LOOKING FROM BEHIND THE GLASS: CHALLENGES WITH DISPLAYING FASHION

Sew What | Natalie Heaton

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The trend to display fashion and textiles is becoming increasingly popular in museums. Curators often run into issues when it comes to displaying garments, like many objects within institutions.  For decades, fashion exhibits were struggling to be accepted because they were not seen as "real art" because it was controlled by the female sector. This article will dive into these challenges and try to understand how these challenges came to be.

Christian Dior Exhibition, Glenbow Museum, June 2019
Photo Courtesy of Natalie Heaton

The National Scottish Museum, May 2019
Photo Courtesy of Natalie Heaton

One of the largest obstacles that institutions face that the guests are unable to touch the garments. When it comes to clothing, the main sense that guests use is touch as it is what is familiar to them. Most museums do not allow the guest to touch the artefacts and more often than not, the garments are kept in glass cases while on display to protect and ensure its longevity. An example of a museum that does this is The National Scottish Museum in Edinburgh. This institution keeps all its garments in glass cases while on the floor. Since guests are not able to handle the clothing, the curator of the exhibition must find a creative way to solve this problem.

An additional obstacle that fashion and textile exhibitions often encounter, despite curator’s best efforts, is the affiliation with shopping or consumerism. Often, guests will associate what is in an exhibition to what is familiar in their lives. In this case, the guest will be related to one’s personal experiences of shopping or the clothing that they are wearing. This may be a strength because the institution does not have to contextualize the item, but with that being said, the museum may struggle to make the guest understand the object in a different way; to understand it as a form art.

Christian Dior Exhibition, Glenbow Museum, June 2019

Photo Courtesy of Natalie Heaton

This struggle with guests understanding fashion and textile as a form of art is nothing new. In fact, this has been a struggle for as long as museums have been around. “The European 19th century’s male-centric curatorial view understood fashion as a form of feminine folly.” This legacy has continued to be associated with fashion and textile exhibitions within the museum setting. Critics of these exhibitions continually undermine these exhibitions as they view them as a highly feminine, and just a way to keep the institution trendy, but never as art.

However, there has been a shift in recent years within fashion exhibitions to look at the construction of the clothing instead of just the garment. Through this shift, fashion is being considered as an art form based on the construction that goes into the different aspects of a garment. An example of this would be Iris Van Herpen: Transforming Fashion at the Royal Ontario Museum (ROM) in 2018. The exhibition focused on the creation of Van Herpen’s extravagant dresses, with videos, images and didactic stations. The emphasis on craftsmanship and the creation of Van Herpen’s garments is an example of how fashion is considered a form of art.

Iris Van Herpen: Transforming Fashion, ROM, October 2018.
Photo Courtesy of Natalie Heaton

Overall, fashion and textile exhibitions continue to evolve with the times. While, there continues to be a struggle for these exhibitions to be taken seriously and viewed as a form of art, they remain some of my favourite exhibits to visit.

DATA DRIVEN VISITORS: ALUMNI CHECK-IN WITH CAITLIN TRACEY-MILLER

Alumni Check-In | Elizabeth Cytko

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Caitlin Tracey-Miller and her daughter Edie at the Cincinnati Art Museum.
Photo courtesy of Caitlin Tracey-Miller

Caitlin Tracey-Miller is the Visitor Research Coordinator at the Cincinnati Art Museum. She graduated from the Museum Studies program in 2013. Caitlin transforms visitor information collection techniques with an eye for inclusion and long term outcomes.

What is your favourite memory from your time in the Museum program?

I had many wonderful experiences during my time in the program, including trips to Montreal and Ottawa, engaging conversations, and great projects, including a fun one about the Dodo bird I worked on for Curating Science. I also made lasting friendships that continue to be important to me both personally and professionally. I connect with my MMSt buddies at least once a week!

Is there anything you wish you had done while you were in the program?

I wish I had managed to fit in an internship or other hands-on opportunity that worked directly with collections. My experiences focused on forward facing museum work, such as programs, volunteers, visitor research, and digital learning. I do not work directly with objects in my job, and I would have enjoyed a chance to do more of that.

What has changed in museums from the time you graduated to now?
I graduated in 2013, so I do not think things have dramatically changed  in terms of practice as a whole, but I think a lot about museums as a place for empathy, conversation, and connection during a divisive and difficult time here in the United States. I also make an effort to think about inclusion and diversity when I create research tools, analyze data, and think about outcomes.

Front view of the Cincinnati Art  Museum
Photo courtesy of Caitlin Tracey-Miller

Can you tell me a little about the Cincinnati Art Museum?

