Outlandish millinery fit for a king in Brighton’s pleasure palace

Bookmark and Share

Wendy Fraser, volunteer at Brighton Museum and Art Gallery and MA History of Design and Material Culture student, shares her insider insights on an innovative new display at the Royal Pavilion.

Stephen Jones Hats, the exhibition at the Royal Pavilion that opened on 7 February 2019 and runs until 9 June 2019, celebrates over 150 hat creations designed by the milliner Stephen Jones OBE. After studying millinery at Central St Martins (and being taught dress history by University of Brighton’s Professor Lou Taylor), Jones opened his first shop in Covent Garden in 1980 and just two years later one of his hats was bought by the V&A for their collection. He has designed hats for celebrities and royalty and has collaborated with fashion houses and couturiers including Dior, Thom Browne and Giles Deacon. The hats in the exhibition have been garnered from private lenders, designers and Jones’s own archive.

Figure 1 3D printed bust of Stephen Jones wearing a specially made top hat in the Octagon Hall of the Pavilion. Photograph by Tessa Hallman, 2019. Image courtesy of Brighton Museum.

Co-curated by Stephen Jones and Martin Pel, the curator of Fashion and Textiles at Brighton Museum and Art Gallery, the exhibition has been designed as a tour through the Royal Pavilion with the hats, grouped by theme, ‘peopling’ the rooms. The visitor is greeted in the Octagon Hall by two gilded busts of George IV and Stephen Jones commissioned especially for the exhibition and wearing oversized hats: a velvet bicorne hat from Galliano’s Spring/Summer 2009 show for the Prince Regent and a crimson velvet top hat upon Jones’s head (Figure 1). Jones has made headwear for George IV before: his statue in Trafalgar Square was adorned with a gold hat in the shape of one of the Pavilion’s domes and topped with a rounded minaret (the hat is displayed on the bed in the Yellow Bow Room) while the horse he sat astride sported a smaller version. Both hats were designed for  the millinery showcase Hatwalk when some of London’s most famous statues were behatted as part of the celebrations for the London Olympics in 2012.

The Pavilion provides a fitting background for Jones’s hats which are as dramatic and fantastical as the opulent interiors of the royal palace.  Jones has links to Brighton; his Spring/Summer 2012 collection Chinoiserie-on-Sea was inspired by the Pavilion and he has carried out research for his work in the costume store at Brighton Museum which is where the idea for this exhibition was first proposed. It is this collection of Brighton-themed hats, connecting to the architecture and seaside location of the city, which visitors first encounter in the entrance hall.

Figure 2 Stephen Jones’s hats on display in the Great Kitchen, Brighton Pavilion. Photograph by Tessa Hallman, 2019. Image courtesy of Brighton Museum.

In the banqueting room the table is set for 26 hats worn by some of Jones’s most famous clients including Lady Gaga, Mick Jagger, Kylie Minogue and Boy George. The two wider, most prestigious chairs at the star-studded dinner party are reserved for a top hat from the 1920s which belonged to Jones’s grandfather and a hat that he has replicated for George IV from a portrait painted in 1782, demonstrating that hats have always been ‘an important social and historical item of dress.’ [1] The great kitchen has a whimsical display of hats themed around food, the underwater world and birds (Figure 2). A seagull hat designed for the New York brand, Thom Browne, is displayed high up in the kitchen as though ready to sweep down and steal chips – a witty nod to Brighton’s beach menaces.

I have been volunteering at the museum with Martin Pel since Autumn 2017 and have been involved in the behind-the-scenes preparation for the show. It’s been a fascinating experience, and has included visiting the studio of Zenzie Tinker Textile Conservation (where individual mounts have been made for each hat to enable their display on metal stands) and helping to measuring the heights for the hat stands in their different display configurations. I assisted on a shoot where each hat was individually photographed for the guide panels, I met the artist who has gilded the 3D printed busts in her studio, and when it came to the installation of the exhibition, I helped to put hats into their locations. There are entire outfits by Giles Deacon, Thom Browne, John Galliano for Dior and Maria Grazia Chiuri for Dior on display, with the hats that Jones made to accessorise them.  During the installation a team from Dior came to the Pavilion to dress the Dior mannequins but I was able to assist by dressing some of the mannequins with the Giles Deacon outfits and moving them into position with Martin (Figure 3). This was thrilling but also quite nerve-wracking!

Figure 3 Giles Deacon outfits with Stephen Jones runway headpieces. Photograph by Tessa Hallman, 2019. Image courtesy of Brighton Museum.

During his speech at the private view, Jones spoke about the exhibition and observed that ‘hats tell a story’. The hats worn by the glitterati of our times exhibited in the Royal Pavilion help to remind the visitor that the Pavilion was a pleasure palace – a venue for lively parties attended by glamorous aristocratic guests. The interaction between the hats and the architecture and furnishings of the Pavilion allows the hats to transcend their function as headwear. Depending on where they are positioned, they appear as sculptural objects of art in their own right, at times complimenting the colours and style of the sumptuous interiors, at others arresting the eye with their incongruous shapes and materials. Clair Hughes describes the wild nature of millinery in a way that surely the hedonistic George IV would approve of: ‘a hat has the license to be what it wants’, she writes, ‘it can take off in any direction in almost any material and much can happen as it leaps into the void. Hats, like the best pleasures, are risky.’ [2]

[1] Oriole Cullen, Hats: An Anthology by Stephen Jones, (London: V&A Publishing, 2009) 11.

