A Thousand Fancies….

The power of objects to inspire a thousand fancies
Charles Paget Wade

Charles Paget Wade, a poet, architect, artist-craftsman and not forgetting keen collector of eclectic objects, to inspire.

This collection can be seen at Snowshill Manor, which Wade gave to the National Trust in 1951. The collection of course would not be complete without costume (2,200 items of 18th to 20th century to be precise) which is stored at Berrington Hall. The collection is cared for by Althea Mackenzie, Costume Curator.

This year Berrington Hall is bringing to life the Georgian interiors of the Hall by displaying costume, from The Charles Paget Wade Collection, Hereford Museum Resource and Learning Centre and COSPROP (costume from The Duchess and 1995 BBC production of Pride and Prejudice).

The displays shall enchant visitors by taking them on a journey, peeping into the lives and fashion of Georgian society.

Over the course of the year there will be an array of costume from The Charles Paget Wade Collection and costumes worn in Pride and Prejudice (1995) British television period drama and the film The Duchess (2008).

Pride and Prejudice was filmed at various locations including Lyme Park (exterior of Pemberley, Darcy’s estate in Derbyshire) and Sudbury Hall (interiors) both owned by the National Trust.

The Duchess was filmed at locations such as Chastworth House, Bath (including the Assembly Rooms and Royal Crescent) and Clandon Park.

The Duchess, a selected display of costumes from The Duchess (2008), includes the wedding dress worn by Keria Knightly on until 30th June 2014, costumes from COSPROP, Holloway Road.

‘Wearing The Garden’ looks at Georgian men’s fashion. The influence of gardens on fashion reveals an extravagant display of stunning waistcoats with embellished woven silk brocades. This exhibition will feature costumes from The Charles Paget Wade Collection and Hereford Museum Resources and Learning Centre on until 30th June 2014.

‘Big Bottoms and Small Waist’ reveals a display of undergarments through the centuries. This exhibition will feature undergarments from The Charles Paget Wade Collection and Hereford Museum Resources and Learning Centre on display from 1st July until 31st August 2014.

‘Pride and Prejudice’ a selection of costumes and accessories worn during filming of Pride and Prejudice in 1995. On display from 1st August until 31st October 2014, costumes from COSPROP, Holloway Road.

If you want to see if costume can inspire a thousand fancies, why not make a visit to Berrington Hall or see the blog featuring The Charles Paget Wade Collection written by Ellie Jones, Conservation and Engagement Manager.

I certainly felt inspired by my visit! What will inspire you today?

This post was written in collaboration with Ellie Jones, Conservation and Engagement Manager at Berrington Hall.  If you are interested in writing a post in collaboration with the author of Textile and Dress Historian please email textileanddresshistorian@gmail.com.

Dressing Or Dressing Up!

Accessories appeared for the first time when primitive man found his most satisfying expression in the use of body painting and tattooing, added to this his desire for ornamentation – rings dangling from ears, chains around his neck, and perhaps a feather or two in his hair.

The earliest articles of adornment reveal ornaments used on different parts of the body, and interestingly the location for these objects were places where objects seemed to fit naturally.

The parts of the body destined to display ornaments are those areas that are contracted or of a narrower portion above large bony or muscular structure – the forehead and temples, the neck and shoulders, the waist and hips, above and below the knee, the ankles, the upper arms, the wrist, and to a lesser degree, the fingers.

Feathers need little preparation for man’s use and the system of mounting them is very simple. Some years later, body covering or clothing came to be worn. Accessory articles appeared for the head, neck, shoulder, waist, legs and arms. Today we know these accessories as modern hats, bonnets, shawls, belts, girdles, shoes, bracelets and so forth.

The idea of accessories has developed and changed over the years, today when thinking about accessories ‘dressing up’ comes to mind. Accessories can ‘dress up’ an outfit by creating a focal point to an otherwise ordinary outfit. Accessories play a key role as they adorn the body and enhance our appearance.

Over the years accessories have changed to complement the every changing style in fashion.

The history of the mask is one of surprising interest. Nearly every race has found some use for the mask. Perhaps the painted face of a primitive warrior inspired the first mask.

Accessories are items which stand alone and with the right ensemble complete an outfit.  A minority of accessories have no function but to look aesthetically pleasing. A classic example would be: a bracelet or brooch. A bracelet sits on the wrist and its only purpose is to glisten in the light and attract attention. The sample principle would apply to a brooch. It is attached to a jumper or jacket with a pin, however; it does not hold the jacket in place as it is only a form of decoration.

Hat-pins do have a function: they hold a hat in the correct position and stop it from falling off. On the contrary, a hat ornament has no function at all. Although a hat ornament remains tied to a form of necessity, etiquette and formality, which is distinguished from the use of a hatpin. The use of a hat ornament allowed a lady of ‘the leisure class’ or wealth the ability to distinguish herself from other social classes.

Is an accessory an object or could it be an extension of our personality?

Be My Valentine

It is said that St. Valentine’s Day probably originates from a pagan fertility festival in pre-Roman times or it could be a liturgical celebration of one or more early Christian saints named Valentinus? Where ever its origins may rest, the day appears to be associated with romance and love.

