Curious Beauty - an alternative costume exhibition

Curious

14 APRIL – 16 JUNE 2024

PALAZZO FALSON, MDINA

e a u yt an alternative costume exhibition

Published by Fondazzjoni Patrimonju Malti and Kite Group Ltd, 2024

Editorial Copyright © Fondazzjoni Patrimonju Malti, 2024

Literary Copyright © Authors, 2024

Photographic Copyright © Fondazzjoni Patrimonju Malti, Lisa Attard 2024

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without prior conditions, including this condition, being imposed on any subsequent publisher.

CREATIVE DIRECTOR

Michael Lowell

ARTISTIC DIRECTION

Caroline Tonna

Francesca Balzan

EXHIBITION DESIGN AND LAYOUT

Caroline Tonna

Francesca Balzan

PHOTOGRAPHY

Lisa Attard

EXHIBITION SET UP

Lewis Zammit

COLLABORATIONS

Anna Balzan

Carmen Camilleri

Annamaria Gatt

Marcelle Genovese

SPECIAL THANKS TO Abigail Pace

AND THE PALAZZO FALSON TEAM:

Deacon Brincat

Judith Abela

Eric Borg

Leah Borg

Jeanette Ellul

Gabrielle Gauci

Edin Grech

Jessica Grech

Samuel Magri

Hannah Portanier

Kathleen Sammut

Tania Sammut

AN EXHIBITION

Michael Lowell

Foreword

‘The mystery is for [the person experiencing the numen] not merely something to be wondered at but something that entrances him; and, beside that, in it which bewilders and confounds, he feels something that captivates and transports him with a strange ravishment, rising often enough to the pitch of dizzy intoxication…’. Rudolf Otto, the great scholar of comparative religion and transcendence, is here, of course, referring to religious experience, to a kind of interior presence associated with the divine. But one of the poles of which he speaks—the mysterium fascinans— that non-rational experience which we might find alluring, fascinating, and enchanting, has some bearing in the natural world and in qualities (of beauty and goodness, for example) which we might ascribe to objects. The primary characteristic of the mysterium fascinans, when it comes to such heightened experiences, is that it tends towards an absolute form of ecstatic joy. This joy emerging from the unlikely mix of the strange and the beautiful motivated the main idea behind this exhibition—a humble echo of that supreme joy to which we all aspire, here told in the tangible folds of fashion.

It was in the hands of the two former curators of Palazzo Falson that the tapestry of ideas for Curious Beauty could so tightly and seamlessly be woven together. I had complete confidence in their experience, knowledge, creative and generous spirit: Francesca Balzan and Caroline Tonna, both a tour de force in their own right, are highly acclaimed in their respective fields and have masses of experience under their belt.

Francesca, who has debuted her witty and highly amusing sculptures just a few years ago, is the leading local authority on antique jewellery and objets d’art, while Caroline leads the field in costume. Their familiarity with the historical and artistic context of a such a widespread range of fashion accessories and period pieces and techniques made it all that much easier to dream creatively and playfully. And dream we sure did!

Costume has already been tackled by Fondazzjoni Patrimonju Malti in 1998 through an exhibition and accompanying publication titled Costume in Malta, however, in keeping with Patrimonju’s ever evolving ethos, we felt it was high time to update and redefine our approach to the subject.

Of course, there was also the looming question regarding a suitable venue. This, however, did not need as much thought: the Palazzo Falson Historic House Museum soon became the ideal location. With its sumptuous interiors and varied collections, we felt that its rooms would provide the perfect backdrop for evoking the kind of allure and intrigue that first inspired this exhibition. Through the use of genuine antique costumes and accessories, installations within the luscious space would become the main focus. Within every room, uniquely and engagingly composed, a different story could thus be unveiled while revealing some real, curious, or hidden aspect of the objects on display, be them from the temporary or permanent collection of the museum.

As with all Patrimonju projects, this was very much a collaborative effort. I, therefore, cannot fail to express my gratitude to the wonderful team at Palazzo Falson, as well as the tireless staff of Fondazzjoni Patrimonju Malti. They are always ready to roll up their sleeves at the drop of a hat, and to assist in turning our concepts into a reality. My thanks also go to all the various individuals who lent their very bespoke talents to articulating and refining the details.

And to all the private and institutional lenders—thank you would not cut it! They keep on coming up with the goods every time, helping us fill in all the missing pieces and ensuring that our product strives always towards excellence.

Finally, our generous supporters, who cannot be thanked enough and without whom these projects would never come to fruition. Their loyalty in their support is what elevates the research and dissemination of our rich and varied national heritage. So, deep and lasting gratitude there.

This project, albeit its challenges, was executed in a manner of good spirit and joy. It is my hope that this will rub off on the visitor too and linger on long after having left the beautiful and whimsical interior of the palace.

