The Development and the Evaluation of Costume Reproduction Pattern Blocks for an 1880's Woman's Dress

Abstract

English Costume, Manchester and to the members of the evaluation panel who gave of their time so freely. AbstractThe purpose of this study was (1) to document an 1880's bustle dress and (2) to develop a set ofperiod pattern blocks which would authentically reproduce the bustle dress. The study garment was part of the Historic Costume and Textile Study Collection at the University of Alberta. The following question was addressed: for a standard size 12 what will produce the most authentic reproduction of the study garment; (1) drafting a pattern using an 1880's pattern making system, (2) drafting a pattern using a contemporary pattern making system or, (3) grading a pattern taken from the study garment? Using patterns taken from the dress, an 1880's bustle and petticoat, and an original pattern of an 1880's corset, toiles were produced to check the accuracy of the original patterns. The patterns were graded using the Price and Zamkoff (1974) grading system and British standard size 12 measurements. Two standard size 12 patterns of the study garment were developed using the Thomson (c. 1887) and the Aldrich (1985) drafting systems. Toiles were produced, and then mounted on dress forms padded to simulate British standard size 12 body shapes. A panel of experts evaluated the toiles and ranked them from most authentic to least authentic. The toile developed from graded pattern pieces was chosen as the most authentic reproduction of the study garment.

Negotiating Personal Needs and Authenticity

“…Authenticity is ''the attempt, to the best of an individual's ability, to use what they [sic] believe to be a method used in historical times to produce an artifact that reproduces something from an [sic] historical time'' (Turner, 2010, p. 27). Wearers of historic styles of dress often value and strive to achieve authenticity in dress (Marendy, 1993;M. D. Strauss, 2001).…”

“…D. Strauss, 2001M. D. Strauss, , 2002Turner, 2010), historical dance troupes (Miller, 1997(Miller, , 1998, Renaissance festival workers and attendees (Gunnels, 2004), and living history museum staff (Baumgarten et al, 1999;Kim, 1992;Marendy, 1993).…”

“…Authenticity is “the attempt, to the best of an individual’s ability, to use what they [ sic ] believe to be a method used in historical times to produce an artifact that reproduces something from an [ sic ] historical time” (Turner, 2010, p. 27). Wearers of historic styles of dress often value and strive to achieve authenticity in dress (Marendy, 1993; M. D. Strauss, 2001). Historic styles of dress are worn among various reenactment groups (Lee, 2005; Miller, 1997, 1998; Miller-Spillman, 2008; Miller-Spillman & Lee, 2014; M. D. Strauss, 2001, 2002; Turner, 2010), historical dance troupes (Miller, 1997, 1998), Renaissance festival workers and attendees (Gunnels, 2004), and living history museum staff (Baumgarten et al, 1999; Kim, 1992; Marendy, 1993).…”

“…For the purposes of this research, Regency dress as worn by the members of historic groups, such as the Jane Austen Society, will be referred to as a historic style of dress . A historic style of dress imitates historic clothing but is not an exact copy and is distinguished from “historic costume,” commonly used to refer to extant historic garments (Baumgarten, Watson, & Florine, 1999; Kim, 1992; Marendy, 1993). Past researchers have found that wearers of historic styles of dress often value and strive to achieve authenticity in dress (Handler & Saxton, 1988; M. D. Strauss, 2001; Turner, 2010).…”