We are truly living in unprecedented times. On Friday, March 13, 2020, The Henry Ford closed its doors due to the worldwide coronavirus pandemic. We did not open them again until Thursday, July 2—and even then, only on certain days, with many new guidelines in place about masks, social distancing, and capacity, to protect our visitors and staff. None of us predicted that we would remain closed for 16 weeks—but then, there is much happening now in the world that would have been difficult to predict.
One of the many unusual things that happened over that four-month period is that the most-viewed section of our website was our Digital Collections. While our online collections typically get tens of thousands of views each month, they’ve always fallen well short of our “Visit” section—until COVID-19 shut our doors. Between mid-March and late June, visitors viewed artifacts in our Digital Collections about 285,000 times. This whetted our curiosity about what artifacts people were looking at during our closure, and why—so we decided to put a list together and take a closer look.
The Quadricycle was the third-most viewed artifact in our Digital Collections during our pandemic closure in 2020. / THF90760
One group of artifacts that was not on last year’s list, but that was highly viewed during our closure (and since), is items related to the challenging history of race in America. Given the nationwide protests sparked by the death of George Floyd, many Americans are seeking to broaden their understanding in this area, which might explain this uptick in interest. A slave collar, a “Whites Only” drinking fountain, a Ku Klux Klan robe and hood, and an Emancipation Day photograph are all artifacts on exhibit in “With Liberty and Justice for All” in Henry Ford Museum of American Innovation illustrating this disturbing history—and all were sought out by hundreds to thousands of online visitors between mid-March and late June.
This slave collar was featured in an online article called “Why We Can’t Stop Thinking About George Floyd’s Neck.” / THF13425
Another group of items that seems pandemic-specific are documents and photographs from the World War II era. In George Washington Carver’s last agricultural bulletin, published in February 1942, he encourages Americans to consider wild plants (what many might call weeds) as an alternative to green vegetables, should the war cause shortages. In March, journalist Nicholas Kristof referenced our Willow Run expert set as an example of ramping up production in a short timeframe in a New York Timeseditorial about the coronavirus. Likely as a result, a B-24 Liberator bomber production flowchart and a photograph of a B-24 in flight made it into our top artifacts over this period. A “United We Win” poster speaks to both World War II and issues of race relations.
Ford Motor Company’s fast ramp-up of B-24 Liberator bomber production during World War II provides insight on the ramp-up of coronavirus testing and treatment supplies in 2020. / THF251440
The last pattern we noticed was the popularity of artifacts related to recent films, at a time when many Americans stayed at home and increased their movie watching. Three auto racing photos—including the single-most viewed item during our closure, this photograph of race car driver Ken Miles at the 1966 24 Hours of Le Mans—demonstrate the continuing popularity of Ford v Ferarri, the 2019 movie about that very race. This letter, allegedly from Clyde Barrow to Henry Ford, has been popular ever since last year, when Netflix released The Highwaymen, a movie about the race to apprehend Bonnie and Clyde. During our closure, it was the fifth-most viewed artifact in our online collections.
This portrait of Ken Miles at the 24 Hours of Le Mans Race in 1966 was the most-viewed artifact from our Digital Collections during our closure. / LeMans06-66_441
It’s interesting to see patterns in views of our digital artifacts that map so closely to what has been going on in the world. To see if you can find any additional patterns we missed, check out the entire list of the most-viewed digitized artifacts during our COVID-19 closure here. And check out our Digital Collections for yourself—you might just find something there of value to you during these strange times.
Ellice Engdahl is Digital Collections & Content Manager at The Henry Ford.
This year would have marked the 70th anniversary of Old Car Festival, the longest running antique car show in America. While due to the COVID-19 pandemic, we currently can’t be immersed in the moving stories of the early automotive era, we didn’t want to miss the opportunity to celebrate our longest running and one of our most loved events in Greenfield Village.
Old Car Festival is more than just a car show. It’s an experience. It’s the detail that goes into the costumes and settings of the vignettes created by our staff that depict the turn of the century to the Great Depression. It’s the blues, jazz and Ragtime that you can hear throughout the streets and the dancing to go with it. It’s the delicious food offerings from our culinary team. It’s the sight and smell of more than 800 vehicles taking to the streets and taking over nearly every corner of the village. All of it together transports our participants, members, guests and staff back to a time when these vehicles created their own roads.
