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Museum: 10:00 AM - 7:00 PM
Gardens: 7:00 AM - 5:30 PM
Today's Hours
Museum: 10:00 AM - 7:00 PM
Gardens: 7:00 AM - 5:30 PM
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All Items (Gray, Ruth Lewelling)
Collection Item
Mary has a German bisque head with brown hair and blue eye and a horsehair body with curved arms. Though hers eventually became one of the leading families of Louisiana, she started life as a working woman and her costume reflects that. Because of the revolution still raging in France, few fabrics and other imports were available and so clothing became simpler in any case during this period. There was an actual ban on silk and velvet, and most costumes were made of linen or cotton. Mary wears a gown of brown calico, a printed cotton (meaning the pattern is printed on the cloth rather than woven...
Created by: Gray, Ruth Lewelling
Collection Item
1833 Matilda Matilda wears the typical attire of a middle class woman in the 1830s, a flowered cotton chintz morning dress with full skirt and sleeves. The rise of textile factories meant that patterned fabrics were now woven rather than printed. Her gigot sleeves, sometimes also called leg o mutton sleeves, helped create a broad profile at bust and hip with a narrow waist the hour-glass figure that became the ideal for women. To achieve this, women tightly laced their corsets and wore multiple layers of petticoats. To pull their laces tight and because almost all female clothing fastened...
Created by: Gray, Ruth Lewelling
Manufactured by: C.M. Bergman
Collection Item
Micaela has a J.D. Kester bisque head with black hair and brown eyes. She wears a red velvet walking dress with a deep black lace bertha joined by three jeweled buttons. This dress continued the hourglass look that had become popular in the late 1830s. In 1837, Queen Victoria came to the throne and fashion became much more rigid in terms of what was permitted, if not in terms of using common sense. The queen did take one step in the right direction when her bootmaker created a low boot with elastic insets at the side for her; these became known as gaiters and were an important...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
Collection Item
Minnie has an Armand Marseille bisque head with brown hair and brown eyes. She is wearing a turquoise taffeta dress trimmed with yellow embroidered lace. The dress has a shirred yoke and three-quarter puffed sleeves. To complete her outfit, she wears brown satin slippers. Lace remained popular during this period, but some people, particularly those too poor for the finer hand-made laces, created a vogue for Irish crochet lace, similar to that we see on Minnie. The second great wave of Irish immigration was taking place during this period, symbolized by Annie Moore, who at age 14, became the first...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
Collection Item
According to Mrs. Gray's notes, thanks to her research and the help of Mother Marie Claire, all the materials plus the rosary are authentic. The original habit of Mother Marie is still retained in the Ursuline Convent of New Orleans and Mrs. Gray went there for research. The term habit for a nuns clothing has a rather mysterious history. Some sources believe that it derives from the Latin habere, to have or hold. In any case, by the 13th century, it had been adopted into Middle English from an Anglo-French word (probably derived from the same source as the French s'habiller (to wear) and meant clothing in general....
Created by: Gray, Ruth Lewelling
Collection Item
Myra has an Armand Marseille bisque head with brown hair and blue eyes. She is wearing a taffeta gown in old green over a hoop skirt. The gown is designed with a long bodice (cut separately from the skirt to preserve the long waistline) flowing out from the waist, and she wears a green and red brocade vest underneath it. Her sleeves are in the pagoda style, which widens below the elbow so the lingerie, or in this case, lace gloves beneath, are clearly seen. This was influenced by the continuing interest in and influence of chinoiserie. The flounces seen...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
Collection Item
Pearl has a German bisque head with black hair in cascading curls and brown eyes. Her walking dress comes from a specific Godey's Lady Book design that was published in February of 1869. She wears an overdress with an asymmetrical hem of black silk metal thread with black braid trim over a red velvet skirt with a bottom ruffle. These are both worn over one of the last hoops, which tended to be flattened in the front and extended in the back, producing a slight train. Her shepherdess-style bonnet is trimmed with a black chantilly lace veil, black metallic cloth,...
Created by: Gray, Ruth Lewelling
Collection Item
Pierre has a German bisque head and kid body. He wears a yak wig in the bagwig style with pigeon wings a style chosen from the History of American Costume. A bag wig included a square black bag, trimmed with a bow at the top into which the hair at the back was encased. The pigeon wing description of Pierre's wig refers to the two large horizontal curls above ears. There was an outsize black bow at top of the bag in the back of the wig; a black ribbon called a solitaire pulled the opening of the bag together beneath...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
Collection Item
Rose has an Armand Marseille bisque head, brown hair, and brown eyes. She wears a mourning gown of French silk and black organza brimmed in black net and taffeta. With it, she wears a black lace collar, a net and ribbon jabot, and a black lace mantilla which is indicative of the Puerto Rican influence of the period. America was "winding up" for the Spanish-American War (1898) and fashions that were redolent of Cuba and Puerto Rico were consequently popular. As befits mourning, which required solid black, Rose wears black stockings and shoes with this outfit. Mourning was very regimented...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
Collection Item
Sadie has an Armand Marseille bisque head with brown hair and blue eyes. She is wearing a black and white silk dolman-style jacket with black braid time over a black skirt with a bottom ruffle. With these, she wears a white lace jabot with a standing lace collar and bow tie and a black and gold hat with willow plumes. No info on shoes or stockings. The female silhouette began to change somewhat this year, largely due to the rise of the second great French couturier, Paul Poiret. Poiret began his career as an apprentice to Charles Worth, and then...
Created by: Gray, Ruth Lewelling
Manufactured by: Armand Marseilles
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