Current (and Upcoming!) Exhibit: "Dressing Downton: Changing Fashion for Changing Times"

Did you (like us, boohoo!) miss out on getting to see the "Costumes of Downton Abbey" exhibit while it was at Winterthur?  Well, never fear!  We've done a bit of sleuthing and have some exciting news!  The exhibit has been slightly revamped and is now slated to visit several other historic sites and museums around the country over the next couple of years, so there's still plenty of time to catch a glimpse of these iconic pieces of costume drama history!

Photo linked from Biltmore's "Dressing Downton" exhibit page.

"Dressing Downton: Changing Fashion for Changing Times" will feature approximately 35 different costumes and accessory items from the series' first four seasons.  The pieces on display will span fashions from 1912 through the First World War and all the way up into the mid-1920s.

Photo linked from Biltmore's "Dressing Downton" exhibit page.

5 February - 25 May 2015
Biltmore, Asheville, NC
The first stop for "Dressing Downton: Changing Fashion for Changing Times" will be Biltmore House and Gardens, the sprawling estate built by George Vanderbilt between 1889 and 1895.  Drawing on its Highclere-esque opulent turn-of-the-century setting, Biltmore plans to fully integrate the costumes into its incredible period rooms and the high-society domestic stories they tell.  Admission to the exhibit is included in your general admission ticket.


Additional tour dates include:

20 June 2015 - 20 September 2015
The Paine, Oshkosh, WI
(click for details)

October 2015 - January 2016
Virginia Historical Society, Richmond, VA

As we hear about additional dates, we'll update this post!  So...who's going?!!!

***UPDATE ON MARCH 22nd: The official "Dressing Downton" website has just gone up!  There, you can find the full list of tour dates, along with lots of additional pictures and information!***

Coming Soon: Downton Abbey Costume Exhibition

Many thanks to Burnley and Trowbridge for the tip-off yesterday about this exciting upcoming exhibition!

Image linked from Winterthur's press release for the exhibition.

From March 1st, 2014 through January 4th, 2015, Winterthur will be staging an exhibition of 35 costumes from Downton Abbey!  According to the press release, the exhibit will also include "photographs and vignettes inspired by the fictional program and by real life at Winterthur."  Winterthur, a 175-room mansion, was completed in 1932 as the home of the Du Pont family and is the fifth-largest historic house in the country.  Now a museum of decorative arts, it features both its original period rooms and gallery space to display over 90,000 objects produced or used in the United States between 1690 and 1860.

I sense a road trip approaching... :-)

"Threads of Feeling" Opening and Update

I was fortunate enough to find some time after work this evening to visit the new "Threads of Feeling" exhibit at the DeWitt Wallace Museum at Colonial Williamsburg, which formally opened today.  As I mentioned in my post from yesterday, we have both been looking forward to seeing these billet books for some time.  Learning all about the London Foundling Hospital over the past year or so has been a fascinating, albeit often sad, exploration into a part of the 18th century that I had not really considered much in the past.  That, combined with the chance to see how these textile tokens offer an unprecedented glimpse at some beautiful period fabrics, make this an extraordinary and very moving exhibit experience.

The exhibit provides some explanation as to how the hospital was founded and how children were chosen and then entered into the care of the hospital.  Connections are also made with several of 18th-century Williamsburg's well-known residents, including Thomas Everard, an orphan from the London Christ's Hospital, who later served as Williamsburg's mayor.  The billet books are laid out beautifully so that visitors can clearly see the text and accompanying textile token on each displayed page.  I was astonished to see how well-preserved the pages are, with the ink still stunningly clear and many of the fabrics so bright and vibrant.

This made it all too easy to imagine the scene as a baby was being brought in and his information documented with his token.  It is a truly special experience to be able to examine these pages so closely.  Gazing at the physical remains of these records only emphasized the reality of what each represents.  Standing in front of these precious pieces of fabric, so lovingly chosen, I couldn't help but tear up as I thought of the mothers and families who gave their children to the hospital.  How desperate they must have been to bring their child to a place where their future was still so uncertain.  Equally difficult was imagining the thoughts of the mothers as they chose which piece of fabric to leave with their baby.  So many pieces seem to have been chosen because they portray a message of where a baby came from, or because they suggest a hope for a better future.  Some have been cut into hearts and others inked with names.  It's heartbreaking to think about how these mothers might have felt as they prepared their babies to be separated from them, perhaps forever.

This exhibit shares a poignant part of history and I hope that many of you have the opportunity to share in this experience as well.  If you are unable to make it to Williamsburg (or while you are waiting!), be sure to visit www.threadsoffeeling.com, where you can view a gorgeous online exhibition.

"Threads of Feeling" is almost here!

