Artifacts in the Exhibition
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Chartreuse Green Quilted Coat
Anne Bissonnette
Made in Kent, Ohio (USA), ca. 2000
Nylon and polyester batting. Metal and mother-of-pearl buttons (Morocco ca. 1989-1990).
Inspired by an 18th-century petticoat at the Kent State University Museum (#1983.001.2158). Modified Claude Montana Vogue pattern (#1483). Machine quilting (Singer Featherweight).
“The Coat is Magic”
interview excerpt at
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Canadian Greatcoat: Variable Winter Wear for Mild to Subarctic Temperatures
Anne Bissonnette
Made in Edmonton, Alberta (Canada), May 2010
Upcycled 1979 raccoon coat by Maurice Laberge in Montreal. Nylon and polyester batting for the sleeves (with leather cuffs), waist insert (with metal hooks and bars at the waist), detachable pockets (with metal hardware but no batting) and inner sleeveless coat (polyester lining and mother-of-pearl buttons).
Inspired by traditional Inuit two-layered clothing systems. Aiming to address Canada’s variable winter weather patterns and merge the country’s traditions and fashion forward practices.
- Outer layer: The Inuit practice of using fur facing inward (maximum heat retention) and outward (to shed ice and frost) led to a reversible scheme.
To improve backpack use new sleeves were added. To add silhouette definition, lengthen the coat and, with a belt, help redistribute the coat’s weight the quilted waist insert was added. Three hooks at the waist provide quick release of the outer layer when using public transportation. - Inner layer: Designed to address shedding of the outer layer and to provide base coverage for milder weather.
2010 Award for Excellence
(Target Market Design),
International Textile and Apparel Association (ITAA)
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Travelling Brunswick Day to Evening Reversible Mode
Anne Bissonnette
Made in Edmonton, Alberta (Canada), April 2013
Nylon and polyester batting quilted (longarm-quilting machine) to look like some 18th-century petticoats, metal hooks and eyes, zipper, mother-of-pearl buttons.
Inspired by 18th-century “Brunswick” traveling costumes. Reversible (black/navy) four-layer clothing system aiming to offer a versatile winter travel wardrobe that is comfortable, easily maintained, beautiful and can be worn in- and out-of-doors and from day to evening requiring minimal added items.
- Skirt: With deep pockets for storage and dual hooks and eyes scheme at the waistband to address the abdomen’s expansion while seated.
- Bodice: Quilted, shaped and inspired by 18th-century “jumps” to provide support for the breasts. Can eliminate the need for a bra (helpful during overnight travel). Can be worn with a long-sleeved t-shirt (daywear) or without (eveningwear).
- Sleeved bolero: Worn with the vest, it creates a jacket that provides outdoor winter coverage.
- Vest with detachable hood: The hood can be rolled behind the neck to serve as a pillow. The pointed hood leaves no flat surfaces for water to puddle and creates a roomier interior that won’t mess someone’s hair in a similar way as the collapsible 18th-century “calash.” Still, a loop at the tip can anchor a fold near the apex. Both eliminate the need for an umbrella, leaving hands free.
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Blue and White Morning Coat
Anne Bissonnette
Made in Kent, Ohio (USA), ca. 2004
Wool entirely assembled and finished with an overlock machine. This was an experiment in serging, the process of mechanically overcasting raw edges.
Inspired by early 19th-century menswear in the exhibition Fashion on the Ohio Frontier: 1790-1840 that was part of Dr. Bissonnette’s doctoral research.
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The Novel Pourpoint
Anne Bissonnette
Made in Edmonton, Alberta (Canada), May 2020
Upcycled from a portion of cotton and polyester batting quilted blanket. Recovered with silk charmeuse. Quilted and provided with cotton plain-weave cuffs and a detachable collar (metal snaps as anchors).
Inspired by the “grande assiette” sleeve of the pourpoint said to have been worn by Charles de Blois (1319-1364). This is an experiment in creating body-delineating, quilted garments and finding alternative ways of designing patterns for increased range of motion and zero-waste and less-waste fabric use championed by sustainability advocates Timo Rissanen and Holly McQuillan.