Caroline Tonna & Francesca Balzan

Curious Beauty: An Alternative Costume Exhibition, is a game changing exhibition of historic garments and accessories. Michael Lowell, CEO and creative director of Fondazzjoni Patrimonju Malti (FPM), was inspired by the success of FPM’s celebrated Costume exhibition in 1998 and envisioned a fashion exhibition that broke the mould. He engaged us, former curators of Palazzo Falson, to collaborate and expand our creative ideas into site specific art installations at the museum featuring historic costume and accessories.

We took up the challenge with the intention to break away from the traditional format. We sought to reimagine the presentation of historic objects, grouping them into categories such as costume, gloves, glasses, hats, shoes, bags, stomachers, mitres, and corsets, and juxtaposing them across different eras from the 18th century to the 20th century. The wearable elements of these objects were given a different life, harmoniously transforming them into a contemporary art form.

Our exhibition celebrates and extends the joie de vivre of Olof Gollcher, the last resident of Palazzo Falson, renowned for his deep passion and interest in Maltese heritage and art. This resulted in an exhibition concept, infused with humour, playfulness and lightheartedness, which seeks to awaken curiosity and captivate viewers by presenting the beauty of historic objects in an unconventional manner. Our goal was to intrigue and inspire visitors with the diverse array of rich materials, textures, colours, designs and embellishments adorning garments and accessories.

Each room was given a fitting title accompanied by a quote from various renowned personalities, offering visitors a taste of the collective exhibits while delighting and amusing them at the same time. We have carefully woven each art installation within the rich interiors and spaces of Palazzo Falson without disrupting the permanent museum display. It was fascinating for us and an utter privilege to select over 150 exquisite objects from the National Collection and Maltese private collections, as well as the Cathedrals of Malta and Gozo. These objects represent some of the finest examples of historic fashion, revealed to the public for the first time.

Exhibition preparations progressed rapidly with 12 distinct art installations, including two monumental set-ups, all while adhering to preventive conservation principles and maintaining the design narrative. We used the colour gold as a continuous thread, a leit motif, throughout the exhibition, whether in the selection of exhibits that included this colour or in the plinths and props used for the displays. It was magical to witness the development of our ideas from mood boards and mock-ups to actual art installations, almost a transcendental experience. Each day presented new challenges, demanding practical solutions for ambitious installations. Mounting of the garments onto mannequins and providing bespoke mounts for the accessories required skill and numerous trials. It was an enjoyable task to discover creative solutions along the way, upcycling materials from past exhibitions and recycling everyday objects destined for disposal in order to uphold FPM’s commitment to environmental sustainability.

It is with great joy and pride that we have worked seamlessly as a collaborating pair of artists, sharing ideas at every level of the exhibition. We invited fellow artists to join us and we challenged them to present their art in an alternative manner. It was a joy to reunite with the dedicated staff of Palazzo Falson, under the new leadership of Abigail Pace. We could only transform our vision into reality with the support of a talented team of experts in exhibition mounting, lighting, sound, photography, design, branding, and marketing under the creative direction of Michael Lowell. To all the contributing team, to the generous lenders and to the supporters of FPM and the sponsors of the exhibition, we are bound in gratitude as their vital input ensured our creative vision could become a reality.

CAROLINE TONNA is an art and dress historian, specialising in 19th century dress and photography, a researcher and an author. Her fascination with fashion led her to establish ‘Elegance’ magazine, a renowned Maltese quarterly publication on local fashion and lifestyle, which she helmed between 1982 to 2010. Additionally, she served as fashion editor for ‘I DO’ weddings magazine published by Standard Publications. During her long career in radio and television media production, Caroline has made significant contributions to Maltese cultural media. She hosted the programme ‘Kun Af Pajjizek’ on RTK Radio, where she interviewed curators, and produced ‘MALTARTI’ television cultural programme, featuring local artists. Drawing on her extensive research on dress history in Malta, Caroline created ‘Moda l-Istorja’, a comprehensive 13-episode documentary series chronicling the evolution of fashion in Malta. Caroline has served as curator at Palazzo Falson Historic House Museum in Mdina from 2018 to 2023 and volunteered as dress curator of the lace and costume collection of Casa Rocca Piccola. She has curated numerous exhibitions, authored academic papers and articles, and delivered several public lectures. Her book ‘Fashion Society in Malta: The Portrait Photography of Leandro Preziosi 1830-1869’, published by FPM in 2022 was awarded the National Book Council Prize 2023 for best publication production. Caroline was also honoured with the Icon Award for Fashion Journalism 2023 on the occasion of the 25th Anniversary of the Malta Fashion Week.