Many of us are anxiously awaiting the opening of the "Threads of Feeling" exhibit tomorrow, May 25th, at the DeWitt Wallace Museum of Colonial Williamsburg.  The exhibit will run for a full year and will be the only presentation offered in the US.  This remarkable display, curated and organized by John Styles and The Foundling Museum, brings to life the stories of mothers and children separated by circumstance in 18th century London.  When mothers brought their babies to the London Foundling Hospital, they were asked to leave behind a token: a scrap of fabric, a ribbon, a button, anything to distinguish one child from the next.  Each token was carefully preserved with a description of what the child wore upon entering the hospital, to assist in a reunion if the mother should ever return.  These records were collected into billet books and maintained so meticulously over the years, so that we can now witness a glimpse into the lives of these young children hundreds of years ago.

These tokens also offer us a valuable glimpse at some of the everyday textiles of 18th century England, and their examples are much more colorful and varied than many had expected they might be.  When "Threads of Feeling" opened in the UK in 2010, London Printworks reproduced a length of fabric based on one of the tokens from baby Florella.  The fabric was used to construct a bedgown as part of the exhibit in London, yet another unique and remarkable way the exhibit sought to make these "lost" lives from the past live again.

Colonial Williamsburg will be hosting a number of other events in conjunction with the exhibit.  Historian and curator of the exhibit, John Styles, will be presenting a lecture on Tuesday, May 28 at 5:30pm.  Tickets are required for the lecture and may be purchased online.  Another exciting event will be a symposium (which I've already registered for!) coming up this October in Williamsburg.

There have been glimpses of the progress of the upcoming exhibit from various sources, only adding to our anticipation to finally see these remarkable pieces of history.  The ladies of the Margaret Hunter Shop, for instance, helped to construct clothing for mannequins featured in the exhibit, and they shared on their facebook page some photos from the installation in the exhibit space.  One of the gowns has been made with a digitally reproduced fabric from a 1740s/1750s gown in the CW collection.

Also, when the billet books arrived last week and were installed in the exhibit, The Art Museums of Colonial Williamsburg shared some photos on its facebook page as well.

Billet books from the Foundling Hospital being installed at
the DeWitt Wallace Museum of Colonial Williamsburg.

Photo linked from the Art Museums of CW facebook page.

An article from WY Daily today gives us some additional views of billet books on display!

If you're interested in learning more, Linda Baumgarten, curator of textiles and costumes at Colonial Williamsburg, recently spoke to WY Daily to explain how some of the babies were chosen to enter the Foundling Hospital.  John Styles was interviewed for a Colonial Williamsburg podcast, in which he describes how the London Foundling Hospital came into being and how the tokens were used in the process of admitting babies.

Burnley & Trowbridge has shared some of their photos of the original exhibit on their facebook page.  Angela was also kind enough to share some stories and photos of their research with us during one of our recent workshops, making us even more eager for the arrival of the exhibit here!  There have been a few books published to accompany the exhibits at the Foundling Museum, and all may be found for sale through B&T.

Stay tuned for more!

Current Exhibit: First Ladies (and their fashions!) at the Smithsonian

The Smithsonian National Museum of American History has just expanded its First Ladies exhibit to include some more tantalizing fashions from some of the most influential ladies in our nation's history.  Just in time for this inauguration weekend, the exhibit now includes the stunning silk chiffon gown that Michelle Obama donned four years ago, complete with gorgeous organza flowers and sparkling Swarovski crystals.  There is also a fun little video on YouTube showing some of the challenges that the curators and conservators faced in preparing the gowns for display in this lovely exhibit.

Michelle Obama's 2009 inaugural ball gown.

Image linked from the National Museum of American History's flickr page.

In another interesting video from the Smithsonian, curator Lisa-Kathleen Graddy shows us some additional behind-the-scenes footage (from an earlier version of this exhibit, from what I can tell) and also shares some interesting stories about the history of a handful of these gowns.  Mary Todd Lincoln's 1861 silk taffeta gown with woven black stripes and purple flowers is one of my favorites, and I thoroughly enjoyed learning more details about it through this video.  Ms. Graddy explains how the gown was transformed by a family member who later inherited it.  A panel was taken from the original skirt in order to design a new day bodice, which replaced the evening gown bodice that Mrs. Lincoln had worn with it.  This is one of the gowns used as inspiration for a costume in the recent Lincoln movie; the film's costume designer used an 1861 Matthew Brady portrait of Mary Todd Lincoln wearing the original evening gown to recreate what it once looked like.

1861 striped silk taffeta gown worn by Mary Todd Lincoln (later altered).

Image linked from the National Museum of American History flickr page.

 

One of my all-time favorite gowns from the 1860s, which also belonged to Mrs. Lincoln, has been included in this exhibit in one of its past incarnations and you can see some photos in an earlier flickr set from the museum.  This unique purple velvet gown is displayed with both its evening and day bodices, both original to the gown.  All three pieces are piped with white satin.  This ensemble, believed to be made by Elizabeth Keckly, was worn during the winter social season of 1861-1862.  You can read more about this ensemble and see some closer photos on the museum's collections page here.

 

Mary Lincoln's purple velvet ensemble (acc. no. 70138) in the First Ladies exhibit at the

Smithsonian National Museum of American History.

Image linked from the National Museum of American History flickr page.

