desde y para el museo Fashion Forward: Costume and Textiles at the Philadelphia Museum of Art La moda hacia adelante: indumentaria y tejidos en el Philadelphia Museum of Art
H. Kristina Haugland Associate Curator of Costume and Textiles and Supervising Curator for the Study Room, Dorrance H. Hamilton Center for Costume and Textiles, Philadelphia Museum of Art. [email protected] Recepción del artículo 12-07-2010. Aceptación de su publicación 26-07-2010
abstract. The Philadelphia Museum of Art, foun� resumen. El Philadelphia Museum of Art, fundado ded in 1876, is one of the oldest and largest mu� en 1876, es uno de los museos más grandes y anti� seums in the United States, with an encyclope� guos de Estados Unidos, con una colección enciclo� dic collection of 225,000 objects. The Costume pédica de 225.000 objetos. El Costume and Textiles and Textiles Department operates as part of this Department funciona como parte de esta polifacé� multi�faceted institution, with a collection that tica institución, con una colección que comprende comprises nearly 30,000 objects, about evenly di� casi 30.000 objetos, distribuida equitativamente vided between costume and textiles. This article entre vestidos y tejidos. El presente artículo explora explores the Museum’s history and current prac� la historia del museo y las prácticas actuales de co� tices of collecting and exhibiting textiles, historic leccionar y exponer tejidos, indumentaria histórica costume, and contemporary fashion. In the main y moda contemporánea. En el edificio principal se building, occasional major presentations in the exponen muestras temporales en las galerías de ex� Special Exhibition Galleries highlight aspects of posiciones especiales que resaltan aspectos de la co� the department’s collection; objects are also rota� lección del departamento; hay también objetos que ted in a small gallery in the European Wing and se muestran en rotación en una pequeña galería del featured in the context of other galleries. In 2007, Ala Europea y otros objetos de la colección que se the department moved into the Hamilton Cen� hallan en el contexto de las otras galerías. ter for Costume and Textiles in the Museum’s Pe� En el 2007, el departamento se trasladó al Ha� relman Building, affording many new opportu� milton Center for Costume and Textiles, en el edi� nities. Two galleries in this building are devoted ficio Perelman del museo, lo que permitió nuevas e to costume and textiles, and the facilities include importantes oportunidades. Dos galerías de dicho state�of�the�art collection storage, conservation edificio están dedicadas a la indumentaria y los ele� lab, workrooms, and offices that enhance the care mentos textiles, y las instalaciones incluyen nuevos and research of the collection. In addition, a new almacenes de última generación, un laboratorio de Costume and Textiles Study Room has increased conservación y oficinas para el cuidado e investiga� the accessibility of collection objects to scholars, ción de la colección. Además, la nueva sala de estu� students, and others. dio de indumentaria y tejidos ha incrementado la accesibilidad a los objetos de la colección a erudi� keywords: fashion, fashion history, conservation, tos, estudiantes y otros usuarios interesados. accessories. palabras clave: moda, indumentaria histórica, conservación, accesorios.
