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HistoricDress spreadsheetTitleDescriptionAgent (Creator)Agent (Creator) RoleDateMaterialMeasurementsTechniqueInscriptionStylePeriodEarliest DateLatest DateLocation:CreationCulturalContextGenderTextRef (References)Worn byDonated byLocation:RepositoryLocation:Repository:RefID / Accession NumberRelationNotesSourceSubjectRightsCataloguer Name and DateTagsFile PathRecord Type (Work Collection or Image)Record NumberWorktypeClassificationGoogle Docs
HistoricDress OMEKA DCTitleDescriptionCreatorDateMediumExtentTemporal CoverageSpatial CoverageRelationSourceSubjectRights- -IdentifierTypeOmeka
HistoricDress OMEKA "Item Type Metadata"Creator RoleTechniqueInscriptionEarliest DateLatest DateCultural ContextGenderText ReferenceWorn byDonated byRepository LocationRepository IdentifierNotesCataloguer Name and DateWork Collection or ImageClassificationOmeka
HistoricDress exampleSquare turnover shawl, red ground, applied borderGround is solid red twilled wool with narrow self fringe. Separately woven borders are inserted a short distance from the edges. Two adjacent edges have borders that are slightly narrower than the others and that show their "good" side on the opposite face of the shawl, so that the shawl can be turned over on the diagonal allowing the good sides of all four borders to be visible. This shawl is designed to be folded parallel to the diagonal but not exactly corner to corner so that the lower layer is slightly larger and has has slightly wider borders than the upper one. The machine-woven border design is an ABAB meandering floral pattern in the Indian style in black, white, red and blue. Shawls of this type were almost certainly produced late in the nineteenth century after shawls had gone out of fashion. It was probably inexpensive and intended as a primarily utilitarian item for middle or working class women.1870-1890wool Selvage to selvage: 55"; hem to hem: 55"twill weave, sewn1870-01-011890-01-01EuropePennsylvaniafemaleinformation from the Nancy Rexford Research Archive, box 1, section 11, card 1Mrs. KnowerChester County Historical Society, 225 North High Street, West Chester, PA 19380CCHS 13hdrx_b01s11_sh001.00196.tifShawls, Shawls--Applied BorderThis image was provided by the Five Colleges Historic Dress project. Use of this image is limited to educational, scholarly, personal, and noncommercial applications.Nancy Rexford, 2013-01-13; Lydia Wilson, 2012-08-23Shawls, Shawls--Applied Borderwork hdrx_b01s11_sh001shawlCostumeGoogle Docs
Vassar College public(Title)Brief Description; Full DescriptionCreatorDateMaterialsMeasurementsTechniquesLabelPeriodRegionCultureGenderReferencesWorn by(Gift of . . . )RepositoryIDRelated ItemsInformation(Rights)-ConditionOmeka
Vassar College public Silk Bodice with Smockingblack silk bodice with smocking; Black silk satin, metal zipper, decorative covered wooden buttons, black synthetic, cream grosgrain ribbon Silhouette: bodice. Band collar with three columns of smocking, smocking below collar across shoulders; full length leg-of-mutton sleeves, three lines of smocking down the sleeve, with ruching in between, ruffle around cuff; front and back pleating; zipper down full length of back; synthetic fabric added to bottom of bodice; backs of sleeves, from elbow to wrist, are done in a different black fabric on both sides; gross-grain ribbon on inside, but it was at some point moved up from its original position.Liberty and Co.1893-1897silk, metal, wood, syntheticchest = 36; waist = 28; center front length = 20.5; center back length = 17;Liberty and co. ______ and historic costume studio - 218 regent street?1890's College Costume Collection, Drama Department, 124 Raymond Avenue, Poughkeepsie, NY 12604VC2001077(see page)Images in this collection may be used for teaching, classroom presentation, and research purposes only. Reuse, reproduction and publication of these images is prohibited. For more information contact good; lining is delicate but intact; abrasions on sleevesOmeka
Vassar College public and Black Printed Silk Dress with Black LaceTwo-piece cream silk ensemble with black print and lace: boned, high-neck bodice with flutter sleeves, full skirt with bustle pleats and train.; Cream silk ensemble with black print and black lace. Band collar covered in lace. Lace inserts trimmed with ruched ribbon. Ribbon tassels (2) at side closure (left). Flutter sleeve with diamond shoulder lace, ribbon trim. Under-sleeves missing. Black silk hem at waist with flower detail. Right front overlays left front, double breasted closure. Waist tape, hook and eye closures down center front and left front. Boning between shell and lining. (Lining might not be original.) Eyes at center back waist presumably for bustle hooks. Box pleat at center back. Backs of sleeves are gathered, as well as top into armscye. Full skirt with bustle pleats and train; pleated hem with lace trim; wide, black, zig-zag ribbon yoke pieces of cream printed fabric. Silk satin cream wide waist ribbon.1900-1904silk, metal, lace (cotton), ribbonBodice: Chest 34, waist 26.5, CF length 26.5. CB length 18 Skirt: full waist 26.5, CF length 42.5, CB length 51, Waistband: length 31 or 29, width 2.5small tag 'Remington”1900'sfemaleGift of Marcia Goldman Widenor, VC Class of 1951Vassar College Costume Collection, Drama Department, 124 Raymond Avenue, Poughkeepsie, NY 12604VC2007033(see page)Images in this collection may be used for teaching, classroom presentation, and research purposes only. Reuse, reproduction and publication of these images is prohibited. For more information contact's, CRC1, Day Ensembles, Faren, FrenchConnection11, Glimpse, HCPW, Julie, Vanya12good; a) good- a few stains and tears on outside, lining good shape b) very good- a few stains c) good d) skirt has many stains of different sizes and colors, particularly on the front. e) waist ribbon is missing closure and is fraying at both endsOmeka
Vassar College public and White Stripe DressSchiaparelli Sport silk dress with hand-painted stripes; strapless, full skirt.; Gray and white striped hand-painted silk and cotton sateen, black cotton, black felt, metal, elastic; Fit and flare silhouette; fitted cotton sateen bodice is strapless, with a sweetheart neckline, bust darts, natural waistline, hook and eye closures at the center back, and cotton lining; matching flared silk and cotton sateen skirt is knee-length, with an elastic waistband, metal zipper at side, felt lining, painted stripes radiating from waist to, cotton, metal, elasticOmeka
Smith College publicTitleDescriptionCreator, Creator Dates; Creator GenderCreator RoleDateMaterialsCreator NationalityCurrent Location; CollectionRepository NumberNotesSubjectsRightsRecord TypeSC Work NoWork TypeCategory(assorted ID fields)Luna Insight