 

As a special treat, many of these gowns have been beautifully photographed and just recently added to the museum's flickr account for all of us to admire!  Here a few of my other favorites included in this new online showcase "exhibit":

An evening gown worn by first lady Frances Cleveland during her husband's second

administration, 1893-1897.  The colors are gorgeous and there are so many nice details,

including the fur trim at the bottom!

 

Another beautiful addition from Mrs. Cleveland with this 1890s evening and day ensembles.

This green color is one of my favorites and so stunning!

  

I love the style of this 1953 gown worn by Mamie Eisenhower for the inaugural balls that year.

This pink peau de soie gown is embroidered with more than 2,000 rhinestones!

Current Exhibit: "The Victorian Wardrobe Revealed, 1840-1900"

I had hoped to be able to make it to see this exhibit before it closed, which was why I delayed posting about it for so long.  Now, unfortunately, it looks like I won't be able to get myself out to Newport in time, so I thought I'd just post the details anyway in case they prove useful to someone else!

Photo linked from Bostonusa.com.

Newport Mansions and the Preservation Society of Newport, RI are currently staging an exhibition featuring "The Victorian Wardrobe Revealed, 1840-1900," which showcases some rarely-seen items from the Society's extensive costume and textiles collection.  This exhibit, set up inside Rosecliff, one of the famed Newport Mansions, features ten gowns or ensembles, a couple of evening capes, and some accessories.  The garments are arranged to demonstrate the evolution of the female silhouette over the course of the nineteenth century, and to document the changes that occurred in the production and manufacturing process of women's clothing in nineteenth-century America.

Included in the exhibit as one of its highlights is an 1898 black and white striped Worth afternoon ensemble.  As this article explains, the gown underwent more than 300 hours of conservation work to restore and even replace many of the white stripes in the skirt, which had been nearly destroyed by water damage.

Charles Frederick Worth 1898 afternoon dress.

Photo by Andrea Carneiro.  Linked from newportri.com.

Also featured is this stunning sapphire blue silk satin dinner dress, dated 1875.

Blue 1875 silk satin evening gown.

Photo by Andrea Carneiro.  Linked from newportri.com.

Entrance to the exhibit is included in admission to the Rosecliff mansion house.  The gowns will be on display until Friday 16 November 2012.

If anyone has gone to see this exhibit, I'd be very intrigued to hear all about what you saw!

"Life, Liberty, and the Pursuit of Happiness" at the Yale University Art Gallery

A few weekends ago, we spent a day exploring some exhibits at the Yale University Art Gallery and the Yale Center for British Art (more on visiting the YCBA later).  The exhibit Life, Liberty, and the Pursuit of Happiness is being presented at the Yale University Art Gallery in three parts, and author David McCullough even narrates part of the audio tours!  (Read the press release announcing the exhibit.)  I was able to catch a quick visit to the first installment, We the People, just before it closed at the end of 2011.  American paintings and other works of art, along with furniture, medals, and other objects both significant and everyday depicted an overview of our nation as it began to evolve from the very first settlements up through the American Revolution.  My favorite pieces (and quite honestly, the reason for my visiting the exhibit in the first place) were the works of John Trumbull.

Self-Portrait
ca. 1802

Artist: John Trumbull, American, 1756 - 1843

Gift of Marshall H. Clyde, Jr.

1981.129.1 

http://ecatalogue.art.yale.edu/detail.htm?objectId=24912

On display were several of his miniatures and sketches, along with his series of history paintings that depict some momentous events of the American Revolution.  I was awestruck to be standing in front of his Declaration of Independence - and even more excited that the brochure for the exhibit features a large fold-out poster of this work!  The first version of this painting is smaller (20 7/8 x 31 in.), as compared to the second, life-sized version that so famously hangs in the rotunda of the U.S. Capitol.  Trumbull actually painted a third version as well, owned by the Wadsworth Atheneum in Hartford, CT.  Trumbull made slight changes in each of these versions, adding or deleting a man or two, as well as changing the look of the room in his last version.

At the time, and even still today, these paintings receive criticism for their inaccuracies.  Most prominently, his Declaration of Independence depicts all of the signers gathered together to sign the document at one time, which we know was not the case.  Some of these inaccuracies were discussed recently in this interactive page by Colonial Williamsburg, where you can even scan over each man to see his name.  I uploaded each version of this painting and had fun comparing them side-by-side and noting the numerous slighter differences, such as the carpet that disappears and the way the cloth on the table changes.  I think my favorite evolution through these different versions is how John Adams seems to get younger...and thinner!  What do you see?

The Declaration of Independence, July 4, 1776

1786-1820

Artist: John Trumbull, American, 1756 - 1843

Trumbull Collection

1832.3

http://ecatalogue.art.yale.edu/detail.htm?objectId=69

Declaration of Independence
 John Trumbull
Oil on canvas, 12' x 18'
Commissioned 1817; purchased 1819; placed 1826

http://www.aoc.gov/cc/photo-gallery/ptgs_rotunda.cfm%20

John Trumbull
The Declaration of Independence, July 4, 1776
1832 Purchased by Daniel Wadsworth and members of the Atheneum Committee
1844.3
http://www.thewadsworth.org/american/?nggpage=5

I also spent quite some time admiring Trumbull's life-sized portrait of General George Washington at Trenton.  This portrait was commissioned by the city of Charleston, South Carolina, but upon completion they decided they preferred a different portrait of Washington.  Trumbull thus kept this painting in his collection for some time before gifting it to the Society of the Cincinnati in Connecticut, which in turn presented it to Yale.  Examining this portrait close-up, I was amazed at the magnificence of the colors in addition to the incredible details.

