Wonderland: The Exhibition

In these topsy turvy times it seemed appropriate to share a visit to the Wonderland exhibition at Te Papa in Wellington, from way back in early March when the outside world was a bit more right way up. A fabulous exhibition that filled me with joy for many days. From the walk along the waterfront with the knitted flagpoles, the opportunity to be Alice or the White Rabbit, exploring the world of Charles Lutwidge Dodgson and watching Alice on film through the ages.

The other reason for sharing Wonderland is that there is no sewing to share with only two knit tops sewn in the nearly six weeks I have been staying safe at home.  Two  more versions of Katherine Tilton's Vogue 8710 view B emerged from the sewing machine. Maybe now there are three versions an actual blog post about sewing could appear in the near future.

The exhibition developed by the Australian Centre for the Moving Image is described by Te Papa as:

an interactive exhibition that celebrates Lewis Carroll’s timeless stories. Explore Alice’s journey from book to screen, through original picture books, magic lanterns, and more than 40 films and 30 television programmes. Then join an immersive Mad Hatter’s Tea Party that comes alive with digital wizardry. You’re bound to get lost on the way. Squeeze into a tiny house, climb a giant chair to peek into Alice’s room, and post your soldier avatar on the Queen’s croquet ground. The closer you look, the more you’ll discover – not everything is what it seems!

So into Wonderland - lets fall down the rabbit hole...

For those who don't have time to scroll through this picture heavy post Google kindly made a little video of the event.

In case we got lost we were provided with the Lost Map of Wonderland. These maps were produced for different characters - I should really have asked for the White Rabbit instead of the Queen of Hearts. The Queen does have a scale of impatience, which is appropriate for me, although I would never be quite as extreme to vary between hold your tongue and off with your head.

Through the book lined corridor into the exhibition - some great childhood favourites here.

Pages from the original manuscript

Charles Lutwidge Dodgson better known by his pen name Lewis Carroll told the story to entertain three girls as he and a friend (Reverend Robinson Duckworth) rowed up the river Isis one afternoon in 1865. The story featured a bored little girl named Alice who goes looking for an adventure. One of the girls Alice Liddell asked Dodgson to write it down for her.  The exhibition featured facsimiles of the original manuscript (held in the British Library).

Pages from the original manuscript with Dodgson's drawings

Dodgson added his own illustrations to the book but for its publication he approached John Tenniel to illustrate it. The illustrations of John Tenniel are my favourite.

Not a great admirer of Disney's depiction of Alice and friends.

The film through the ages

Alice in Wonderland was a fabulous book for early cinematographers where the imagination could run wild. We spent so long watching the films from the early twentieth century through to the 1930's that we had to rush the end of the exhibition before it closed.

For those who are as much of an Alice nut as I am I have included links to the films on YouTube where I could find them (sometimes only snippets). It was truly amazing to see such early films and how they adapted the story. Despite some of them being over a 100 years old they didn't seem as dated and consequently amusing as early science fiction films. They are also in remarkably good condition considering their age and how they would have been treated in their early life (not as treasured archival pieces of cinematography).

One of the doors in the Hall of Many Doors led to a cinema where we watched the first version of Alice in Wonderland directed by Percy Stow and Cecil Hepworth in 1903. The British Film Institute restored some of the film and its original tinting. The original film ran for about twelve minutes, the restored version is just over nine minutes long. Now thanks to the British Film Institute and YouTube you can watch it too...

Stills from Alice in Wonderland directed and written by W W Young in 1915 a silent film starring Viola Savoy as Alice. I really appreciated the music that accompanies this film found on YouTube.

Stills from Alice's Adventures in Wonderland, a silent film directed by Edwin Stanton Porter in 1910 with Gladys Hulette as Alice.

Stills from Alice in Wonderland, directed by Norman Z. McLeod in 1933 with Alice played by Charlotte Henry.

Then come the more modern versions like this 1966 television musical of Alice Through the Looking Glass directed by Allan Handley with Judi Rolin as Alice. A fun version but I much preferred the earlier silent films.

The most recent version is from 2010 by director Tim Burton with a star studded cast led by Johnny Depp.

