Posts categorized as Textiles

Prepping a 1905 replica All Blacks jersey for the road

Rugby jersey [1905 replica], 2011, New Zealand, by Robertina Downes, Deborah Cumming, Manawatu Knitting Mills Ltd, New Zealand Rugby Museum. Commissioned 2011. Te Papa (GH017325). After padding out for display.

Recently I blogged about preparing an 18th century gown (now on display in European Splendour).  A few weeks ago, the same skills were applied to a very different type of garment—the replica All Blacks “Originals” 1905 jersey. The jersey will be on display in Hamilton until January 8th in the Waikato Museum exhibition Fernz: an exploration of… Read more »

Guess who’s coming to dinner? Ethel Tweedie’s celebrity table-cloths

What dinner party conversation riled up this well dressed gent?

Following a recent blog post featuring a suffragette signature handkerchief, I became curious about the origins of what is collectively known as ‘signature cloths’. Just when did signature cloths become ‘a thing’ and what was their purpose?  Rozsika Parker, author of The Subversive Stitch, describes signature cloths as a ‘female social tradition by which guests would embroider their signatures for their hostess to commemorate… Read more »

Yes to a 164-year-old wedding dress and waistcoat

Sarah Rhodes (nee King) Maryann Rhodes and Williiam Barnard Rhodes, 1858. Copied from an ambrotype lent by Eddie Ryle-Hodges. PA Coll-5601.

Tuesday 27th September was an exciting day for the History team, as we welcomed descendants of prominent nineteenth-century Wellington entrepreneur William Barnard Rhodes and accepted two remarkable items into our collection. Rhodes’ great, great, great grandson Rupert Ryle-Hodges travelled from England to present to Te Papa a silk brocade wedding dress and waistcoat, worn by… Read more »

Bring on the bum roll… Dressing for Splendour

Robe à l’anglaise retroussé or English-back gown, 1770-1780. Te Papa.

Bottoms have been in the news again lately. The conversation has been around what must be the 21st century’s most famous derrière, that of American celebrity Kim Kardashian. Indeed, in May she received a Webby award for ‘breaking the internet’ – a feat achieved with a bare-bottomed shoot for Paper Magazine. More recently British actress Helen Mirren chimed in, praising the celebrity for promoting another body… Read more »

Pukerua Bay School Museum visit European Splendour

Entering Splendour, Photograph by Justine Olsen, © Te Papa

The European Splendour 1500-1800 exhibition opened on Friday 16 September in Ngā Toi | Arts Te Papa. Our friends from Pukerua Bay School Museum: Aurelia (aged 9), Paddy (aged 11), Isaac (aged 12) and their teacher Cat Lunjevich, came to visit and spent time in conversation with our curators Justine and Mark. They have kindly written this post… Read more »

Adorn yourself in Ngā Toi|Arts Te Papa!

Adorn yourself! Photograph by Carmel Russell, © Te Papa

The Learning Innovation team are very excited about the new activities featuring in Te Whare Toi in this upcoming season of Ngā Toi | Arts Te Papa. We have been playing around with the wonderful range of dress-ups for ‘Adorn yourself!’ in the office this afternoon. This activity relates to the exhibitions European Splendour 1500—1800 and… Read more »

Conserving and dressing 18th c. Splendour

  • Here we are carrying out the final fitting of both the dress to unsure that the garment is properly supported but not under any stress. At this point we can also adjust the final height of the ensemble and check the silhouette that has been created. Photo by S. Gatley, copyright Te Papa.
  • The near-finished mount, complete with silk petticoat, jersey top cover and sleeve supports. There are strong small magnets attached to the front which will hold the bodice section in position- These are needed as the dress doesn’t have any buttons or other fastening. The opposing magnets will be placed on the outside of the garment. These should be difficult to see as they will be coloured to match the dress.
  • The torso after it has been padded into the correct size and period shape. There is a cotton tube underskirt to hold out the multiple layers of net underskirts instead of legs! Photo by S. Gatley, copyright Te Papa.
  • The mannequin torso with the bust and waist cut away. A cotton cover is attached to the newly shaped form ready for padding to be stitched into place. Photo by Sam Gatey, copyright Te Papa.

A co-authored post by Anne Peranteau, Textile Conservator and Sam Gatley, Costume Mountmaker Historic dress, historic problems In 1951, Te Papa was given three 18th century dresses, all dating to approximately 1780.   Our work in the textile lab is currently focused on preparing two of these gowns for display in the Splendour module of Nga… Read more »

How to deal with human DNA contamination of your DNA sequencing: an example from a Malawian dance garment.

Dance garment, c. 1900, Malawi (Chewa culture), Photograph by Kate Whitley. Copyright Te Papa MA_I.374711

You’ve probably seen forensic scientists on TV taking swabs and fingerprints from crime scenes. They aren’t wearing labcoats, hairnets and gloves to look cool but to prevent them contaminating their forensic evidence with their own DNA. But how do scientists deal with items that are already contaminated with unwanted human DNA? I recently encountered this… Read more »

Old jersey, new knickers

Housewife’s guide to making and mending, 1940, London, by Hulton Press. Te Papa (RB001288)

Mending is something of a lost art In this day and age – clothes are plentiful and can be bought cheaply. But in England in the 1940s it was an absolute necessity, given that new clothes were limited by the amount of clothing coupons you had. By 1945 an adult was down to 24 coupons… Read more »