Where Shoes Can Take You: Researching “Kertscher’s Shoes”

My name is Natalie Rizzo, and I am a Museum Fellow for the Kent State Museum. I am a student who works under Dr. Hume, Museum Curator, to research, edit photographs for the collection, dress mannequins, and other jobs that may arise.

One of my recent projects was to work on an exhibition that developed out of an invitation by the Central Portage County Visitors and Convention Bureau to collaborate on a project that tells stories through shoes. The original plan was to feature four categories on four shelves. One was supposed to be baby shoes, another was supposed wedding shoes, and the third would feature shoes of Katharine Hepburn­­– a large part of whose wardrobe is now part of the museum collection. Finally, the fourth shelf was supposed to be shoes from an early gift, many of which were singles and never worn. Looking into this fourth gift, donated by a local shoe store owner and his wife, Dick and Isabel Kertscher, led to the decision to focus solely on their long-lived Portage County business. This display of shoes from Kertscher’s would tell the story not only of the shoe industry and its reach, but the lives of the owners and their consumers.

Selecting objects for exhibits is done by looking through the online museum database. The objective was to find only shoes that could tell a story, but were also in good enough condition for display and visually interesting. As research about the shoes proceeded, some of these shoes would be swapped out for plainer, but more storied options. Eventually the shoes had to be examined in person, which led to discovery of inscriptions previously not mentioned in the database, such as brand markings. There were 42 shoes in the gift to choose from of which 17 were chosen in the end. The shoes were picked from a range of dates in effort to follow the store’s history but also tell their own stories.

The more interesting story really started with Dick Kertscher’s obituary, which Dr. Hume found online. Dick Kertscher in 91 years led a very full life. He started working at the shop owned by his father and his business partner, C.E. Greene, when he was young. He graduated from high school in Ravenna in 1928 and went to college with the hopes of working in radio or foreign service. He did not originally want to go into shoes, but fate played its hand. Only a month after he graduated from college, Albert, Dick’s father, passed away. Dick decided to take over his father’s share of the business. He went on to run the business for 55 years. However, his life was not singularly centered on shoes. He was a prize rose gardener, an active community member and politician, and a lover of traveling.

With every donation comes paperwork. This paperwork is stored in physical files in an office cabinet. Within the folder there were important information such as Mr. Kertscher’s original description of the objects, how they were first accessioned by the museum, as well as a number of store ads that presumably Mr. Kertscher brought with his gift. These ads were mostly from the late 1950s and early 1960s. This included an a 78th anniversary promotion that had a timeline of the store’s history. Joining the later ads, there were two clippings from the 1930s: one clipping announcing the death of Albert and the subsequent succession of his son and the other announcing the moving of the store from its original location by the courthouse to its final location on main street.

Moving sale. Advertisement from clipping given by Dick Kertscher at the time of the gift

The folder also contained an original interview with Dick Kertscher, done by Renee Ryckman, a former KSU student and museum worker. The problem was it was on a cassette tape. The museum has no way to play a cassette tape, so it needed to be digitized at the Multimedia Center in the Kent State Library. You can listen to these digitized recordings yourself on the exhibition website.

The biggest help in researching was digitized newspaper archives including those of the Kent Tribune, the Ravenna Record Courier and even Women’s Wear Daily. These were a treasure trove of information. In the newspapers I managed to find advertisements for the exact shoes in the collection, as well as important announcements surrounding the store’s history. The Goodrich boots, whose date was previously uncertain, were found to be introduced in 1926, according to an advertisement promoting the new style. The newspapers also corrected some information that was incorrect or incomplete in the Kertscher’s anniversary timeline such as the omission of Rumbaugh, one of the original partners of the store.