FRANCESCA BALZAN is an art historian, author and practicing artist. She has specialized in the research and publication of the history of jewellery in Malta and has lectured extensively on the subject. She was curator of Palazzo Falson Historic House Museum from its opening to the public in 2007 until 2018 and was recently engaged in the design of a new museum for the Notarial Registers Archive, Valletta. She has curated several exhibitions, both of historic objects as well as of contemporary art, and written catalogues and monographs to accompany them. In 2013 she curated the major Fondazzjoni Patrimonju Malti exhibition ‘Vanity, Profanity & Worship: Jewellery from the Maltese Islands’ (Casino Maltese, Valletta 31/03/2013 - 26/05/2013). She has hosted a popular podcast series called ‘Treasures from Malta’ for FPM, which consisted of interviews with persons who have connections with the arts and Malta. Her book ‘Jewellery in Malta Treasures from the Island of the Knights (1530-1798)’, published by FPM in 2009 was awarded first prize in the historical research category of the National Book Award. Francesca’s practice as an artist is mostly focused on sculpture in clay and sculptural installations and she has exhibited in solo and collaborative exhibitions through the years.

the entrance hall

Exquisite Treasure

FASHION IS THE ARMOR TO SURVIVE THE REALITY OF EVERYDAY LIFE.

- BILL CUNNINGHAM

Dominating the entrance hall of the museum, visitors to the exhibition are beckoned in with this exquisite treasure – a Maltese two-piece lace (biżżilla) ensemble in cream coloured silk thread, designed in early 20th century Edwardian fashion. It is composed of intricate and complex lace work that has been developed from a long tradition of ornamental lacemaking in Malta and Gozo, originally produced for the aristocracy and the church and reaching as far back as the 15th century.

The dress incorporates the Maltese cross and star motifs set on trellis ground known as ‘taċ-ċappa’. The middle panel of the back of the bodice is adorned with a large Maltese cross motif. A close look reveals that different lace makers have worked on the complex pattern and there is also evidence of different silk thread used in parts of the bodice. The matching lace skirt is made up of 8 long vertical panels with over 50 insertions of alternating patterns of these motifs. It finishes off with a hem adorned with palm and floral motifs, and large inserts of the Maltese cross motif, and terminates in a scalloped edge. The lace skirt falls gracefully and naturally to the ground making it suitable for leisure daywear.

This is one of the finest complete Maltese lace dresses to survive and it has inspired us to commission renowned lacemaker, Annamaria Gatt, to recreate and transform the intricate structure of the traditional Maltese star motif into a monumental art installation, substituting silk thread with white polyamide braided rope, that is installed on the courtyard terrace. Visitors are thus greeted by historic Maltese lace and finish off their tour with a contemporary Maltese lace installation.

Lace ensemble, Cream colour silk thread, Maltese,century 1910, Casa Rocca Piccola Collection.

the refectory

Gilded Elegance

I KNEW WHO I WAS THIS MORNING, BUT I’VE CHANGED A FEW TIMES SINCE THEN - LEWIS CARROLL, ALICE’S ADVENTURES IN WONDERLAND

The collection of female bodices and male waistcoats installed in the refectory area of the Museum, shows the opulence of fashion, characterized by fine fabrics and intricate embellishments, from the late 18th century to the early 19th century, when cultural and artistic influences from across Europe, particularly Italy, France and England were felt in Malta.

BODICES FOR WOMEN

In the 18th century, ladies attending special events were expected to wear formal dress and by the late 18th century Maltese ladies of the upper class looked to France for the latest fashionable clothing. The French dress style included tightly waisted bodices, stiffened with baleen, some with a detachable stomacher that extended beyond the front waistline. The bodices had low round necklines, often edged with lace trimmings and were attached to voluminous skirts supported by large hoops and underskirts. The gowns were made from lavish fabrics with necklines set low and round, often edged with lace trimmings. The historical bodices shown in the exhibition represent the various styles of high fashion during the Baroque and Rococo period. These priceless hand-made bodices embody the aspirations and pretentions of the elite in Malta. Close examination shows what a laborious process they entailed – from the spinning of fine threads to construct yarns of elaborate fabric designs, to the creation of intricate passementerie, to the involvement of complex techniques of highly skilled dressmakers, embroiderers, lace makers and button makers.

WAISTCOATS FOR MEN

During the 17th and 18th centuries a long coat known as a ‘vest’ was worn. With time it gradually shortened and eventually reached waist-level, hence earning the name waistcoat. It was often elaborate and decorated with intricate designs, including bright silk and metallic threads. These luxurious embellishments were particularly prominent for court appearances and high ceremonial occasions. The finely embroidered waistcoats not only indicated the status of the wearer but also symbolized their wealth, as the fabric and craftsmanship involved in creating such pieces was expensive and required great skill.