Early costume designs by Colleen Atwood for Helena Bonham-Carter's Queen of Hearts

And the official Disney trailer.

Fascination with Alice takes many forms

Magic lantern projectors were developed in the 1600s using a lens and a candle to project an image painted on a glass slide onto a wall. By the 1800s skilled operators could entertain audiences, creating the illusion of movement by wheeling the magic lantern towards and away from the screen. Narration sound effects and music added to the show. Not so skilled operators could harm (or even kill) their audience with projectors illuminated by limelight!

Johnson Optiscope Magic Lantern projector, Houghton-Butcher, UK circa 1910

An assortment of magic lantern slides, some by W Butcher and Sons Ltd, London 1905-08

The Toy Jektor film viewer saw this Dandy Film released in 1933. Movie jektors or toy film strips were created by printing images and text in three colours on 35" strips of translucent paper that were rolled onto wooden dowels and stored in boxes. They were viewed through a toy film projector to create simple animations.

Character sketches from the 1933 Alice in Wonderland film by Norman Z McLeod

This scene design from the stop motion and live action 1988 Czechoslovakian film Alice by Jan Švankmaier was much darker than the other items in the exhibition and of course a snippet of this film can be found on YouTube. Its original Czech title is Něco z Alenky, which means "Something from Alice" being a loose adaptation of the book.

The Mad Hatters virtual tea party

You enter a completely white room and take your place at the table, images play over the walls, table and crockery creating different illusions. In a couple of pictures I managed to capture the transition between scenes.

Playing croquet

On the back of the exhibition map was a playing card where we could stick on our own design in the interactive studio at the end of the exhibition. I really wanted to be the White Rabbit in his Court attire but could only find his legs so added the kings head and drink me bottle to make my own unique character. Once the playing card was completed to your satisfaction it was placed in a slot with your head in a cut out hole and you become the soldier avatar on the Queen's croquet lawn painting the white rose bushes red. Being a loyal Yorkshire women it was a challenge painting the white rose of Yorkshire red for the House of Lancashire (War of the Roses all over again!)

My playing card

Acknowledgements

Fabulous exhibition that brings joy even through these photographic memories. I echo my thanks to those of Te Papa to everyone who brought this exhibition to life.

Along the waterfront to Te Papa

On the walk to Te Papa along the waterfront we came across these knit bombed flag poles. The characters where fabulous and the photographs don't do them justice. They added another layer of colour to a wonderful day.

Outfit of the day

I don't normally remember to take photographs of me made outfits but as I went to Wonderland with a fellow dressmaker photographs were taken with my very favourite White Rabbit, as the adventure continued.

The Cut Make Trim dress, Green Pink Kantha jacket and United Nude Mint Fold booties

Here I am fulfilling my life long ambition to become the White Rabbit (had to try out being Alice too!)

And finally an ode for our times...

Sew Different Sheer Fly Birdie Fly Top

It has taken me weeks to write this post. Most of it was written whilst at work in Wellington but I didn't have access to the pictures. Now the world has gone mad and it seems really strange to be posting pictures of us out and about enjoying our Sunday, showing off my recent make and mingling in a public place with strangers.

I have been home nine days now and so far haven't left the house. My beloved is being our designated grocery shopper whilst I am chained to my laptop and phone. It seems frivolous to be blogging but I need the light relief and really hope to become reacquainted with my sewing machine over the weekend.

The finished garment

This top is just long enough to be worn on its own even though I made it to wear as a topper over a plain dress (the Twirling Rebecca Taylor dress). Here it is worn on a sunny Sunday for a trip to the Oxford farmers market with a pair of Kate Sylvester Admiral flared trousers and Camper Twins red orange sandals.

It may be a simple top but I really love it and it has been worn often over the last couple of months since making it.

Just to give you an idea of the shape!

On a less sunny Sunday but also at the Oxford farmers market here is the top being worn over the aforementioned Twirling Rebecca Taylor dress. It might not have been sunny but I still didn't manage to keep my eyes open for the photograph - must be the half asleep before coffee look.

