Owner: Historic Textile Collections, University of Delaware

Front /
Back

Accession Number: 2010.005

Object: beaded silk dress

Object Date: 1920s

Artist: Francis Shepherd

Location: Old College, University of Delaware

Examined By: Susan Richardson

Consulted: Dr. Vicki Cassman, Amanda Holden

Report Date: 3/14/2011

Reason for Treatment or Examination: pre-exhibition examination and treatment.

Dimensions:

Shoulder to hem: 107.5 cm

Shoulder to first button: 60 cm

Hip width: 52.5 cm unbuttoned, 49.5 cm buttoned.

Shoulder width: 41.2 cm

Strap width: 8.4 cm

Armscyes: 16.5 cm vertically.

Chest, armscye to armscye : 52 cm

Circumference of hem: 113 cm

Description:

Technique: Hand-sewn dress, with hand embroidered and beaded design.

Function: Fashion art

Composition: Black silk dress. Overall floral design created through bead embroidery, three colors of pink in the flowers, leaves composed of light green seed beads and metallic thread. Bands of scrollwork in metallic beadwork along neck, at hip, down from hip to hem. On front, strands of loose amber-colored beads for swaying with the wearer’s movement. Light gray or white lines drawn on black fabric corresponding with dangling bead strands. Wooden, silk-covered buttons at hip. Hem has been brought up, and was originally 5.1-5.4 cm longer.

Materials:

Sheer plain weave black silk. Warp Z-spun, weft Z-spun. Warp runs vertically from shoulder to hem. Repairs in black silk or synthetic thread, ? 3 Z.

Black silk embroidery thread ? 2 S.

Metal-wrapped thread embroidery.

Brown silk thread for seams.

Color-lined glass seed beads 1.2-2mm in size.

Amber-colored glass seed beads, strung on cotton thread.

Weft, Front /
Warp, Front /
Warp, Back /
Weft, Back

Original Bead Strand /
Bead Embroidery Thread, Back /
Bead Embroidery Thread, Front /
Seam Stitching Thread

Metal Thread 1 /
Metal Thread 2 /
Replacement Bead Strand /
Repair Thread

All photomicrographs taken at ~40x magnification.

Condition:

Overall: Fabric Structure: Fair to Good. Beaded Design: Good.[1]

Front, Shoulder to Hip:

Structure:

PR shoulder has completely separated. Fraying along edges. Previously repaired with whip stitching. Repair is failing.
Tear along PR armscye, 12.5 cm from shoulder, 8.5 cm long. Fraying. Previously repaired with whip stitching. Repair is failing.
Split PR seam, .5 cm from bottom of armscye, 3.5 cm long.
Tear, 1.5 cm from armscye, .5 cm from PR seam, 2.5 cm long.
Split PR seam, 5 cm from armscye, 3.2 cm long.
Tear along PR neckline, 4.4 cm from PR shoulder, 1.2 cm long. Fraying.
Shattering and tearing near PR buttons.
Seam detaching on PL shoulder. .6 cm from PL armhole, 6.3 cm long.
PL seam splitting, .3 cm from armscye, 4.1 cm long.
Shattering and tearing near PL button loops. Previously repaired with whip stitching. Repair is failing.

Design:

Missing beads 6.2 cm from PR shoulder, 8.5 cm from PR seam, 1.8 cm long.
Bead loss along detached PR shoulder.
Intact string of beads, detached from fabric, 17.5 cm from shoulder, .4 cm from armscye, 3.5 cm long.
Metal thread and beads detaching near PR armscye separation, 21.3 cm from shoulder, 3.5 cm long, .4 cm from armscye.
Metal thread and beads detaching near shattering of silk dress fabric at buttons on PR side.
Loose beads and embroidery along split seam on PL shoulder.
Loss of beads and embroidery associated with shattering near PL button loops.
All bead strands in center are replacements, except for one, 16.3 cm from PR shoulder.
Original bead thread, no beads, 14.2 cm from PL shoulder.
Strand detached from PL side, 5.4 cm from PR shoulder.
Strand detached from PR side, 3.8 cm from PL shoulder.
Areas with Missing Strands:
11 cm from PR shoulder, 2.5 cm long
13.3 cm from PR shoulder, 2.5 cm long
26 cm from PR shoulder, 9.4 cm long
35.6 cm from PR shoulder, 2.6 cm long
37.2 cm from PR shoulder, 2.3 cm long
44.2 cm from PR shoulder, 1.2 cm long
Average concentration of strands in areas not missing strands: 1.7 strands/cm

Surface:

Chalky white accretion around PR armscye, 11.5 cm from shoulder, 5.9 cm long.
Chalky white accretion around PR armscye, 20.1 cm from shoulder, 1.4 cm from seam, 4.5 cm long.
Chalky white accretion around PL armscye, 9.8 cm from shoulder, 12.5 cm long.