In the 1930s the store announced the installation of an x-ray shoe fitter. Dr. Hume was particularly taken aback by this, considering untrained operators and superfluous use of radiation is inadvisable. I had seen one of these before at the National Museum of Scotland, and I was pleased to see one had really been used in our area. A particularly amusing advertisement was the announcement that in 1929 Buster Brown was coming to town with his dog Tige, courtesy of Kertscher and Greene. Tige, was in fact a real dog named Tige. Buster Brown, on the other hand, was actually an adult actor with dwarfism. Busters and Tiges came to lots of towns in that era as a promotion by the Brown Shoe Co. to sell Buster Brown children’s shoes. Another, odd ad had F.P. Chapman, original owner of the store, speaking in third person lauding his own window dressing skills.

F.P Chapman, Window dresser and co-founder of the business. Picture from filed news clippings

The brands themselves also offered interesting stories. One brand, Endicott Johnson, played an instrumental role in American history by pioneering a progressive era concept known as Welfare Capitalism. This would lead to employees having access to a shoe shaped swimming pool. Another label, J. Azzimonti NY, was created by a “poet of the sole” who often made theater shoes and even patented a tap shoe with bells inside.

Unfortunately, with researching lives, comes researching deaths. One particularly distressing article which I stumbled upon by accident was about the death of Herman Kertscher, father of Albert and grandfather of Dick. In 1908 he had met an unhappy end when he was found struck by a train on Thanksgiving morning, in part discovered by his daughter, whose first husband had met a similar end. The article also rather casually mentioned that Herman’s wife had been hospitalized in an asylum in Massillon for the past ten years after the death one of their children. Albert, his son, died less violently, but no less tragically from a sarcoma at around 50. Fortunately, Dick Kertscher would not inherit his family’s misfortune and died naturally in his old age.

To show that research is never truly finished, the next chapter of research– so far– began after the exhibit had already been put up and even after I began writing this blog post. It happened as I was talking about the display to my fellow museum fellow. I had remarked that if you kneel you can see the lack of wear and the markings on several shoes. I then did so and noticed something strange. On the sole of the left foot of the gold shoes from Seaman Smith Co. was an inscription. I had looked those shoes over many times but apparently had only looked at the right one. The inscription said that they had been the shoes of a Mrs. Geo. H Robinson. Verdie Robinson was a prominent woman in Ravenna from an old family that married in the early 1890s, making the shoes thirty years older than previously thought. To add, I also learned of the hazardous tale of Frederick Seymour, Quaker Oats Employee in London and Verdie’s brother. In 1915 he wrote a letter home claiming to have been racing across London in a car while being pursued by a German War Zeppelin, which was bombing the city. The veracity of this story will be left to readers’ judgement.

The gold shoes – KSUM 1986.104.42ab

Quite frankly, a blog post is still not enough space to write all that I have learned during this process. I know more than ever before about early 20th-century Ohio shoe companies, Portage County, the shoe industry, and the histories of former Ravenna residents. More information is on our website about the shoes and store. You can also share any personal stories that you may have of the store and the shoes you purchased there. As for everything else: start researching yourself, you never know what you might find.

KSUM 1986.104.30ab

KSUM@IMF8

What’s that alphabet soup all about? Senior Exhibition Designer/Preparator Jim Williams recently represented the Kent State University Museum at the 8th International Mountmakers Forum at the Getty Center in Los Angeles, CA. The IMF is a biannual gathering of preparators, conservators, and, of course, mountmakers, the folks who find ingenious ways of holding up objects for museum visitors to view while ensuring object safety and preservation. The forum brings together technicians from around the globe to discuss and share materials, techniques, and designs for mounts, from the smallest specimens to monumental sculpture and everything in between. Presentations included “Supporting the World of Stonehenge,” “On Wings & a Prayer: Building the Mount for Archangel Michael,” “The Reframing & Mounting of Ginevra De’Benci for Exhibition,” and “’He Take Nga Kōiwi E Rere Ai Te Manu’ – Even the Bird Needs Bones to Fly.” Most talks highlighted an object or exhibition, and the process of designing and creating the correct supports necessary to show them in the best possible way.

