance and the Tango was already more popular in Berlin than in Paris or London at this time. What is unique about the Ballhaus is it is still used today and is as popular now as it was 100 years ago with the local community. In décor, fixtures and fittings it has changed little apart from some slight bomb damage to the grand mirror hall upstairs. If you get a chance to sneak upstairs and take a peek, it’s a must: you really feel you have been transported back in time. Every aspect of Clärchens Ballhaus is steeped in social history for example the original cloakrooms with over 800 iron coat and hat hooks (the Ballhaus would have between 600-800 guests per night in its heyday). The bar and even the majority of tables and chairs are all today as they were  when Clärchens’ famous owners Fritz and Clara Buhler took on the premises in 1913. I fell in love with this place so much I went back and visited it eight weeks later, so definitely the highlight of my trip and definitely a place I recommend to visit.

Learning from Volunteering: making it happen at Brighton Museum

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University life opens up opportunities to make a difference in the community and learn new skills in the process. Lisa Hinkins, a first year BA (hons) History of Art & Design student, describes the enriching experience of volunteering for the Photoworks ‘Making it Happen’ project.

I knew I had made the right decision to study at the University of Brighton after we had a few lectures regarding managing wellbeing and employability. Having left the world of work at the end of September, after twenty-three years of 9 to 5, some reassuring words that the university took student wellbeing and life during and after studying seriously were important to me, especially as I was taking tentative steps towards a new career in an area I have always been passionate about.

In my former employment, the Waste & Recycling section of a local authority, the emphasis on volunteering was important for conveying the message of sustainability and recycling. My manager enjoyed bring university students into our hub, teaching and directing them, while also learning from them too. I picked up on this ‘positive feedback loop’ with how I managed and taught my volunteers for the scrap store I ran from our building. The volunteers not only gave valuable time to the store, but I was greatly enriched learning new art and craft ideas from them, while also discovering how interesting these people were.

So, as a new student I embarked upon seeking out volunteering opportunities. My first step was meeting with Kat Tucker, Volunteering Project Officer for Active Student Volunteering Services. Kat has given me excellent support over the past 5 months, providing help and advice with applications for volunteering opportunities. My first placement was with Photoworks and was a month-long position in January under the banner ‘Making it Happen 2016’. This was an open day to the University of Brighton’s Photography department for 16-18 year olds who may have not considered the possibility of university study before.

With five other students, we learned from photographer/artist Annis Joslin, how to plan and deliver photography based workshops with school students aged 16-18. I participated in a series of three hour training sessions led by Annis, which allowed me to learn skills needed to lead workshops. The requirements of the role were to have an open-mind and hands on approach to art and design and wanting to gain practical work experience in arts education.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

The group divided into pairs. Myself and a fellow volunteer researched, planned and prepared workshops based at the Brighton Museum, around the photography exhibition ‘Pierdom’ by Simon Roberts. I learnt to work ideas up very quickly, get to understand new ways of working for community arts education and develop trust with other volunteers that I had only just met. We all had to lead one workshop three times during the day, with up to fifteen school students in each session.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

My workshop was titled ‘The Art of Looking’. I wanted the school students to spend time looking at the exhibition images and form individual ideas about them, working in teams discussing ideas together. This helped them to become confident in expressing thoughts from looking and reacting to the images and be able to articulate those thoughts by talking in front of other people. I used techniques such as word cards they had to blindly select from to stimulate ideas.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

Being able to deliver ideas and education to younger people was exhilarating, extremely satisfying and I enjoyed listening to them react to the exhibition, with their own ideas and thoughts. The students enjoyed it, too: positive feedback included, ‘Enjoyed looking closer at the images and relating them to words. Made me look at them more and appreciate the detail in them.’

I am now looking forward to receiving an interview date for my next volunteering opportunity. It isn’t just about what looks good on your CV, but how these experience can nurture your own thirst for learning, being creative and boosting your confidence.

 

The Clothes on Their Backs: exploring fashion and dress history through literature

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In advance of author Linda Grant’s visit to the University of Brighton on 30 November 2015, final year student Sarah-Mary Geissler reflects on the novel she will be discussing –  The Clothes on Their Backs* – and its relevance for anyone interested in fashion and dress history.

Every year the University of Brighton participates in The Big Read, a national project to encourage first year students to read a novel that has been nominated for the Booker Prize. This year’s choice is The Clothes on Their Backs (2008) by Linda Grant, an author noted for using dress as a key theme within novels.

As part of my Fashion and Dress History BA, last year I took a module, ‘Reading Dress: 1875-1965’ where literature was examined and considered as a source to research historical dress. During the summer break, our module tutor sent an email regarding The Big Read. She explained that Grant’s novel engaged with the significance of clothing and asked whether we’d like to read the novel over the holidays then meet up for a little book club when we returned to Uni.

I was initially reluctant to take up the request: after spending a whole semester poring over novels intently I wasn’t sure if I could do it again. However, after looking at a review of the novel I was intrigued and had to read it!

The Clothes on Their Backs is an intense novel that delves into the complicated relationships of characters, all of whose clothing defines who they are or think they are. The story accelerates you through the bittersweet moments of life, with elation and tragedy fleeting by and only the ennui of life remaining constant.

