The National Museum of Costume (Museu
Nacional do Traje), created in 1976, presents to the public a collection of
historical costumes, garments and accessories, dating from the XVIII century to
the present day, either in permanent or temporary exhibitions. The collection
is housed in the Angeja-Palmela Palace with, on its grounds, the Monteiro-Mor Botanic
Park
The museum is located in a vast property
acquired by the Portuguese
State
Its purpose is to establish a strategy for
the research, conservation and public exhibition of costumes and textiles.
Furthermore, it has a policy of safeguarding and promoting the Monteiro-Mor Botanic Park
Preserving Green (“Conservar Verde”) is a
concept that integrates the values of responsibility and sustainability, as
well as the management of the cultural and natural heritage entrusted to the
National Museum of Costume.
History
The Palácio Angeja-Palmela was erected in
the XVIII century by D. Pedro José de Noronha, 3rd Marquess of Angeja, near the
place where there was the palace of D. Afonso Sanches , natural son of Dinis I of Portugal
With an unknown authorship, the palace is
influenced by the architecture of Pombal, developing in two façades, one of
which ends with the chapel. Of the primitive palace there remains only a
sixteenth-century abutment in a residence adjoining the palace, and some
17th-century architectural structures.
The main entrance of the palace develops
like a galilee and the articulation between the floors is made by a staircase
of four straight stretches. In its rooms stand out the masseira ceilings, the
stucco, the ornamental paintings and diverse panels of tiles setecentistas.
In 1840, the property was acquired by D.
Pedro de Sousa Holstein , Marquis of Palmela
and later 1st Duke of Palmela, who undertook works to improve the palace,
including the reconstruction of the neo-Gothic pavilion, now occupied by museum
restaurant.
From the Second World War (1939-1945), the
palace became a religious college for refugee Belgians, until, in 1975, the Portuguese State
acquired Quinta do Monteiro-Mor, which, in addition to the Angeja-Palmela Palace ,
comprises the Monteiro-Mor
Palace
The National
Costume Museum
resulted from a project born in 1969, presented in 1973 and consolidated with
the exhibition O Traje Civil em Portugal
The 23 of December of 1976 was passed a
Decree / Law instituted the National Museum
On July 26, 1977, the museum was
inaugurated by the then Secretary of State for Culture, David Mourão-Ferreira,
the director of the museum Natália Correia Guedes, and the presence of the then
Prime Minister, Mário Soares, with the opening of five exhibitions: History of
civil and urban costume (from antiquity to 1925), complemented by the
exhibition Trajo Popular (a partnership with the National Museum of Ethnology)
and which was also added Opera costume, collection of Tomás Alcaide. Spinning,
weaving and stamping techniques were also explored and toys from the 18th and
20th centuries were exhibited.
The private library of the museologist
Maria José de Mendonça is deposited here.
Architecture
The Palace owes its current design to the
3rd Marquis of Angeja, D. Pedro de Noronha, who here designed his natural
history collections, complemented by a botanical garden. In 1840, the property
is acquired by the 2nd Duke of Palmela, D. Domingos de Sousa Holstein
Beck.
The main façade is facing the courtyard or
inner courtyard, delimited by buildings that are annexes: old stables (today -
ticket office \ shop), and collections (today - workshops).
At the entrance of the Palace we can see
the coats of the Marquises of Faial and 2nd Dukes of Palmela. Placed in the
main axis, the two coats are surmounted by a crown of marquis finished off by a
Cross of Christ, because the Marquis of Faial had been awarded with a
commendation of this order.
The ground floor of the palace was
originally intended for kitchen and other service outbuildings as well as
various areas for family use. The main link between the ground floor and the
1st floor is made by a marble staircase and in the ceiling, features a central
medallion with an eagle holding three rays in the legs.
The first floor, called the "noble
floor", was intended for social interaction, and here is the noble hall,
which highlights the vaulted ceiling and the profuse rocaille decoration of
stucco with themes related to natural history and, in the four songs,
allegories to the four seasons. Ornamental paintings of the oriental room with
its chinoiseries, the frescoes of the music room and the flags' hall, as well
as the various tiles of the Rato factory are mentioned.
