Brocade Evening Dress (2nd Use)

Accession Number: M.80.185.1


Label 1: 1 Piece Dress, USA, c.1952

Label 2: Mrs Chas Swett, Poss Gift, 8/27/80


Note: This project is not considered complete until every scrap of deaccessioned fabric has found a use. Often this means that a single deaccessioned garment may yield raw materials for multiple new items. In this instance, the garment has previously yielded an umbrella.

This floor-length, form-fitting dress is made of a green, pink, and orange check silk with a silver brocaded pattern of stylized birds, flowers, and crabs. The check of this fabric is uneven, with up to 1/2” variation in the width of the stripes. The garment has a boned lining of darker green silk with three hanging straps; it fastens up the back with a series of hooks, eyes, and a zipper.

During the previous deconstruction, the lining was removed and all seams were removed from the dress. For this project, all seams, darts, boning, and the zipper were removed from the lining.

A pattern was drafted. Pieces were cut from the silk brocade and the fanny pack was sewn together. The garment’s original zipper was used to close the pack’s main compartment. An original snap was used to secure the flap on the pack’s secondary compartment. To form the straps, two 4” strips of fabric were cut from the green silk lining fabric. Each strip was folded in half, and then each half was folded again until two 1” wide straps were created. Each strap was top-stitched, and one end of each was attached to the fanny pack. The other ends of the straps were secured to a side release buckle.

The accession number has been embroidered on the front flap.

Korean Coat (Jeogori) (2nd Use)

Accession Number: CR.356.66.2

Label: Coat, Korea, c.1960’s

Note: This project is not considered complete until every scrap of deaccessioned fabric has found a use. Often this means that a single deaccessioned garment may yield raw materials for multiple new items. In this instance, the garment has previously yielded a kite.

The body of this coat is made of a gauzy green synthetic material with a woven medallion pattern. This is lined with a green synthetic tulle. After construction, the garment was stamped with a design in silver paint. In places, this paint has seeped through the fabric and stained the tulle lining. The sleeves of the coat are made of similar materials in a variety of colors and have been pieced together to form stripes. The sleeves are lined with white tulle.

During previous deconstruction, one sleeve was removed from this coat. During this deconstruction, the white tulle lining was removed from the second sleeve and a a panel of green fabric was removed from the front of the garment.

A bee keeper’s helmet pattern was drafted. Six identical pieces of green fabric were cut and sewn together together to form the crown of the hat. Four loops of green fabric were formed and sewn equidistant from each other to the inside edge of the crown. A large piece of white tulle was sewn end to end to form a tube. On the lower edge of the tube, a small square of green fabric was sewn. A button hole was sewn into the center of the square. The bottom edge of the tulle was then folded up and sewn to create a wide hem. Two loops of elastic were also sewn into the hem, one on either side of the green square. A strip of green fabric was folded around a metal hoop and sewn closed. This fabric covered hoop was then sewn to the inside of the tube at an angle, with the back of the hoop several inches closer to the top of the tube and the front of the hoop, several inches lower. The top of the tulle tube was then sewn to the crown of the hat. Then, a second metal hoop was inserted into the crown of the hat, just above this seam. The crown and tulle sections were next folded over over the hoop and sewn together, forming the brim of the hat. A piece of elastic was threaded through the four tabs in the crown of the hat and the ends tied together. A separate piece of elastic was threaded through the button hole on the bottom edge of the tulle, threaded through the hem, and then back out the button hole. The ends of the elastic were tied together.

The accession number has been embroidered on the back crown portion of the hat.

Boy’s Korean Coat (Jeogori)

Accession Number: A.8416.64-3c


Label 1: Boy's Costume, Coat, Korea

Label 2: Gift of Miss Younghee Choy


The Body of this child-sized coat is made of gauzy, light blue, synthetic material with a woven pattern of grapes and grape leaves. This is lined with white plastic netting. The coat closes in the front with a pair of long, light blue ties. There is a white piece of fabric at the collar. There is small black piping where the collar connects to the garment. On the left side of the garment there is a strip of thin black piping and a ridge of fabric triangles in white, purple, pink, red, yellow, and green. After construction, the garment was stamped with medallions and decorative designs in bronze paint.

During deconstruction the collar and lining were detached from the left front panel of the coat and this panel was removed.

A dog's neck was measured. A 3" wide strip of fabric was cut from the fabric panel, being careful that the line of black piping and fabric triangles was included, but off-center. The strip was folded in half and pressed. Each half was folded in half inwards and pressed, creating a 3/4" wide strap of fabric. Each long side of this strap was top-stitched. The female portion of a metal side-release buckle was threaded onto one end of the strap and sewn into place. A metal D-ring was threaded onto the strap. The male portion of the side-release buckle was threaded onto the remaining end of the strap and sewn into place. The D-ring was slid down until it was approximately 3/4" from the male portion of the buckle and sewn into place.