Smith College public;lc:HISTORIC~20~1&mi=43&trs=118Girl Scout Intermediate uniformfront viewGirl Scouts of the United States of Americaassociationca. 1945CottonAmericas/North American/AmericanNorthampton, MA, USA, Smith College Historic Clothing Collection; Smith College Historic Clothing Collection1985.2.2This official neatly tailored Girl Scout uniform is for an Intermediate scout. The uniform's basic design remains the same for many years varying slightly with contemporary fashion including hem and waistline changes as well as hat styles. "It (the uniform) gives a certain prestige in the community. When a girl is seen in uniform people recognize her as a girl who is courteous and obliging (for her duty is at all times to help others). The uniform puts every girl on the same footing; no finery may be worn by one girl which will excite the envy of another, it saves the girl's good clothes and makes a useful dress for her to work and play in at the meetings" (Girl Scout Leader's Manual, circa 1917); This uniform was worn by Sylvia Plath, an "active" Girl Scout, according to her mother, between 1942 and 1945. She attended Camp Weetamoe at Center Ossipee, New Hampshire in July 1943 and July 1944 and Camp Helen Storrow at Buzzard's Bay Cape Cod in the summers of 1945 and 1946.badges ! neckerchief ! Scouts and scoutingPermission for educational use only granted by Costume Department, Theatre Department, Smith College, Northampton, Massachusetts USAwrk117690uniformClothing and CostumeInsight Image ID:16554SC Accession:452523DSC Order:ord020996Image Source:src021090Luna Insight
Smith College public;lc:HISTORIC~20~1&mi=97&trs=118Two piece day or dinner ensemble in deep bluefront viewPingat, Emile; 1820-1901; maledesignerca. 1883-1885Silk satin, silk jacquard, cut steel buttons, polished cotton liningEuropean | FrenchSmith College Historic Clothing Collection (Northampton, Massachusetts, United States)1989.1.3abThe ensemble is missing an overskirt. The bodice is cut in the "tailor made" style, fitted with button closures, cuffed sleeves and a variation of a tail like a man's tail coat. The tabs of silk at the cuffs and the panings of blue satin holding a drape of pale green satin at the hips are features used in the ! ensemble (costume)Permission for educational use only granted by Costume Department, Theatre Department, Smith College, Northampton, Massachusetts USA.wrk139032day dressClothing and CostumeInsight Image ID:59018SC Accession:504089DSC Order:ord025840Image Source:src023816SC Batch No.:810Luna Insight
Smith College private (SnapDragon)TitleDescriptionCreator NameCreator NameDisplay DatesMaterialsMeasurements (Height and Width)TechniqueText (inscription)Cultures/ Styles PeriodsDates: Earliest (mm/dd/yyyy)Dates: Latest (mm/dd/yyyy)Location > CreationCultures/Styles Periods[could be handled in Subject]Creator Name , role is donorLocation > RepositoryLocation > Repository noImagesDescription > NotesLocation > RepositoryWork subject/ ClassificationLogin information from SnapDragonWork Type/ Subject Typewrk#Work TypeClassificationSnapDragon (Filemaker)
Smith College private
Chicago History Museum privateObject TitlePhysical Description; Basic Cat. Info.Maker CNProduction Dates; Calculated DatesMaterial/Tech. (repeats shown here with ;)Production PlaceUse (Costume)Acq. Method; Acq. Source; Credit Line; Previous OwnerCurrent Location (1), Normal location (1), Prev. Location (repeatable)Object Number; Object No. SortImageAdmin. Notes; Curatorial Stmt.; Exhibit HistorySubj. PN; Subj. AAT; CategoriesCataloger (repeatable, only most recent shown here)Object HistoryRECORD NUMBERClassification(STAR System ID; Item Summary; Record Origin; Objects Covered; Object Name; Object Name; Date Created; Last Updated; Global Update)Legal StatusCataloging Done?UncatalogedWeb Access OK?like PastPerfect
Chicago History Museum private(same object as above)Dress |t DevisedDress of white satin. Cutouts at clavicle, shoulder, and V-shape at back. Heirloom lace trimming at shoulders and V-back. Satin-covered buttons at wrists. Natural waist accentuated with self-satin belt, which closes in back with a rhinestone and pearl buckle and three-tiered ruffle. Floor-length skirt. Long attached train.; Wedding dress, 1934. Silk satin, lace, rhinestones, pearls. Madame Marguerite, Chicago. Gift of Mrs. Edward Byron Smith. 1980.245.1aMadame Marguerite, Inc. |z CN06695 |a Local |r designer|n 1934; |b 9999/99/99 |c 9999/99/99 |d 1934-00-00 |e 1934-00-00Material |d satin |a AAT; Material |d lace (needlework) |a Uncontrolled; Material |d pearl |a AAT; Material |d rhinestone |a AAT; Material |d metal |a AATChicago (Ill.) |a LCNA|a Adult (18+ years) |s FemaleGift; Smith, Edward Byron, Mrs. |z RX004112; Gift of Mrs. Edward Byron Smith; Smith, Edward Byron, Mrs. |z RX0041121980.245.1a |t Accession |d 1980/11/20; |1 1980 |2 245 |3 1|5 a(15 images, only 5 shared online, 1 = a direct link)Headdress and train worn for Court Presentation. 2 belts, 1 of rhinestone and 1 of blue and silver beads. Spray of heather.; With the dawn of Hollywood's golden age, glamour started to influence wedding fashion, and the long sweeping satin trains worn by movie stars quickly became the fantasy of every bride. The way in which the fabric is cut for these dresses is called bias. By cutting fabric on the bias (cross-grain), it stretches around the form. This cut gained popularity in the 1930s for its sleek, curvaceous look and remains fashionable today.; I Do! Chicago Ties the Knot. Chicago History Museum. (2010/05/22 - 2011/01/03)Smith, Edward Byron (Louise Dewey), Mrs. |t Associated |z PN04318 |a Local; Smith, Edward Byron |t Associated |z PN04127; weddings |t Associated ; clothing |t Category |a AAT, main garments |t Sub-Category |a AAT, ceremonial costume |t Type |a AATGreen, Nahoko |d 2011/11/03 |a Updated |x CONTENTdmWorn by the donor (née Louise de Marigny Dewey) at her wedding to Edward Byron Smith on May 23, 1934. The wedding was considered one of the most important events of the 1934 spring wedding season. Louise de Marigny Dewey was born on November 28, 1914 in Chicago and died January 31, 1989. Edward Byron Smith was born March 22, 1909 and died in chicago on June 27, 2002.11018costume (mode of fashion)COST-7396; 1980.245.1a; Dress; dresses (garments); Madame Marguerite, Inc.; Conversion; Object; dresses (garments) |t Name |a AAT; wedding dresses |t Other Name |a AAT; Access Conversion |D 2004 06 21; ngreen |D 2011 11 03 |T 17:14:55; NGREEN |D 2011 11 09 |G CN CN06695 updated from .CORPORATEAccessioned (d 1980/11/20)NO |a NO |b NO |c NO |d NO |e NO |f NO |g NO |h NO |zYESlike PastPerfect
