*cries* I’m not kidding when I say I normally can’t even get one decent photo. Such a relief.
I keep getting bugged by my school to submit work to alumni shows, so I needed some non-shitty photos to submit.
For new followers, yes, that’s a Broderie Anglaise singlet. I like using very “real/purposeful” fabrics and combining them with very traditional, decorative textile techniques. I hope these things add a genuine nature to the garments that makes them difficult to call “costumes”
Something like that. I’m not real good at artist statements.
Medieval Sewing Techniques, shown on a cote-hardie (outer dress) that would have been worn by the wife of a knight or baron for a formal occasion. The bright dyes and rows of tiny buttons were condemned as extravagant.
From Fashion: The Definitive History of Costume and Style
1. Typology of early 19th century printed leather gloves in the Museum of Fine Arts, Boston’s collection. Collected by Elizabeth Day McCormick. Photography by Diana Zlatanovski.
Born into a wealthy Chicago family, Elizabeth was able to spend much of her life collecting costume and textiles from around the globe. In 1943, her expansive collection became one of the founding groups of material for the MFA Boston’s Textile and Costume department.
“I wish I could be there at the Fine Arts with you as you are opening up all my precious treasures but I visualize a good many of them and I enjoy the greatest of all satisfactions, my reassurance that they are all in such interested, scholarly hands … you have provided me great joy and contentment, by carrying on my profound purpose in life.” EDM
2. A letter from Charlotte Brontë to Henry Nussey (5 March 1839), in which she turned down his marriage proposal.
“Before answering your letter, I might have spent a long time in consideration of its subject; but as from the first moment of its reception and perusal I determined on which course to pursue, it seemed to me that delay was wholly unnecessary. You are aware that I have many reasons to feel gratified to your family, that I have peculiar reasons for affection towards one at least of your sisters, and also that I highly esteem yourself. Do not therefore accuse me of wrong motives when I say that my answer to your proposal must be a decided negative. In forming this answer — I trust I have listened to the dictates of conscience more than to those of inclination; I have no personal repugnance to the idea of a union with you — but I feel convinced that mine is not the sort of disposition calculated to form the happiness of a man like you. It has always been my habit to study the character of those amongst whom I chance to be thrown, and I think I know yours and can imagine what description of woman would suit you for a wife. Her character should not be too marked, ardent and original — her temper should be mild, her piety undoubted, her spirits even and cheerful, and her ‘personal attractions’ sufficient to please your eye and gratify your just pride. As for me, you do not know me, I am not this serious, grave, cool-headed individual you suppose — You would think me romantic and eccentric — you would say I was satirical and severe. However, I scorn deceit and I will never for the sake of attaining the distinction of matrimony and escaping the stigma of an old maid take a worthy man whom I am conscious I cannot render happy.”
After becoming curate of the parish church of Earnley, near Chichester, Henry had begun to search for an appropriate wife. He had known Charlotte through her friendship with his younger sister, Ellen, from about 1835. Her polite demurral seemingly aroused no apparent resentment on the part of the Nusseys, nor does it seem to have weighed on Charlotte’s mind, for she remained on companiable terms with Henry for many years.