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Tarter/Miller Gallery | Dr. James Measell, Guest Curator The glass collection of Jabe Tarter and Paul Miller holds wonderful evidence of the creativity and entrepreneurial spirit of the glass makers of Ohio, West Virginia and Pennsylvania. This exhibition, curated by James Measell, historian at the Fenton Art Glass Company, focuses on pieces from the second quarter of the twentieth century, a period known as "between the wars," a period spanning both luxurious excess and deep depression.

Broadbent Gallery | Dr. Anne Bissonnette, Curator In 1770, Charles-Germain de Saint-Aubin published L'Art du Brodeur, a treatise on embroidery, where he defined the practice as "the art of adding the representation of such motifs as one chooses—flat or in relief, in gold, silver, or color—to the surface of a finished piece of cloth." Far from being reserved for women, embroidery was the trade of his grandfather who left the farm to settle in Paris where his son was eventually bestowed with the title of Embroiderer to the King.

Blum Gallery | Jean L. Druesedow, Director The °ÄÃÅÁùºÏ²Ê×ÊÁÏ Museum is fortunate to have in its collection exceptional examples of the formal sashes, the obi, worn with traditional Japanese kimono on special occasions. Of the many ways to tie these sashes, two are demonstrated in this exhibition: the otaiko, or drum, and the fukura-suzume, or swallow. It is the fukura-suzume that is worn with the furisode, the swinging sleeve kimono worn by young unmarried women.

Palmer and Mull Galleries | Dr. Anne Bissonnette, Curator  

Alumni Gallery | Elizabeth St-George, Guest Curator Early eighteenth century silk design is marked by the evolution of textile motifs towards greater naturalism. While floral ornamentation had consistently appeared in Medieval and Renaissance silk decoration, these forms were heavily stylized. Semi-naturalistic flowers begin to appear about 1700, after which a tendency towards more naturalistic forms accelerated until the middle of the century.

Stager Gallery | Jean L. Druesedow, Director James Galanos always made ready-to-wear, but he made it to the standard of the haute couture, the highest quality of dressmaking. In the history of the American fashion industry, no one has matched the accomplishments of his 46 year career.

Higbee Gallery | Jean L. Druesedow, Director The period between 1875 and 1914 was tumultuous in both Europe and the United States. At the time, no one thought of it as a specific era, but in hindsight it has been called the "Gilded Age." In France it has been known rather nostalgically as La Belle Époque, the "Beautiful Time."

Broadbent Gallery | Dr. Anne Bissonnette, Curator Blue of indigo is the key to a continuing story that links the past and the present. Considered one of the finest dyes of the ancient world, it continues to be among the most beloved colors. A dominant force in fashion, indigo denim is now ubiquitous, and serves to further the trend for informality in clothing as it draws from its utilitarian roots. Though indigo dye was found in an Egyptian mummy's bandages from ca.

Stager Gallery | Dr. Anne Bissonnette, Curator In August 1939, Madeleine Vionnet (1876-1975) presented her last collection in Paris before closing her house of couture. At the age of eleven, she had become a seamstress' apprentice and had discovered the gift of her hands. Talented, inquisitive and determined, she was a première d'atelier by age nineteen. The female body became the center of her art when she began developing garments through improvisational draping directly on models at the House of Callot Soeurs, which she entered in 1902.