http://collections.mfa.org/collections/314120/objects/rdfFashion Artshttp://collections.mfa.org/internal/media/dispatcher/794152/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/961842/resize%3Aformat%3DfullAfternoon dressabout 1880Charles Frederick WorthSilk plain weave (faille), silk satin, and silk cut and uncut velvet, trimmed with silk plain weave (chiffon) and silk fringeWoman's dress of pale greenish-yellow, trimmed with yellow cut and uncut velvet in three feathers and bow design on light blue satin ground. (a) Bodice fitted and boned with bow peplum at center back, low square-cut neckline, buttoned down center front, and elbow length sleeves with yellow chiffon undersleeves; peplum and its bow, narrow vestee at center front, trimming, bows at neck and on sleeves lined with yellow satin; narrow turned back collar, lapels and cuffs of velvet, neck and cuffs finished with pleated yellow and white chiffon; stamped on inner waistband: "Worth, 7 Rue de la Paix, Paris." (b) Skirt and train in one piece; front of skirt with horizontal drapery, pleated yellow chiffon and yellow silk, fly fringe trimming at bottom; several brownish stains.http://collections.mfa.org/objects/448172/rdfhttp://collections.mfa.org/internal/media/dispatcher/901870/resize%3Aformat%3DfullBall dressabout 1858Silk plain weave (taffeta), machine net (tulle) and silk bobbin lace; trimmed with silk ribbon, embroidered silk net, and silk flowersBright pink tulle and taffeta dress; taffeta underdress; (a) bodice widely flaring neckline, short puffed sleeves, tightly fitted waist, sharply pointed center front and back, laced down back, trimmed with ruffles of blonde lace and bows of pink brocaded gauze ribbon, (b) skirt with five flounces trimmed with brocaded gauze, fullness evenly spaced all around, two garlands of artificial flowers tacked at sides of center front of skirt.http://collections.mfa.org/objects/458242/rdfhttp://collections.mfa.org/internal/media/dispatcher/961830/resize%3Aformat%3DfullDress and petticoat (Robe Volante)about 1730Silk lampasBlue silk lampas with white floral motifs. Overdress: loose fitting bodice and full skirt; short fitted sleeves with gathered asymmetrical cuffs; sack (Watteau) back; worn over trimmed corset. Petticoat fullness knife pleated into blue linen waistband except at front. Blue linen partial linings.http://collections.mfa.org/objects/488666/rdfhttp://collections.mfa.org/internal/media/dispatcher/965126/resize%3Aformat%3DfullEvening dress1962Madame GrèsSilk knit (jersey)Full-length, Grecian-inspired, asymmetrical evening dress in pink, white and lavender pleated silk jersey. Labeled: "Grès Paris"http://collections.mfa.org/objects/80281/rdfhttp://collections.mfa.org/internal/media/dispatcher/886074/resize%3Aformat%3DfullEvening dress1951Charles JamesSilk plain weave (chiffon) and satinEvening dress of gray pearl silk chiffon over silk satin. Bodice has wide straps and draped chiffon forming decorative element on center front. Skirt has draped chiffon swagged around hips and brought to back in seam.Reproduced with permission.http://collections.mfa.org/objects/437961/rdfhttp://collections.mfa.org/internal/media/dispatcher/961839/resize%3Aformat%3DfullEvening dressAbout 1888Charles Frederick WorthSilk plain weave patterned with weft floats, trimmed with silk plain weave [chiffon], satin ribbons, jet beads, and machine netLight pink ribbed silk with self-colored pea pod lattice figure; bodice with deep V lower center front and back, wide cut low neck, sleeveless but with folks of pink chiffon and lace around arm scyes, swag of jet beads, broad black satin ribbon fastened in rosette at back with 2 long ends pendant; in center front panel lower half black net and jet bead insertions, most of fullness of skirt in back.http://collections.mfa.org/objects/582676/rdfhttp://collections.mfa.org/internal/media/dispatcher/905235/resize%3Aformat%3DfullFolding fanlate 18th centuryPainted paper; boneFolding fan with painted scenes, on the obverse is a black and brown outlined scene with three ships flying the flags of Netherlands, Sweden, and Denmark, sailing past a port city. On the reverse is a small bouquet of blue and pink flowers. Gilt paper binding at top. Pierced and painted bone sticks with three medallions showing outdoor settings. One guard are painted floral motifs, the other is not decorated and may be a