Court presentation ensemble 1883 - 1893

Editor: This is a Court Presentation Ensemble, created sometime between 1883 and 1893 by the House of Worth. It’s a beautiful example of textile art. I am curious about the labor that went into creating something so ornate. What aspects of the House of Worth’s production are interesting to you? Curator: I'm fascinated by how Worth revolutionized the fashion industry by essentially turning couture into a global business. He elevated the dressmaker to the level of artist, but what did this mean for the actual labor involved? How were his workshops organized? Who were the anonymous seamstresses whose skilled hands brought these elaborate designs to life? Were they celebrated as collaborators or simply viewed as cogs in the production of luxury? Editor: That’s a really good question. When we look at the textile, can you tell how labor intensive this would be? Curator: Absolutely. Consider the sheer volume of fabric in the train, and its embellishment. The floral patterns, the intricate draping – these are all indications of specialized labor. The layers of understructure, too. Do we see a seamless blending of techniques, or are there hints of the individual contributions and skills that made such a creation possible? Where did Worth source materials and how might global trade intersect with labor practices? Editor: I hadn’t considered that Worth had global reach. Do you think the consumer understood how this object came into being, or do you think the labor remained invisible? Curator: I think Worth brilliantly fostered an image of exclusivity and artistry. But this likely obscured the often-harsh realities of garment production, particularly regarding workers' rights and conditions. That is part of his genius! Editor: So, while the dress represents elegance and high society, its very existence depends on complex labor systems. Thinking about the materials and production adds a critical lens to how we interpret it. Thank you! Curator: Indeed. By interrogating the materials and their manipulation, we move beyond aesthetics and address broader issues of value, power, and the social costs of beauty.