The Cincinnati Art Museum has been around since the late 19th century and our collection spans more than 6,000 years. Visitors see art from around the world as well as work that connects intimately with the Cincinnati region. We offer a rotating calendar of dynamic exhibitions, a diverse set of programs, and have a hands-on space for children and their families to engage in art-making. Last summer we had an exhibition featuring the Terracotta Army and this summer we have No Spectators: the Art of Burning Man. We recently hosted Iris van Herpen: Transforming Fashion, which I believe the ROM welcomed as well. The museum aims to contribute to the vibrancy of our city and the region through connecting and inspiring people with art.

What does a Visitor Research Coordinator do?

My position lives under the umbrella of Visitor Experience, but I work with departments across the museum. I'll complete front-end studies for upcoming exhibitions, summative evaluations at the conclusion of projects, coordinate participation in citywide studies, maintain monthly experience and demographic reports, and even design and execute fun interactive visitor research tools.
 
What does a typical day entail at your job?

My day to day work varies dramatically. Some days I work directly with volunteers or interns on training or I might work with team members in meetings. On other days, I am at my desk sifting through data and creating reports or presenting my findings to others. I work hard to make reports visual and easy to digest, so that they are as useful as possible.

What do you find most fulfilling about your work?

I value the opportunity to listen to and share visitor voices. I love thinking about the outcomes and value of museum work, and finding ways to measure what we do so we can share that information with stakeholders, funders, colleagues, volunteers, etc.

Interactive ball chart.
Photo courtesy of Caitlin Tracey-Miller

What was one of your favourite / most illuminating research projects that you have done to date?

I successfully applied for our department to serve as an AmeriCorps host site, which has been a rewarding and fun project. This project takes us out into nearby neighborhoods to ask visitors about their experiences with and impressions of the Art Museum and helps us break down barriers to visitation. As a part of this project, we designed some fun research interactives, such as a ping pong ball charts.

What is the best way to prepare to present your research results to stakeholders?

Less is more! I have found that visual and concise reports are important. I always include an email memo with my reports pulling out a few highlights. I'll point stakeholders in the direction of more in-depth information, but I want them to know what the big takeaways are up front. People are busy. If it isn't easy to tell what they're supposed to see, the report will sit unused.

Is there something you wish you had more time to do but which your current position prevents you from?

I wish I had more time to travel and visit other museums for inspiration in my free time. The Art Museum generously grants professional development grants, so I have been able to attend the Visitor Studies Association conference and develop great relationships with my counterparts in other Art Museums. I contact them regularly to bounce ideas around.

What is the best way to connect with volunteers?

Personally, I have done large-format trainings for our iPad surveys, but nothing beats one-on-one conversations. Some volunteers have truly become survey champions, and I could not collect all of the data I do without them. Emails and other written communications are important, but they can get lost.

IPad survey
Photo courtesy of Caitlin Tracey-Miller

How has technology made your job easier/harder?

Easier! I use iPad survey kiosks in all of our special exhibitions, and they have dramatically increased the number of responses we receive to our special exhibitions. Technology helps me store, sort, analyze and present research in a visual way.

What technology skills do you suggest Museum Studies students develop while in the program?

For my job, comfort with Excel and tablets have been important. I utilize Infogram to create infographics and our museum's metrics dashboard and QuickTap Survey for iPad research. We also use Survey Monkey and Microsoft Teams.

What are some of the greatest risks you have taken in your career?

I moved to Toronto and took a chance on the MMSt!

What is one of your failures that was a great learning experience?

I created an interactive to accompany a front-end study that I thought was a lot of fun. It involved drawing what came to mind when presented with a set of terms. Unfortunately, it was confusing for visitors and volunteers hated facilitating it. It was difficult to describe in written directions and it was a flop. I think it was a great example of the importance of prototyping before you roll out a tool that you hope will yield results.

What is your best networking advice?

Seek relationships first. I've made great connections networking that have led to great opportunities, but I don't think you should go into networking looking for instant results. Museum friends have been hugely important to my work and I always enjoy talking about a field I'm passionate about.

What advice would you give to museum professionals entering the sector today?

Patience. Sometimes it takes some work to build a resume or land the perfect position. When I look around at my colleagues from the program, many of them are doing really amazing work in the field they chose. There were doubts and frustrations along the way, but it's neat to see where people have landed.

If you could travel back in time, what would you advise your younger self?

I think I would advise my younger self to take a deep breath and relax a bit. I often over-committed myself in a desperate attempt to build my resume and never let an opportunity float away. A couple of years out of the program, I experience some feelings of burnout and had to cut back on some of the extra unpaid museum opportunities I had taken on.

What is your advice to young museum professionals in creating a solid financial base for their future?

If possible, avoid huge student loans. I'll be paying mine for a long time! Also, be realistic about the salaries in museums. Do some research and see what people are making in the positions you are interested in. I am happy I am in this field, but it is important to be aware.