Front, Hip to Hem:

Structure:

Fraying around PR seam, 18.5 cm from hem, .8 cm long.
Slit under PR button loops, 40.2 cm from hem, 2.4 cm long
Open PL seam, 13.0 cm from hem, 2.5 cm long.

Design:

Loose and detached beadwork around hole under PR button loops

Back, Shoulder to Hip:

Structure:

PR shoulder, fraying along edge of completely torn seam.
Tearing along PR armscye, 0.0 cm from shoulder, 7.5 cm long.
Tearing along PR armscye, 18.5 cm from shoulder, 3.5 cm long.
Tear, 18.1 cm from PR shoulder, 3.5 cm from PR seam, 2.2 cm long.
Tear associated with detached PL shoulder seam, 0.5 cm from PL armscye, 2 cm long.
Tear along PL armscye 15.4 cm from PL shoulder, 5 cm long
Hole 0.7 cm from PL seam, 0.4 cm from PL armscye, 1.1 x .8 cm in size
Top two buttons missing on PL side. Fabric peeling off remaining, bottombutton.
Weakening and fraying of fabric near PL buttons.
Failing repair-work in fabric near PL buttons, causing weakening and tearing of fabric.

Design:

Fragile and missing beadwork near PR shoulder

Missing beads near PR buttons, two dangling strands of detached beads.
Missing beadwork, 14.4 cm from PR shoulder, 3.2 cm from PR armhole. 2.4 x 1.2 cm in size.
Detached and missing beadwork on PL shoulder.
Unraveling embroidery near PL hole near armscye.
Pulled and detached beadwork around missing buttons on PL.

Surface:

Yellow staining on beads, 29.2 cm from shoulder, 23 cm from PR seam. 2.2 x 2.5 cm in size.

Back, Hip to Hem:

Structure:

Tear with associated fraying, 33.5 cm from hem, 20.9 cm from PL seam, 7.5 cm long.

Design:

Detached and loose beads along tear.

Other Areas of Concern:

Core of metallic thread showing through, scattered over surface.
Weighted silk: a future concern, as it is inherently unstable.

Historical Background:

The Seamstress:

Frances Shepherd (born 1880s) was a prostitute and madam[2] who became a seamstress for the elites of Detroit. She specialized in wedding gowns. Her customers included Eleanor Clay, bride to Edsel Ford, the son and heir to Henry Ford. The dress she created for Eleanor Clay, which is shown in the photograph on right, was created in 1916[3]. It is currently in the collection of the Edsel and Eleanor Ford House in Grosse Pointe Shores, Michigan.

Shepherd married Stephen B. Meeker. They had two children.

[4]

Placing the Dress in the 1920s:

The barrel silhouette seen in this dress, which de-emphasizes the breasts and hips, is typical of dresses throughout the 1920s. Likewise, the low waistband, which sits around the hips, is typical of the period[5]. The hemline is the most telling factor in terms of date. Before it was taken up, this dress’s hem would have sat right around knee length. Earlier in the decade, a lower hemline was preferred, placing this dress no earlier than 1925[6].

[7]

French Fashion Plate from December 1923 issue of 'Art Gout Beaute' magazine: Note the low hemlines.

[8]

Fashion Plate from Gazette du Bon Ton, 1925. Note the high hemline.

Bead embroidery was popular during this time, particularly on dresses, shoes, headdresses and handbags[9]. This dress is typical of the period, isa fine example and in much better condition than most others which have survived. Images of other beaded silk dresses of the period follow.

[10] [11] [12] [13] [14]

Materials and Techniques:

Flame testing of a 6mm thread sample taken from a break confirmed the presence of weighting agents in the warp and weft silk of this dress. From the end of the 19th century until 1938, when the Federal Trade Commission adopted new regulations related to the practice, it was common for manufacturers to weight silk with metal salts[15]. This was done because silk was sold by weight, and metal salts were cheaper than raw silk. Weighted silks are crisper than non-weighted ones, and this characteristic was valued by consumers as well. Additionally, the weighting agents used were often the same as mordants, and black fabric would require a heavy mordant load, meaning that the weighting may not have been intentional. During the period in which this dress was made, tin salts were used for weighting most frequently, so it is likely the weighting agent in this case[16].