Jim, along with colleagues Shelly Uhlir, Exhibits Specialist/Mountmaker, Smithsonian National Museum of the American Indian, and Adam Bradshaw, Design Fabrication Consultant, Miras Museum Solutions, presented “Gridding Our Loins: Exploring Interlocking Mannequin Structures Three Ways.” The collaboration began during the pandemic, when shutdowns provided a little unexpected time to experiment and play around with ideas. Shelly and Jim began by talking about how display forms for garments take up so much storage space (!) and how nice it would be to be able to flat-pack a form. Other goals included reducing the use of plastic and foam, customizing a form for a specific costume, enabling gestural poses or historical silhouettes, and ensuring that in the end what we arrived at would serve the preservation needs of the object. Adam, whose work at the Smithsonian Air and Space Museum include making mounts for Neil Armstrong’s lunar landing suit, brought high-tech expertise to the team.

The Mannequin Core technique.

Over the course of several months the team met via Zoom to explore ideas, refine and narrow the scope of the talk, and, most importantly, experiment and play. Shelly and Adam collaborated on a method using computer assisted design software to develop a generic mannequin core of interlocking panels, then fabricated that form two ways, using CNC machining or a low-tech process using a plain old utility knife, so that the process could be accessible to even small museums without expensive machinery. The core could then be fleshed out a number of ways but could be easily disassembled and packed away when not in use.

Grid in SketchUp

Jim took a slightly different route and leveraged the resources of Kent State’s Design Innovation Hub and various software to try to achieve a form that represented a specific period silhouette, in this case the “S Curve” of the late 19th – early 20th centuries. This high-tech approach allowed him to create a digital avatar to specific dimensions in the MakeHuman program, then import that into SketchUp 3D design software to turn that into a wireframe model, then extract from that a set of panels that would lock together and build the structure. This pattern was then refined and converted to an Adobe Illustrator® file that the DI Hub’s laser cutter, aka “Lava Girl,” could cut. The resulting panels were then assembled and filled in where necessary with archival foam and carved to match the laser-cut profile to fully support a garment. After shaping and tweaking the form would be covered with an appropriate fabric. 

MakeHuman interface
Finished form with batting
meme courtesy instagram #internationalmountmakersforum

The talk was well-received, and the team opened a GitHub site where other mountmakers could download their files or share their own to keep the dialogue going, and to improve on these early experiments.

Mounting garments can be quite tricky, and the presentation showed another tool the museum community can use to achieve good results that are attractive and illuminating for viewers, and meet the preservation needs of the object. KSUM was in good company, as four other presentations discussed costume mounts, each focusing on a different process or material. The field of costume mounting continues to develop and grow as new materials and methods are created and tested. The IMF is an outstanding place to learn and have lively conversations about the minutiae of this very niche area of museum work with like-minded art nerds whose work, when done properly, is seldom noticed.

This is the third IMF in which the KSU Museum has presented on our innovative garment mounts. We continue to work on finding the best possible methods to ensure a long life for our collection and a dazzling experience for our visitors.

Renovation of 2nd floor storage completed

Funding provided by

Thanks to a generous grant from the Institute of Museums and Library Services (IMLS) in 2020, and the John P. Murphy Foundation, the museum has now completed upgrading cabinets for the 2nd floor storage room, which stores western garments from the 1600s through 1919.

After two long years of the pandemic, I am thrilled to report that the KSUM 2nd floor renovation project is complete! The beautiful Delta Design cabinets were installed in spring 2022, and my student assistants and I completed rehousing the collection in August. A picture is worth a thousand words, so please see the images and captions below that document the process. The space is bright and clean. Most importantly, the collection is better protected and thus preserved. The powder coated steel cabinets protect the collection from fire, water, dust and off-gassing. The mobile carriages increased storage capacity by 12%. In addition to this, culling the collection of duplicates ended the overcrowding problem. Museum staff has gained easier, safe access to collections for classes, loans, and inventories. Exhibition planning and gallery rotations are more efficient due to the ease of access.

Slide the arrows back and forth to see the before and after difference.

