Opulence to Ashes: An exploration into the gendered marketing of the tobacco industry

Posted on December 14, 2023 by Eliza Tan Standard Respond

Alicia Curran, Deale Fisher, Eden Parsley and Scarlett Swinnerton have curated an exhibition reflecting on the relationship between gender identity and the marketing of tobacco in their second-year project for the BA History of Art and Design module ‘Understanding Exhibitions and Creating Displays’.

Opulence to Ashes is an exhibition, recently curated using archived materials from the University of Brighton’s Design Archives, now open in the foyer of St Peter’s House Library. This exhibition delves into the intriguing topic of gendered marketing within the tobacco industry and explores how marketing strategies have targeted specific gender identities and influenced consumer behaviour. Opulence to Ashes examines the utilisation of imagery, colours, and messaging that have traditionally reinforced gender stereotypes. By analysing these aspects, the exhibition prompts visitors to question the underlying messages and consider the broader implications.

The focus of this exhibition is on examining the ways in which the tobacco industry has targeted specific gender identities through their marketing strategies. Delving into the use of imagery, colours, and messaging that have traditionally reinforced gender stereotypes and influenced consumer behaviour. It looks at how cigarettes were initially marketed as symbols of masculinity, often with rugged cowboys and suave gentlemen being used to promote various brands. On the other hand, certain cigarette brands were specifically targeted towards women, employing feminine aesthetics and associations with elegance and sophistication. Opulence to Ashes brings you their own discovered cigarette brand: High Kings.

Seen below is an image of two reconstructed High Kings cigarette packages alongside the gender strategised, and targeted, design brief. The team chose the Olive Green packaging as in the brief this colour is explained as targeted at females and the Opulence to Ashes team want to allow the chance for any attendees to this exhibition to refer to this in the feedback. Boxes of this particular branded cigarette were also enhanced to appear either lighter in colour or more golden than those targeted at men.

As the exhibition progresses, it highlights the impact of gendered marketing on individuals and society. It examines the ways in which these marketing tactics have reinforced harmful gender norms and perpetuated inequality. As well as offering insight through the dissection of advertisement and promotional materials, present amongst the exhibition materials is the High Kings design brief that associates colours with certain age groups and genders. When creating this exhibition, with a target audience of university students and academic professionals in mind, the Opulence to Ashes team approached the advertisement of this exhibition with huge creative intention.

Seen below is a poster created by the team to advertise the exhibition. The playful use of a propaganda style poster is an effective strategy being used here when considered alongside the fact that there is a high likeliness that members of the target audience will be provoked by the look of the poster furthermore intrigued.

Looking at the intended audience and recognising that the ages of many people attending our exhibition would be anywhere from 18 to mid-late twenties, we understood that social media would be one of the most useful tools in advertising our exhibition as well as building our brand aesthetic and continuity to the exhibition pieces. Instagram being our chosen form of representation and advertising for the exhibition allowed for the aesthetic of Opulence to Ashes to be appointed prior to the exhibition.

Reorienting the Orient

Posted on December 14, 2023 by Eliza Tan Standard Respond

Annie Wright, Grace Dowle, Megan Glass, Avery Chamberlain and Eden Cronin have curated an exhibition reflecting on the connection between objects associated with the idea of ‘the Orient’ and the social construction of cultural difference within British society in their second-year project for the BA History of Art and Design module ‘Understanding Exhibitions and Creating Displays’.

Reorienting the Orient: Upcycling as a Cross Cultural Practice, Mithras House, 6th Dec 2023

Reorienting the Orient is an exhibition that aims to explore the narratives and aims of cross-cultural consumption and the repurposing of cultural garments for alternative uses in the west. Ideas surrounding where these garments were intended to be worn are contrasted between systems of international export and local trading, which allows for an interesting comparison in the usage of oriental clothing in Britain.

Orientalism, a term coined by Edward W. Said, describes the western construction of ‘the Orient’ as a place of mysticism and exoticism and reflects Britain’s imperial relations with Asia. Britain’s connections to the Orient have influenced popular fashion trends in many ways through the years. Reorienting the Orient documents multiple examples of the dissemination of imported Oriental goods into British society, whilst also providing context behind specific examples.

