Fashion Museum, Bath

  Back in March 2013, we went to the Fashion Museum in Bath. The main exhibition, which is still running to the end of the year, is Fifty Fabulous Frocks, a definite must see for all costume and fashion followers. This museum also house's many historical costumes, it has the 'Dress of the Year' 'Top Trends' and
'Glamour', it is well worth a visit.

Here are some photo's (not the best quality) that I took of the frocks.

Dust, Fingerprints on the glass case or Orbs! You decide.

And now for some more!

We were lucky enough to go behind the scenes for a study session and get up close and personal to some of the historical costumes, white gloves had to be worn to perserve the fabric.

This Dress dates to around the 1780's most probably English/French. The fabric was probably produced at an earlier time .

This is the dress front panel, there is a ruffle running down the front of the skirt with a decorative edging.

This is inside the bodice front, the hook and eyes were most probably added at a later date. We can see the calico lining, hand stitched in place.

A close up of the patterned weft in the fabric, the pleated back panel of the skirt can also be seen.

The dress was made using many different pattern pieces.

Inside of the bodice.

The skirt was made of many panels of fabric, hand sewn together and pleated.

Back view of the gown, the pleat detail on the back is one continuous length from the hem of the skirt all the way up to the neck.

A piece of fabric is placed over the top of the pleating to conceal the fabric end.

Here is a sack back gown, made somewhere between 1752 - 1755, probably English. It is made from silk, woven on a drawloom.

Back view of the dress.

Inside of the dress, it has been embroidered with silk and gilt threads.

The fabric has been pleated and concealed under a yoke, of sort's.

The embroidery work from the inside.

The skirt appears to be in panels and then attached to the bodice that has been lined in a plain calico.

It would appear that the dress was stitched together first and then embroidered because it matches at the seams.

The sleeves are in sections, we can see how the embroidery detail does not match up here. The perspiration stains are very apparent.

Front bodice detail, consisting of pleating and ruching fabric with pinked edging.

This is a dress from the regency period, dating between 1816-1820, it is made in a woven cotton.

An empire line dress, the skirt being made up in four panels (front,back and two sides).

Back view of the dress.

The sleeve cuff has the detail of a double gathered frill and a tie back.

The long straight sleeves are topped with puffed short sleeves.

A regency evening dress, dating between 1813-1820, made of embroidered cotton.

Sheer empire line dress, that has seen better days.

Embroidery detail around the hem of the dress.

Back view of the dress, a gathered edge around the neckline.

Detail of cuff, collar and side seam.

Victorian 'a la disposition' dress, dating about 1855, made in a woven silk fabric and lace.

Front of dress, with black lace in a 'V' design over bodice.

Tiered skirt.

Detail of embroidery.

Underneath the top tier we can see a panel that has been put in to replace a damaged section.

Detail of the scalloped edge.

Inside of the dress, bodice lined in a calico and skirt in a muslin.

The fastenings are well worn.

The underside of the skirt, with 'dust catcher' band and calico to add weight.

Back of the dress, we can see the restrictiveness of the sloping sleeves and the flared cuffs that would often be a nuisance.

This dress has not aged very well but I imagine it looked stunning at the time.

1950's Cristobal Balenciaga evening dress, made of woven silk.

Front of dress, a strapless dress with a pleated bodice, a ruched skirt with silk flowers running off the centre.

Side fastening.

It was fastened by a zip, but has a fold of fabric over the top to conceal zip, fastened by hook and eyes.

Flower detail.

1890's walking dress, as described in a 'Janet Arnold' book.

Front of suit. Leaf embellishments with fur trim.

The overskirt is not attached to the underskirt, as described by the book.

Back view, we can see the many buttons on the side fastening.

Shoulder detail, more buttons along one side.

I'd like to say a big thank you the fashion museum for allowing us to view these costumes, study sessions can be arranged for anyone wanting a closer look at the objects.

All photo's courtesy of the Fashion Museum, Bath & North East Somerset Council.

Contact: Assembly Rooms and Fashion Museum

              Bennett Street,

              Bath

              BA1 2QH

www.fashionmuseum.co.uk