“It is so satisfying to have a large
book collection to pull from when I am researching a new project, like a
set of 18th-century stays or a mid-1860s gown,” O’Neil said. “The
internet has great resources, but it is just not quite as quick and easy
as looking through my bookshelf!”
When adding materials to her collection, O’Neil often seeks out
project-specific books, like the recent Balenciaga additions to her
collection that will supplement her upcoming treatment of a 1939
Balenciaga evening gown. She also browses used bookstores, garage sales,
estate sales and online platforms like Facebook Marketplace to discover
well-priced treasures.
Given the antique nature of her collection, the materials aren’t
always in perfect condition. O’Neil uses her education and experience in
conservation to ensure the fragile items that need additional support
and protection are kept safe. She houses historical photographs in an
acid-free photo box, fragile sewing patterns in polyethylene sleeves,
and has even created custom structures, like acid-free phase boxes, to
store items with elements that are torn or detached.
While her professional and academic
experiences have helped her curate and care for her collection over the
past four years, O’Neil’s passion for historical fashion was born much
earlier.
Growing up, she fell in love with historical dress thanks to
historical fiction novels, BBC miniseries, and vintage clothing from her
aunt. In high school, O’Neil and her friends would dress up in period
costumes they had sewn themselves for murder-mystery dinner parties.
“I remember my friend researching for her dress, and taking out a copy of Nancy Bradfield’s Costume in Detail,
one of the seminal works of historical costuming,” O’Neil explained.
“[I was] awestruck at the level of detail in the construction of the
gowns. I was hooked. I saved up some of my part-time job money and got a
used library copy of [the book]. It was the first purchase for my
collection.”
Since then, she has continued to use the books and archival materials
in her collection to sew her own historical garment reproductions.
Often using patterns for clothing and costumes in her size, O’Neil
incorporates as many historical techniques into these pieces as time
allows.