We're back with Part Two of Curator Kevin Jones' series on an exciting new acquisition: an exquisite evening ensemble belonging to Queen Alexandra. In this post, Kevin tracks existing documentation of Queen Alexandra's wardrobe and connects it to this newly discovered object. Plus, he turns to royal wardrobe scholar and renowned fashion historian Dr. Kate Strasdin for her expert opinion.
Want to learn more about Kate and Kevin's collaboration on this project? Watch our Instagram Live on Friday, May 15 at 11 am PST for the first FIDM Museum Collection Conversation, a Q&A between Kate and Kevin! They will discuss the significance of the ensemble, what it means for Dr. Strasdin's ongoing research, and answer questions from viewers. If you have a question you'd like to submit, we invite you to leave a comment on this post.
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The FIDM Museum’s latest acquisition is a beautifully embroidered evening ensemble made for Queen Alexandra of England at the time she was newly crowned. The three-piece outfit is synergistic with a wool blouse, also in our collection, that she wore as the new Princess of Wales forty years before. After waiting decades to ascend the throne, Edward VII finally became king on January 22, 1901, on the death of his long-reigned mother, Queen Victoria (1819-1901). The first year of mourning allowed time to prepare for the coronation (and Edward’s recovery from an emergency appendicitis), which finally took place in Westminster Abby on August 9, 1902.
King Edward VII and Queen Alexandra in coronation robes, 9 August 1902. Photographer: W & D Downey (active 1855-1941). Royal Collection Trust, RCIN2933174.
By this time, Alexandra had left off deep mourning and wearing dull black crepe. For the coronation year, she dazzled in spangled court dresses that showed off her celebrated figure and status as the highest titled woman in the United Kingdom and its dominions. By this stage in her life (nearing 60 years), Alexandra’s daywear was British made, but her evening attire was mostly French. She mainly patronized three couturiers in Paris: Morin-Blossier, Laferrière, and Favre.
Designer’s label in Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.
This ensemble was created by the latter, and is typical of the house style when compared to other examples worn by Alexandra. Henriette Favre (dates unknown; worked at least from the 1890s to the 1910s) specialized in allover embroidered patterns, especially favoring flat metal sequins that gave maximum glitter under incandescent lights.
Sleeve detail, Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.
Continue reading "Royal Relic: Documentation and Ongoing Research (Part Two)" »