As fashion progressed through the 18th century, waistcoat skirts became shorter, until they disappeared completely by the end of the century. The short horizontally cut waistcoat adopted a new double-breasted style and it often had one row of buttons that was functional, the other being purely decorative. Waistcoat pockets by now were straight, horizontal and without flaps. During the early 19th century, there was a shift towards more subdued colours and designs in menswear. This change reflected evolving tastes and a departure from the extravagant styles of previous centuries, signaling a new era of simplicity and understated elegance in menswear.

Very few examples of complete ensembles survive because it was common practice to salvage wide skirts made from expensive fabric to repurpose them and adapt them to changing fashions. Clothing was a valued commodity and notarized inventories reveal that garments were passed on from one generation to another, thus extending the lifespan of clothing. The artistic interpretation of missing parts of the complete ensembles has been originally created from recycled paper materials and covered with acid free tissue papers, transforming the artefacts into a sculptural installation that was entirely wrought by hand by Caroline Tonna and Francesca Balzan. While fostering the historical preservation of these period costumes, the artistic direction has given a new life to these artefacts through a process of reimagining an alternative representation, fusing historical artefacts with contemporary artistry.

(centre) Female bodice, European, 18th century, Heritage Malta Collection. The close-fitting red silk velvet bodice is embroidered with silk and gold metal thread down the sides of the front opening and the back flounce. The bodice was reshaped from another garment and the fabric was adapted to make use of the original existing embroidery to its full advantage.

the kitchen

A Conversation Piece

PEOPLE WHO LOVE TO EAT ARE ALWAYS THE BEST PEOPLE.

- JULIA CHILD

Throughout history, gloves have evolved from simple hand coverings worn for protection to symbolic items of status and elegance.

Texts from the 10th century depict significant figures such as Popes, cardinals, and bishops adorning themselves with white silk gloves during religious rituals. This practice extended to royalty, with kings incorporating ornamental gloves into their attire for ceremonial occasions. By the 13th century, gloves had become emblematic of refinement and social standing, particularly for queens, who often wore luxurious silk or linen gloves that extended up to the elbow.

The introduction of the glove’s fourchette in 1650 marked a significant advancement in glove-making, as this sewing technique improved the fit of gloves by inserting a piece of material between the upper and lower hand sections. This innovation remains in use today.

During the 19th century, gloves emerged as an indispensable accessory for women, with etiquette dictating that a lady should never be seen without them, except when dining. Although Victorian ideals faded during the Edwardian era, gloves continued to be a prominent fashion accessory. Women adorned themselves with leather or suede gloves during the day, reserving lavish silk, suede, or leather gloves for evening affairs. Wealthy women possessed an array of glove options to complement various outfits, reflecting their social status and refinement.

As societal standards evolved, a slim and graceful hand became synonymous with good breeding, leading to the production of gloves that were even more form-fitting. The gloves on display attest to the narrow and slender fit to emphasise elegance and refinement. Among the collection are silk mittens, an alternative to traditional gloves for women, featuring an elbow-length design with separate thumb pieces and a curved flap covering the fingers, which would be turned back to leave the fingers more free.

(left, right) Women’s pair of red silk knit mittens, European, 18th century, Casa Rocca Piccola Collection. This pair of red silk knit mittens, are embroidered and trimmed with gold metal thread, lined in red velvet, and worked in long and short stitch with silk thread.

(centre) Women’s pair of bobbin lace mittens, cream silk thread, Maltese, 19th century, Casa Rocca Piccola Collection. This pair of very fine cream silk bobbin lace mittens, has scalloped trimmings and is elbow length.

the studio

Through the Artists’ eyes

IN SPECS PERCHED ON A MIGHTY NOSE, THE VISION SHARP, THE HUMOR GROWS. FOR WHEN THEY SLIP, A COMICAL SHOW, A NOSE SO GRAND, IT STEALS THE SHOW!

- POEM GENERATED BY CHATGPT

The earliest spectacles are thought to have been invented in the 13th century in Northern Italy, around the time that Palazzo Falson was built. Spectacles evolved over time to incorporate arms and to correct both nearsightedness and farsightedness. The glasses displayed in the exhibition mostly date to the early 20th century and include sun glasses. The oldest pair of spectacles is made of silver with folding sidepieces (arms) and bears a Sheffield (UK) silver date mark for 1869. Of particular note is the pince-nez, fashionable at the turn of the century, which does away with the arms and uses a nose clip to secure the frame to the nose. A chain ties it to the clothing to avoid losing these spectacles.

This room celebrates the artistic life of Olof Gollcher, who regularly met up with his artist friends in Rome to throw wild parties under the banner of the Confraternity of the Pipe. They wore fancy dress and surviving pictures show a Nose Party, which we have recreated in exaggerated clay noses that not only keep these spectacles safe but recall the joie de vivre of Olof and his artist friends.

