TRAINS AND TEXTILES

Spending time at 
TRAIN WORLD 
in Brussels

(trainworld.be) 

wouldn't usually result in a post to my blog. 

But gentle reader, there were gems to be found. 

Yes, there were trains. 

Lots and lots of trains.

But there were also some of the most fetching reproduction 1960s textiles and wallpapers I have seen for a while. And by going even further back in time, (sadly with regard to the exhibits only. I was in the 21st century the entire time) I saw train compartments featuring delicate and beautiful marquetry as part of their decor.

The genius thing here was the replica of the crossing keepers house nestled in the middle of the museum. Not only did it show how close to the tracks and how noisy their life must have been, it showcased a fab selection of textiles and wallpapers. The living room had gorgeous curtains, and on closer inspection (This inspection causing a museum guard to stride purposefully towards me...perhaps she thought I was going to make a dress out of them?) revealed that they had been woven by Arthur Sanderson and Sons. Various colours and patterns made the rooms jolly and attractive and very ‘60s.  My photos are dark, as the light levels were low. But I think enough is recognisable to be worth posting.

Living Room Curtains

Wallpaper

What the travellers wore and did whilst on the train that thundered past the crossing keepers cottage was beautifully displayed in another exhibit. 

This was a (thankfully) well lit 1960s commuters carriage, dressed with a MANS business essentials of the day, a typewriter, a filofax (est.1921), plus a cup and saucer. And of course his jacket, hat, spectacles and wallet.

Across the aisle were the female commuter's accoutrements. She  had left her jacket, hat, gloves and scarf by her seat, her chic handbag was at her side. Her magazine was left open on the table, along with her notepad and pencil, which was poised to carry on with her jottings. A modish tartan bandbox was perched on the luggage rack, packed no doubt with a stylish change of clothes.

Further back in train time, a belle époque sleeping compartment illustrated comfort and luxury from a lost era. 

Further examples of marquetry used in train compartments of the time were displayed alongside.

The exhibition halls were new, spacious and well laid out. Light levels were more in keeping with a textile display, but it did contribute to the overall atmosphere.

Le style industriel made for a clean clear backdrop to the walkways and staircases.

Visitors were shown out very promptly at closing time. I found out why in the next day's newspaper report of a visit by the King of Belgium and two of his children to Train World  the day before. No wonder they wanted to empty the place tout suite. 

Proof, if it were needed, that what I do today……..

Just Married in Brussels

1945

 JUST MARRIED

Costume and Lace Museum

Brussels March 2017

A favourite museum in one of my favourite cities.

The current exhibition is ‘A History Of Marriage’

There are cases full of dresses from someone’s dream day. At least I hope so.

I began my visit gazing at a rare white 1830s gown that looked so tiny yet had such big sleeves. The scalloped skirt frill and hem were lovely. This is the hardest kind of dress for me to actually imagine someone wearing. It reminds me of the doll in Coppélia.1875 and the ruching, ruffles, frills and lace on show exactly matched  the description of ‘excessive ornamentation’ (designed to mimic the style of upholstery of the time).Wax flowers worn as a corsage on the shoulder sat well above a lot of draping and swathing from 1890. A blizzard of ivory and white, satin, tulle and chiffon took me through 1895 with its high necked, tiny waisted, tight sleeved confection with a long train would have meant movement was at best minimal and at worst impossible.

As this is the lace museum the wedding hankie on shown was perfection. These hankies were a very important accessory for an elegant bride in the 19th century, often decorated with the husband to be and the brides initials. There was a dress from c1910 that reminded me of the style of the late Queen Elizabeth The Queen Mother. It looked fragile and lovely in ivory damask silk with chiffon sleeves and embroidered pearls. The treats just kept on coming. Irish lace and braiding on  an ivory woollen 1910 dress.

Then ivory satin from 1949, quite like a riding outfit from the 18th century. More ivory satin from 1957, this one sparkling in strass and pearls. A dress inspired by Schiaparelli and made in ivory silk satin by the bride and her sister in 1948 had the most dramatic slash of fabric falling from right to left on the skirt. It worked perfectly as the rest of the dress was so stark. Declaring an interest here. I got married in the 1970s. My choice of medieval sleeves seemed spot on then and if Game of Thrones ever need an extra, I’m there. Representing this era, (one that has come into such criticism,mainly from people who have no memory of what the 1980s were like)…were huge bishop sleeves on a flowing white creation from 1973. It had a few random daises strewn across it. Very simplistic but a little bare I thought, as it looked as if they only had a few daises to spare. As I say, The Eighties. 19 not 18. Well. The example of high fashion for that era was in the style of a pair of hair salon curtains in bright white nylon. A long ruched neck to hip top, then two big flounces. Plus some puffy long sleeves. I can’t rule out shoulder pads. I rest my case.