[2] Clair Hughes, Hats (London: Bloomsbury, 2017) 14.

From charity shopping to forensic research: Amber Butchart’s fashion history career

Bookmark and Share

Donna Gilbert, BA Fashion and Dress History, reflects a recent talk by fashion historian, Amber Butchart.

Figure 1: Fashion historian Amber Butchart. Photo: BBC4 A Stitch in Time. www.bbc.co.uk.

For Amber Butchart, a childhood spent trawling the charity shops and jumble sales of Lowestoft, Suffolk with her mother sparked a lifelong interest in vintage fashion and what many might envisage as a dream career path. Addressing students on the History of Art and Design programme in March 2019, Amber explained how these humble beginnings metamorphosed into a professional life encompassing television, radio, writing and, more recently, forensic science work.

The informal talk was both inspirational and realistic, with Amber highlighting how for every successful TV or publishing pitch, there were many rejections or ideas to be shelved for a later date. She began by explaining how her love for vintage fashion has informed both her personal and professional journey. Amber gained an MA in the History and Culture of Fashion at the London College of Fashion where she used a 1970s Biba dress originally owned by her mother to both inform and channel her studies. The dress inspired an interest in clothing and relationships and how the materiality of clothing can tell stories of past lives.

After completing a BA in Literature, Amber spent the summer of 2002 working for vintage store, Beyond Retro. She started on the shop floor but spent her lunch break researching vintage fashion and its social history. This interest not only led to a new role within the company as a buyer, focussing on quality control and coordination, but also established her as a valuable contact and source of knowledge for journalists who were becoming increasingly aware of the popularity of vintage fashion. This growing reputation as a vintage fashion expert also provided openings for television work. Amber first broadcast her research in a documentary for Radio 4, highlighting the global impact of discarded clothing from Europe and the US and its devastating impact on local garment industries in poorer countries.[1] She also described her role as presenter on the BBC4 series A Stitch in Time, screened in January 2018, which looked at historical figures through the clothes they wore, working with a team to recreate the clothing depicted in works of art.[2] More recently, in April 2018 she presented a fascinating documentary examining the Huguenot silk weavers of Spitalfields.[3]

Figure 2: Forensic archeologist Dr Karl Harrison and Amber Butchart examine forensic evidence. Photo: Pedro Alvarez, The Observer. www.theguardian.com

In the last part of her talk, Amber described how she was contacted by Dr Karl Harrison, a forensic archaeologist, after he heard her speaking about fashion history on the radio. Concerned that forensic science was relying heavily on DNA alone, he recognised the value of appointing a garment expert who could examine and potentially date clothing or textiles when they are found amongst a person’s remains. As Amber pointed out, material culture is very much about the stories which clothing can tell us, along with different applications of this understanding. Not surprisingly, she never thought that an interest in vintage fashion would result in her working with crime scene investigators or forensic analysts, but saw this as an exciting new opportunity. Interestingly, it loops right back to the beginning of her career at Beyond Retro, using the same sort of skills which she employed to train people in what to look for in garments and how to gauge the age of something in order to assess its value. The forensic science work encompasses both analysis and report writing and the training of crime scene investigators. Whilst the work is exciting and interesting, Amber explained that it comes with a unique set of issues; adapting to working with dead bodies and being around death is not something she ever thought she would be doing and requires careful contemplation.

Amber concluded her talk by pointing out the benefits of an enquiring approach, stating: ‘If you enjoy research, then learning new things is something you want to be doing all the time. For me to now have a whole new area that I can really get my teeth into and start learning and finding out about has just been really invigorating.’ Her closing comment served as a reminder to all History of Art and Design students of the benefits of a material culture approach, looking closely at objects and images, and how a love of research combined with an open mind and a willingness to explore new prospects can lead to exciting, yet unexpected, career opportunities.

[1] Rags to Riches. BBC Radio 4, Oct 2017. Web.  https://www.bbc.co.uk/programmes/b08psd8t/broadcasts/2017/10

[2] A Stitch in Time BBC4, London, Jan 2018. Web.  https://www.bbc.co.uk/programmes/b09l2qzs

[3] “The First Refugees,” Civilisations Stories. BBC1, April 2018. Web. https://www.bbc.co.uk/programmes/b0b1bhhd


Political history and popular culture: Researching Baltic design

Bookmark and Share

Triin Jerlei, a postdoctoral researcher at Vilnius University, Lithuania, and graduate of University of Brighton, shares her new research project in the history of design. 

I received my doctorate from Brighton University in 2016, following my MA in History and Design and Culture, for research on Soviet Estonian industrial designers from the 1960s until the 1980s. Until recently most of my research focused on Estonian local design under the Soviet power as a case study in the development of a ‘Western Soviet’ design system. However, in my research I noticed that too often I was comparing Soviet Estonian regional design systems and processes with those taking place in capitalist countries or in Moscow as the ‘centre’, instead of other so-called ‘peripheral’ Soviet states. Therefore it became my dream to conduct a transnational comparative study between the design systems of two former Soviet states.

