Costume Technology Student Uses HRC as Thesis Resorce

Dress worn by Ann Miller in Easter Parade

One of The University of Texas at Austin's most valued resources is the Harry Ransom Center (HRC), a humanities archive with one of the best theatre, design, and performance collections in the country.

Easter Parade Rendering

Christina Hobbs, third–year M.F.A. candidate in Costume Technology, has found a particularly unique way to make use of the HRC, marrying her skills as a researcher and technologist with her love of old films in her M.F.A. thesis, “Ladies of the Silver Screen: Clothing Construction and Patterns (1948-1955)”.

Says Christina: “My studies at the university include the history of film, theatre, performance, gender and appearance through the technologies of fashion and costume. My objective [with this project is] the combination of costume history observation and study with a sociological examination of specific garments worn in feature films. This interest in performance history through costume led me to the film collection at the Harry Ransom Center (HRC), which consists of garments worn by popular actresses of the 1940's and 50's.”

Dress worn by Elizbeth Taylor in Conspirator

Christina has been analyzing three costumes from this collection; a dress worn by Ann Miller in “Easter Parade” (1948), a two piece suit worn by Elizabeth Taylor in “Conspirator” (1949), and a coat worn by Susan Hayward in “I'll Cry Tomorrow” (1955), the costumes are one–of–a–kind items worn by popular film actresses, and theatrical representations of an era. Christina has already taken research trips to Los Angeles, where she has researched the films, the actresses, the designers, and the historical importance and sociological impact of the costumes and films.

I'll Cry Tomorrow Rendering

Christina's next step is to construct the costumes. But, says Christina, “Instead of creating exact replicas, I will be recreating the costume for a modern sensibility and contemporary figure utilizing the appropriate undergarments from the 1940's and 50's to maintain the historical silhouette.”

Christina's work will definitely have an impact beyond her own thesis. Already, Christina has been able to track the provenance of each costume more thoroughly than had previously been possible, and will help the HRC to “broaden the spectrum of resources available to costume scholars and technicians”.