On Sunday, Nov 3, 2024 I went to Hycroft Ballroom 1489 McRae Ave. Vancouver, for another fascinating event, jointly hosted by SMOC Costume and CAFTCAD (Canadian Alliance of Film and Television Costume Arts and Design). President Melanie McIntosh and President of CAFTCAD, Allisa M. Swanson, welcomed us to the event and especially to the silent auction, benefiting both organizations. More at CAFTCAD here. Ivan Sayers brought 12 dresses and talked about their place in history and how the shape and construction details, reflected status, the 'ideal' image for women, during each era and lots of stories about where he got each dress, who made it and who wore it. These dresses are from Ivan's extensive collection from 1750-1970. What do the two white dresses have to say? One is the oldest from early 1900s, and was a wedding dress in Atlin, B.C. There is a front page newspaper clip of it and the wedding, as there was an avalanche nearby that happened around the same time.Both dresses are matronly; the figure is seen but details not revealed. There are lots of frills, and the impression is one of women's fragility and need for protection. The second is from a late date. The third dress, 1917-1918 is high waisted, girlish, frivolous, the dress beside it has a Chinese image, more international, waist is natural and fabric is lighter and allows easier movement, the brown dress is made of rayon, waist has dropped, more about work, practical colour, wartime, stock market crash, then on to 1938 where the figure is more defined, dresses curve at the hip, still puffed sleeves but more natural and less flounce; bad times equal the need for strength, vitality, ability and independence.The pale blue pastel dress with daisies on the pockets (so practical) less money and availability for fabric so shorter skirts, black and red rayon dress, 1947, again, stamina, emphasis on job, sports, active participation rather than passive stance. The Mondrian dress, Yves St. Laurent 1965. Wearable Art, legs are the feature, the swinging sixties, waif like look, young,leggy, and out in the world, Twiggy. The Sequin dress was worn by Mitzi Gaynor when she appeared at The Cave Supper Club (1968) in Vancouver. Last two outfits: pink 3/4 length coat to match short skirt and turtleneck sweater. Clinging black, fitted top, tiny waist and polka dots and a slit for showing off more leg. This is just a light skim of the encyclopaedia of fashion that is Ivan Sayers. You have to attend the events to meet him and hear the jokes and stories. He has received multiple awards, even an Originator Award from Vancouver Fashion Week!
Mitchell Mackay "...has worked as a cutter, milliner and Special effects Costumer for most of the major theatres in Canada, including the Stratford Festival, Shaw Festival, National Ballet, Vancouver Playhouse, Citadel Theatre and Bard on the Beach. He moved here during the 1990's and created costumes for 16 Feature Films and 7 TV Series. For 6 Seasons he was the Principal Cutter/Fitter for the Emmy nominated series: Once Upon a Time." Mitchell is a Canadian who got his start in Barrie, Ontatio and has worked in the industry, everywhere for 40 years. He talks about being lucky but you know it takes great knowledge to get the time period right and great skill to design a costume that not only fits and is the right fabric and colour but is also accurate in terms of buttons, thread, embroidery, accessories. And, it has to be made to last through many production evenings. Plus, you might have to design for a monkey or a ghost, just be prepared to take it all on. He talked a great deal about being a team member and how very little is made by one person, alone. Also, that hand made, does not mean the whole costume was made by one person by hand. And couture is actually measured by the hours devoted to making a costume. And how about designing patterns, too? Mitchell walked by all of the dresses and then said that he was amazed at how little time it took for dresses and projected body image to change. He was impressed by how dresses gradually became more freeing, losing the corset and bindings, and hoops and other restrictions; women are no longer compelled to comply but can choose to wear what they like. He referenced, "...the last dance of women willing to suffer." Mitchell said that men's fashion was correctional while women's was presentational but that is changing. Men now have to spend more time on the presentation, in terms of spending more time at the gym and watching their weight, in order to fit into those skinny stove pipe pants and tight fitting jackets. Mitchell's worst enemy is Lycra, the bane of a costumer's existence, he says. He prefers eco fabrics, natural and long lasting. The ballroom floor at Hycroft was Mitchell's stage! Many of the audience dressed up, as they often do when they come to an event here. This day, it might have sold out any Vancouver Theatre.
I always like to meet newcomers,especially those who are planning to go into Fashion/Art Careers. This time, I was delighted to meet Katherine Salomon, in her grade 12 year, and still managing to volunteer at Vancouver Fashion Week with a very well known local Designer, Eduardo Ramos Studio. She is already on the scene, learning the craft and the craft of fashion shows, and meeting others in the business. She is planning to go further in Toronto or London, but we know she could also be here in any of our fabulous fashion programs. Her very supportive, fashion enthusiastic family was with her. Illima Loomis, her Mom and Shirley Salomon, her Grandma, are so supportive of Katherine's interests. Hope to see them all again at SMOC events, soon. I wore a gold jacket to celebrate what I knew would be a memorable event. Owl jewelry by Carolyn Bruce was much admired.
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