In general there is not a lot of research on Soviet design systems, especially in the late Socialist period. While Stalinism and the Thaw are easier to define both in their political tendencies and their chronological span, Late Socialism, often also called Stagnation, is a complex era characterized by different processes of globalization and regionalization throughout the vast Soviet Union. As remaining isolated was not sustainable, foreign trade and tourists played an increasing role in the economy, facilitating  the spread of global trends especially in the Western Soviet regions. A complex combination of various political, economical and cultural processes shaped the development of regional design cultures, which is the topic of my research.

The delivery of a transnational project on the history of several former Soviet republics was complicated by political factors, as archives are not fully accessible in many former Asian Soviet republics. Additionally it was important that I could read the local language relatively quickly, which is easiest with a language that uses Latin script. For these reasons I chose Lithuania as my second country of comparison and I decided to focus on the construction known as ‘Baltic design’. While Estonia and Lithuania were similarly situated on the Western border of the Soviet Union and had close historical and cultural connections, there are still significant differences between the two countries, which this research will clarify to provide a better understanding of the interrelations between different ‘peripheries’.

I was incredibly lucky to receive funding from the Lithuanian Council of Sciences. Thanks for this, I have been able to take up a two-year postdoctoral position at the Kaunas faculty of Vilnius University, supervised by Professor Virginija Jurėnienė. The decision to move to Lithuania instead of working in Estonia was deliberate, not only to learn about the history of Lithuanian design, but also to understand its present state and its situation in the wider culture. Additionally it has been exciting to get to know a new local research environment and to discover more about the general cultural scene.

So far, I have discovered that in spite of close connections between the Baltic states in the Soviet Union, the design systems differ in some key aspects. These variations are largely caused by differences in local design traditions. A good illustration is souvenir production. Both countries used wood as a locally available material, but where Estonian souvenirs were often useful objects (or replicas of objects that had once served a function), in Lithuania one finds numerous small wooden figurines, often based on folklore. This difference between minimalism in Estonia and rich ornament in Lithuania can also be seen in other fields of design. In terms of the organization of design systems, the design institutions of the two states were connected and cooperated closely, but had different structures.

I hope that this research will contribute to global design history by diversifying the understanding of different local stories of design. The ‘mundane’ fields of design and the systems behind everyday material culture are often at risk of being forgotten. One of the most exciting aspects of working with the materials from the 1970s and 1980s has been the role that these objects still play in living memories and environments, thanks to their ordinariness and ubiquity.

P.S. As a part of my Fellowship I am organizing a symposium in Kaunas, on the subject of design and creative economies. Details can be found here: http://www.knf.vu.lt/en/making-and-shaping-things-in-creative-economies

Presenting at Lesbian Lives

Bookmark and Share

Fig. 1. Eleanor Medhurst presenting at the Lesbian Lives conference 2019. Brighton. @QueerCodeQR on Twitter. 15th March 2019. Web. 17th March 2019.

BA Fashion and Dress History student, Eleanor Medhurst, reflects on making a conference presentation from her dissertation research.

Over the 15th-16th March 2019, the Lesbian Lives conference came to the University of Brighton. This was the first conference that I have attended and presented at alone, and it was an immensely satisfying, enriching and inspiring experience.

When I found out that my abstract had been accepted, I was so excited to be able to share my research – a topic that I have a personal connection to and have been passionate about for a long time – with a wider audience. These were people who, while thinking in depth about queer and lesbian theory, largely had not studied theories of dress (as opposed to the people that I study with on my BA Fashion and Dress History degree). I registered for the conference supported by the School of Humanities, with Professor Stephen Maddison, the Head of School, agreeing to help cover the registration fees. This is something that I am very grateful for, and I would like to publicly thank him here.

I presented my paper on Panel 4, alongside American academic Erin J. Rand. Rand’s paper “Ravishing Resistance: The Radical Aesthetics of Queer Feminine Fashion,” explored how queer feminine fashions have the political potential to demand hypervisibility of lesbian women and queer people. This was a topic that came at my arguments from slightly different angles. While I talked specifically about pink as a form of reclaiming femininity outside of heterosexual-patriarchal constraints – of re-writing the language of oppressive stereotypical femininity – Rand made the case for feminine fashion as a creative queer and gender-bending space. Our two talks were taken very well, with a varied discussion afterwards. Many people showed appreciation for my research, either expressing that it was a topic they hadn’t thought about before, or that they deeply related to it. It was validating to have my work received in such a way by the community that it is about.

Fig. 2. Audience at keynote speaker Katherine O-Donnell’s talk at the Lesbian Lives conference 2019. Brighton. Claudia Carvell @ClaudiaCarvell on Twitter. 16th March 2019. Web. 17th March 2019.

While I would like to recount the whole conference, it would never fit into one blog post. Instead, I’ll point out one more paper that interested me. Sarah-Joy Ford opened Panel 1 on the first day with “Queering Suffrage: an embroidered strategy for making lesbian lives visible.” She talked about how textiles can be evidence, literally and symbolically, for queer women within the history of Women’s Suffrage. I particularly liked how she mixed history with her own art practices, explaining her use of the quilt as a symbol of the erasure of lesbian relationships (and the literal lesbian bed), as well as of feminine craft-based art. Her abstract summarised her arguments, that “through the patchwork quilt and embroidered tablecloth this small, domestic act of visibility is re-imagined in stitch as a memorial to lesbian love, longing and remembrance.”