During the 15th century the occasion evolves by lovers expressing their affection for one another in the form of sending flowers, greeting cards “Valentines” and even confectionary – chocolate or sweets. Yet, it is interesting to see that since the 19th century the notion of a handwritten valentine’s card is sadly superseded by mass-production.

Valentine’s Day has become a commercial opportunity with the use of hearts, doves and the figure of the winged cupid to symbolise love.

We even see a tradition of chivalrous gentlemen sending a pair of gloves to their loved one as a proposal. He waits hopelessly hoping that his loved one will wear then to church on a Sunday in acceptance of his proposal.

Might you receive a pair of gloves this Valentine’s Day?

Have Yourself A Merry Little Christmas

Gloves
Gloves

Christmas is approaching and there are only a few days left for that quick dash to the shops! If you are still thinking of what to get that someone special for Christmas, think no more.

Did you know that receiving and giving gifts have become one of the focal points of a modern Christmas?

You might even be surprised to learn that giving gloves at Christmas or New Year is a tradition dating back to the medieval times.

Gloves were often given as a token of friendship and faithfulness, a custom still in practice today!

So I leave you with just one thought, the perfect Christmas gift for that someone special, gloves.

Have yourself a merry little Christmas!

Walking In A Winter Wonderland

Christmas as we know and celebrate it today started during the Victorian era c 1860s. Before Queen Victoria’s reign, pre-1837, Britain had not really heard of Santa Claus, people did not send Christmas cards or even have a holiday from work.

Some suggest that it was the wealth and technologies generated by the Industrial Revolution, during the Victorian era, that influenced the way we celebrate Christmas today. We see people like Charles Dickens publish ‘A Christmas Carol’ in 1843, an enchanting story of Christmas past, present and future.

When we think about the present day, Christmas is not Christmas without a visit to Waddesdon Manor. There may not be snow yet in Aylesbury, but it is surely a magical experience!

This year the house is decorated with an Austrian theme showcasing Vienna, where Salomon, one of the founding sons of the Rothschild dynasty, made his fortune.

Christmas Eve Hofburg In Vienna 19th Century
Christmas Eve Hofburg In Vienna 19th Century

If you have never been to see the grand rooms at the house, I could not think of a better time to visit than Christmas. At Christmas, an enchanting display is found in the East Wing and Bachelors’ Wing.

Court Dress, Photo: Mike Fear © The National Trust, Waddesdon Manor
Court Dress, Photo: Mike Fear © The National Trust, Waddesdon Manor

This year the historic costume on display includes the stunning Court dress and train made in Vienna and worn by Rozsika Rothschild (1870-1940), grandmother of the present Lord Rothschild, and the dress uniform worn by Baron James de Rothschild (1792-1868) as Consul General of Austria.

Christmas at Waddesdon is open until 1st January 2014.  The house and grounds are closed on 24th, 25th and 26th December.  Please check the website for open days (Wednesday to Sunday), times and to book tickets.

Merry Christmas To You All!

This post was written in collaboration with Rachel Boak, Senior Curator at Waddesdon Manor.  If you are interested in writing a post in collaboration with the author of Textile and Dress Historian please email textileanddresshistorian@gmail.com.

Sacred Stitches

Valance Detail, French, 1560-1969. Photography: Sarah Jane Kenyon © Sarah Jane Kenyon 2013.

The title of this recent exhibition at Waddesdon Manor (ended 27th October 2013) provoked connections between stitched objects and devotion to religion. The Christian Church held textiles as sumptuous articles, which were also used. Textiles would be embellished in the forms of vestments for wear and fabrics for furnishings, such as altar frontals.

Left: Panel depicting a Saint, probably Mary Magdalene, French, c 1400. Photography: Mike Fear © The National Trust, Waddesdon Manor.
Middle:
Image robe, French? 1775-1800. Photography: Mike Fear © The National Trust, Waddesdon Manor.
Right: Embroidered panel showing the Queen of Sheba before King Solomon, now mounted as a cushion, Swiss, 1575-1600. Photography: Mike Fear © The National Trust, Waddesdon Manor.

Sacred Stitches brought forth the value of textiles with a posing juxtaposition: extremely sacred or a fragment of the past? Perhaps revealing the engagement of a textiles journey – what it might be made for and how its ownerships and uses would remove it from its origins, pride of place in a church or cathedral.

ValanceFrench, 1560-1969. Photography: Mike Fear © The National Trust, Waddesdon Manor.

I was lucky enough to have a personal guided tour of the exhibition before it ended with Rachel Boak, Senior Curator at Waddesdon Manor, responsible for the textile and costume collections.

Rachel with her torch at hand guided me around the exhibition to shed light on the essence of the exhibition, craftsmanship.