The old chapel of the palace dedicated to
Santa Rita is an interesting example of the contemporary hinge of D. Maria I,
since it establishes the transition between the " rocaille " and
neoclassical tastes.
The neogothic tea pavilion, built by the
Marquis of Angeja to be the House of the Birds, integrated in the surroundings
of the palace is currently the Monteiro-Mor restaurant.
Botanical Park of Monteiro-Mor
The Botanical Park of Monteiro-Mor covers
an area of approximately 11ha
where stands out the garden, for its originality and botanical and landscape
richness. The garden was designed by the Italian Domenico Vandelli, to be the
botanical garden of the 3rd Marquis of Angeja. This was the third botanical
garden to be built in Portugal Portugal
In 1975, with the acquisition of property
by the Portuguese
State
We find in Monteiro-Mor
Botanical Park
a genuine example of traditional Portuguese recreation farms, associated with
the house or palace (now the National
Costume Museum
Flora
The Botanical Park of Monteiro-Mor has a
varied collection with more than 250 botanical species represented, with
special emphasis on ornamental and for forestry, but also where vegetables,
fruit, aromatic and medicinal are developed.
Fauna
The fauna present in the Park stands out
above all the birds and a colony of bats in the underground (caves and
galleries) of the palace Angeja-Palmela. During the spring, the underground of
the Costume Museum
can house about 200 teddy bats (Miniopterus schreibersii), a species with the
status of "vulnerable" in Portugal
Sculptures
In 1995, the Garden
of Sculptures project was inaugurated
in the Botanical Park
Collections
The collections of the institution include
collections of civilian clothing - women, men and children, national and
international - and their accessories, fragments of fabrics and bragal pieces,
materials and equipment that testify to the textile, costume and accessory
production processes.
The first offerings of pieces date from 1974 in the registries of the National Museum National Museum
18th century costume (Baroque and Rocaille
styles, 1700 to 1789)
In the Baroque period, the female costume
was generally composed of three main pieces, the bodice fitted to the bust, the
skirt and the protrusion. The women dressed sumptuously, with the lace and
loops on their clothing. Between 1740 and 1770, in the middle of the Rocaille
period, a gentler dress appeared, with a bodice, skirt and the famous "
Plis Watteau ", made up of folds of fabric that fell loose on the back,
suggesting a false mantle. By the middle of the century, the "French"
dress used in the grand ceremonies had ample lateral volumes, a girded bodice,
and a protrusion open at the front, forming a triangular opening that showed
the skirt.
The basic form of the masculine costume
appeared in France
Imperial costume (1796 to 1820)
With the French Revolution, which took
place in 1789, the revolutionary ideals of " Liberty
On the eve of the Revolution, there was a
great enthusiasm for the male parts of the English costume, both for the
quality of their dress and for their functional appearance. But the big news
this time was the introduction of trousers in the wardrobe male, from the
costume of the men of the people and sailors, pants begin to be used as a
symbol of the revolution, as the shorts were synonymous with the aristocratic
costume.
Romantic costume (1825 to 1865)
In the nineteenth century, the era of
industrialization, rapid technological advances arose in several areas of
production, to which the fashion industry was no stranger. In the 50's the female
costume reached its maximum expression with the introduction of crinoline. This
inner frame gave a large volume symmetrical to the skirts without adding
weight. The corset reshaped the female bust. The preferred fabrics were silk
and cotton muslin with pattern patterns, flowers, stripes and stripes. The
colors were simple and discreet, predominantly blue and green.
The men's fashion of 1850 kept the trends
of the previous decades. The coats of black color or of sober tones were also
used with trousers to the squares. For the night he wore a black coat with
trousers and a vest of the same fabric, a shirt with a starched bib and a bow.
Costume Belle Époque (1870 to 1914)
The ladies wore two-piece dresses, composed
of body and skirt, which were made with heavy fabrics and the corset remained
in vogue. The skirt was worn long, accumulating draperies, trimmings, trinkets,
ribbons, bows, pompons and fringes. However, the characteristic silhouette of
this period was given by a voluminous interior, called tournure, applied at the
back of the skirt.