(centre) Silver frame possibly by John Harrison & Co, Spectacles with folding sidepieces, Sterling silver, Glass, Sheffield silver date mark for 1869, British, Casa Rocca Piccola Collection.

the staircase

Sab Kappell Jigieh

(he found his match)

LADIES’ HATS

During the 19th century, hats became indispensable accessories for both men and women, leading to a surge in demand for hatmakers or milliners in Malta. A woman who made or sold hats was known as a modista. Her skill enabled her to craft each headpiece with precision techniques to shape, construct, adorn, and embellish hats using diverse materials such as fabric, silk, straw, buckram, and wire. Alongside crafting various hat and bonnet styles, the modista also provided hair accessories and tailored dresses for her clientele.

Hat styles developed rapidly from the mid-19th century to the mid-20th century so it is likely that the modista also updated old hats and bonnets, cleaning, altering and decorating them according to the latest fashion. The final touches to the hat enhanced its style with the appropriate decorative elements, whether knotting ribbons or arranging flowers or feathers, to make each hat unique. During the first half of the 20th century, millinery in Malta was synonymous with the modista Beatrice Anna Farrugia Gay, known as is-Sinjura Bice, whose shop in Old Treasury Street, Valletta offered various imported and bespoke hats for special occasions. Most of the female hats in this installation are from the Bice collection.

WITHOUT HATS THERE IS NO CIVILIZATION

– CHRISTIAN DIOR

GENT’S HATS

The early hat shops for men emerged from barbers’ salons. In the mid-1850s, besides offering haircutting services, clients could purchase fine perfumery, toiletries, gloves, ties and an array of exquisite silk hats of the latest fashion from Paris. Men’s hats were also sold from millinery and drapery shops in Valletta. One of the foremost men’s fashion shops in Malta was Ascot House in Republic Street, Valletta (recently closed after over a century of trading) that exclusively imported the renowned superior quality fedora hats from Battersby, London.

Cap makers, on the other hand, exclusively made cloth caps for men, commonly worn by the working class. It entailed considerable skill to create soft caps which were made of a variety of fabrics and styles. Smarter cloth caps were also produced as part of uniforms and for the military.

(left) Black taffeta and velvet teardrop hat trimmed with netting and feathers, and a bird of paradise, dyed black, European,century 1935, Private Collection.

(right) Cappello Romano/Saturno, monsignor’s black round, broad-brimmed, lowcrowned hat, made of beaver, with purple cords and tassles, Italian, 20thcentury, Casa Rocca Piccola Collection.

the butler’s staircase

Flight of Soles

THE AVERAGE WOMAN FALLS IN LOVE SEVEN TIMES A YEAR. ONLY SIX ARE WITH SHOES.

– KENNETH COLE

Surviving historical shoes are scarce, and often absent from formal portraits that typically feature floor-length skirts. During the 18th century, the ankle was considered the epitome of femininity, occasionally glimpsed beneath petticoat skirts and accentuated by a gracefully curved heel.

The origin of high heels can be traced back to riding footwear, initially designed to provide a firmer foothold in the stirrup. Their adoption in Europe in the early 17th century may be attributed to a diplomatic mission by Shah’Abbas I of Persia. At the time it was regarded a masculine attribute symbolizing military prowess but by the mid-17th century high heels were widely worn by both sexes.

Throughout the 18th century, fashionable women’s shoes mirrored the elegance of their gowns, with colours and silk designs closely aligned. Due to the economic use of tailors’ offcuts, precise pattern matching was not always achieved, and variations in silk were sometimes noticeable within the same shoe.

The fashionable silhouette of the mid-18th century featured the ‘Louis’ heel, curving sharply to sit under the centre of the foot. Well-designed heels also reduced the size of the footprint and gave the impression of a smaller foot. Uppers could be made of silk, leather or wool and decorated with the same trimmings. Most footwear of the period fastened with long latches across the front, joined together with buckles. By the mid-1780s buckles were increasingly being replaced by string ties to avoid the buckles from catching in the fabric of the skirt; the first shoelaces, with aglet ends for easier threading were patented in 1790. At around the same date slip-on styles also became popular.

In the late 18th century, The ‘Italian’ heel, a long wedged and low heel extending to the middle of the sole became very popular across Europe, when the prevailing taste for classicism favoured a low heel.

(centre) Detail of

(left) Pair of female evening ankle elastic-sided boots, soft kid, thin flat soles, square toes, small heels, British,century 1865, Casa Rocca Piccola Collection.

pair of female heeled shoes, red silk brocade, long pointed latches for buckles, trimmed with gold and silver metal thread, leather soles, French?,century 1760-1770, Heritage Malta Collection.

(right) Pair of female pumps, satin and leather soles, patent, with Louis heel, embellished with 3 diamante, Alan McAfee (maker), 66 Duke Street, Grosvenor Square, London, British?, 1905-1910, Casa Rocca Piccola Collection.

the drawing room

It’s a Family Affair

CLOTHES MAKE THE MAN.

