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Creating the Perfect Form
How to Interpret and Display Historic Dress
Brief Description
How can the cut of a 19th-century gown control its shape? Can you recreate a historic profile from a contemporary mannequin? How can paintings help you analyse historic silhouettes and the corsets and petticoats worn underneath? Conservation and historic dress display specialist Janet Wood will help...
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Format: Paperback / softback
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"A 'one-stop' guide to safely mounting and handling historic costume for display, including how to analyse, understand and interpret garments from different eras"--
A ‘one-stop’ guide to safely mounting and handling historic costume for display, including how to analyse, understand and interpret garments from different eras.
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Description
How can the cut of a 19th-century gown control its shape? Can you recreate a historic profile from a contemporary mannequin? How can paintings help you analyse historic silhouettes and the corsets and petticoats worn underneath?
Conservation and historic dress display specialist Janet Wood will help you answer all these questions. You'll learn how historic garments can be safely handled and shown to best effect, with insight into the characteristic features of each piece and how to translate them from the garment to a display support.
Concentrating on Western women's wear from 1750–1950, and with over 250 colour images, drawings, and charts, you’ll learn how to interpret an individual garment’s display needs and create safe, appropriate display forms in Creating the Perfect Form by Janet Wood.
Book Details
INFORMATION
ISBN: 9781350328662
Publisher: Bloomsbury Publishing PLC
Format: Paperback / softback
Date Published: 27 June 2024
Country: United Kingdom
Imprint: Bloomsbury Visual Arts
Illustration: 250 colour illus
Audience: Tertiary education
DIMENSIONS
Spine width: 14.0mm
Width: 208.0mm
Height: 268.0mm
Weight: 680g
Pages: 192
About the Author
Janet Wood is a freelance consultant on large exhibitions in major museums and historic properties, including Chatsworth House and the Museum of London. She was previously a fashion designer working with Thea Porter, Monsoon and freelance (1971-90), and a textile conservator with Historic Royal Palaces (1992–2012).
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