All of it wouldn’t be possible of course, without our wonderful participants who come year after year to take their cherished treasures out for a spin (or just for show in some cases), participate in games of skill out on Walnut Grove and share their favorite stories with those who pass by.
In addition to the 70th anniversary of Old Car Festival, this year’s event would have also celebrated the centennial of the 19th Amendment. Automobiles arrived just as women were making new inroads in the workplace and in civic engagement. It’s not too much to say that the car’s freedom of mobility made an important contribution to this social change. On September 10, our curator of transportation Matt Anderson participated in a special THF Conversations for our members on “Women behind the Wheel,” taking a look at how early American carmakers marketed to women and the role the car played on the road to suffrage. (The link to this video will be available here soon, or read about the same topic here.)
We look forward to making more Old Car Festival memories soon. Until then, stay safe and have a great weekend--and if you want, explore round-ups from previous Old Car Festivals on our blog here.
Melissa Foster is Senior Manager of Public Relations at The Henry Ford.
Sometimes, the objects we find in storage surprise us.
Imagine this: the Institute of Museum and Library Services (IMLS) project team is working in the Collections Storage Building, selecting objects to be conserved as part of our grant-funded work. From the top level of pallet racking, about 15 feet above the ground, we remove some pallets of boxes and bring them down to ground level to unpack. We then climb the moveable stairs to take a peek at the area that we have exposed. The sight that greets us is confusing, but intriguing: a giant, golden-toned teapot, sitting in the center of the racking, far enough back that it was not visible from the ground. It was almost like revealing a magic lamp! We test-lifted it and realized that it was very light for its size, and must be hollow, so we carefully moved it off of the racking and to ground level
The giant teapot trade sign as we found it in the Collections Storage Building (after we had moved it down from the top shelf).
From the bracket that we found on the handle, it quickly became apparent that this was some sort of a trade sign, likely for a tea shop or coffee house. The body of the teapot occupies a space about three feet on every side – it would have been a very eye-catching sign! A little bit of research led us to some other interesting examples, including one that currently hangs above a Starbucks in Boston and is set up to blow steam out of its spout!
Our teapot has some mysteries, though – the golden paint has some texture to it, as if there were at one point a stripe along the widest part of the teapot’s body, with vertical stripes reaching from that stripe to the lid. Was the teapot originally painted a different color, or with a pattern? We did some minor tests to see if we could isolate different layers of paint, but we were not successful. We might decide in the future to do a more thorough analysis, but that would be after discussion with the curators. We also noted that our giant teapot does not have a hollow spout, and therefore, despite being hollow, probably never had the mechanism to blow steam in the same way as some others.
The giant teapot on the table in the lab - you can really get a sense of how large it is!
Ultimately, we don’t know a lot about where the giant teapot was originally used, or where it may be displayed in the future. We treated this object with nothing more than a simple cleaning – it was overall very stable to begin with, just dusty and dirty from being in storage. By minimizing treatment to the point of only stabilizing the object, we are leaving the option open for a future conservator to do more work while still ensuring that it’s going to be safe and sound in storage. It also allows us to treat more objects from storage as we progress through the grant. Maybe someday in the future we’ll see the giant teapot again, but for now it’s safe and sound in the Main Storage Building! You can check it out in our Digital Collections.
The giant teapot after treatment, ready to go back to storage. Louise Stewart Beck is Senior Conservator at The Henry Ford.
Luther Burbank overcame nature’s limitations to create more than 800 plants the world had never seen.
Burbank experimented with plant reproduction to change the traits of plants. He considered himself a student in “Nature's school” and a lifelong learner. Through the power of observation, Burbank overcame the limits of nature to create new varieties of plants.
Luther Burbank’s plant hybridization experiments led him to develop a plumcot: a cross between the plum and the apricot. THF275310
Luther Burbank used methods like selective breeding, cross-pollination, and hybridization in his experiments. In one famous example, he crossed a plum and an apricot to create a brand-new fruit: the plumcot. In another, he created a cactus with no spikes!