100 her&mus 5 [volumen ii, número 3], 2010, pp. 100-108
Her&Mus 5.2-5.3.indd 100 30/11/10 23:52 fashion forward: costume and textiles at the philadelphia museum of art
Introduction: the Growth Textiles. Formally organized as a Department in of the Museum and the Costume 1893, it functioned as a design and technical re� and Textiles Collection source for textile students at the Museum School, In 1876, the city of Philadelphia was host to the and the first collections were primarily compro� Centennial Exposition, celebrating the one hun� mised of Turkish, Persian, and Greek textiles and dredth anniversary of the independence of the embroideries. By 1947, when galleries dedicated to United States. Conceived as a showcase of art, fashion opened, the Museum had acquired about craft, design, and industry, the exposition also pro� 300 costumes, most from Philadelphia families. vided the impetus for the founding of the Pennsyl� While these fashion galleries displayed costume vania Museum and School of Industrial Art, now from the eighteenth and nineteenth centuries, the known as the Philadelphia Museum of Art. In the first gifts of contemporary fashion were acquired nearly 135 years since, the Museum has grown to at this time —works by ten leading American de� one of the oldest and largest in the country, with signers— and a gallery for twentieth�century fash� some 225,000 works of art spanning the creative ion was added in 1953. Until the late 1980s, the fo� achievements of the Western world since the first cus remained on developing the collection of his� century AD and those of Asia since the third mil� toric costume and contemporary fashion; since lennium BC. The Museum’s expanding collec� then, costume and textiles have been considered tions, first displayed in Memorial Hall on the fair� of equal importance in both building and exhib� ground, were moved in 1928 to a majestic building iting the collection. One of the oldest collections atop a hill overlooking the city. in the United States, it has grown to also become The Centennial Exposition also provided the one of the largest, with nearly 30,000 objects, first costume and textiles acquisitions for what about evenly divided between textiles and cos� was to become the Department of Costume and tume/accessories.
Fig. 1. The exterior of the Philadelphia Museum of Art with banners for the Schiaparelli exhibition (2003)
her&mus 5 [volumen ii, número 3], 2010, pp. 100-108 101
Her&Mus 5.2-5.3.indd 101 30/11/10 23:52 desde y para el museo h. kristina haugland
Fig. 2. Visitors enjoy Shocking: The Art and Fashion of Elsa Schiaparelli (2003-2004)
Noted strengths of the textile collection in� riod, and thus the collections overlap with several clude exceptional American quilts, samplers, Mid� other curatorial purviews, such as contemporary dle Eastern and Asian archeological textiles, eight� craft, for example. Within the large and multi�fac� eenth and early�nineteenth century French printed eted institution, costume and textiles curators of� textiles, and Italian textiles and embroideries from ten work cooperatively with staff of other depart� the fifteenth to eighteenth centuries. The extensive ments. This has ranged from contributing expertise costume holdings feature outstanding examples to multi�disciplinary catalogues and exhibitions to of Asian and Indian dress, European regional and working with the education department to develop Quaker clothing, and fashionable dress, undergar� a program for guides to use dress as an interpre� ments, and accessories from the eighteenth through tive tool at one of the two historic houses adminis� twenty�first centuries, ranging from court gowns to tered by the Museum. Costume and textile objects couture to avant garde menswear. The collection is are shown in some of the 200 galleries throughout particularly strong in twentieth�century design, in� the Museum as part of the displays of American and cluding iconic works by Elsa Schiaparelli and the European decorative arts, craft, modern design, and wedding dress worn by Princess Grace of Monaco, the arts of East Asia and India. Potential acquisi� the former Grace Kelly of Philadelphia. tions are sometimes discussed with other depart� ments, as was the case in the recent purchase of an The Costume and Textiles Department archival collection of 1960s English printed textiles, in the Larger Museum Context which will be shown in future modern design in� The Costume and Textiles Department is one of stallations and well as textile displays. eight main curatorial departments at the Phila� The departmental collecting policy is consist� delphia Museum of Art; like the Department of ent with that of the Museum – to collect the fin� Prints, Drawings, and Photographs, it is defined est aesthetic examples of their kind. Potential ac� by type of media rather than by geography or pe� quisitions are also considered in context, however,