Rachel summarised the exhibition:

Ecclesiastical textiles once made to adorn churches and cathedrals and later adapted as secular furnishings were displayed in the exhibition Sacred Stitches: Ecclesiastical Textiles in the Rothschild Collection at Waddesdon Manor. Entirely drawn from the stored collections at Waddesdon, the textiles included stunning 15th -century embroidered panels depicting saints, once part of an altar frontal and later mounted as banners, and 19th -century furniture mounted with fragments from 16th -century vestments.

Quickly I realised how much time Rachel had spent researching the subject matter of the exhibition, which can be seen presented in the catalogue, Sacred Stitches: Ecclesiastical Textiles in the Rothschild Collection at Waddesdon Manor available in the Waddesdon shop or online.

Left: Sofa mounted with panels from dalmatics, Italian or Spanish (sofa frame English), 1600-1625 (embroidery), c 1880 (frame). Photography: Mike Fear © The National Trust, Waddesdon Manor.

Right: Sofa covered with embroidery depicting Moses in the bulrushes, Italian (sofa frame English), 1650-1700 (embroidery), c 1880 (frame). Photography: Mike Fear © The National Trust, Waddesdon Manor.

It is fascinating to see generations of the Rothschild family as keen collectors of textiles from Baron Ferdinand de Rothschild (1839-1898), Alice de Rothschild (1847-1922) to Baroness Edmond de Rothschild (1853-1935). What is more intriguing is that the Rothschild family are Jewish, yet it was the technical and aesthetic accomplishment of the textiles that appealed to them, not necessarily the intentions of its use. It is as though the family realised the value of collecting and holding onto craftsmanship from the past, something sacred.

This post was written in collaboration with Rachel Boak, Senior Curator at Waddesdon Manor.  If you are interested in writing a post in collaboration with the author of Textile and Dress Historian please email textileanddresshistorian@gmail.com.

Below a detailed list of images featured in this post:

Panel depicting a Saint, probably Mary Magdalene, French, c 1400; linen, embroidered with coloured silks in split stitch and with silver-gilt and silver thread in various forms of couched work; 740 x 307mm; accession number 3032.4. Originally part of an altar frontal depicting saints in a colonnade, this panel is one of five acquired by Alice de Rothschild in the late 19th century and mounted in red velvet as banners.

Image robe, French? 1775-1800; silk taffeta, embroidered with silver thread, strip, purl and spangles in stem and satin stitches and couched work, trimmed with silk bobbin lace; 170 x 185 x 450mm (length of outer edge); accession number 6154. Image robes are small, doll-like clothes made to be worn by statues, called images, of the Virgin Mary and other saints when processed through the streets and in churches. The back of this image robe is open and it fastens with a drawstring at the neck, for ease of mounting on a small figure. The patterns embroidered in silver are large for the scale of the robe, suggesting that it has been cut from something else, probably a woman’s dress. The robe was acquired by Baroness Edmond de Rothschild.

Embroidered panel showing the Queen of Sheba before King Solomon, now mounted as a cushion, Swiss,1575-1600; linen, wool and metal thread embroidered in couched work, long-and-short and stem stitches, with some raised work; 460 x 565mm; accession number 5355. This may have been the central section of an upper valance for a bed, but at some point it has been cut out and then separately mounted as a cushion in the 19th century. It was acquired by Alice de Rothschild.

Valance, French, 1560-1569 (with later additions); silk satin, backed with heavy linen canvas and embroidered with coloured floss silks and silver-gilt thread in long-and-short, satin, spaced satin, stem and split stitches and couched work; ground covered with floss silk gobelin stitches (imitating tapestry weave); silk braid and fringe; lined with modern cotton; 1900 x 485mm; accession number 7179. This detail shows one of the figures making up the grotesque-style decoration. Embroidered with verses from the Bible, the valance was originally one of three upper valances for a bed. It was used as a decorative hanging in Baron Ferdinand de Rothschild’s Smoking Room at Waddesdon.

Sofa mounted with panels from dalmatics, Italian or Spanish (sofa frame English), 1600-1625 (embroidery), c 1880 (frame); wood, silk velvet, appliquéd silk, backed with linen and paper, outlined with cord in silk and metal thread; 760 x 1175 x 720mm; Accession number 578. Red velvet of varying colours and ages has been cut and pieced from different vestments to fit the dimensions of this sofa, possibly made by the English firm, Howard & Sons. The crossed keys of St Peter on the back and arms indicate the former ecclesiastical use of the textiles as apparels on a dalmatic, a T-shaped vestment with decorative panels on the front, back and sleeves. Photography: Mike Fear © The National Trust, Waddesdon Manor.

Sofa covered with embroidery depicting Moses in the bulrushes, Italian (sofa frame English), 1650-1700 (embroidery), c 1880 (frame); wood, linen, embroidered with coloured silks in long-and-short, shaded satin and stem stitches, and laid work; 755 x 1106 x 720mm; accession number 577. The embroideries mounted on the sofa are not from vestments, but, on the back of the seat, the scene shows the finding of the baby Moses in the bulrushes of the River Nile by Pharaoh’s daughter. Both sofas were used by Baron Ferdinand de Rothschild in the Bachelors’ Wing at Waddesdon. Photography: Mike Fear © The National Trust, Waddesdon Manor.

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