replacement.http://collections.mfa.org/objects/125096/rdfhttp://collections.mfa.org/internal/media/dispatcher/965103/resize%3Aformat%3DfullFolding fan depicting scenes from the history of ballooningabout 1785Reformed protein [molded horn] sticks and skin leaf painted with gouacheSingle skin leaf. Scenes of balloons and balloonists. Obverse: 3 vignettes, crowds, townscapes, balloons (Rozier's balloon of first ascent, November 21, 1783, center); decorative panels with portraits (Guyton de Morveau, Joseph Montgolfier, Marquis d'Arlandes) beween and to sides, decorative borders. Reverse: 3 simple vignettes, panels with balloons in medallions between and to sides. Gilt paper binding. Horn sticks with ballooning scene center blades, portraits (Jean Pierre Blanchard, Jean François Pilâtre de Rozier) (obverse) and ballooning (reverse) medallions on guards. Diamond paste studs in rivet, brass ring.http://collections.mfa.org/objects/123724/rdfhttp://collections.mfa.org/internal/media/dispatcher/962056/resize%3Aformat%3DfullFormal dress1805Cotton gauze, embroidered with wool and cottonWhite cotton gauze on which is a powdering of small floral sprays and a border design composed of vine and a modified Greek fret worked in a chain stitch with fine red and white wool.http://collections.mfa.org/objects/67396/rdfhttp://collections.mfa.org/internal/media/dispatcher/1656966/resize%3Aformat%3DfullFour-cornered hatA.D. 700–900Knotted cotton ground with wool [camelid] pileFour-sided hat with four points. Four rectangles containing composite bird-camelid figures each side. Cotton net with polychrome (green, blue, red, white) wool pile.http://collections.mfa.org/objects/36615/rdfhttp://collections.mfa.org/internal/media/dispatcher/965117/resize%3Aformat%3DfullLuna moth fanabout 1890George KeiswetterCarved and painted wood sticks and silk plain-weave leaf painted in oil with applied metal sequins, thread, and netLuna Moth fan. Single white silk leaf painted in oil (?) in shades of green forms wings, decorated with brass, plated steel, silver-plated copper sequins green and blue sequins, gilt-silver yarns and net; gilt-silver insert center. Thirteen carved hornbeam (?) sticks painted green, silver and gilt-silver form body. Mother-of-pearl buttons on rivet, brass ring.http://collections.mfa.org/objects/126058/rdfhttp://collections.mfa.org/internal/media/dispatcher/961848/resize%3Aformat%3DfullMan's court sash (patka)17th or early 18th centuryCotton compound weave (twill and plain weave) with supplementary silk and metal-wrapped patterning weftsA dark blue sash of silk brocade is decorated on both ends with a series of ivory-colored chevron-patterned bands. The narrow edges and wide ends of the sash consist of multi-colored embroidered flowers on a gold brocade ground. In the pallaka (end) panels, four tall flowering plants, perhaps poppies, serve as perches for blue and green birds. Gold fringe falls from both ends. An important element of male courtly attire in sixteenth-, seventeenth-, and eighteenth-century India, the patka or girdle played a symbolic and decorative role comparable to the necktie today. Often the most lavishly decorated component of a man's formal dress, the patka tied at the waist with the ends hanging toward the knees. The length of the ends and the position of the knot changed according to the fashions of the times. The ends of the patka, known as the pallakas, tend to be more elaborately and sumptuously ornamented than the central area, with lavish embroidery and metal thread. Because rulers often granted patkas as token of esteem, the sashes became symbols of political status as well as emblems of wealth and good taste.http://collections.mfa.org/objects/49154/rdfhttp://collections.mfa.org/internal/media/dispatcher/962052/resize%3Aformat%3DfullMan's mantle and two border fragmentsA.D. 50–100Wool (camelid fiber) plain weave, embroidered with wool (camelid fiber)Black wool ground with design worked in wool of bird impersonators with elaborate wings, fringed capes, headdresses, and snakes, carrying ceremonial staffs and trophy heads. The colors (crimson, pink, blue, dark green, yellow and grayish green) are used in four different combinations of color in the figures. Unfinished rectangles in each corner show similar figures on an embroidered golden brown ground.http://collections.mfa.org/objects/456932/rdfhttp://collections.mfa.org/internal/media/dispatcher/961813/resize%3Aformat%3DfullMan's poncho100 B.C.