The fabric

This fabric was a pre-Christmas purchase from Gorgeous Fabrics. Ann describes this fabric as "a perfect addition to your spring wardrobe! It's an open weave in a beautiful drapey fabrication, with little birds flying all over it, and it is simply GORGEOUS! This will work wonderfully for a chic topper."

And surprise surprise I used it for a chic topper! The simple design of the pattern used really allows this fabric to shine and it does truly deserve the spotlight.

The pattern

The Sheer Top and Vest is from Sew Different a UK based pattern company. At this stage I have only made the Sheer top, but do have both the top and vest cut out in a linen fabric. The designer was inspired to create this pattern in 2015 by the sheer clothing seen in RTW so once again I am right up there on the cutting edge of fashion.

This is a free PDF pattern and much as I hate sticking PDF patterns together I worked through my dislike for this free pattern. This is not a user friendly PDF pattern to construct.  There are tiny crop marks in the corner of some pages which I drew a line between in order to have a straight line to cut along. As I couldn't be bothered to do this for all seventeen pages I cut multiple pages at a time, which sacrificed a bit of accuracy. For a free pattern I shouldn't complain about this minor irritation but if I had paid for the pattern I would have been extremely disappointed.

The pattern is a single size UK 12 with no seam allowance. There is enough white space between the pattern pieces to add seam allowance.

The pattern alterations

For the Sheer top the alterations were minimal. The size 12 was fine size wise so I made a forward shoulder adjustment and used my French curve to provide more side seam shaping curving back to the original side seam at the hem. The fabric I used was a non-stretch woven so I tapered the sleeve more gently from the top of the sleeve to the wrist to give a wider sleeve hem. The top of the sleeve is fine in a non-stretch fabric without alteration.  As the sleeves were too long on the finished top I removed 1½" and also made this change to the pattern piece.

Once I had sewn the top and worn it for a day the front neck edge was lowered by 1". I have also now made separate front and back top pattern pieces to include the forward shoulder adjustment and the neck edge changes. In the new pattern pieces the neck edge is brought in 1" at the shoulder as well as being lowered 1" at centre front.

The sewing

The sewing instructions are printed on the pattern pieces but because of the shaping alterations I made to the side seam some of them were chopped off. This is such a simple top that instructions aren't really needed. This top came together quickly on the overlocker, with the sewing machine only used for the hems. Even the neck edge was just turned over ⅜" and stitched down.

Outfit of the day

On the way back from Oxford we took some photos in Darfield. There was no-one else around as I played. What I really wanted was a swing but there isn't one at the Tussock Square playground.

Marilyn Rea-Menzies Extinction is Forever Exhibition

A great exhibition at the Oxford Art Gallery of tapestries, drawings and paintings by Marilyn Rea-Menzies. There is one more week of the exhibition in Oxford and it will be at the Toi Gallery, Pātaka Art + Museum in Porirua between 13 November and 13 December 2020.

Marilyn is an artist specialising in fibre art and the creation of beautiful tapestries, as well as painting, drawing and printing. She used photographs as her source material for this exhibition, generally her own but also images by Chris Jordan of Midway; Glenda Rees Photography and Don Parrish.

I first saw the Kokako tapestry in 2016 and found the imagery very powerful. It is even more moving in this larger exhibition to realise what New Zealand has already lost and how much more is threatened by humans today.

This exhibition reflects Marilyn Rea-Menzies environmental concerns for the flora and fauna of New Zealand at a critical time in history where species management of endangered birds and animals is of vital importance. Approximately fifty of New Zealand's native birds have become extinct since human habitation.

Official Arts in Oxford Exhibition poster

The tapestries

The three main tapestries in Extinction is Forever show the birds in their native habitat as well as the dead birds complete with their name tags as per museum practice. These tapestries are 1560mm tall. They use a cloak shape to signify protection and mana. All three of these birds Kieke, Kokako and Hihi are rare and threatened and need our on-going effort to safeguard them.

Extinction is Forever - Kieke (Saddleback) Tapestry for sale $25,500

Extinction is Forever - Kokako Tapestry for sale $25,500

Extinction is Forever - Hihi (Stitchbird) Tapestry sold

The two pictures below of the Hihi tapestry in progress are from Marilyn Rea-Menzies Facebook page to illustrate the development of these tapestries.

