Tag: Clothworkers’

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Clothworkers’ Christmas Countdown, part 2

If there’s one thing that working at the V&A has taught me, it’s that established systems can prove to be robust and to have great constancy. Having conceded that fact, my pattern and formula for this week’s festive post might in part seem a little familiar. woven silk toy, Marth Edlin ca. 1670, museum no. T.449-1990, […]

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Clothworkers’ Christmas Countdown, part 1

Friends have been proclaiming for weeks an infatuation with sherry; a love so regular one could rely on ones calendar to inform on its ascendancy and decline. We feel that nagging guilt of unfulfilled resolutions, made so sincerely hours into 2013, and yet neglected like living herbs for the past eight to eleven months. That […]

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Clothworkers’: Who Unframed Historic Fabric?

If you’re reading this, then you can probably guess how difficult it must be to interpret, unlock and care for the collections of the V&A. The amazing eclecticism and range possessed by our objects means that public access to objects and resources, and the provision of information about them, is of great importance if they […]

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Clothworkers’: First Week

After half a decade in the making, this week the Department of Furniture, Textiles & Fashion welcomed its first public appointments at the Clothworkers’ Centre. A mixture of students, scholars and workers from the heritage industry have viewed, amongst them, Ethiopian Imperial robes, 1930s underwear, 19th century embroidered samplers and the Tailor of Gloucester waistcoat. Toward the weekend, we have more samplers and […]

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Clothworkers’: Putting the Boots In

I covered headwear a couple of posts ago, so logically it must be time to turn our sartorially-peckish peepers to the ticklish bases of our pillars of flesh and blood and bone: the feet. VERY natty boots (T.110:1, 2-1993) © Victoria & Albert Museum, London The V&A’s shoe collection is very large and very expansive. […]

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Clothworkers’: A Designer for Every Day of the Year

Possibly the greatest benefit of the move to Blythe House, at least from the point of view of managing the collection, is that we are able to organise objects along more logical lines. Earlier this month I conducted a visual audit of our women’s twentieth-century fashion collection, with a view to establishing how many individual designers are represented, and how much space each would need at Blythe.

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Clothworkers’: Une tête de papier

By William Newton, Assistant Curator, Furniture, Textiles and Fashion.For anyone who saw the Hats: An Anthology by Stephen Jones exhibition at the V&A a few years back, you will already have been invested with the ill-kept secret that the Museum has one of the finest collections of millinery in the world.

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Clothworkers’: Hanging

By William Newton, Collections Management Assistant, Clothworkers' Centre for Textiles and Fashion Study and Conservation.

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Clothworkers’: How to Move a National Collection

By William Newton, Collections Management Assistant, Clothworkers' Centre for Textiles and Fashion Study and Conservation

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