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Conservation efforts begin on five "Gone With The Wind" costumes

By Elana Estrin

Label in the green curtain dress reading “Sprayed with Sudol.” Photo by Anthony Maddaloni.
Label in the green curtain dress reading “Sprayed with Sudol.” Photo by Anthony Maddaloni.

Last summer, more than 600 Gone With The Wind enthusiasts from all over the world donated  $30,000 to the Ransom Center to preserve five dresses from the film.

When we last reported on this project in November 2010, Nicole Villarreal, a Textiles and Apparel Technology graduate student at The University of Texas at Austin’s School of Human Ecology, was working on a preliminary study of the green curtain dress. Seven months later, Villarreal has completed an extensive record of the costume’s every seam, stitch, and thread. Villarreal found that the underbodice and jacket are in overall good condition, but the skirt and waistband need the most attention.

Textile conservator Cara Varnell, a specialist in Hollywood film costumes, will use Villarreal’s report when she works on conserving the curtain dress and the four other Gone With The Wind dresses from the Ransom Center’s David O. Selznick collection.

“We never have the luxury of working on an object to this depth,” Varnell said. “We normally get ’em in, get ’em out. This is the juicy fun of it.”

The conservation team has identified several mysteries they are hoping to solve about the curtain dress.

“This is like Bones and CSI. This is our own forensics investigation,” Varnell says. “Two of the mysteries are critical to answer because they’re relevant to the conservation. And there are other mysteries not critical to the conservation which we may not solve, but the speculation is the fun of it.”

One of the two critical mysteries is which threads are original and which are not. Original stitching is considered to be the work done by the studio costume department, realizing costume designer Walter Plunkett’s intent. Stitches made outside of the film’s production are not considered original. In her report, Villarreal noted the different types of stitches and thread used on every inch of the dress. Varnell, who is very familiar with the techniques and aesthetics of Hollywood studio work, will now use this information to determine which stitches are most likely original and which are not so that she knows which stitches she can and cannot remove as she tends to the dress. Varnell says this mystery is critical to solve for the curtain dress’s waistline since excess stitching is putting the waistline under stress.

“With my background in the conservation of Hollywood costumes, I’ve looked at so many costumes from the period. I can tell what’s studio finish and what’s not. There are several rows of machine stitching on the waistline that don’t make sense. There are extensive alterations and it’s not clear when or why they were done,” Varnell says, adding that she will carefully remove the rows which she determines were not original stitching. “We want to maintain the integrity of the dress as it was originally intended and to honor the piece as best as we possibly can.”

The second critical mystery is the discoloration on three of the five dresses: the green curtain dress, the green velvet dressing gown, and the blue peignoir with fox trim. Light can cause discoloration, but since light often leaves fibers brittle and there’s no difference in the fragility of the faded and unfaded fibers, light is not likely to be the sole cause of the discoloration. To solve this mystery, Villarreal plans to analyze the fabric using equipment from the Textiles and Apparel Technology Lab, including a spectrometer and a Fiber Image Analysis System (FIAS) developed by Dr. Bugao Xu, Professor in the Division of Textiles and Apparel at The University of Texas at Austin.

“What’s great about the Fiber Image Analysis System is that it’s non-invasive. You can test the fabric without destroying any fibers, which is huge because you usually have to destroy some small amount of fiber with this kind of in-depth analysis,” Varnell said.

A possible explanation for the discoloration, and a mystery in itself, is a label in the curtain dress that reads, “Sprayed with Sudol.” After much investigation, the conservation team determined that Sudol is a phenol disinfectant similar to Lysol, and it may have affected the rate and nature of discoloration on the velvet. But questions still remain: if Sudol caused discoloration, why is only the outside of the dresses discolored and not the inside? Since three of the five dresses are discolored, why is there a Sudol label only in the curtain dress? Why did someone spray the curtain dress with Sudol in the first place and why did he or she feel compelled to label it? One possible explanation is that when the curtain dress went on promotional tours, called “exploitation tours,” to movie theaters, department stores, and special events all over the world, the dress may have been sprayed before entering another country.

Two of the more fun, less conservation-related mysteries are a wire hoop running along the front of the curtain dress’s hem and four rows of twill tape on the dress’s interior connecting the skirt panels together. Neither seems to have been in the dress during filming, so it’s unclear when and where the hoop and twill tape were added.

“If you look at the movie stills, the skirt is bell-shaped. But if you look at the dress now, the twill tape makes it more of an A-line skirt. Also, the front hem of the dress doesn’t have an undulating wave in the movie stills, but it does now with the hoop in it.” Villarreal says.