General George Washington at Trenton, 1792

Artist: John Trumbull, American, 1756 - 1843

Gift of the Society of the Cincinnati in Connecticut

1806.1

http://ecatalogue.art.yale.edu/detail.htm?objectId=20

The second installment of this exhibit, Defining the Nation, is now open at the YUAG and will be on display through April 8, 2012.  We spent some time admiring this installment a few weeks ago.  Much like the first, the exhibit utilizes American furniture, paintings, prints, and other media to present the continuing story of our nation as industrialization and the country's economy began to evolve. 

One of the most interesting stories from this exhibit was that of the New York Crystal Palace.  The Crystal Palace was built in 1854 for the Exhibition of the Industry of All Nations.  The building was used on and off for several years and was also host to the Annual Fair of the American Institute when a fire broke out in 1858.  The entire building, along with the valuable objects inside, was completely destroyed in under an hour.  These prints by Currier & Ives dramatically capture the magnificence and the demise of the Palace:

New York Crystal Palace: For the Exhibition of the Industry of All Nations.

1853

Artist: Frances Flora Bond Palmer (known as F. F. Palmer), American, 1812 - 1876

Publisher: Currier & Ives, American, active 1834 - 1907

Mabel Brady Garvan Collection

1946.9.1625 

http://ecatalogue.art.yale.edu/detail.htm?objectId=46966

Burning of the New York Crystal Palace: On Tues. Oct. 5th 1858. 

During its Occupation for the Annual Fair of the American Institute.

1858

Publisher: Currier & Ives, American, active 1834 - 1907

Mabel Brady Garvan Collection

1946.9.1626 

http://ecatalogue.art.yale.edu/detail.htm?objectId=47196

The final segment of this three-part exhibit, America Rising, will open at the Yale University Art Gallery May 8 and run through July 8, 2012.  You can learn more about the YUAG, its collections, and vising the gallery through its website: http://artgallery.yale.edu/.  If you are interested in exploring more of the gallery's pieces online, please visit the eCatalogue.

Some of the information I shared on John Trumbull was found in Helen Cooper's book, John Trumbull, The Hand and Spirit of a Painter, published in 1982 by the Yale University Art Gallery.  I've been researching Mr. Trumbull and have come across some other interesting stories that I hope to share here soon.

Historic Threads: Three Centuries of Clothing Colonial Williamsburg Online Exhibit

Last January, Colonial Williamsburg launched the beginnings of an online companion to their current exhibit "Fashion Accessories from Head to Toe."  Today, a new and improved and significantly expanded version of that online exhibit has arrived!

The portal page to the new online clothing and accessory exhibit from Colonial Williamsburg.

"Historic Threads: Three Centuries of Clothing" explores in glorious depth and detail the incredible costume collection of Colonial Williamsburg.  Drawing upon both the current accessories exhibit and their 2002 "The Language of Clothing" display (which was heaven, and I'd give almost anything to persuade them to mount it again!), this digital exhibit is organized to educate and dazzle both the newcomer to fashion history and the seasoned enthusiast.  The "Learn" portion explains the important aspects and terms of 18th century dress, from the parts of a formal gown to the pieces of an everyday man's wardrobe to the curiosities that were the fashionable accessory pieces of the day.  From these pages, one can easily link directly into the "Explore" half of the exhibit, which is a treasure-trove of accessories, gowns, jackets, prints, and shoes.  Each item is accompanied by a description and some pretty incredible zoom capabilities that are clear enough even to offer glimpses at the stitches in garment seams.

So stop wasting time reading this post and start exploring!  You can link to the exhibit from the Online Exhibits and Multimedia page of CW's museums website (where you'll also find much more to see!).

The zoom function on the individual items allows incredible close-up views of the items

and their construction techniques.

Yale Needlework Lecture Online Tonight!

I know it's a bit last-minute, but tonight at 5:30pm, Mount Vernon curator Susan Schoelwer will be presenting a free lecture at the Yale University Art Gallery entitled “The Daughters of Eli: Yale, Family, and the Needle Arts in Early America.”  The talk will discuss Connecticut needlework from the 18^th and early 19^th centuries.  For those of you who do not live in the area, Yale will be streaming the lecture live via this link: www.livestream.com/yale.  It should be interesting to see how this lecture coincides with the Connecticut Needlework exhibit we saw last spring at the CT Historical Society.

Tonight's lecture coincides with the opening of the gallery’s second installation in the three-part exhibit series, Life, Liberty, and the Pursuit of Happiness.  I will be visiting this second part, Defining a Nation, this coming weekend and will be sure to share the highlights here next week.  I was able to view the first installment, We the People, in December and will also share my thoughts on that in the upcoming post.