In 1890, women saw the emergence of the
so-called "healthy" corsets that produced a wavy S-shaped bearing. In
this way the bust of the woman was erected and so highlighted that it was
denominated "chest of rolls". The long, bell-shaped skirts usually
had a small tail. The day dresses had a waist-high waistband and a lace bib or
tulle. At night the dresses had wide necklines and the arms were protected with
long gloves.
In the male costume, the frock coats and tailcoats
continued to be used in most situations ceremony with top hat. For everyday
life the three-piece sets - jacket, waistcoat and trousers - were worn with a
bowler hat.
Costume of the 20th century
The Republic implanted in Portugal
1910-1918
Portuguese women quickly joined a new slim
silhouette proposed in Paris Paris
The masculine costume kept the forms of the
end of the last century. On solemn occasions, the coat and coat was worn, in
everyday life the frock coat began to be replaced by the short coat with a vest
and trousers.
1920-1930
Women's clothing has given this decade the
definitive step to functionality, following the Art Deco style, characterized
by a decorative and elegant geometry. The straight-line dresses with a slack
waist showed her legs from her knees. The dresses for dancing were short with
round or square necklines, usually with a skirt in it and sometimes covered
with beads, sequins and beads. The stockings and shoes became pieces of relief,
filling with colors. The colors were vivid, although black was also chosen.
In the men's costume of the 1920s, the use
of coats of tweed, spined or chess-tiled coats of sober tones, accompanied by
wide trousers with pleats and folds at the lower end, in plain or fancy fabric
were generalized in the cities. The tuxedo has definitely become the preferred
male costume for semi-informal events such as public or private dinners, dances
and parties. Black in color with silk satin lapels, it was accompanied by a tie
of the same tone.
1930-1946
In the 1930 's, women's dress returned to
more curvaceous lines, the length of the skirt came down and the waist returned
to its natural position. The evening dresses were long, with bare backs. The
most appreciated fabrics were crepes and satins. The movie actresses, with
their glamor, inspired women and became role models. Madeleine Vionnet created
the cut in bias, a technique that gave the pieces a much appreciated elasticity
and fluidity, molding the female bodies in a sensual way.
The Second World War (1939-1945) caused
enormous material constraints. The rationing imposed tight and short dress
pieces. The women wore tailleurs with a tight waistline, a straight-line skirt,
plucked shoulders, and wide pockets that gave their silhouette a masculine,
almost military-inspired stance.
1947 to 1950
With the end of World War II, Christian
Dior responded to women's longings by creating a feminine and luxurious
silhouette. The style proposed by the French couturier was called New-Look, as
it emerged as a reaction to the functional fashion of the 1940s. Presented in Paris
At the same time as the New Look appearance
was in place, a restless, middle-class generation emerged, rejecting the
materialism in force. In the United
States
1960 to 1970
The Sixties represented a new change in
costume. Youth became a model to follow, conveying an attitude of nonconformity
and contestation to the politics and mentality in force. The fashion moves left
the street and began to influence the Haute Couture. Clothing manufacturers saw
young potential customers and started to create parts especially for them. At
the base of the feminine fashion of this decade the miniskirt, presented by
André Courrèges, in 1965, and popularized by Mary Quant.
At the end of this decade appeared in San Francisco , California
1980 to 2000
Ready-to-wear brands began to gain
importance with the emergence of designers who, along with Haute Couture,
helped to balance the massification of the fashion industry. The relative
stability and prosperity of the 1980s favored, once again, the revival of
traditional values and tastes. However, the 1990s were international, giving
a fair share to the global village. The television, fashion magazines, the
tourism and the internet undid the borders, enabling the dissemination of
creations have not only French but Italian, English, Japanese and American.
Ready-to-wear brands have developed at an
ever-increasing pace to respond to those who wish to convey a contested
appearance. On the other hand, fashion designers emerge and what came to be
called "fashion author", which attributes to create an alternative of
quality and style to the massification that the development of the textile and
confection industry were operating.
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