The Lesbian Lives conference was an event that brought me closer to my communities, both academically and personally. It was an opportunity to share my work, but also to hear the work of others. I relish the thought of going back in years to come.









Caring for Collections and their Users: Preventative Conservation

Bookmark and Share

Rachel Wooley, MA Curating Collections and Heritage, outlines important information acquired at a conservation session at Brighton Museum.

MA History of Design and Material Culture student Elina Ivanov inspecting a bug specimen through magnifying head gear. Brighton Museum & Art Gallery. Photograph by Helen Mears, 5 March 2019.

As one of a group of (very keen) students on the MA Curating Collections and Heritage degree, I am currently taking a module entitled ‘Caring for Collections and Their Users’. In order to learn how to exercise best practice in preventative conservation (and therefore ‘Care for Collections’), we visited Gaye Conley, the Conservation Manager at Brighton Museum, in March 2019. She gave us a comprehensive guide to the Eight Agents of Deterioration, through which I will briskly but gracefully guide you.

Physical forces can include general wear and tear, continued use and excessive or negligent handling. Gaye informed us that even experts in the museum sector can damage objects because they trip on a power lead or forget to lift an object from its base.

Thieves and vandals are another factor to keep an eye on. Not every theft from a museum is a grand art heist. According to Gaye, if something is within reach and small enough to go in a pocket, it will probably go missing. Therefore there are two common solutions:

  1. Alarms that are triggered either by movement or proximity
  2. Nylon threads around the object (as a deterrent)

Museums also engage in extensive documentation, which covers every movement of every object, so that (in theory) a member of staff can locate any object at any time.

Concerning fire, don’t start one. If something is on fire, put it out as quickly as possible.

Leaks, mould, and flooding are unfortunately very common in museum storerooms and even exhibition spaces. Museums are often not fit for purpose, and with museum funding at an all-time low, patching up a roof or building a storeroom that isn’t in the basement isn’t always a possibility.

Gaye Conley explaining the issues of having a storeroom in the basement. Brighton Museum & Art Gallery. Photograph by Helen Mears. 5 March 2019.

The issue of Integrated Pest Management (or IPM to the people in the biz) is deeper and more complex than you could possibly imagine. Here is a brief overview:

  • There are four different types of pests (general pests, wood borers, keratin pests and cellulose pests). Each type has a different food source.
  • There are three different types of commonly used traps (blunder traps, sticky traps and pheromone lures, which only attract male pests).
  • If you have a pest problem, this means there’s a food source nearby. If you have loads of wood boring insects such as, for example, the Death Watch Beetle, that means they’re feeding on some wood. If you have mice, they’re probably eating human food.
  • The practice of catching pests (particularly insects) is to give you some indication of how bad your pest problem is, and what you need to do about it. The goal of catching them is not primarily to kill them (although, if you catch a lot of White Shouldered House Moths next to your prize Hawaiian ceremonial cloak, you may then decide to freeze it or use an insecticide, which would obviously result in the moths’ untimely demise).

Pollutants can be anything from dust and sea salt to traffic pollution and pollen. Dust is a particular issue for museums. If it settles on an object for long enough, it can bond with the surface and cause permanent damage. It can also encourage some pests (the ones that want to eat dead skin).

Direct sunlight is damaging to objects, just as it is to your skin. Keeping objects away from windows is a good idea, but not always possible. Many heritage institutions have opted to put UV film on their windows, or block all of their windows out and instead use LED lights, which put out almost no heat and UV rays.

Finally, according to Gaye, temperature is less important than humidity. The ideal humidity is between 40 and 60RH (relative humidity). This has the power to completely halt the reproduction of certain pests, or even kill them, if the conditions are perfect.

Overall, the session was a hugely informative one, with a central focus on IPM (Integrated Pest Management). The highlight was inspecting bug ‘specimens’ captured in glass containers. It was also enormously helpful to witness preventative conservation techniques in practice within a museum, to put what we’d learned into a physical setting. Huge thanks to Gaye for welcoming us into the museum and for hosting such an informative session.

Everywoman? 1919

Bookmark and Share

Second year BA Fashion and Dress History student Anne Roberts explains the display in the foyer of Pavilion Parade, which resulted from a group exhibition assessment.

Figure 1. Side view showing detail of the jacket and the cellulose buttons

‘Everywoman’ became both the name and the theme of the historic dress exhibition that appeared in the reception of Pavilion Parade in January 2019. Designed to welcome everyone back for a fresh academic term, the display was also intended to be thought-provoking. As a group, we wanted to highlight historic anxieties and human insecurities. Exactly 100 years ago many people in Britain were facing an uncertain future as they faced the reality of living in a new post-war society, and today we are again contemplating uncertainty and change as Brexit becomes reality. War and its consequences have often been told from a male standpoint, but we wanted to highlight some female perspectives. To research the display we looked through women’s magazines and other contemporary literature from 1918-1919 to find what issues were being discussed. We hoped that the viewer might then ponder these and wonder if they were still relevant to women’s lives today.

