Curios & Treasures Checklist

The Costume Institute The Metropolitan Museum of Art August 14, 2000 - Jam*ary49; 2001 Curios & Treasures

By presenting a selection of the most extraordinary examples in the Costume Institute, Curios & Treasures celebrates the rich diversity of our vast collection. As historical artifacts, these objects of personal adornment articulate a vivid, intriguing story that spans more than five hundred years. Most of these unique objects have never been on public display.

From the sixteenth through the eighteenth century, men's wardrobes were just as flamboyant and decorative as women's. Extravagant fabrics and textiles were a predominant consideration in design. By the late nineteenth century, fashion shifted its focus to the tight-laced Victorian silhouette. While there was great social pressure to conform, alternative styles began to emerge that paved the way for twentieth-century fashion. Curios & Treasures is a testament to the insatiable desire of people to flaunt their individuality through fashion. DP100178 DP100179 DP100180

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Because seventeenth-century costume pieces rarely survive, these doublets offer a unique look at fashionable menswear from the period. While paintings and prints are useful tools for studying general styles and silhouettes, in-depth examination of extant objects provides a more complete understanding of the technological, economical, and social factors surrounding clothing. The basic components of men's seventeenth-century costume consisted of a doublet, jerkin, shirt, and trunk hose, or breeches. The doublet was the basic upper-body garment worn from the fifteenth century through the seventeenth century with variations in length, fit, and sleeve volume. Jerkins mirrored the silhouette of doublets but were sleeveless and were worn over doublets.

1. French or Italian Jerkin, ca. 1630 Red, gold, and ivory brocatelle Rogers Fund, 1935 (35.98.2)

Consultation with the Arms and Armor Department determined that this jerkin may have been worn under armor, due to the abrasion pattern visible across the garment.

2. English Coat, 1630-40 Buff leather Gift of Mrs. Alexander McMillan Welch, 1950 (CI 50.98.3)

Presumably a utilitarian garment, this coat still retains a number of fashionable details such as decorative slashed sleeve caps and split sleeves through which the chemise would be visible.

3. French (Luchesse silk) Doublet, 1620-25 Polychrome silk brocade trimmed with mauve silk braid and lined with mauve silk Purchase, The Costume Institute Fund, in memory of Polaire Weissman, 1989 (1989.196)

This extraordinary doublet is one of only two surviving examples of its type from the 1620s. The only other known doublet of this kind is in the collection of the Victoria and Albert Museum in London. Made of luxurious silk embellished with pinking and decorative slits, this doublet followed a fashion that existed barely five years. Pinking, or the intentional slashing of fabric, was a popular decorative technique used to reveal colorful linings, shirts, and chemises. It is possible that this garment was constructed from silk previously pinked for another use as the pattern created does not follow the cut of the garment. Si

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4. English Purse, 1580-1600 Linen embroidered with polychrome silk floss, metallic thread, and metallic purl, lined with pink silk Purchase, Judith and Gerson Leiber Fund, 1986 (1986.300.1)

Elaborately embroidered purses such as this example were known as "sweet bags" and were used to carry scented herbs or essences to cover unpleasant odors.

• 5. English Pair of Mules, early 17th century Leather and ivory linen embroidered with polychrome silk thread, metallic purl, and metallic thread Rogers Fund, 1929 (29.23.11,. 12)

By the sixteenth century, embroidery had become a highly developed art form in England and on the Continent. The proliferation of printed materials, particularly books of embroidery designs, supplied a wealth of motifs for both the amateur and professional embroiderer. The superb workmanship found on this pair of early-seventeenth-century mules suggests professional design and manufacture.

6. Spanish Helmet, 16th century Straw with polychrome velvet applique embroidered with paillettes and metallic purl Rogers Fund, 1932 (32.132)

This unusual plaited straw helmet is very similar in both shape and ornament to contemporary steel military helmets. However, this highly decorative example was likely worn by a high-ranking official for festive peacetime occasions.

7. European Purse, 16th century Ivory linen embroidered with metallic thread, polychrome silk floss, metallic purl, and applique with iron frame Gift of Catharine Oglesby, 1959 (CI 59.30.3)

This elaborately embroidered purse, possibly of French origin, is of the type commonly carried by men during this period. Used for holding small amounts of money, these purses would have been worn on the belt. In this example, the ornate iron frame, which carries a hallmark from Nuremburg, Germany, is equipped with two carriers on the reverse for a belt.

