Odd couple

This odd couple occupy a corner of the costume storage room at Stirling House.

There they stand, patiently waiting, until they are deemed the best fit for a garment about to be put on display in the Society's museum.


In this tiny space dwell many treasures. Packed to the rafters, in large storage boxes, are garments relevant to Western Australia's history.

The museum display is changed periodically, and this process is currently underway. It is a busy time in the costume room as boxes are shifted so that items removed from display can be repacked and stored and fresh items selected by Hon Costume Curator Jo Pearson are unpacked and prepared for display.


This is an exciting time to be around, as Jo offers me the chance to see inside these boxes as garments are removed or replaced. I was very happy to be reacquainted with this beaded dress which first drew me to the Society's doorstep a year ago whilst it was on display. Its beauty and careful conservation had been described to me so enthusiastically that I simply had to see it for myself.


Here is a highly magnified detail of the tiny stitches used to support the damaged areas of the dress on a fabric carefully dyed to match. Conservation is not meant to hide the marks left by time. So the missing areas of the original fabric are still clearly visible, telling the story of many hours of strenuous exertion on the dance floor.

A close encounter

Earlier this week I was fortunate to be invited by the Society's Hon Curator Costume, Jo Pearson, to join a group of embroiderers who had an appointment to view the collection under Jo's expert guidance. The visitors (and I) received a welcome bonus in the form of an encounter with conservator Patricia Moncrief who arrived bearing a large storage box containing a newly conserved garment.


Patricia, on the left, unpacked the garment to give Jo Pearson, second from the right, a report on the work she'd done to conserve this important historical garment. Part of the Lovegrove Collection donated to the Society in the 1030's, the dress was worn by Elinor Eliot at her wedding to Dr Lovegrove circa 1869.


Patricia explains the process of making a 'soft sculpture' padded shape to support the garment.


A detail of the garment's sleeve


The neckline of the bodice resting on its soft sculpture padding


Returning the garment to its storage box.