By Christy Hsu
In this blog post, Christy Hsu writes about her fascinating research on and around the power of visualisation and interactive digital models in making history more engaging and accessible. Christy highlights the importance of connecting objects to historical narratives of queerness, identity, and self-expression in order to foster a deeper understanding of the past and its relevance to the present.
Christy approaches this through the lens of a butterfly specimen, a 'pretty' housemaid corset, and a 'Girl's World' makeup and hairstyling model that she digitised using 3D digital techniques in the context of the Curating, Researching, Digitising and Exhibiting Leicestershire Museum Collections Placement.
In addition to offering students distinctive professional development competencies and skills coveted by graduate job employers, the Placement is also providing students with first-hand experience of working on an exciting and real-world project at the intersection of the heritage sector, the digital media industries, and local government context.
Christy Hsu is a finalist studying Archaeology and expecting to graduate in 2025.
- I’m Christy, a third-year Archaeology student at the University of Nottingham.
- I’m passionate about visual storytelling and diverse cultures.
- Through my studies, I’ve explored Roman culture through modules like City of Rome and Pompeii.
- I created a Roman Bath escape room board game and an online exhibition titled 'The Dutch-Japanese Trade Relationship during the 17th and 18th Centuries', both earning first-class results.
- I believe in the power of visualisation to make history accessible.
- Currently, I’m undertaking the Leicestershire Museum Collections Placement, co-curating objects and producing 3D models to explore queer narratives.
- I’m also digitising archaeological archives for the Derbyshire HER project and volunteering with the Digital Transformation Hub 3D photogrammetry project and First Aid, gaining research and technical skills.
- My love for diverse cultures inspires me to learn languages like French and Japanese, broadening my understanding of different perspectives.
- I aspire to organise museum exhibitions to celebrate cultural diversity, connect audiences to history, and use innovative storytelling techniques.
As a final-year Archaeology student at the University of Nottingham and part of the Digital Transformation Hub’s 3D photogrammetry team, I have always been passionate about digital heritage. The ability to create detailed 3D models of objects selected allows us to explore and engage with the past vividly.
This is why I am incredibly grateful to be part of the Leicestershire Museum Collections Placement, which I have had the opportunity to digitise artefacts for the Villiers Revealed Virtual Exhibition Space.
This exhibition explores the hidden and overlooked queer history of George Villiers, the 1st Duke of Buckingham, and his relationship with King James I, using digital technology to bring historical narratives to life.
Why a Virtual Exhibition Matters
Museums are spaces of learning and discovery, but not everyone can visit them in person. Restrictions such as geographical distance, accessibility concerns, or museum safety barriers can prevent people from fully engaging with artefacts (Mutibwa et al., 2020). A virtual exhibition featuring 3D models removes these barriers, making heritage more inclusive and interactive. By digitising artefacts, we allow the public to explore objects in greater detail than ever, enhancing their understanding of history (Ch'ng et al., 2019). This technological shift in the heritage sector excites me, and I see digital exhibitions as the future of museum curation and accessibility (Dumont et al., 2024).
Connecting Artefacts to the Theme: Hidden and Overlooked Histories
I chose three artefacts to digitise using 3D photogrammetry: butterfly specimens, a pretty housemaid’s corset, and a ‘Girl’s World’ makeup and hairstyling model. At first glance, these objects may not seem directly linked to George Villiers and King James I. However, when examined through the lens of transformation, identity, and gender expression, they reveal a deeper connection to the themes of the exhibition.
A butterfly specimen which is part of the natural life collections at Leicestershire Museum Collections © Christy Hsu
Butterfly Specimens: A Symbol of Transformation
Butterflies have long been symbols of change, growth, and self-discovery. Their metamorphosis from caterpillar to butterfly reflects identity's fluid and evolving nature, particularly in relation to gender and self-expression.
Just as no two butterflies are identical, human identities and expressions are diverse, constantly shifting beyond societal norms and expectations.
In the context of Villiers Revealed, the butterfly’s transformation can be seen as a metaphor for George Villiers' rise in court and his relationship with King James I (Bray, 1994), which defied traditional norms of the time.
It also resonates with modern discussions around self-exploration, queerness, and the freedom to embrace one’s identity despite societal constraints.
A pretty housemaid corset circa 1890. It is part of the fashion collection at Leicestershire Museum Collections © Christy Hsu
Pretty Housemaid’s Corset: Challenging Gender Norms
Corsets are often associated with women’s fashion, but historically, men also wore them for style and practicality.
Naval officers used corsets for back support, while fashionable men, or ‘dandies,’ wore them to achieve a slim silhouette (Shannon, 2004).
The Pretty Housemaid’s Corset is a striking example of how gendered fashion has reinforced societal expectations.
The packaging of the corset, featuring a woman admiring herself in a mirror, promotes traditional femininity and domesticity.
However, today, fashion is becoming more inclusive, and corsets are worn by individuals of all genders as a means of self-expression.
This shift in perception challenges rigid gender norms, much like the unconventional relationship between King James I and George Villiers challenged societal expectations in the 17th century.
