Science research and contextualization of the embroidery application of the pink dress worn by Audrey Hepburn’s for Breakfast at Tiffany’s
Abstract
The following study will analyze the degradation issues affecting the embroidery work of the pink dress worn by Audrey Hepburn for Breakfast at Tiffany’s (1961). Taking the colour change of the guipure applications and the fragility of the embroidery crystals, the research will summarize the conservation issues presented at the moment of this research using scientific analytical techniques. These results enabled not only the identification of the degradation causes but shed also new light on the field of embroidery work use in the Haute couture from the 60s. Finally, by studying archival materials it was possible to identify the embroidery’s origins which inspired Givenchy in the collection of autumn-winter in 1960 from which the creation of the pink dress for Breakfast at Tiffany´s was created.
Downloads
References
ALBERTINI, N. (2021). Rébé. Broderies Haute Couture. Paris: Gourcuff Gradenigo.
BROSSIN DE MERE, A. (1941). “Swiss Unity is shown in its Fashion Industry”, The Christian Science Monitor, 26: 13.
CRÉPIN, F. (1995). “Tissage, broderie, guipure, trois itinéraires dans l’économie Saint-Quentinoise en Tissage, broderie, guipure”, Fédération des Sociétés d’Histoire et d’Archéologie de l’Aisne Tissage, 40: 125-145. http://www.histoireaisne.fr/memoires_numerises/chapitres/tome_40/Tome_040_page_125.pdf
COX, P. (1982). “The influence of mordant on the lightfastness of yellow natural dyes”, Faculty Publications-Textiles, Merchandising and Fashion Design, 7: 43-58. https://digitalcommons.unl.edu/cgi/viewcontent.cgi?article=1006&context=textiles_facpub
DING, Y., FREEMAN, H.(2017). “Mordant dye application on cotton: optimization and combination with natural dyes”, Coloration Technology 133(5): 369-375. https://onlinelibrary.wiley.com/doi/abs/10.1111/cote.12288
DOUGLAS, J.G., KAVICH, G., MORI,C., WALLACE, D., BARDEN, R. (2018). “Materials characterization of the Ruby Slippers from the 1939 classic film, The Wizard of Oz.”, Heritage Science 6(1): 1-25. https://www.semanticscholar.org/paper/Materials-characterization-of-the-Ruby-Slippers-the-Douglas-Kavich/47ab0b1cfab9253587ccb5ecb886b4f517012577
DUNGWORTH, D., BRAIN C. (2004) “The ‘invention’ of lead crystal glass” (453-457), 34th international symposium, 3 -7 May 2004 Zaragoza (Spain) https://www.semanticscholar.org/paper/The-Invention-of-Lead-Crystal-Glass-Dungworth-Brain/9fca355a771f39ad0ccf89400c2256c885c878d9
EXPO FONDATION BOLLE (2017). Audrey Hepburn, Hubert de Givenchy. Une élégante amitié. Lausanne: Éditions Favre SA.
GANGAKHEDAR, N.S. (2010). “Colour measurement methods for textiles”, Colour Measurement Principles, Advances, and Industrial Applications, 221-252. Cambridge: Woodhead Publishing.
GETTENS, R. J. (1942) Painting Materials. New York. : Dover Publications Inc https://archive.org/details/PaintingMaterial/page/n73/mode/2up?q=alkyd
HARPER’S BAZAAR (1950), “A woman’s taste inspires an industry”, Harper’s Bazaar 1950: 183.
HERRIGES, m., MARCO YUSÁ, J.D., PALOMINO, V.S. (2022), “Carmen Miranda, un icono de moda del siglo XX. Estudio de Materiales para la conservación preventiva de lentejuelas de uno de los turbantes de frutas de la colección del Museo Carmen Miranda (Rio de Janeiro, Brasil)”, Ge-conservación, 20:19-35. https://ge-iic.com/ojs/index.php/revista/article/view/862/1108
HOHÉ, M. (2016) Hubert de Givenchy. To Audrey with love. Zwolle: Waanders Uitgevers
HUNTER, M. (2016). Let there be light? An investigation into the fading characteristics of the early synthetic dye magenta. Master of Arts (No published). School of Cultural and Creative Arts College of Arts, University of Glasgow.
KOEK, M. (2018) “Fantaisies en gélatine. Gelatin and the production of sequins and other decorative elements on costumes”, Proceedings of the ICOM Costume Committee, Annual Meeting June 10-15, 2018, Central Museum Utrecht. https://costume.mini.icom.museum/publications-2/publications/proceedings-utrecht/
KOOB, S.P. (2006) Conservation and Care of glass objects. London: Archetype Publications Ltd.
KOUSSOULOU, T. (1999). “Photodegradation and photostabilization of historic silks in the museum environment- evaluation of a new conservation treatment” Institute Of Archeology, 10: 77-78.
