gwa gwa

i can't figure out what this prouvé dress image comes from--for all I know it IS some AI retouching thing--but it could 100% be uncredited work from an academic digital reconstruction project.

as a dress historian and someone who does, to certain extents, reproduce historic dress, i have NEVER seen a digital reconstruction project (as of 2026) that I think actually advances knowledge or supports public understanding. the technology simply isn't there--and it's paired with a lack of serious sewing/textiles knowledge, specifically of the historical variety, in its technicians (ex. for Clo3D).

This has become more common in recent years with digital projects meant to resuscitate unwearable historic clothing and show it in movement, etc. Common arguments in support:

We can't get that fabric anymore to make a physical reconstruction

Digital work is much faster than physical, especially mockup/pattern/fit tests

Virtual products can be disseminated to a global audience

Ex. Empress Shōken's evening ensemble;

and the Refashioning the Renaissance doublet project that the School of Historical Dress--who are excellent when it comes to physical reconstructions--advised on:

Etc.

So! You know what can also be disseminated digitally to a global audience? Photographs and videos of physical reconstructions! (Ex. the entire BBC A Stitch in Time series.)

You know what does not behave or look like actual fabric? Digital fabric! Ever.

You know something really crucial to many items of historic clothing that separates it from modern clothing? It is often meant to shape the body--meaning that 'draping' or 'fitting' it digitally to a natural-body-shaped avatar (or, as I have seen, one with a modern bra/shapewear silhouette) is pointless.

Check out the difference between the physical and digital reconstructions of the RtR project:

There are worse and more recent examples to point to as well, but I'm not feeling mean enough to drag them out right now.

In addition to physical reconstruction, you know what a really good and more reliable method of showing, say, the hidden guts of a garment is? Illustration. Really good, loving line drawings of the type that Janet Arnold and Nancy Bradfield specialized in.

Patterns of Fashion 2 (1972) / Costume in Detail (1968)

I'm not saying that physical reconstruction and traditional illustration methods are perfect. But in my relatively well-informed opinion, digital reconstruction is nowhere near the point where it is actually useful in any capacity and I would appreciate if people stopped acting like it is.

The technology and its attending parts (pre-loaded fabrics, textures, avatar bodies, etc) are designed for modern clothing, and imo they aren't even very good at representing that realistically. They absolutely cannot be ported over and used for historic clothing. This has been discussed in the field; the last conference I went to had a whole panel on the topic. But people keep trying anyway, and they continue to argue for the method's utility.

If you actually care about furthering knowledge and public understanding, put the digital tools down and funnel that money towards physical reconstruction and actual, experiential understanding of material, fit, and result. Having to rely on a worse-quality linen IRL does not actually screw up the overall effect to a serious degree, even though it might change the making experience as well as wear patterns and strength of the ensemble. Using modern linens still provides useful information to researchers ("If this fabric doesn't do the right thing, what would the historical version have needed to look/act like in order to accomplish that?") and certainly gives a better and more realistic visual experience for audiences.

up until that point, during the day lily continued to dress in masculine clothing and even attended galleries showing gottlieb’s paintings of her. which was kind of iconic. she got to stand in a room full of people who were marveling her beauty, not knowing she was right next to them. it must have been such a cute little secret for them as a couple.

here’s gerda and lilly together

not to mention that for most people there is no real “after” to a transition. especially for these trans historical figures who had to balance identity and safety at all times.

i think having a wife paint these portraits must have felt really amazing for lily. to be able to see herself through the eyes of someone who loved her. i’m very much seconding op on the getting teary eyed.

here are some of my favorite gottleib lily paintings