Now you know: Why we carry variety to funerals

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Nå er det lidt af en downer. Metropolitan Museum of Art’s Costume Institute meddelte planer i denne uge til en oktoberudstilling kaldet “Death Becomes Her: A Century of Sorrow Attire.” Denne frække titler will surely be a big drawing, a museum survey of what people carried for funerals in the 19th and early 20th centuries. “Omkring 30 ensembler, hvoraf mange er, som udstilles for første gang,” vil Costume Institute noter “afsløre virkningen af ​​high fashion standarder på sartorial dikteret af afværgende ritualer, som de udviklede sig i løbet af et århundrede.”

So gloomy as that sounds, there is actually good reason to be interested. Det er første gang i syv år, at Costume Institute vil præsentere en falskstilling, snarere end blot en biggie om foråret, som dette år langt mere optimistiske retrospektiv af den tidligere couturier Charles James. And its exhibitions tend to be influential in fashion as a whole, inspiring trends like goddessing, surrealism and after its 2007 exhibition about Paul Poiret, a taste for theatrical orientalism and loose draped dresses. Then let’s be excited about death’s æstetik, which curiously is the subject of a new museum that opened last month in Gowanus neighborhood in Brooklyn called Morbid Anatomy Museum, with death masks, Victorian hair art and much of taxidermy.

Nu You Know: Funeral Dressing
Popperfoto / Getty

Kostumeinstituttets udstilling will include examples of mourning dresses from 1815 to 1915 covering the appropriate fabrics, and its curators note something unpleasant the possible sexual consequences of the veiled widow. Harold Koda, kurator med ansvar for Costume Institute, bemærker også, at the most black palette of sad clothes will act as a fashion history lesson that dramatizes the rapid development of popular silhouettes during this century. Faktisk har sørgetøj often had cultural significance, especially the dress of Queen Victoria (over) og dronning Alexandra, der vil blive med på showet.

Victoria sat something of an excessive standard for sorgsklæde and had sort for about 40 years after his husband, Prince Albert’s death in 1861, which led to similar social practices in all classes of her day (some who could not afford to buy a black black garderobe simpelthen farvet deres tøj sort) på bære sort i måneder efter en elskedes død.

Now you know

“Dronning Victoria satte begravelsesforklædningsstandarden – hun bar sort i 40 år efter hendes mands død.”

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“Prepared standards for grief defined by kings that spread across class lines through fashion magazines,” said Jessica Regan, an assistant curator in the announcement, “and the prescribed garments were readily available for purchase through mourning” warehouses “that spread in European and American cities in the middle of the century. “

Ceremonial påklædning can actually be instructive, but if you’re looking for a less depressing topic, you might consider an exhibition that was opened in May at the Victoria and Albert Museum in London, “Wedding Dresses: 1775-2014”, which tracks the story of mode gennem brudekjoler.

For real-time insider insigt, sørg for at følge Eric Wilson på Twitter (@EricWilsonSays).

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