Figure 2. The full installation in Pavilion Parade showing the information panel and the display case with a framed exhibition label

The  installation was the result of a team assessment in a Level 5 Shared Option module called Understanding Exhibitions and Creating Displays, taught by Dr Harriet Atkinson. It was supported by staff in St Peters House library and Professor Lou Taylor, Professor Emerita in Dress History and Curator of the University of Brighton Dress History Teaching Collection. The semester-long project culminated in four displays curated by students working in small groups, both in St Peters House library and in the Humanities building in Pavilion Parade. Students were required to choose objects from either collection and create interpretive displays around them.

Rebecca Lane, Josie Stewart and Sylvie Therezien and I are all studying dress history, and as a group we all wanted to work with objects from the extensive Dress History Teaching Collection. However, it soon became apparent that our group’s choice of items would be determined by some practical limitations including the size of the narrow display case and the necessity of using existing mannequins. Many of the dresses in the collection were also either too fragile or too tiny to be mounted on the only available dress forms. The two-piece woman’s costume that we eventually decided upon appealed to all of us because it was a good example of everyday dress, possibly homemade and certainly well worn, thus representing the antithesis of many of the elite items of clothing often seen exhibited behind glass – hence our suggestion of a more inclusive ‘Everywoman’. Its measurements were generous for an example of authentic historic dress, which meant that we could mount it on an existing form!

Figure 3. This photograph shows some of the supporting accessories at the back of the display case

While nothing was known of the original owner, careful examination of the skirt and jacket revealed evidence of wear, repairs and later alterations. Made of a sturdy, almost coarse ribbed wool in a practical shade of dark green, the high belt, cellulose buttons and the distinctive calf length A line skirt meant that we were confident dating it between 1914-1920. We added a blouse of a similar date and provenance, also from the collection, and sought out further items to illustrate the imagined life of our woman. The boots and the sewing notions came from our own personal collections (some items belonged to my Grandmother) and we chose them to add depth and character to the display. The boots, with the indentations and creases of their wearer’s feet still clearly visible, spoke of the value of thick leather soles on cold damp floors, while the metal hobnails told of anxiety at the price of boot repairs. Paper patterns, thread and sewing cases were also included to illustrate the reality of creative female endeavours on a limited budget.

Figure 4.The well-worn boots

We hoped that the objects would speak for themselves, so we used the wall mounted display case to identify four issues that our woman might have thought about, as she pulled on her boots or buttoned up her blouse. Irish politics, the rights of women, fashion on a budget and the consequences of men returning from war were identified as issues which were important to women in 1919 but are still relevant today. From the font used in the poster, to the layout which referenced silent movie stills from the era, we tried to create a low budget installation that used historic dress to illustrate social history. All of our illustrations were chosen to echo the style of the costume as well as to further highlight the topicality of our themes.

Figure 5. The fine white lawn blouse had insertions of machine-made lace, a lace edged collar and small front fastening buttons. We used padding to obtain the correct silhouette


There is sometimes a casual assumption that the study of fashion and dress history involves nothing more intellectually challenging than turning the pages of a fashion magazine. Our modest exhibition sought to illustrate that social history, consumption practises, human aspiration, greed, frailty and ego may all be evidenced by the careful scrutiny of each surviving garment and accessory.

Figure 6.One of four chosen illustrations. This shows women facing unemployment when men returned home from war. Harold Earnshaw, The Bystander, 11 Dec.1918, The Illustrated London News

The response to our ‘Everywoman’ has been gratifyingly positive and many students have told me that they could imagine wearing the clothes even though they were, “really old.” A lot of people have remarked on the boots and one visitor said that she had been “strangely moved”, by the evidence of the personality which she thought she had glimpsed behind the Perspex case.


Breaking through: An academic award and a confidence boost

Bookmark and Share

Ella Winning, BA Visual Culture final year student, on winning a Breakthrough award for academic performance.

 Fig. 1 Award winners and donors at the 2018 ceremony

I was very honoured to be the recipient of the Khadija Saye Visual Culture Breakthrough Award for 2017/18, for my performance in the second year of my BA Visual Culture degree. I hadn’t anticipated receiving this award – I didn’t even know of its existence – and I was (and still am) incredibly surprised. I am extremely grateful to my award’s donor, Andrew Davidson, who created and named the prize after the late Khadija Saye.

Saye was a 24-year-old artist based in London, whose work explored her sense of self, as well as common spirituality beyond religion. Her work was being shown in the 2017 Venice Biennale when her life was taken, alongside her mother’s, on the 20th floor of Grenfell tower on 14 June 2017. For someone so young, she showed masses of potential, and had started to receive the recognition for her talent she deserved in the days leading up to her tragic death.

As they were both involved in a mentoring scheme called Early Risers, Saye and Andrew met on a handful of occasions. Andrew was struck by the artist’s potential. He said, “I think one day she would have won the Turner Prize, or probably invented something better.”[1] To Andrew, the award is a “small way of honouring her memory and making some future creative paths to fulfilling careers a little smoother.”[2]

Alongside Andrew, many people have been inspirational for me throughout my studies, including my tutors and everyone at ONCA Gallery, where I carried out my Behind the Scenes  placement. They have helped me with my work and provided valuable insight into visual culture practice. Receiving this award has given me a big confidence boost in my academic abilities and has encouraged me to pursue further study through a Masters next year.