102 her&mus 5 [volumen ii, número 3], 2010, pp. 100-108
Her&Mus 5.2-5.3.indd 102 30/11/10 23:52 fashion forward: costume and textiles at the philadelphia museum of art
Fig. 3. The exterior of the Ruth and Raymond G. Perelman Building, opened in 2007
since it is important to build on the Museum’s The New Hamilton Center for Costume early history as a study collection and to enhance and Textiles the depth and breadth of the collections. The de� In 1999, the Museum acquired a landmark Art partment continues to acquire important pieces; Deco building just across the street from the Mu� while funding is sometimes available for pur� seum’s main building and designed by the same chases, most are gifts, such as a major donation in architects. The building, originally opened in 1927 2009 from Museum Trustee Mrs. Jack M. (Annette as the headquarters for a life insurance company, Y.) Friedland of over 140 couture ensembles and was renamed for major Museum donors Ruth and designer accessories, including 34 Cardin gowns. Raymond G. Perelman. The original interior space Although the fashion galleries closed in the early of 125,000 square feet (38,100 square meters) was 1980s, from the late 1980s until 2007, the costume expanded by a 59,000�square�foot (18,000 square and textiles collection was showcased in a number meters) addition designed by Gluckman Mayner of major exhibitions, including Ahead of Fashion: Architects. The Perelman Building, opened in Sep� Hats of the 20th Century (1993), Best Dressed: 250 tember 2007, has a Skylit Atrium connecting the Years of Style (1997), and Shocking! The Art and old and new spaces, and houses five gallery spaces, Fashion of Elsa Schiaparelli (2003). More focused as well as the library, executive, curatorial and sup� exhibitions and installations also highlighted many port department offices, and the collections of two facets of the collection, from fans to fashion dolls to departments – Prints, Drawings, and Photographs fiber art, and since the early1990 s objects from the and Costume and Textiles. Department have been rotated in a small perma� The department’s new home, named the Dor� nent gallery in the European Wing. In addition, the rance H. Hamilton Center for Costume and Textiles Department makes the collection accessible to the in honor of the generous donor of funding for the public by lending extensively to both national and new space, comprises a Study Room; offices for cu� international exhibitions. ratorial and collections staff; flexible workrooms
her&mus 5 [volumen ii, número 3], 2010, pp. 100-108 103
Her&Mus 5.2-5.3.indd 103 30/11/10 23:52 desde y para el museo h. kristina haugland
R Fig. 4. The new Textile Conservation lab Q Fig. 5. One of the units in the new Costume and Textiles collection storage
for projects involving research, mounting and dressing, and collections care; conservation lab; and collection storage. The new costume and textiles storage facili� ties are a dramatic contrast to the previous cos� tume storage area, a 4,200 square foot (1280 square meters) space constructed in the mid 1970s, with wooden laminate drawers below a series of hang� ing racks made from commercial piping, which the collection had outgrown by the early 1990s. In the Perelman Building, collection storage is a 38’ × 160’ (11.6 × 48.8 meters) space with 18’ (5.5 meters ceilings, and is divided into two sepa� rate rooms for fire safety purposes. With just over 6,000 square feet (1,830 square meters), the stor� age space is optimized by the use of 12’ (3.66 me� ters) high compacting storage units and provides approximately two and a half times the previous storage volume. (More information and illustra� tions of the process of moving the collection, in� cluding the prepatory storage survey, rehousing project, and design process, is available on the Mu� seum’s website Philamuseum.org under Research / Conservation / Projects / Costume and Textiles
104 her&mus 5 [volumen ii, número 3], 2010, pp. 100-108
Her&Mus 5.2-5.3.indd 104 30/11/10 23:52 fashion forward: costume and textiles at the philadelphia museum of art
Fig. 6. Gallery 271 in the main building displays Fashion’s Favorites: From Rococo to Romantic (2005-2006)
Department Move. Visit
her&mus 5 [volumen ii, número 3], 2010, pp. 100-108 105
Her&Mus 5.2-5.3.indd 105 30/11/10 23:52 desde y para el museo h. kristina haugland
Fig. 7. The inaugural exhibition in the Joan Spain Gallery, A Passion for Perfection: James Galanos, Gustave Tassell, and Ralph Rucci (2007-2008)
Fig. 8. Another view of the Joan Spain Gallery, during the exhibition Shopping in Paris: French Fashion 1850-1925 (2009)