Burbank’s plant creations brought him fame. He amazed more formally trained scientists, and crowds of people showed up at his experimental gardens. The media described Burbank as a “plant wizard,” but he rejected that label. He argued that anyone could do what he did.
An interactive digital experience in Henry Ford Museum features the stories of Luther Burbank, Rachel Carson, and George Washington Carver.
Learn more about Burbank’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores
Grafting – a technique Burbank used to clone fruit varieties
The process of creating the famous Russet Burbank potato
Tools used by Luther Burbank in his work
Burbank’s work tracing the origins of corn to an ancient wild grass
Rachel Carson devoted her early career to studying and writing about the ocean. During the 1950s, her poetic books about the sea brought her recognition and fame as an author.
Carson’s books helped build a new awareness about the environment. Her most important book, Silent Spring, released in 1962, asked Americans to examine the negative effects of widespread chemical pesticide use.
Rachel Carson’s 1962 book, Silent Spring, linked human action to environmental destruction and ignited a national conversation. THF110029
During World War II, a chemical called DDT protected troops by killing disease-spreading insects. After the war, numerous products containing DDT became commercially available to American consumers for pest control.
In Silent Spring, Carson urged the public to live in harmony with nature and cautioned against the overuse of DDT, which destroyed insect populations and threatened other wildlife species. America reacted. The government banned DDT in 1972. The environmental movement—sparked in part by Carson’s book—continues today.
An interactive digital experience in Henry Ford Museum features the stories of Rachel Carson, Luther Burbank, and George Washington Carver.
Learn more about Carson’s life and work in Henry Ford Museum of American Innovation, where a new digital experience in the Agriculture & the Environment exhibit explores
The post-WWII “chemical craze” that prompted Carson to act
The long-term environmental effects of pesticide misuse
Books and magazines from the beginning of the environmental movement
Carson’s influence on the evolution of environmental activism
On May 14, The Henry Ford recognized the 2020 winners of Invention Convention Michigan through a special awards ceremony hosted on our YouTube and Facebook channels. More than 2,600 students across the state participated in events leading up to the state final this year, with 155 students competing in the final competition.
Thank you to staff who participated in judging this year, our sponsors, and congratulations to the students listed below who have been invited to compete at Invention Convention U.S. Nationals.
Learn more about the winning inventions from the inventors themselves below along with our virtual awards ceremony.
Grades 3-5 Third Place: Falcon Saiabhiram Akkaraju, Grade 5, Novi Meadows Elementary, Novi Falcon (Flying Automated Litter Controller) is a Litter picking drone.
Second Place: Dispens-a-Ramp Diya Ural, Grade 4, Village Oaks Elementary, Novi
The Dispens-a-Ramp is an invention to help big dogs that are having a hard time getting into cars (especially, SUVs). Dispens-a-Ramp is a bi-foldable ramp with a built-in automatic treat dispenser. When the dog puts its paw on the button, it triggers the treat dispenser to dispense the treat into the bowl. Each Dispens-a-Ramp could have few dispensing units.This encourages the dog to move further onto the ramp and finally, into the car.
The main purpose of the invention is for the dogs to have a positive experience getting into the car. Hence, my motto is "One step to a Dog's Happy Journey".
First Place: Filtere – Water Filtration System John Tewolde, Grade 5, Brendel Elementary, Grand Blanc
Filtere is a water filter that can be used to filter contaminated water. It uses three types of water filtration methods - Granular Activated Carbon (GAC), Ion Exchange, and UV light. This germ-killing combination gets all 30 of the particles that could end up in water. It can be used in any container of water, and cleans ALL germs within 30 seconds. Water contamination is a large problem in the world that affects more than two billion people. Filtere is an affordable and effective solution to this problem.
Grades 6-8 Third Place: Piezo Power Samvith Mahesh, Grade 6, Novi Meadows Elementary, Novi
When pressure is applied to some special crystal structure deforms, atoms get pushed around, hence generating electricity and is known as Piezo electric affect. Our project is designing products that uses this science as an energy producer using energy humans exert while doing daily activities.