The accession number was engraved on a bone-shaped dog tag and attached to the D-ring on the dog collar.

Herbert Levine High-Heel Shoe (Right Shoe)

(shown here with accompanying left shoe)

Accession Number: CR.447.68.1b


Label: Herbert Levine, 8 1/2AAA 8625


This is a woman’s high-heel shoe made from black suede. The pointed toe is tipped with a small piece of grey leather. There is a grey leather bow attached to the toe of the shoe. The inside of the show is lined with soft grey leather.

During the deconstruction the bow was detached. The body of the shoe was cut in half and the front portion was severed from the sole. A thin fabric batting was found between the outside suede and the inside leather and this was removed.

The following parts were salvaged from a worn-out watchband: a tang-type buckle, two removable spring pins, and two small plastic tubes. Using the remains of this band, a pattern was drafted. A thin layer of glue was applied between the outside suede and inside leather, and the two were bonded together. Pieces were cut for both the buckle end and tongue end of the strap. On the tongue end, one end of the grey leather was separated from the suede, cut off, and discarded. A salvaged plastic tube was placed at the cut end of the suede and the remaining flap of suede was folded over it. The flap was glued into place. A running stitch was hand sewn around the outside edge of the tongue portion using grey silk thread. Several holes were pierced though the tongue. A salvaged spring pin was inserted through the glued-in plastic tube and this pin was used to attach the tongue portion of the strap to the lugs on one side of the watch face. The bow was untied. From it, two small strips were fashioned and these were formed into loops that were both glued and sewn. On both ends of the buckle portion of the strap the grey leather was separated from the suede, trimmed, and discarded. On one end, a salvaged tube was placed, the suede was wrapped around it, and both were glued into place. At the other end, a slit was made in the suede and the buckle tang was threaded through. One of the two leather loops was threaded onto the buckle piece of the strap and positioned near the buckle. The suede was wrapped around the buckle, over the loop, and glued into place. A running stitch was hand sewn around the outside edge of the buckle portion using grey silk thread. The remaining leather loop was threaded onto the buckle portion of the strap. The remaining spring pin was inserted into the rubber tube and used to secure the buckle portion of the strap to the lugs on the other side of the watch face.

The accession number was painted onto the second leather loop.

(The watchband is shown here with accompanying left shoe)

Ben Zuckerman Dress

Accession Number: CR.462.68.17a


Label 1: ben zuckerman, New York

Label 2: I. MAGNIN & co.

Label 3: Black & White, printed silk twill c.1965, Deaccession 8-18-81


This plus-sized, sleeveless dress is made of patterned silk in tones of black, grey, and cream. It is lined with black silk. The bust of the dress is tailored with four darts. The top portion of the dress tapers at the waist, which is formed by a thin strip of fabric. From there, the three fabric panels of the skirt portion of the dress flare out slightly, with several small pleats in the front and two tucks in the back. Hidden in the seams on either side of the front panel are two pockets. A zipper extends more than halfway down the center back of the dress.

During deconstruction the lining and zipper were removed. All seams were removed. Upon examination, it was evident that the dress had been altered. The strip of fabric at the waist had been added to expand the waist slightly; along the back seam of the skirt portion, the dress has been taken in several inches.

2” strips of patterned fabric were cut and sewn together to make a strip 102” long. An identical strip was formed using the black lining fabric. Both strips were sewn to each other to form a tube and the edges were top-stitched to create a flattened strap. Several 3 1/2” wide strips of patterned fabric were cut and sewn together to make a strip 133” long. Onto the right half of this wider strip, the smaller strap, patterned side up, was sewn into a series of fifty loops, each sized to fit a 12-gauge shotgun shell. The wide strip was then folded in half, sewn into a tube and the sides topstitched. One end of the strap was fitted inside the other to form a right angle and sewn into place to finish the bandoleer.

The accession number was embroidered to a strip of black lining fabric and appliquéd to the right angled portion of the bandoleer.

John Anthony Coat (2nd Use)

Accession Number: M.75.129.1


Label 1: Coat, USA, John Anthony, C 1970

Label 2: John Anthony


Note: This project is not considered complete until every scrap of deaccessioned fabric has found a use. Often this means that a single deaccessioned garment may yield raw materials for multiple new items. In this instance, the garment has previously yielded a child’s lion costume.

This form-fitting coat is made of thick, felted, cream-colored wool. Both the cuffs of the sleeves and the large padded collar are covered with spotted white fur. The coat is lined with a heavy synthetic white fabric and there are pockets located in the side seams. The coat has no buttons, zippers, or other closures.

During previous deconstruction, the fur was removed and all seams and darts were picked out.