Cover of Linda Grant The Clothes on Their Backs, (Virago, London: 2008)

Cover of Linda Grant The Clothes on Their Backs, (Virago, London: 2008)

The protagonist, Vivien Kovaks, is the daughter of Hungarian immigrants. Her life is spent in and around a small flat in Benson Court. Her parents withhold information about their lives before London and leave Vivien feeling deprived of a family history and heritage. As she later learns, her Uncle Sándor also emigrated to London only to become an infamous slum landlord, heralded as ‘the face of evil’.

Vivien as a person allows herself to be dressed – and therefore defined – by those around her, from her neighbour who leaves her glamourous vintage clothes, to her fiancé who sees her as an upper-class beatnik, to her lover who likes her dressing up in his punk leathers. The clothing of others is embedded in Vivien’s opinions of them, which leads to her fascination with her uncle, a pimp dripping with luxury and ostentation. A theme of what is worn not quite matching up to what is inside the characters runs throughout.

The novel is astoundingly researched, with accurate accounts of 1970s London as well as 1930s Budapest. Even the public reaction to style movements such as the popularity of second-hand clothing to uneasy fears of skinheads and youth gangs were described. Grant captures the incredible spectrum of emotions invested in appearance: Eunice the Jamaican immigrant studies fashion meticulously and goes without food in order to retain an immaculate appearance, while Vivien’s own mother accessorises with homemade waistcoats and a walking stick, not through choice but affliction.

The Clothes on Their Backs is a truly affecting book. Grant creates incredibly three-dimensional characters who are complex, flawed and vulnerable, and contribute to a story that stayed with me long after I’d put the book down.

* First year students at the University of Brighton can collect a free copy of the novel from university libraries, their course leader or the Students’ Union.

Bowie, the Blogosphere and Bright Young People: Textual Fashion Conference 2015

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The breadth of topics at the University of Brighton’s international conference on Textual Fashion impressed and inspired Alice Hudson (BA (hons) Fashion and Dress History)

Recently I had the pleasure of attending the ‘Textual Fashion: Representing fashion and clothing in word and image’ conference which took place over three days at the Grand Parade campus and which was organized by the University of Brighton’s Charlotte Nicklas and Paul Jobling.

Having never been to a conference before, I wasn’t sure what to expect, but it turned out to be an invaluable source of information and education, opening up new discourses that I had never previously encountered or even considered. Due to the sheer number of speakers over the course of the conference, the papers were split into strands containing three papers each, connected by a general theme, and three strands would be on at the same time, making deciding where to go a challenge. The number of papers that attendees had the chance to listen to over the duration of the conference was a little overwhelming. Although sitting down all day listening to other people speak doesn’t sound like it would be physically draining, it really is – it’s a good job there was plenty of tea and coffee!

There was a large variety in terms of speakers, including every career level from MA students (a couple of whom came from Brighton’s History of Design and Material Culture MA) to well-known academic researchers who are paving the way in their chosen field. It was wonderful to see papers from Brighton tutors, including Charlotte Nicklas’ paper on the appearance of the ‘Bright Young People’ in interwar novels and Jane Hattrick’s on fashion designer Norman Hartnell’s appearances in women’s magazines.

On top of the twenty-minute papers and discussions we also had truly fascinating talks from keynote speakers Jonathon Faiers and Stephen Matterson, but it was Agnès Rocamora’s paper “Making It Up As you Go Along: Labour and Leisure in the Fashion Blogosphere” that really struck me. As someone who follows a lot of fashion blogs on various digital platforms and social media sites, it was interesting to have an insight into the work of those bloggers and how they negotiate their work in what is still a relatively new platform/form of labour (hence the title). She discussed ideas such as Lazzarato’s ‘Immaterial Labour’ and Terranova’s ‘Free Labour,’ the latter of which seems all the more relevant in the current fashion industry which so heavily relies on unpaid internships.

Mairi MacKenzie speaking about 'The Man Who Fell to Earth: Bowie, Football & Fashion in Liverpool 1976-1979'. Photo by Alice Hudson

Mairi MacKenzie speaking about ‘The Man Who Fell to Earth: Bowie, Football & Fashion in Liverpool 1976-1979’

With such a huge range of subjects covered within the title Textual Fashion, including cinema, literature, magazines and more, the conference was undoubtedly a success in providing food for thought. Other highlights of the conference for me were hearing Mairi MacKenzie’s insights into the sartorial influence of David Bowie on football fans, or “casuals” in Liverpool in the late ‘70s, and Janet Aspley’s research on Nudie Suits, specifically the one belonging to Gram Parsons as she explored the relationship between country music and counterculture.

Janet Aspley giving a paper on Gram's Gilded Palace suit. Photo by Alice Hudson

Janet Aspley giving a paper on Gram’s Gilded Palace suit

I would urge anyone currently studying on any of the History of Art and Design pathways to make an attempt to attend at least one conference before the end of their course (and preferably early on). The experience was helpful not only in terms of learning new things and opening up discussion, but also because it gives you an idea of how to present an academic paper (something we all could do with knowing for seminar presentations). It was also a good networking opportunity: you’d be surprised how many interesting people you get to talk to in what was a truly welcoming atmosphere. Plus, you should make the most of student prices before it’s too late!

 

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