Second Place: Porch Pirate Preventer (P3) Akhilesh Shenoy and David Tauro, Grade 6, Novi Meadows Elementary, Novi
Did you know that over 1.7 million packages are stolen daily around the world? Our incredible Porch Pirate Preventer (P3) stops package theft of porch deliveries in a very cost-effective way.
Our device, which is made up of a chip, an accelerometer, a Piezo buzzer and a numeric keypad, uses a loud alarm to prevent thieves from taking delivered packages. The chip is programmed using Python to make the accelerometer and Piezo buzzer work with each other.
Once the package is placed on the homeowner's porch, the delivery person uses the keypad on the package to activate P3. He/she then sends a message to the package owner to let them know that the package is delivered and activated. Only the package owner can deactivate P3 using the keypad on the package. If the package is moved or a wrong code is entered, a loud alarm is set off.
Just as bottle returns work in many states, P3 is fully refundable for the package owner when returned to participating merchants. The company can then reuse P3 on future deliveries. So it's a win-win all around!
First Place: Reinnervate Suhani Dalela, Grade 8, Independent Inventor, Saline
Reinnervate is an alternative medicine based instant fatigue reduction device. Using World Health Organization's standardized meridian points, this device provides instant energy to the user without disrupting the activity they are doing.
Grade 9-12 Third Place and Howard & Howard Patent Award: EcoRinse Elizabeth Li, Grade 12, Huron High School, Ann Arbor
EcoRinse is a robust, redesigned showering system that aims to reduce water waste in the shower. It redirects cold water that sits in pipes into the water heating system so that the cold water can be reused as hot shower water instead of flowing down the drain while the user waits for water to heat up in the shower.
Second Place: Perceive the Puzzle Jayden Smith and Siena Smith, Grade 12, Huron High School, Ann Arbor
Perceive the Puzzle is a portable EEG for autistic individuals. The device allows caregivers to monitor brain activity, helping them to address episodes of stress quickly and easily. This is something that you can't find anywhere on the market and hits close to home for us. Our project was inspired by our Uncle Mark who was diagnosed with autism with he was four so we wanted to make something that would help him!
Grand Prize and First Place: AstroTrack: An Efficient Approach to Minor Planet Recovery, Detection, and Characterization Anirudh Cowlagi, Grade 12, Huron High School, Ann Arbor
Advances in the field of planetary science, particularly concerning our own solar system, have been dramatic over the last few decades. These advancements owe largely to developments in observing technology and more comprehensive astronomical surveys across the world. However, with these copious amounts of new data comes a need for more effective methods of analysis. This project offers a solution to the issue by presenting an efficient Python-based approach to aid with the detection, recovery, and characterization of minor planets in the solar system (asteroids, trans-neptunian objects, Kuiper Belt objects, etc.).
This blog post is part of an ongoing series about storage relocation and improvements that we are able to undertake thanks to a grant from the Institute of Museum and Library Services (IMLS).
A typical aisle in the Collections Storage Building before object removal.
Autumn of this year marks the end of a three-year IMLS-funded grant project to conserve, house, relocate and create a fully digital catalogue record for over 2,500 objects from The Henry Ford’s industrial collections storage building. This is the third grant THF has received from IMLS to work on this project. As part of this IMLSblogseries, we have shown some of the treatments, digitization processes and discoveries of interest over the course of the project. Now, we’d like to showcase the transformation happening in the Collections Storage Building (CSB).
A view of the aisle and southwest wall before dismantling to create a Clean Room.
Objects were removed from shelves allowing an area in the storage building to be used as a clean space for vacuuming and quickly assessing the condition of these objects before heading to the conservation lab. Since the start of the grant in October 2017, 3,604 objects have been pulled from CSB shelves along with approximately 1,000 electrical artifacts and 1,100 communications objects from the previous two grants. As of mid-March 2020, 3,491 of those objects came from one aisle of the building. As a result, we were finally at a point of taking down the pallet racking in this area.
Pallets of dismantled decking and beams. A bit of cleaning before racking removal.