8. French Purse, late 17th century Enameled copper panels, silver compound weave, and silver metallic cord IK

14 1* 9. Purse, late 17th century OP 100 1*7? Enameled copper panels, ivory silk and silver compound weave, silver metallic fringe, and red silk grosgrain ribbon Gift of Mrs. EdwardS. Harkness, 1930(30.135.175, 176)

By the seventeenth century, gift-giving had become an elaborate ritual among the upper classes. Monetary gifts were often presented in small decorative purses made from costly materials. Gift purses such as these enameled drawstring bags were a specialty of the French town of Limoges. These two bags with enameled portraits may have been intended as wedding gifts.

10. European Purse, 18th century Ivory silk embroidered with polychrome silk floss and metallic thread trimmed with pink silk ribbon and metallic braid Purchase, Sadie M. Simon Memorial Fund, 1939 (CI 39.69.20)

France emerged as the dominant tastemaker for the decorative arts in the eighteenth century. Europe's upper classes looked toward France for aesthetic inspiration, imposing a certain uniformity of design on the creations of professional workshops. This included the embroidery workshops, often making it difficult for historians to pinpoint an embroidered artifact's country of manufacture.

11. English Gloves, early 17th century White leather embroidered with metallic thread, paillettes, and red silk applique Gift of Miss Irene Lewisohn, 1940 (CI 40.194.30a,b)

12. English Gloves, early 17th century White leather embroidered with metallic thread, polychrome silk purl, polychrome silk floss, and paillettes Gift of Miss Irene Lewisohn, 1940 (CI 40.194.31 a, b)

During the seventeenth century, elaborately embroidered gloves were commissioned to be made as presents for distinguished visitors, patrons, and heads of state. Their status as purely decorative objects, rather than practical everyday wear, has resulted in the survival of an unusually large number of gloves of this type.

13-15. English Men's Shoes, late 15th- mid-16th century Brown leather Bashford Dean Memorial Collection, Funds from various donors, 1929 iGT54^3r21r^22^2S)- fat ^% $$<\z ,. \^} $°\£)

These shoes, part of a larger collection of objects excavated from an archaeological site on the Thames River in London, provide an overview of fashionable shoe styles from the mid-fourteenth to the early sixteenth century. The poulaine, a long pointed shoe, remained the popular footwear, with its overall length expanding and contracting, for almost 150 years. The long, exaggerated points were often stuffed with moss or other materials for support. By the late fifteenth century, the poulaine was superceded by an equally exaggerated style of shoe that was unusually broad across the instep and toe. This style was relatively short-lived, however, and was quickly replaced by a shoe that more closely approximated the natural shape of the foot. Intentional slashing and embossing of the leather were common decorative embellishments. 16. Spanish 0/° ***t7* Jerkin, ca. 1580 Brown silk voided velvet trimmed with metallic bobbin lace Gift of Bashford Dean, 1926 (26.196)

Working in tandem, curators and conservators combine theory and science to produce a more complete understanding of historical artifacts. Testing on this sixteenth-century jerkin by Conservator Christine Paulocik has shown that all of the applied adornment - including the padding at the shoulders, silk tufts, and metallic bobbin lace - is original to the garment. Decorative buttons made of boxwood at center front give the illusion of a closure, when in reality the wearer would have required help setting dressed due to the laced closure located at the center back. The use of boxwood buttons turned on a lathe is consistent with technology and materials of the period. The loss of velvet pile is likely a result of an iron mordant used in the dying process.

17. Austrian Hat, ca. 1600-1610 Beige leather embroidered with black silk Gift of Mr. and Mrs. Werner Abegg, 1960 (CI 60.52)

This hat was a typical style of men's headwear worn during the early seventeenth century. The surface decoration and embroidery bear a strong resemblance to that found on a leather fencing doublet (29.158.175) dated about 1580 and currently on display in the Arms and Armor galleries.

