Gallery of Costume at Platt Hall

This morning I had the opportunity to visit The Gallery of Costume at Platt Hall, Manchester. I arranged to look at their collection of shirts dating from 1800 to 1850. It was interesting to make comparison with the Prince's Shirt in terms of garment cut, style and weight of the cloth.

The box that was brought out to me was crammed with 13 linen shirts, folded between layers of tissue paper. Each was different. None of them quite matching the style of the Prince's Shirt, but finding familiar features amongst them.

Most of the shirts were quite yellow and stained. Marks from water, wear, staining, fold marks, etc. Some also showed signs of mending; darns, patches alterations and replacement sections. It made me aware what a wonderful condition the Prince's Shirt is in and how white it is. Has it been washed with modern detergents or just very well cared for?

The main thing I was able to observe was the difference in quality and weight of the fabric. From the collection at Platt Hall I found nothing even close in quality to the Prince's Shirt. The Prince's Shirt is a floating, transparent lawn, by comparison the other shirts seemed heavy. Dr Miles Lambert confirmed my thoughts about this and agreed that the shirt was of extremely high quality and something of very high status.

It made such a difference to see 'the real' thing rather than looking at images online. Handling the shirts and looking at their construction allowed me to see the similarities and understand how styles gradually evolved. I also found it fascinating to see the mended shirts, to realise how clothing and textile was valued and preserved.

Cut My Cote

This is an excellent reference and has helped me enormously in understanding the evolution of the shirt form. I also found it helpful to see how the different pieces could be cut from the width of cloth and hope to make some comparisons from my own research.

The more you look, the more you see.

One of the many things I have found fascinating so far about this research process is that by having the luxury of time to look at and study something in great depth, the more you look the more you see. Things that I barely noticed initially become fascinating elements requiring thorough visual study to understand construction.

I have also found that by starting to read about costume history alongside this it has made me interrogate the garment differently. A good example of this is that I read about a shirt in a museum collection being made from one piece of cloth for the body, folded at the shoulders. Now I had assumed (crucial error!) that the shirt was made from a front and back piece joined at the shoulder because I had seen a line of stitching there. On closer inspection after reading this I have ascertained that sure enough the main shirt body is one piece of fabric. The stitching across the shoulders is the addition of a narrow strip of fabric, stitched to the inside of the shirt, possibly this would have strengthened the garment.

So I feel more than ever that although it is good to look, study and record without bias, we already have bias and assumption. What is needed sometimes is further information to help us frame relevant questions.

Below are some more details that help to unpick the form and function of the shirt.

Button and buttonhole at cuff

Side vent/gusset

Triangular neck gusset

There is a very good reference to this neck gusset and other elements of the shirt in 'Cut My Cote' by Dorothy K. Burnham.

Research is... not tidy

It has occurred to me recently that while trying to tackle the Princes Shirt as a 'proper' academic project I may loose something of my personal angle. In discussion with a colleague yesterday it seems that many people feel that Prown's methodology for material culture analysis has it's downfall in this area. There is a danger of loosing huge amounts of contextual information by being blinkered to the surrounding story of an object.

I also feel that things are not neat and often cannot be compartmentalised, research cannot always be arranged to happen in the 'correct' order and it is not possible to remove emotion from the process. That said I do appreciate the importance of having a methodology, of avoiding bias as much as possible and of keeping an open mind.

So I have made the decision to look at things in a more holistic manner. Why not make measurements of the shirt and compare them with other examples? Why not look at the garment shape while reading about the evolution of the shirt? I think from now on I will try to use Prown as a framework or a check list for my project, rather than a rule book. I do not think it holds all the answers. I want to look wider, I want to ask experts and get advice. I also want to track my journey in a more honest way; the twists and turns, the dead ends and the don't knows.

Now that sounds like a plan!

Laundry mark

From this tiny embroidered laundry mark I decided to chart the individual stitches for means of documentation and comparison. It was easier said than done because the entire group of motifs measures just 14mm in height and the tiny cross stitches are the smallest I have ever seen. It was difficult in some cases to see if it was one stitch or two, even when magnifying. Below is my best effort, which is as close as I think humanly possible.

The laundry mark is on the right-hand side of the shirt front, next to the side gusset. It comprises: at the top, a crown shaped motif, in the centre the letters A.F and at the bottom the numerals 36.

The embroidery is stitched with very fine thread and the back looks neat, although there are some trailing threads between motifs and areas of the design.

Later I will be comparing this laundry mark with other examples and I hope this will prove a very useful vein of research.

Frustrating News

Today I encountered some frustrating news. Having contacted the V&A about visiting to view items from the reserve collection I received an automated reply in which I was informed that:

'We are unable to offer any appointments to view objects in our stores until autumn 2013 because we are building a new visitor centre at our Blythe Road branch in Kensington Olympia. This major development involves moving more than 80,000 items of textiles and dress and will take over two years. The Clothworkers' Study Centre for Textiles and Fashion Study and Conservation will be a dedicated facility to study, conserve and store the Museum's collection of textiles and fashion.'

In addition the textile galleries are also closed '(Rooms 98-100) have closed as part of the Museum's extensive FuturePlan programme of refurbishment.'

I suppose work of this kind is necessary in order to improve access to collections but it is very frustrating when working on a project with a limited time frame.  I do wish they would put something on the website to make it clear. Unfortunately this means I will have to look elsewhere for my research.

I will look forward to seeing the new visitor centre when it is finished!

Some shirt details