Cincinnatti Art Museum privateName/Title; Name/Title NotesBrief Description; Parts (controlled fields)Artist/MakerRoleDateMedium/Material Description (and controlled fields in chart form)Measurements Description (and controlled fields in chart form)Signature/Marks and Date (Description and controlled fields in chart form)PeriodPlace MadeCredit LineDepartment; Collection; Controlling InstitutionAccession Number; Other ID (controlled fields in chart form)Catalogued by/Dates/NotesIdObject TypeClassification (repeatable, controlled in chart form)Date Accessioned; Edition; Part; Reason; Packing; Current Location; External; DateVernon
Cincinnatti Art Museum privateBATHING SUIT; Two piece navy-blue bathing suit trimmed in white braid. Bloomers attached to the waist and the skirt button onto the waistUnidentified Artist (American)1915Gift of Etta McGrewCostume & Textiles1943.1477; 00021476, Amarc Control No.Lisa DeLong/Jun 18 2010/updated record70834Costume and Accessory; ; 0-Whole, Permanent Store, , R12c/CL, , Aug 09 2012
Chicago History Museum publicTitleDescription; Basic IDArtists/Makers(creator role - in parentheses after name)DateMaterials/TechniquesDimensionsMaterials/TechniquesMarksPlace of OriginCredit LineOwner; Collection Name; RepositoryObject NumberImage File NameCuratorial Statement; Exhibition HistorySubjects; CategoriesRightsObject HistoryObject TypesClassificationCONTENTdm
Chicago History Museum public fan painted primarily in green, blue, and gray. Scene on one side depicts a wedding banquet set within a garden. Sixteenth-century period clothing is depicted. The other side is blank except for a gold line border; Fan, circa 1870. Printed and painted paper, mother of pearl, gold, silver, and copper metals, and mirror. Maker unknown. Gift of Mrs. Robert D. Graff. 1967.52.circa 1870paper (fiber product), paint, mother of pearl, gold, silver, copperG. OlivierFranceGift of Mrs. Robert D. GraffChicago Historical Society; Costume and Textile Collection; Chicago History Museum. 1601 North Clark Street Chicago, Illinois 60614-60381967.52The silent "language of the fan" gave women a means to flirt in a time when the culture of women was strictly choreographed and monitored. Touching the tip of her finger to her fan, for example, meant a woman wanted to speak to a gentleman; and placing her fan by her left ear meant she wanted the gentleman to leave. With such a visible role in courtship, fans often featured romantic scenes; I Do! Chicago Ties the Knot. Chicago History Museum. (2010/05/22 - 2011/01/03)weddings; costume accessoriesAll rights reserved. Contact Chicago History Museum, Rights & Reproductions ( for (costume accessories)costume (mode of fashion)CONTENTdm
Chicago History Museum public, evening-style, of yellow silk satin. Bodice (a) has low, wide neckline embroidered with silver-colored cord and rhinestones, trimmed with silk fabric flowers at front. Pattern pieces create the illusion of the bodice wrapping right over left. Sleeves are gold-colored silk velvet and crepe. Self-fabric skirt (b) embroidered with silver-colored cord, gold-colored beads, sequins, and rhinestones. Lower edge of skirt bordered with twisted garland of two shades of yellow crepe and backed with gold-colored velvet. Long train in back.; Evening dress, 1893. Silk satin, crepe, and velvet, metal cord, rhinestone, and silk flower embroidery. Charles Frederick Worth, Paris. Gift of the Art Institute of Chicago. 1960.557a-bWorth, Charles Frédérick, 1825-1895; House of Worth (Firm) (designer); (Firm) (designer)1893silk (fiber), satin, crepe, cord (fiber product), beads (pierced objects), sequins (spangles), rhinestoneChest: (38 in); Waist: (23.5 in); Waist: (25 in); Hip: (44 in); Length: (12.5 in); Length: (39 in); Length: (58 in); Other: (143 in); Other: (10 in)Paris (France)Gift of the Art Institute of ChicagoChicago Historical Society; Costume and Textile Collection; Chicago History Museum. 1601 North Clark Street Chicago, Illinois 60614-60381960.557a-bThe House of Worth created this two-piece evening dress for Mrs. Palmer to wear to various formal functions related to Chicago's World's Columbian Exposition of 1893; Bertha Honoré Palmer. Chicago History Museum. (2009/05/23 - 2010/01/04)Palmer, Bertha Honoré, 1849-1918; World's Columbian Exposition (1893 : Chicago, Ill.); world's fairs; clothing, main garments, evening dress (concept)All rights reserved. Contact Chicago History Museum, Rights & Reproductions ( for use.Evening gown worn by Bertha Honoré Palmer to the Chicago World's Columbian Exposition of 1893.dresses (garments); evening dresses (garments)costume (mode of fashion)CONTENTdm
Chicago History Museum public bodice, skirt, coatSuit of gray broadcloth. Bodice (a) with coarse linen lace overlay. Trimmed with gray velvet; white chiffon undersleeves. Skirt (b) with wide band of coarse cotton lace at hem. Coat (c) trimmed with coarse cotton lace, brass buttons, gray velvet, and gold-colored, black, and white braid on collar; Setting-out ensemble, 1902. Wool broadcloth, cotton lace, silk velvet, metal thread embroidery. Schlesigner and Mayer. Gift of Mrs. Charles C. Fitzmorris, Jr. 1963.194a-cSchlesinger & Mayer(creator)1902wool (hair), cotton (fiber), lace (needlework), silk (fiber), velvet, metalembroideringGift of Mrs. Charles C. Fitzmorris, Jr.Chicago Historical Society; Costume Collection; Chicago History Museum1963.194a-ci54991.jpg; index.cpdAlthough most brides today do not wear setting-out or going-away ensembles, the trend remained popular well into the late 1960s. Brides spent much attention on how they presented themselves for the first time after becoming a Mrs. This ensemble was often worn on the first day after the wedding, the day most couples went away for their honeymoon.; I Do! Chicago Ties the Knot. Chicago History Museum. (2010/05/22 - 2011/01/03)clothing, main garmentsAll rights reserved. Contact Chicago History Museum, Rights & Reproductions ( for use.Worn as setting-out suit by Mrs. Frederick H. Scott (née Helen Webster), mother of the donor, after her marriage on December 2, 1902.ensembles (costume)
skirts (garments)
jackets (garments)
costume (mode of fashion)CONTENTdm