An audio headset, type H-113, was obtained and all audio wiring was removed. The ear pieces were removed and set aside. A piece of white wool was wrapped around the headband, trimmed, and hand-sewn into place. Each ear piece was placed on a “+” shaped piece of fur. The fur was folded up and around the ear pieces and sewn into place. The ear pieces were screwed back onto the headband to create the earmuffs.

The accession number has been embroidered to the left-hand side of the headband.

Guatemalan Woven Textile

Accession Number: TR8616-30

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Label: 12-86, Guatemala, Conley
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This textile is made of two pieces of hand-woven cotton fabric in a red and black pinstripe (each measuring 13 ½” x 24”) butted together lengthwise and hand-sewn to each other with a repeating pattern of purple, white, peach, lavender, and green wool. On each piece of striped fabric there is an 11” section woven with wool weft in a pattern composed of small circles, dots, and stripes in green, white, peach, lavender, and yellow on a maroon ground. Two sides of the textile are selvage. The other two are hand-hemmed and finished with a blanket stitch. At each of the four corners there is a handmade tassel of maroon wool. Three of the tassels also have a decorative element made of white wool. On the fourth, this element is maroon.

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A brick was washed and wrapped in several layers of newspaper. A T-shaped pattern was drafted and a used to cut a piece from the textile. This piece was then wrapped around the brick and hand sewn in place to form the doorstop/bookend.

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The accession number has been embroidered on one end of the doorstop/bookend.

Korean Wedding Skirt (Chima) (2nd Use)

(shown here with accompanying Jeogori)

Accession Number: CR.356.66.1b


Label: Wedding Dress, Skirt, Korea, c.1960’s


Note: This project is not considered complete until every scrap of deaccessioned fabric has found a use. Often this means that a single deaccessioned garment may yield raw materials for multiple new items. In this instance, the garment has previously yielded a garment bag.

This chima is made of a gauzy, hot pink, synthetic material with a woven medallion pattern. At the bottom of the skirt there is a 3” stripe of similar green fabric, a 3” stripe of pink, and a 3” hem of green. The stripes are printed with silver characters and stylized peacocks while the dress is stamped with silver medallions. In places, the silver ink has seeped through to the red tulle lining. The pink skirt is gathered into a series of pleats and attached to a red tulle band that has two red tulle shoulder straps. The dress closes with two large hook and eyes just beneath the left arm.

During previous deconstruction, the tulle band was removed, all pleats were taken out, and the lining was removed. The three stripes on the bottom of the skirt were also removed.

A wooden tennis racket was obtained, and the damaged strings were removed. A semi-elliptical paper pattern was drafted and used to cut two pieces from the red tulle lining. These pieces were sewn together, leaving one end open, to form the butterfly net. A piece of a green fabric stripe was cut, and the short ends hemmed. This piece was then sewn to the open edge of the tulle net and stretched around the open frame of the racket. Finally, the raw edge of the green fabric was folded over the wooden frame and hand sewn to the tulle, securing the net to the racket.

The accession number has been embroidered to a piece of tulle and sewn to the top of the net.

Claire McCardell Dress (2nd Use)

Accession Number: TR.514.2


Label 1: Woman’s Dress, 1954, USA, Claire McCardell, Gift of Sophia Snyder

Label 2: Claire McCardell Clothes by Townley, fabric by Stafford


Note: This project is not considered complete until every scrap of deaccessioned fabric has found a use. Often this means that a single deaccessioned garment may yied raw materials for multiple new items. In this instance, the garment has previously yielded three witches hats.

This is a sleeveless, black silk, bias cut dress. It is high-necked in the front with a gathered fabric detail at each shoulder. The skirt is partially lined and flares out from the waist. The garment closes with a zipper under the left arm. During previous deconstruction, the skirt portion of the dress was removed.

In this instance, the blouse portion of the dress was taken apart. All seams were removed.

A paper pattern, approximately one yard square was drafted. The pieces of the blouse portion of the dress were placed on the pattern, as were the remaining scraps of fabric from the skirt portion of the dress. Once the pieces were arranged so that the pattern was completely covered, they were pinned in place and hand-sewn together using a blanket stitch. The edges were hand rolled and secured with a whip stitch. The bindle, or hobo-bag, as it is sometimes known, was then laid flat. Various essential items were placed onto it. The alternate corners of the bindle were tied together, and the bindle was then tied to a bindlestick made from a pomegranate branch.

The accession number has been embroidered on the outside of the bindle.

Woven Textile

Accession Number: M.87.41.15b


Label 1: Barrow, 11/23/87

Label 2: 1d


This thin cotton textile measures approximately 29” by 86.” It has a black warp with a geometric diamond pattern woven into it with stripes of mint green, silver, and dark red weft. The long edges of the fabric panel are selvage. The short sides of the panel have a knotted black fringe.

