Tag Archive for 'Regional Services'

Fastenings: The Australian Dress Register

There’s more history in a button than you’d think. As a volunteer helping with the Australian Dress Register, I compiled information on the history of fastenings as a resources sheet for the Register’s website. In the process I uncovered some interesting facts about the different ways clothes have been held together and the histories of different forms of fastenings.

To find these details I used the books in the Powerhouse Museum’s research library. I also looked at web-based sources of information. However, I had to make sure any information I used from the internet was reliable. I looked at several different types of fastenings, including hooks and eyes, drawstrings and press studs. But the most interesting histories were those of the button and the zipper.

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Collection: Powerhouse Museum

Though buttons and toggles were used for many hundreds of years, the buttonhole appeared in Europe around 1200, copied from the Turks and Mongols by returning crusaders. By the mid 14th century, buttons had become very popular. The button’s popularity spread across Europe, with monarchs adorning themselves with literally thousands of buttons. In the 16th century there was puritanical condemnation of buttons as sinful and the number of buttons used diminished a little. In response, button-makers made increasingly detailed and elaborate buttons. Buttons have been made from all sorts of different materials – shell, bone, metals and today plastic.

The modern zipper was invented in the United States in 1913. The name ‘zipper’ appeared in the US after the fastener was added to a pair of rubber boots and they were called the ‘Zipper Boot’ after the buzzing noise and speed of the closure. In the 1920s and 1930s, some clergy were opposed to zippers as they allowed one to take one’s clothes off too quickly!

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Collection: Powerhouse Museum

During the 1930s, zippers began to appear on skirts and dresses and on trouser flies from 1935. Tailors disliked zipper flies and created the fly front, a fold of cloth to hide the zipper. In the late 1930s colourful nylon zippers became available and designer Elsa Schiaparelli championed the use of the zipper in couture, adding bold zippers as features of her designs from 1935.

In the 1960s the zipper again became the focus of fashion, with designers such as Emilio Pucci using them as a centre front feature on some of his youthful print dresses.

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Collection: Powerhouse Museum

By World War II, metal zippers were widely used in Europe and North America. Following the war they spread to the rest of the world and ceased to be a novelty. Today, strong plastic is also used to make zippers.

The entries on the Australian Dress Register demonstrate how fastenings can be both functional and fashionable. For example, the Ladies Black Crepe de Chine Dress c.1930-1940 (ADR ID 234) from the Manning valley Historical Society has a very low neckline which is held together at the collar with a black and silver bakelite art deco brooch. The Dress Register entries give a sense of the great variety of clothes fastenings that have been used over time.

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Image courtesy of Marsha Rennie. Manning Valley Historical Society.

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Image courtesy of Marsha Rennie. Manning Valley Historical Society.

Written by Rosie Cullen

Regional Services: Eden Workshop

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Photography Powerhouse Museum © all rights reserved

Our Regional Services Program recently held a conservation workshop in the small town of Eden, NSW. This intriguing object was brought to the workshop by Joanne Grant of the Mallacoota Bunker Museum who was seeking advice on its conservation.

The wooden box contains the remnants of an apparatus for administering electrical shock treatment. It states on the inside lid that it was used to treat nervous conditions, but at the time these devices were believed to cure a wide range of ailments from hair loss, to cancer.! It is believed to have been used on the Yambulla goldfields and was found discarded in the bush in the 1960s or 1970s.

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Image courtesy of Jody White, Eden Killer Whale Museum


Tim Morris, conservator, Powerhouse Museum, and Joanne Grant from Mallacoota Bunker examining the medical equipment thought to have been used to administer shock
Treatment

After inspecting the box conservator Tim Morris suggested using ‘animal glue’ to repair some of the damage, and offered further support and assistance in preserving the device.

Workshops, such as the one held in Eden, are important in providing advice on how to preserve objects of historical importance that are held in small museums across the country.

Joanne states that ‘I am not a professional – just a volunteer at the museum who obviously loves history and does the best that I can enthusiastically, but with limited resources! I was very grateful for the opportunity to attend the workshop with Tim and learn about his work. I wasted no time in checking the Powerhouse website to look at some of the resources that he mentioned and feel sure that this will be accessed frequently in future! Thanks once again for your interest and your valuable assistance.’

Meet a Regional Services Intern- Michelle Maddison

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Photography by Powerhouse Museum © all rights reserved

As pointed out in our earlier post, internships form a significant part of the Museum’s Regional Services program and in this post, we have invited Michelle Maddison, a Curator from the Museum of the Riverina in Wagga Wagga, to talk about her experience.

I was immensely pleased by my stay at the Powerhouse – it met my expectations and I came away with useful knowledge gained both through research and the opportunity to meet face-to-face with specialists.

The Museum of the Riverina has a small but important costume collection. Uncovering the secrets of the collection has been an exciting journey and was the focus of my internship at the Powerhouse in 2009. As part of my internship, I researched a number of garments so they could be entered on the Australian Dress Register.

This research included looking at a tap dancing costume – a tutu-style dress of black tulle decorated with metallic braid and sequins. The dress belonged to Tivoli dancer Pauline Harvey and we thought it had been worn at the Wagga Wagga Eisteddford, in the closing years of World War II. It wasn’t until we put the dress on a mannequin that I realised it was a child’s dress and that Pauline must have worn it just after she began dancing at the age of 5.

At the Museum of the Riverina we have adapted what we have learnt from the Australian Dress Register for practical use. Following an initial workshop with Powerhouse staff, I developed a history of textiles exhibition called Dress for the Occasion. Tips I picked up allowed us to date garments to a more specific time period.

Having had the opportunity to look at the Australian Dress Register and what people are entering onto it, I feel, as someone who works in a regional museum, that it fosters an important sense of community that is especially important in regional museums which can feel isolated from what goes on in the metropolitan areas.

To find out more about the internship program, click here.

Conservator’s Corner- The annual vintage Taralga Machinery Rally

The Taralga Machinery Club ran its annual vintage machinery rally on the weekend of 21st/22nd November 2009. Despite the sweltering heat of 40?, over 900 people turned out to see the impressive exhibition of machinery. There were dozens of steam engines, stationary engines, tractors, models and a shearing demonstration. Because of the fire ban, no steam engines ran, but tractor engines were used to demonstrate some of the machinery in action. A wheat thrasher in action:

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.

This machine takes the stalks of wheat and seperates the heads from the hay. The residual hay is then bailed by the machine pictured below.

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.

There were many different types of steam engines present, such as this portable Southern Cross steam engine (horse drawn).

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.

Also included in the display were models of steam engines from the Powerhouse collection (A hand-made steam locomotive model made by A. Cardew. B2080 ).

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.

and toys from a different era – cast lead farm animals

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.

And shearing demonstrations powered by a tractor engine

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Photography by Kate Pollard © Powerhouse Museum, all rights reserved.