These exquisite ensembles were made by talented tailors and sewists, (Maker credits for garments in images from L-R: Neal Hurst; Mark Hutter; Brooke Welborn) who poured their hearts into accuracy of fabric, stitching, and design in order to tangibly represent a full context of George and Martha Washington’s story. It was a rare opportunity to work so intimately with reproductions of our country’s first, First Couple’s clothing, and the talented staff and curator of Mount Vernon. It was also personally special, as my family often visited Mount Vernon during my childhood, and today I still have and cherish my adorable Martha Washington doll. So, this was a particularly meaningful full-circle experience that extended to my whole family.

While these garments are not 18^th century historic artifacts, as conservators we treat them as such, and with great reverence, taking the care and attention to detail to present them as ‘originals.’ One benefit (and a relief) is that since they are made of modern materials, they are more resilient and sturdier to handle. This made our process of customizing mannequins and dressing and undressing considerably less stressful or precarious.

When working with reproduction clothing, we recognize that often the garments are patterned from an original historic piece. During fabrication, a ‘fit model’ is often used which can change the overall fit of the final garment. In some cases, this can render some of the historical research we do to inform body and clothing silhouette, a bit less beneficial. Moreover, contemporary bodies are very different from those of the 18^th century; as are undergarments and trims – so our job is to customize and shape 21^st century mannequin forms into 18^th century body types – enhancing the fit, drape and silhouette, as it would have been at that time. It’s a slow process of sculpting and building up the mannequin to perfectly support the garments, and faithfully present the historic profile, style and personality. This is where historical research and primary sources come in. Accessing images of portraits and miniatures from the time of Martha’s marriage to George were referenced to determine her younger body shape and the contemporary stylistic elements of dressing – this guided how the bust was shaped and the way the form is gently padded out under the garment to present an accurate silhouette, sleeve shape and posture.