Palazzo Falson in Mdina has always had a special attraction for me. One really does feel that this is not just a museum but the actual home of those who lived there and seemed to have enjoyed life. It reminds me of Villa San Michele in Capri, where the Swede, Dr Axel Munthe, lived. After reading his book The story of San Michele, a few times, I wanted to visit it. I was lucky and managed to go there twice. It is unforgettable overlooking the Bay of Naples and as I walked from one room to the next at the evocative Palazzo Falson, Dr Munthe's famous book constantly came to mind. There are quite a few similarities. Both had Swede backgrounds after all.
Palazzo Falson is no less atmospheric. As I walked through the door, to be met by those two gifted women, artistic directors, Francesca Balzan (Jewellery in Malta) and Caroline Tonna (Society Fashion in Malta), what caught my eye immediately is a model in a 'unique Maltese two-piece lace ensemble in cream colour silk thread designed in early 20th-century Edwardian fashion from the Casa Rocca Piccola collection. It gives a rich impression of the Maltese identity, incorporating the symbolic Maltese Cross and Star Motifs set on trellis ground known as taċ-ċappa.
I had come to take a look at Curious Beauty, an Alternative Costume Exhibition organised by Fondazzjoni Patrimonju Malti.
This is where you are enveloped in a tapestry of history and creativity. The latest exhibition offers a rare glimpse into the world of fashion. Each garment tells a story of cultural identity and artistic expression. The 'captions' in the exhibition give the details and I was lucky to be also guided by Caroline and Francesca with joy and their sense of humour, away from the constantly awful , heartbreaking news. They also gave the background stories of what went on behind the scenes: hard work, but "the fun of creating together, handling precious old fabrics and beautiful examples of workmanship.. Our ultimate mission is to stimulate and inspire visitors to appreciate the craftsmanship of fashion creations and create awareness of our dress heritage and the preservation of our patrimony."
The vision, the idea came from Michael Lowell, CEO and Creative Director of Patrimonju who told them to simply get on with the exhibition, knowing full well it was in excellent hands. They were both curators of the palazzo at some time or another, after all. They explained that many of the pieces, some very rare, were borrowed from private homes or collections. There are some 200 antique artifacts. Historic costume and accessories from the state, church and important private collections were brought together and displayed in contemporary art installations against the backdrop of the beautifully evocative medieval Palazzo Falson, itself already full of gems.
I loved all the 18th and early 19th century embroidered bodices, hugging impossibly small ribcages and ornate waistcoats. They take you back to an age of elegance and refinement. Their sheer beauty alone brings pleasure. And who made all that embroidery? Complete outfits are rare, so Francesca and Caroline re-imagined the matching skirts and breeches with conservation-grade paper sculptures to suggest what may have been.
The display of a variety of gloves is indeed a conversation piece. What an imagination these two ladies have. It is the way the gloves are arranged on a dining table, gesticulating as if having a conversation "reminiscent of the lively parties hosted by Olaf and Nella Golcher in the 1950s within their home... Amidst the merriment, the gloves take centre stage, engaged in animated gestures that weave tales, spark debates, share gossip and exchange banter...."
I loved the collection of spectacles placed on exaggerated nose scuptures (almost certainly created by Francesca, who is much admired for her cartoons). Olaf and his circle of artist friends threw wild parties in Rome wearing fancy dress.
As we walked up the staircase we were met by an astonishing sight: a display of different hats hanging from the ceiling. What an interesting collection. I was told that scaffolding was put up for those hats to be displayed in this unusual way, so that we could see each one properly and even take notice of the makers mark whether made by Maltese milliners or imported by Maltese retailers.
A small collection of shoes, the earliest dating to the 1760s, is displayed on a short staircase.
And so, to the next room and among other displaye even a girl eading in an authentic dress. Which family managed to preserve that, I wonder. The wigs were created by Marcelle Genovese. I loved the ganutell (wirework flowers) created by Anna Balzan who was inspired by traditional ganutell that can be found in Baroque chuches. She is one of the few artisans left who practices this traditional Maltese art.
I loved the collection of vintage handbags so beautifully displayed on cardboard boxes which had been transformed by the simple act of painting them gold instead of throwing some 80 boxes away. Patrimonju is most definitely committed to environmental sustainability. Actions speak louder than words and moreover, it all looked so glamourous.
Having enjoyed the sight of handbags displayed on gold plinths which did not cost anything beyond the paint and the dedicated work of the curators, we moved into the dining room where the table is laid out with a fine array of silverware including cutlery from a canteen of Victorian Queen's pattern flatware. This room is so beautifully assembled with its tablecloth of Maltese lace, the trumpet-shaped Venetian drinking glasses, its numerous paintings and all that is refined and there the splendid stomachers with their intricate fabric and decoration.
And so to take a look at the mitres.This is a rare opportunity to take a close look. Have you ever been close enough to a bishop, archbishop or cardinal to be able to admire their headgear? "...when one examines their materiality, mitres are revealed as beautiful expressions of the most skilled craftsmen of the epoch in which they were created... the opulence of mitres reflected the glory of the church and the status of the individual ecclesiastic to whom each belonged." When are we ever going to get a chance to see a collection of mitres at close quarters?
In the final room women are celebrated: "their femininity, their grace, their strength." Mid-century corsets are on display. The two curators chose to take a different view of corsets, "We chose to perceive corsets as symbols of support and of deflecting or absorbing the impact of hardship," not as underwear that evoke sensuality.
The last exhibit is a surprise. Annamaria Gatt was commissioned to select a lace motif and create it on a monumental scale with materials that could dress a building rather than a person. She took up the challenge. You must not miss this huge display when you go to the exhibition. This is a feat undertaken for the first time. I will say no more.
One comment from the genial curators: Curious Beauty is also called 'an alternative fashion exhibition' What is alternative about it? "Our exhibition is playful and whimsical - it celebrates the joie de vivre of Olaf Gollcher who was the last owner and resident of Palazzo Falson (until 1962). He held a deep interest in Maltese heritage, art and research. We have built the concept of the exhibition around Gollcher's creative spirit and eye for beauty. Previous temporary exhibitions, focused mainly on the decorative arts, were more contained in the so-called Orientation Room of the museum, but this exhibition is larger. It sprawls around the entire palazzo, creating contemporary art in assemblages of historic objects. The artifacts are displayed in unexpected ways against the backdrop of the richly decorated rooms of the museum's permanent exhibition..."
I am urging you to go. It closes on 16th June 2024. Don't miss it.
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Photos: Lisa Attard