Current Exhibit: "Revolutionary Fashion 1790-1820" at Fairfax House, York

For our friends and readers across the pond - or those of you with the means to travel there! - a new exhibit of late-Georgian and Regency fashion has just gone on display at York's Fairfax House.  As a sequel to last year's "Dress to Impress: Revealing Georgian Fashion 1730-1780," this exhibition, which runs through the end of the year, draws upon a number of UK costume collections to offer a beautifully varied look at the evolution of dress during this revolutionary period.  Clothing and accessories displayed against the backdrop of the restored Georgian Fairfax House narrate the story of how dramatic political and social changes - the French Revolution and the Napoleonic Wars, as well as the Industrial Revolution - were reflected in the increasingly naturalistic silhouettes of both male and female clothing.  A splendid (and pretty lengthy!) video tour of the exhibit that showcases (up close, huzzah!) a number of the items on display is available to view here and helps to introduce the socio-political context in which this exhibit intends to function.

Stunning pelisse from the Olive Matthews Collection at the

Chertsey Museum, currently on display in this exhibit. 

Photo linked from CraftsCouncil.org.uk.

Further information on "Revolutionary Fashion 1790-1820" can be found on Fairfax House's blog, in this article from The Press, and in this neat little press release from the University of York.  And for additional photos of many of the items on display, be sure to check out the official photo gallery!  Now if only we can convince them to produce a catalog...:-)

Painted leather slippers made by Brucknell for Princess Amelia.

Photo linked from The Press.

This coming Wednesday, the 28th of September, Fairfax House is hosting a fashion seminar as a special event to coincide with the exhibit.  Entitled "Ridicules and Indispensibles: Fashion and a War of Words in Late Georgian England," the talk will explore the shift from the tie-on pocket so ubiquitous to the 18th century to the hand-held reticule, and address the charged political and social ramifications of this "newest" fashion accessory.  For more information and for tickets. follow the link above.  This sounds fascinating and I so wish I could go!  If anyone does, do please let us know how it is and what is discussed!

Current Exhibit and Upcoming Conference: "With Cunning Needle: Four Centuries of Embroidery"

From 21-22 October 2011, Winterthur will hold a conference, "With Cunning Needle: Four Centuries of Needlework."  The two days of lectures, workshops, and half-day seminar sessions will focus on the techniques, materials, heritage, and artistry of needleworkers and their creations from the seventeenth century through the present day.  The conference is scheduled as a complement to Winterthur's current exhibit of the same name, which explores the history of embroidery and other needlework arts by showcasing extant pieces that highlight not only the tremendous skill involved in producing these heirloom items, but also the lives of the individuals who invested themselves in these creations, and the lives of those fortunate enough to own and wear such treasured objects of art.  The exhibition premiered on 3 September and will remain open until 8 January 2012.

The Plimoth Jacket.

Photo linked from the Winterthur Museum.

The "Plimoth Jacket," currently on loan to Winterthur from Plimoth Plantation, forms the inspiration and heart of the new exhibit and the conference.  For those of you who have not yet heard about the project, the Plimoth Jacket is a conglomerative reproduction of two 1620s jackets held in the collection of the V&A; one jacket (the "Margaret Laton" jacket, V&A #T.228-1994) served as the pattern base, while the other (V&A #1359-1900) provided the embroidery design that was reproduced in exact detail for the project.  This jaw-dropping piece was brought to life by more than 300 hard-working hands that used only early-seventeenth-century tools, materials, and techniques to recreate the sequins, lace, threads, and fabric that make up this jacket.  More than 3,700 hours were invested in this exploration of seventeenth-century needlework culture and practice.  The product is a triumph of research, art, meticulous skill, and a passionate devotion to the skills of the artisans of the past.  Plimoth Plantation's The Embroiderer's Story blog and Tricia Wilson's Thistle Threads blog provide detailed records of the creation of the jacket.  Winterthur has also put together a fabulous presentation full of great images and lots of additional information about the production process from inspiration to pattern to progress to product; be sure not to miss it!

If you are interested in attending the October conference, the conference brochure and registration form can be found in .pdf form here.  Further information on Winterthur's extensive permanent Textiles and Needlework Collection (including virtual catalogues and past exhibits) can be found here.

For more on the patterning and construction of garments like the Plimoth Jacket, take a look at Janet Arnold's Patterns of Fashion 4 (which Tricia Wilson discusses in her blog account of the jacket project here and here) and Jenny Tiramani's new book, Seventeenth-Century Women's Dress Patterns (which we heard her speak about at the March CW conference!).

A Royal Display from "that" Special Day

The Duchess of Cambridge's Sarah Burton/Alexander McQueen wedding gown,

currently on display in the regal surroundings of the State Rooms at Buckingham Palace.

Photo linked from the British Monarchy flickr stream.

