Theatre Design & Technology - Winter 1980 - 19

places. It can be equally important for those working with
more abstract production concepts. For those designers, it is
the study of the real that can be the springboard to the abstraction. Research can be the intellectual stimulant or catalyst that activates the designer's own creative energies. The
over-riding purpose of costume historical research should be
to broaden the perspective of the designer and create more
possibilities for the use of the available elements of design.
Museum resources for costume history are found in a number of different areas. For research into earlier times and
places and where extant costumes are not available, departments of decorative arts, prints and drawings, and the painting and sculpture galleries provide many representations of
costume. Most museums have excellent library resources,
and often slide libraries as well. Most departments have study
rooms where research can be done by appointment. In many
museums costumes and textiles are in a single department,
and it is important to remember that the fabrics of a given time
are wonderful sources for design. Unlike costumes, textiles
from almost all times and places exist in the major museums.
Within the United States, the resources of actual garments are
primarily from the eighteenth, nineteenth, and twentieth centuries with a few earlier pieces. It cannot be over-emphasized
that much more can be learned from studying an actual garment than by looking at a picture of it or even a pattern draft of
it done by someone else. When the actual garment is there to
be examined, the fabric and its draping qualities, the construction details, and the applied decoration are all elements
that give meaning to the esthetic of any specific historic period.
There are three general procedures that apply to using
most museum collections. First the researcher must have a legitimate scholarly purpose or affiliation with an educational or
commercial organization. Second there should be a very specific project. Third the appointment should be made at least
two weeks in advance. Meeting these criteria is not difficult for
the theatre designer since production schedules demand advance planning, the project is well defined, and the desire to
use the museum for research comes from real interest. The
following list of museum directories will help locate costume
and textile collections in the United States, Canada and
abroad:
The American Association of Museums. The Official Museum Directory, 1980, United States and Canada. National Register Publishing Co., Inc.
Centro Internazionale della Arti e del Costume, Palazzo
Grassi, Venice. Internazionale ai musei e aile collezioni
pubbliche di costumi e ditessuti.
(Listings in Italian, German, English.)
Art Address verlag mOiler GMBH. & Co. KG., Frankfurt/
Main 1, Federal Republic of Germany. International Directory of Arts, 2 vols.
(Listings in language of country where museum is located.)
The accompanying chart lists museums in the eastern United
States that have major costume collections available for
study.
Once arrangements have been made to use a museum costume collection, there are a number of general rules for handling costumes that most curators follow. Depending on the
costumes chosen for study and their importance and condition, a member of the curatorial staff may wish to do the handling. When the researcher is able to handle the costumes,
these are the rules to keep in mind:
1. Always wash your hands before starting to work, or if
you ever feel that your hands are warm and might be perspiring or be soiled. Avoid hand creams that might come off
on the costumes. A good practice is to wear soft white cotton
gloves.
2. Never try anything on.
USITI Winter, 1980

3. Do not wear rings, bracelets, or any kind of jewelry that
could possibly catch on a costume and tear it or snag it.
4. Do not smoke, chew gum, eat candy, or have any sort of
food or beverage any place close to the costumes.
5. When sketching the costumes, use only pencils--rlo
pens of ANY kind-and take great care not to get the pencil
close to the costumes. Do not do tracings or rubbings. Bring a
cloth tape measure.
6. When photographing costumes use a high speed film
that has been adjusted for the type of light available-flash is
usually not allowed. Often a black and white film is very good
for detail work. Photographs can be taken only with permission. Publication rights must be arranged.
Keeping the fragile nature of textiles constantly in mind is
an important part of the attitude necessary for the study of
costumes in museum collections.
Many costume designers caught in the rush and anxiety of
deadlines might feel that their time was too precious to be
spent on museum research. Too often designers see only their
own work. Most designers find at one time or another that
they have run out of colors or lines or textures. HQpefully, before these extremes are reached, time can be found for the research that can revitalize and inspire creativity. Of course,
when a designer is excited by a project and seeking options
that will express just the right aspects of a design, museum research can help to show the way.o

Major East Coast Costume Collections Accessible For
Study:
STRENGTH OF
MUSEUM

COLLECTION

CONTACT

American Museum of
Natural History
Central Park West at
79th
New York, N.Y. 10024

Textiles and costumes
of most tribal and
ethnic groups

The Brooklyn Museum
188 Eastern Parkway
Brooklyn, N. Y. 11238

19th century high fashion Ann Coleman, Curator of
for women
Co~umes
(212) 638-5000 ext. 386

Cooper-Hewitt Museum
9 East gOth St
New York, N.Y. 10028

Decorative arts Including Textile Department
(212) 860-6888
textiles and costumes;
Color slides available
Prints and drawings has
Vyvyan Holland collection
of fashion plates

The Costume Institute
Metropolitan Museum
of Art
5th Avenue at 82nd.
New York, N.Y. 10028

18th, 19th & 20th century Jean L. Druesedow
(212) 879-5500 ext. 380
high fashion for men,
women and children; also
regional costumes and
accessories

Fashion Institute of
Technology
227 W. 27th St.
New York, N. Y. 10001

20th century fashion;
Robert Riley, Laura
Sinderbrand
large collection of tex(212) 760-7762
tile swatches
$300.00 subscription fee

Museum of Fine Arts
Huntington Avenue
Boston, Mass. 02115

18th and 19th century
women's high fashion
18th c. men's fashion
shoes and hosiery

Philadelphia Museum
Benjamin Franklin Pkwy
at 26th
Philadelphia, Pa. 19101

18th-20th century with
Adolph Cavallo. Curator
majority from 1870-1910 or Christine Jackson
(215) 763-8100
some complete Quaker
costumes; emphasis on
Philadelphia owned; some
working class clothing

Smithsonian Institution
Museum of History and
Technology
Constitution Avenue at
14th N.W.
Washington. D.C. 20560

Emphasis on American
costume and everyday
costume vast resources
such as tailor's account
books

Winterthur
Wilmington, Delaware

American decorative arts Sue Swan. Texliles
(302) 656-8591 ext. 203

Usa Whlttall
(212) 873-1300
Tues., Wed., Thurs.

Matthew X. Kiernan
(617) 267-9300 ext. 536

Karen Harris
(202) 381-6652

Theatre Design & Technology

17



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1980

Contents
Theatre Design & Technology - Winter 1980 - 1
Theatre Design & Technology - Winter 1980 - 2
Theatre Design & Technology - Winter 1980 - 3
Theatre Design & Technology - Winter 1980 - Contents
Theatre Design & Technology - Winter 1980 - 5
Theatre Design & Technology - Winter 1980 - 6
Theatre Design & Technology - Winter 1980 - 7
Theatre Design & Technology - Winter 1980 - 8
Theatre Design & Technology - Winter 1980 - 9
Theatre Design & Technology - Winter 1980 - 10
Theatre Design & Technology - Winter 1980 - 11
Theatre Design & Technology - Winter 1980 - 12
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Theatre Design & Technology - Winter 1980 - 16
Theatre Design & Technology - Winter 1980 - 17
Theatre Design & Technology - Winter 1980 - 18
Theatre Design & Technology - Winter 1980 - 19
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Theatre Design & Technology - Winter 1980 - 44
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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