Textiles and european clothing habits in pictures and objects of the textile collection in the Landesmuseum for Art and Cultural History Oldenburg
The white, starched hood, which was worn by married women in the Middle Ages and early modern times, completely covers the hair of Cornelia Sandrin. Presumably the portrait was made on the occasion of the wedding with the Antwerp jurist Petrus Aegidius. The filigree pattern on the white linen can only be seen on closer inspection.
The cerements could have been made by the Oldenburger tailor at court Michel Semen (Michael Seemann), who used to get his fabrics from Amsterdam and Paris.
The back seams of the coat and jerkin are fully open. Thus the ribbon-closed back parts were a specialty of men's fashion between 1620 and 1660.
Due to the motivic variety and elaborate production, these folding fans became the social status symbol and fashion accessory for women.
The fan’s central motif shown here is a color print on silk satin, depicting "Cornelia the Mother of the Gracchi", inspired by Angelika Kauffmann, flanked by antique vases with plastic decorations and ancient goric figures in Wedgwood-Style.
This version of the French Manteau dress, created around 1770 by the English rural nobility, already indicates the wish to free oneself from the constricting traditional clothing of the eighteenth century. With the "robe à l'anglaise", for example, the tight-laiced chest was maintained, whereas for the sake of convenience the dressmakers refrained from the wide crinoline. Instead, hip paddings or multi-layered skirts provided for the garment’s body-aesthetic modeling. Originally this robe could have been thought of as a wedding dress.
As a visible commitment to the aims of the French Revolution, the cockade was worn in France since 1789 in the French national colors blue, white and red. From 1793 to 1800 women also had to wear them. This cockade probably belonged to the Oldenburg Duke Peter Friedrich Ludwig. Perhaps it was brought here from Paris in 1790 by the Justice Council and leading head of the Oldenburg Enlightenment Anton von Halem.
In the 1950s, the train came to the costume fund of the Oldenburg State Theater. It originally belonged to the actress Annemaria Korf, who is said to have received it from a member of the ducal family. The actress and singer Elisabeth-Maria Wachutka wore the train in her role as Anna Elisa in the operetta "Paganini" after music by Franz Lehar, which was performed in the 1991/92 season in the State Theatre. The silk dress as well as the bodice sewn to the train (each equipped with material of the older stock) was made on this occasion.
"In that time it also occurred to me that I sat for everything that went through his [Hans Makart] head: soon it would be a Greek bacchantine (...) - soon a Venetian dogin," remembers Helene von Racowitza in her autobiography vividly the sessions with Hans Makart, who often clothed his models in historical robes.
The light, flowing chemises (so called because of their shirt-like cut), which are preferably made in light cotton, were worn with undercoats, an undergarment or a flesh-colored tricot. The new, light clothing was created in England towards the end of the 18th century and was based on ancient models (mode à la grecque). Former artificiality in the form of corset and crinoline was replaced by the ideals of simplicity, convenience and naturalness, which were propagated in the course of the enlightenment and the rediscovery of classical antiquity.
The painting by the Oldenburg Art Nouveau-painter Hugo Duphorn shows his wife at the pond of Rastede in a reform dress. Without corset and other confining parts, the wearer allowed herself to move freely. The reform dress’s development is accompanied by a political-social as well as emancipatory change, which is also reflected in the art of this time.
During the First World War, Heinrich Vogeler, the youngest painter and founder of the Worpsweder Barkenhoff, was stationed as an intelligence officer on the eastern front. In August 1915, during his mission, he also came to Dolina, a place in the Pre-Carpathians, which today belongs to the western part of Ukraine, and produced some colorful detail studies of the Galician population. In the book "From the East", Vogeler published his impressions in 1916.
Part of the social changes in the period between the World Wars was the emancipation of women and the development of a new, self-conscious, sometimes androgynous image of women, which became a popular theme for paintings, graphics and photography during the Weimar Republic. Willy Jaeckel's portrait of a woman shows the "New Woman" in fashionable clothing and with a short haircut. Jaeckel was also represented in the exhibition "Das modern Frauenbildnis" by the Galerie Gurlitt in Berlin in 1928 and won the highly remunerated prize for "the best-painted female portrait of the year 1928". In the reasoning of the jury, it was said that in Jaeckel's picture "a strong type of modern woman was most strongly expressed with all artistic means".
A fascinating series in the work of August Macke are the "shop window pictures", which were created from 1913 onwards. Being part of his central themes the walk’s motif is captured here in a different form. In his charcoal drawing “Fashion shop at the harbor”, which was created at the lake of Thun, the painter shows an elegantly dressed lady, lingering with a rapt glance at a hat shop’s outlays.
Landesmuseum für Kunst und Kulturgeschichte Oldenburg