FIDM Museum Blog

Royal Relic: Documentation and Ongoing Research (Part Two)

 

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. 

*************************************************************************************************************************************************************************

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.

Paper Flowers Pattern

The FIDM Museum is full of fabulous floral fashions - now, you can make your own sartorial stems at home! Inspired by the gorgeous blooms in our collection, we've created a pattern for paper flowers. The materials are simple, but the possibilities are endless; from corsages to centerpieces, headbands to picture frames, it just takes a little glue and a lot of imagination. Use our easy-to-follow template to start, then let your creativity take over. Amp up the scale to make a unique piece of wall art, or try different petal shapes to replicate your favorite posy. Best of all, Mother's Day is right around the corner - give your mom a homemade bouquet, or make flowers together to celebrate! Don't forget to tag us in your creations using #FIDMMuseum and #FIDMMuseumFamily.

Click here to download the paper flower template. Before you begin, check out a few floral objects from the FIDM Museum collection to inspire your projects!

Hat
Christian Dior
c. 1950
FIDM Museum Purchase
2014.5.79

Evening Coat
Norman Norell
c. 1967
Gift of Clarissa Dyer
2003.794.3      

Evening gown
Marc Bohan for Christian Dior
Spring-Summer 1963
77.116.3
Gift of Mrs. Alfred Bloomingdale

Royalty Revealed: Discovering a New Acquisition (Part One)

 

FIDM Museum Curator Kevin Jones shares a very exciting (and regal!) new acquisition in today's post. In this two-part series, learn how the Museum found this object, collaborated with a colleague across the pond to verify its origins, and its significance to the scholarship of royal dress. 

************************************************************************************************************************************************************************************************

The FIDM Museum acquires objects for upcoming exhibitions, research projects, and just because they are beautiful. Sometimes years pass before they are displayed in our galleries, but all of our collections are readily available by appointment and, increasingly, online for anyone with an interest in fashion history. We have had garments and accessories donated by individuals or families with no prior connection to the Museum, and from long-standing supporters who know the kinds of objects we desire. Additionally, we are contacted by, or reach out to, dealers who might have something of interest. And, of course, we follow the international auction market. Occasionally, the trail to an object is circuitous, popping up at random, and leading us to places we would not otherwise find. This is what happened with our latest acquisition!

Facebook post by Delilah Jago on “Fashion Historians Unite!,” March 4, 2020.

I follow “Fashion Historians Unite!” on Facebook, and Delilah Jago, whom I do not know personally, posted on March 4, 2020 about an upcoming vintage clothing sale in Victoria, Australia. Curious about the collection from seeing the image attached to the advertisement—and not having heard of Steve Graham Auctioneer—I clicked on the link and quickly scrolled through the 500+ lots on my phone; it was a single-owner sale that also included furniture. I suddenly stopped at Lot 474. In a couple of small photos, I could see a magnificent evening ensemble with matched reception bodice, ball bodice, and trained skirt of black silk satin overlaid with black Chantilly lace embroidered with thousands of minute silver metal sequins, glass beads, jet, and prong-set rhinestones.

Ball Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21B/C.

Reception Bodice, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21A/C.

Evening Skirt, Henriette Favre, Paris, ca. 1902-06. FIDM Museum Purchase: Funds donated by Barbara Bundy, 2020.5.21C/C.