Another before and after: the added space means garments aren’t overcrowded in the drawers.

The before images show the original 1985 cabinets constructed of Melamine coated plywood panels; these cabinets were considered state-of-the-art for the time. The materials are known to off-gas and are detrimental to preservation. The new cabinets are powder coated steel which is durable, resistant to corrosion, and does not off-gas. They are a standard in museum storage.

You can see the the new cabinets have gasketing on the doors, around the cabinet.

The sealed doors on the new cabinets protect the collection from fire, as well as the other deleterious effects of fire: smoke, soot, and heat. Likewise, the collection is protected from accidental sprinkler discharge.

The project was so successful, that there is some space left for the collection to grow. I was able to relocate the small collection of 19th-century royal garments to the new 2nd floor storage drawers. These items were stored in a different museum storage area, and now benefit from the greatly improved conditions.

The deaccessioning process. Sara Hume and I worked with the former director, Jean L. Druesedow, reviewing each garment and updating the collections management system regarding reasons for possible deaccession, which included redundancy.

Prior to the renovation, there were 1,372 ensembles that represented 2,122 individual garments (which represents 13% of the Museum’s total garment collection), stored in 37 units. After deaccessioning the new count is 1,094 ensembles. I initially estimated a 10-20% reduction in garments in this storage area, so the deaccession portion of the project reduced the overcrowded storage by 20%. The condensed storage system provided room for 6 additional storage units, so there are now 43 total units. This added space coupled with culling made the project a success. The garments are now protected from water, dust, light in museum quality housing that does not off-gas. Overcrowding was eliminated and the collection is now more accessible for staff, student, faculty and outside researchers.

The museum is so grateful to IMLS and the Murphy Foundation for supporting this project.

Joanne Fenn, Professor and Collections Manager/Museum Registrar, KSUM

Renovating Museum Storage: 2nd floor store room

The museum has about 12,000 square feet of space devoted to securing and storing the collection. The 2nd floor storage room is about 1000 square feet, and has a similar footprint to the other storage rooms within the museum. Since the museum opened to the public in 1985, the cabinets and drawers pictured here have housed the collection of 17th- to early 20th-century garments in the second floor storage room. At the time of installation, the cabinets were state-of-the-art, museum grade, and accommodated the growing collection. Three decades later we see the cabinets and drawers are over-filled, degrading (i.e. bowing, difficult to to open or close) and no longer functioning as originally intended. Garments can be difficult to access and retrieve, and these conditions diminish the level of preservation.

My goal has been to obtain an IMLS (Institute of Museum and Library Services) grant to upgrade the storage furniture. In August of 2020, I was informed the museum was awarded the IMLS Museums for America grant to upgrade the storage cabinets. YAY! The project started in September 2020, and I’m excited to share the progress. Prior to the grant project starting, all of the garments were inventoried and transferred to another storage room. Outside of the grant project, the museum replaced four aging steam valves in the ceiling (part of the heating system), painted the space and upgraded the lighting, diffusers and ceiling tiles. After all, with the space empty, now was the perfect time to complete this work.

You can see the progress in the images below. The subfloor and rails will support the carriages for the new storage cabinets. The museum will gain about 12% capacity from the condensed storage cabinets and improve collection stewardship. Garments will be more readily accessible for scholars and students, and staff will be able to research and incorporate objects into exhibitions, further anchoring the Museum as an important resource for the campus and local communities. Improving access and preservation for the collection starts with some hard work. Check-out the the images:

The carriages and cabinets are scheduled for installation the beginning of February 2021. I will document the process and share the transformation in another post.

Joanne Fenn, Associate Professor, Collections Manager/Museum Registrar

Securing the Museum

When I began working as the security supervisor for the Fashion Museum, I didn’t anticipate a pandemic; that’s a level of “paranoia” I had yet to reach in the security business. Shortly after starting at Kent, however, I was thrown for the quarantine loop. Precautions such as masks and walkways are now necessities in this new normal. Museums are not exempt from these safety measures, but that is not all they require. I’ve come to learn that museums need people as much as people need museums. And protecting their valuable collections from the degradation of time is a full-time job.

