Volunteering at Brighton: Gladrags Costume Store

Posted on January 15, 2017 by Verity Clarkson Standard Respond

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

Posted on January 3, 2017 by Verity Clarkson Standard Respond

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 18^th and 19^th 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 20^th 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 8^th 2017.

A Visit to Berlin

Posted on June 16, 2016 by Verity Clarkson Standard Respond

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

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

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.

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

Posted on November 10, 2015 by Verity Clarkson Standard Respond

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)

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

Posted on August 19, 2015 by Verity Clarkson Standard Respond

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’

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

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!

My MA Story: from India to Brighton and back again

Posted on July 2, 2015 by Verity Clarkson Standard Respond

Pallavi Patke, a graduate of MA History of Design and Material Culture, reflects on her international study journey to date

I consider myself a curious mix of all spices. Born in Delhi, I was raised in a range of different places in India. Thanks to the constantly shifting nature of my father’s job I was able to witness and adapt to diverse Indian sub-cultures: Bengali, Bihari, Punjabi and Maharashtrian. History, politics and fine arts were the three major subjects in which I excelled in high school. Thereafter, during four years of undergraduate education, I was based in the historic coastal town of Cannanore, a quiet town and a hub for handlooms, located in the north of Kerala. Here I obtained first-hand experience of the rural handicraft industry of South India. Through various textile industry internships and college visits I was exposed to Keralite, Gujarati and Tamil cultures. Although I had had some experience of visiting foreign lands with my family, including Malaysia, Thailand and the US, an academic exchange trip to Switzerland gave me a valuable opportunity to understand the European perspective in fine textile manufacturing. This, together with all my previous cultural encounters, put me in a better position to determine my career path ahead.

Fascinated more by the way traditions and cultural histories shaped the art of designing objects than the commercial aspect of textile production, I took up my postgraduate studies in History of Design and Material Culture at the University of Brighton in 2012-13. Initially, even more than the adjustment to British culture, I had to adapt to a new teaching methodology. For instance, in the beginning I was absolutely clueless about how to interpret readings and then express my ideas coherently while maintaining an objective stand. The tutors, however, had more faith in me than I had in myself at the time. I am particularly thankful to Professor Lou Taylor whose constant support and positive criticism drove me to keep pushing boundaries in research.

Possibly Chinai (Indo-Chinese) Embroidery- Black silk bustle-back dress embroidered in silk, around c.1875-78; Author’s own photograph. 11th December 2012; Source: Lewes Little theatre; With Thanks to Gerry Cortese

At the university I encountered a whole new range of prospects which could be pursued in tandem with my MA. The silhouette research project, co-organised with the Regency Town House, introduced me for the first time to the British history of portraiture and silhouette artists. What was most exciting about this initiative was working with an eclectic group of tutors, undergraduate and postgraduate student researchers and non-academic professionals. In September 2013 the annual conference of the Design History Society provided me with an opportunity to present the subject matter of my thesis before a global audience at the National Institute of Design in Ahmedabad. University of Brighton extended enormous generosity in funding my visit to India for the conference, and given the focus on my dissertation on Anglo-Indian exchange in textile design, this felt like a fitting setting to discuss my work.

By the end of the course I had learnt a huge amount and successfully overcome my earlier fears. Participation in academic seminars and conferences introduced me to international scholars in the field of fashion, art and design history and this inspired me to do something constructive to advance studies in the Indian context. On returning to India it took me a while to reconcile my British experience with the relatively impoverished academic research environment. The first few months of 2014 were especially challenging in identifying India-based connections in the field. While I began assisting with research on the evolution of design in traditional Indian textiles at Chatrapati Shivaji Maharaj Vastu Sangrahalaya or CSMVS (formerly, the Prince of Wales Museum) in Mumbai for a Textile Gallery Project, I found myself grappling with the parochial attitudes of Indian curators in implementing creative learning strategies. Then in August 2014, Poonam Mishra, head of Fashion Business Management at Parsons ISDI (Indian School of Design and Innovation), who shares my aspiration to develop scholarship in fashion and textiles, invited me to develop a proposal for a new study programme. My first step towards introducing pedagogical reform has been to build content for a postgraduate diploma course, Cultural Histories of Fashion and Textiles.