Today, the Duchess of Cambridge got a new perspective on some of her last memories as Kate Middleton.  Side by side with Queen Elizabeth, she toured a new display that will open tomorrow at Buckingham Palace and which will be a featured part of the Palace's Summer Opening public touring season.  "The Royal Wedding: A Story of Great British Design" features the Duchess's now-iconic Sarah Burton/Alexander McQueen wedding gown, along with her veil and shoes.  It also showcases the stunning jewels worn for the occasion: the Cartier "Halo" tiara lent by the Queen, and the earrings given to the bride as a wedding gift from her parents.  A reproduction of the bridal bouquet and the wedding cake - yes, the real thing, still mostly intact! - complete the royal display commemorating "the" wedding of a generation.

Royal Collection curator Caroline de Guitaut arranges the train of the wedding gown.

Photo linked from ABCNews.com.

By far the best thing about this exhibit - made even more thrilling because it can be fully enjoyed even by those of us who live across the pond and are too far to be able to go! - is the tremendous and unprecedented amount of detail the Royal Collection offers online about the gown and the other items from the display.  At long last, we have photos that allow us a very fine and up-close look at the incredibly intricate craftsmanship that makes this simple yet elegant gown such a landmark creation of British fashion.  Be sure to check out the zoomable photos of the gown (and that lace, oh that lace) on the gown detail page, and don't miss the podcast with Royal Collection curator Caroline de Guitaut, which not only includes a fascinating discussion of the gown's design, but also a supplemental set of photos with even more views of this special piece of royal fashion history.  The podcast is a treasure in itself, well worth the time.

Detail of the gorgeous lace-covered bodice of the wedding gown.

Photo linked from ABCNews.com.

Additional photos of the gown and other pieces can be found on the official British Monarchy photostream on flickr and on ABCNews.com.

Admission to the exhibit is included with the ticket to the Buckingham Palace State Rooms and can be purchased online.  The Summer Opening begins tomorrow and extends through the 3rd of October.  Further information can be found on the Royal Collection website, and the press release about the exhibit can be viewed here.

Current Exhibit: Fashion Accessories from Head to Toe at CW

Although we attended the accessories conference in March (and although I was fortunate enough to take part in a guided tour of the exhibit with Linda Baumgarten during that week), we were kept so busy during the conference that it wasn't until our return visit to Colonial Williamsburg last week that I finally got the opportunity to go through "Fashion Accessories from Head to Toe" in great detail, at my own preferable (and prodigiously slow) museum-going pace.  I know a number of bloggers have posted about their visits to the exhibit, and I realize that there are many, many spectacular photos of a number of the items already online in various locations, so I won't go into much depth here.  Hardly wishing to neglect such an important display of rarely-seen items, however, I thought I'd just offer a few thoughts and photos to supplement what's already out there.

One of the fully accessorized figures in the exhibit,

which helps to contextualize not only the evolution of dress

and its accessories, but also the various functions each served.
See CW's Historic Threads listing for more.

There are three novel features of this exhibit that I really admire and would love to see emulated by future exhibitions on fashion and dress at other museums.  These include an "introductory" display case that juxtaposes 21st-century accessories with their 18th-century counterparts; a stunning "timeline" of fully dressed and accessorized figures demonstrating the evolution of fashion from the last quarter of the 18th century through the first quarter of the 19th, and a short film (much of which can be seen here) that visually enacts the process of dressing and accessorizing in the 18th century by bringing a period fashion print quite literally to life.

The 18th century meets the 21st...

By providing contextualization for the items - many of them genuine curiosities undoubtedly almost unidentifiable to most 21st-century eyes - each of these three features positions the museum visitor sufficiently within the compass of 18th-century dress to imagine and integrate the identity and the function of the antique accessories on view.  One of the problems raised during the conference focused on traditional exhibition techniques, in which museums showcase items of dress as separate entities, each distinct from another; a gown, for instance, all too frequently appears unadorned and standing alone, while an apron lies across the room in one display case, jewelry in another, and hats in another.  This isolationist approach to fashion, the conference speakers collectively argued, provides a highly inaccurate sense of the fashions of the past because the visitor remains incapable of understanding how dress and its various accessories functioned not only independently, but alongside each other.  Baumgarten's curatorial approach to this project is highly successful in bringing to life the most accurate representation of Fashion and fashion; for another superb current example, check out "Napoleon and the Empire of Fashion" (and vote to bring it to NYC!).

A French pocketbook (1800-1830), beautifully embroidered. 

The Valentines inside are original.  Be sure to look at the

CW Historic Threads listing for this item to see some close-ups and for more details.

As I mentioned earlier in one of the conference postings, there will not be an exhibit catalogue, which is most unfortunate because we're in desperate need of more serious scholarship on accessories and the minutiae of fashionable dress, and the amount of work that went into mounting this unique exhibit is obviously extraordinary.  The good thing is, though, that the exhibit is up for almost two years (until 31 December 2012) to provide a maximum opportunity to see it.  If you can manage a trip to CW before it closes, the exhibit is well worth the effort!  Photos can't do many of these intricate and clever little items justice.  If you can't make it to the exhibit, be certain not to miss the "Historic Threads" online exhibit (which features a detailed look at a number of items from the museum display) and CW's vodcast on it (which includes a conversation with Linda Baumgarten, the exhibit's curator).