'Girl's World' box as part of the fashion collection at Leicestershire Museum Collections © Christy Hsu
The accessories in the Girl's World box laid out in front of a makeup and hairstyling model © Christy Hsu
‘Girl’s World’ Makeup and Hairstyling Model: The Power of Social Conditioning
From a young age, the toys we play with shape our understanding of identity and gender roles (Tesolin and Lo, 2023).
The ‘Girl’s World’ hairstyling model reinforces traditional femininity, teaching children that makeup and hairstyling are specifically for girls.
This reflects the broader issue of how societal norms dictate who we should be, often limiting self-expression. Looking at the past, we can see how expectations around gender and identity have shaped individuals' lives. If we consider Villiers and King James I, they navigated a courtly environment that demanded conformity while maintaining a relationship that defied these norms. The ‘Girl’s World’ toy reminds us of the power of education in shaping identities, but also the importance of breaking free from rigid expectations to embrace diversity and self-expression.
I also took some images of the 'Girl’s World' box because I found it significant that the packaging explicitly states, “Girl’s World.” Who decides that this toy belongs to girls? The design of the box further reinforces gender norms—the image shows young girls helping a blonde model with her hair.
Inside the box, there are several accessories, including lipsticks, curlers, a hairbrush, hairpins, and blushers, all of which contribute to the gendered messaging.
To highlight this, I photographed the toy along with its accessories, arranging them in ways that emphasize how the packaging and contents directly target a specific audience. I also tried placing a hairpin on the model’s head to visually demonstrate the intended interaction with the toy. These images serve as a powerful visual reminder of how such products reinforce societal expectations from a young age.
The Process of 3D Digitisation
The 'Girl's World' makeup and hairstyling model and associated accessories being 3D photogrammed at the Digital Transformations Hub.
A 3D digital model of the butterfly specimen mentioned above is captured successfully.
A 3D digital version of the 'Girl's World' makeup and hairstyling model could not be captured successfully mainly due to its very shiny texture.
Creating 3D models of these artefacts was both a technical and creative challenge. We used Digital single-lens reflex cameras, tripods, a lightbox, a turntable, and the Foldio 360 app to capture high-quality images from multiple angles.
Adjusting the F-stop, ISO, and shutter speed was crucial to ensure adequate lighting and detail. Once we captured images from 360-degree perspectives, we used Agisoft Metashape to align images, build models, and add textures.
However, not every attempt was successful. The butterfly specimens, being delicate and thin, posed a challenge as the software struggled to capture all the fine details, resulting in holes in the wings. The ‘Girl’s World’ model had very shiny hair, making it difficult for the software to reconstruct an accurate 3D shape.
We experimented with different scanning methods, including the Artec scanner, and found that while the results improved, they were still not perfect. These experiences taught me valuable lessons about the complexities of digital heritage and the need for continual experimentation and adaptation.
Reflections and Future Prospects
This placement has been an invaluable experience on my journey toward a career in digital humanities. I believe in the power of visualisation and interactive digital models to make history more engaging and accessible. 3D digitisation not only preserves artefacts but also allows people worldwide to explore and connect with history in new ways.
Through this process, I have gained hands-on skills in photogrammetry, digital exhibition curation, and problem-solving in 3D scanning. I have also deepened my appreciation for the ways in which objects tell stories—stories of transformation, defiance, and the breaking of social norms. As digital heritage continues to evolve, I hope to contribute to projects that bring the past to life, ensuring that history remains inclusive and accessible to all.
The Villiers Revealed Virtual Exhibition is more than just a collection of digital artefacts; it is a space for reflection, learning, and discovery. By connecting objects to historical narratives of queerness, identity, and self-expression, we can foster a deeper understanding of the past and its relevance to the present. I hope visitors find inspiration in these objects and their stories, just as I have throughout this journey.
References
- Bray, A. (1994). ‘Homosexuality and the Signs of Male Friendship in Elizabethan England’, in J. Goldberg (ed.). Queering the Renaissance. Durham: Duke University Press, pp. 40-61.
- Ch’ng, E., Cai, S., Zhang, T. E., & Leow, F. T. (2019). Crowdsourcing 3D cultural heritage: best practice for mass photogrammetry. Journal of Cultural Heritage Management and Sustainable Development, 9(1), 24-42.
- Dumont, C., De Backer, F., Dewinter, H., & Vandermeersche, G. (2024). Museum educators’ views on digital museum education: opportunities and challenges. Cultural Trends, 1–16. https://doi.org/10.1080/09548963.2024.2378324
- Mutibwa, D. H., Hess, A., & Jackson, T. (2020). Strokes of serendipity: Community co-curation and engagement with digital heritage. Convergence, 26(1), 157-177.
- Shannon, B. (2004). Refashioning Men: Fashion, Masculinity, and the Cultivation of the Male Consumer in Britain, 1860-1914. Victorian Studies, 46(4), 597–630. https://doi.org/10.2979/VIC.2004.46.4.597
- Tesolin, J., and Lo, E. (2023). “Boys Love Boy Toys”: a qualitative study exploring the role of fathers in young boys’ gendered toy preferences. Discover Psychology, 3(1), 35–15. https://doi.org/10.1007/s44202-023-00097-z