While it has taken multiple years to move these objects from the shelves, it took only three days to disassemble the racking! Members of the IMLS team first removed the remaining orange decking. On average, there were four levels of decking, separated in three sections per level. Next, we unhinged the short steel beams that attach the decking to the racking. Then was the difficult part of Tetris-style detachment of the long steel beams directly by the wall from the end section of height-extended, green pallet racking. As you can see this pallet racking almost touches the ceiling! After that, the long beams could be completely removed before taking down the next bay. Nine bays were disassembled this time to reveal the concrete wall and ample floor space. Just as the objects needed cleaning to remove years of dust and dirt, so did the floor!
The aisle in 2018. An open wall and floor!
What’s next? We will methodically continue pulling objects and taking down racking until no shelf is left behind! We are grateful to the IMLS for their continued support of this project and will be back for future updates.
Marlene Gray is the project conservator for The Henry Ford's IMLS storage improvement grant.
With the North American International Auto Show now moved to June, we’ve had an unusually long dry spell in the Motor City when it comes to automotive exhibitions. The drought was finally broken by the annual Detroit Autorama, held February 28-March 1. Always a major show, this year’s edition was no exception with more than 800 hot rods and custom cars spread over two levels of the TCF Center.
Ed “Big Daddy” Roth’s “Outlaw,” honored as one of the 20th Century’s most significant hot rods.
The most memorable display this year was immodestly (but quite accurately) labeled “The Most Significant Hot Rods of the 20th Century.” It was a veritable who’s who of iconic iron featuring tributes to Bob McGee’s ’32 Ford, Ed “Big Daddy” Roth’s “Outlaw” and “Beatnik Bandit,” Tommy Ivo’s ’25 T-Bucket, and Norm Grabowski’s ’22 T-Bucket – the last immortalized as Kookie Kookson’s ginchy ride in the TV show 77 Sunset Strip.
“Impressive” indeed. The 1963 Chevy wagon that won this year’s Ridler Award. (The chrome on those wheels practically glows!)
The biggest excitement always surrounds the Ridler Award, named for Autorama’s first promoter, Don Ridler. It’s the event’s top prize, and only cars that have never been shown publicly before are eligible. Judges select their “Great 8” – the eight finalists – on Friday and, for the rest of the weekend, excitement builds until the winner is revealed at the Sunday afternoon awards ceremony. The winner receives $10,000 and the distinction of having her or his name engraved forever on the trophy. It’s among the highest honors in the hot rod and custom car hobby. This year’s prize went to “Impressive,” a 1963 Chevrolet two-door station wagon built by a father-son-grandson team from Minnesota. With a Ridler now to its credit, no one can question the car’s name again.
Replica race cars – a Ford GT40 and a Ferrari 330 P3 used in the 2019 film Ford v Ferrari.
There’s always a little Hollywood magic on the show floor somewhere, and this year it came from a pair of replica cars used in two big racing scenes in the hit 2019 movie Ford v Ferrari. From the 1966 Daytona 24-Hour was the #95 Ford GT40 Mk. II driven by Walt Hansgen and Mark Donohue. From the 1966 Le Mans 24-Hour was the #20 Ferrari 330 P3 driven by Ludovico Scarfiotti and Mike Parkes. How accurate were the copy cars? Judge for yourself by looking here and here.
The Michigan Midget Racing Association introduces kids to the excitement of auto racing.
Those who are worried about younger generations not being interested in cars could take comfort from the Michigan Midget Racing Association. The organization’s Autorama display featured a half dozen cars that kids could (and did) climb into for photos. Quarter Midget cars are sized for kids anywhere from 5 to 16 years old. And while they look cute, these race cars aren’t toys. Their single-cylinder engines move the cars along at speeds up to 45 miles per hour. M.M.R.A.’s oval track in Clarkston is surfaced with asphalt and approximately 1/20 of a mile long.
Our 2020 Past Forward Award winner – a 1964 Pontiac GTO that matured with its owner.