LAFRANCE, J. (2013). “The conservation of Beaded Textiles-Seminar Handout”, ARTC 813 Seminar, February 13, 2013. https://jklafrance.files.wordpress.com/2013/03/jlafrance_beaded-textile-seminar.pdf
MAJÉRUS, O., LEHUÉDE, P., BIRON, I., ALLOTEAU, F., NARAYANASAMY, S., CAURANT, D. (2020) “Glass alteration in atmospheric conditions: crossing perspectives from cultural heritage, glass industry, and nuclear waste management”, Materials Degradation 27: 1-16. https://www.nature.com/articles/s41529-020-00130-9.pdf
MCLARE, K. (1986) The Color Science of Dyes and Pigments. Bristol: Adam Hilger Ltd
MINOLTA KONICA (2007). Precise color communication: Color control from perception to instrumentation. Osaka: Konica Minolta Sensing Inc.
OHERN, R., MCHUGH, K. (2013). “Deterioration and Conservation of Unstable Glass Beads on Native American Objects”, Newsletter of the Society of Bead Researchers, 63: 1-13. https://surface.syr.edu/the_bead_forum/7/
PAULOCIK, C., WILLIAMS, R.S. (2010). “The chemical composition and conservation of late 19th and early 20th century sequins”, Journal of the Canadian Association for Conservation 35: 46-61. https://www.cac-accr.ca/publications/the-chemical-composition-and-conservation-of-late-19th-and-early-20th-century-sequins/
PICARD, C. (2016). Investigating The Use Of Additives With Lanaset® Dyes For Localized Colour Application. Master of Arts (No published). School of Cultural and Creative Arts College of Arts, University of Glasgow.
PLOEGER, R., CHIANTORE, O. (2013). “Characterization and Stability Issues of Artists’ Alkyd Paints” (89-95), en New Insights into the Cleaning of Paintings, International Conference, May 2010, Universidad Politecnica de Valencia. https://repository.si.edu/bitstream/handle/10088/20494/16.Ploeger.SCMC3.Mecklenburg.Web.pdf?sequence=1
PORCEL ZIARSOLO, A. (2012). Estudio y evolución de tratamientos de conservación-restauración aplicados a los complementos de la colección de Cristóbal Balenciaga. Tesis Doctoral. Universidad del País Vasco.
REDDY-BEST, L.K., ORDOÑEZ, T.M. (2022). Conservation Concerns in Fashion Collections. Caring for Problematic Twentieth-Century Textiles, Apparel, and Accessories. Kent, Ohio: The Kent University Press.
RODRIGUEZ SALINAS, C., ALBERTINI, N., FERRAZZA, L. (2021) “La Perse by Cristobal Balenciaga: An Historical, Scientific and Conservation Study”, Fashion history 25: 541-561. https://www.tandfonline.com/doi/abs/10.1080/1362704X.2021.1905948?journalCode=rfft20
ROSU L., GAVAT C., ROSU D., VARGANICI C. (2016) “Effect of ultraviolet light on the properties of dyed cotton cellulose” Innovative solutions for sustainable development of textiles and leather industry, XVII/2: 123-126. http://textile.webhost.uoradea.ro/Annals/index.html
TEXTILE SWISSES (1959) “Index of Advertisers and Firms contributing to the Editorial Features of this number”, N4: 161. Oficina Suiza de Expansión Comercial (Herausgeber).https://www.e-periodica.ch/digbib/view?pid=txs-004%3A1959%3A416%3A%3A522#522
TEXTILE SWISSES (1960) “La cinta de seda y la moda” e “Index of Advertisers and Firms contributing to the Editorial Features of this number”, N4: 81, 177. Oficina Suiza de Expansión Comercial (Herausgeber). https://www.e-periodica.ch/digbib/view?pid=txs-004%3A1960%3A417%3A%3A468#468
TEXTILE SWISSES (1961) “Les collections d’automne et d’hiver 1960-1961” e “Index of Advertisers and Firms contributing to the Editorial Features of this number”, N1: 37, 135. Oficina Suiza de Expansión Comercial (Herausgeber). https://www.e-periodica.ch/digbib/view?pid=txs-004%3A1961%3A418%3A%3A4#4
TÍMÁR-BALÁZSY, A., EASTOP, D. (1998). Chemical Principles Of Textile Conservation. Oxford: Butterworth-Heinemann.
VOGUE (1960). “Givenchy” anuncio promocional, Vogue ,Diciembre 1960. https://archive.vogue.com/issue/19601201
WEISS, S. (1967). “Thinking in Colour…MME. Brossin de Méré”, Vogue Agosto 15, 1967. https://archive.vogue.com/article/1967/08/15/thinking-in-colour-mme-brossin-de-mere
WHITE, P. (1988). Lesage Maitre Brodeur De la Haute Couture. Paris: Société Nouvelle des editions du chene
WOMEN’S WEAR DAILY (1947). “Swiss Fabric Firms Form “INAMO” Group” Fabrics, Women’s Wear Daily, Martes 12 de Agosto 1947: 44.
WOMEN’S WEAR DAILY (1948). “Floral Decorated Sheers Displayed at Paris Inamo Party” Fabrics, Women’s Wear Daily, Lunes 15 de Marzo 1948: 24
- Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
- Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
- The whole content of the article is author’s responsibility.
- Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
- Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
- Author’s personal data will only be used for the Journal purposes and will not be given to others.
