No, this little number isn’t a masterpiece from Mr. Warhol, but the iconic artist was surely the inspiration for its recognizable print.
Back in the mid to late ‘60s, disposable apparel made of paper was all the rage, and everyone was doing it, from paper towel producers and pie makers to Hallmark and the Campbell Soup Company. For a couple of Campbell’s veggie soup labels and one buck, you could mail order the Souper Dress.
Too long? Just get your scissors and cut. Needs mending? Just grab the transparent tape, and pull, tear and repair. Stubborn stain? Just throw the dress away, tuck another dollar in an envelope and mail away for your next fashion fix. Most paper dresses made in the ’60s were actually 93 percent cellulose and 7 percent nylon.
By 1968, the paper fashion fad had fizzled, and the polyester leisure suit was next in line to pop.
The Henry Ford is a very active collecting institution, which results in hundreds to thousands of new artifacts of all types and sizes added to our collections every year. From among these, our curators select a subset for near-term digitization, while the rest go into the queue to be digitized as the need arises.
One just-digitized item collected by Curator of Transportation Matt Anderson is the glove worn by Janet Guthrie when she became the first woman to race in the Indianapolis 500 in 1977. Visit our Digital Collections to see more artifacts either acquired or “discovered in collections” in the last year—or explore tens of thousands of racing-related artifacts. Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
Every week, guests and researchers visit The Henry Ford’s Reading Room, either physically in the Benson Ford Research Center, or virtually, via our remote research program. The researchers (or our staff, for remote requests) pore through boxes and folders of photographs and documents, and sometimes select key items for imaging. With so much material in our collections, these can be intriguing items we might not have realized were there, and we make many of these digitized images available online so future access becomes even easier for anyone, anywhere.
One great example is this recently digitized, researcher-requested Ford Motor Company image of a Model T modified with traction to act as a snowmobile.
It's human to want to leave a legacy — some small impact on the world that will outlive us. For the Roddis family of Wisconsin, that legacy comes partially in the form of generations’ worth of clothing, now a part of The Henry Ford Archive of American Innovation.
“What’s absolutely wonderful about this collection is it’s from one family and spans many decades and several generations,” said Jeanine Head Miller, curator of domestic life for The Henry Ford. “Often, people don’t save things to this degree — they get dispersed and their stories are lost.”
The Roddis family was a successful middleclass family living in Marshfield, Wisconsin, from the 1890s to the 2010s. William H. Roddis moved to this small town from Milwaukee with his wife, Sara, and his son Hamilton and daughter Frances in 1894. There, he turned a struggling veneer business into the thriving Roddis Lumber and Veneer Company. His son Hamilton continued this success. And there, Hamilton Roddis and his wife, Catherine Prindle, raised a family of five daughters and one son.
Though living in a small town away from urban centers, the well-educated Roddis family was in touch with the larger world. The Roddis women loved stylish clothes and found ways to keep up with fashion. “Their closets held garments available in the stores of Milwaukee, Chicago, New York or Paris — as well as stylish garments made by Catherine,” Miller said.
Though the family was prosperous, they didn’t have an unlimited clothing budget, stocking their closets very wisely. “Their clothing was tasteful, beautifully designed and constructed, but not pretentious,” Miller added.
Hamilton and Catherine’s daughter Augusta played a key role in preserving the generations of the family’s garments acquired by The Henry Ford, storing items in her family home’s third-floor attic for decades.
“Now that The Henry Ford is the custodian of the collection, it is our responsibility to preserve these garments for the future,” said Fran Faile, textile conservator at The Henry Ford. “We do that by housing them in specialized storage areas, exhibiting them only for limited periods of time and ensuring that the materials used for display are safe for the delicate fabrics. We are committed to providing the best possible care for the artifacts entrusted to us.”
Even the most delicate of repairs are considered carefully, she added.
“In the end, what the family appreciated about The Henry Ford was that we valued the context,” noted Miller. “The garments are lovely and interesting to look at, yet they take us beyond, into broader stories of America. So the collection is about more than just fashion. It’s about people — and the American experience spanning more than 130 years.”
The Henry Ford’s digitization and digital content teams get together for a 10-minute stand-up meeting every morning, and those meetings consistently spawn intriguing conversations about the amazing, rare, awesome, and significant items in our collections. Sometimes our discussions turn to objects that make sense within the context of their time and place, but which might seem strange or unsettling today.
In honor of the Halloween season, we’ve put together an Expert Set of some of our favorite such artifacts, selected by our staff. For example, Curator of Communication & Information Technology Kristen Gallerneaux selected this poster, shown above, featuring magician Howard Thurston and a bevy of supernatural figures.