18. English Cap, 16th century Felted brown wool knit Bashford Dean Memorial Collection, Funds from various donors, 1929 {GH&63A4)- £q . \*# . ^5

19. English Cap, 16th century Felted brown wool knit Bashford Dean Memorial Collection, Funds from various donors, 1929 {Cl56.63.15} 3^.^.^%

These felted knit caps are typical of sixteenth-century headwear in England. Cap knitting was an important domestic industry, restricted to professional guilds and protected by law. One such law, the Statute of Apparel, passed in 1571, specifically stated that all English citizens above the age of six, except nobility, "had on Sabbath and Holydays to wear caps of wool manufactured in England."

20. English Poulaine, 14th- 15th century Brown leather Bashford Dean Memorial Collection, Funds from various donors, 1929 (CI 56.63.33) X 1^.°\\4 Gallery Four: Eighteenth Century -Qp / CO/^O

21. English Robe a l'anglaise, 1770s Ivory silk with polychrome brocaded floral pattern Rogers Fund, 1934 (34.108)

The robe a l'anglaise, with open robe and petticoat, was the quintessential dress of the 1770s. The exquisite brocaded silk textile of this gown was probably the product of Spitalfields, the important silk manufacturing center just outside of London, and dates to the late 1730s to early 1740s. Previous stitch marks and the early date of the textile suggest that this dress has been remade from an earlier style. The high cost of silk made reusing fabric from outdated garments a common practice.

[Separate Label]

Throughout much of the eighteenth century, bodices and jackets served as informal at- home wear. By the 1770s, jackets worn with matching or contrasting petticoats were adopted into the fashionable woman's wardrobe as semiformal wear, thus allowing for a greater variety in dress. Close-fitting bodices and shaped sleeves were created through the use of pattern pieces tailored to correspond to the contours of the corseted body. This group of bodices and jackets from the eighteenth century illustrates the myriad of styles popular throughout the century and demonstrates the advances in fit and tailoring achieved by this time.

22. European Bodice, 18th century Orange silk brocade Gift of Mr. Lee Simonson, 1939 (CI 39.13.204)

23. European Jacket, late 18th century Rust silk damask Gift of Mr. Lee Simonson, 1939 (CI 39.13.203c)

24. European Bodice, 18th century Blue silk with polychrome brocaded floral pattern Gift of Mr. Lee Simonson, 1939 (CI 39.13.210)

25. French Jacket, mid-18th century Blue silk with polychrome brocaded floral pattern Gift of Miss Carolyn Wicker, 1938 (CI 38.62.9)

26. French Bodice, late 1770s - early 1780s Pink and white striped silk brocade with chinoiserie motif Purchase, Irene Lewisohn Bequest, 1978 (1978.298.1) o

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XI 2.3 X* fit 24 a x az 28. Dutch bf/06/So Caraco, 2nd half of the 18th century Green, red, blue, and ivory printed Indian cotton Purchase, Funds from various donors, 2000 (2000.251)

In the Netherlands, informal jackets made of cotton chintz were popular throughout the eighteenth century. This caraco was made from an Indian chintz presumably imported by the Dutch East India Company. The presence of a green ground, achieved by overdying indigo with yellow, is highly unusual, as is the large-scale floral design sensitively rendered in shades of indigo blue and red. 27. Italian ^p /00/^y Jacket, ca. 1785 Blue and green silk damask Purchase, Catherine Breyer Van Bomel Foundation Fund, 1981 (1981.210.7)

29. French Man's Court Jacket and Waistcoat, ca. 1804 Green silk compound weave embroidered with polychrome silk floss and silver metallic thread, compound weave of white silk with silver thread embroidered with polychrome silk floss and silver thread Rogers Fund, 1932 (32.35.1 la,b)

30. French Man's Court Jacket and Waistcoat, ca. 1804 Blue silk velvet embroidered with polychrome silk floss and gold and silver metallic thread; ivory silk embroidered with polychrome silk floss, silver metallic thread, and paillettes Gift of Mr. and Mrs. A. Perry Morgan Jr., 1983 (1983.384. la,b)

By the early nineteenth century, menswear had become more somber in color and simplified in decoration, a direct influence of English styles. These two suits, however, illustrate Napolean's revival of extravagant ancien regime styles for wear at court. Politically and economically motivated, this revival was calculated to boost the foundering fashion-related industries in France.

