ABSTRACT
This paper examines the evolution of exhibition display methods for traditional dress, in conjunction with curatorial interpretations. Christine Giuntini shares, in this case study, her work at The Metropolitan Museum of Art, starting with the exhibition schedule introduced by The Michael C. Rockefeller Wing in 1983. The author emphasizes the significance of minimal intervention and preservation philosophy in textile conservation during the 1980s. Curatorial interpretations influenced display techniques and label information, with examples of methods that were appropriated and later abandoned due to cultural sensitivities. The paper discusses specific mannequin materials and constructions, as well as closed cases and wall-mounted vitrines that were used to display textiles and fibre artefacts. The author presents specific installations, including a Mambila Leopard Society masquerade ensemble from Cameroon. The paper also explores installation methodologies in the early 1990s, including an exhibition at the National Museum of the American Indian’s George Gustav Heye Center. The paper concludes by emphasizing the ongoing evolution of exhibition display methods for traditional dress, driven by curatorial interpretations. It stresses the importance of innovative solutions that respect the cultural significance of these garments while effectively presenting their aesthetic and historical information to museum visitors.