Since the movie stills indicate that neither the wire hoop nor the twill tape are likely to be original, the conservation team may decide to remove both, though the Ransom Center will keep the wire and twill tape documented and stored at the Ransom Center as part of the dress’s history. Jill Morena, collection assistant for costumes and personal effects at the Ransom Center, explains that the decision to remove the wire and twill tape relates to the contextualization of the dress and the goals of the conservation effort.

“Since the dresses are part of the Selznick collection, they’re really contextualized at the Ransom Center as part of the film production. Sometimes conversations occur surrounding conservation treatments that deal with retaining elements that may not necessarily be original to the garment, like later repairs and alterations. In this case, our goal is to conserve the dress as it was used during the film’s production and reflect as close as possible Plunkett’s vision of the costume,” Morena says.

In addition to conservation techniques, the team is using the extensive Selznick collection to search for clues about the history of the five dresses and to construct a timeline of what happened to the dresses between the film’s post-production and when they arrived at the Ransom Center in the early 1980s.

Learn more about this project, view answers to frequently asked questions, and follow the progress of conservation efforts at this website.

The team welcomes insight from the public. If someone you know worked on the production, viewed the dresses during an “exploitation tour” in the 1940s, or has color photos of the dresses before 1970, please email GWTWinsight@gmail.com.

If you have any questions about the conservation process, please leave a comment with your question at the bottom of this post. We will choose some to answer on the Cultural Compass blog over the next few months.

Scholar discusses work in Knopf publishing collection

By Elana Estrin

Independent scholar John Thornton came to the Ransom Center last year to research his upcoming biography of Alfred and Blanche Knopf and the House of Knopf. The Ransom Center’s Alfred A. Knopf, Inc. collection comprises 1,526 boxes. To navigate this extensive archive, Thornton says, he emulated biographer Lytton Strachey: “[Strachey] would look at the sources like someone rowing out over a great sea of information and lowering his bucket here and there and pulling up samples and examining them. So I think that’s the best I can do: row my boat through the Knopf collections and see what turns up.”

Method actor Karl Malden stars in both stage and film version of "Baby Doll"

By Elana Estrin

Film still of Karl Malden, Carroll Baker, and Eli Wallach in 'Baby Doll.'
Film still of Karl Malden, Carroll Baker, and Eli Wallach in 'Baby Doll.'

The Tennessee Williams Film Series continues tonight at the Ransom Center with Elia Kazan’s Baby Doll (1956), featuring Karl Malden, Eli Wallach, and Carroll Baker. The series runs on some Thursdays through July 21 and features films highlighted in the current exhibition, Becoming Tennessee Williams, which runs through July 31.

Middle-aged Archie Lee Meighan (Malden) looks forward to finally consummating his two-year marriage with Baby Doll (Baker) on her upcoming 20th birthday. When rival Silva Vacarro’s (Wallach) cotton gin burns down, Vacarro plots revenge against Archie Lee through Baby Doll.

Karl Malden was an American method actor who created both the Broadway and film roles of Mitch in A Streetcar Named Desire as well as the role of Archie in Baby Doll. Malden had a long and full career and was considered, from a casting agent’s point of view, “the ideal Everyman,” as he was remembered in his obituary in The New York Times. Malden’s performances in Williams’s Streetcar and Baby Doll are two of his strongest, and he flourished as an actor under the direction of Elia Kazan. As Malden put it, critics applauded him for being “No. 1 in the No. 2 parts I was destined to get.”

Visit the galleries, open until 7 p.m. on Thursdays, before attending the screenings. Please be aware that the Ransom Center’s Charles Nelson Prothro Theater has limited seating. Line forms upon arrival of the first person, and doors open 30 minutes in advance.

This post was written by Ransom Center volunteer Emily Butts.

Video highlights scholar’s work in Beckett collection

By Elana Estrin

Mark Byron came to the Ransom Center last year as a fellow from the University of Sydney to work on his project, “The Holograph Manuscript of Samuel Beckett’s Novel Watt: A Digital Representation and Transcription.” Byron spent his time at the Ransom Center going through the seven notebooks of Beckett’s manuscript of Watt, which he calls “a visually arresting manuscript full of Beckett’s drawing and doodles.” Byron’s fellowship was funded by the Andrew W. Mellon Foundation Research Fellowship Endowment. In this video, Byron discusses his experience transcribing Beckett’s manuscript.

Also, read an article by scholar Bill Prosser, who wrote about the many doodles that can be found in Beckett’s manuscripts.