31. French Man's Banyan and Vest, ca. 1730 Polychrome floral patterned compound silk lined with yellow silk Gift of Chester Dale, 1953 (CI 53.74.7a, b)

Til. French Man's Banyan, ca. 1760 Ivory and red striped faille brocaded with polychrome floral pattern and lined with brown, black, and ivory printed linen Purchase, Estate of Irene Lewisohn and Alice Crowley Fund, 1976 (1976.149.1)

An overall interest in all things Eastern influenced textile designs and clothing styles of the eighteenth century. The banyan, a popular men's leisure garment, was inspired by East Indian styles of clothing. Although worn only at home, many banyans were nevertheless made from luxurious patterned silks. -See. £>P/oo190 Gallery Three: Nineteenth Century .-% ^ ,*>*/ ««_/

[Additional Wall Text]

"One should either be a work of art, or wear a work of art." -Oscar Wilde In 1875 Liberty & Co. opened its doors in London to an eager public who had developed a taste for Eastern exoticism in home decor. In order to exercise creative and quality control, Liberty & Co. imported silks in a "gray" state, then dyed the textiles in pale, luminescent colors that soon became known as Liberty colors. This color palette was in stark contrast to the heavy, textured fabrics and deep colors derived from aniline dyes, which were popular during the Victorian period.

By 1884, Liberty & Co. created its own dress department in response to growing interest. These early examples of Utopian dress, fueled by the dress reform movement, had a medieval sensibility inspired by the Pre-Raphaelites. Arthur Lasenby Liberty (1843- 1917) promoted an artistic mode of dress that combined aspects of the draped, neoclassical figure with a nostalgic appeal. Aesthetic dress, also known as artistic dress, continues to be admired and debated.

33. American Dress, ca. 1899 Rust silk twill with black silk cording and rust silk velvet applique Gift of Mrs. Albert Shiels, 1941 (CI 41.133.1)

This dinner dress presents an atypically sleek silhouette compared to the corseted monobosom shape of most women at the turn of the century. One can easily imagine Cecil Beaton being inspired by such a dress when he created costumes for Audrey Hepburn in the 1964 movie version of My Fair Lady.

34. French Dress, ca. 1908 Label: L. Chambet Ivory silk shantung trimmed with self-fabric piping and ivory cotton net Gift of Estate of Mary Le Boutillier, 1945 (CI 45.79.58)

The original tea gown, which was popular throughout the last quarter of the nineteenth century, was based on an ease of fit and one-piece construction that gave women a break from the tedious dress codes of the day. It offered comfort and provided an outlet for experimentation in dressmaking during the Victorian era. This exquisite example of a one-piece dinner dress, inspired by the tea gown, is lightly boned and combines the sinuous lines of Art Nouveau with a crisp, modern style.

35. American pp 1CO1JP3 Maternity Dress, ca. 1882 Maroon silk satin Gift of Mrs. Nathaniel D. Clapp, 1985 (1985.363.9)

This high-style maternity dress, worn for public outings, clearly indicates that not all pregnant women were confined to the home. It also reflects the prevalent fashion for historicism. No one raided the previous centuries for inspiration more often than fashionable dressmakers of the nineteenth century. This maternity dress reflects design elements of the tea gown, such as Watteau box pleats, which Scottish costume historian Naomi Tarrant refers to as "the single most conscious adaptation of eighteenth-century dress." There is a polonaise-like bustle and drapery that was used quite liberally in the 1880s. Also, note the Elizabethan-inspired piccadill tabs at the cuff. This dress is a prime example of the deep, rich colors typical of the period.

36. French Evening Dress, ca. 1880 Blue silk satin, embroidered ivory silk and lace Gift of the Estate of Jane Curtiss Breed, through James McVickar Breed, 1946 (46.88.2)

This stunning hybrid style consists of a high bustle dress combined with a draped overdress in a Liberty-style imported silk known as Indian washing silk. While Liberty & Co. did not open a Paris branch until 1890, their influence had clearly crossed the channel.

37. French Tea Gown, ca. 1878 Turquoise blue henrietta cloth trimmed with ivory cotton lace and blue satin ribbon Gift of Miss Betty Freese, 1944 (CI 44.122)

This traditional tea gown mixes subtle historical details based on a typical, late-1870s silhouette. The one-piece dress is fitted to the body with princess seams, yet the back of the dress gives the illusion of being loose with a smocked draped panel that extends into a train. It is doubtful that a woman would go corsetless, yet she could wear her corset loosened for teatime with friends.