Two snakes were removed from a can of peanut brittle. The damaged fabric was removed from the spring “snakes.” The red stripes were cut from the woven textile, and the resulting strips of green and silver stripes were sewn together to create two panels of fabric, each approximately 9” by 60.” These were then machine-sewn into tubes, and one end of each was machine-sewn shut. On that end, now the “head” of the snake, two circles cut from a red stripe were appliquéd to form the snake’s eyes. A tongue was also formed from the red stripe and attached to the head of the snake. The springs were slipped into the fabric tubes and the ends were hand-sewn shut. Finally, both snakes were placed in a can of peanut brittle.

The accession number has been embroidered to the body of each snake.

Girl’s Korean Hood

Accession Number: A.8416.64-3d


Label 1: Girl’s Costume (Hood)

Label 2: Gift of Miss Younghee Choy


This traditional girl’s hood is made of a single piece of black synthetic fabric with a woven floral pattern. The fabric has been folded in half and seamed at the top of the hood. To either side of this seam there is a tuck along the front edge of the fabric. The front and bottom edges of the hood have wide hems. There is a slit that runs from the bottom edge to about half way up the center back. There are two ties, each made of a separate strip of fabric and attached to the hood along the front hem. The bottom edges of the ties have been left raw. After construction, the garment has been printed with flowers and decorative motifs in a silver ink.

During deconstruction the ties and tucks were removed.

6 and 3/4 inches of fabric were cut from the bottom of the hood. The slit in the back of the hood was hand sewn closed and the raw edge at the bottom of the hood was folded over twice and sewn to create a 1-inch hem. A 4-inch section was cut from the left-side tie. One end of this piece was sandwiched between the two corners of the bottom hem and all three were sewn together. The other end of the piece of tie was sewn to the female portion of a commercially available “parachute buckle.” The remainder of the left-side tie was joined to the right-side tie to make one long strip. One end of this strip was sewn to the top center of the front edge of the hood. The other end was hemmed and threaded through the male portion of the parachute buckle.

The accession number has been embroidered to the front of the sling.

Black High-Heel Shoes (Martinique)

Accession Number: M.79.162.2a (Left Shoe), M.79.162.2b (Right Shoe)


Label 1 (Left Shoe): Shoe Fashions, Bullock’s, Downtown, M82332-14, 5000, 1a327

Label 2 (Right Shoe): Martinique, Custom Made, M82332-14, 5000, 1a327


This is a pair of black fabric shoes with 3 1/2” heels. Each shoe has a keyhole and a stylized, black satin bow on the pointed toes.

During deconstruction, the heels were removed.

The cut edges of the leather soles have been darkened and the heels have been attached to the wall to form coat hooks.

The accession numbers have been painted on the lower edge of each coat hook.

Knickerbockers

Accession Number: CR.71.22


Label 1: Knickers, USA 1925, Outseam 35,” Purchased with Costume Council Funds

Label 2: MP, 0203, RKO PROPERTY


This pair of knickerbockers is made of light brown cotton corduroy dyed with a dark brown zigzag pattern. There is a metal snap at the waistband and four dark brown plastic buttons in the button fly. The garment has two side seam pockets, a fob pocket on the right hand side, and two back pockets. The left hand back pocket closes with a medium-brown plastic button. The legs of the garment end in cuffs made of brown and black hounds tooth check. There is a two-pronged metal buckle on each cuff. The garment is not lined; however there is a strip of white fabric on the inside of the waistband. On the inside of the garment, the right back pocket is stamped “RKO PROPERTY.”

During deconstruction, the cuffs were removed. The seams of the knickerbockers were removed until there were four large corduroy panels, two for each leg. On the strip of white fabric on the inside of the waistband, a third label was uncovered. A small paper label, printed in blue ink and with hand written numerals, had been glued to the fabric and hidden beneath the construction of the fly.

Label 3: N. 1387, Yds. 131, Folder 8, In case of error return this ticket.

A damaged pair of boxing gloves were disassembled. Using the pieces as patterns, a new set of pieces were cut from the corduroy. Each glove required four pieces: one for the back of the wrist, one for the back of the hand, one for the palm side of the hand, and one for the palm side of the thumb. The pieces for the back of the hand and the back of the wrist were machine-sewn together. The pieces for the palm side of the hand and the palm side of the thumb were also machine-sewn together, and a strip of the hounds tooth check fabric was machine-sewn on top of the seam. To the inside of the palm piece, a piece of white fabric from the original glove was sewn along two lines, leaving a channel into which a tubular piece of foam from the original glove (used as a grip when the wearer makes a fist), was inserted. Next, a final piece of fabric from the original glove was attached to form the pocket into which the hand would be inserted. The original fiber stuffing from the gloves was sandwiched between the new front and back pieces and these were hand-sewn together. The openings of the gloves, at the wrists, were bound with strips of the hounds tooth check fabric, and tabs of the same fabric, along with the metal buckles from the garment, were attached to the wrists to allow for the tightening and securing of the gloves. The piece of pocket fabric with the RKO PROPERTY stamp has been appliquéd to the outside wrist of the right hand glove. A blank piece of fabric from the same pocket has been appliquéd to the outside wrist of the left hand glove.

