In the hands of four Human Ecology grad students and their professor, the phrase "stitch a story together" takes on a much deeper meaning this week.
Usually, it describes how we connect a series of events in conversation, but for the group that's created a new exhibit of historical dresses and accessories, it is, quite literally, about the story the stitches tell.
"Our objective was to have the viewer reconsider the types of language available to us when it has to do with women's labour and production," said Sarah Woodyard, a masters student in the Department of Human Ecology's Material Culture program and one of the co-curators of the exhibit Stitched Narratives, which opens tomorrow.
Typically, we have the oral and the written record, she said. But this exhibit tries to explain cultural, social and historical record through the actual stitches left in the garments of the 18th, 19th and 20th centuries.
"An 18th century dressmaker's life experience may not be written down, but you can see it in the production of her trade," said Woodyard. "Running stitches point to industrial levels of skill, trade and apprenticeship. They're quick, fast and may not look perfect, but that doesn't discount the speed, accuracy and skill (of the seamstress)."
The exhibit features a dozen stitched items, including six ensembles, several corsets, quilted textiles and auxiliary pieces such as suitcases featuring sewn covers and appliqued initials.
The objects were chosen for their uniqueness, said Larisa Cheladyn, a masters student in Ukrainian folklore and a co-curator. While there was no intention to ensure they had an overtly Alberta connection, each does represent influences felt by those living here. A crazy quilt is a part of a collection that made its way west from Ontario. Two dresses are modern, machine-made styles embroidered by hand with stylized Ukrainian cross stitching. Another is a Norwegian bunad, or folk-dress, a nod to this province's wide array of immigrants.
Among the stitches incorporated in the items are the quite technical running stitch and back stitch, the iconic Ukrainian cross stitch and Norwegian satin stitch, and the decorative herringbone, French knots and feather stitches of the quilts. So that the stitching detail is easier to view, one of the 18th century garments, consisting of a bodice and petticoat, will be displayed inside-out.
One challenge of the exhibit was addressing the needs of dresses that, in some cases, were made for "real" women with bodies larger than the standard mannequins, according to Anne Bissonnette, an assistant professor and co-curator of the exhibit. The curators had to mount each piece and try to understand "where the corsets push the soft flesh of the body to provide proper support for the garments and convey historically accurate silhouettes," explained Bissonnette.
Besides representing women more realistically than some other exhibits do, it holds insights for a wide range of visitors, said Woodyard, including those interested in hand-sewn details, garment construction, decorative arts, women's history and labour history.
The opening reception for Stitched Narratives begins at 5:00 p.m. on Thursday, April 9. The exhibit was produced as part of the graduate course Material Culture and Curatorship and is sponsored by the Kule Institute for Advanced Study and the Bodhan Medwidsky Ukrainian Folklore Archives. The exhibit runs in the gallery of the Human Ecology Building until February 19, 2016.
Usually, it describes how we connect a series of events in conversation, but for the group that's created a new exhibit of historical dresses and accessories, it is, quite literally, about the story the stitches tell.
"Our objective was to have the viewer reconsider the types of language available to us when it has to do with women's labour and production," said Sarah Woodyard, a masters student in the Department of Human Ecology's Material Culture program and one of the co-curators of the exhibit Stitched Narratives, which opens tomorrow.
Typically, we have the oral and the written record, she said. But this exhibit tries to explain cultural, social and historical record through the actual stitches left in the garments of the 18th, 19th and 20th centuries.
"An 18th century dressmaker's life experience may not be written down, but you can see it in the production of her trade," said Woodyard. "Running stitches point to industrial levels of skill, trade and apprenticeship. They're quick, fast and may not look perfect, but that doesn't discount the speed, accuracy and skill (of the seamstress)."
The exhibit features a dozen stitched items, including six ensembles, several corsets, quilted textiles and auxiliary pieces such as suitcases featuring sewn covers and appliqued initials.
The objects were chosen for their uniqueness, said Larisa Cheladyn, a masters student in Ukrainian folklore and a co-curator. While there was no intention to ensure they had an overtly Alberta connection, each does represent influences felt by those living here. A crazy quilt is a part of a collection that made its way west from Ontario. Two dresses are modern, machine-made styles embroidered by hand with stylized Ukrainian cross stitching. Another is a Norwegian bunad, or folk-dress, a nod to this province's wide array of immigrants.
Among the stitches incorporated in the items are the quite technical running stitch and back stitch, the iconic Ukrainian cross stitch and Norwegian satin stitch, and the decorative herringbone, French knots and feather stitches of the quilts. So that the stitching detail is easier to view, one of the 18th century garments, consisting of a bodice and petticoat, will be displayed inside-out.
One challenge of the exhibit was addressing the needs of dresses that, in some cases, were made for "real" women with bodies larger than the standard mannequins, according to Anne Bissonnette, an assistant professor and co-curator of the exhibit. The curators had to mount each piece and try to understand "where the corsets push the soft flesh of the body to provide proper support for the garments and convey historically accurate silhouettes," explained Bissonnette.
Besides representing women more realistically than some other exhibits do, it holds insights for a wide range of visitors, said Woodyard, including those interested in hand-sewn details, garment construction, decorative arts, women's history and labour history.
The opening reception for Stitched Narratives begins at 5:00 p.m. on Thursday, April 9. The exhibit was produced as part of the graduate course Material Culture and Curatorship and is sponsored by the Kule Institute for Advanced Study and the Bodhan Medwidsky Ukrainian Folklore Archives. The exhibit runs in the gallery of the Human Ecology Building until February 19, 2016.