![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
Abstract
This paper discusses research into pattern cutting via mould-making techniques for body-conscious, contoured clothing used in the theatrical costume industry (film, television and theatre). With their considerable experience as costume makers, the authors recognized a gap in knowledge and documentation for this approach to pattern cutting. The intentions were to expand the range of techniques available for theatrical costume professionals, allowing practitioners to draw complex style lines directly onto the body shape and onto inanimate objects. The research explored different approaches through a series of three-dimensional experiments, which included contouring the body with moulds to achieve sculptural or abstract forms and discovering the capabilities, advantages and restrictions of the technique. The enquiry includes a variety of methodologies, which investigated the practical, technical and historical background to contoured pattern cutting. Object-based research considered the design and manufacture of body conscious garments. Action-based research and semi-structured interviews with practitioners considered the skills costume makers use to produce contoured clothing and the ethics connected with drawing styles directly onto the human body. In order to contextualize the practical investigations, a review of the literature revealed the limited extent of contemporary and historical research dedicated to contoured pattern cutting.
Notes
1 Naomi Tarrant, The Development of Costume (Edinburgh: National Museums of Scotland in conjunction with Routledge, 1994), p. 46.
2 Tarrant, The Development of Costume, p. 39.
3 Norah Waugh, Corsets and Crinolines (London: Batsford, 1954), p. 157.
4 Moulage is a French term meaning casting or moulding. It is used as a term for draping fabric on a dress stand in order to create a design.
5 Carole Gray and Julian Malins, Visualizing Research: A Guide to the Research Process in Art and Design (Farnham, UK and Burlington, USA: Ashgate, 2004); Yuniya Kawamura, Doing Research in Fashion and Dress: An Introduction to Qualitative Methods (Oxford: Berg Publishers, 2011).
6 Waugh, Corsets and Crinolines; Norah Waugh, The Cut of Women’s Clothes: 1600–1930 (London: Faber, 1968); Jean Hunnisett, Period Costume for Stage & Screen. Patterns for Women’s Dress, 1500–1800 (London: Bell & Hyman, 1986); Margot Hamilton Hill and Peter A. Bucknell, The Evolution of Fashion: Pattern and Cut from 1066 to 1930 (London: Batsford, 1987); Natalie Bray, Dress Fitting: Basic Principles and Practice (Oxford: Blackwell Science, 2003); Jean Hunnisett, Fiona Ffoulkes, Jill Spanner and Katherine Turner, Period Costume for Stage & Screen (Studio City, California: Players Press, 2003); Jill Salen, Vintage Lingerie: 30 Patterns based on Period Garments plus Finishing Techniques (New York: St Martin’s Griffin, 2012).
7 Waugh, The Cut of Women’s Clothes; Janet Arnold, Patterns of Fashion 2: Englishwomen’s Dresses and their Construction, c.1860–1940 (London: Macmillan, 1977); Max Tilke, Costume Patterns and Designs (New York: Rizzoli, 1990); Salen, Vintage Lingerie.
8 Denis Diderot, Encyclopaedia: The Complete Illustrations, 1762–1777 (5 volumes), vol. 4 (New York: Harry N. Abrams, 1978).
9 Tarrant, The Development of Costume, p. 104.
10 Lucy Johnston was curator of nineteenth-century fashion in the Victoria and Albert Museum’s Department of Furniture, Textiles & Fashion. She is now at Dorset County Museum. Her published work includes, Shoes (London: V&A Publications, 1999), which she co-authored with Linda Woolley. Sarah Nicol is curator of the Symington Collection at Snibson Discovery Museum, Leicestershire, UK. Her published work includes, Foundations of Fashion Book: The Symington Corsetry Collection 1860–1990 (Leicestershire: Leicestershire County Council, revised edn, 2013), which she co-authored with Philip Warren.
11 Kennett & Lindsell Ltd was established in 1877 and is still owned and run by descendants of the founders; it manufactures hand-crafted models for women’s, men’s and children’s garments at its UK factory in Romford, Essex, using traditional skills and a mixture of both classic and modern materials.
12 Arnold, Patterns of Fashion 2, p. 4.
13 W. Hearn, Hearn’s Rudiments of Cutting Coats &c. (London: self-published, 1821); E. B. Giles, The History of the Art of Cutting in England, Preceded by a Sketch of the History of English Costumes (London: F. T. Prewett, 1887).
14 Guillaume Compaing was a French tailor active in the first half of the nineteenth century; he studied anatomy and mathematics and developed a pattern-cutting system in which pattern pieces could be graded larger or smaller; Heinrich Friedrich Wampen was a German mathematician active in the first half of the nineteenth century who developed a system of mathematical instruction for constructing models for draping the human figure; Guillaume Compaing, L’Art du Tailleur (Paris, 1828) presents the ‘Old Thirds System’; Heinrich Frederich Wampen, Instruction in mathematical proportions and construction of models for gentlemen’s dresses, with thirteen plates, translated from the German, (London, 1837); Heinrich Frederich Wampen, Anthropometry; or Geometry of the Human Figure (London, 1864).
15 Winifred Aldrich, ‘Tailors’ Cutting Manuals and the Growing Provision of Popular Clothing 1770–1870’, Textile History, 32:2 (2000), 163–20; Winifred Aldrich, ‘The Impact of Fashion on the Cutting Practices for the Woman’s Tailored Jacket 1800–1927’, Textile History, 34:2 (2003), 134–70; Charles Compaing, Méthode de coupe d’habillemens (Paris, 1842).