Chicago History Museum public of white satin. Cutouts at clavicle, shoulder, and V-shape at back. Heirloom lace trimming at shoulders and V-back. Satin-covered buttons at wrists. Natural waist accentuated with self-satin belt, which closes in back with a rhinestone and pearl buckle and three-tiered ruffle. Floor-length skirt. Long attached train.; Wedding dress, 1934. Silk satin, lace, rhinestones, pearls. Madame Marguerite, Chicago. Gift of Mrs. Edward Byron Smith. 1980.245.1aMadame Marguerite, Inc. (designer)(designer) 1934satin, lace (needlework), pearl, rhinestone, metalChicago (Ill.)(see Object History)Gift of Mrs. Edward Byron SmithChicago Historical Society; Costume and Textile Collection; Chicago History Museum. 1601 North Clark Street Chicago, Illinois 60614-60381980.245.1ai54755.jpg; index.cpdWith the dawn of Hollywood's golden age, glamour started to influence wedding fashion, and the long sweeping satin trains worn by movie stars quickly became the fantasy of every bride. The way in which the fabric is cut for these dresses is called bias. By cutting fabric on the bias (cross-grain), it stretches around the form. This cut gained popularity in the 1930s for its sleek, curvaceous look and remains fashionable today.; I Do! Chicago Ties the Knot. Chicago History Museum. (2010/05/22 - 2011/01/03)Smith, Edward Byron (Louise Dewey), Mrs.; Smith, Edward Byron; weddings; clothing; main garments; ceremonial costumeAll rights reserved. Contact Chicago History Museum, Rights & Reproductions ( for use.Worn by the donor (née Louise de Marigny Dewey) at her wedding to Edward Byron Smith on May 23, 1934. The wedding was considered one of the most important events of the 1934 spring wedding season. Louise de Marigny Dewey was born on November 28, 1914 in Chicago and died January 31, 1989. Edward Byron Smith was born March 22, 1909 and died in chicago on June 27, 2002.dresses (garments); wedding dressescostume (mode of fashion)CONTENTdm
Cincinnatti Art Museum public(Title)Artist/Maker(creator role follows name, culture, dates)DateMediumMeasurementsPlaceCredit LineDepartmentAccession No(all pages have a copyright notice, nothing else)ClassificationJoomla
Cincinnatti Art Museum public cottonW. 85 1/4 in. (215.9 cm), L. 109 1/2 in. (278.1 cm)Southern Coromandel Coast/India/IndiaMuseum PurchaseCostume & Textiles1993.77© 2011 Cincinnati Art MuseumTextile
Cincinnatti Art Museum publicé Jules Lalique (French, b.1860, d.1945), designerCirca 1900horn, glass, and sapphireH. 5 3/4 in. (14.6 cm), W. 1 1/8 in. (2.9 cm)Paris/FranceGift of Mrs. James Leonard, Mrs. Harry Mackoy, Mrs. Samuel Bailey, and Mr. John Warrington in memory of their mother, Mrs. Elsie Holmes WarringtonCostume & Textiles1940.2© 2011 Cincinnati Art MuseumWomen's Headwear/Costume and Accessory
Drexel University publicdescriptive notes (Author, Note)designertextile; fiber content; embellishmentperiodcountry of origincurator notes (Author, Note)category(information posted on home page only)(see Author within curator or descriptive notes)Digimuse - custom system
Drexel University public King, Dark blue velvet/velveteen bustle dress, with black satin trim. Black Satin front inset and skirt front are elaborately draped and held in place with covered black satin buttons and beaded motifs. Large bustle with inverted pleat on back of gown is also draped at sides and held with buttons and beaded motifs. Front satin panel of gown is fastened with small covered buttons. Lace collar is set into the narrow square neckline, and at the edges of the cuffs. Bodice in front is a princess line, but comes to a deep point at the back waist, where the bustle begins. There is black bead work at the front of the gown on the satin panels.UnknownWoven; Silk; Additional fabric, buttons, and lace trimsBustle, late (1878-1885)Annina King, No Informationbustle© All images on this website are protected by copyright. Please contact us for right of release for educational purposes.Unknown15Digimuse - custom system
Drexel University public King, Black ribbed silk two piece suit, consisting of a jacket with a false tuxedo-type front, cutaway hemline, and large alternate fabric cuffs; and a skirt. The skirt is constructed with alternate fabric trim at hem, intricate outline insertion, and buttons. Separate glazed cotton cuffs are pinned in with black pins (black pins were also a requirement of mourning), made by a men's tailoring firm in the city of PhiladelphiaHenry DietmannWoven; Silk; Alternate fabric and Button(see Description)Poiret Fashion RevolutionUSAAnnina King, No information. LABEL: states: 'Henry Dietmann, 1321 Arch Street, Philadelphia. Mrs. A.P. Sharp (?), July 16, 1912.' Found with several other pieces belonging to the same woman, and ostensibly following the various correct stages of mourning in the early 20th century; Commencing with a plain black garment, through the stages of black and white, and then into the stage of first allowable color (purple, or shades of purple). This piece shows the transition from plain black and white to the first purple.two (2) piece suit© All images on this website are protected by copyright. Please contact us for right of release for educational purposes.HenryDietmann01Digimuse - custom system
Drexel University public King, Heavy black silk satin gown with side panels of metallic gold and black brocade. Princess seam panel is scalloped as well as neckline. Triple braided straps of satin trim neck. Panel seams are piped with satin. Gown is full length.Jeanne LanvinWoven, Silk, Alternate fabric and pipingThe 30sAnnina King, TAG: Lanvin, 1939, Griswold, 56.22.3. CARD: 56.22.3 Dress, 1939. Black satin with metallic gold embroidery. Lanvi- bought from Henri Bendel, N.Y. Worn by Mrs. Frank Tracy Griswold. Source: Mrs. Frank Tracy Griswold. Cataloguer: Yahna Schoenberger NOTE BY ANNINA KING: This piece in confusing. The tag lists it as Lanvin, the card as 'Lanvi-' from Henry Bendel, and the garment has no label. Not sure if it is Lanvin.special occasion evening© All images on this website are protected by copyright. Please contact us for right of release for educational purposes.Unknown29Digimuse - custom system
Drexel University public (revised)Title (not labeled)DateRELATED FASHION PERIODCountrySourceID | Alternate IDCurator Notes Category
Drexel University public Evening gown Jeanne Lanvin Drexel Historic Costume Collection19391930-1939 (is part of)FranceDrexel Historic Costume CollectionDDM_JeanneLanvin03_1_R | 56.22.3Dress is from Lanvin\\\\\\\'s Fall/Winter 1939 collection. See \\\\\\\"L\\\\\\\'officiel de la Mode\\\\\\\", no. 217 de 1939, p.27. Donor purchased dress from Henri Bendel in New York. The Museum at FIT has a variation of this gown also purchased at Henri Bendel.Evening gowns
Costume Institute public(Title)DescriptionDateMediumDimensionsSignatures, Inscriptions, and MarkingsCultureCredit Line(In the museum)Accession Number(Related Content)Terms and Conditions (on another page)
Costume Institute public 17th centurywool, metal threadHeight: 55 in. (139.7 cm)BritishRogers Fund, 1933Costume Institute33.54a, b House, Norfolk, England (seat of Lord Wodehouse, since 1866 Earls of Kimberley).
