Fashionably Mourning

The day of the funeral has arrived. You put on your dreary black outfit and solemnly pay your respects to the deceased. You cannot help but wonder – why black? Why is wearing black to a funeral considered a long-standing tradition? Women in nineteenth century Europe and America were expected to uphold a reputation through means of orderly conduct and fashion. Fashion was a way to demonstrate one’s high status and wealth, even including mourning garbs. In the Metropolitan Museum of Art, the Costume Institute revealed Death Becomes Her: A Century of Mourning Attire for the first time to the public beginning on October 21, 2014 and concluding on February 1, 2015.

These dresses symbolized a woman’s grief and respect for the departed. The purpose of the opening of this exhibition is to educate and portray the stages of mourning attire for women. However, it was only until later when I read the exhibition overview that I realized these dresses were supposed to display the different periods of mourning. The gowns were organized somewhat unsystematically, and since it was just a large rectangle display divided up by black transparent curtains, many people wandered around the room in different directions. There was also a connected back room, which was slightly hidden, that showcased accessories, such as mourning parasols, brooches, necklaces, and even paintings depicting burials or portraits of the deceased. I did not mind the layout of the exhibition since it did not really affect me, but I thought it should have been more strategically planned out, so people would not get confused as to which direction to walk in or leave before viewing the smaller, less public room.

When Death Becomes Her was first mentioned in class, I thought it was extremely morbid yet somewhat interesting. Therefore, when I actually visited the exhibition, my perception of it was further established. However, I was even more intrigued at the drastic style of these Victorian mourning apparels. A quote on the wall of the exhibition from Arthur’s Home Magazine in 1885 stated “black has been so generally worn for a long time past that it is not always easy to distinguish between those who are in mourning and those who are not. It is an economical dress and imparts an air of refinement where it would otherwise be lacking.” Women had to dress in black and in specific garments for years before exiting the period of grief and mourning. Most people in the modern Western world continue to wear black or dark colors to symbolize their grief and respect while people in countries like India and Japan wear white to mourn. The Costume Institute presented dresses with crapes, which are black silk veils, as the beginning stages of mourning. Eventually, the dresses became slightly more revealing and with hints of mauve and gray colors. Towards the end of my visit, I discovered Queen Alexandra’s gaudy gowns, which she wore a year after Queen Victoria’s death to represent her half-mourning. I found the gowns absolutely beautiful, constructed with black tulle, several shades of lavender, and purple sequins. While admiring these gowns, a woman began to converse with me about the history behind these dresses and I realized that this exhibition attracted a large variety of spectators. There were people who were just strolling through the Metropolitan Museum and people who had a genuine interest in the Victorian style mourning attires. Despite the diverse crowd, everyone seemed to be impressed and fascinated by the exhibition.

I thought that theatricality was a major factor of this exhibition. Before entering the basement to go to Death Becomes Her, I decided to roam around the museum, looking at the Egyptian and Asian art. These displays were vastly larger than the Costume Institute. I even got lost a couple of times. The lighting was normal, so you can properly attempt to decipher the Egyptian hieroglyphics, and all the pieces of artwork were just placed either in display cases or in the middle of the floor. I thought it was nothing special; these wings just seemed like a regular, typical museum exhibition. In contrast to these exhibitions, Death Becomes Her resembled a show to me. When I entered the exhibition, I was in awe. It was impressive how much theatrics played a role in the showcase. The lights were very dim, as darkness is usually representative of death. The music was haunting and perfectly encapsulated the aura of grief. They were even quotes that randomly popped up against the black walls via a projector. My personal favorite was stated by Robert De Valcourt in The Illustrated Manners Book in 1855, “Black is becoming; and young widows, fair, plump, and smiling, with their roguish eyes sparkling under their black veils are very seducing.”

Overall, the Costume Institute did a wonderful job creating an eerie ambience of grief. I felt well educated on the stages of mourning garment, the evolving fashion, and the specific fabrics used in designing these gowns – typically silk, velvet, or lace. I found this exhibition by the Costume Institute intriguing, and I left the museum with refreshed thoughts on how fashion was and still is an important factor in society, even in bereavement. I would recommend to my fellow classmates and other people to rush to the Metropolitan Museum of Art and take a look at this exhibition. Next time you attend a funeral, which I do not hope is anytime soon, think more carefully about the traditions and fashion style behind mourning attire.