Each year, The Henry Ford proudly presents its own trophy at Autorama. Our Past Forward Award honors a vehicle that combines inspirations of the past with innovative technologies of the present. It exhibits the highest craftsmanship and has a great story behind it. This year’s winner put a novel spin on the “Past Forward” concept. It’s a 1964 Pontiac GTO owned by Fred Moler of Sterling Heights, Michigan. Fred bought the car while he was in college and, appropriately for someone at that young age, drove it hard and fast. When adult responsibilities came along, he tucked the Goat away in a barn. Some 40 years later, Moler pulled the car out of the barn for restoration. He wanted to relive his college days but knew that neither he nor the GTO were the same as they were decades ago. Moler kept the trademark 389 V-8 but replaced the drivetrain with a more sedate unit. He added air conditioning, improved the sound system, and ever so slightly tinted the glass. In his own words, Moler enhanced the car to make it comfortable for his “more mature” self. He brought a piece of his own past forward to suit his present-day wants and needs. Like I said, a great story.
Autorama’s oldest entry – an 1894 horse-drawn road grader.
Autorama veterans know that the grittiest cars are found on TCF Center’s lower level – the infamous domain known as Autorama Extreme. Here you’ll find the Rat Rods that take pride in their raw, unabashedly unattractive appearance. By all means, take the escalator downstairs. There are always gems among the rats. This year I was thrilled to find an 1894 horse-drawn road grader manufactured by the F.C. Austin Company of Chicago. Utilitarian vehicles like this are rare survivors from our pre-automobile age. Autorama Extreme is a great place to tap your feet as well. Live music fills the lower level throughout the weekend – lots of 1950s rockabilly, of course, but plenty of blues and soul too.
Don’t miss Toy-a-Rama with its assortment of vintage car books and brochures.
Each year, I make a point of visiting Toy-a-Rama at the back of TCF Center. Vendors sell hundreds of plastic model kits, diecast models, memorabilia, and toys. But it’s the great selection of auto-related books, magazines, and vintage sales literature that always reels me in – and leaves my wallet a little lighter on the way out.
A beautiful 1:1 scale model of “Uncertain-T” – some assembly required.
And speaking of model kits, maybe the coolest thing I saw all weekend was down in Autorama Extreme. It was a beautifully crafted, partially-assembled model of Steve Scott’s “Uncertain-T” just like Monogram used to make – but this one was life-sized. Really, the giant sprue was terrific enough, but the giant hobby knife and glue tube took the whole thing to the next level. (Skill Level 2, as the box might’ve said.)
All in all, another great year celebrating the wildest, weirdest, and winningest custom cars and hot rods around. If you’ve never been, make sure you don’t miss Autorama in 2021.
Matt Anderson is Curator of Transportation at The Henry Ford.
A new group of garments from The Henry Ford’s rich collection of clothing and accessories makes its debut in Henry Ford Museum of American Innovation in our What We Wore exhibit, this time examining how fashion trends can highlight, or manipulate, the human form.
What makes these sleeves puffy? A stiffened underlining--pleated muslin fabric--helps support the sleeves. Sometimes a “sleeve plumper” was used--down-filled pads that tied on at the shoulder under the dress.
The wide silhouette created by these “leg-of-mutton” sleeves and matching pelerine (small cape that covers the shoulders) not only drew attention to the wearer’s arms, but also emphasized the smallness of her waist!
Who wore this dress? During the 1830s? We don’t know. Later, Tasha Tudor (1915-2008), author and illustrator of children’s literature, owned the dress.
Tudor admired the objects and rural lifestyle of the early 19th century. She lived in a secluded New England farmhouse with no plumbing or electricity, surrounded by an orchard, rambling garden, and lively farm animals. Tasha Tudor also collected antique clothing--and wore it.
What supported the elaborately draped fabric at the back of this dress? A bustle--a support of parallel horizontal slats made of wood or steel bent in a half circle. The bustle attached to the body around the waist. A tightly laced corset helped create her extremely small waist.
But how did she sit down? The slats would all collapse together as she sat, then spring back in place when she stood up--maintaining her fashionable silhouette.Between the fabric of the dress and the bustle, garments of this period could be quite heavy to wear!