Extinction is Forever - Hihi Tapestry in progress October 2017

Extinction is Forever - Hihi Tapestry in progress December 2017

Brown Creeper Tapestry (920 x 690mm) for sale $9,900

Shining Cuckoo Tapestry (310 x 235mm) for sale $1,950

Manuka flower Tapestry for sale $9,900

Tui on Kowhai Tapestry (310 x 235mm) sold

The drawings and paintings

Protect our Forests 1 & 2 pastel pencil on paper for sale $2,000

Protect our Forests 3 pastel pencil on paper for sale $2,000

Where are the Birds 1-6 (300 x 300mm) charcoal and watercolour for sale $950

Plastic Kills (1500 x 800mm) charcoal and watercolour for sale $2,550

Silvereye and Baby (1000 x 760mm) acrylic on canvas for sale $2,500

Silvereye at Nest (1000 x 760mm) acrylic on canvas for sale $2,500

Forty-five drawings from the sketchbook (290 x 290mm) for sale $400

The Oxford Art Gallery main exhibition area and shop

This is a lovely exhibition space and a favourite place for us to visit on a Sunday, after a leisurely stroll around the farmers market.

Later in the afternoon I tried to do my bit to save the local fauna by attempting to revive a very lethargic lopsided bee with a bit of honey. Not sure I really improved its long term prospects but it seemed to enjoy its sticky treat.

Vogue 9243 Cowl Neck Renaissance Dress

A surprisingly fabulous make. The stars really aligned for this dress. The style suits the fabric both from a pattern and drape perspective. It is a long time since I have had such an enjoyable sewing experience especially given the major style alteration made to the pattern. It was a great start to the 2020 sewing year which then hit a major pause for the rest of the month of January.

The finished garment

Aesthetically I really love the finished garment it drapes well the print flows nicely around the dress and changing the pattern to a cowl neckline was just right for this fabric. The fly in the ointment is the actual fabric design and colour. Neither the print nor the colour would be a usual choice for me and whilst the dress has been worn a few times I am still not sure that it's really me.  There will soon be a second version of this dress in a rayon challis print that is definitely me. Despite my reservations I have received a number of compliments, one of my colleagues thought it was the nicest thing I had sewn.

The colour in the first two photos is more representative of the real life colour. The pictures were taken on a very bright sunny day and the colour in the bottom three photos is a bit over exposed.

The fabric

This fabric has been maturing in the stash for three years, purchased from Elliot Berman in December 2016, a Dolce and Gabanna digital print in viscose challis.

When I asked Google to search for this image it suggested Cappella Palatino in Palermo Sicily. In the collage of three photos the bottom is from the Palatine chapel but I can't identify where the middle photo of a closed in portico or corridor lined with statues is and the top is a typical D&G aesthetic of chains and crosses.

As soon as I started imagining Vogue 9243 with a cowl neck this fabric sprang to mind. Before this I have never quite been sure why I bought it. Not really my colours or my style, but sometimes we have these brain farts and at least mine only involved fabric.

The pattern

This is the second time out for this Vogue pattern in as many weeks. The Rebecca Taylor knit version has been worn a lot so V9243 was a natural choice for adaptation to a cowl neck version. It might get its fourth outing as a knee length yellow piece dyed Linton tweed dress.

The dress is described as a semi-fitted and flared pullover dress, below mid-calf or lower calf, has back neck slit with button/loop, low cutaway armholes and side pockets. Narrow hem. Purchased belt.

Suggested fabrics are: Jersey, stable knits, light weight linen, crepe-de-chine and silk likely Jacquard.

The pattern alterations

This time the fabric is a non-stretch woven and the pattern size was checked against my TNT woven dress pattern. On the whole the size 12 was used but with ⅜" added at the bodice centre front blended back into the size 12 at the waistline. The width of the neckline was retained, a forward shoulder adjustment made and the armhole changed to match the TNT woven sleeve pattern.