With Poonam at the entrance of ISDI. Author’s own photograph. 28/01/15

Following all these developments, I now wish to pursue further research in the field of design history. This will help me acquire a much greater depth of understanding in the subject. Thanks to the studies and opportunities offered by Brighton, any research work which I undertake will now certainly reflect a more sensitive handling of subject matter, acknowledging cultural idiosyncrasies while also covering a broad range of perspectives.

Love, Luxury and Revolution: Paris in art and design

Posted on January 29, 2015 by Verity Clarkson Standard 1

Iona Farrell, a second year student in BA (hons) Fashion and Dress History, explored Paris on a recent study visit…

View from the lake in the Tuileries Garden, looking towards the Place de la Concorde. Personal photograph by the author.

On the 4th to 8th of November this year, ten of us from the seminar group ‘A Trip to Paris’ visited the City of Lights. We were graced with beautiful blue skies and sunshine which was the perfect accompaniment to the elegant boulevards of Paris on this highly enjoyable visit.

Before the trip we split into three groups and each group was given a theme, either Love, Luxury or Revolution in Paris, with the task of planning a complete day in the city. Key readings were given to inspire our plans, from Walter Benjamin’s account of the historical passages of Paris to the student riots of the 1960’s. My group’s theme was Love and the book we based our day on was the fascinating novel The Hare with the Amber Eyes by the ceramicist Edmund de Waal. The book traces the provenance of an inherited collection of Japanese netsuke (small hand carved ivory figurines) back to a certain Charles Ephrussi, an art critic and collector in Belle Époque Paris.

Study in the Musée Nissim de Camondo. Built in 1911, with 18th century furniture and decoration. Musée Nissim de Camondo, Paris. Personal photograph by the author.

Inspired by the book, we decided to base our day on different forms of love, starting from the love of collecting, as seen by Charles Ephrussi and also the sensual side of love seen through the sculptor Rodin’s evocative works. Our first visit was to Musée Nissim de Camondo, which houses a collection of 18th century French furniture and decorative arts collected by Moïse de Camondo. The house is located on the distinguished Rue de Monceau, the same street Charles Ephrussi had lived on. Charles and Moïse were both passionate collectors and stepping into the Nissim de Camondo felt more like a home than a museum. It was filled with the most opulent rooms including a room solely dedicated to displaying porcelain dinner sets and tea services!

Auguste Rodin. Monument to Victor Hugo. 1890. Bronze. Musée Rodin, Paris. Personal photograph by the author.

From there we went to the Musée Rodin, in which sculptures were interspersed amongst the grounds. I really enjoyed how they were placed outside: you could come close to the sculptures and see the expressive way Rodin rendered figures. We ended the day in the Musée d’Orsay, the grand converted railway station, which houses an extensive collection of Impressionist works. It was amazing to walk through the museum and recognise so many paintings that we had looked at in our lectures.

View of the interior of the Panthéon, Paris. Built between 1757-1791. Personal photograph by the author.

The diverse themes meant that each day was a completely different experience. Days were not just spent wandering around museums but actively exploring the city and its many facades. The Revolution day was spent walking around the Sorbonne area in Paris, the ‘University’ district where the 1968 student riots had taken place. During the tour we came across the Panthéon and made an unplanned but extremely worthwhile visit, exploring the endless labyrinth of underground tombs that house France’s leading citizens. Afterwards we crossed over the Seine and visited the Centre Pompidou. Built in the aftermath of the Student Riots, it houses a permanent collection of Modern art as well as a public library and music centre. We all had differing opinions on the museum, its industrial design was a real anomaly amongst the uniformity of the boulevards. Although I think its unconventional appearance was suited to its interior, housing challenging and experimental Modern artworks.

View of the Galerie Vivienne , Paris. Built in 1823. Personal photograph by the author.

For the Luxury themed day we traversed through Paris from our hotel in Montmartre, in the North, down to the Seine and the beautiful Tuileries Garden. The route took us through the historic passages of Paris, beautiful arcades dating back to the 18th century, dedicated to the luxurious pastime of shopping. The most elegant passage was the Galerie Vivienne, with mosaic floors and a glass ceiling, it was filled with quirky boutiques and fashion stores. The French designer Jean Paul Gaultier also has his flagship store here, and we peeped through the window at his eclectic designs. From there we walked along the Seine to the Musée d’Art Moderne and visited the Sonia Delaunay exhibition, which was bursting with endless samples of her bold, colourful textiles, as well as her earlier portraits which I admired.