Costume Institute public*&deptids=8&pos=1DressRita de Acosta Lydig (1880-1929), a noted beauty and style icon of the early twentieth century, owned this garment. A great admirer and collector of lace, de Acosta Lydig's garments and accessories often incorporated insertions of antique lace. Blouses made partially or completely of lace like this example, were a fixture of her wardrobe. Here, the simple cut of the garment suits the pictorial quality of the filet lace. No seams or darts interrupt the horse and rider motifs. De Acosta Lydig would have paired this garment with a dark solid-colored underlayer to show the lace to its best 1920linen, cottonLength at CB: 42 in. (106.7 cm)French (probably)Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mercedes de Acosta, 1955Costume Institute2009.300.1241
Costume Institute public is an attractive shawl of the 1840s which interestingly combines a woven pattern and printed pattern. This works well in incorporating both Eastern and Western aesthetic sensibilities. The shawl held a place as a high fashion accessory for a relatively large period between the end of the 18th century to the 1870s. These accessories were originally adopted by men with exposure to India and Persia through the Trading Companies. The changing fashions near the end of the 18th century brought a renewed interest in Indian and Persian shawls as a form of warmth over the thin muslins of fashionable Empire silhouette dresses. The shawls came in many designs which generally incorporated the boteh form. This form, which is mostly known as the paisley now, is an ancient Persian design based upon the tree of life and inspired by buds, cones and palm fronds. These objects were hand woven and extremely costly which inspired European manufacturers to attempt to produce cheaper copies for the masses. The primary center for machine woven reproduction Indian shawls became Paisley, Scotland. The shawls from this location were so prominent on the market that the style and boteh form of the shawls has been generally referred to as paisleys since. The invention of the Jacquard loom in 1801 increased productivity and reduced costs even further after its first use in Paisley in the 1820s. Other designs of shawls were also produced at this time, albeit they never reached the popularity of the Indian, Persian and Paisley shawls. In the 1870s the shawl lost popularity due to its immense size and the reducing expanse of skirts to help support them. Many of the original Indian and Persian shawls had been retained as heirlooms through generations due to their cost while cheaper reproductions were sometimes altered into a more fashionable bustle silhouette mantle.1840–49silkWith fringe: 72 x 77 in. (182.9 x 195.6 cm)Cream embroidery on one edge: "B8"French (probably)Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Gift of Mrs. Frank L. Babbott, 1954Costume Institute2009.300.3152
Costume Institute public
Museum at FIT public(Title)(Description)People and Brands(before name, with a colon)DateMediumCountryCreditObject Number(in footer)
Museum at FIT public$0040/3/dynasty-desc?t:state:flow=7ed6e371-35f6-4e76-9017-04d2dd850bccShawlThis shawl served a dual function: it provided warmth to the thin base garment and demonstrated the fashion-consciousness of the wearer, as the cloths were extremely popular through the mid-nineteenth century. Kashmiri shawls were popularized by Napoleon's wife, the Empress Josephine, owner of an extensive collection. Imported shawls were prohibitively expensive for many, and European cities, like Paisley in Scotland, the likely source for this example, began to produce less costly shawls in imitative motifs.1820-1850Off-white wool and silkScotland (possibly)Museum PurchaseP86.71.2All photography and content © Copyright 2012 The Museum at FIT.
Museum at FIT public$0040/7/dynasty-desc?t:state:flow=2bc2a384-3f8e-4031-bd00-514deedd057aCoatVeronica EtroDesignerFall 2002-2003Red, ochre, and brown woolItalyGift of ETRO S.p.A.2003.41.4All photography and content © Copyright 2012 The Museum at FIT.
Museum at FIT public$0040/22/dynasty-desc?t:state:flow=d7f5b088-5576-41e9-a35e-cc89138d3b1aCorset coverc. 1900White cotton and laceUSAGift of Mrs. Jerome Kilty74.72.46All photography and content © Copyright 2012 The Museum at FIT.
V&A public(Title)Physical Description; Descriptive line; SummaryArtist/maker(artist/maker type in parentheses follwoing)DateMaterialsDimensionsTechniquesPlace of OriginCredit LineGallery locationMuseum number; Collection codeExplore related objectsObject history note; Descriptive line, Labels and date; Historical context noteCategoriesTerms of Use (on another page)
V&A public woven shawl, or doshala, with large floral paisley cones, or boteh, with a cream coloured center; Cream woven Shawl, Kashmir, 19th Century; Shawls were hand-woven in Kashmir from the 11th century. They developed into the form we recognise today during the 15th and 16th centuries. The finest loom-woven shawls were made under Mughal patronage, and were worn at court or presented as prestigious gifts. Large or complex shawls took many months to complete. The best quality shawls were made from the underbelly fleece of the wild central Asian goat; second grade wool, pashmina, came from domesticated goats. Many shawls were brought back to Europe and they became a popular fashion item in the eighteenth and nineteenth centuries. They were imitated, notably in Norwich, Paisley and France, using different types of yarn, and increasingly mechanised processes such as the Jacquard loom. Western demand also affected Kashmiri production, and by the time this shawl was made, the classic boteh design, derived from flowering plants, had become stylised. By the late 19th century, shawls had gone out of fashion, and many Kashmiri weavers lost their livelihoods.Unknownproductionearly 19th century (made)cashmereWidth: 129 cm, Length: 281 inwovenKashmir, India (made)In StorageIS.2081A-1883; INDObject history note: Shawls were woven entirely by hand. Each colour of yarn was wound on a small bobbin and manipulated backwards and forwards through the fixed warp(lengthwise) threads to build up the design. Where the different colour areas met, the two yarns were interlocked, producing a characteristic ridge on the back of the fabric. The process of weaving a large shawl, often with a highly complex design, was slow, specialised, laborious work, taking anything from eighteen months to three years to complete. This example was bought in India in 1882 by Caspar Purdon Clarke, who purchased over 140 Kashmir shawls for the Museum. Not all survive; some are only fragments. Historical context note: Though Kashmir shawls are worn and used as a warm protective garment all over north India today, Kashmir has become synonymous with shawls all over the world. The shawl became a popular fashion item in the nineteenth century with its sudden migration from the foothills of the Himalayas to the salons of early nineteenth-century Europe.