The exhibition features two main pieces, selected from the Dress History Teaching Collection. The first, a skirt most likely handcrafted by the Rabari, a nomadic tribe indigenous to the Kutch district of Northern India. Despite initially being thought to be from the Rajasthan state of India, research suggests the bright embroidered motifs of peacocks and mango trees to be that of Rabari craft. This skirt would have been created for local consumption within the Kutch district, but was brought to Brighton by John Gillow amidst the British fascination with Indian culture during the 1960’s.

Reorienting the Orient: Upcycling as a Cross Cultural Practice, Mithras House, 6th Dec 2023

The second garment from the same collection is a Cantonese shawl, dating anywhere from the late 19^th to early 20^th century. Also being known as ‘Manila Shawls’ and ‘Manton de Manila’, these fabrics were most often made of silk and featured the Yue embroidery that is native to the Canton region. Patterns on these shawls often include scenes from nature and mythical creatures. This specific example features embroidered motifs of foliage on cream silk, with a border of fringe encasing the design. In contrast to the Rabari skirt, these Cantonese shawls would have been made specifically for western use. The consumption of these garments in Europe would ultimately lead to the commissioning of western cultural emblems to be embroidered on them, and the chartering of trade companies designed to import these products to various European nations.

Reorienting the Orient: Upcycling as a Cross Cultural Practice, Mithras House, 6th Dec 2023

Although both of these pieces show the significance of orientalist clothing in Britain in both the 19^th and 20^th centuries, ‘Reorienting the Orient’ also displays evidence of orientalism as an ongoing practice. This is shown through the exhibiting of two recent examples, purchased by the curators locally, in the Brighton lanes. Displayed on a mannequin alongside the Rabari skirt is a long sleeve cropped blouse in a rich maroon colour. The pattern featured on the garment shows clear inspiration from South Asian clothing and shows how cultural items from the Orient may have been understood and worn in a westernised context. Alongside the Cantonese shawl, a small toiletry case is displayed, which features designs and motifs that are heavily east-Asian inspired. Despite a lack of information on this piece, the purpose can be assumed to be that of western consumption, with copies of this very product being found on selling sites such as eBay.

Throughout Reorienting the Orient, the idea of a difference in production and consumption remains constant, with comparisons between the intended purposes, trade routes and the adopting of the exhibited garments into western society.

The exhibition, curated by Annie Wright, Grace Dowle, Megan Glass, Avery Chamberlain and Eden Cronin, is now available for viewing on the second floor of Mithras House (top of the Hellerup stairs).

Selling Wallpaper: An archival history of interwar home decoration

Posted on May 19, 2020 by Annebella Pollen Standard Respond

Lucy Ellis, MA History of Design and Material Culture, provides a fascinating insight into the history of wallpaper.

I have always had an interest in the history of wallpaper, and I also have a background in retail. When I started my MA in the History of Design and Material Culture at the University of Brighton in 2017, I was keen to bring these two things together. So I was delighted to find a publication called The Wallpaper Magazine in the Museum of Domestic Design and Architecture (MODA) collections at Middlesex University. MODA proved to be a fascinating resource for research into wallpaper salesmanship between the wars.

My research made me realise just how much rich history is contained within trade journals and magazines: all the voices of the trade are there, from management through to decorators. We see them at work and at play through the advice features, technical instruction, sports and social reports, jokes and cartoons, all wrapped up in these wonderful ephemeral objects.

Wallpaper Magazine, April-May 1927, Museum of Domestic Design and Architecture collections, Middlesex University.

The Wallpaper Magazine was published in Britain from 1920-1939 by The Wallpaper Manufacturers Ltd (WPM), the dominant wallpaper company of the first half of the twentieth century. The magazine was an in-house journal that sought to unite the industry. It was a conduit for enthusiastic (and at times intensely didactic) advice on how to maximise wallpaper sales.

When the magazine was launched in 1920 the wallpaper industry was recovering from a slump brought about by war and shortages of raw materials. The wallpaper industry also faced a hostile design climate in which critics, enthused by modernism, advocated abandoning wallpaper for plain painted walls.

In response, WPM used The Wallpaper Magazine to inform, educate and motivate the wallpaper salesman to ‘better business’. It was a means of conveying the new USA-led science of salesmanship to the independent decorator on the high street in order to revive the trade.