The accession number has been embroidered onto two pieces of fabric from the garment’s pockets, and these have been appliquéd to the wrists of the gloves.

Indian Embroidered Textile

Accession Number: TR8616-33


Label 1: Indian Study, Conley, 12/86

Label 2: Conley, 11/4/86

Label 3: Made in India, 100% Cotton, Silk Thread Embroidered, State of Rajasthan Handicrafted


This large textile is comprised of three strips of hand woven cotton fabric joined together to form a rectangle approximately 48” by 74.” It is hand embroidered in silk with an all-over geometric pattern in pink, orange, green, black, and white. The long edges of the panel are hand finished with a blanket stitch. The short sides of the panel are left raw.

An awning frame was constructed of wood. Using this as a pattern, top and side panels were cut from the textile and their raw edges finished with a zig-zag stitch. After being sewn together, they were stretched onto the wooden frame and sewn into place. A long strip of fabric was cut into a scallop pattern, which was then hand finished with a blanket stitch. This strip was then sewn along the bottom edge of the awning.

The accession number has been embroidered to the front of the awning.

Floral Skirt

Accession Number: TR8618-8c


Label: Quash, 12/12/86, Conley


This large skirt is made of a synthetic knit fabric of pale yellow with stripes of a darker yellow edged in black. It is also dyed with an all over floral pattern in reds, oranges, pinks, and green. At the waist, the skirt is gathered and secured with a length of rope. At the hem, there is a line of gold and black rick-rack above a 5 ½” ruffle of pleated green tulle.

When deconstructed, the skirt yielded 11 ½ yards of floral fabric, pieced together from nine panels. The seams between these panels were not removed. There was also 11 ½ yards of black and gold rick-rack and a strip of green tulle, approximately 6 ½ inches by 29 ¾ yards, which had been used for the ruffle. Although portions of the tulle and rick-rack were removed from the floral panel, most was left attached.

Using the proportions of an existing camping tent, a pattern was drafted for a child-sized version. Sections of skirt with tulle and trim still attached were used to form the sides and front flaps of the tent while sections with tulle and trim removed were used for the floor and back wall. To provide stability, a 4mm silk ribbon was sewn into most seams. Rick-rack loops were attached to provide contact points for the pre-existing tent stakes. Appropriately sized tent poles were crafted from wooden dowels.

The accession number has been embroidered to a front flap.

Turkish Embroidered Textile

Accession Number: TR.8616-70


Label 1: Turkey, 12/12/86, Conley

Label 2: Turkey, Conley, 11/4/86


This is a hand woven linen textile, approximately 28 ½” x 16”. The long sides of the textile are the selvage edges. The shorter sides have been hand hemmed. Each end is embroidered with stylized pink, black, and metallic gold flowers in silk floss and thin strips of metal. The leaves and stems of the plants are embroidered in green and metallic gold and there is an embroidered border in black, metallic gold, blue, pink, and yellow.

This item was not deconstructed.

The textile was folded in half and the sides hand sewn together. Triangle shaped flaps were folded up and hand sewn to form the bottom of the wastepaper basket. An interior frame was constructed using wooden dowels. The fabric was stretched over it and attached with stitches along the rim.

The accession number has been embroidered on one side of the wastepaper basket.

Black Lace Dress

Accession Number: TR.1362.13


Label 1: McComb

Label 2: Black Rayon, Lace c.1955, De Accession 8-18-81


This is a full-length, sleeveless, black lace dress. It is comprised of three pieces of floral-patterned lace: one for the chest and back, with a seam in the back; one for the waist, with a seam in the front; and one large piece of lace for the skirt. The neckline of the dress is square in the front, and has a V in the back. There is a border of floral lace trim at the neckline and at the top of the arm holes. The lining is made of black rayon and net and attached to the lace at the shoulders, the front neckline, the center of the back neckline, and the front of the chest. The dress closes under the left arm with three snaps on the lining and seven snaps on the lace. Although the hem of the lining was hand rolled, all seam allowances were left raw.

This dress has only been partially deconstructed. The lower lace panel of the dress was removed and the seam taken out, yielding an 8’ x 38” piece of lace.

At Pasadena Architectural Salvage, an antique screen door, with a damaged screen, was obtained. First, the wood molding that secured the damaged screen was removed, followed by the damaged screen itself. The lace was cut slightly larger than the opening in the door. It was stretched over the opening and then secured with a thin piece of rubber tubing know as spline. This tubing was placed over the edge of the lace screen and then pressed into a groove in the door frame using the round edge of a spline tool. Excess lace was then trimmed and the wood molding was nailed back into place.