NAKED PEOPLE HAVE LITTLE OR NO INFLUENCE ON SOCIETY

- MARK TWAIN

THE TRIO

The development of the 3-piece suit for men, in the 1660s, provided the blueprint for the key components of the male wardrobe worn throughout the 18th century: coat, waistcoat and breeches. The male costume on display is made from fine plum-coloured velvet, trimmed with copper braid, and dates to around 1780. The metal buttons on the breeches (trousers) bear the maker’s mark ‘V. Falson’. The accompanying female gowns exemplify the 1760s and 1770s silhouettes and styles. Of note is the 1770s scarlet red silk bodice and matching skirt with an attached stomacher made from the same material, decorated with silver gilt braid sewn in a meandering pattern, and flanked by scalloped wings over the waistline. The narrow sleeves open out under the elbow into a cuff, revealing ruffles of lace. The 1760s silk brocade female gown comes with a matching reticule (soft bag) and small purse. These three costumes, all from the Heritage Malta collection, are incredibly rare examples that survive intact from centuries ago.

GOING SOLO

The fashion of the last decade of the 18th century/beginning of the 19th century was inspired by Neoclassical columnar silhouettes, translating into simple, high-waisted dresses. This was known as the Empire style as it coincided with political developments in France. This dress, from the Casa Rocca Piccola Collection, dates to around 1810 and is made from brown watered silk taffeta with a typical short bodice, reaching just below the bust.

MOTHER AND CHILD

Children’s clothing was a reflection of the parents’ standard of elegance and style. This little girl’s Victorian dress has a rounded neckline and a close-fitting bodice with short cape falling over long sleeves, and a full gathered skirt. Its narrow waistband is adorned with rosettes of the same material at the back and decorative fabric buttons. It is a rare survival from a Maltese private collection and dates to the 1870s.

The woman’s gold dress from the Casa Rocca Piccola collection has voluminous, puffed sleeves that were a hallmark of women’s fashion in the mid-1890s. One of their benefits was creating the illusion of a smaller waist by comparison. The width of the shoulders was offset by the fullness of the skirt, which expanded towards the hem. This effect was achieved through the use of gores, shaped panels, box pleats at the back of the skirt, and the incorporation of stiff interlining.

The wigs were created by renowned epoch wig maker Marcelle Genovese taking as a starting point hairstyles pertaining to the period of the costumes and embellishing them with an element of fantasy.

The ganutell, or precious wire work flowers, were created by artist Anna Balzan, inspired by traditional ganutell that can be found in Baroque churches usually adorning statues, relics and corpi santi.

the sitting room

Essential Baggage

A WOMAN’S MIND IS AS COMPLEX AS THE CONTENTS OF HER HANDBAG;

EVEN WHEN YOU GET TO THE BOTTOM OF IT, THERE IS ALWAYS SOMETHING AT THE BOTTOM TO SURPRISE YOU!

- BILLY CONOLLY

The bag originated as a functional object for men to carry tools but by the Middle Ages bags morphed into a form of self-expression and started to bear bagmakers’ marks and ornamentation. With the introduction of pockets to men’s clothing in 1670, men discarded bags and they became purely women’s accessories.

In the 17th and 18th century ladies carried small bags with drawstrings that were known as reticules in France and ‘indispensables’ in England. As people travelled increasingly in the 19th century, the word ‘handbag’ was coined to refer to the luggage that travellers carried by hand. The proliferation of available fabrics and styles of women’s bags led to an increase in demand for handbags in the 1920s and around the Second World War, large and practical bags were influenced by the military look. By the mid-1960s new materials for bags, like PVC and even woven carpets were in use reflecting the carefree liberal attitude of the decade. Handbag styles continued to evolve and were influenced by art, pop culture, music and fashion trends. The collection of handbags on display, mostly dating to the 1950s, reveal the eclectic variety of inventive bag designs and their versatile use.

This art installation stands testimony to the commitment of Fondazzjoni Patrimonju Malti towards environmental sustainability by repurposing disassembled materials from past exhibitions and everyday material objects to minimize waste and contribute to a more eco-friendly approach to art. As many as 80 cardboard boxes that were intended to be discarded have been upcycled and painted gold to act as original structural plinths for the bags.

the dining room

An Appetite for Stomachers

THOUGHT DEPENDS ABSOLUTELY ON THE STOMACH, BUT IN SPITE OF THAT, THOSE WHO HAVE THE BEST STOMACHS ARE NOT THE BEST THINKERS

–

VOLTAIRE

This display shows the epitome of the refined 18th century in the exquisite stomachers installed on the table. The decorative panels, triangular in shape, were once part of women’s bodices. The stomachers added a touch of elegance to open-front bodices that could be pinned or sewn to fill in the space between the edges of the bodices, and fell lower than the waist. Although stomachers varied in style, with rounded, pointed or squared ends, they were usually highly decorative and richly embroidered with intricate designs. Stomachers were sometimes made from the same fabric or in contrasting and complimentary fabric to the dress. While they were heavily boned to achieve a perfectly smooth conical shape, stomachers were quite practical, allowing the wearer to adjust the width of the bodice for the changing body shape, like gaining or losing weight. These exquisite examples of stomachers have stood the test of time, retaining their original integrity for over 250 years.

