![]() Hughes collected costumes to clothe the subjects of his paintings of idealised images of femininity and historical scenes. Ī pair of clogs in the Talbot Hughes dress collection, housed at V&A. My research has revealed that the clogs are one of 210 pairs located in England’s museums. The earliest acquisition of a working-class dress object by a museum in England was a pair of clogs, donated to the Victoria and Albert Museum, London (V&A) in 1913 along with 150 objects that made up the dress collection of genre artist Talbot Hughes (1869–1942). However, as this blog post will reveal, the pictures and collections of some Victorian and Edwardian artists featured contemporary working-class dress and in turn unknowingly preserved and recorded their clothing and contributed to the earliest acquisitions of working-class dress objects by museums in England. ![]() ![]() Reflecting the dominant aesthetic and artistic preoccupation, whereby mythical and historical narratives were favoured, their collections chiefly comprised armour, exotic, folk and antique garments. Rossetti, Hughes, William Holman Hunt, Kate Elizabeth Bunce, Eyre Crowe, and John Seymour Lucas were among those who collected garments to clothe their sitters. Artists and dress collectionsĪrtists of the long-nineteenth century collected dress earlier than the museums who later acquired their vast collections (Clark, de la Haye and Horsley 2013, Petrov 2008, Taylor 2004). The artists chosen for discussion are Talbot Hughes, Dante Gabriel Rossetti and Frederic Shields. In doing so, it shall speculate the origin and comprehension of the working-class dress that artists portrayed and/or collected. In response, this blog post will explore the artistic depiction and preservation of working-class dress from 1850 to 1910. This is particularly true for those who depicted the contemporary urban working-class. Yet, less attention has been given to the ways in which Victorian and Edwardian artists engaged with and comprehended the sartorial objects they painted and the dress collections they accumulated as part of their practice. Moreover, their pictures have offered insights into the modes of dress that are absent from our museum collections – as is often the case for working-class clothing. She is a member of BAVS and tweets at works of British artists of the nineteenth and early-twentieth centuries have been extensively utilised by dress historians as sources that reveal the form, use and sociocultural significance of dress, as both types of self adornment and inanimate material objects. Her research interests include museology, the Victorians in the 20th and 21st centuries, Victorian art, photography, and dress. Emily is a prospective PhD candidate, commencing her research on feminine ‘sartorial-Victorianisms’ in museums in England since 1901, later this year. As part of this research, she located and identified 700+ surviving dress objects. Her thesis critically analysed Victorian and Edwardian working-class dress in England’s museums. ![]() The Artistic Depiction and Preservation of Victorian and Edwardian Working-Class DressĮmily Gallagher is an MA Fashion Curation graduate from the University of the Arts London.
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