The accession number has been embroidered in the lower right corner of the screen.

Cap (possibly a Kufi)

Accession Number: TR8616-2


Label 1: Conley, 12/86

Label 2: Conley, 11/4/86


This is an adult sized, multi-colored, crocheted skull cap. It has a black, donut-shaped, yarn knob on top.

When deconstructed, it was revealed that the spiral of the hat was crocheted around a core of multiple strands of cotton twine which had been glued together to form a thicker cord.

A barbell shaped pattern was developed. Using this, two pieces were cut from the hat and sewn together. Before being sewn shut, the hackysack was partially filled with dried beans. With a diameter of 2.5 inches and a weight of 70 grams, this hackysack conforms to the the Official Rules of Footbag Sports as dictated by the International Footbag Players' Association, Inc. (IFPA).

The accession number has been embroidered on one side of the ball.

Striped Korean Jacket (Jeogori)

Accession Number: A.8416.64-1a


Label: Woman’s Costume, Korea, c.1960’s, Gift of Miss Younghee Choy


This tradional Korean garment is usually worn with a large skirt (chima). Together, the two items are known as a Hanbok.

This particular jeogori was originally paired with this chima.

This silk jeogori has a front and back of yellow fabric woven with pink flowers. The sleeves are made of a multicolored, striped fabric woven with small decorative symbols. The garment ties in the front with two strips of red fabric (Gorem). It is lined with pink silk.

When deconstructed, the lining was removed, as was a thin cotton batting. Although the finished sleeves have a semi-circular lower edge, they were made from rectangles of fabric and left untrimmed, with the original corners hidden behind the lining.

A 1961 packet of Barbie® sewing patterns was used. The pink lining fabric was used to make a Barbie® Oriental Sheath while the striped sleeve fabric was used to create a Barbie® Kimono. Both garments were sewn following the instructions found in the packet and the Barbie® sewing book.

The accession numbers have been embroidered on the front of each garment.

Paisley Skirt

Accession Number: TR8616-8b


Label: Quash, 12/12/86, Conley


This large skirt is made of a sheer yellow synthetic fabric with gold lamé paisleys. It is trimmed with green metallic trim and a ruffle of pleated pink tulle. The skirt is secured at the waist with a link of rope.

The deconstruction process involved removing the pleated tulle, the green trim, and unstitching the waist. The skirt itself was comprised of nine panels, totaling approximately 10 yards of fabric.

Three skirt panels were sewn together to form a banner background approximately 5’ 10” tall. Paper templates of each letter were created and, using these, the letters were cut from the pink tulle. The word “YOUR” was machine appliquéd to the background fabric and the green trim was machine sewn around each letter. Using pink embroidery thread, the words “BRIGHT” and “FUTURE” were hand appliquéd. The background fabric behind each letter was then removed. The banner was hemmed and a wooden dowel sewn in to weight the bottom. Finally, grommets were attached in the upper corners for ease in hanging.

This particular exhibition banner was created to advertise the LACMA exhibition Your Bright Future: 12 Contemporary Artists from Korea, opening June 28 and running through September 20, 2009.

The accession number has been embroidered on the bottom of the letter “E”.

Trousers

Accession Number: TR8616-75


Label 1: Conley, 12/86

Label 2: Conley, 11/4/86


This is a large pair of loose fitting trousers. The legs and crotch are made of a colorful synthetic fabric printed with a faux Ikat pattern. The hips of the pants are made of one piece of white cotton split nearly in half but stilled joined along the waist and printed with an all-over floral and cartouche pattern in blue, green, and white. The selvage edge of this piece forms the waist. The Pants legs are hemmed, and the same cotton fabric is found on the inside of the hems.

When deconstructed, the piece appeared to have been homemade. Although machine-sewn, the seams were uneven and the seamstress had used a blue top thread and a red bobbin thread. Seam edges had been left unbound.

A sail-less boat was found. A mainsail template was drafted by measuring the boom and the mast. A jib template was also drafted. A section of the cotton was joined to a section of the synthetic fabric using a flat-felled seam. Sails were then cut, hemmed, and attached to the boat.

The accession number has been embroidered to the mainsail.

John Anthony Coat

Accession Number: M.75.129.1


Label 1: Coat, USA, John Anthony, C 1970

Label 2: John Anthony


This form-fitting coat is made of thick, felted, cream-colored wool. Both the cuffs of the sleeves and the large padded collar are covered with spotted white fur. The coat is lined with a heavy synthetic white fabric and there are pockets located in the side seams. The coat has no buttons, zippers, or other closures.

When deconstructed, the wool from this jacket proved to be a full 1/8” thick. There was a partial inter-lining of thin cotton canvas, as well as shoulder pads and a soft cotton batting in the collar and both the cuffs. The underside of the fur was originally stamped with a partially legible logo stating “PM PATENTED SUPERIOR.”