–0Camelid plain weave, embroideredRectangular collar (esclavina) Ground: dark blue camelid. Design: narrow band bordering rectangle, and the two sides of slit for head, decorated with angular double-headed birds, each enclosing a similar bird in reversed position, within which is another double-headed bird, in the same position as the first. The ground of the border is made up of blocks worked with yellow, red, dark green and neutral violet camelid fiber. The same colors appear in the birds and in the short fringe which edges the piece.http://collections.mfa.org/objects/36606/rdfhttp://collections.mfa.org/internal/media/dispatcher/939620/resize%3Aformat%3DfullMan's robe restyled as a Tibetan chuba17th centurySilk, metal-wrapped, and peacock-feather-wrapped thread slit tapestryTapestry-woven dragon robe, restyled as Tibetan chuba during the 19th century. Large gold dragon on front and back, ground covered with blue and green clouds. Ying-lung dragon with three eyes, horns and five claws. Restyling incorporates 4 later rank badges and other kossu fabricshttp://collections.mfa.org/objects/315329/rdfhttp://collections.mfa.org/internal/media/dispatcher/847894/resize%3Aformat%3DfullMan's semi-formal court robe (jifu)fourth quarter of the 18th centurySilk satin-weave ground with gold-wrapped thread discontinuous supplementary patterning wefts tied down with supplementary warps in twill-weave; metal buttonsMan's semi-formal court robe (jifu) with horse-shoe cuffs and side opening with round gold metal buttons and design of water and mountain along the bottom; above which are nine five-clawed dragons, sacred pearl, bats and clouds on an interlocking swastika background pattern in light and dark gold-wrapped thread discontinuous supplementary patterning wefts; eyes of dragons brocaded in blue and white silk; neckband and cuffs of black satin patterned with continuous supplementary gold-metallic wefts and sleeve extensions of navy blue twill-weave silk with pale yellow stripes in silk discontinuous supplementary patterning wefts; lined with blue plain-weave silk.http://collections.mfa.org/objects/254517/rdfhttp://collections.mfa.org/internal/media/dispatcher/965121/resize%3Aformat%3DfullMantleA.D. 700–900Wool [camelid] plain weave with discontinuous warps and wefts, disassembled, tie-dyed, and reassembledPaired step-block units create squares in following color combinations; light blue/brown, yellow/dark blue, green/red. Tie-dye designs of diamonds and striped in natural, red, yellow. Selvedges and fringe intact.http://collections.mfa.org/objects/36608/rdfhttp://collections.mfa.org/internal/media/dispatcher/928840/resize%3Aformat%3DfullMeisen kimonofirst half of 20th centurySilk and rayon plain weave, warp and weft printed (heiyo gasuri); cotton plain weave liningLong-sleeved kimono patterned with undulating vertical red bands edged in black alternating with white and salmon bands; shortened at waist and lined with red silk and salmon cotton plain weavehttp://collections.mfa.org/objects/440985/rdfhttp://collections.mfa.org/internal/media/dispatcher/1783080/resize%3Aformat%3DfullMiter from the abbey church of the Benedictine monastery of Saint Peter13th centurySilk compound weave embroidered with silk and gilt-silver metallic threadBishop's miter from the Benedictine Monastery of St. Peter in Salzburg, Austria, probably made in Germany of Near Eastern silk. Ground fabric is of cream white silk patterned with large medallion enclosing heraldic eagles, embroidered in gold metallic threads with eight-pointed stars and small disks of green and violet silk edged with gold; above each star is a six-petalled rosette worked in faded orange silk and also edged in gold. Two lappets of light orange silk patterned with animals and trees in medallions hang from back; relined.http://collections.mfa.org/objects/46452/rdfhttp://collections.mfa.org/internal/media/dispatcher/739024/resize%3Aformat%3DfullMoccasinslate 18th century to early 19th centuryLeather (probably moose or deer skin), woven dyed porcupine quills, bast fiber thread, plain weave silk ribbon, dyed hair tufts (probably moose), tinned sheet iron cones, napped plain weave wool backingDark brown buckskin moccasins with plated and woven quillwork in bands of red, white, and black, tufts of red fringe held in metal cones, black ribbon binding around opening with white embroidered curvilinear motifs, black felt