Cosprop at the Dovecot

Once again, Dovecot Studios has come to my rescue. I was hugely disappointed to miss Costume Couture: Sixty Years of Cosprop when it was shown in London, but it was simply impossible for me to travel at the time. So when I discovered that it, like the Biba exhibition, was coming to Edinburgh - well of course I made a trip up to see it.

A Room with a View, 1985

It did not disappoint.

Some of the costumes on display

Founded by John Bright, Cosprop is a major costume house with a collection of over one million costumes and accessories. As well as making costumes, it holds a collection of over 8,000 original garments which are used for design inspiration.

More of the costumes on display

Bright trained in fashion design, and worked in theatre. He began buying antique clothing in the 1950s, initially from Paris flea markets and then in London. These pieces formed the start of the Cosprop collection.

Victorian bodice, one of Bright's earliest acquisitions

The costumes in the exhibition reflect the changes in film and television over the six decades. At the start, television had not moved to filming in colour, so an understanding of how a garment would appear in black and white was important.

Miss Havisham's wedding dress, Great Expectations, 1967

The standards expected in costume design also changed over time. The embroidery and sequins on this suit are painted on.

War and Peace, 1972

Now, costumes now may use pieces of original textiles such as this purple waistcoat, or be embroidered from scratch.

Napoleon, 2023

Jefferson in Paris, 1995

In the early days at least, some productions used original clothing.

1850s dress, The Europeans, 1979

Now if an item is required which is not in stock, it is handmade by Cosprop's team of 40 staff. A section of the exhibition shows some of the work involved.

Making an 1840s straw bonnet

Used in Jane Eyre, 2011

The exhibits are grouped by the film/programme in which they were used.

Pride and Prejudice, 1995

Howard's End, 1992

Jefferson in Paris, 1995

Tulip Fever, 2017

Not all of the items were for humans - this hat was worn by a cat in the 2021 film, The Electrical Life of Louis Wain.

With the illustration which inspired it

Around half of the exhibits are arranged so that it's possible to see the back as well as the front of the costume.

The Golden Bowl, 2000

Sometimes, more than one version of a costume has to be made. For example, if the script calls for it to be damaged in some way.

Mrs Harris Goes to Paris, 2022

While particularly well-known costumes may be removed from stock and used for exhibiting, most are reused. This dress shows signs of having been altered to fit different wearers.

The Bostonians, 1984

The skills involved in making the costumes are astonishing, for example the straw work on this 1790s wedding dress.

Sense and Sensibility, 1995

The details extend even to parts of the garment which may not appear on screen. I shall have to watch the film again to check, but I'm fairly sure that the train of Marianne's wedding dress isn't shown. And yet, it too has intricate straw work.

Straw and silk trimming on the train

It all ties in with John Bright's original vision for Cosprop that these should be clothes that people would actually wear, not costumes. A perfect example of this for me was in two costumes from the 1979 film Tess.

Peignoir and travelling ensemble, both 1880s

Both garments have pockets. It's a very long time since I saw this film, but I doubt if either pocket is actually used at any point. Nor were many audience members likely to spot them, or regard a lack of pockets as historically inaccurate. But their existence helps to make the garments more real for the actor wearing them.

It's got pockets

As a costume drama fan, I recognised a great many of the ensembles. But there was one which I particularly wanted to see.

Out of Africa, 1985

I remember being smitten by Karen Blixen's wedding suit when I saw the film with Mum, so was delighted to be able to study it up close.

One of many detail shots I took

I usually go round costume exhibitions on my own, but this time I had company. Even better, company who also sews! My friend Debi, Ms1940McCall, lives in Edinburgh and had already seen the exhibition - but she was happy to see it again. Being able to nerd out over details with a fellow sewist was a rare and wonderful treat.

With the fabulously-dressed Debi

Costume Couture runs until 16 January 2027.