Setting fashion trends

Museu da Moda Brasileira

The House of the Marquise of Santos and the Fashion Museum Collections

Considered one of the jewels architecture and neoclassical decorative arts in Rio de Janeiro, the house was a gift from Emperor Pedro I to Domitila de Castro Canto e Melo, the Marquise of Santos, in 1827.

Situated in São Cristóvão, which is considered the heart of Rio de Janeiro and Brazil, the House of the Marquise of Santos mixes the feminine with the neoclassical, giving it a graceful and romantic air.

The house was one of the first 19th-century buildings to be protected by the National Institute of Historic and Artistic Heritage (IPHAN) in 1938. It was always intended to house the Museum of Brazilian Fashion and is now part of the Rio de Janeiro State Department of Culture.

The collection is made up of donations, acquisitions by the Rio de Janeiro State Government, and transfers from other museums, such as the now-defunct Museum of the First Empire and the Theater Museum. Its contents range from wardrobe items, fashionable objects, sketches, furniture, and paintings.

Metal rod with two lenses that open and close in half.
Belonged to Henrietta Brieba.

Turtle hair comb with seven teeth. Belonged to Marquise of Santos.

One of the Museum's missions is to integrate the concept of "setting fashion trends" into "setting up a museum," through recording the history of trendsetting in Brazil, promoting knowledge and reflection on fashion and its traditions, and encouraging a national cultural identity.

The various collections at the Museum of Brazilian Fashion include:

The Imperial Family Collection
Comprising various pieces used by the imperial family in daily life and for decorative purposes in the 19th century. Typical items in this collection include porcelain pieces made to commemorate the marriage of Emperor Pedro I to Amélie of Leuchtenberg, furniture belonging to the Prince of Joinville and Princess Carlota Joaquina, photographs, postcards, and prints, all of which are testament to the habits and customs of the imperial family.

Fan with twenty-one rods with mother-of-pearl decorated with silver inlays and painting and details with gilding. In the main face, in the center, portrait of D. Pedro I surmounted by the imperial crown.

Hair comb with sixteen teeth. Belonged to Marquise of Santos .

White cambric empire dress. Embroidery with floral motifs (small branches of palms) in metallic thread. Belonged to Marquise of Santos .

Silver pendant with a set of thirty-six round chrysolites, topped with a bow with twenty-nine chrysolites. To the center, D. Pedro I's bust engraving of a mustache and English high collar suit.

Silver bead, oval shaped, with a set of fifty round chrysolites, topped with a bow with forty-five chrysolites. Center engraving of Bust of D. Amélia

Dance Card Collection
Small notebooks, in various materials and shapes, considered essential for large parties. There are more than 100 cards, in various styles, including the last imperial ball held at Ilha Fiscal.

Card in light background, with trimmed edges. Cover with red and blue flowers in relief; to the center, a landscape with houses and a church tower also in relief. Inside, program with four pages. In the first one, printed in brown: "Homage to His Excellency Dr. José de Siqueira Menezes" and the date of the ball, on the second page, inside the medallion, portrait of Siqueira Menezes and date 10-12-906, Between leaves and vase; on the third page the program with 6 dances, being: 3 waltzes, 1 gangs, 1 polkas and 1 schottisch, in the fourth and fifth page, the program with the eighteen dances, being: 6 waltzes, 2 gangs, 2 polkas and 2 schottischs; Female names written by pencil: Nena Sidora, Vilma K ..., Dulce Bandeira Mello (twice), Baby ...., Melle Feital and an illegible name. Pink pencil with inscription "Johann Faber", with green cord attaches the program to the card.

Cover: geometric cutouts with blue background and gold dotting. In blue, arabesques in black, in golden, flower bouquets. Two other reserves with gold background and the inscriptions: "Program" and "XVIII Anniversary" and the date, in blue. Back cover: white background with gold stripes and the inscription: "First part Gymnastics by students", with the students' presentation in blue. The program has twenty-four dances, being: 7 waltz, 5 gang, 7 polka, 1 mazurka, 1 spearman, 2 schotisch and 1 gallop, in addition to the gymnastics' presentation and the name of the participant students; Female names written in pencil: Olympia & Amelia. At the bottom, inscription: "Printed at Guimarães Stationery Store, Fernando C. at 35 Ouvidor Street".

Theater Museum Collection
Includes complete costumes used in various plays, many portraying the era of the Empire and the Marquise. It also houses the personal collection of the actress Henriqueta Brieba.

Wig in light brown tone with ponytail and cleat. Brown fabric lining with comb sewn on the front. Belonged to Henriqueta Brieba

Pair of lilac satin gloves.