V&A public shawl with red and white centre; Woven shawl, Paisley, Great Britain, 1851-1855; Object Type Shawls tended to be very large in the 1850s, mainly because they were worn over wide crinoline skirts (skirts supported by a cage-like structure). Shawls like this one, produced in large quantities on a jacquard loom, were generally cheaper than the Indian shawls, which were hand-woven using a more time-consuming technique. By the 1850s the kashmir shawl industry in India was largely controlled by European agents who brought their own pattern books for the local shawl weavers to copy. Design & Designing Paisley in Scotland was one of the first shawl manufacturing centres in Britain to attempt exact reproductions of kashmir patterns in the early 19th century. By the 1850s the industry in Paisley was looking to France as well as India for inspiration. This was largely due to the introduction of the jacquard loom from France, which was in general use in Paisley by 1845. The use of this type of loom meant that more elaborate designs could be produced at a faster rate. Ownership & Use This is a two-colour shawl, which could be worn with either a white or red corner folded over and showing at the back. This gave the impression that the wearer owned two different shawls. Sometimes shawls were four-coloured, with each corner decorated with a different pattern in the middle.Unknownproduction1851-1855 (made)woolLength: 348 cm, Width: 160 cmwoven on a jacquard loomPaisley, Scotland (probably, made)Bequeathed by Miss D. B. SimpsonBritish Galleries, room 125c, case 2T.111-1977; T&DObject history note: Probably made in Paisley, Renfrewshire. Labels and date: British Galleries:
Shawls based on Indian designs were very fashionable in Britain by the 1850s. They combined both Indian and French influences. The elongated pine cone forms and the coloured end pieces were based on Indian patterns. The complex all-over pattern and floral motifs were distinctly European. Many of the colours, particularly the burgundy, would not have been used on a true Indian shawl. [27/03/2003]
Textiles; Clothing; Fashion; Accessories
V&A public of woven wool and silk. With a paisley pattern of organic and Islamic forms decorating the border and with a red ground. Pink silk warp and red worsted west, and 2/1 twill. The ground continues at the ends, and with an elaborate upside-down cresting in blue, green, white and pink running the width of the shawl between green selvedges. Warp fringe, not knotted, just twisted in groups. The 35 inch border (38 inches plus the guardstripe) invades the plain centre, and the thin invasion ornament continues round the sides of the shawl. There is a thin spray of shawl-flowers in each corner. The border contains three pairs of addorsed cones with outlines breaking over a continuous pattern beneath, and only the colour of the ground within the cone changes. A continuous guardstripe, without corner pieces, runs round the whole shawl. The corner is neatly contrived. Maroon wool, pink, blue and green cotton, and white silk. Bound in 3/1 twill.; Shawl of woven wool and silk, possibly woven by McWilliam, possibly in Paisley, Scotland, 1840-1845; As the fashion in dress changed in the 19th century, so did the shape of the shawl. The wide crinoline skirts of the 1850s and 1860s were not suited to wearing under a coat and so a large, rectangular shawl became the outdoor wear for fashionable women. Norwich continued to be an important centre of shawl production but was seriously challenged by the manufacturers of Paisley in Scotland, who managed to undercut Norwich prices. Competition was so great that in 1842 the Government agreed to allow the patenting of shawl designs to give the manufacturers protection for 3, 6, or 9 months while their design was popular. Edinburgh had tried to concentrate on the luxury end of the shawl market but did not survive the challenge posed by Paisley, and production ceased by 1847.McWilliampossibly, weaver1840-1845 (made)Wool (hair); Silk (fiber)Length: 298 cm, Width: 158 cm, Length: 117.5 in, Width: 61.5 inWeavingPaisley, Scotland (possibly, made)Bequeathed by Miss A. C. InnesIn StorageT.348-1972; T&DTextiles; Clothing; Accessories
Australian Dress Register publicObjectDescription; Cut; Fastenings; Trimmings/Decoration; Stiffening/Lining/PaddingMade byDate rangeFibre/WeaveMeasurementsManufacturePlace of originGenderWhere did this information come from?Worn by; Made forOwnerOwner registration numberSignificance statement; Occasion(s); Place; How does this garment relate to the wider historical context?; This garment has been exhibited; Births, deaths, marriages, children or family information; Do you have any stories or community ingormation associated with this?Themes(rights on the bottom right of each page)Owned by; Condition
Australian Dress Register public woven and natural dyed Paisley Silk ShawlThis shawl is a lovely coral pink colour with cone like motifs covering the major part of the garment. It has a "fringe" edging both ends, made up of eight larger cones and this is then surrounded by a tapestry-weave type edge. The larger part of the shawl is in one piece and then the "fringe" is sewn on as a separate piece. The whole garment and fringe is surrounded by an edge, handsewn into place.It was believed by the family, that Matthew Armour, made the shawl on a hand loom. He came from a family of weavers, Father Alexander Armour and brother John where custom weavers. Matthews' other brother, Alexander, was a Muslin weaver.1824The fibre is silk. Colour comes from a madder dye and is a soft pink colour. The back of the shawl displays the patterns of the cones to be rough and matted. The edging has been stiched by hand and is fraying in places. The stiching appears to be an over stich and is cream in colour. The cone like motifs are made up of blue, green and cream (Natural dye box is checked)The shawl measures 104 inches by 49 inches. This measurement is within the parameters of shawls of this period, mainly 100 inches by 50 inches.It is believed that the shawl was woven on a hand loom, by the groom-to-be, Matthew Armour, as he was a weaver by trade, as was his brothers and Father. The technique used was described as a kind of extra-weft patterning or as discontinuous weft patterning. This technique allowed weft yarns to float outside the weaving. These floats where later cut off, leaving only the woven portions. In the finished shawl, the pattern wefts were no longer continous yarns from selvedge to selvedge but where short snatches of yarn, each woven securely where the colour was required by the pattern. The fabric is held together by other wefts. Alterations The shawl was found to have several weak areas where the base fabric was very thin and risked tearing. There were three main tears, one being over 20cm long in the centre fold. There were several tears to stitching attaching the the woven edge. There is fibre loss along the edge where fraying is prevalent and small loss associated with tears and holes. All holes and weakened areas have been repaired by Victoria Gill from Endangered Textiles, using silk patching fabric and monofilament thread. The thread had been dyed to match the base cloth colour. (Hand sewn and Other boxes are checked)FENWICK,, ARYESHIRE, SCOTLANDFemaleThis story of the shawl, was handed down through the female line on Allison's family tree. The shawl was given to Allison to wear on her wedding day in 1855 and it remained in her family, being passed onto her eldest daughter Jean. During Jeans' ownership and with the advent of the bustle, it was possibly put on display, draped over a lounge or piano, as it was no longer fashionable to wear shawls. The garment has some fading on the front and this would indicate that it had been draped at some time. Jeans' daughter, Jean Christina, was the only one of her three girls to marry and so it came to Jeans' eldest daughter, Christina Jean. The story of the shawl was something that was explained and passed on to the eldest daughter until today, were Barbara Jean, Chris's eldest daughter passed away, without marrying or children, and the shawl is now in possesion of Kay Marie Durant, Chris's third daughter. (There are six girls all together)Jean Armour (Nisbitt) and her daughter Allison.; Jean Nisbit in Scotland, as a wedding gift and worn on her wedding day.Private collectors(10 photos are shown on website, including 3 of family members, some other objects are shown as Related objects)The importance of this garment, especially within the family history, is quite significant. The story of its existence has been passed