The magazines chart the growing importance of branding as a means of selling. I was intrigued by the changing cover designs and how the tone of the magazine altered over the 1920s and 1930s. In the 1920s the salesman was encouraged to see his (mainly female) customers as ‘unbelievers’. It was thought that they needed to be ‘educated’ into buying wallpaper. By the 1930s, there was a more moderate and sophisticated assessment of the client based on psychological profiling, a change reflected in the tone and content of these magazines.

I am very grateful to the Wallpaper History Society for awarding me the Merryl Huxtable Prize to support my research into inter-war wallpaper salesmanship.

For more information about Lucy’s research, watch this film made by Middlesex University TV Production students. With thanks to the Museum of Domestic Design and Architecture for permission to reblog this content.

http://vimeo.com/375708265

Criticism of the Bauhaus from Within: The Dornburg Workshop

Posted on November 22, 2019 by Annebella Pollen Standard 2

MA History of Design and Material Culture student, Maria Paganopoulou, reflects on lesser-known aspects of the Bauhaus in its centenary year.

While writing my undergraduate thesis on the Arts and Crafts movement, one of the things I found most frustrating was encountering academic writing that condemned the whole of the movement, considering it a failure in its social purposes, design reform and even in its attempted improvement of women’s rights. Very often those academics regarded the Bauhaus as the successful offspring of Arts and Crafts’, as the place where its ideas fully developed, although these narratives were often coloured by nostalgia. Those academics tended to celebrate Bauhaus’ embrace of the machine and mass production and consider the rejection of them by the Arts and Crafts movement as the ultimate reason behind its failure. Arts and Crafts has tended to be characterized as merely a bourgeois endeavour for the middle and upper-classes.

As a result of these debates and my study of them, I have been irresistibly drawn to alternative narratives that challenged the authoritative status of the Bauhaus and consider it historically rather than wishing nostalgically for its resurrection. Needless to say, when I discovered an opposition to the turn that Bauhaus had taken towards the machine and machine aesthetics, especially one coming from within the Bauhaus, I was utterly fascinated.

Fig 1. Marcks in the beginning of his position in Dornburg, circa 1920

I made this discovery during my three-month internship at Gerhard-Marcks-Haus in Bremen, Germany, a museum dedicated to Gerhard Marcks, sculptor and also a member of the Bauhaus teaching staff. Gerhard Marcks was in fact one of the first three artists that Walter Gropius invited to teach in his newly merged/ founded institution, along with the infamous Lyonel Feininger and Johannes Itten. Marcks and Gropius knew each other from 1907 through Marcks’ brother Dietrich who, like Gropius, was an architect. The two young artists shared a vision to align art and craft and, according to Marcks, this was why he accepted the position of Professor (Form-Meister) in Bauhaus.

Fig 2. Renate Riedel, Thoma Gräfin Grote, Max Krehan and Marguerite Friedlaender in front of the workshop.

After the news spread about the establishment of the Bauhaus in Weimar, Max Krehan, a local potter who owned a workshop in Thuringia, approached Gropius for a potential collaboration. Gropius and Marcks visited his workshop in Dornburg and came to the conclusion that this was where the ceramics workshop of the Bauhaus should be established. In 1920 the plan was realized and the Dornburg Workshop came to life, 20 miles away from the central Bauhaus premises in Weimar, with Gerhard Marcks as its Form-Meister and Max Krehan as its Werk-Meister (master of technical aspects).

Fig 3. Cup made of burnt clay with a portrait of Johannes Driesch (student), made by Marcks in 1922

The intertwined life and teaching in the workshop were not ideal; on the contrary they were deliberately challenging. In Marcks’ writings, he emphasised the traditional aspects of the work of the workshop, especially in relation to the absence of advanced machinery and the physically demanding nature of the job that its absence caused. The potters’ wheels were operated by foot power rather than electricity. The ovens were wood-fired. However, the use of traditional equipment was perceived in a positive light. As Marcks wrote: “This was the purest nature”.

