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Alumni Gallery | Jean L. Druesedow, Director On February 25, 1978, Shannon Rodgers purchased a "blue silk robe and petticoat brocaded in silver, English, 1750," from Cora Ginsburg Antique Textiles in New York City. At the time, the dress was configured in a style approximating the 1770s, although the textile was probably created around 1750. It was included in the original Silverman/Rodgers gift that established the ÆÞÓÑÉçÇø Museum.

Stager Gallery | Jean L. Druesedow, Director Perhaps nothing symbolizes the artistry, industry and affectionate nature of women as much as the quilts and comforters they make for their families and friends. Over centuries, through effort and fine needlework, women have given expression to their aesthetic sensibilities.

Stager Gallery | Jean L. Druesedow, Director Directions for making crazy quilts first appeared in ladies' magazines in 1882. They were the first style of quilt for which commercial patterns were widely available. Kits cold be purchased containing a variety of silk fabrics and embroidery threads, as well as embroidery transfer patterns responsible for many of the charming designs found in the quilts.

East Gallery | Jean L. Druesedow, Director By the second quarter of the nineteenth century, handwoven wool and cotton coverlets kept many Americans warm at night and brightened the beds of the young nation with bold, colorful designs. Often in shades of red, white and blue, utilizing patriotic symbols interspersed with floral and geometric motifs, these coverlets demonstrated pride in country and special events as well as love of color and pattern.

Broadbent Gallery | Jean L. Druesedow, Director From the moment he discovered his passion and talent for fashion design, Oscar de la Renta created elegant day and evening wear for discerning women. He has never lost sight of the woman who will ultimately wear his creations or her lifestyle, for he maintains active engagement with the fashion industry and with the social milieu in which his clients move. Oscar de la Renta's insight and appreciation of the needs of his clients are rewarded by their loyalty.

Higbee Gallery | Dr. Anne Bissonnette, Curator We live in an era where less is more and informality is the norm. Although we might think that very little can shock us, fashion has a way of continually make us reassess our standards of propriety. The clothes we wear are part of an infinitely complex cultural system that can change with time and space.

Broadbent Gallery | Anne Bissonnette, Curator Passion, creativity and craftsmanship merge in the hands of Ralph Rucci. For over two decades, Mr. Rucci has lived for his craft and has developed an exceptional body of work. He is an original known for his innovative approaches to cut and construction and for producing some of the world's finest garments. Since his first collection in 1981, he has set himself on a path where integrity, high standards and dedication meet.

Mull and Palmer Galleries | Anne Bissonnette, Curator Curvilinear, pliable and changing while in motion, the human body is a never ending design challenge to individuals who aim to clothe it. To cover with cloth (a.k.a. clothing) has long meant the use of what is essentially a two-dimensional medium to cover a three-dimensional form. Draped on the body and held at strategic places, as seen in the Greek chiton or the Indian sari, or cut and assembled, cloth remains the most common medium used to produce a garment.

Alumni Gallery | Jean L. Druesedow, Director The furisode, or "swinging sleeve" kimono, is traditionally worn only by women before marriage. The last time a Japanese bride wears these long, swinging sleeves is at her wedding reception. On this occasion, elaborately embroidered furisode, called uchikake, are worn over a matching kimono and serve to display the family's status as well as to keep the bride the visual focus of the reception party.