The major alteration was to convert the bodice to a cowl neckline using this Threads Magazine tutorial.  The author of the tutorial suggests a depth of 20" (from neck edge shoulder seam point on one side to the other with the drape of the tape measure illustrating the depth of the cowl) and that measurement seemed to give me the drape I wanted.

Starting with my modified bodice pattern I traced it onto brown paper (picture 1); drew in the cut lines (picture 2); cut the pattern apart and spread the sections to achieve the desired cowl drape (picture 3); and taped the cut parts down (picture 4).

The next thing to do - transfer the bust dart to the shoulder.  The eponymous Vogue 1250 Donna Karan cowl neck sheath dress was my inspiration. The shoulder pleat in the DKNY dress creates extra drape and fullness for the cowl and I wanted to replicate this in the adaptation of Vogue 9243. By transferring the bust dart to the shoulder the pleat could be created (picture 5).

Every time I embark on a sewing adventure I learn something new. This time the thing I learnt was that the drape of the cowl is determined by the length between the neck edge shoulder point and the centre front seam.

Making the pattern alterations for the cowl was a great experience thanks to the Threads tutorial and everything really fell into place. My knowledge and understanding were increased whilst I had fun playing with a great pattern to get more style variations from it.

When the fabric was cut out the pattern pieces were cut on the fold as this print with the fabric yardage I had did not support centre front/back seams so some of the twirl had to be sacrificed for the integrity of the print. The cowl was not cut on the bias and relies on the wonderful drape this fabric has to fall in its soft folds.

This is quite a slippy fabric and to reduce the challenge when cutting I used the lines on my cardboard mat to align the fabric. Then the fabric is held in place with pins through the fabric and cardboard.

The dress is lined with a white cotton lawn which was cut out without the cowl neck facing, as I knew that I only wanted the cowl in the viscose challis to get the drape.

The sewing

When the pattern alterations were made I only allowed ⅜" seam allowances, my preferred width. The sewing was pretty straightforward with a few tweaks because I fully lined the dress and I was worried about the viscose challis supporting the darts.

The lining and outer fabric were sewn at the back neck edge right sides together, the seam was pressed toward the lining and under-stitched, then trimmed with pinking shears. For the lining front neck edge I hemmed it for an inch or so before sewing the shoulder seam to make the shoulder seams in the outer and lining fabric the same length. I couldn't hem the lining front neck edge completely at this stage as I wasn't sure what shape it should be in order to not interfere with the drape of the cowl. The lining and outer fabric were then sewn together at the shoulder seams using the overlocker with the cowl facing wrapped to the back so the shoulder seam is half covered by the cowl facing.

The side seam pockets were attached at the appropriate place on each of the viscose challis side seams using the overlocker then the side seams were sewn. The lining and outer fabric were sewn separately at the side seams to allow the side seam pockets to sit between the two layers. As I wasn't sure if the darts would be needed I tried the dress on at this stage and decided the darts would provide a better shape. The four fish eye darts (two front, two back) were all sewn through the lining and outer fabrics. The lining and outer fabric were hemmed separately, the outer by hand and the lining by machine.

The sleeves were assembled including being hemmed by machine, then inserted in the round using the overlocker.

Now that the dress was pretty much finished I left it to hang overnight. The next day I turned it inside out and free hand cut the lining neck edge in a U-shape below the bottom of the cowl drape. Two tucks were made in the lining on either side of the U-shape to remove the excess fabric. The narrow hem on the neck edge was turned twice and machine sewn. Excuse the wrinkles in the photo below, the dress was dragged out of the laundry basket for the photo, as I thought a photo of the lining neck edge would assist with my garbled explanation.

Outfit of the day

The dress does seem more me when worn with my Untouched World Possum Merino Queen Bee wrap in the Golden Pearl colourway. The yellowy green of the wrap brings those colours to the fore in the dress. The shoes are Ivy Lee Courtney in faux yellow python - pity they are flat, if they were skyscraper heels they would really go with the aesthetic of this D&G print!!

This was the first outing for the dress, worn to lunch with a girlfriend so I could get a second opinion before it made a public appearance at work.