(left) Silk taffeta stomacher with metallic-thread appliques, passementerie and spangles, European, 18th century, Private Collection.

(rigth) Ivory silk taffeta stomacher with textured and complex applied ribbon of silver, gold and polychrome strips, knotted fly-fringe flowers and strip of folded loops that resemble a bunch of leaves, European, 18th century, Private Collection.

A Summit of Mitres

CONFORMITY IS THE LAST REFUGE OF THE UNIMAGINATIVE

– OSCAR WILDE

The origins of the mitre may stretch back to Roman times however mitres were certainly present from the 11th century onwards. Bishops were given the mitre upon their consecration. The use of the mitre is restricted to popes, cardinals and bishops, with few exceptions allowed this privilege such as members of Cathedral Chapters. The shape of mitres evolved over time and different types of mitres emerged, adorned with embroidery and encrusted with precious stones. Mitres were generally required to be white with the two lappets terminating in red fringe. Their use is strictly regulated with specific types used for certain rites.

The mitres on display belonged to bishops and have been loaned from the collections of the Cathedrals of Malta and Gozo. They represent exquisite examples of embroidered decoration, produced in Rome, Malta and the United Kingdom from the Baroque period until the 20th century. Of particular note is the earliest one in this collection dating to the early 17th century with gold and silver embroidery on red silk, belonging to the Metropolitan Cathedral Collection. From the same collection comes the exceptional Gothic Revival mitre of Bishop Annetto Casolani (1815-1866) that has been tentatively attributed to the great revivalist Augustus Pugin (suggested attribution by Dr Mark Sagona). The Cathedral Museum Gozo preserves the sumptuous mitres of successive bishops and here included are those of three bishops of Gozo, embroidered with their coats of arms, namely Bishop Antonio Grech-Delicata-Testaferrata (18231876), 2nd Bishop of Gozo, Mitre of Bishop Pietro Pace (1831-1914), 3rd Bishop of Gozo and Bishop Giovanni-Maria Camilleri (1853-1924), 4th Bishop of Gozo.

Mitre, Gold embroidery on white silk, Continental Europe, Late 17thcentury, Metropolitan Cathedral Collection.

the bedroom

Corset Cove

SHE IS CLOTHED WITH STRENGTH AND DIGNITY, AND SHE LAUGHS WITHOUT FEAR OF THE FUTURE

– PROVERBS 31:25

Throughout history, foundation garments have played a significant role in shaping female silhouettes, crafting new ideals of beauty from materials other than flesh. Corsets, also known as stays, shaped the bust and held the waist and stomach in, while concealing other under garments worn beneath them.

Early forms consisted of two triangular pieces of stiffened fabric placed on the front and back and secured at the sides with stitching or with pins and worn over layers of linen underclothes to control the lines of the body. During the Renaissance corsets became shorter and focused primarily on shaping the upper torso and supporting the bust. By the 17th century, corsets were crafted with a more elongated shape, emphasizing a straighter and flattened torso silhouette. The construction of stays during this period often featured elaborate stitching and lacing was typically done at the back. In the mid-18th century, corsets sculpted the torso into a coveted conical shape.

By the early 19thcentury steel reinforcements and metal eyelets, and the invention of a new form of back-lace, allowed women to don the corsets themselves. The early 19th century corset had a tubular shape but by the 1850s the emphasis was on a small waist and pronounced bust and hips to achieve the infamous “wasp waist” or hourglass shape. In the Edwardian period, corsets became longer and straight at the front, with a pronounced curve at the back. This pushed the upper body forward and the posterior out, creating a profile known as the S-Curve or S-Bend. The late 19th century witnessed significant advancements in corsetry, particularly with the industrialization of garment manufacturing. By the mid-1920s the corset fell out of fashion and the invention of elastic fabrics and new construction techniques brought changes to the undergarment industry, leading to the popularity of girdles. Girdles were similar to corsets but were lighter body shapers supporting the hips and abdomen without the need for boning or lacing.

(left and centre) Corset made in two parts and fastened together at the front with metal loop and button catches, and at the back with 16 pairs of metal bound eyelets. It is made of cotton and reinforced with bone in cotton casing, angled to provide a straight front. The corset reaches from just over the bust to the curve of the hips slanting down to a point at the front and less deeply at the back. It is trimmed with machine-made lace, European,century 1895-1905, Casa Rocca Piccola Collection.

