ENGLISH Booklet Accompanying the Exhibition Robes Politiques — Women Power Fashion 19.3.2021– 6.2.2022

ROBES POLITIQUES WOMEN POWER FASHION ENGLISH booklet accompanying the exhibition robes politiques — women power fashion 19.3.2021– 6.2.2022 ern-oriented countries, and in the first half of the 20th century, women fought FEMALE POWER for voting and representation rights in AND POWERLESSNESS many states. A HISTORICAL In the 19th century, Switzerland was con- PERSPECTIVE sidered one of the most progressive de- mocracies. Nonetheless, in 1971, it was one of the last European states to intro- duce voting and representation rights for In the past, the ruling thrones of Eu- women. Up to this point, Swiss women rope were almost exclusively occupied had been denied political office. Swit- by men. Women who ruled in their own zerland is still a long way from gender right were the exception. In many coun- equality in terms of numbers, both in par- tries, female family members were ex- liament and the Federal Council. cluded from succession to the throne by law. However, even in countries which did not recognize a female line of succession, it was not unusual for female regents to be able to reign for a limited period as a substitute for a male ruler. In the subordinate role of mother or wife to the king, too, women were far from powerless and were able to pull strings politically. With the French Revolution of 1789, the absolutist form of government was abol- ished and new political relations estab- lished. These were based on the prin- ciple that the people, not a single ruler, were holders of state power. Politics was considered a thoroughly male business. Women were firmly relegated to the do- mestic sphere. From the mid-19th century, this led to protests in many west- Textilmuseum St.Gallen ROBES POLITIQUES inhalt WOMEN POWER FASHION I FASHION STATEMENTS CLOTHING Immediately following the 2018 Swiss Federal AS STRATEGY 4 Council elections, Swiss television broadcast a programme in which a communications profes- II IN THE MEDIA sional and a style expert commented on the ap- (FASHION) ICONS pearance of Karin Keller-Sutter and Viola Am- herd, both of whom had just been elected as AND SCANDALS 7 Federal Councillors. This programme caused public uproar, for it made it clear that female III NOT ONE OF US politicians still run the risk of being reduced DEMONSTRATING to externalities, rather than being judged ac- GRANDEUR 10 cording to their skills and qualifications. IV AMONG MEN To mark the anniversary of Swiss women’s right TO IMITATE to vote, the Textile Museum is showing tex- OR TO STAND OUT 12 tile objects that symbolise women’s claim to and representation of power throughout the V ONE OF US changes in society, politics and fashion. Polit- DEMONSTRATING ically influential women move along a narrow A CONNECTION path: on the one hand, a woman’s wardrobe TO THE PEOPLE 15 offers leeway for making a political statement. On the other hand, women (still) stand out in VI IN THE PARLIAMENT male-dominated spheres and run the danger BUILDING of attracting criticism for their dress style. FEMALE SWISS POLITICIANS AND Conceptually, the exhibition is theme-based THE QUESTION in approach, without chronological ordering. OF CLOTHES 16 The clothing of influential women is exam- ined in six chapters from various viewpoints. Fifty textile objects illustrate the tension between femininity and a position of power, between scandal and idealisation, between pop- ulism and representation, demonstrating how clothing is deployed for strategic purposes. The specific examples from various centuries and countries reveal continuous elements, devel- opments and changes. Textilmuseum St.Gallen Textilmuseum St.Gallen I FASHION STATEMENTS CLOTHING AS STRATEGY Sovereigns and politicians The last Empress of France, Eugénie de and government. However, no one else have deployed clothing for Montijo, attempted from 1853 on to re- appeared with a similarly conspicuous inforce her position of power by means outfit like that of Federal Councillor strategic purposes at all times. of fashion. She came from a royal dynas- Leuthard. By wearing the “holey coat” The conditions changed ty and was married to Napoleon III, who she referred symbolically and cheekily fundamentally, however: had achieved his imperial status through to tunnel building as a core skill of the before the French Revolution, a coup d’état. She deliberated tried to Swiss. At the same time, by choosing the distract attention from her dubious po- Akris fashion label, she conveyed a sense the position of power was litical legitimation by according a key of national pride and respect towards justified as “a gift from God”, strategic role to her wardrobe. With the the country’s industry. was inherited or attained aid of artificial dress codes that had not been handed down by tradition and by 2 Ensemble (from the sample collection) through astute marriage