A commercially available pattern was adapted for this project. The body, arms, feet, hood and tail of the child’s costume were cut and assembled from the cream wool. A pair of ears was also cut. The hood was then lined, and the body partially lined, with the coat’s original synthetic white lining fabric. This fabric was also used for the inside of the ears. Pieces of fur were then sewn to the hood to form the lion’s mane and a ball of fur was attached to the end of the tail.

The accession number has been embroidered to the left breast of the costume.

Reduce

Reduce:

Although there are a multitude of reasons a museum may wish to reduce its collection, it often boils down to a perceived lack. It may be lack on the part of the museum (lack of storage space, lack of money), on the part of the object (lack of quality), or on the part of the curator (lack of fore-thought.) The decision to deaccession an item is never an easy one nor is the process usually simple.

There are two main ways for a museum to deaccession an item. The first is to gift the item to another institution. The most spectacular recent example of this was the Brooklyn Museum’s decision to give their entire costume collection, over 23,000 items, to the Costume Institute at the Metropolitan Museum of Art. Similarly, when LACMA decided to prune its own costume collection, it gifted items to the Los Angeles County Museum of Natural History, the Autry National Center of the American West, and the Ronald Reagan Presidential Library.

The remaining unwanted items from LACMA’s costume collection were sold at auction, specifically Bonhams and Butterfields Sunset Estate Auctions in Los Angeles. While selling collection items is generally frowned upon, it is a relatively common practice, and both the American Association of Museums (AAM) and the Association of Art Museum Directors (AAMD) have published guidelines concerning the proper and improper deaccessioning of museum collection materials (LACMA’s sale was handled properly). The May 17th Estate Auction at Bonhams included not only items from LACMA, but also items from the Laguna Art Museum, the Palm Springs Art Museum, and the Museum of Art and Design in New York. The last of these had three lots for sale with a combined low estimate of $150 and a combined hammer price of less than $100. All three lots had previously been offered in Bonhams’ March 1st Estate Auction but had failed to sell.

Which brings up an important point: deaccessioning is often about money, but it is not always about large sums of money. While LACMA has earned over $7,000 trimming its costume collection, over 100 items have been sold. Many lots went for less than their low estimate, with some only selling after the opening bid was lowered considerably.

It is important to mention that even those museums that do not deaccession, such as the Isabella Stewart Gardner Museum, can expect to lose a certain percentage of their collection to shrinkage.

Red Korean Skirt (Chima)

Accession Number: A.8416.64-1b


Label: Woman’s Costume, Korea, c.1960’s, Gift of Miss Younghee Choy


This traditional Korean garment is usually worn with a cropped jacket (Jeogori). Together, the two items are known as a Hanbok.

This chima consists of a tomato-red, brocaded silk skirt with flowers in green and gold. Numerous pleats at the top of the garment allow it to form a graceful bell shape. These pleats are attached to a white cotton yoke that fits over the shoulders and is normally covered by the jeogori. The skirt closes in the back with a pair of white cotton ties located just above the pleats.

When deconstructed, the skirt yielded a single large rectangle of silk, comprised of three panels of fabric joined at the selvages. Due to the weaving process, the reverse side of the silk showed none of the red ground and instead displayed wide bands of green and gold. The cotton yoke was not deconstructed, but one half of the left-hand tie was removed.

Following instructions from an internet crafting site, two large pieces of silk were cut into a BBQ apron shape and then hemmed so that one apron utilized the red side of the fabric while the other utilized the green and gold stripe. To form the ties, strips of fabric were joined into two long pieces, then folded lengthwise, sewn shut, and threaded through channels in the hems of the aprons. Finally, rectangles of silk were sewn onto the front of each BBQ apron to form pockets, a red pocket for the striped apron, and a striped pocket for the red apron.

The accession numbers have been embroidered on pieces of white cotton removed from the original tie and appliquéd onto the pockets.

Reuse

Reuse:

The notion of reuse goes to the core of every museum’s mission statement. Items are used for study or display, stored, and then studied or displayed again. Over the course of its life in a museum collection, some objects will be used in a multitude of ways, to illustrate a variety of educational and curatorial premises. Occasionally, collection items are loaned to others. Although this is most often seen when one museum loans items to another museum, there are other options. The Los Angeles Natural History Museum, for example, makes lesser collection items available to the general public through their Members’ Loan Service. For a small fee, anyone with a museum membership can check out specimens for up to two weeks. Similar programs exist at the Field Museum in Chicago and the San Diego Natural History Museum. At Oberlin College, the Allen Memorial Art Museum’s Art Rental Program rents works of art to both students and the general public for up to a semester.

Although LACMA does currently have an Art Rental Gallery affiliated with it, the works available there are not collection items. The gallery operates similarly to a for-profit gallery, with works from local artists available for rent or sale.