(right) corset, natural cotton, trimmed at the top edge and centre front with machinemade lace, stiffened with whalebone and machine stitched, lace fastening at the back, metal eyelets in front, European, century 1900-1910, Casa Rocca Piccola Collection.

the courtyard installation

All Laced Up

I CONSIDER LACE TO BE ONE OF THE PRETTIEST IMITATIONS EVER MADE OF THE FANTASY OF NATURE

– COCO CHANEL

Maltese lace is intricate, soft, and silken, delicately caressing the body in well-loved designs repeated by lace makers through the decades until they became part of the immutable vocabulary of Maltese lace making. What if we picked a design from the exceptional lace dress on display in the Entrance hall, and explored how far it could be interpreted? Lacemaker Annamaria Gatt was commissioned to select a traditional motif and challenged to create it on a monumental scale with materials that could dress a building rather than a person. The result is a 2.76m x 1.76m monumental lace panel featuring the Festun tal-Istilla (t. Star motif), worked in 350 metres of white rope that took around 90 hours to prepare, design, draw, and work up - a feat undertaken for the first time.

P a lazz o Falson

ACKNOWLEDGEMENTS

Atlas Insurance

Charles Agius

Alan Azzopardi

Dr William Azzopardi

Francis Bajada Menswear

Anna Balzan

Mgr Joseph Bezzina

Claire Bonavia

Pierre Bonello

Silvana Borg Cardona

Glen Calleja

Caroline Camilleri

Casa Rocca Piccola

Kenneth Cassar

Maria Cassar

Cathedral Museum Gozo

Sarah Chircop

Miriam Cremona

Joseph DeBono

Marquis and Marchioness de Piro

Formosa Gauci family

Maria Fsadni

Heritage Malta

Nicholas Jensen Testaferrata

Martin Trapani

Cosimo LaForgia

Valentina Lupo

Franco Masini

Metropolitan Cathedral Mdina

Maria Muscat

Jean Pierre Portanier

Giulia Privitelli

Dr Mark Sagona

Raymond Saliba

Signworld

Roanne and John Spiteri

The Capt. O.F. Gollcher Art and Archaeological Foundation

Mgr. Dr Edgar Vella

This project was generously supported by the

The Board of Governors of Fondazzjoni Patrimonju Malti would like to thank the following for their generous support

ASSOCIATES

APS Bank

Malta Airport Foundation

BENEFACTORS

Atlas Insurance

Bank of Valletta

Corinthia Group

HSBC Malta Foundation

MAPFRE/ MSV Life

Mr Jean Claude Gandur

The Martin Laing Foundation

CORPORATE SUPPORTERS

Associated Drug Company Ltd

Fenech – Fenech Advocates

FinXP

Ganado Advocates

Gasan Mamo Insurance

Healthcare Logistics Ltd

JoinwellFxb

M. Demajo Group

Nexos

The Farsons Foundation

San Giuliano Catering Ltd

PRIVATE SUPPORTERS

Mr & Mrs Andrew Hamish Forsyth

PATRONS

PERSONAL

Simon Abrahams & Francesca Del Rio

Mr Neville Agius & Dr Sabine Agius Cabourdin

Simon & Annabelle Ellul Sullivan

Mrs Janatha Stubbs

Mr Andrew Norman Vincenti

CORPORATE

Antes Insurance Brokers Ltd – Mr Kevin Galea

Pace

Aviaserve – Mr Kenneth De Martino

CamilleriParis Mode – Mr Paul Camilleri

Eden Leisure Group – Mr Ian De Cesare

Eyetech Ltd – Mr Patrick Cutajar

Forestals Group of Companies – Mr Tancred

Tabone

Gianpula – Dr Roger de Giorgio

Good Earth Distributors Ltd – Mr Nikolai de Giorgio

GVZH Advocates – Dr Michael Grech

IIG Bank (Malta) Ltd – Mr Raymond Busuttil

John Ripard & Son (Shipping) – Mr Joseph Chetcuti

Lombard Bank Malta plc – Mr Joseph Said

Mapfre Middlesea plc – Mr Martin Galea

Miller Distributors Ltd – Mr Malcolm G. Miller

O. F. Gollcher and Sons Ltd – Mr Karl Gollcher

PwC – Mr David Valencia

RiskCap International Ltd – Dr Paul Magro

Rizzo, Farrugia & Co. (Stockbrokers) Ltd – Mr Vincent J. Rizzo

Satariano – Ms Natasha Chapelle Paleologo

Shireburn Software Limited – Ms Yasmin de Giorgio

Sigma Coatings (Malta) Ltd – Mr Anthony Critien

The Alfred Mizzi Foundation – Mr Julian Sammut

The Gasan Foundation – Ms Sarah Carbonaro

Tug Malta Ltd – Dr George Abela

Virtù Steamship Co. Ltd – Mr Charles A. Portelli