The university-wide awards celebration ceremony took place on 4 December 2018, and brought together over 150 beneficiaries, donors, staff and other guests to celebrate the achievements of students from across the whole of the university through Breakthrough awards, scholarships, governors’ prizes as well as others. I was struck by the amazing work of those around me, including students focusing their work to aid vulnerable people, setting up valuable organisations, alongside the sheer amount of hard work inside and outside of studies.

While I unfortunately didn’t get to meet Andrew at the ceremony, we recently met over a coffee. A member of the Visual Culture alumni here at University of Brighton, Andrew is an Education and Communications Consultant. I loved hearing about his very interesting work, and his thoughts on course related topics that he is knowledgeable and passionate about. He believes strongly in supporting the university, and paving the way for students to kick start their careers. Hearing about his amazing work within the industry was incredibly valuable, especially in terms of understanding practical careers in art history to help others.

With the prize money, I have donated some to ONCA in the hope that it will help fund some of their fantastic work! With the rest I will save to take my mum on a well-deserved holiday. Thank you so much, Andrew, for your generosity and foresight in recognising and developing the potential of newcomers to the creative arts.

[1] Andrew Davidson, qted in Sarah Grant, “Encouraging talent to flourish” University of Brighton Alumni Association, WordPress, 25 Sep, 2017.

[2] Davidson, qted in Grant, “Encouraging talent to flourish”

Discovering the Power of Resistance

Bookmark and Share

Photography PhD student, Epha Roe, reviews the University of Brighton symposium ‘Photography and Resistance’

Fig. 1 “A woman protests against the presence of soldiers in the townships, Soweto 1985”, Photograph by Paul Weinberg

I was fifteen when I first discovered photography. It was a last minute shift, not out of genuine interest, but because a close friend of mine had switched her choice from our mutually agreed-upon Drama and Theatre Studies, and I didn’t want to be potentially left alone at school. In the end we weren’t even put into the same group. But the choice had been made and has since ended up shaping the subsequent years of my life.

Fast-forward twelve long years to January 2019 and I find myself lucky enough to attend a two-day research symposium at the University of Brighton under the title ‘Photography and Resistance’, organised by visiting research fellow Kylie Thomas, and Uschi Klein. The symposium brought together photographers, artists and researchers from around the country and overseas, to discuss the varying ways in which photography (and other media) intersect with notions of resistance, in particular in relation to repressive regimes. It also connected researchers work on photographs taken during and after apartheid in South Africa, together with histories of photography in other locations.

A common thread throughout the speakers’ papers, as well as among discussions after, was whether the notion of resistance was implicit or explicit in its relation to photography. Indeed, whether or not resistance was an after effect, or might be contained within the action of taking a photograph. Further threads, however, seemed to demonstrate it as both.

Jordana Blejmar’s paper, ‘Spectral Topographies: Photography and Disappearance in Argentina’, explored the way in which the children of parents who were ‘disappeared’ during the 1976-83 military junta regime, used photography to reclaim their parents memory through constructed, fictional encounters. Using images of their parents translated through a mixture of photo-collage and projection, their photographs demonstrate a means of resistance both in the process and the result. Their images, effectively capturing the presence of absence, provide the potential of connection with other children of disappeared parents. Their photographs also act as visual invitations to activism.

Memory or remembrance as a tool of resistance was a theory reiterated by Patricia Prieto-Blanco, whose paper focussed on her co-author’s autograph book, inherited from her grandmother Viktorija; this was a product of Viktorija’s time in the Ravensbrück concentration camp in northeast Germany in the Second World War. Here the book is understood as a place of relational resistance, somewhere where both Viktorija and her friends wrote of their time within the camp. In it, Patricia argued, Viktorija’s writings ignore the present of their difficult conditions in favour of an idealised future. Rather than constructing the war, they obstruct it through the subject of the autograph book.

An analysis of the Austrian photographer Dora Kallmus, by Kylie Thomas, discussed the tensions between Kallmus’ pre-war society photographs and her post-war images of a Parisian abattoir. Kylie showed how the latter was a possible act of resistance, as an indirect visualisation of her sister’s death at the hands of the Nazis. Other investigations of photography and antisemitism were present in Gil Pasternak’s work on the ‘Landkentnish’ (Yiddish for “knowing the land”) movement of 1926-38. Gil explained how it sought to preserve Jewish heritage among the growing rise of Polish nationalism. This movement, among other things, used photography to document Jewish monuments and create archives of local Jewish cultural heritage, effectively imaging the significance of intersectional cultures and national belonging, using the Polish landscape as its backdrop. This imaging, Gil argued, allowed Jews to consider their heritage within the Polish landscape, and simultaneously allowed Polish people a way to consider the landscape with the presence of Jewish life.

These instances of resistance all challenged restrictive or repressive structures. These same themes were underlined by the work of Juliana Kasumu, especially in relation to the archive as a site of history. Through using her own creative work as an example, Kasumu highlighted the importance of intersectional thought, especially when considering colonial photographs, which are often considered to be objective representations rather than sites of exploitation.