I adore this little workbag (1760-1780), which features a

drawer that pulls out of the right side and a collection of other

secret and useful little compartments.  For more on this item

(including close-up options), click here to go to CW's Historic Threads listing.

Additional photos of the exhibit can be found on our flickr set (it's a limited selection, since there are countless others already on flickr), along with piccies from our March and June/July visits to CW.  Enjoy!

Happy Birthday, Mrs. Madison!

Portrait of Dolley Madison by Alan Dordick, after Gilbert Stuart

Courtesy of the Montpelier Foundation & Alan Dordick Studios

Linked from the Montpelier facebook page.

Today marks the 243^rd anniversary of Dolley Payne Madison’s birth!  "Mrs. Madison" will be celebrating at Montpelier today where guests can join her for some birthday cake and lemonade!  Montpelier is also offering free admission to any visitors born on this date or to those who share Dolley's first name.  (You can find more details about the celebration on Montpelier's facebook page or website.)

Mr. and Mrs. Madison celebrating Mr. Madison's birthday earlier this year at Montpelier.

The Montpelier Foundation
Photo linked from the Montpelier facebook page.

Montpelier, the long-time Madison family home in Virginia, is hosting an exhibit dedicated to Mrs. Madison and her trend-setting fashion.  "Dolley Madison's Life Through Fashion: Dressing the Part" will be open at Montpelier June 15, 2011 through March 31, 2012.  The exhibit will feature costumes from the recent PBS documentary, “Dolley Madison, America’s First Lady,” and will explore the fashions and styles favored by America’s “first” First Lady.  Inspirational fashion plates and designer sketches for the costumes will also be on display.

A sketch of Dolley's "Quaker Dress" from the documentary
“Dolley Madison, America’s First Lady."

Photo courtesy of the PBS American Experience Flickr page.

The costumes were designed by Candice Donnelly and constructed by Eric Winterling, Inc. in NYC.  Constructing clothing for period accuracy and designing "costumes" for film require some of the same general concepts, but they generally have two very different purposes in terms of the final product.  In this behind the scenes feature, Ms. Donnelly describes the process of creating historic costumes for film.  She studied period prints and paintings which, she explains, not only helped her to choose fabrics, but also gave hints as to how the garments were constructed.  Since the documentary spanned a time period of approximately fifty years, the costumes needed to reflect the changing fashions of the time as well as the continuous evolution of Dolley's situation in life.  The video also shows Eve Best (Dolley Madison) during her costume fittings with Eric Winterling, which allows you to catch a closer look at some of these beautiful creations.  What I found most interesting in this feature was Ms. Donnelly's description of how the costumes are incorporated into the film and characters.  Costume designers have to think about the personality and the history of the person who will be wearing them.  They also have to consider the sets and backgrounds, as well as any furniture, props, or other characters in any given scene.  Accessories, she explains, can be used to accentuate the costumes and to keep the character from blending into the background of the shot.

Eve Best as Dolley Madison in “Dolley Madison, America’s First Lady."

Photo courtesy of the PBS American Experience Flickr page.

Fashion was changing quickly at the turn of the century and Dolley was sure to keep up with the latest styles.  As the frequent hostess for President Jefferson and then as First Lady, Mrs. Madison was a model to others who admired her and closely followed her trends.  One of her favorite new accessories was the turban.  Edward Maeder, fashion historian and milliner for the documentary, explains a brief history of the turban revival and demonstrates how he constructed the turbans used in the film in this behind-the-scenes video.

An example of Dolley wearing a turban in this portrait by Joseph Wood.

The Virginia Historical Society, Accession No. 1967.14

The documentary, which is part of the PBS series American Experience, premiered earlier this year.  You can view the show and read the transcript on the companion website.  The website also offers a host of special features and resources, from behind the scenes videos and deleted scenes to a reading list and lesson plans for teachers.

Jefferson Mays as James Madison and Eve Best as Dolley Madison
in “Dolley Madison, America’s First Lady."

Photo courtesy of the PBS American Experience Flickr page.

Dolley Payne was born in North Carolina in 1768 and moved with her family to Virginia the next year.  When Dolley was 15 years old, her father followed the trend of his fellow Quakers: he emancipated his slaves and moved the family to Philadelphia where he attempted to start a starch-manufacturing business.  By 1789, Mr. Payne's business was a failure and he was shunned from Quaker meetings due to outstanding debts.  Mrs. Payne fortunately had more business sense, and she set about establishing a successful boarding house in town, which continued to support the family following Mr. Payne's death in 1792.  In 1790 Dolley married John Todd, a Quaker man her father had chosen.  Two years later, the couple welcomed their first son, John Payne.  The year 1793 brought an epidemic of Yellow Fever, during which Dolley lost several family members including both her husband and their second son, William Temple, who was only a month old at the time.