Who wore this dress? Mary Stevens (1861-1910), the daughter of wealthy capitalist. The Stevens family lived on Woodward Avenue in Detroit, a street lined with the homes of prosperous Detroiters.
Mary Stevens had a privileged lifestyle. She had the money to purchase finely made fashionable clothing. And led a social life that gave her opportunities to wear it. A few days before Christmas 1884, Mary’s mother gave an elegant reception at the Stevens home--complete with elaborate floral decorations, refreshments, and a full orchestra. Could this be the dress that Mary wore that afternoon?
What undergarment helped achieve this slender, youthful silhouette? A straight-line, one-piece garment called a corselette. It de-emphasized the bust and smoothed the natural curves of the body--emphasizing the straight, unbroken line of that era’s “boyish” silhouette.
The movement of the uneven hemline, while walking or dancing, would subtly call attention to the wearer’s legs.
Who wore this dress? Audrey K. Wilder (1896-1979) likely owned this dress. Audrey attended college--quite unusual for women of her time. She graduated from Albion College, then earned a master’s degree from Columbia University in 1921.
In the late 1920s, Audrey Wilder was appointed Dean of Women at Ohio Northern University. One of her first projects was the creation of the first social hall for women on campus--a place where female students could hold teas, receptions, musicals, and dinners. Those who knew her described Audrey as a “dynamic dean” and a woman “of exquisite grooming.”
What undergarment helped create the “hourglass” silhouette of the 1950s? Christian Dior’s “New Look”--with its close-fitting hourglass silhouette--dominated the 1950s. This look emphasized a tiny waistline and feminine curves. Longline bras helped slim the waistline and create a smooth line under garments.
This dress, Dior’s “Sonnet” design, also accentuated the waist through the angled side bodice seams, bows at the waist, and rounded skirt.
Who wore this dress? This dress was custom-made for Elizabeth Parke Firestone (1897-1990), wife of tire magnate Harvey S. Firestone, Jr. Elizabeth felt it her duty to represent her husband, family, and the Firestone Tire and Rubber Company with dignity and grace. She was always flawlessly dressed--whether for informal camping trips, world travel, business functions, or society parties.
Elizabeth had a fine eye for fashion and favored New York and Parisian designers, including Christian Dior. These designers created garments to her specifications, including perfect fit, style, color, fabric, and construction. During the 1950s the New York Dress Institute named Elizabeth one of the "Best Dressed Women in the World.”
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
A Half Century in the Making, the Journey from Yuletides to Holiday Nights
What we know and love today as Holiday Nights did not spontaneously appear in 2000 when we first opened Greenfield Village on December evenings for an immersive holiday experience. Holiday Nights has evolved and grown based on many experiences and inspirations from decades of village “Christmases past.” and the work of many talented people.
The ability to transport our guests to a different time and place is most powerful after dark as the modern world that constantly pushes closer to our borders can be temporarily pushed away. When all is said and done, Greenfield Village provides the most perfect “set” in which to bring the past alive. With over 300 years of history represented, the possibilities are endless; a world where Charles Dickens’, A Christmas Carol, and It’s a Wonderful Life can seamlessly collide. A place where a small town from the distant past comes to life for several hours on December evenings, bringing forth the magic of the holiday season.
Holiday Nights in Greenfield Village is a classic example of “if you build it, they will come.” What began with conservative hopes for several hundred people in attendance has continually grown year after year.
Information Booklet, "Christmas at Greenfield Village 1964." THF112439
The holiday experience in Greenfield Village has a long history. As early as the mid-1960s, Village buildings were decorated both inside and out for the holiday season. Historic Christmas recipes were prepared in the village kitchens in fireplaces and wood burning stoves. Early on, all the guest experiences were limited to daytime and varied from guided tours, to full access, to tour on your own. Decorations were very elaborate, and included many collection items, but were not always based on sound historical research. Every building got a bit of Christmas, whether it would have been celebrated or not. During this period, attendance was vigorous, especially on December weekends.