down through the eldest daughter and always referred to as "The Shawl". As a wedding gift, it would have been treasured by Jean Nisbet, and as a Mother, passing it onto her daughter, Allison, to wear on her wedding day, shows how it was. These types of hand woven shawls, where not cheap, and to have something so beautifully made, as well as its vibrant colour, would have meant a great deal to the young bride. The fading that is evident on the front of the shawl, shows to the historian,that, even though it was no longer a fashionable garment to wear, it was still worthy of being diplayed. When the Textile restoration was taking place, Victoria Gill, from "Endangered Textiles", made the comment, that the shawl was like a historical document. This "page" in the family history, when displayed publicly, brought together many members of Matthew and Jean Armour's family. Their sons and other daughters' families, had no knowledge of this garment as it came to Allison and along her family line. Sharing this "historical document", with other descendants, was a wonderful experience. From the early days of working as a weaver, then dairy man, to owning and farming their own property in and around Bookham, Matthew and Jean lived as early pioneers and their extended family grew into a vast family covering five generations. This Silk Paisley Shawl is a reminder as well as a representative of woman's fashion of the period and with its provenance, a truly rare "document". Author: Kay Marie Durant. P O Box 680, Bega NSW. 3rd daughter to Christina Jean Lemon., 30 July 2011.; Jean wore it as part of her wedding outfit in1824 Allison also wore it on her wedding day in 1855.; Jean was married in in Fenwick, Ayreshire, Scotland. Allison was married in St Clements Church, YASS. NSW; The shawl was given as a wedding gift to Jean Nisbet, from her fiance,Matthew Armour, in Fenwick,Ayreshire--Scotland. Jean wore the shawl on her wedding day 9th July 1824. Matthew and Jean had 5 children in Scotland and it is understood that they came out to Australia after meeting with Robert Campbells' Factor, who was looking for workers for the Campbell property "Duntroon" in NSW. When the family migrated to Australia, the children were, Alexander 16yrs, Marion 14yrs, Allison 11yrs, John 8yrs and Matthew 5yrs. They travelled out to Australia on the "Percy", arriving in Sydney Cove on August 28th, 1841. This ship, on its return journey to Scotland, was lost with all hands. On 7th September, 10 days after arriving, Matthew , Jean and family, moved to "Duntroon", Canberra (then called Limestone Plains,NSW)were Matthew worked as a dairyman. Jean , their sixth child, was born at Limestone Plains, near Queanbeyan, in 1843. After a few years, the family moved to the Bookham area where Matthew and family selected and where granted large tracts of land making up Talmo Station and Wattle Vale. Wattle Vale is still held by the Armour family. In 1992, descendants of Matthew and Jean, erected a memorial stone and plaque for the Armour Family on Talmo. Both Matthew and Jean are buried on Talmo; A recent exhibition at the Canberra Museum and Gallery, called "altered States", from 23rd October to 27th February 2011, had the garment on display. It was an exhibition about change in culturally significant places in Canberra. The Canberra and District Historical Society, recognised that Canberra's rural heritage was more than the grand houses of Duntroon and Yarralumula; that it was also evident in the workers cottages and the dairies and barns where they laboured. In the section of the exhibit, designated for Duntroon, the shawl was displaed fully and was the main item in same. This also tied in with photos of the Duntroon Dairy, which has recently been restored.; Children from Matthew and Jean Armour: Alexander married Eliza in Gundaroo in 1856. Marion married Thomas Drummond in 1846 and lived in Wombat. John never married and lived in Bookham. Youngest son, Matthew married Elisabeth Sarah Masters in 1859 and lived around Yass. Youngest daughter Jean, died 1865 aged 22yrs. Allison married Andrew Pirie in 1855, lived in Bogolong and later Temora. Allison and Andrew, had 9 children, the shawl going to Jean, the eldest child. Jean, born at Talmo 1856, married Alexander Drummond (son of Allison's Sister Marion) in 1880. They had 5 children, 2 boys and three girls and only the girls survived infancy. Alison Adelyne, born 1884, and Marion Lydia born 1887, both never married and the youngest daughter, Jean Christina born 1893, married Albert Edward Meacham on 1st March 1916. Jean and Albert where the grandparents of the author of this statement. Jean and Albert had 3 children, born after Albert's return from Western France and the Somme. Christina Jean, born 1920, married Clifford Manning Lemon on 15th June 1940. They had six daughters the eldest being Barbara Jean, born 1941-died 4th March 2010, Sandra Marion, born 1943 married to Grahame Still. Kay Marie born 1946 married to John Durant, Cheryl Diane born 1947 married Wayne Meaker, Robin Allison born 1950 married Anthony Brown (died 2010) Alexis Esther born 1952 married Richard Rolfe.WeddingCopyright Powerhouse Museum and contributors.; Use is licensed under CC-BY-NCJean Nisbit and worn on her wedding day. It was a wedding gift from her fiance, Matthew. She was 24 years old when she married. It was also worn by their daughter, Allison, when she married Andrew Pirie in 1855. Allison retained the shawl and it was then passed to her eldest daughter, Jean. Jean married Alexander Drummond and the shawl was passed onto her daughter,Jean Christina(Teen), as she was the only daughter to marry. Jean married Albert Edward Meacham and it was passed onto their eldest daughter, Christina Jean. She married Clifford Manning Lemon and so it came to Barbara Jean Lemon in 2003.; After the death of Christina Jean, the shawl was found folded and stored in a leather suitcase and had been in this suitcase for a period of approximately 70 years. It was contained in a pillow case. The younger daughters of Chris, did not know or comprehend the full story behind this garment and it was only through the dedication to all things historical from Barbara Jean, that it was restored and known to all. Evidence of repairs In the initial report from the Textile Restorer, it was noted that there where many stains, some dark brown, some navy blue. Dye testing indicated that the dyes where mostly stable but some areas showed a weakening of the dye bond to the fabric and there is subsequent dye loss in these areas. The garment was dry cleaned of spot areas and then dry cleaned in 30cm square sections at a time, so the threads remained aligned. With cleaning the garment, the cloth changed from red/orange to a pretty coral pink, which was its obvious original colour. See notes on Manufacture for repair detail. Insect damage Nil Mould damage Nil (Good box is checked for State, Fading and Stained are checked for Damage)
Australian Dress Register public dress, brown silk and green brocadeBrown silk faille and green silk brocade dress comprising front buttoning bodice and separate panelled skirt. Bodice has a round neck with small stand up collar and fastens with ten silk covered buttons down the centre front. It has a decorative pleated flap or peplum at the centre back lined with green brocade. The skirt has diagonal tucks across the stomach and vertical pleats in the centre panel. The side panels are silk faille and/or brocade. The skirt is gathered and tucked at the waist and has a large pocket on the right hand side. There is small box pleating around the hem line. Worn by Maria Mulligan [1856-1894] at her marriage to Samuel Harper [1855 -1916] on 29 August 1883 at Armidale, New South Wales.; There is a seam across one of the brocade panels perhaps to save on fabric or make use of a fabric remnant. (Straight box is checked - as opposed to bias); Hook and Eye fastenings on skirt. Ten silk satin covered buttons on bodice front. (Hook and eye and Buttons boxes are checked); Green silk brocade decorative panels on skirt at either side of centre tucked panel Tucking Diagonal tucks across stomach in skirt front; The bodice is lined with sized or stiffened linen and the sleeves with a twill cotton. Kapok interlining has been placed in the bodice front from shoulder to bust. The bodice has several whalebone inserts, however two of the inserts have been removed. Brown silk ribbon has been used to edge the bodice seams and reinforce the buttons. The skirt has been lined with a polished cotton and a brown woollen facing at the lower edge appears to be a later addition.Probably