Visiting Paris really brought the History of Art and Design course to life. Walking through the arcades where fashionable 19th century Parisians had browsed boutiques, or strolling through the streets which had seen numerous Revolutions; the streets all seemed to have their own narrative and I can’t wait to return and discover even more.

Volunteering in a Living Museum’s Costume Department

Posted on December 12, 2014 by Verity Clarkson Standard Respond

Sarah-Mary Geissler, currently studying BA (hons) Fashion and Dress History, shares her experiences behind the scenes at Beamish: The Living Museum of the North.

Before embarking upon the Fashion and Dress History course at Brighton I wanted to seek out relevant experience in the field. I came to Brighton as a direct-entry second year student and had previously completed a year of a Fashion Design degree but was concerned it may be difficult to transition from making clothes to analysing them, so for 8 months I volunteered once a week at the Living Museum of the North; Beamish.

Beamish costume clothing label. Personal photograph by the author. 5 Aug. 2014

I had visited Beamish often before, the open air museum is a school-trip staple of every north-eastern child. Visiting as an adult I still felt totally absorbed by the experience: the exhibits aren’t restricted behind glass panels in temperature controlled rooms, rather everything is laid out awaiting interaction. The grounds are divided into 7 distinct period areas, the earliest an 1820s farmer’s house and most recent the 1940s wartime home farm, all linked by restored trams and buses. I was elated when my volunteer application was accepted!

Public transport depot, Beamish. Personal photograph by the author. 26 Aug. 2014

Based upon my sewing experience, they started me off working in the Costume Department. An onsite sewing room is an absolute necessity in such huge attraction; Beamish has around 400 costumed staff and volunteers, most of whom work between different areas and so require 3-4 period costumes each. On top of this there were always different projects popping up, from making oilcloth table covers and floral curtains to Boy Scout neckerchiefs or nurse’s aprons; we were certainly never short of work.

Finishing details in the sewing room, Beamish. Personal photograph by the author. 5 Aug. 2014

Inside the sewing room were photocopied images pinned to every wall, a large bookcase stood in one corner filled with texts on costume and period fashion and another corner housed large filing cabinets of dress patterns, a mix of store-bought contemporary clothing patterns and specialty costume patterns sourced online, all to keep a strong sense of each era’s shapes and silhouettes. Reproducing the periods accurately is a key priority of the museum as the visitors range from young children using Beamish as an educational resource to history buffs who are all too eager to point out historical inaccuracies.

Clothing collection within Beamish archives. Personal photograph by the author. 26 Aug. 2014

When the curatorial team gave me the opportunity to explore the clothing archives I was thrilled! There is an expansive collection of period clothing hidden in the archives, mostly accredited to a previous curator with a personal interest in textiles. Due to the fragility of the garments and the nature of the museum, there is no way to wear these garments or display them effectively, which is a shame as there are some remarkable pieces. For a living museum it is important to collect pieces reflecting various walks of life, so within the archives was a 1980s coal miner donkey-jacket as well a fascinating 1940s wedding dress with matching gas mask. Also stored were many pieces of 19th century servants’ uniforms and other examples of workwear, garments that rarely survive past their original usage.

Complete 19th Century housemaid uniform, Beamish. Personal photograph by the author. 26 Aug. 2014

The earliest items of clothing are late 18th century while the earliest shoes dated back to around the 17th. A large number of gowns from Victorian society women were kept, worn fairly little and preserved very well. Certain pieces came with a full biography of the previous owner whereas others remained a mystery. Interestingly, it was possible to discern when gowns had been altered or re-made according to trends, we actually found two dresses which had been cut from one original gown. There were various wedding dresses and mourning clothes dating throughout the Victorian era up to WWII Utility wear. The collection becomes sparse from 1950s items onwards, mainly because these more recent items now have value in the vintage clothing market and are no longer donated freely; however, there was a delightful 1960s Biba minidress hiding behind the gowns.

Example of two dresses cut from one, Beamish. Personal photograph by the author. 26 Aug. 2014

Beamish has a sentimental value to many and often people will bequeath their possessions to the museum, leaving them to someday represent their era to future generations. Currently the museum is preparing a 1950s Pit Village area, so towards the end of my time at the museum there was an influx of 1950s items and furniture. It falls to the curatorial team to decide what is kept for future use within the museum and what is archived, one difficult decision I witnessed revolved around 3 packs of genuine 1990s Safeway brand toilet rolls.