Guests at Clinton Inn (Eagle Tavern) During "Yuletide Evening in the Village," 1975. THF144738
By the mid-1970s, new evening holiday experiences, called Yuletide Evenings, were introduced. Guests had the choice of a formal dinner in either the newly constructed Heritage Hall (now the Michigan Café) or the Clinton Inn (now the Eagle Tavern).The experience included horse drawn wagon, or if conditions allowed, sleigh rides into the Village, and depending on which package was purchased, a tour of 4 different decorated historic buildings, either before or after dinner. By the early 1980s, the Clinton Inn became Eagle Tavern, and the evening program changed to become an immersive 1850 dining experience much like the program offered today. Eventually, the Village tour portion of the evening was discontinued, offering a dinner only experience.
In the early 1990s, a concerted effort had been made for some years to reinvigorate the daytime program. By paying attention to historical accuracy, but at the same time, broadening the scope and allowing for a wider interpretation of how Americans began to celebrate Christmas in the 19th century, more engaging programs were offered. Hundreds of artifacts were chosen to fit out the dining rooms, parlors, and where appropriate, Christmas trees. Additional research was also done to lift-up the historic cooking programs and infuse a “living history” approach to the historic structures with the addition of period clothing. All this further supported the stories of the diversity of the American Christmas celebration. This work laid the foundation for the core content of Holiday Nights that we rely on today.
By the late 1990s, for a variety of reasons, the daytime visitation to the Greenfield Village Holiday Program had begun to decline while the evening program attendance remained strong. Based on the inspiration and fond memories of the wonderful candle and lantern lit buildings decorated for the holidays, a new program was proposed to re-create that opportunity through the Educational Programs class offerings. Though on a very small scale that served less than 100 people, this program reminded us of what could be possible and got the creative process rolling.
Brochure, "Twelve Nights of Christmas" in Greenfield Village, 2003. THF144736
The Twelve Nights of Christmas, what would later be called Holiday Nights, debuted for the Christmas season of 2000. The daytime “Holiday” program remained in place, and the evening program was basically an evening version. This early version was very quiet, and very dark, as none of the village restoration had taken place yet. Most of the activities were based inside the buildings. Despite the slow start, the potential was fully realized, and creative and physical growth began. With the village closed for the holiday season of 2002 for the renovation, there was time to regroup, brainstorm, and make plans. The new and improved version for the “new” village in 2003 saw expanded outdoor activities, more music, and an ice rink that featured an artificial ice surface. Even with enhanced programming elements, the program was still not really filling the space as it could.
Musicians Performing at "Twelve Nights of Christmas" in Greenfield Village, 2003. THF133593
During these early years, it was apparent to the village programs team that to achieve the level of experience we were aspiring to, the event would need to be broken down into production areas, and each would need its own level of care and attention to detail. Decorating the village, designing and deploying the lighting, planning the historic food demonstrations, food sales and retail, staffing and training, musical and dramatic program casting and rehearsing, dressing an army of staff, firewood, lanterns, and communicating the entire thing, all was captured and pulled together with the Holiday Nights manual. This work became the go-to document for what needed to be done when and where, once preparation for the evening program began. This tool also became invaluable in planning and producing subsequent years of the program. So, as ideas came forth as to how to expand and improve the Holiday Nights guest experience, the program manual format made it possible to incorporate the new elements and move the experience forward.
A very memorable off site staff mini-retreat to a local book store cafe in 2004 laid the foundation for the program we know today. Building on the sound historical content of our village holiday celebration, our success with Holiday Nights thus far, along with a commitment from the institution, we created and refined the combination of guest experiences that today, makes Holiday Nights truly one of the nation’s greatest holiday experiences. The fireworks finale, the end of the evening procession and sing-a-long, a visit from Santa, a real ice skating rink, immersive food and drink stalls in the center of the Village, a greens market, storytellers, over 100 staff in period dress as well as a wide variety of additional dining experiences and top quality live music, has put Holiday Nights on the map over 20 seasons.
The program continues to grow and evolve. For my part, it’s been a privilege and source of pride to see how far we have come and how we have come together to achieve such greatness. I look forward to the road ahead and what the next 20 years may bring.
Inspired by the evolution of Holiday Nights? See it for yourself - limited tickets for 2019 remain.
Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford and Director of Greenfield Village.