She met James Madison the next year through their mutual friend, Aaron Burr.  Madison asked Burr to introduce them, and after a short courtship, Madison proposed.  At age 43, seventeen years Dolley's senior, Madison had never been married and was thought by many to be a lifetime bachelor.  They were married within the year and Dolley was subsequently dismissed from the Quaker community for marrying outside the group.  A few years later, they moved to Madison's home, Montpelier, only to move to the new capitol of Washington D.C. in 1801 following Madison's appointment as Secretary of State.

One of Mrs. Madison's own gowns on display in
"The First Ladies at the Smithsonian" exhibit at the National Museum of American History. 
The caption for the gown reads: "Dolley Madison’s silk satin
open robe is hand-embroidered with flowers, butterflies, dragonflies,
and phoenixes. It is typical of the style of the late 1810s."

During the couple's first years in the Capitol, Dolley took an active role in supporting the nation's new government.  Her natural ability to make guests at ease made her the perfect candidate to aid President Jefferson as White House hostess.  When Madison was elected President in 1809, Dolley began setting the precedent for political wives and First Ladies.  She set about decorating the White House in a style that was elegant yet not monarchical.  Her own clothing fashions mirrored these ideas and others began to mimic her trends.  But Dolley was always first and foremost her husband's strongest supporter in both political and personal matters.

Eve Best as Dolley Madison in “Dolley Madison, America’s First Lady."

Photo courtesy of the PBS American Experience Flickr page.

After two terms as President, leading through the War of 1812, Madison and his wife finally retired back to their home at Montpelier, where they would remain happily for the next several years.  Their 41 year marriage ended in June 1836 when James Madison passed away.  Today we have a limited glimpse into the Madison's marriage due to the lack of correspondence between the two; they were so rarely apart so that there was never a need for letter writing!  Following her husband's death, Dolley spent the majority of her time in Washington D.C.  Her only son, John Payne Todd, continuously caused distress with his constant gambling habits and he was unable successfully to manage the Madison estate.  In 1844, Dolley was forced to sell Montpelier.  Mrs. Madison passed away on July 12, 1849 at the age of 81.  Unfortunately, since Montpelier was then in private hands outside of her family, she was initially buried in Washington D.C., before finally being brought to rest next to her husband.

For more about Dolley Madison, read her biography on the Montpelier website and visit some of the links below.

Additional Links and Resources:

The Dolley Madison Digital Edition

The Dolley Madison Project

Miniature of Mrs. James Madison (artist unknown)
Yale University Art Gallery eCatalogue
Collection 1940.512

Image of 1804 portrait of Dolley Payne Madison by Gilbert Stuart

The White House Historical Association (White House Collection)

Acquisition Number: 994.1737.1

Image of 1817 portrait of Dolley Madison by Bass Otis
Collection of The New-York Historical Society 
Object Number: 1867.308

Image of 1848 portrait of Dolley Madison by William S. Elwell
National Portrait Gallery, Smithsonian Museum
Ref: NPG.74.6

Free iTunes Download of Poplar Forest Conversations on Democracy
featuring Lauren Leigh as Dolley Madison and Bill Barker as Thomas Jefferson

Montpelier Facebook page

Current Exhibit: "Dress for Excess: Fashion in Regency England"

The exhibition's flyer, linked from the

Royal Pavilion and Brighton Museums flickr page.

"Oh to be in England"...now that fashion's there!  To mark the 200th anniversary of the passing of the Regency Act in 1811, the Royal Pavilion in Brighton currently has on display a significant fashion exhibition entitled "Dress for Excess: Fashion in Regency England."  This is only the second time the costume collection of the Royal Pavilion has been showcased to such an extent, so if you're within visiting proximity (or can afford to get yourself within visiting proximity), this sounds like an opportunity that should not be missed!

Photo linked from the Brighton and Hove City Council flickr page.

The exhibit, which runs until 5 February 2012, takes as its inspiration the excesses - fashionable and otherwise - of King George IV.  His coronation was the most expensive in British history and his coronation robe, a silk velvet affair trimmed with ermine that required eight bearers to carry it, cost a total of £238,238 (Queen Victoria's was a bargain at £69,421!).  Along with the robe, other pieces of the king's wardrobe, including a pair of his late-life breeches and a printed silk banyan, will be on display, along with other pieces of men's and women's dress from the period.  All are displayed in the gloriously opulent setting of the restored Royal Pavilion, complemented by its rich period furnishings and textiles.  For more on the details of what is included in the exhibit, see this press release.  Let's keep our fingers crossed they decide to release a printed catalogue!

Detail photo linked from the

Royal Pavilion and Brighton Museums flickr set.

Jennifer Rothrock, a student at the London College of Fashion, is currently serving an internship with the curator of dress at Brighton.  She has been keeping a blog of her curatorial and reproduction projects relating to the "Dress for Excess" exhibit; it offers an incredible behind-the-scenes glimpse of all of the meticulous work that goes into staging a costume exhibit of such royal and historically significant treasures.

If you'd like to read more about the exhibit, be sure to check out this fantastic review at AustenOnly, which includes lots of tantalizing images.  Additional images from the exhibit can be seen at the Royal Pavilion and Brighton Museum's flickr set.  If anyone goes (or has already gone), we'd love to hear about it!