38. Attributed to Liberty & Co. Evening Dress, 1880s Yellow silk Purchase, Funds from various donors, 1985 (1985.155)

Liberty and Co. began designing dresses in 1884, under the supervision of architect E. A. Godwin, who shared Oscar Wilde's views that women's dress should be based on Grecian draping and classical form. This is a rare early example of a sumptuous, neoclassically draped dress. The bodice is lightly boned and the underskirt features the traditional dust ruffle. [Separate Label] £>1° /001S3

Oscar Wilde wrote an article entitled "Woman's Dress" for the Pall Mall Gazette on October 14, 1884, to rebut some of the letters written to the Gazette about his recent lectures on dress reform. Wilde explained his principles of dress: "I am not proposing any antiquarian revival of ancient costume, but trying merely to point out the right laws of dress, laws which are dictated by art and not by archaeology, by science and not by fashion; and just as the best work of art in our days is that which combines classic grace with absolute reality, from continuation of the Greek principles of beauty with the German principles of health will come, I feel certain, the costume of the future."

39. Liberty & Co. Dress, ca. 1924 Purple silk velvet and cream silk georgette trimmed with ivory cotton lace Purchase, Irene Lewisohn Bequest, 1986 (1986.393)

An earlier version of the Stuart dress in brown velvet that appeared in the Liberty catalogue in 1908 was initially described as a tea gown. That Liberty would still feature this antiquated model in its catalogue as late as 1924 is curious, but there was still a market for fancy dress parties and at-home wear. 40. Liberty & Co. D*> tOOtf? Cape, ca. 1906 Pale blue-green satin trimmed with band of self-fabric embroidered with polychrome silk Gift of the Jacqueline Loewe Fowler Costume Collection, 1980 (1980.171.9)

Liberty & Co. Evening Dress, ca. 1910 Light blue silk charmeuse embroidered with blue silk floss Purchase, Irene Lewisohn Trust Fund, 1986 (1986.114.5)

Liberty & Co. introduced the empire-waist dress in 1905, which in turn influenced Paul Poiret's Directoire line in 1907. Poiret made dresses with Liberty fabrics when he first opened his house in 1903 and was later inspired by the exotic palette of Sergei Diaghilev's Ballets Russes. In 1933 Poiret designed several evening dresses for Liberty & Co., but it did not revive his career.

41. Liberty & Co. Burnous, ca. 1915-20 Gray silk satin embroidered with polychrome silk and metallic thread Gift of Miss M. Sawyer, 1941 (CI 41.84)

The embroidered border on this cape recalls the floral borders of illuminated manuscripts that inspired the work of William Morris.

42. French Evening Coat, ca. 1908 Label: Francis Ivory silk velvet embroidered with gold metallic thread Gift of Mr. and Mrs. Per Bogh-Henrihsen, 1980 (1980.160)

While based on an empire-waist sihouette popular at the turn of the century, this evening coat reflects the public's continued fascination with historicism. The coat is laden with gold trim embroidery similar to a priest's vestments.

43. Liberty & Co. Coat,ca. 1910 Green silk satin embroidered with silk floss and trimmed with silk passementerie Gift of the Jacqueline Loewe Fowler Costume Collection, 1986 (1986.88)

The kimono-inspired shape of this evening coat can also be found in the early collections of Paul Poiret. Vestiges of orientalism remained popular at the turn of the century, especially in dressing gowns and at-home wear. Embroidered borders in silk floss were a key element of Liberty designs. I OP iooie*t

44. Liberty & Co. Dress and Cape, ca. 1905 Pale pink silk satin dress embroidered and smocked with pink silk floss, and cape trimmed with a panel of pink silk embroidery with polychrome silk floss and gold metallic thread Gift of Friends of the Costume Institute, 1979 (1979.17 6a,c)

This "mock-medieval" dress has a smocked neckline and waistband with unusual smocking on the sleeves. The bodice has a built-in chemise lining without boning that was meant to be worn over a soft silk underdress. Wearing such an "artistic dress" gave women permission to go corsetless. It was a radical concept to suspend the weight of the dress from the shoulder instead of the waist. According to The Woman's World magazine, Constance Wilde was originally involved in the revival of smocking on women's dresses. The cape has a Celtic-inspired pattern, a favored Liberty motif.