backing.http://collections.mfa.org/objects/441996/rdfhttp://collections.mfa.org/internal/media/dispatcher/962051/resize%3Aformat%3DfullNoh costume (chôken)18th centurySilk complex gauze-weave (ro) ground with gilt paper strip discontinuous supplementary patterning wefts tied down with supplementary warps in plain-weaveNoh theater dancing cloak (chôken) for female role with design of weeping cherry branches falling from the shoulders with front and back panels in gilt paper strip discontinuous supplementary patterning wefts on a light blue silk gauze ground.http://collections.mfa.org/objects/24513/rdfhttp://collections.mfa.org/internal/media/dispatcher/942479/resize%3Aformat%3DfullNoh costume (karaori)early 19th centurySilk twill with resist-dyed warps and supplementary silk and gilt-paper patterning weftsNoh theater robe for female roles (karaori) of alternating color blocks of white and purple patterned with sails, pines and mist in blue, orange, green, purple, white and tan silk and concentric waves (seigaiha) in gilt paper. There is a red plain-weave silk lining.http://collections.mfa.org/objects/28291/rdfhttp://collections.mfa.org/internal/media/dispatcher/964911/resize%3Aformat%3DfullNoh costume (nuihaku)late 17th to early 18th centurySilk satin, embroidered with silk, with stenciled gold leaf (nuihaku)Short-sleeved dark blue silk satin robe covered with an overall design of camellias embroidered in blue, green, orange and white over a stenciled gold leaf bamboo latticework.http://collections.mfa.org/objects/24497/rdfhttp://collections.mfa.org/internal/media/dispatcher/1015621/resize%3Aformat%3DfullNoh costume (nuihaku)18th or 19th centurySilk 1/5 twill ground, embroidered with silk and stenciled with gold leafNoh theater robe (nuihaku) for female roles patterned with flowing water, wisteria, poetry cards and fan papers in purple, glue, white, green and brown silk embroidery and applied gold leaf on reddish-orange ground.http://collections.mfa.org/objects/28679/rdfhttp://collections.mfa.org/internal/media/dispatcher/1108521/resize%3Aformat%3DfullOne panel of woman's two-piece dress1850–70Wool tapestry weave with interlock joinsBlack ground, on ends a wide band of red with dentated edges; on these are rows of diamonds outlined by blue blocks and with blue and light green lines in the centers; narrower bands of red and blue.http://collections.mfa.org/objects/74336/rdfhttp://collections.mfa.org/internal/media/dispatcher/961824/resize%3Aformat%3DfullPair of glovesEarly 17th centuryLeather embroidered with silk, seed pearls, metallic threads, and spangles, and trimmed with metallic bobbin lace and silk and metallic ribbonLeather glove, seams marked with plaited braid stitch in gold thread, the cuff embroidered with several types of metal thread and seed pearls. Pearls used for the chief features of design of dogs, birds, and deer. Trimmed with gold and silver bobbin lace and silk and metallic ribbon.http://collections.mfa.org/objects/46692/rdfhttp://collections.mfa.org/internal/media/dispatcher/834008/resize%3Aformat%3DfullPair of woman's shoes1991Vivienne WestwoodPrinted cotton twill, leatherWomen's platform shoe with 6" heel and printed abstract design in blue, red, and white resembling early 18th century silk damask panel in MFA collection (access. no. 1977.179). From the "Cut, Slash and Pull" Collection, Spring/Summer 1991. Label: "Vivienne Westwood, Made in England."Reproduced with permission.http://collections.mfa.org/objects/397668/rdfhttp://collections.mfa.org/internal/media/dispatcher/961838/resize%3Aformat%3DfullReception or dinner dressabout 1883Charles Frederick WorthSilk damask, satin, and plain weave (taffeta), trimmed with glass beads and metallic yarn gimp, with silk fringe and machine-made laceDark purplish red silk with tulip figure; bodice with long V in lower center front, elbow-length sleeves, peplum tabs lower center back, neck and sleeves trimmed with ruffles and lace, front and sleeves trimmed with repeat of cone motif in dark colored beads and metal braid; skirt center front panel of red ribbed silk with same embroidery as bodice and red silk and colored bead fringe; most of fullness of skirt and soft pleats and puff center back, train edged with dark red silk pleated ruffle.http://collections.mfa.org/objects/443749/rdfhttp://collections.mfa.org/internal/media/dispatcher/1088316/resize%3Aformat%3DfullWearing blanket1855–1866Wool interlocked tapestry weaveStriped horizontally red, blue and gray; on broad red stripes, terraced chevrons and crosses. Interlocked tapestry weave with lazy lines. 