Featured in the 2021 juried exhibition Making it Through Sheltering in Place at the Southeastern Quilt & Textile Museum in Georgia (USA)
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Navy Wool Knit Dress
Anne Bissonnette
Made in Kent, Ohio (USA), ca. 2004
Wool knit entirely assembled and finished with an overlock machine. Worn with a silk charmeuse skirt.
Inspired by early 19th-century menswear, as in the morning coat [4]. Led to the migration of the shoulder seam to the back where it serves to contour the shoulder blades.
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Navy Quilted Reversible Jumper
Anne Bissonnette
Made in Kent, Ohio (USA), ca. 2004
Pre-quilted cotton denim, polyester batting and rayon. Metal hooks and bars. Zipper added ca. 2008.
Inspired by the early denim sportswear creations of American designer Isabel Toledo and the majestic sculptural creations of American designer Ralph Rucci.
The piece was custom-made to contour the maker’s body in an ellipse along the buttocks and below the breasts. The quilted fabric rests on the tummy and is able to jolt out to produce a sculptural volume.
Until 2008, it could be worn with the denim side or the red plaid side out but a shoulder injury put an end to the hooks and bars closure system.
“On My Real Body”
interview excerpt at
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Breton Twist: A Marinière Dress à la Mode
Anne Bissonnette and Sherry Schofield
Made in Edmonton, Alberta (Canada) and Tallahassee, Florida (USA), summer 2023
Digitally-printed cotton and elastics.
Inspired by the “tricot rayé” (striped knit) of the French Navy. Experiments with applications of public domain artwork to create versatile attire that can be chic or sporty. The work of art featured is Portrait of a Couple, ca. 1580-1588, from the Cleveland Museum of Art's Open Access Initiative. It is manipulated and placed over stripes that help to recall the celebrated historical style that is by now a civilian and French classic worn in stylish circles and known as a Breton shirt or “marinière.” Designers from Gabrielle Chanel to Jean Paul Gaultier have worn and/or renewed the style, which remains down-to-earth. This pragmatic quality was sought-after to make the garment more wearable.
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The New Crusader: A Raincoat in Homage to Health and Care Workers
Anne Bissonnette
Made in Edmonton, Alberta (Canada), 2023
Four upcycled multiple-use nylon medical isolation gowns, zippers and plastic buttons.
The work is a reflection on the multidimensional perils health and care workers (HCWs) endured during the COVID-19 pandemic. Many risked their lives and the safety of their loved ones to care for those affected. The coat is an homage to their crusade for public health and dedication to human dignity. White crosses are an indirect reference to the red cross on a white ground of medieval crusaders’ attire and to the unmistakable mark of the Red Cross and their neutrality (American Red Cross 2020). White-on-white graphics can imply wisdom and peace (Pastoureau 2023, 9). Greek crosses with four short equal limbs―widely understood medical symbols―are stand-ins for HCWs: the large upright one for those who serve now and two tumbling smaller ones for those who have fallen. “The New Crusader”
is an upcycled by-product of the medical field used to honor our white knights.
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RE-DIY Duvet Coat and Cover
Anne Bissonnette and Sherry Schofield
Made in Edmonton, Alberta (Canada) and Tallahassee, Florida (USA), 2023
Digitally-printed cotton broadcloth and plastic buttons.
Upcycled IKEA duvet.
The work addresses sustainability by combatting obsolescence and reducing waste while seeking ways to reduce economic discrepancies. Guided by two theoretical frameworks that can enhance emotional attachment to an object and, in so doing, extend its use and reduce material consumption: RE-DIY design practices and user modifiable zero waste fashion.
The work addresses thermal comfort (length), ease of maintenance (laundry of cover only), ongoing use (changing the cover can optimize resources and renew interest in the coat), and lowers costs (RE-DIY) while catering to different skill levels. The cover is grounded in a geometric, aged-old historic pattern (Priest-Dorman, 1997) and uses a second-hand, twin-sized duvet. It features a 13th-century Saljuq-period bowl from the Smithsonian’s Collection.
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The Museum Dress
Anne Bissonnette and Sherry Schofield
Made in Edmonton, Alberta (Canada) and Tallahassee, Florida (USA), 2018
Silk twill.