16 W. Aldrich, Pattern Cutting for Women’s Tailored Jackets (Oxford: Blackwell, 2002).
17 The British Standards Institute is the UK’s National Standards Body (NSB). It represents UK economic and social interests across all European and international standards organizations and in the development of business information solutions for British organizations of all sizes and sectors, <http://www.bsigroup.co.uk/en-GB/about-bsi/uk-national-standards-body> [accessed 14 November 2014].
18 Ebenezer Butterick (1826–1903) was the inventor of the Butterick Patterns, which were sets of graded patterns for individual garment styles, sold commercially. Butterick’s first patterns were for small boys’ garments; Joy Spanabel Emery, A History of the Paper Pattern Industry: The Home Dressmaking Fashion Revolution (London: Bloomsbury), pp. 40–54.
19 Elizabeth Bramlett and Karen Gray, ‘Vintage Patterns’, in Vintage Pattern Guild, <http://vintagefashionguild.org/fashion-history/vintage-patterns> [accessed 12 April 2014] (para. 5 of 29).
20 Hill and Bucknell, The Evolution of Fashion, p. 88.
21 The Outlaw (1943), directed by Howard Hughes, USA: RKO Radio Pictures.
22 Jane Farrell-Beck and Colleen Gau, Uplift: The Bra in America (Philadelphia: University of Pennsylvania Press, 2002), p. 103.
23 Kelly Bastone, ‘The History of the Sports Bra’, 2013, in Ladies Only Sports <www.ladiesonlysports.com> [accessed 14 November 2014] (para. 5 of 24).
24 Paul Poiret (1879–1944) was a leading French fashion designer during the first two decades of the twentieth century. He made his name with an unstructured kimono coat and similar, loose-fitting designs created specifically for an un-corseted figure.
25 Emery, A History of the Paper Pattern Industry, p. 179.
26 Lycra, ‘Market Research’, in Lycra Industry <http://www.lycra.com/g_en/webpage.aspx?id=68> [accessed 12 April 2014] (para. 2 of 3).
27 David Morris is a Principal Lecturer in Contour Design at De Montfort University with over forty years of experience in the contour fashion industry; he teaches students at the university as well as leading contour research and short courses for contour fashion industry professionals.
28 J. Fan, W. Yu and L. Hunter, Clothing Appearance and Fit: Science and Technology (Cambridge: Woodhead Publishing, 2004), p. 135.
29 The First International Symposium for Creative Pattern Cutting was held at University of Huddersfield, UK, 6–7 February 2013, chaired by Dr Kevin Almond. This was the first global conference to promote contemporary research into the art of creative cut and its significance within the fashion industry. The symposium aimed to provide a platform for pattern cutters, fashion designers, students and educators to explore the impact and direction for creative pattern cutting.
30 Melanie Carrico, Associate Professor, University of North Carolina at Greensboro, USA, interviewed by Liz Garland, 30 November 2012.
31 Ines Simoes, Fashion Lecturer, Technical University of Lisbon, Portugal, interviewed by Liz Garland, 6 February 2013.
32 Ines Simoes, Fashion Lecturer, interviewed by Liz Garland, 6 February 2013.
33 Debbie Gamble, Deputy Head of Wardrobe, Sheffield Crucible Theatre, interviewed by Liz Garland, 8 March 2013.
34 Ivo Coveney, prop costume maker and supervisor for film. Credits include: Star Wars, Gladiator, The Borrowers, Gulliver’s Travels and X-Men. He works both from his own studio with his wife, costume maker Kaye Coveney, and as required on site in various film studio workshops. As a prop costume maker he is called on to make armour, helmets, body suits, animal suits, etc. Interviewed by Liz Garland, 10 March 2013.
35 Stephen Snell, wardrobe supervisor and costume designer at West Yorkshire Playhouse, Leeds. Stephen has over thirty years’ experience in the theatre industry. As a maker his specialisms are millinery, prop costume, dyeing and breaking down costumes. He previously worked as a tutor and has employed students from a range of different education establishments. Interviewed by Liz Garland, 11 March 2013.
36 Sally Baxendale, milliner, theatre and film, interviewed by Liz Garland, 14 March 2013.
37 Monique Hollingshead, freelance costume maker with over twenty-five years of working within the costume industry; her workroom specializes in prop costume and body padding for film, theatre and commercial enterprises. Interviewed by Liz Garland, 6 March 2013.
38 Becky Graham, freelance costume maker for film and theatre specializing in tailoring, with over twenty-five years of experience. She mainly works from her own workroom. Interviewed by Liz Garland, 10 March 2013.
39 Ivo Coveney, prop costume maker and supervisor, interviewed by Liz Garland, 10 March 2013.
40 Becky Graham, freelance costume maker, interviewed by Liz Garland, 10 March 2013.
Additional information
Notes on contributors
Liz Garland
Liz Garland is Lecturer in Costume Construction at the University of Huddersfield, UK. She teaches on BA (Hons) Costume with Textiles. She has a wealth of experience as a costume maker in live theatre work, film and television.
Kevin Almond
Kevin Almond is Head of Department for Fashion and Textiles at the University of Huddersfield, UK. He graduated from the fashion school at Royal College of Art. After experience as a fashion designer, pattern cutter and fashion illustrator in industry, and lecturer, he joined University of Huddersfield. He became a trustee of The Costume Society for a three-year term in 2013.