45. Liberty & Co. Cape, 1900-1910 Pink and green silk Jacquard weave Purchase, Isabel Shults Gift Fund, 1995 (1995.5.2)

This early-twentieth-century evening cape with a peacock-feather motif recalls one of the major symbols of the Aesthetic Movement. Often associated with the famed Peacock Room that James Whistler created for Frances R. Leyland's house about 1877, the peacock feather became the source for an early Liberty print. It was a roller-printed cotton textile designed in 1887 by Arthur Silver in shades of green, blue, and yellow ochre on a royal-blue ground. Liberty insisted on the anonymity of their designers, thus succeeding in creating the Liberty trademark style. 46. Liberty & Co. J)/> 10 Ot *T~ Dress, 1890s Gold silk embroidered and smocked with brown silk floss Purchase, Irene Lewisohn Trust Fund, 1986 (1986.115.2)

Achieved with vegetable dyes, Liberty colored silks came in a wide spectrum of artistic colors, ranging from the "faintest amber to the deepest sunset-gold."

47. Liberty & Co. Fancy Dress, 1891 Label: Liberty & Co., Artistic and Historic Costume Studio, 222 Regent Street Pale pink silk embroidered with pink silk Gift of Margaret M. Flockhart, 1968 (CI 68.53.9)

The story behind this dress reads like a fairy tale. Andrew Carnegie bought it for his wife after she survived a bout of typhoid fever. It is a very special, luxurious example of Liberty & Co.'s trademark finesse with historical details combined with the sheer comfort of a tea gown. It was produced in the drama and fancy dress department, which

would account for the voluminous fabric that must have made Mrs. Carnegie feel like a queen.

48. Liberty & Co. Young Girl's Dress, 1880s Ivory silk embroidered and smocked with ivory silk floss Purchase, Irene Lewisohn Trust Fund, 1986 (1986.115.3)

Inspired by the traditional English farmer's smock, Liberty & Co. popularized the use of smocking in both women and children's dress. The popularity of this style of dress is reflected in the historically inspired children's illustrations of Kate Greenaway.

"The fancy of the moment is for children to wear the new provincial smock made exactly like the carters' or waggoners' dowlas frocks." -Ladies Treasury, 1880

49. Liberty & Co. Dress, 1890s Mauve silk embroidered and smocked with pink silk floss Purchase, Irene Lewisohn Trust Fund, 1986 (1986.115.5)

An 1894 illustration by Walter Crane in the publication Aglaia featured two women in artistic dress. That Liberty & Co. owed a debt to these early inspirations is evident. This smocked, loose dress is contrary to the corseted silhouette then in vogue.

50. Liberty & Co. Girl's Dress, 1890s Pale green silk embroidered and smocked with pale green silk floss Purchase, Irene Lewisohn Trust Fund, 1986 (1986.115.4)

Smocking became a key element of Liberty dresses for women and children in the late nineteenth century. According to The Woman's World magazine, "During the last few years little frocks of soft material, gathered or smocked on the shoulders, fastened below the waist with a soft silk sash have grown very much in favour with mothers who like to see their children comfortably and prettily dressed."

51. English DP /6t>t*S~ Man's Smock, mid - late 19th century Beige linen embroidered and smocked with beige linen Gift of Mrs. Henry W. de Forest, 1952 (CI 52.39)

This elaborate smock is a remarkable example of a traditional English rural garment that was a direct inspiration for the Liberty smocked dress. Gallery Four: Fortuny &p /pot*6

Mariano Fortuny, Italian (1871-1949) A true Renaissance man, Mariano Fortuny's inventive instincts led him to explore painting, etching, sculpture, photography, lighting and theatre design, architecture, and fashion. Born in Spain, as the progeny of an artistic family, Fortuny made his home and studio in Venice at the Palais Orfei. Inspired by historical textiles and Greco-Roman antiquities, he is known for creating modern versions of neoclassic dress out of pleated, muted silks. The atmospheric qualities of light and reflection found in Venice were essential elements that he sought to capture in his custom-dyed and printed fabrics.

