To whet your appetite, I've taken a few pictures of my area of the exhibition (and have permission to post them).
Puttin' on the Glitz: Evening dresses of the 1920s.
Two dresses that did not make it in: the first one I dressed was this Neoclassical cotton gown, extremely similar to one at the New York State Museum that I examined for my thesis and therefore also very like the one that I sewed. It didn't fit the mannequin, strictly speaking, but because of the drawstring construction I was able to make it look like it fit.
And this one, an afternoon dress made of lace and a panel of a chiné print taffeta. (I was thinking it was a lingerie dress that happened to include that odd silk, but while trying to dress it - it came close but didn't close in the back - I realized it was more structured than that.)
A Lock of Hair: Memorial and craft hair jewelry.
On the left are the memorial pieces: brooches, rings, and pendants with the hair of a deceased person; on the right are pieces that could have been made at home or could have been bought from a store or catalogue. In the case by itself is a high-quality retail horsehair bracelet from Lemonnier et Cie.
Vested Interest: Men's waistcoats.
This vest, interestingly enough, looks exactly like one that Lady Annabelle of Didmarton saw in Charleston. I still don't really know what to make of that.
Head Gear: Hair combs, tiaras, and aigrettes.
I surprised myself when I started researching combs: my instinct was that the earlier combs were small, but actually until the 1830s they tended to be very broad and worn under the hairstyle, in the back. (You can see it in the painting if you come!) I originally had about half again as many items in this section, but it looked a bit cluttered.
Fan-tastic: Women's fans.
I love the fans. It was extremely difficult to get the number of them down to a manageable level.
An autograph fan signed by pretty much anyone who was anyone in 1895 Albany, and a very pretty little number from the 1920s.
Two sets of original & revival styles - the upper ones are an 1820s brisé horn (imitation blonde tortoiseshell) fan and a sequined 1910s Neoclassical revival fan; the lower are an eighteenth century fan painted with one of those pastoral scenes and a florid 1850s revival of a style that's technically a little earlier than the pastoral one.
I hope you go to see it, and if you do, please tell me!