Theatre Design & Technology - Dec 1971 - 30

The Evolution of Fashion
Pattern and Cut from 1066 to 1930
Margot Hamilton Hill and Peter A. Bucknell. Reinhold. New York, 1968,225 pp.
Margot Hamilton Hill and Peter Bucknell
have created a handsome and valuable addition to this important area of theatrical
costuming. This book traces the development
of British upper-middle class costume and
cutting over nearly ten centuries, beginning
with the emergence of the shaped garment
-the simple tunic-during the period of
the Norman conquest and ending with the
period just before World War II. Although
it contains a wealth of material on the dress
of each period covered, this is, as Mr.
Bucknell points out, "not an academic history of costume in the strictest sense." The
authors have not attempted to include all
of the "minor developments and idiosyncrasies of dress." They have not covered
special costumes such as seasonal or evening wear, ceremonial dress, nor bizarre or
eccentric fashions except as these items
relate specifically to the basic evolution of
fashion. Neither have they considered the
dress of the working classes nor the variations and adaptations of the garments discussed found in the other countries of
Europe.
The study has been divided into fifty-six
sections. Each section is illustrated with a
drawing, consisting of a man and a woman
dressed in garments typical of the period
being considered, placed against a background intended to project the particular
feeling and style of that period. Each of
these drawings is supplemented by two
pages of patterns for the major garments
worn by the figures and one page of notes
which further elaborate on and explain these
garments and their accompanying patterns.
The patterns and notes are supplied by
Peter Bucknell, head of the Wimbledon
School of Art.

One of the primary assets of the book is
its simplicity and clarity. The black and white
line drawings of the costumed figures give an
immediate impression of the silhouette and
the overall visual style of the individual
periods. And, wherever possible, the figures
have been posed to reveal important accessories and other significant details of the costumes. Mr. Bucknell has presented a wealth
of specific information in a concise and well
organized text. This material has been clearly
and consistently arranged so the reader may
easily find clarification and amplification of
details that are unclear or are, of necessity,
omitted from the drawings or the patterns.
The treatment of foundation and undergarments and their effect on the line and fit
of the various costumes is particularly helpful. The text also contains information on
such essentials as fabric, colors, decoration,
and the movement of the people in the
garments (with specific reference to the adjustment performers must make in their
accustomed movements in order to wear the
costumes with appropriate style and carriage). Occasionally the author has included
helpful suggestions for simplifying the patterns for use in the theatre and for increasing the versatility of the completed garment.

The earlier patterns are, in most cases,
conjectural, since there is a scarcity of
actual garments or information on cutting
before the middle of the seventeenth century. For the patterns after that period, the
authors have rei ied on the information to be
gained from cutting books, patterns, and

The size of the patterns, and the clarity
and simplicity of the illustrations and the
text make this book a valuable addition to
any costume library
even though other
sources of period patterns may be available.

The Awkward Stage

book admits that it has slighted opera, dance
and music. However, readers will find the
methods used to obtain information (seminars, on-site studies and questionnaires) of
some interest both in text and appendices.

Ontario Council of the Arts. Methuen
Publications. Toronto, 1969, 207 pp.
This book arises from a study commissioned by the Canada Council and the Ontario Council of the Arts. Both amateur and
professional theatre were examined. The

existing garments, etc. These sources should
be kept in mind by anyone planning to use
the patterns. Since the size and shape of
the human figure has changed over the
years, alterations will have to be made in
some of the basic patterns to fit the proportions of contemporary performers. Each of
the patterns is large enough in scale-with
few exceptions 1 / Bth inch to the inch-so
as to make enlargement and adaptation
relatively easy; however, the inexperienced
costumer shou Id be advised that some knowledge of pattern drafting and fitting is necessary to prepare the actual basic patterns and
to adapt them to the individual performer.
They should especially heed the warning of
the author on the difficulty of cutting and
fitting male costumes, particularly those
worn after 1800.

Junius Hamblin
State University College at Oneonta

In Chapter I we are reminded that Ontario
is near the center of the major North American leisure market and has a good transpor-

THEATER DESIGN AND TECHNOLOGY

DECEMBER ,1971

Table of Contents for the Digital Edition of Theatre Design & Technology - Dec 1971