The Fashion Archives & Museum is pleased to announce that its latest exhibit, Celebrating Creative Hands–Yesterday and Today is now open during regular operating hours. It is a first ever collaboration with the Lancaster Spinners and Weavers Guild. The exhibit combines guild members’ creations made using traditional techniques and historical examples of the same techniques from the museum’s permanent collection.
FA&M director, Dr. Karin Bohleke notes “Textile techniques of the past continue to thrive, and the Lancaster Spinners and Weavers are true artisans, bringing traditional practices into the twenty-first century. Viewers will enjoy viewing handspun linens and clothing dating back to the 1780s, as well as garments from the nineteenth and twentieth centuries. This is the FA&M’s first partnership with the fiber arts community, and it certainly will not be the last.”
Handweaving is not the only fiber art highlighted in the exhibit: examples of quilting, embroidery, knitting, crochet, spinning, and tapestry illustrate over two hundred years of talented artisanal work. Examples of the necessary tools are also included.
A joint regional symposium hosted by the Mid-Atlantic and Southeastern regions of the Costume Society of America (CSA) will take place in conjunction with this exhibit on November 10 through 12. Anyone interested in attending should visit CSA’s website for program and registration information as plans develop (costumesocietyamerica.com).
Celebrating Creative Hands is open through November 22, 2022, but will be closed on July 4 and September 5 for the Independence and Labor Day holidays respectively.
Preparations are underway for the Fashion Archives and Museum’s forthcoming exhibit (Re)Shaping the Body. The exhibit explores engineered underpinnings and optical illusion tailoring to build up, alter, or reduce various parts of the body to align it with the current fashionable ideal of the moment. Corsets, bustles, cages and more will be on display, as well as fully mounted garments. Stays from the eighteenth century and even sleeve plumpers from the 1830s are included in the object list. Fans of different centuries will find much to enjoy.
Stay tuned to this website and social media for the exact opening date information.
The Fashion Archives and Museum’s latest exhibit, (Re)Shaping the Body is now open to the public through November 21, 2023. The exhibit explores body modifying underwear and optical illusion tailoring to alter the shape of the human body to match the fashion ideal of different decades.
Corsets, bustles, cages and more will be on display, as well as fully mounted garments to showcase how the body was built up, altered or reduced over different centuries. Organized by body part, the objects chosen for the exhibit considers the human body literally from head to toe. The oldest item on display is a set of stays dating to ca. 1755-1765.
The director, Dr. Karin J. Bohleke, comments that “Christian Dior famously stated that without foundation, there is no fashion. The history of men’s and women’s fashions is indeed the story of the foundation garments essential to creating the appearance of a specific body type or attribute that rarely matches most potential wearers. This explores the hidden layers and tailoring efforts that literally engineer the body into a different shape. Corsetry, for example, is alive and well, only today we call it “shapewear,” or, more specifically, “Spanx.”
The exhibit will be open on Friday, June 2, from 12:30 to 2:30 for additional special hours beyond the established schedule.
The next exhibit of the Fashion Archives and Museum (FA&M) will open to the public on March 30, 2024, from 12:00 to 4:00 p.m. Instrumental Fashions: Attire and Song explores the long-standing relationship between the latest fashions and current hit songs about clothing.
“Music and fashion have more in common than one might think,” explains FA&M director, Dr. Karin J. Bohleke, “Like fashion, musical genres have their moment of prominence, only to have another style emerge to replace them as newcomers on the scene attempt to differentiate themselves from the current trends. In addition, musicians incorporate keen observations on contemporary society. Naturally, fashions—from the elegant to the absurd—find themselves immortalized in catchy lyrics.”
Visitors will enjoy seeing historical boots and whether they were really “Made for Walking,” as well as the “Lady in Red,” the “Devil with a Blue Dress on,” a selection of “Sharp Dressed” men, and many other examples of fashions explored in pop songs. But sadly, unless someone has one to donate, the permanent collection has no yellow polka dot bikinis from the 1950s.
The exhibit runs through November 14.
Tucked away on the western side of Shippensburg University Campus sits the Fashion Archives and Museum. This well-known and active museum of preserved historical garments has aided Carnegie Mellon graduate student Danielle Dulchinos to win first place in the Patterns of Fashion contest in London, England. The Costume Society funds this award in honor of the work of Janet Arnold, a dress historian and a founding member of the society who is known for her accurate pattern drafts of historic garments. The contest involves sewing one of Arnold’s pattern drafts published in her Patterns of Fashion volumes. With the help and expertise of the archives director, Dr. Karin J. Bohleke, Dulchinos became the first American student to win the prestigious competition.
Dulchinos, who recently graduated from the costume production program, has worked in theater, film, and costuming with a specialization in historical costuming, even though that kind of work mostly happens in London. Knowing about the contest for a while and wanting to enter it, Dulchinos finally went on the time consuming journey for her thesis. She ended up choosing a dress from the 1790s because she wanted a design that would challenge her and one that dated before the invention of the sewing machine. The dress has a lot of detail with pleating, embroidery, and ribbon work which Dulchinos stated she had not worked with much prior to undertaking this project.
“Embroidering was more technically challenging, but the pleating was more emotionally challenging,” Dulchinos said “The pleating took about six out of the eight Harry Potter movies to complete and the embroidery took about 80 hours.”
She stated how in the 18th-century, they did not cut anything so the fabric was very thick because of all the folding from the pleats. Finding a dress form for the pattern was its own challenge due to the shoulders sitting further back. People from the 18th-century stood with their shoulder blades closer together, resulting in a different posture compared to today. Also, to stay historically accurate, she used silk thread which was another learning curve because it is not as strong as polyester, so it kept breaking.
Dulchinos said Bohleke, the director at the Fashion Archives, helped immensely and was beyond generous with time, knowledge, and resources. Bohleke helped Dulchinos in keeping the dress as historically accurate as possible by giving Dulchinos antique hooks and baleen boning, which is virtually impossible to purchase now because it comes from the mouth of sperm whales.
“Shippensburg was really really wonderful and Karin is so hands on, helpful, and enthusiastic,” Dulchinos said.
She mentioned how the access to the archives was exactly what she needed. Dulchinos considered going to PennState for help with the project, but Shippensburg had the resources, knowledge, and the garment holdings she needed to study. She came to the Fashion Archives to examine closely examples of 18th-century dresses and their construction techniques.
After the technical challenges of making the dress, came the challenge of traveling with it. Dulchinos did travel to both New York and Los Angeles, and by the time she traveled to London, she knew what to do to protect her creation. She stated that while it was still very stressful, it was more stressful the first two times. The dress had its own AirTag and several garment bags and the flight attendants even hung the dress in the closet on the plane.
The entire process totaled to be around 350-400 hours. This included making the dress as well as conducting research, submitting pictures and a video of the process, and a 20 page written summary. Dulchinos said that she would do the process again and would highly recommend entering the Patterns of Fashion competition to other students.
“I definitely want to thank Karin for all her help,” Dulchinos emphasized at the end of the interview “I am very very grateful”.
Author:
Nicole Ocker, Class of 2025
Communication, Journalism, and Media Major
The Fashion Archives and Museum will be closed through January 21 to allow the wonderful maintenance staff to take care of some necessary repainting and refreshing of the building.
We look forward to welcoming you to our next exhibit when it opens in spring 2025. In the interim, the Fashion Archives and Museum wishes all of its friends and donors a wonderful holiday season.