The beadwork on this dress is done with color-lined glass seed beads. Beadwork as an art form dates from at least 2500 BC, in Ur in Iraq, and has been practiced around the world with notable Native American, Asian and European traditions[17]. However, drawn glass beads have only existed since the first few centuries BC, and glass seed beads date only to the 15th century[18]. When this dress was created, the seed bead industry was centered on Europe, particularly in Czechoslovakia, Germany, France and Italy, so it is very likely that the beads for this dress were imported[19].

The Whole Outfit:

Underneath, a slip made of silk or cotton would have been worn, along with drawers and a chemise. The slip would often be made specifically for an evening dress like this[20]. Although corsets had gone out of fashion by this time (the Edwardian s-bend shape having become passé), a girdle to slim the hips might have been worn[21]. If the wearer had a large chest, she might have bound it to maintain the straight barrel silhouette[22].

Skin-toned silk or rayon stockings would have likely been worn with the dress, having replaced dark stockings earlier in the decade[23]. Pointed-toe shoes with Louis heels would be typical of the time period, as would Mary Janes[24].

This dress would likely have been worn with the close-cropped bobbed hair typical of the decade. A headdress might have been worn, as might a cloche[25]
Treatment Proposal:

Photograph and document thoroughly.
Where seams are open, but structure is sound, stitch closed with a basic running stitch, with silk crepeline thread dyed black with 2:1 metal complex dye.
Remove previous repair stitching because it is damaging and would inhibit carrying out conservation-quality repairs.
Create a bodice lining out of stabiltex/tetex or fine nylon net, to stabilize and support the tearing on the shoulders and armscyes.
Line the fabric around the buttons and button loops with stabiltex/tetex or fine nylon net, to stabilize tearing.
Stabilize tears and slits in skirt and along seams with stabiltex/tetex or fine nylon net lining.
Let out hem. Humidify to remove related crease. Hem to original length using silk crepeline thread.

Future Treatment Suggestions:

Replace missing bead strands to restore visual unity.
Replace missing buttons with matching fabric-covered buttons.

Care and Display:

Monitor temperature and relative humidity: either manually record temperature and RH data at least twice a day with a psychrometer, or better yet use a HOBO to automatically record climate data.
Keep at stable temperature and RH, ideally around 65˚, and 50% RH.
Avoid unnecessary light exposure. Use UV-filtered light when viewing.
Although the dress is in good condition at the moment, weighted silk is very sensitive to light degradation. Maintain low light levels while on display, and rotate regularly to ensure overall exposure levels remain minimal.
The dress is very heavy, but delicate. It should thus be stored flat rather than hanging, in an archival storage box. Any necessary folds, such as at shoulders, should be padded with acid free tissue to prevent creasing.

Bibliography

Allen, J. D. (2000). An Essay on Beadwork. Retrieved April 25, 2011 from

Langley, S. (2005). Roaring 20s Fashions: Jazz. Atglen, PA: Schiffer Publishing Ltd.

McLean, C.C. and S.R. Schmalz. (2010). The preparation of condition reports for costume and textiles at the Los Angeles County Museum of Art. Textile Conservation: Advances in Practice. Burlington, Massachusetts: Butterworth-Heinemann. 152-162.

Miller, J. E. & B. M. Reagan (1989, Autumn). Degradation in Weighted and Unweighted Historic Silks. Journal of the American Institute for Conservation, 28. pp 97-115.

Paulson, S. O. (2011). 1920s Undergarments. The Vintage Dressmaker. Retrieved April 25, 2011 from

Ralson, M. C. (1990). Fashion Outlines: Dress Cutting by the Block Pattern System. Berkley, CA: Lacis Publications.

Seed Bead. Retrieved April 25, 2011 from

The Ford Family. Retrieved April 25, 2011 from

Thomas, P. W. n.d. Flapper Fashion – 1920s Fashion History. Retrieved April 25, 2011 from

[1] Based on the description guidelines from McLean & Schmalz (2010).

[2] Personal communication with Dilia Lopez-Gydosh, co-director of the University of Delaware Historic Costumes & Textiles collection.

[3]The Ford Family, fordhouse.org

[4] Image Source:

[5] Ralston (1990), iii

[6] Thomas

[7] Image Source:

[8] Image source:

[9]Langley (2005) 196

[10] Image Source:

[11] Image Source:

[12] Image Source:

[13] Image Source:

[14] Image Source:

[15] Miller & Reagan (1989), 197.

[16] Miller & Reagan (1989), 197.

[17] Allen (2000)

[18] Allen (2000)

[19] Seed Bead

[20] Paulson (2011)

[21] Paulson (2011), Thomas

[22] Thomas

[23] Thomas

[24]Langley (2005), 44.

[25]Langley (2005), 25, 204