The learning procedure was long and for the first two years apprentices were allowed to experiment only with their decoration before they were considered ready to experiment “plastically” with the forms. To compensate for the hard work and the restrictions imposed, there were leisure activities, such as swimming and the collective reading of seminal texts. We can see, then, that this autonomous community, developed in the framework of the Bauhaus, functioned a lot more like C. R. Ashbee’s Guild and School of Handicraft in Chipping Camden in Britain, rather than a school dedicated to industrial design. Nature, traditional equipment, common life and the concept of rural escape employed in the Dornburg workshop therefore reflect previous ways of thinking.

Fig 4. Postcard for an exhibition of the Bauhaus, designed by Marcks in 1922

As far as what was happening in the central Bauhaus, Marcks didn’t hesitate to voice his dissatisfaction. In letters to Gropius, Marcks made clear that Bauhaus should be a workshop not a school. He also stressed the need for contact with materials and the making of objects. This differentiated him from other Form-Meisters in the Bauhaus who were more interested in painting or in the intellectual aspects of creation, leaving the teaching of technical skills to the Werk-Meister. Finally, Marcks stood at a clear distance from the mass production shift advocated by Theo van Doesburg. In his words “I cannot identify anymore with Bauhaus. Sooner or later Formalism is taking place. If I was in Weimar I wouldn’t still be in Bauhaus”. The tale of the end of the Dornburg Workshop is a short one. Bauhaus moved to Dessau and Gerhard Marcks wasn’t invited to continue teaching. Max Krehan also died in 1925, around the time of this decision.

Fig. 5. The interior of the workshop

Last year, the Dornburg Workshop opened its gates as a museum as part of the Bauhaus centenary commemorations. Despite this, its story is relatively unknown, even in Germany. The history of the Bauhaus comprises many lesser-known stories that run in parallel with the evolutionary narrative of the heroic modernist school which, it is claimed, came to succeed where previous movements had miserably failed. The dominance of this modernist narrative, it seems to me, is partly informed by the stylistic preferences of those doing the telling. As the case of the Dornburg Workshop shows, however, Bauhaus shared common roots with some earlier Arts and Crafts endeavours instead of overthrowing them entirely.

Fig 6. The interior of the workshop

Kind thanks to Gerhard-Marcks-Haus for providing me with access to their resources and archives.

A prize-winning return to university study

Posted on January 18, 2018 by Verity Clarkson Standard Respond

Thinking of studying as a mature student? Wendy Fraser, a finalist studying BA (hons) History of Art and Design shares her experiences and celebrates her recent success.

Figure 1 Wendy Fraser and Andrew Davidson, Celebration Event, University of Brighton Grand Parade. Photograph: Philanthropy Department.

In December, I was honoured to receive the Khadija Saye Visual Culture Breakthrough Award 2016/17 for my performance in the second year of my History of Art and Design degree. Khadija Saye, in whose name the award is presented, was a young photographer from London whose work was included in the Diaspora Pavilion at the 57^th Venice Biennale in 2017. Tragically, Saye died along with her mother in the Grenfell Tower fire, in the twentieth-floor flat that she also used as her photographic studio.

I am thrilled to have received the award, which is validation for the decision I made to come back to university as a mature student. I wrestled with different ideas of what to embark on next in my life, flip-flopping between a business plan or further education. My first experience at university was embarking on a degree in English Literature and History of Art at Edinburgh University when I was 19. At the time, I regretted the choice of Edinburgh as a University and English Lit as my subject but rather than make changes I left at the end of the first year. Retail jobs led to a career in fashion and giftware wholesale as an Account Manager with trade shows and twice-yearly travel to the Far East, which was creative and fun but ultimately intellectually unfulfilling. After the births of my daughters I juggled lots of part-time jobs to fit in with them – selling on Ebay, baking cakes for cafés, a sales role for a Childrenswear brand and supper club hostess.

I knew that I had not reached my academic potential and it would become a regret if I did not act upon it. The degree programme has exceeded my expectations and I have really appreciated learning about so many different aspects of visual and material culture. It has been a joy to have a legitimate reason to visit so many galleries and museums, rather than just as entertainment. My confidence in my subject has grown incrementally, helped in part by my volunteering roles at Charleston and at the Brighton Museum and Art Gallery, which we were encouraged to do in first year. Amazingly being a ‘mature’ student hasn’t made me feel awkward and my fellow students have been really inspiring – I have learned a lot from them and really enjoy their company.