After two days of wide-ranging thought, the argument that photography may contain the ability to resist forms of repression, both during and after traumatic events, seems only to ring true. As well as getting to hear the many speakers’ fascinating perspectives on resistance, it also allowed me some surprising time for self-reflection. My early self-portraits, for example, themselves a gateway into photography and as a safe mode of self-representation, were themselves, in hindsight, a reaction to an environment that was restrictive and repressive. And although I didn’t know it then, it was in that year of discovering photography and discovering myself that I also uncovered the power of resistance.

Further details of the symposium, including further details of speakers and papers can be found here: https://photographyandresistance.wordpress.com/2019/01/23/research-symposium/

Memory of Clothes

Bookmark and Share

MA History of Design and Material Culture student Tasha Cobb considers the intersections between clothes and memory.

Memory of Clothes exhibition poster

On 15 January 2019 Helen Barff and Suzy Joinson, an artist and a writer respectively, came to the University of Brighton to discuss their research into clothing and memory. This forms the basis for an exciting new podcast and exhibition at Worthing Museum and Art Gallery. The talk followed a seminar for students on the MA module History of Fashion and Dress: New Directions, led by Annebella Pollen, on the subject of interventions and creative responses to dress collections, in which we discussed recent research exploring dress, memory and oral/personal histories and considered the possibilities for including these ‘disruptive’ narratives in dress displays and exhibitions.

Suzy and Helen have been working with Worthing Museum’s outstanding collection of everyday dress, linking garments with the memories of local women. Their research comprises interviews and workshops with elderly residents of care homes in the town, where they encountered rich and often surprising stories about the women’s lives through the 20th century. Being led by these oral histories, the researchers could explore how the clothing in Worthing’s collection spoke of, or ran counter to, memories of life in the town. Suzy and Helen brought selected garments to the workshops in order to test whether the pieces matched the women’s memories, or whether they sparked further recollections. For example, one resident was a member of the Women’s Auxiliary Air Force (WAAF) during WWII and recalled feeling extremely proud and glamorous in her uniform. The Worthing collection has an exemplary selection of military uniforms, so Suzy and Helen were able to bring a WAAF beret to the session.

Figure 1: Helen Barff. Work in Progress. 2019. Cyanotype on fabric. 97 x 76 cm. Image courtesy of the artist.

In the seminar Suzy and Helen discussed the challenges and opportunities presented by using oral history to inform a creative exhibit. The practical and ethical implications of interviewing the elderly were also fascinating. The researchers initially planned to ask participants to write their clothing memories on postcards which would be integrated into the exhibition space. However, many of the women were unable to write and preferred to talk, so they switched to an oral history methodology, capturing memories through audio recordings which Suzy is now developing into a podcast.

The nature of the topic meant that interviews could be long and rambling, encompassing numerous anecdotes and intimate details. As other researchers have noted, clothing elicits strong and very personal biographical memories.[i] Additionally, the elderly residents could struggle to remember specific details and especially chronologies of events, meaning there was much to be unravelled.

We listened to a recording of an interview between Suzy and Jackie, in her early 90s, in which Jackie recalls her time in the Women’s Land Army (WLA), characterised both by hard labour and new-found independence. She has strong memories of the uniforms and how these were intrinsic to the women’s identities as contributors to the war effort. Helen explained how she has been working with a cognitive psychologist, Catherine Loveday, who is researching the link between clothing and memory. In biographical memories, including those involving clothes, there is a ‘reminiscence bump’ whereby memories dating from a person’s young adulthood (roughly aged 17-25) are strongest. For the participants of this research, young adulthood coincided with WWII, so the project captured some fascinating stories from this period.

In ongoing research, Loveday is using brain scans to test memories associated with different objects. Findings suggest that clothing, along with music, elicit the strongest reactions. A correspondence already explored by numerous authors in fashion studies, material culture, psychology and beyond, there is no one explanation for clothing’s heightened significance to memory.[i] However clothing, more than simply housing the body, can be thought of as a ‘second skin’ through and with which the body experiences the world.[ii] As well as contributing to our sense of self, clothing is inherently sensory, involving not only touch but smell, sight and sound.[iii] Second-hand clothing often ‘stands in’ for an absent body, or else it seems uncannily invested with traces of its former wearer. This could be through physical traces, marks, tears and smells: as Bethan Bide notes, clothing ‘take[s] an imprint of the body’.[iv]


Figure 2: Helen Barff. Work in Progress (detail). 2019. Jesmonite, rope, concrete. 675 x 65 x 25 cm.

Image courtesy of the artist.

The idea of memory becoming embedded in clothing is key to Helen’s artistic practice. The central element of the upcoming exhibition are sculptural artworks created in response to the narratives explored in the research. Helen uses jesmonite to craft sculptural forms from second-hand clothing, filling garments with the substance to create an imprint from which the fabric is later removed. Helen’s work engages directly with the materiality of clothing, exploring how clothes ‘wear’ and how they physically mould to the body. Particularly intrigued by the intimacy of clothing and the relationships which it materialises (for example, mother and child), Helen explores boundaries- where does the person end and clothing begin?