106 her&mus 5 [volumen ii, número 3], 2010, pp. 100-108
Her&Mus 5.2-5.3.indd 106 30/11/10 23:52 fashion forward: costume and textiles at the philadelphia museum of art
Fig. 9. One wall of the Costume and Textiles Study Gallery, showing a view of Recent Acquisitions from A to Z (2007-2008)
The Joan Spain Gallery on the ground floor is large vitrine, with the platform depth ranging from located between galleries dedicated to photogra� 8’ 6 ½” (2.6 meters) to 4’ 6 ½” (1.4 meters) along one phy and modern design. It is a versatile space of side with a diagonal back wall and 41” (1 meter) along 2,000 square feet (610 square meters), for chang� the other. Along another wall, six glass�fronted cubi� ing exhibitions, which are installed every four to cles can display single garments or smaller objects on six months, typically alternating costume and tex� glass shelves, and the center of the room can accom� tiles, with platforms and walls designed and con� modate either a large display case for flat objects or a structed to meet the needs of each new installation. bench, which faces a wall featuring art, a video mon� The opening exhibition showcased three Philadel� itor, and/or didactic labels. The Costume & Textiles phia�born designers, James Galanos, Gustave Tas� Study Gallery opened with an exhibition highlight� sell, and Ralph Rucci. This was followed by a loan ing the variety of objects acquired by the department exhibition of art deco kimono and three exhibitions during the past ten years. Exhibitions in this gallery drawn from the collection: recently acquired quilts, change every nine to twelve months, and have since including many African�American examples; high� included early 1970s fashions by Kansai Yamamoto; lights of French feminine fashions 1850�1925; kan� recent donations of women’s current runway fash� thas (embroidered quilts from Bengal); and a loan ions by seventeen designers; and twentieth�century show of North African jewelry. January 2011 will see men’s tailoring in Philadelphia, in particular the in� the opening of The Peacock Male: Exuberance and novative work of Francis Toscani in the 1960s. Extremes in Masculine Dress, which draws on 300 years of men’s fashions in the collection. Increased Collection Access: The Costume & Textiles Study Gallery on the The Costume and Textiles Study Room floor above, entered by crossing a dramatic bridge and Other Initiatives across the Skylit Atrium, provides 1,200 square feet While the move to the Perelman Building greatly (366 square meter) for more informal displays. Two expanded the opportunities to exhibit the costume perpendicular walls are enclosed by glass to form a and textiles collection, the mandate to increase the
her&mus 5 [volumen ii, número 3], 2010, pp. 100-108 107
Her&Mus 5.2-5.3.indd 107 30/11/10 23:52 desde y para el museo h. kristina haugland
Fig. 10. The spacious new Costume and Textiles Study Room, which opened in 2008
collection’s availability also included opening a designers, artists, groups examining particular ar� Costume and Textiles Study Room. Although the eas such as samplers and fans, and graduate and staff had previously tried to make objects from the undergraduate classes in costume history, art his� collection accessible to scholars, students, and the tory, women’s studies, fashion and textile design, occasional class, only about 30 visitors a year could and studio art. be scheduled. The spacious Study Room, furnished Another project to increase access to the col� with large tables, is just inside the entrance to the lection was undertaken in 2008 when Museum Hamilton Center for Costume and Textiles. Indi� Trustees implemented the Digital Age Initiative, viduals, groups, and classes can request appoint� which aims to make information and images of ments to view objects by submitting the appropri� eighty percent of the entire Museum collection ate application form. The application clarifies that available via the internet within the next ten Study Room appointments are intended to provide years. Although photography of many costume information from the first�hand study of objects and textile objects is inherently time consum� that is not obtainable in other ways; researchers are ing and problematic, this, along with the cura� therefore encouraged to have completed prelimi� torial review of catalogue information, is being nary research so that requests can be specific and done as quickly as possible. (To search the ever� the research as useful as possible. Appointments, expanding online collection database, visit Phi� scheduled with consideration of other staff respon� lamuseum.org/Collections/Search Collections, sibilities, are typically for two hours, and curato�
108 her&mus 5 [volumen ii, número 3], 2010, pp. 100-108
Her&Mus 5.2-5.3.indd 108 30/11/10 23:52