The Khadija Saye Visual Culture Breakthrough Award was given at a ceremony in the Sallis Benney Theatre where students from across the University received Breakthrough Awards, Merit Awards, International Scholarships, Sports Scholarships, Enterprise and Employability Grants and Santander-funded awards. The donor of my award is Andrew Davidson (pictured with me above), a University of Brighton Alumnus who studied Visual Culture and is now an Education and Communications Consultant. I was awarded £500, which I plan to use towards a trip to the 2019 Venice Biennale, inspired by Khadija Saye’s achievement. This will be my first experience of an international biennial and further my understanding of contemporary art exhibitions. I haven’t been to Venice since I went on a three-week trip to look at as many examples of Titian’s work as I could before enrolling at university first time around, so this will be a memorable and beneficial use of the award money, representing my circuitous journey back to the History of Art.

Volunteering: where might the ‘positive feedback loop’ take you?

Posted on January 5, 2018 by Verity Clarkson Standard Respond

Lisa Hinkins, currently in her final year studying BA (Hons) History of Art and Design, gives an update on the diverse volunteering opportunities available via the University of Brighton – and the unexpected places they have led…

In my first year of the BA (Hons) History of Art & Design course, I was asked if I could write for our blog about my experiences of volunteering. In it I mentioned the ‘positive feedback loop’ from my experience of coordinating volunteers at a Scrap store I ran, to my volunteering with Photoworks and Fabrica. Since then, I have participated many hours of learning and creating within my voluntary roles. On the way, I have met and made friends with many different people. Fabrica has been a refuge from many stresses and an outlet to experiment in writing for their Response magazine, create workshops and interact with the public in Front of House duties for exhibitions.

The initial few months of volunteering within the arts gave me the confidence to apply for a job at Brighton Museum & Art Gallery as a casual gallery explainer. For nine months, I was part of a team working in the Fashion Cities Africa exhibition, following which I worked with the Constable and Brighton exhibition. While engaged with the Museum, it has led to some other opportunities within the organization, which have been very interesting and invaluable learning experiences. So, my volunteering led to a positive outcome of a paying job.

Not only have I been able to earn money from something I enjoy, I continued my volunteering during my second year of study. Somehow, I managed to rack up over 90 hours of volunteering! It has been important to keep in contact with Kat (neé Turner) Saunders, Volunteering Project Officer for Active Student Volunteering Services, as she was able to ensure I received continued opportunities with Photoworks, which included creating a workshop during 2016’s Brighton Photo Biennial at the Ewen Spencer installation at Fabrica. Another benefit of keeping registered with the university Volunteering Services, is that your volunteering hours are officially recognized by it, so for the past two years I have received certificates recognizing my dedication.

In June, I was completely taken aback when Kat Saunders sent me an invitation to attend the Mayoral reception for University of Brighton student volunteers, part of celebrations for National Volunteers’ Week. Around twenty students were invited from across the Brighton campuses to the reception in acknowledgement of the many hours of dedicated service in organizations across the city. It was an honor to be asked and to represent the City campus. It was also a great excuse to eat far too much cake in the Mayor’s Parlour in the Town Hall! And it was a delight to meet the exuberant Mayor, Mo Marsh, who took time to speak to all of us about our experiences and thank us.

A week later our group photograph with the Mayor was featured inside The Argus newspaper. Rather embarrassingly the callout for students to send a few words about their volunteering experiences, for the article seemed to result in only mine being published, but Fabrica director Liz Whitehead was truly delighted that her organization got a mention in my statement.

That positive feedback loop has endured: volunteering, job, celebration, recognition, continued volunteering. I would encourage my fellow students to sign up with Active Student Volunteering Services. It has been one of the best things I have done during this journey through my degree.

Mass Observation: Objects in Everyday Life

Posted on January 4, 2018 by Verity Clarkson Standard 2

How can historians investigate what people wore in everyday life and what it meant to them? Hannah Smith (MA History of Design and Material Culture) explores some of the many micro-histories contained in the Mass Observation archive…

For my MA dissertation I have researched practices of dress in everyday life as presented within the Mass Observation Project Spring 1992 and Spring 2006 ‘One Day Diary’ directive responses. Housed within the University of Sussex Special Collections at The Keep near the South Downs in Sussex, it is made up of handwritten letters, typed emails, photographs and drawings, produced at the hands of the hundreds that make up the panel of writers known as ‘Mass Observers’. This material is divided into the Mass Observation Archive (1937 – early 1950s) and the Mass Observation Project (1981 – present). It is the latter Mass Observation Project (MOP) that I have been using in my research.