A sunny morning at Beamish Museum. Personal photograph by the author. 5 Aug. 2014

Volunteering at the Beamish museum was an enlightening look behind the scenes at how a museum operates, not only did it strengthen my dressmaking skills but I had the opportunity to learn about period clothing, how garments were made and how people would have valued their clothes. The experience has led me to rethink what I thought defines an era, the importance of living memory in the understanding of history, and to consider what we would choose now to represent the present to future generations.

Why Grandma and Grandpa wore what they wore: Fashioning Everyday Lives In London and New York

Posted on June 12, 2014 by Verity Clarkson Standard Respond

Fashion history is about much more than elite garments. Amy Hodgson has been intrigued by the everyday fashion choices of ordinary people in the final year of her BA (hons) Fashion and Dress History studies.

The option module ‘Fashioning everyday lives in London and New York’ has been essential to my understanding of fashion and dress history: observing and questioning the ordinary over the extraordinary, theorizing the overlooked and mundane, asking how fashion and modernity is seen in the ordinary and average areas of society, and how modernity, post-modernism, geography, capitalism, or globalization could affect everyday fashion choices. It has been taught by Professor Cheryl Buckley and is based on new research that she is carrying out. Professor Buckley has just joined the University of Brighton, and it is great that BA students are taught by staff who are leading research in the subject.

This option has helped broaden my understanding of how we look at the average person and their choice of dress. I have learned that fashion isn’t just about the most modern or groundbreaking clothing, but can be seen on the streets on ordinary people going about their daily lives. Questioning the everyday highlights differences. As Ben Highmore observes in his introduction to The Everyday Life Reader, ‘in its negotiation of difference and commonality it might, potentially, find new commonalities and breathe new life into old differences’. Negotiating the different and common, or modern and traditional is witnessed repeatedly when observing everyday fashion; how people may choose to consume the latest fashion on their own, possibly more traditional, terms may uncover issues of gender, race, ethnicity or generational differences.

This option touches on a broad range of subjects, from mass-consumption and ‘fast-fashion’, to geography, feminism and museum studies. All serve the purpose of highlighting how fashion changes and is used on a day-to-day basis. Understanding how fashion is consumed in everyday terms offers insight into society and how, for example, mass-consumption may allow a broader range of people to consume and partake in fashion on their own terms. Geography and fashion cities also play a large part in this option: how fashion operates within a city, and how this in turn affects the peripheral towns has been a key element in uncovering how fashion, and the modern, is witnessed in areas that may be deemed unfashionable or less modern.

Grandma and Grandpa photographic collage

‘Grandma and Grandpa collage’, 1940s, accessed 29/05/14, JPEG, Authors Personal Photograph.

My favourite aspect of this module is studying images: images of ordinary people on their way to work, shopping, partaking in the mundane, everyday chores that may be overlooked by many. Students on the course enjoyed this aspect of the module, choosing to study their own family photos, such as the ones above. Personal photographs of grandmas and grandpas, for example, brought to light various issues of class, modernity or geography, that were then discussed in presentations and class debates. This un-picking of images highlighted how society consumes and chooses to engage in fashion, challenging the understanding of fashion as structured. Studying a variety of images highlighted how a mix of old and new silhouettes are constantly seen through all decades, proving that fashion is a constant recirculation, and that there are no clear boundaries.

This option has opened my eyes to the everyday. I no longer walk down the street and take my surroundings for granted. I am aware of shopping and my sartorial choices. I now question the ordinary practice of getting dressed in the morning, and how like many, I chose to represent myself to the outside world. Studying Sophie Woodward and her book, Why Women Wear What They Wear, has highlighted this aspect of everyday choices, as Woodward concentrates on theorizing these simple acts and the ‘imagined projections of how others might see them’.

This option has helped me apply various theories to the everyday, and the everyday fashions that everyone engages in, and how subjects such as, modernity, post-modernism, geography, capitalism, or globalization affect people’s ordinary choices and are witnessed in their day-to-day projected self.

Mirrors and rainbows: Andrew Logan’s Glasshouse Studio

Posted on January 3, 2014 by Nick Feather Standard Respond

MA History of Design and Material Culture student E-J Scott was spellbound on a field trip to Andrew Logan’s Glasshouse Studio in London.