Aims to create a multi-sized garment for museum stores that integrates artwork in its surface design. The work feartured is the 1794 portrait of Marie Louis Josèphe Trudaine, née Micault de Courbeton (1769-1802) by the School of Jacques-Louis David. Musée du Louvre (#RF 670). With sustainability in mind, the dress' pattern is designed for “zero-waste and less-waste” of the fabric, as championed by sustainability advocates Timo Rissanen and Holly McQuillan. Fit may be obtained via a self-fabric belt integrated into the pattern (not shown in the exhibition), which uses all the surface of the fabric for the final design.
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Dragon Coat
Anne Bissonnette
Made in Edmonton, Alberta (Canada), 2019
Nylon and polyester cover and polyester batting.
Recycled horn toggles and leather straps.
Inspired by the golden robes of the Manchu’s Qing Dynasty (1644-1912), this is a contemporary take on attire reserved for rulers who dressed to impress.
The challenge was to create a coat that would respect Chinese heritage, appeal to 21st-century audiences, and stay within wearable boundaries. A Manchu-inspired “horse-hoof” or matixiu elongated cuff over the knuckles was used for the sleeve. The coat also draws from equestrian garments that were often quilted.
Created by modifying a Claude Montana Vogue pattern (#1483) using a pre-quilted fabric eventually re-covered, quilted by hand and beaded to form the dragon motif.
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Zen: Knit Ensemble Overlaid with Yoshitoshi Artwork on Chiffon
Anne Bissonnette and Sherry Schofield
Made in Edmonton, Alberta (Canada) and Tallahassee, Florida (USA), 2023
Cotton knit, digitally-printed silk chiffon and elastics.
The dress focuses on comfort (knit base layer), body diversity and multiple use attire, which has the potential to offer individuals garments they want to wear daily, regardless of weight fluctuations, in a variety of environments from casual to more formal. Such extensive and wide-ranging use is also more sustainable. Zen, a cozy yet sophisticated ensemble, fits those criteria. It is inspired by the quadrant pattern explorations of Madeleine Vionnet analyzed by Betty Kirke and features three public domain works by Tsukioka Yoshitoshi (1839-1892) from the Los Angeles County Museum of Art’s collection (#M.84.31.131a-c; #M.84.31.214; #M.84.31.300).
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Zero Waste Thinking: Portrait Tunic and Palazzo Pants
Anne Bissonnette and Sherry Schofield
Made in Edmonton, Alberta (Canada) and Tallahassee, Florida (USA), 2023
Cotton broadcloth and twill. Elastic waistband.
The Tunic merges Zero Waste Fashion Design (ZWFD), Madeleine Vionnet’s repeated use of geometric shapes and her yearning for simplicity of cut and the application of public domain artwork to dress. The main pieces are two identical triangles drawn from a square divided at a 45° angle. The triangles’ central apex is cut out to create pockets. Below the base of the original square is a long rectangle that forms the neckband. Because of the bias’ elasticity, the dimensions of the ca. 1490-1500 Portrait of a Young Man Holding a Sprig of Cockscomb (Philadelphia Museum of Art website #764) were tested and modified to address ensuing distortions. The front, pocket, and back pieces of the ZWFD palazzo pants were drawn from a rectangle. An elastic band is inserted in a casing at the waist. To fit larger bodies, the rectangle can easily be made wider proportionally on both sides.
2024 Betty Kirke Excellence in Research Award,
Costume Society of America
“Legacy”
interview excerpt at
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Orange is the New Black:
Chic and Sporty Semi-Fitted Sweatshirt Dress
Anne Bissonnette
Made in Edmonton, Alberta (Canada), 2017
Cotton fleece knit.
The aim of this piece was to create chic yet informal attire that is flattering for different body types and age groups, provides a good fit that still enables bodily expansion, and is adapted to both business and casual occasions. This design addresses demands made in The Human Ecology Fashion Design Manifesto (Bissonnette, Chartrand, Furler, Sayegh, Sieferd, 2017) that was part of the 2017 exhibition Misfits: Bodies, Dress and Sustainability, where co-curators explored sizing issues in the ready-to-wear industry and their impact on people and consumption.
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