Preserving fragile fashion
Photos by Kathy F. Atkinson August 19, 2024
Undergraduate student Orlagh Cahill creates digital twins of fragile fashion garments from the 1920s
Editor’s note: Every year, hundreds of undergraduates at the University of Delaware dig into research under the guidance of a faculty mentor. Such experiences provided by UD — a nationally recognized research university — can be life-changing, introducing young scholars to a new field of interest, perhaps even their future career path, as they uncover new knowledge. Our spotlights offer a glimpse into their world.
Preserving historical garments is intricate work, as finely detailed as the hand-blown glass beads one might find on a 1920s flapper dress. There are techniques for everything from repairing worn materials to reinvigorating faded fabrics or restoring fashions feared suitable for little more than the trash bin.
But what is a fashionista-in-training to do when the attire on-hand is brittle or unstable?
University of Delaware junior Orlagh Cahill, a fashion design and product innovation major, from Brooklyn, New York, is spending the summer digitally recreating fragile 1920s dresses that are too delicate to be exhibited on mannequins.
Working alongside Belinda Orzada, fashion and apparel studies professor in the College of Arts and Sciences, Cahill is developing skills in both the physical and digital spaces associated with the conservation, cataloging and analysis of historic dress. She is one of five students involved this summer on the project, led by Orzada and collaborating UD professors Kelly Cobb and Dilia López-Gydosh, through support from the Center for Material Culture Studies. The work includes material culture research and hands-on experience with dresses in the UD Fashion and Textiles Collection of historic clothing artifacts. Ultimately, Cahill and her peers’ work will support a planned 2026 exhibition of the garments in UD’s Old College Gallery, so that exhibition attendees will be able to visualize what the garments would have looked like on a person.
Why did you want to pursue this? What intrigues you about the topic?
Cahill: We are not only preserving the construction and design of the garment, but it also is another way of showcasing the garments for public view without jeopardizing their fragile nature. When I first heard about this research, I was incredibly excited about learning more about the digital application we are using called CLO3D, a computer-aided design tool made for fashion designers. Working with this groundbreaking application during the program has been eye opening. The interface is a multifaceted tool that can be used to create digital copies of historical costumes, but also can be used for streamlining the time-consuming fitting process that often goes hand in hand with developing a pattern. CLO3D allows for garments to be completely digitized without sacrificing fit, drape and sizing information, making pattern development seamless and less wasteful, hopefully leading to improved sustainability efforts within the fashion industry.
Why does research like this matter?
Cahill: Research such as this not only highlights an incredible time in the country's social and fashion history, but it also allows for the development of new ways for garments to be preserved and created.
What’s the coolest thing about being involved in this project? Have you had any surprising or especially memorable experiences?
Cahill: Currently, my peers and I are working on digitally recreating collection garments that are to be part of the 2026 Old College Gallery collection of 1920s garments. The garments we are recreating are unable to be displayed on a mannequin because of their delicate nature. Our work will allow for these garments to be reimagined for museum goers, without risking the integrity of these pieces. CLO3D is incredibly interactive and advanced, and I have been able to render highly detailed garments without issue.
Is there anything you've discovered about yourself and your career goals as you've worked on the project?
Cahill: I have learned just how useful CLO3D can be in my personal projects and designing. I have been able to test patterns by specifically fitting them to my measurements, saving materials and making the design process more sustainable. I view CLO3D and similar digital platforms as essential to my future success in the fashion industry.
What do you enjoy doing in your spare time?
Cahill: I spend much of my free time designing and working on personal sewing projects, including creating pieces for friends and family. Researching new methods of pattern making is also something I enjoy. I love to thrift, go out to eat and try new cuisine, walk around New York City, and visit art and design museums. In addition to my UD degree, I’m simultaneously pursuing an accelerated associate’s degree in fashion design at the Fashion Institute of Technology in New York City, through a joint UD program, which I’m on target to complete in spring 2025.
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