Korean Wedding Skirt (Chima)

(shown here with accompanying Jeogori)

Accession Number: CR.356.66.1b


Label: Wedding Dress, Skirt, Korea, c.1960’s


This chima is made of a gauzy, hot pink synthetic material with a woven medallion pattern. At the bottom of the skirt there is a 3” stripe of similar green fabric, a 3” strip of pink, and a 3” hem of green. The stripes are printed with silver characters and stylized peacocks while the dress is stamped with silver medallions. In places, the silver ink has seeped through to the red tulle lining. The pink skirt is gathered into a series of pleats and attached to a red tulle band that has two red tulle shoulder straps. The dress closes with two large hook and eyes just beneath the left arm.

During deconstruction, the tulle band was removed, all pleats were taken out, and the lining was removed. The three stripes on the bottom of the skirt were also removed.

A commercially available pattern was adapted for this project. The front of the garment bag was cut from the hot pink fabric of the skirt, being careful of the placement of the silver medallions. The sides and back were cut from the red tulle lining. For the piping, the green stripe fabric was cut into thinner strips and sewn into one long piece. This was folded over a cotton cord and basted closed. The garment bag was then assembled and ties made from the red tulle were attached to the front as closures.

The accession number has been embroidered on the right side of the front of the garment bag, just above the silver medallion.

Recycle

Recycle:

When a collection item is deemed to be no longer suitable for either exhibition or study, as recently happened to a LACMA-owned Cranach, it can either be deaccessioned or it can be recycled.

Museum deaccessioning through auction or private sale is typically framed as a museum’s collection items being placed into a more suitable home, where they will be put to better use than simply sitting in museum storage. However, nothing can change the fact that the museum has decided that the deaccessioned items are useless to them, and that they no longer take an interest in preserving them for the future. Items slated for deaccessioning are, as far as the museum is concerned, trash. The only guarantee that a deaccessioned item might be cared for in the future is the large sum of money that might be paid for it. We would like to assume that the mid-six-figures price tag LACMA has placed on its Cranach would encourage the painting’s next owner to take extremely good care of this valuable object. However, buyers might have anything in mind. Marie Antoinette was known to slice up works by Boucher and Fragonard in order to decoupage fragments of the paintings onto furniture. More recently, we could look to the example of Martin Kippenberger turning a Gerhard Richter painting into a table.

While some may see these as terrible acts of destruction, they are actually landmark acts of art recycling. We are all being encouraged to recycle as much as possible today, and perhaps museums can look to this model too. What if an inferior Cranach could be turned into a superior someone else?

There is, in fact, at least one collection that has adapted this model: NASA. In over forty years of commissioning artworks, The NASA Art Program has not only loaned items from their collection to artists for inspiration (Norman Rockwell was able to borrow a spacesuit) but it has also donated items for use as raw material for art works. Chakaia Booker, for instance, ripped apart a space shuttle tire for use in a rubber sculpture. E.V. Day used spare parts from a Mars Rover to house a diorama.

Most unwanted collection items could make terrific raw materials for both artworks and everyday items as well. Paintings can be gessoed over and used for new paintings. If the canvas is still in good shape, it could be used to make deck chairs, totes, or numerous other items. Any large picture frame can easily be transformed into a striking, yet practical, ladder. A Giacometti would make a superb table lamp. Readymade sculptures, such as Chris Burden’s Urban Light (itself an act of recycling), can be returned to their original purpose. Metal sculptures can be melted and recycled into door handles, pipe fittings, bells, and cannons. Marble sculpture, when reduced to chips, can be used in landscaping or making cement. Prints, drawings, and watercolors can be turned into envelopes, paper bags, bookmarks, and scratch paper. Tickets for an exhibition can be printed on items deemed not appropriate for the exhibition. The options are limitless.

Two Pair of Guatemalan Trousers

Larger Pair (shown on left)

Accession Number: TR8616-31

Label: Guatemala, 12/12/86, Conley


Smaller Pair (shown on right)

Accession Number: TR8616-51

Label: Guatemala, 12/12/86


Both pairs of pants are made of hand-woven cotton fabric, with the larger pair having a pattern of widely placed purple stripes on a white ground, while the smaller pair has purple and white stripes of even width. Both have a wide band of multi-colored hand embroidery on the legs. The larger pair is embroidered with stylized trees, peacocks, and geometric bands. The smaller pair has a similar pattern of geometric bands with upright birds and flying birds.

When deconstructed, each pair of pants was found to be made of four pieces of narrowly woven fabric, sewn together at the selvage edges. The larger pair had hand-sewn seams while the smaller pair was machine sewn.

Two commercially available patterns, similar in design but different in size, were adapted for this project. Pattern pieces were cut from the fabric, being careful to match stripes and embroidery where possible. After being machine sewn, the bears were stuffed with fiberfill.

The accession numbers have been embroidered on the left breast of each bear.