“The idea was to have a window on the world.” Andrew Logan.

Entering Andrew Logan’s Glasshouse Studio, one is literally tripping the light fantastic. As our MA group climbed the stairs to his crystal palace of creativity, we were visually bombarded by a menagerie of flying horses, queer medusa statues and warped, plastic toy landscapes. We had stepped inside a diorama of his imagination, where the kaleidoscopic colours crashed and banged loudly enough to make audible our group’s shared delight.

Sally Reynolds smiles in Logan’s sunlit studio. Photograph by E-J Scott.

Out trip to Logan’s studio followed our morning at Zhandra Rhodes’ Fashion and Textile Museum. A six foot high photograph of him in a dress designed by Rhodes depicted the friendship they have shared since the early seventies. Rhodes still designs half his frocks (the dresses are split down the middle, representing transformation) for his Alternative Miss World appearances, the outrageous drag pageant he launched in all its fabulousness in 1972. The sculpture he made of her is housed in the National Portrait Gallery. Zandra describes herself and Logan as “blood brothers”.

Logan (pink t-shirt) explains his curiosities to the curious! Photograph by Professor Lou Taylor.

A sculptor, painter, performance artist, jeweller, qualified architect and flamboyant London queen, Logan is the only living artist in Europe to have a museum dedicated to his work (The Andrew Logan Museum of Sculpture, Berriew, Mid Wales, est. 1991). His work has been shown everywhere from the Hayward Gallery and the Victoria and Albert Museum, to Somerset House and the Royal Academy of Arts.

Louisa Carpenter next to a mannequin dressed in Logan accessories. Logan’s jewellery has been used for catwalk shows by designers ranging from Zhandra Rhodes to Ungaro to Comme des Garcons. Photograph by E-J Scott.

Logan’s studio was cluttered with portraits of Britain’s most eccentric queer characters. They are devotedly pieced together from smashed up mirrors, plastic toys, beads and the odd Swarovski crystal. Derek Jarman is there, and as Logan ran through the artistic career he formed in London’s underground scene, he nonchalantly contextualised the portrait, divulging that he introduced Jarman to Super8 film-making at his Butler’s Wharf studios in the ‘70’s. His sprightly, sexy and curious creations are steeped in personal history. The noticeably rough finish on many works- splotches of glue here, drips of colour there- are left over touches indicative of an artist having fun at play.

Surreal sculpture by Andrew Logan. Photograph by E-J Scott.

Logan’s public art projects litter the UK landscape, reflecting his belief that art can be found everywhere and in everything. His Millennium Pegasus on Scots Green Island – a larger-than-life bronze horse with gold and silver glass inlaid wings and a bejewelled mane – depicts hope for a new era. Logan says, ‘It is about where we come from, and where we are going to’. Legend has it that wherever the hoof of Pegasus struck the ground, an eternal spring appeared. Like Pegasus, when describing his artistic vision, Logan himself can appear to be bred from the love of Poseidon, and the carrier of Zeus’ thunderbolts.

E-J Scott in front of a winged Pegasus (a signature piece of Logan’s). Photograph by Professor Lou Taylor.

Little rainbows refract throughout the studio, as if they somehow shone straight from the glimmer in the craftsman’s eye. As energetic as it is inventive, Logan’s works reflect his dreamy optimism, his colourful nature and his extraordinary warmth. He not only welcomed our MA History of Design and Material Culture group into his creative space, he welcomed us into his world. My guess is Dr Annebella Pollen did not want to leave… at least, not without the frog brooch in his Emporium gripped tightly in her clutches. Speaking for myself, the visit to Logan’s studio – a self-created space, funded by the success of his lifelong dedication to his artistic pursuits – was a source of unequivocal inspiration. Believing it is possible to live another kind of life – an enchanted life of art, whimsy and make-believe – is one thing; being brave and clever enough to make it happen is altogether another. Just as Logan’s work resides in a boisterous space somewhere between fine art on the one side, and craft on the other, so too, Logan’s faery-like attitude toward the art of living is protected and crystallized in his castle: a chrysalis that dangles on the increasingly dirty, corporate, capitalist London skyline, home to a rare butterfly of a man. This visit made the value of my study ring true, and I caught the train back to Brighton full of shiny ambition.

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