3-ply Saxony or Zephyr yarns imported from Germany with unravelled yarns, S-spun worsted, predominantly dyed with lac; tassels at four corners with light purple-dyed yarn, probably early aniline purplehttp://collections.mfa.org/objects/255713/rdfhttp://collections.mfa.org/internal/media/dispatcher/965125/resize%3Aformat%3DfullWoman's ceremonial skirt (ntchak)First half 20th centuryRaffia plain weave, embroidered with pulled and drawn workCentral panel of brown-dyed raffia cloth patterned with drawn-thread openwork embroidery. Rare design type consisting of large squares alternating with positive and negative renderings of the same pattern achieved by varying the spacing of the openwork embroidery. Skirt is bordered on three sides with bands of cut-pile embroidery. Outer edging of bundled reeds produces wavy, serpentine contour. Worn by royal women.http://collections.mfa.org/objects/266921/rdfhttp://collections.mfa.org/internal/media/dispatcher/1472379/resize%3Aformat%3DfullWoman's dressabout 1870Charles Frederick WorthSilk plain weave (faille), supplementary warp stripe pattern; lacePurple silk faille skirt trimmed with cream-colored lace embroidered with black chenille yarn; skirt front made of white silk faille with supplementary warp patterning. Purple silk faille evening bodice trimmed with cream and black net lace attached to the skirt. Purple silk faille day bodice trimmed with black and cream net lace; center front made of white silk faille with supplementary warp pattern with buttons. Two detached purple silk faille bows.http://collections.mfa.org/objects/401493/rdfhttp://collections.mfa.org/internal/media/dispatcher/961861/resize%3Aformat%3DfullWoman's evening dress1966Geoffrey BeeneWool knit with rhinestonesBlack wool jersey dress studded with rhinestones. Labeled "Geoffrey Beene"Reproduced with permission.http://collections.mfa.org/objects/407813/rdfhttp://collections.mfa.org/internal/media/dispatcher/961834/resize%3Aformat%3DfullWoman's formal dressAbout 1735; dress restyled about 1770Silk satin with supplementary discontinuous silk and metal-wrapped patterning weftsFormal dress. White silk satin brocaded with polychrome silks and gilt yarns in chinoiserie motifs. Robe: square neckline, white net panels at front line interlaced with white plush cording and polychrome silks and gilt flowers and tassels, sack (Watteau) back; short fitted sleeves with fullness gathered at back of shoulder seam, double asymmetrical trimmed ruffles; V-front waistline; skirt with panier-accomodating fullness. Tie-on apron skirt and stomacher trimmed as robe front line with scalloped ruffle.http://collections.mfa.org/objects/624112/rdfhttp://collections.mfa.org/internal/media/dispatcher/905853/resize%3Aformat%3DfullWoman's headdressmid-19th centuryWire, silk, gum Arabic, starch, beeswax, pigments, glass, and gelatinHeaddress on wire with pendant masses of artificial cherries, strawberries, grapes, plums, blossoms, leaves and coral at each end of wirehttp://collections.mfa.org/objects/65992/rdfhttp://collections.mfa.org/internal/media/dispatcher/794152/resize%3Aformat%3DfullWoman's jacketabout 1610–15, with later alterationsLinen plain weave, embroidered with metallic threads and spangles; metallic bobbin laceUndyed linen embroidered with silver and gilt-silver yarns and spangles in daffodil scroll pattern, trimmed with metallic lace. Reconstructed with non-matching linen ground. Same embroidery pattern as 43.244a-bhttp://collections.mfa.org/objects/116779/rdfhttp://collections.mfa.org/internal/media/dispatcher/1110110/resize%3Aformat%3DfullWoman's suitSpring 1968Arnold ScaasiCoral; plastic; glass; silk plain weave; metalSilk dress with turquoise bodice patterned with lattice-work plastic and coral beading, elaborate beading around round collar. Lined in turquoise silk. Coral colored silk shantung skirt lined with silk plain weave; zipper down center back with four hook and eyes at waistline and two at collar. Interior woven label white with black lettering reads: "ARNOLD SCAASI." Worn by Mrs. Joseph (Joetta) Norban.Short coral colored jacket with 3/4 length sleeves with coral and plastic beadin at cuffs. Four covered buttons down center front; lined in turquoise silk. Interior label at center back, reads: "ARNOLD SCAASI." Worn by Mrs. Joseph (Joetta) Norban.http://collections.mfa.org/objects/584091/rdf