"Mary Stuart" Costume
Costume, medieval style, consisting of dress, collar, hat, skirt and petticoat. Long purple grosgrain dress. Open from waist to bar. Top and sleeve in black velvet. Throughout the length, to the center, two bands of pink taffeta with trimmings forming diamonds and application of pearls. Structured top with clasps in front of brackets. High collar and sleeve opening on the cuffs. Sewed to this, inner sleeve in pink taffeta with the same work of trimmings, pearls and lace in the cuffs. In the sleeves, two bands of cotton with pearls. Long skirt in evasé. Front in burgundy in tone of purple and back in purple taffeta. Front with application of black velvet ribbons forming lozenges. Push buttons with hold function to dress. Cotton lining. Black cotton ribbon closure at waist. Petticoat in raw cotton with elastic at the waist. Cotton hat in the same tone, type headdress, with black velvet border and application of pearls. Fluffy collar in white cotton with pleated ruffles.

Brown raw leather pants. Front part single piece and back having just the legs. Decorated in its extension by yellow, white and red stitches. Leather straps with buckle at the waist and straps fastened at the hem.

Costume of the character Laudelina lived by Fernanda Montenegro in the play "The Mambembe" by Arthur de Azevedo. Production of the Cia Theater of the Seven, staged in the Municipal Theater in 1959

Dressmaking Collection
Includes dressmaking objects such as thimbles, a sewing machine, cutting rulers, etc.

Stitch trimmer in notched tooth. Decreasing edge and irregular tip with hairs in light brown

Cutting and sewing set square in light wood with marking on only one side. Precision instrument without specified unit of measurement. No numbers.

Red velvet round pincushion
XX Century
Red velvet round pincushion, with metal structure to attach to the wrist.

Template jig ruler for measuring hem, light wood with black numbered marking, without specified unit of measurement (28 to 61). Part of metal fastened by adjustable screw.

Silver metal sewing roulette with circular serrated blade and finger rest. Varnished and bulged dark wooden base.

Fan Collection
In the 20th century, fans were made from various materials such as paper, silk, feathers, lace, mother-of-pearl, wood, etc.

Deck type hand fan with sixteen ivory sticks united by silk ribbon. On the center, a scene with a couple on the outdoors. Embellished metal handle with ivory button.

Wardrobe Collection
19th-century garments, pieces belonging to the visual artist Aldo Bonadei, fabrics, and other collections.

Light A-line knee length dress in dark orange silk crepe. Square neckline with vertical cutout from the center to waist height. Sleeveless with wide straps and detail of two pleats in each one. Trim marking the waist. Bottom front with three false layers. Sinuous lines embroidery in the same color of the fabric, next to the cutout of the upper part and in the bar of the three layers. No clasp.

Wedding dress in silk organza, silk ziberline and acetate alpaseda lining, all in light beige. Long dress with round neckline with V-cut in the front. Long sleeve with crimp wrist and cufflinks. Long godet skirt. Front V-opening with eight button holes with starry embroidery of white beads, silk gore in the same color as the dress, forming an X in the center, embroidered pendant with glazes at the ends. On the back, zipper and fifteen lined buttons. Internal band structure in the area below the bust.
Used in the first marriage of Gilda Limoeiro, in Outeiro da Gloria on January 12, 1970

Blazer-style coat in black grosgrain. Collar with short lapel. 7/8 sleeves with ruffles close to the elbow. “Princess cut” at the front, with application of embroidered fabric in fitomorphic motifs. Detail of two inlaid pockets, accompanying the cutout at the bottom, black crepe lining. In the back, two darts on the whole length. Front closure with 3 plastic buttons. Handmade hemline.

Dark brown silk crepe blouse. Round neck and flared sleeves with raglan cutout. Darts at the front waist and back, stitched from the second half. On the back, center vertical cut along the length, opening at the top with metal hook near the collar. Hand-embroided raw cotton and pink line forming arabesques and sinuous motifs, with detail to the center of the collar and accompanying the back cut. Bar finishing in zigzag stitch.

Alceu Penna Collection
Including sketches, photographs, and documents connected to the designer Alceu Penna.

In addition to these collections, the Fashion Museum also owns collections of prints, paintings, furniture, sketches, etc. The aim is to stimulate reflection on the country's customs, clothing, history, and memory.

Credits: Story

House of the Marquise of Santos/Museum of Brazilian Fashion
Patricia Castro

Anita Mantuano Arts Foundation of Rio de Janeiro State/ Rio de Janeiro State Department of Culture</>
André Lazaroni

Museum Superintendent
Raphael Hallack Fabrino

Curatorship
Patricia Castro
Thais Pucu
Clara Paulino
Ingrid Fiorante

Composition
Clara Paulino

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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