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: 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!

"Napoleon and the Empire of Fashion"

Beginning with it's official opening in Milan last year, there has been some considerable blogger buzz regarding the exhibition "Napoleon and the Empire of Fashion."  The English-language version of the exhibit catalogue has just been released, and I received my copy over the weekend.  As the official website indicates, there is currently a poll in progress to help determine where the exhibit might travel next, and in an effort to encourage you all to vote to bring it here to the US, I strongly entreat you, gentle readers, to pay a visit to the poll page and vote your hearts out!  What I wouldn't give to see these extraordinary gowns in person!

Photo linked from the official exhibit website, napoleon-fashion.com

For those of you unfamiliar with the project, "Napoleon and the Empire of Fashion" brings together hundreds of original garments, shoes, and accessories to represent a total of fifty-one fashionable ensembles from 1795-1815.  What is most fascinating and revolutionary about this particular collection is that its owners and curators, Cristina Barreto and Martin Lancaster, have assembled it around a set of key French fashion plates of the period, most of which appeared in Les Journal des Dames et des Modes (the first successful fashion magazine, according to the exhibit catalogue).  Over the years, Barreto and Lancaster made their purchases based not only on the conditions of items, but more importantly on how well they would coordinate to a gown or ensemble in color, style, provenance, and date.  After hearing Linda Baumgarten describe the difficulties of mounting delicate textiles and fragile accessories in a way that mimics drape and use on the human body (during her tour during the recent conference), I find it even more spectacular that these fifty-one figures have been fully outfitted and accessorized in (almost) all antique items, so that they appear as if they've stepped right out of the fashion pages next to them.

In both the exhibit and the catalogue, the inspiration prints are juxtaposed with their material realizations as gowns, shawls, bonnets, fans, veils, bags, and shoes almost literally come to life.  Part of the project also involved the meticulous cleaning and restoration of each item; as the curators explain in the catalogue, they wanted every piece to look as it appeared when it was first made and worn.  Back to be being "light, bright, and sparkling" (as Jane Austen would put it!), the fifty-one ensembles represent for the curators the revolution and evolution of fashion during the Napoleonic era, reflecting Napoleon's strategic manipulation of the textile and fashion industries to imagine and project a very specific and unique "Frenchness" for the people of France and the world.  As the catalogue introduction describes, mannequins approximating the body shape of an early 19th century woman in period undergarments were specially designed, though each has an identical head so that the fashionable ensemble each wears speaks for itself, creating a character and a specific social situation all its own.

Photo linked from the official exhibit website, napoleon-fashion.com

Natalie Garbett, who helped coordinate and literally "dressed" the exhibition, keeps a blog, and several of her posts detail her experiences with staging the exhibition.  Her entries offer a fascinating and unique glimpse behind the scenes, showing not only the type and degree of work that goes into putting something like this together, but also the very personal and touching stories that emerge when one works so closely with garments and accessories from the past.  Her own reproduction sewing work is gorgeous, too, so be sure to check it out!

Besides the photographs on the exhibit site, additional official images of a number of the pieces (including some breathtaking detail shots) taken by Thomason Photography can be found here.  Video footage of the Milan exhibit, with commentary by the curators, can be viewed on YouTube by clicking here and here.