Many businesses have closed their doors to the public and our museum was not exempt. What I had not expected was how much this building needs visitor. The humidity is all off; those doors should be opening. temperatures must be controlled; the museum likes it cool. Not just that but leaks must be mended, and general upkeep must be maintained in order to ensure that when the doors can open to the public again, the museum looks her best. Call me lackadaisical but I had not realized how many things kept a building running. However, I had to adapt and so I took on the responsibilities required of me. I didn’t know it to start but my duties include keeping this building company until at least the visitors come back.

It’s been surreal and a little strange. With so much of campus closed, the emptiness is palpable. Yet already we have made plans to reopen. Planning procedures which will, on that day, allow people to come and visit safely. The new normal is something we’re all adjusting to but it won’t stop us from enjoying the culture and voices of artists once again.

A wonderful thing I’ve noticed is that this museum means so much to our students. Even with the doors locked, many recent graduates come by and pose in cap and gown, displaying their diplomas. They care about this place, its memories and what it’s meant to them.

The quarantine hasn’t all been deep reflections though! I’ve had the pleasure of getting to know Stella, the museum’s lone ghost (as far as they’ve told me). The paranormal is something I know way more about than fashion, so that’s a subject I’m much more comfortable speaking about. besides a few flickering lights now and then, I can safely say I feel welcomed. Maybe it’s just because I’m a naturally quiet person, but I think Stella likes me… or at least tolerates me.

It hasn’t been the most typical introduction to a new job, but when has typical ever been worthwhile? And as I count the days until I can welcome people back, I’ll continue to keep the building (and Stella) company.

I’m only 70% certain her eyes follow me when I walk by.

–John Puntel, Security Supervisor

Keckley Quilt on Exhibition in Indiana

One of the most requested pieces in our collection is the Keckley Quilt. This beautiful quilt was made in between 1862-1880 out of silks from dress fabric. The quilt is attributed to Elizabeth Hobbs Keckley, a dressmaker who worked for Mary Todd Lincoln. Keckley was born a slave but she bought her freedom using money she earned as a dressmaker. She moved to Washington, DC where she served as a dressmaker to prominent women including not only Mrs. Lincoln but also the wives of Jefferson Davis and Robert E. Lee. Assuming that the dress was made out of scraps of dress fabric from the pieces she had sewn for her clients, it is possible that the dress includes materials that went into Mrs. Lincoln’s dresses.

This quilt is extremely fragile because many of the pieces of silk have shattered. The beautiful, dimensional embroidery contributes to the quilt’s beauty but also adds to the inherent fragility of the piece. As a result of the piece’s fragile condition and large size, we are unable to bring the piece out for visitors who frequently request to see it. The quilt is also rarely brought out for exhibition, so we wanted to make sure and get the word out that the piece is now on view, albeit in Indianapolis at the Indiana State Museum (https://www.indianamuseum.org/)  The quilt is included in an exhibition of quilts related to Lincoln entitled “Lincoln in Quilts: Log Cabins, Flags and Roses” which is on exhibition through February 19, 2018.

Sara Hume, Curator/Associate Professor

Chanel in the Jazz Age

The Cleveland Museum of Art and the Cooper Hewitt have collaborated on an exhibition, “The Jazz Age: American Style in the 1920s” which is currently on view in New York and will later be on view in Cleveland from Sat, Sept. 30, 2017 through Sun, Jan. 14, 2018. For this exhibition they requested the loan of several pieces from the Kent State University Museum. One of the pieces that is being lent is an amazing dress by Gabrielle “Coco” Chanel from 1926 which is made of long blue ombré fringe (KSUM 1997.71.7 ab).

Because the dress is complicated and no one from the Kent State University Museum would be accompanying it to Cooper Hewitt, back in March, members of the staff of the Kent State University Museum traveled to the Cleveland Museum of Art to meet with the staff there to discuss how to dress the mannequin.