made by Maria Harper (nee Mulligan), as Maria was known to have been a competent needleworker filling her time with beautiful needle work, painting and artistic scrap books. It is possible that the fabric was obtained from her adopted father's drapery store in Armidale.1883Brown silk faille used on bodice and skirt Green silk brocade used on skirt panels and peplum lining Polished cotton lining in skirt and a brown woollen facing at hem. Linen lining in bodice and cotton twill lining in sleeves (Natural dye box is checked)(see site - extensive chart, toggles from metric to inches)Mostly machine stitched with hand-stitching at hem. Bodice seams have a silk ribbon binding to prevent fraying. As the skirt has been unstitched and resewn the seams are very untidy. Alterations Side seams of bodice 'let out' under the arms. Skirt seams had been let out but have been completely unstitched and resewn to what was believed to be the original seams following its donation to the museum. Thin elastic has been added to the skirt waist. (Hand sewn and Machine sewn boxes are checked)Armidale, New South Wales, AustraliaFemaleArchives and collection records of the Port Macquarie Historical Society including telephone conversations with Dorothy Thurling, Births, Deaths and Marriage records - NSW and Ryerson Index. Maria Mulligan's family Thurling Dorothy, unpublished, 1986 Costume in Australia 1788-1901 Fletcher Marion, Oxford University Press, Melbourne, 1984 The Bride - A Celebration Tober Barbara, Harry N Abrams, New York, 1984Maria Harper (nee Mulligan) [1856-1894]; Maria Harper (nee Mulligan)Port Macquarie Historical SocietyPMHM 5095(7 images are shown on website, including interior and condition details)This well worn and altered wedding dress is a good example of a woman's best dress worn as a wedding dress. It was worn by Maria Harper (nee Mulligan) [1856-1894] at her marriage to Samuel Harper [1855-1916] on 29 August, 1883 at Armidale, New South Wales. The dress is well worn, evidencing its wear on many subsequent occasions. This dress is also a fine representative example of a late 19th Century dress, with its well fitted front buttoning bodice with peplum and full skirt with decorative tucks and brocade panels. It is the only coloured wedding dress in the Port Macquarie Historical Society collection. The dress evidences the sewing skills of its maker and wearer, Maria Harper. The skirt in particular also shows evidence of many alterations perhaps to allow for the seven pregnancies Maria had during her ten short years of marriage. Maria and Samuel had ten children in as many years, including three sets of twins however none of the twins survived more than a few weeks. Her four remaining children were left motherless when Maria died of heart failure in 1894. After its donation to the collection, the skirt was unstitched and apparently re-sewn to its original stitching lines to restore the dress to its original design by museum volunteer Pearl Anderson. The dress provides an interesting contrast to many costumes within the collection and is significant because of its association with several long-established Port Macquarie families; the Wilsons and Thurlings. It is an important object to interpret the themes of women's costume, particularly late 19th Century, costume design and creation, wedding costumes, wedding rights and rituals and pregnancy and childbirth. Author: Debbie Sommers, 11th August 2010.; At her marriage to Samuel Harper on 29 August 1883 and probably on other occasions until her death in 1894; Armidale; Historic significance as a personal item belonging to a woman of whom several prominent Port Macquarie families are descendants. Provenanced but in an altered state. Representative example of an 1880s wedding dress. Dresses such as this were also worn for a number of years often being altered or let out to accommodate widening waists, hips and busts as a result of ageing or pregnancy. It appears that Maria's dress had been let out probably due to pregnancy given that she had 7 pregnancies in 10 years. The dress is brown and green and more of a 'best' dress than a wedding dress, so it makes an interesting contrast to the more traditional wedding dresses held in the Port Macquarie Historical Society collection. Made by the owner and wearer the dress bodice evidences Maria Harper's tailoring and needlework skills.; This Wedding Dress was exhibited in "For Better or Worse" - Women and Weddings of the Hastings, a temporary exhibition held at the Port Macquarie Historical Museum from August to December 2005. The exhibition was one of a number of exhibitions developed as part of the 'Her Story' thematic study project in the Port Macquarie Hastings area. Earlier display history of the dress has not been recorded. From August 2010 it is on display in a permanent exhibition of women's crafts and textiles at the Port Macquarie Historical Museum as a changeover garment.; Maria Mulligan was born at Nundle, NSW in August 1856. Her parents Esther and John Mulligan migrated to Australia from Ireland in December 1855 on the 'Conrad'. Maria was the eldest daughter and according to the family history was not a strong robust child. At some stage of her childhood she went to live with her aunt Isabella (her mother's sister) and her uncle James McLean who were childless and they raised Maria as their own. James and Isabella lived in Armidale, NSW where James had interests in flour mills and a drapery store. Maria lived with the McLean's until her marriage to Samuel Harper in 1883 at the age of 27 years. Maria and Samuel had 10 children in as many years, including three sets of twins however none of the twins survived more than a few weeks. The four remaining children, Ethel, Alexander, Jessie and Norman were left motherless when Maria died of heart failure on 10 January 1894 aged 37 years. Maria's eldest child Ethel, aged 8 years went to live with the McLean's (Maria's aunt and uncle) who raised her as they had Maria. Ethel married Eric John Wilson a school teacher in December 1916 and in early 1917 they moved to Llanthony School on the Hastings River, then Cogo (Upper Rollands Plains) and then to Blackman's Point School. Ethel and Eric Wilson moved to Port Macquarie in 1928 where their five children, Eric, Jessie, Norman, Dorothy and Robert, were born and raised.; Dorothy Thurling ( Maria's granddaughter) initiated the donation of the dress to PMHS, according to Dorothy the skirt had been completely let out and that Pearl Anderson, Museum Volunteer, had unpicked the skirt and resewn it to the original sewing marks and replaced the lace at the neck and cuffs to 'restore' the dress to its original state. The nylon lace addition has now been removed.
A family history written by Dorothy Thurling mentions that "Maria filled her time with beautiful needle work, painting and artistic scrap books"
WeddingCopyright Powerhouse Museum and contributors.; Use is licensed under CC-BY-NCMaria Harper (nee Mulligan)( [1856- 1894] handed down to her daughter Jessie Frank (nee Harper) and then to Jessie's son Bill (Lloyd) Frank who donated it to the Port Macquarie Historical Society in 1976.; Overall there is some discolouration and fading to most fabric areas. There is fraying along the hemline from wear, there are insect holes in the skirt lining, the bodice fabric has faded and there are darned areas under each arm on sleeves and bodice. There are also perspiration stains in that area. The satin covered buttons are very frayed. There appears to be some bleaching marks or stains to the upper skirt near the fastenings. Evidence of repairs There are darned areas in the jacket mostly underarm. Modern elastic has been added to the waist and as already mentioned above, most of the skirt seams were unstitched and resewn after the dress was donated to the museum by volunteer Pearl Anderson, in order to 'restore' the dress to its original shape and design. Apparently the skirt was restitched to its original stitching marks, however the skirt has an unusual shape to it which suggests it had been altered at some stage. The integrity of the restoration is not clear as there were no records kept at the museum of work carried out on this garment. The skirt seams are very untidy. The woollen facing at the hemline appears to be a later addition. The nylon lace trim added to the bodice neck and cuffs in 1976 was removed on 6 August 2010. Insect damage Evidence of moth holes on woollen facing added at hemline (Fair is checked for State and for Damage, Discolouration, Fading, Frayed, Holes, Stained, and Worn all are checked)
Cornell University public