Another issue which emerges through Helen’s work is the impossibility of re-creating or recovering a remembered object. Helen asked participants to describe a remembered garment, which she then attempted to rediscover by scouring charity shops. These second-hand items were then transformed by the artist, sometimes sewn together into new formations before using jesmonite to stretch and distort them, transforming them into sculpture. The result is a series of strange forms, resembling textiles but hard to the touch, and appearing somehow excessive and in unrecognisable shapes. The work speaks of the irretrievability of lost garments, and how even in personal memory these may be blurred or altered versions of the original objects. As Alison Slater writes, not only do material objects change, but our memories of dress also ‘wear’ with time.[iv]

Memory of Clothes opens on 23rd February at the Studio Gallery, Worthing Museum and Art Gallery. Suzy Joinson and Helen Barff will be running a special tour and Q&A session at the museum on 6 April 2019 at 2pm.

Figure 3: Helen Barff. Work in Progress (detail). 2019. Jesmonite, rope, concrete. 675 x 65 x 25 cm.

Image courtesy of the artist.

[i] See, for example, Carole Hunt, “Worn clothes and textiles as archives of memory,” Critical Studies in Fashion and Beauty 5.2 (2014): 224-228; Robyn Gibson, “Introduction,” The Memory of Clothes, ed. Robyn Gibson (Rotterdam: Sense, 2015) xiii.

[ii] Lucia Ruggerone, “The Feeling of Being Dressed: Affect Studies and the Clothed Body,” Fashion Theory, 21.5 (2017): 585.

[iii] Marius Kwint, “Introduction: The Physical Past,” Material Memories: Design and Evocation, ed. Marius Kwint, Christopher Breward and Jeremy Aynsley (Oxford: Berg, 1999) 13.

[iv] Bethan Bide, “Signs of Wear: Encountering Memory in the Worn Materiality of a Museum Fashion Collection,” Fashion Theory, 21.4 (2017): 455.

[v] See, for example, Alison Slater, “Wearing in memory: materiality and oral histories of dress,” Critical Studies in Fashion and Beauty 5.1 (2014).

[iv] Slater, “Wearing in Memory,” 136.

‘Pattern gives Pleasure’?

Bookmark and Share

In the first of our new series highlighting research in University of Brighton Design Archives, third year History of Art and Design student Lizzie Collinson reviews Elizabeth Wilhide’s book Pattern Design

Fig. 1

Fig. 1 Cover of Pattern Design with Anna Hayman’s ‘Palmprint’ pattern.

When one first looks at Pattern Design by Elizabeth Wilhide (Thames & Hudson, 2018), the use of Anna Hayman’s ‘Palmprint’ pattern on the cover (Fig. 1), gives a clue to the splendour inside. From the concise yet poetic introduction, Wilhide’s passion for patterns is evident, leaving a lasting impression on the reader as they continue on through this new publication. She notes patterns’ importance: ‘a pattern’s repeat may be so simple as a regular grid of evenly spaced dots, or as elaborate as a branching design whose diverse elements take time to tease out, where the play of foreground against background is as a complicated as a visual dance…Pattern gives pleasure’. As textile and pattern design is often an overlooked element of design history, her enthusiasm for this genre will undoubtedly influence her audience positively. Pattern Design will certainly interest social historians in addition to art historians, as Wilhide discusses the effects of industrialisation and mechanisation on wallpaper and textiles. The Industrial Revolution conjures images of soot-filled skies and mundane factory work, and so her recognition of the impact of improved technology on pattern production reveals an often overlooked side of this industrialisation.

Fig 2.

Fig. 2 Marianne Straub, 1972. From the Design Council Archive, University of Brighton Design Archives.

Wilhide draws on many collections, including the University of Brighton’s Design Archives (Figs. 2 and 3), in order to create an encyclopaedic guide of over 1,500 patterns, from eighteenth-century India, to modern day Cath Kidston.  Divided into five main chapters – ‘Flora’, ‘Fauna’, ‘Geometric’, ‘Pictorial’ and ‘Abstract’ – the reader, whether an academic or merely someone with an interest in pattern design, is able easily to locate and learn about whatever pattern they choose. The inclusion of non-Western techniques and patterns helps to deconstruct the Western-nature of art and design history discourse that many have become complacent to – the use of an eighteenth-century Sarasa Indian textile produced for the Japanese market is especially interesting, as normally the study of art history focuses on the West’s influence on the non-Western and vice versa, ignoring the interaction between distinctly different ‘non-Western’ nations and cultures.

Fig 3.

Fig. 3 Barbara Brown, 1973. From the Design Council Archive, University of Brighton Design Archives

In addition to specific styles, designs and techniques, art movements such as Art Nouveau and Chinoiserie are described, alongside relevant artists such as William Morris. As a result, Pattern Design is exceedingly accessible, choosing to focus on the skilful artistry and rich history, rather than using the theoretical  language that art and design books and journals tend to fall into to, consequently shrinking their possible audience. The effects of pattern design on societal systems and hierarchies do not go unnoticed by Wilhide. She commends women such as Enid Marx and Sarah Campbell for their works’ influence on contemporary design.

The thematic rather than chronological ordering allows comparisons to be made between the past and present; this approach is rather refreshing considering the chronological categorisation art and design historians are more than accustomed to, particularly in gallery and museum spaces. Pattern Design is, deliberately, primarily visual and neatly ordered so that one can dip in and out at leisure. Although it is clearly factual, it is a highly pleasurable read.

Elizabeth Wilhide’s Pattern Design was published by Thames & Hudson in 2018. Find out more about the University of Brighton Design Archives here.

fig 4