Akris constantly changing her outfit, she sought 2016, St.Gallen politics. The female ruler’s to elevate her nobility. The luxurious at- Cotton, twill weave, embroidered appearance was a demonstra- tire turned out not only to obscure the On loan from Akris flaws in her family tree, however; it also When the Gotthard Base Tunnel was opened in tion of this divinely ordained 2016, the then-Federal Councillor Doris Leuthard promoted textile production: the “robe surprised others with extravagant clothing. She order. The social and political politiques” attributed to Eugénie, made wore an outfit that appeared in the media as the upheavals caused by the of exquisite materials, promoted the “holey dress”. The white coat and top with nu- French textile industry. merous stitched holes came from the spring French Revolution, and the collection of the St. Gallen fashion house, Akris. Deliberately chosen for this major event, her accompanying loss of tradi- 1 Ball gown of Empress clothes served the role of sending a symbolic Eugénie (1826–1920) message. tion, resulted in splendid 1850–1870 Linen, needlepoint attire losing meaning as a TM 03612 symbol of ruling power. From This dress is attributed to the last Empress of France, Eugénie de Montijo. Her husband, Na- then on, a female regent’s poleon III, is said to have bought her this dress made of Alençon lace, for which he paid 900 clothing was subject to great- pounds. It is also said that 36 workers took 18 er changes in fashion. months to make it. The undergarment that goes with it has not been preserved. The material and colour of the fabric remain uncertain, as do the actual length of the skirt, the cut of the bodice and the shape of its collar. Due to the fragmentary nature of the dress and its uncertain dating, its mounting can only be regarded as an approxi- mation of the original. With the new Gotthard Tunnel, Switzer- land has built the currently longest rail- way tunnels in the world and one of the most expensive. The fact that the popu- lation approved this project that has cost billions was celebrated as a successful example of direct democracy, and the inauguration of the tunnel was attended by numerous European heads of state- 4 I 3 Empress Eugénie (1826–1920) Charles Frederick Worth that alluded to elements Reproduction of a painting by Franz Xaver of Hungarian magnate costume. She had devot- Winterhalter, 1853 ed attention to Hungarian interests over the years This coronation portrait by Franz Xaver Winter- and on this occasion, she presented herself as a halter became the iconic likeness of the French Hungarian. The dress was nevertheless in keep- Empress Eugénie de Montijo. The sumptuous ing with the latest fashion, given that – despite silk, lace and jewels underscore the rank of the its characteristic nationalist appeal – it was de- young ruler and at the same time mask her ori- signed by the most renowned Paris fashion house gins: Eugénie attained imperial dignity without of the day. being of royal blood. Queen Victoria in a quite similar purple dress. © John Jabez Edwin Mayall, Alamy. 7 Simonetta Sommaruga Member of the Federal Council 2020 10 Trim 1580–1620 Metal, bobbin lace TM 00096 This metal lace trim has small movable plates 4 Doris Leuthard (tremolanti) whose polished surfaces shimmered Former Member of the Federal Council effectively in the vivid light of candles, torches 2016 and fireplaces. The impact of the royal appearance was enhanced by decorations and materials such as pearls and precious stones, as well as gold © Keystone and silver embroidery that caught and reflected the light. Simonetta Sommaruga wore this signal red dress in January 2019 for the opening of the World 11 Archduchess and Governor Isabella Economic Forum (WEF). She commented on Clara Eugenia (1556–1633) her choice of clothes in these words: “When I Reproduction of a painting by Alonso opened the World Economic Forum at Davos last Sanchez Coello, 1586 January, I was dressed entirely in red because my speech conjured up a world on fire, where © Keystone the climate is under threat and where species are vanishing.” 5 Shoes belonging to Empress Eugénie (1826–1920) 8 Ball gown belonging to Empress 1851–1900 Elisabeth “Sisi” (1837–1898) Silk approx. 1865 On loan from the Thurgau Napoleonic Silk, plain weave Museum, Arenenberg Castle On loan from Winterthur Foundation for Art, Culture and History (SKKG), 15016 6 Day dress Royal clients beholden to national interests pur- 1851–1900 chased creations from Charles Frederick Worth Silk, plain weave, moiré in Paris in secret, to avoid affronting the public TM 52948 in their countries. “Sisi”, the Empress of Austria- This dress was probably coloured with aniline Hungary, also obtained several items from the dye – a synthetic dye that was developed in 1856. House of Worth each year. This innovation quickly took off as a trend.

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