#15#TextilesforAdvent Some of us can suffer at the hands of coughs and colds over the festive period so keep the tissues to hand. Or stay in the holiday spirit with this Turkey red dyed handkerchief. Made of printed cotton with a hand block printed image of a man, possibly the Duke of Wellington, in a top hat riding a horse, it is decorated with a laurel wreath. Part of the Turkey Red Collection, dated 1845. https://www.nms.ac.uk/colouringthenation
During the 18th and 19th centuries, getting married on Christmas Day was a popular tradition, with churches across the country holding festive nuptials every December 25th. Today you can request to marry on whatever day you like and can tie the knot in a civil ceremony in many different locations and venues.
So for day #14 of our #TextilesforAdvent we're celebrating nuptuals with a festive-looking bridal overtunic.
This Zoroastrian lady's bridal overtunic made from several pieces of textile, printed cotton and Chinese silk with in-woven motifs, edged in coloured braiding. From Iran, Yazd, probably early 20th century.
And now for #13 in our #TextilesforAdvent sit back and relax.... We have a gentleman’s banyan, c.1840-1850 which is Indian in origin, although you can also see the influences of Persian and Asian fashions. The traditional banyan, or Indian nightgown, is cut like a coat with fitted set-in sleeves and button fastening.
It was worn casually at home as a dressing gown or as an informal coat over a shirt and breeches, and was usually accessorised with a turban or soft cap in place of a formal wig.
Surviving garments from the 18th and 19th centuries show that the banyan changed little over time, other than to loosely reflect the fashionable line of menswear of the period in the cut of the skirts, choice of collar and fit of the body.
For #11 of our #TextilesforAdvent we have a festive looking sampler by Jean Garland of Kilwinning, Ayrshire, 1814 currently on display in #ScottishSamplers exhibition at the National Museum of Scotland, Edinburgh.
The distinctive central motif of interlocking diamonds in eyelet stitch appears in two samplers made in Kilwinning, both in the Leslie Durst collection.
It resembles earlier spot motifs with diamonds although it has been enlarged to form a central design element in its own right. This is perhaps symptomatic of the change to a more decorative and less practical function for samplers.
Surrounding the diamonds are a large number of traditional sampler motifs, trees, bowls of fruit, stags, birds and a pack of brightly-coloured dogs.
What time is it? 🕰️ Time to announce an exciting new addition to the collection, a historic Bruce-Oosterwijck longitude pendulum sea clock!
This clock, pictured here with our Senior Curator of Science, Tacye Philipson, played an important role in the long quest for a practical way of determining longitude at sea; a problem that made sea voyages incredibly hazardous. It is one of only two surviving mechanisms from this pioneering – but ultimately unsuccessful - attempt to determine longitude at sea by means of a timepiece.
You can find out more about this historic clock at http://www.nms.ac.uk/seaclock
And now something for the gentlemen to wear for a festive night out, a tartan jacket and matching kilt #11#TextilesforAdvent
This man's woollen kilt suit in made of Bruce of Kinnaird tartan manufactured by Lochcarron of Scotland, Galashiels, and was part of the Anglomania collection designed by Vivienne Westwood, London, autumn/winter 1993/1994.
How about this beautiful velvet evening jacket by Elsa Schiaparelli, Paris, France Elsa Schiaparelli was one of the great innovators of haute couture in the 1930s, using it as a canvas for art and humour. Her work with artists such as Jean Cocteau and Salvador Dali resulted in surrealist innovations like an evening dress adorned with a painted lobster, and a hat in the shape of a shoe.
This evening jacket is from Schiaparelli’s Autumn/Winter 1937/38 collection, described in Women’s Wear Daily as a collection ‘full of modern baroque whimsy.’ Schiaparelli was among the first to introduce themed collections, tying together the various buttons, fabrics, shapes and accessories around diverse leitmotifs, from the 18th-century Italian commedia dell'arte to the signs of the zodiac.
They are made of red wool with black velvet applique and silk embroidery, from Mary Queen of Scots' bed at Loch Leven Castle.
Like all women of the period, Mary was trained in the art of needlework and sat working at this during sessions of her Privy Council. Mary could not have created all of the embroidery attributed to her, including this magnificent set of wall hangings, now known to be the work of professional embroiderers. They were probably made in an Edinburgh workshop in the late 16th or early 17th century.
This set of hangings was made to decorate and warm a bedroom wall but they have been altered over the centuries and may also have been used for a bed. They are part of a set that is now divided between the Burrell Collection and St Leonard's school in St Andrews.
The Loch Leven hangings are now known not to have been made by #MaryQueenofScots, but would however be a fitting backdrop in the @maryqueenmovie on release today in the USA.