1830s

1875

1895

1890

c1910

1910

1910

1948

     

1957

1973 & 1980s

John Galliano s/s 2010

1775-1760

1907

1907

The centrepiece gown was a Galliano s/s 2010 HC gown composed of a long sleeved corset style top with attached suspenders and a skirt of feathers over a crinoline shape. The top was white and that was about the only thing weddingy about it in my opinion. Definitely JG in his other worldly dramatic phase. Tucked away in a corner was a blue 1755-1760 Mantua style gown in silk lampas. The notes report that it was difficult to say whether a dress was specifically a wedding dress from this period, but as the whole underskirt is rich fabric and not merely the bits that show, it seems probable that it was. The mannequin was wearing a lace cap with lappets and the notes said that some people were of the opinion that veils had originated from this cap style. I do see what they mean. There was a black dress chosen by an 1858 bride for its practicality post wedding. And a red shot silk taffeta and organza dress from 2000 that looked straight out of a gothic novel. My favourite was a dress that was part of a trousseau, not an actual wedding dress. Borrowing heavily from the First Empire this perfectly lovely dress in white crêpe de chine glittered and sparkled with pearls, silver thread and beads. It belonged to Princess Marie Bonaparte who married her Prince in 1907. The creation of Parisian House Drecoll, it was part of a trousseau that featured 108 pairs of shoes and eighty, yes eighty evening dresses.

Brussels must have a great store of the artefacts that give us a back story and dress the cases to perfection. Each exhibition, whatever the theme, has exquisite pieces. Their collection of contemporary documents and background literature must be huge.

One case had a Bridal Set from the 1880s. This consisted of a box with one large and one small flounce and a matching hanky, all in Point de Gaze lace. The names of all the brides who had worn the lace were embroidered on the ribbon that held the lace in the box. Anne 1885. Ghislaine 1909. Marguerite Daisy 1938. ( As any fule kno, Marguerite is the French for daisy. I wonder why she had both names?)

Several aphorisms on the subject of marriage were written on the walls of the ladies cloakroom. Sadly my nerve failed me from venturing into the Gents to see if they had anything similar.

So the last word shall go to Oscar Wilde.

‘Le Mariage est la cause principale du divorce’

All photographs from Brussels Museum.

Bridal Set

Time Travel in Costume.

I have never seen anything like it. No display cases. No gallery of costume. No shop. No guidebooks. No Book Of The Exhibition. This house is simply full of beautifully dressed people socialising. Sadly all the sumptuously dressed people are wax and plastic, but the clothes glow and shimmer with life….

I am in Avallon in France and the building is a town house dating from the 17^th century. Each year the sisters who own this treasure chest mount a completely new exhibition. This year’s theme is ‘Le pouvoir des fleurs dans la mode’ …Flower power in fashion.

You ring the bell at the gate and an elegant lady opens a door across the courtyard and beckons you inside. The house takes your breath away before you see as much as a ruffle. This is what history looks like..never mind Alice and her rabbit hole..I feel as if I have just stepped back hundreds of years. Stone flagged floors, paintings, maps, drawings all struggle for space on the walls and the sweeping marble staircase (oh to be wearing a ball gown and walk down that in candlelight). Doorways have heavy curtaining swagged and draped round them. There are internal small paned windows from the corridors into the rooms.
Antique cabinets line the corridor walls. These are packed with snuff boxes, smelling salt bottles and the like. To show you their contents Madame retrieves a torch from the drawer of a magnificent sideboard and shines it in to the cabinet, pointing out a chain hung with silver seals.

Then into the rooms. Oh the rooms. Needs must the light levels are low. The lights are switched on in each room as you go through the door and Madame switches them off as you exit. Each room transports you to a different time. All the rooms are lavishly furnished and crammed full of paintings and ornaments.

Some rooms have huge cupboards that are opened to show you a wealth of bodices, shoes, fans, hats 

and bags tucked inside. A single strip of cellophane lies across the bottom shelf for protection…. 

And of course there are the clothes. Each room is dressed and set as a different social occasion. At the end of the downstairs corridor we climb a second marble staircase…to more of the same upstairs. The rooms have high ceilings and wooden panelling.

             

           

     

                                             

One door leads onto a gallery overlooking a chapel. All trompe d’oeil Madame says …built in the mediaeval style in the 19^th century when this house was a boy’s school. 

      

Down the grand front staircase and back to the hall. And that is it.

But of course the costumes. I did not make notes of age, material or provenance…My jaw had dropped so far I couldn’t have written if I had tried. Besides, I was trying to take as many photos as I could and translate the 1001 questions I had into French. My photos are not wonderful, no flash obviously, but there are other better photos to be found online, if you so wish.

So here is a selection of what I saw. Never before have I felt so strongly that I was actually there, part of the tea parties and receptions and cocktail party tableaux of beautifully dressed people enjoying themselves, me being simply a time travelling mouche on the wall…..

Museum of Costume

6 rue Belgrand

89200 Avallon

Yonne. France

Tel 03 86 34 19 95

Open every day 15^th April to 1^st November, from 1030 to 1230 and 1300 to 1730.