Legendary American dancer Isador Duncan first made Fortuny keenly aware of the natural body in the context of modern dance. The classic Fortuny Delphos dress, introduced in 1907 and patented in 1909, remains a coveted collector's item. Fortuny's signature style and creative contributions continue to inspire contemporary design.

52. Mariano Fortuny Floor Lamp, 1907 (reproduction) Black lacquered steel structure, black and white cotton umbrella, chrome-plated brass Courtesy of Pucci International

This classic Fortuny lamp was rescued from obscurity by French designer Andree Putnam. It is now a reproduced design offered by Ecart International under careful quality control. Fortuny's avant-garde imagination is evident in this early modernist gem.

53. Mariano Fortuny Delphos Dress, ca. 1928 Pleated black silk satin trimmed with glass beads Gift of Irving G. Beebe, in memory of his wife, Edith Hunter Beebe, 1972 (1972.206a)

This is a stunning example of Fortuny's trademark pleating, a process that remains cloaked in mystery. Contemporary designers Mary McFadden and Issey Miyake have elaborated on pleating in their own work, reviving a strong interest in the design legacy of Fortuny.

54. Mariano Fortuny Evening Dress, 1931 Gold silk velvet stenciled with gold pattern Gift of Miss Emily Chase, 1948 (CI 48.22.1)

55. Mariano Fortuny Evening Dress, early 20th century Pale blue silk crepe de chine stenciled with gold pattern Gift of Mrs. Leonard Smiley, 1975 (1975.146.2)

Inspired by Liberty designs, these are rare examples of Fortuny dresses sewn in a traditional method with soft, unpleated fabric. The drawstring gently shapes the tunic into an empire waistline.

56. Mariano Fortuny Evening Dress, early 20th century Black silk velvet stenciled with gold pattern and pleated black silk satin trimmed with glass beads Gift of University of Virginia Drama Department, 1977 (1977.304.3)

ba. Sk f3 st, sn st *i G( op /ooi r6 This tabard-style dress features pleated silk insets that provided ease of movement. The Celtic motif is also reminiscent of Liberty prints. Previously associated with mourning, the color black became fashionable during the Art Deco period. 57. Mariano Fortuny Tea Gown, 1930-32 Black silk velvet stenciled with gold pattern Gift of Mrs. Clarkson Runyon, 1951 (CI 51.86.6)

Since Fortuny regarded his dress designs as inventions, he also patented his designs as early as 1909. His description reads: "This invention is related to a type of garment derived from the classical robe, but its design is so shaped and arranged that it can be worn and adjusted with ease and comfort." By the twenties and thirties a Fortuny evening dress, such as this medieval-style tunic, would be worn by women who projected a strong sense of their own individuality.

58. Mariano Fortuny Evening Dress, Cape, and Belt, ca. 1935 Pleated pale peach silk satin cape and pale peach silk satin dress stenciled with gold pattern Gift of Mrs. Diane Stinchfield Klingenstein, 1983 (1983.481a-c)

This evening ensemble with a pleated short capelet worn over a Delphos dress reveals a touch of Hollywood glamour. Designers such as Madeleine Vionnet and Madame Gres further experimented with pleating and draping so prevalent during the thirties.

59. Mariano Fortuny Evening Coat, 1920s Blue silk velvet stenciled with silver pattern Gift of Estate of Lillian Gish, 1995 (1995.28.4)

Mariano Fortuny Delphos Evening Dress, 1920s Pleated blue silk trimmed with brown glass beads Gift of The Estate of Agnes Miles Carpenter, 1958 (CI 58.61.4)

Numerous variations of the Delphos were created by Fortuny. The overblouse was sewn onto the basic tunic with long, tapering points weighted with Venetian glass beads. Since Fortuny produced similar dresses, jackets, and capes over four decades, they are almost impossible to accurately date.

60. Mariano Fortuny Evening Dress, ca. 1914 Blue silk velvet stenciled with gold pattern and pleated blue silk satin trimmed with glass beads Gift of Miss Mercedes de Acosta, 1952 (CI 52.37.1a)

Characteristic of Fortuny's inventiveness, this elegant gown features small Venetian glass beads that not only were ornamental but served as weights so the dress would cling to the body's contours. Fortuny employed this device on most of his dress designs. 61. Mariano Fortuny Evening Coat, 1930s D1° '00/ 8 6 Red silk velvet stenciled with gold metallic design Gift of Mrs. Ernest Frederick Eidlitz, 1975 (1975.382)

Mariano Fortuny Delphos Evening Dress, 1930s Pleated fuchsia silk trimmed with glass beads Gift of The Estate of Agnes Miles Carpenter, 1958 (CI 5 8.61.3 a,b)

Fortuny eschewed the whims of Paris fashion, preferring to perfect his own ideals. A devoted client would take great care and have a possessive, sentimental attachment to her Fortuny wardrobe. If a dress needed to be repleated, it could be sent back to Venice, where Fortuny would carefully restore it.

