Mystery dress among the textiles at museum
Do you recognise this dress? Photo: Em Hofstede.
A balmy summer’s night, past midnight, November, 1957.
Delouise Harper climbed up the ivy-covered lattice to her open bedroom window and slipped into a misty reverie of the evening’s events. The ball had been so exciting. She had danced with Alexander Pretty, Takaka District High School’s newest Dux. They made a handsome couple, turning heads among the crowd of teenagers and teacher chaperones alike. But there in her tiny room, Delouise found she was not alone. Her eight-year-old stepsister Ethel had been waiting up for her, and questioned her pointedly about her whereabouts and the gorgeous ball gown Del was wearing. Ethel ran to her mother’s room to tattle. Delouise was in a tizzy. If she were found out by her stepmother, surely she would never be allowed out again. Thinking quickly, she undressed and shoved the gown through the secret hole in her ceiling and into the attic.
And that’s where it remained, really, until someone, decades later, found it and handed it in to the Golden Bay Museum. Really.
Or is that what actually happened?
On display at the museum is a stunning handmade ball gown. It was found in the attic of the Mansford house located on Abel Tasman Drive, Motupipi, opposite Hurst’s farmhouse. The house was once owned by Hugh Manson. And that’s where the real story ends. More provenance than that is not known, including the actual age of the dress, which appears to be in a style common to the 1950s but could be older or even decades younger. The donor of the dress wishes to remain anonymous.
The gown is estimated to be about a size 10 in contemporary sizing and probably suited a woman around 5’7” or slightly taller. The overskirt of the dress is black lace, billowing out from a fitted, ruched bodice. The ruching graduates from a dark grey to cream. At the back, a large black velvet bow trails over the opening. The dress is fitted with a zipper, and hook and eye closure.
The museum would love to solve the mystery of this garment. Do you recognise it? Was it yours? Do you know the real story? Have you got a photo of it?
Over the years our Golden Bay Museum has been the recipient of many textiles which have a strong connection to this area. In the collection are costumes, uniforms, millinery, carpets and rugs, dolls, parasols, fans, patchwork and applique, flags and banners, quilts, needlework, woven harakeke, lace, samplers, and upholstery. These artefacts are among the most sensitive in any museum’s collection.
When a textile is received as a donation or loan to the museum it is checked for signs of live insects or egg cases, which are removed carefully. A quarantine period follows, prior to the article’s placement into the collection areas.
Most intriguing is the need to assess whether any dirt or previous repairs or alterations make up part of the history of the textile and whether it should be left as is. Advice from a textile conservator is always sought before undertaking repairs or cleaning.
Textiles are kept in dark storage because they are vulnerable to light and at all times require a carefully controlled environment where humidity and temperature are constantly monitored. They are susceptible to damage from dirt, mould, insects, chemicals, and abrasion.
While in storage, acid-free packing materials are used, and packing is done in a manner that meets National Museum standards, which includes the addition of supports to the fabric to keep it from folding under its own weight, as that may cause it to wear and possibly tear. Handling is kept to a minimum and gloves are generally worn.
Although it may seem obvious, historic garments are never worn because the undergarments used today are not able to support the costume.
At the Golden Bay Museum in particular, lighting levels are an ongoing problem, says collections manager Karen Johnson, “because of our lighting system and the need to open the front doors, which allows UV light to flood into the exhibition area”.
Because of this, textiles are displayed for short periods of time only, so it’s worth a quick trip to the museum to see this mystery dress, vintage Takaka, while you can.
(Please note: the 1957 names are fictional.)
Em Hofstede