Visit the Expert Set in our Digital Collections to see more—if you dare... Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
"Rose Hips Diptych C8" by Paul Stankard, 1994. THF163681
Paul Stankard is one of the founders of the Studio Glass movement of the 1960s and 1970s. Most early Studio Glass artists began their careers creating paperweights and moved on to other forms. Stankard concentrated on creating the most technically sophisticated and beautiful paperweights he could imagine. Today, Stankard is acclaimed for his miniature worlds, consisting of imaginary botanicals, bees and sometimes human figures.
"Cylinder with Native Flowers, Honeybees, and Figures" by Paul J. Stankard, 2002. THF165042
This summer, The Henry Ford hosted Meredith Pollock as our 2016 Edsel B. Ford Design History Fellow. Her work here investigated the materials in our collections related to Edsel Ford’s philanthropy, and turned up a great deal of information on the kinds of charities to which Edsel donated.
One thing that caught our eye, particularly in light of this year’s National Park Service centennial, is Edsel’s ongoing relationship with America’s national parks. We’ve just digitized a number of letters, photographs, and other artifacts that help explain how Edsel supported the park system, including this certificate reappointing Edsel to the Isle Royale National Park Commission.
Henry Ford Museum’s newest exhibit, the Davidson-Gerson Modern Glass Gallery, formally opens on October 14, 2016. In this exhibit, you’ll learn about the evolution of modern studio glass, and how it blends art, science, and technological innovation.
We’re happy to announce that we’ve already digitized about 80% of the pieces on exhibit, with the remainder to be available online by early next year. One example, shown here, is “Scarlet Macaw” from the Parrot Series by Noel Hart, an Australian artist.
In the early 1960s, designers Charles and Ray Eames set out to reveal the wonder they saw in math through an engaging and interactive exhibit they called Mathematica: A World of Numbers … and Beyond. The designers, perhaps best known for the iconic Eames lounge chair, used models and demonstrations to bring to life concepts such as probability, geometry, the Moebius strip, and more.
In 2015, The Henry Ford acquired an original Mathematica exhibit, and is currently working to restore the interactive components before installing the exhibit on the Museum floor in 2017. We’ve begun to digitize some of the signage and reading material from the exhibit, including this reading stand that discusses, among other things, the “Man Machine Interface.”
Visit our Digital Collections to view zoomable detail shots, or to see the other Mathematica signage digitized so far. Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
There has been a lot going on at The Henry Ford lately – our Beatles exhibit has just closed, the new Davidson-Gerson Modern Glass Gallery is soon to open, and the conservation department has been involved with those goings-on and more. Even though there’s a lot of change and activity, our IMLS-fundedgrant project to work on our electrical collections continues at a steady pace. As we approach the halfway point in the grant, we are also approaching 450 objects conserved – the halfway point of our 900-object goal!
Conservation Specialist Mallory Bower and Senior Conservator Clara Deck clean objects in the Collections Storage Building.
We have been continuing to make regular trips to our Collections Storage Building (CSB) to select artifacts for inclusion in the grant; while we’re out there, we give them an initial clean, before bringing them into the museum to be fully conserved, then photographed and packed.
Collections Specialist Cayla Osgood brings down the dynamo on a forklift while Mallory “spots”, keeping a watchful eye for corners, overlapping edges, or any other potential issues.
We have recently brought our third “extra-large” object in from CSB, an Eickemeyer Dynamo. When choosing objects to bring in, we take into account the wants and needs of other departments of the museum, and we chose this object as there was some interest in it from the curatorial department. Since it was high up on a shelf, it had been a little while since they were able to inspect it up-close – there was a lot of excitement when we brought it in! Although it will not be going on display, it is now clean and accessible, and soon it will be digitized and available online.
The Eickemeyer Dynamo, retrieved from storage (32.107.1)
The dynamo did not need an excessive amount of treatment, largely a brush/vacuum to remove storage dust, plus removal of a little copper corrosion on some of the fittings on the ends. (Want to read more about our “extra-large” objects? Check out our previous blog post!)
A circuit breaker with a marble base, during treatment (29.1333.292)
Although the “extra-large” objects have been focused on quite a bit in our blogs, most of what we do involves much smaller objects. There are so many different materials and types of objects, we have a lot of interesting challenges to work through. Something of particular note that we have come across a few times now is objects with marble bases, like this circuit breaker. The marble is frequently very dirty, with staining and significant accretions, and, as in this case, also cleans up fairly well! This “in progress” shot shows how different the object can look from when we get it out of the Collections Storage Building to when it’s clean and finished, ready to be digitized and packed.
So that’s where we stand currently, nearly halfway through our IMLS grant, working away on lots of electrical objects. Keep your eyes peeled for future blog posts with updates on our progress!
Louise Stewart Beck is the IMLS Project Conservator at The Henry Ford.