62. Mariano Fortuny Evening Jacket and Sash, ca. 1920 Green silk velvet stenciled with gold pattern Gift ofVarney Thompson Elliott and Rosemary Thompson Franciscus in memory of their mother Margaret Whitney Thompson, 1985 (1985.365.4a, b)

Mariano Fortuny Evening Dress, ca. 1920 Pleated green silk satin trimmed with glass beads Gift of Mrs. Leonard Smiley, 1975 (1975.146. la)

Early Fortuny creations were worn in the privacy of one's home or while entertaining friends. By the 1920s, women ventured out in public in Fortuny gowns. The addition of the velvet evening jacket resulted in a luxurious yet modern style that could be worn today. Center Window: Gallenga and Babani OP lAOt&a

63. Maria Monaci Gallenga, Italian (1880 - 1944) Tea Gown, ca. 1930 Red silk velvet stenciled with gold pattern trimmed with beads Gift of Louise Rorimer Dushkin (CI 63.14)

The distinctive career of Maria Gallenga paralleled that of Mariano Fortuny. Her work is rare and beautiful. The "mock-medieval" styling serves as a canvas for her unique velvet prints. As early as 1914, in the Secessione Romana, Rome, she exhibited her fashion designs as art; she also exhibited in 1925 at the Exposition International des Arts Decoratifs et Industriels Modernes in Paris.

64. Maria Monaci Gallenga, Italian (1880 - 1944) Evening Dress, early 20th century Light brown silk velvet stenciled with gold pattern trimmed with polychrome glass beads Gift of Mrs. Paxton T. Dunn in memory of her mother, Hildreth Meiere, 1991 (1991.187.4)

65. Maria Monaci Gallenga, Italian (1880 - 1944) Evening Ensemble, early 20th century Gray silk velvet stenciled with silver and gold printed pattern trimmed with polychrome glass beads Gift of Mrs. Paxton T Dunn in memory of her mother, Hildreth Meiere, 1991 (1991.187.6a,b)

66. Mme Babani Evening Dress, ca. 1925 Yellow silk velvet embroidered with gold metallic thread Gift of Mrs. Aline Bernstein, 1945 (CI 45.91.2)

67. Mme Babani Dress, ca. 1926 Dark pink silk velvet with gold metallic embroidery Gift of Richard and Judith Webb, 1995 (1995.506.2)

Little documentation exists about French designer Mme Babani, who opened a boutique on the Boulevard Haussmann in 1919. According to French curator Florence Muller, Babani was an ardent follower of Fortuny and featured both Fortuny and Liberty fabrics in the boutique. She then added some dresses of her own design, which had an uncanny resemblance to Fortuny in form, yet they have a distinctive, heavy gold embroidery. Mme Babani's work often had less sophisticated motifs on brightly colored velvets. This mystery designer worked until about 1930. 6iT *1 (oHr 63 kfo CURIOS & TREASURES August 14,2000 - January 21,2001

Curator: Myra Walker Photography: Karin Willis Design: Jill Hammarberg Lighting: Clint Coller Editorial: Patty O'Connell Research Associates: Amy Beil Emily Martin Research Assistant: Michelle Webb Conservation: Chris Paulocik Rita Kauneckas Chantal Bernicky Storage: Alexandra Kowalski Library: Stephane Houy-Towner Installation: Lisa Faibish Carmella Tigani Technician: Michael Downer Docents: Kitty Benton Wendy Nolan Barbara Brickman Pat Peterson Julie Duer Christine Petscheck Eileen Ekstract Dee Schaeffer Susan Furlaud Nancy Silbert Betsy Kallop D.J. White Susan Lauren Butzi Moffitt

Assistant for Administration: Tara McNeill