The MOP defines itself as a ‘national life writing project’. Former director of the project, Dorothy Sheridan described it as, “…ordinary people observing and reflecting on everyday life…” (Sheridan, 2000:10). The intent of both the Mass Observation Archive and Project was to give voice to the ‘ordinary’ everyday person, giving them “the authority over knowledge” (Sheridan, 2000:10). Mass Observers are sent up to three sets of ‘directives’ a year with the invitation to write about a wide range of themes and events. Examples have included “Gardening”, “The Refugee Crisis” and “Your Home”.

Figure 1. Responses to the Spring 2005 ‘Charles and Camilla’ Directive. Image courtesy of Mass Observation.

My interest in the MOP came about during my first year on the MA History of Design and Material Culture at the University of Brighton. We were encouraged to use the MOP as a primary resource for a group project entitled ‘Interior Lifestyles’. Using the directives ‘Objects about the House’ and ‘Collecting Things’ we explored the relationships between the Mass Observers and the objects they decorated their homes with. Aside from the aforementioned project, the ‘New Years Eve’ and ‘One Day Diary’ directives that I had had the opportunity to look through particularly inspired me. As a researcher of dress and fashion in everyday life, here was access to narratives of real experiences of living, breathing people interacting with dress and fashion, rather than a constructed representation or media ideal. I therefore initially assessed these diary-format directives and developed my own methodology for using the MOP within a material culture study, ultimately leading to my dissertation research in practices of dress.

As well as being able to track the Mass Observer’s use of dress as they weave amongst different contexts throughout the narrative of their day, it has given me rare insight into the ‘wardrobe’ moment – the moment when which the bricolage of the visual self we see in more public spaces is created. Through using Mass Observation, I have been allowed the opportunity to explore not only how people use dress in more public spaces, but also in move private spaces – whether that be their dressing gowns, pyjamas or nothing!

Figure 2. Examples of additional personal papers (including diaries and letters) donated to the project. Image courtesy of Mass Observation.

Initially, I was overwhelmed due to the vast amount of material and its seemingly limitless capability for endless threads and tangents of research. By reading as much as possible about how other researchers had used the material, I was able to see that every Mass Observation researcher has shared the same struggles and frustrations. Through learning from their problem solving, I was able to tailor their theories to my research interest and develop my own methodology for using the material as well as providing a structure for sampling.

With its interdisciplinary appeal the material transcends boundaries, making it an exciting resource that can always be further explored. Whilst students, academics, media researchers and the public have taken advantage of the unique collection – it is ultimately a treasure trove for anyone with an interest in everyday life. For a researcher of design history and material culture, it provides a rare platform to witness the reality of objects interacting in everyday life. Since I’ve been working with the material, the Mass Observation staff, and the staff at The Keep, have been incredibly helpful and approachable. There is an openness towards anyone that is interested in engaging with the material.

As much as it may seem intimidating during an initial encounter, this should never prevent anyone that is interested from engaging with the material. Now more than ever Mass Observation provides an important platform for recording the reality of lived experience, giving voice to the micro-histories that grand-narratives have tendency to silence. It is inspiring to know as an individual in society, as well as a researcher, that there is a space for your voice to be heard and a space that seriously considers what you have to say. Working with a collection such as this is incredibly important if we are to understand the reality of how we negotiate lived experience and exist as a society and as individuals.

Dress Detective: using Brighton’s Dress History Teaching Collection

Posted on July 5, 2017 by Verity Clarkson Standard 1

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

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

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

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

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

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

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

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

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

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

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

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

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

Perspectives on Fashion Curation

Posted on April 4, 2017 by Verity Clarkson Standard Respond

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

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

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

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

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

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

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

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

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

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

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

Posted on March 3, 2017 by Verity Clarkson Standard Respond

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

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

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

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

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

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

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

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

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

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