The process of dressing this piece is challenging both because it requires decision making about how to properly assemble the pieces and because the fringe is unwieldy, requiring the participation of at least two people. The dress has a base layer of silk crepe with a long strip of fringe attached to a band of the crepe. When put on the body the strip of fringe has to be wrapped around a couple of times then fastened with a hook-and-eye at the right shoulder. We can be fairly confident of the correct way to assemble the dress because there photographs by Edward Steichen of Marion Morehouse wearing the dress. These photographs were taken in 1926 and show both the front and back.

The dress is stunning and one of the highlights of our collection. The complexity of the dress is difficult to see when it is displayed fully dressed on the mannequin. These images of it being dressed highlight the challenges of this particular dress and the ingenuity of its design.

Sara Hume, Curator

 

Wedding inspiration from the 1920s

As I described in an earlier blog post, we are undergoing a project to inventory our entire collection of dresses from the 1920s. Many themes pop out at us as we are going through the drawers. In fact, the drawers themselves seem to be organized by color. In the first few drawers we have found a number of wedding dresses as well as dresses that could provide inspiration for today’s brides. A couple of the dresses have the full-skirted style known as the “robe de style” although most are the more typical cylindrical silhouette, so closely identified with the decade. There is also an almost complete lack of lace although there is plenty of silk satin and beading. We hope you enjoy the photo gallery!

Sara Hume, Curator/Associate Professor

Gold embroidery on a court dress and train

1983.1.2011 and 1986.97.28
Evening dress and court train with gold embroidery, ca. 1815. KSUM 1983.1.2011 and KSUM 1986.97.28. Collection of the Kent State University Museum.

We have recently received a few inquiries about this beautiful dress and court train and while editing the photos, I decided to share them with the public in a blog post. This evening dress is of ivory moiré silk faille, which has been richly embroidered with gold and is paired with a detachable court train of green velvet also embroidered with gold. These pieces are English and date from 1810-1825. Although they have different accession numbers they were both donated to the museum by the founder, Shannon Rodgers and have been exhibited together several times.

Sara Hume, Curator/Assistant Professor

Choosing the mannequin

In an earlier post, I discussed the process of preparing a custom mount for our upcoming exhibition, “The Great War: Women and Fashion in a World at War.” I thought I would show a comparison between the pieces dressed on these custom mounts and how they appeared on our other mannequins. Among the pieces in this exhibition that have been displayed before are these two dresses from 1912.

2004.25.2.BodiceDetail Purple 1912 1986.20.1.DetailsmThe first is a beautiful dress of green silk chiffon and lace. This dress had been in an earlier exhibition about the Gazette du Bon Ton. when it had been mounted on one of our “Christy” mannequins. The long torso and the pelvic thrust of the mannequin make a significant difference in the silhouette of the dress. In fact, the dress would have originally been worn with a corset that extended to mid thigh making this pose impossible. The “Christy” is also too tall for the dress so that rather than pooling on the floor the dress ends at the ankles.

A second dress from the exhibition that had previously been exhibited is the purple wool and velvet dress that was worn by the mother-of-the-bride to a wedding in 1912. In an earlier exhibition it was mounted on a “Kyoto” mannequin which was designed for 19th century dresses and works wonderfully for a number of our pieces (like this or this or this). However, at the turn-of-the-century, the shape of corsets changed significantly and created a different silhouette. Rather than pushing the bust upwards and creating fullness nearer the armpits, the corsets allowed the bustline to fall much lower as the chest was pushed forward and the hips backwards. The sideview of the dress on the two different mounts shows how the differences in body shape change the way the dress hangs.

Certainly there are positive aspects to the mannequins, namely the head which  allows the complete ensemble to include hair and hats. However, achieving the proper silhouette provides a better sense of the way that the dress originally looked. Posture was as important to achieving the fashionable silhouette as the drape of the skirt and the placement of the waist.

Sara Hume, Curator