Walk the Red Carpet to THREADS at the Missouri Historical Society -- Make It Bold. Make It Patterned. Make it Work.

by Grayling Holmes / photos and videos courtesy of the Missouri Historical Society

Walk a grand red carpet into the newly-renovated North Plaza entrance to the Missouri History Museum to the awe-inspiring MacDermott Grand Hall at the THREADS gala and fundraiser on Saturday, April 13th, 2024. Celebrate the fashion of yesterday and today. Embrace this year’s theme, Make it Bold. Make It Patterned. Make It Work.

The signature biennial fundraiser of the Missouri Historical Society that evening will feature food, fun and a fashion show from local designers and students. The last iteration of THREADS was held in 2022. The theme that year was “It’s All About the Accessories.” “They are always changing it up, after all that’s what’s fashion is all about, change, evolution, keeping it fresh,” said this year’s co-chair and Saint Louis Fashion Fund board member Ted Wight.

THREADS is one of Saint Louis Fashion Fund’s 10 for the 10th events, and is sponsored by Caleres, Saint Louis Fashion Fund, and Sophisticated Living St. Louis.

Inspired by Missouri Historical Society’s extensive textile archives, THREADS is a must-see event. Every year, the event demonstrates that fashion is important. Preserving its history is vital, so that visitors can learn from and be inspired by it. Click HERE to PURCHASE TICKETS and join in what is sure to be history in the making,

Take a look here at the 2022 event to get an idea of the treasures both students and professional designers have woven for to immerse you in the world of fashion

THREADS: It’s All About the Accessories 2022 Gala and Missouri Historical Society Fundraiser.

This year, gala goers will get to see the final designs will “walk the runway.” Expect the best since Clothing and Textile Curator, Adam MacPharlain is behind the scenes pulling all the right “threads.” He personally selected a wide variety of pieces from the vast Missouri Historical Society collection. His pieces spoke to this year’s theme, “Make It Bold. Make It Patterned. Make It Work.

Ten professional local designers with years of experience, as well as student designers, were invited to see this collection in person at the society’s Library and Resource Center. The each chose a piece that spoke to them as inspiration. They created new, modern garments based on the archived pieces of their choice. Essentially, what you will see is an evolution where past meets present to create something new.

Here’s how Jody Sowell, President and CEO of the Missouri Historical Society, explains how the THREADS Gala ties past to present:

“This event highlights the importance of preserving our history, and the reality that we can create a conversation between our past and our present, through something even as modern and glamourous as high fashion. This even supports local talent and fosters a sense of community and reinforces the idea that everyone has a role to play in interpreting and carrying forward our shared history.”

Jody Sowell, President and CEO of the Missouri Historical Society.

The fashionable Mr. Sowell ready to attend the Saint Louis Fashion Fund’s GENT 10-for-the-10th fashion show.

The Saint Louis Fashion Fund is proud to be involved with THREADS. “As one of the 10-for-the-10th Anniversary Celebration events, it is like the gown Cinderella wore to the ball,” said Susan Sherman. Chair Emeritus of The Saint Louis Fashion Fund. “The Grand Hall of the exquisite History Museum is the perfect venue for our student designers to showcase there best before lovers of fashion near and far.”

Saint Louis Fashion Fund's 10th Anniversary is not just a series of parties, fashion shows, and events. It is a year-long Campaign to spotlight and position St. Louis' fashion industry's current and future program of work as educators, collaborators, and connectors that are and will continue to make a major impact on our region's economic ecosystem. 

Event co-chairs, Amy Hunter, Caleres Vice President of Diversity, Equity and Inclusion and Ted Wight, Dielmann Sotheby’s Realtor worked tirelessly to put together what is sure to be one of the highlights of the 2024 social season.

Amy Hunter, THREADS 2024 co-chair and Caleres Vice President of Diversity, Equity and Inclusion.

Ted Wight, THREADS 2024 co-chair and Dielmann Sotheby’s Realtor.

Adam MacPhàrlain is the Curator of Clothing and Textiles at the Missouri Historical Society, a position he started January 2021. As curator, he works with design co-chairs to narrow down the theme of each THREADS event.

He holds a bachelor’s in Apparel Design and Merchandising from Eastern Kentucky University and a master’s in Museum Studies from the University of Leicester in England. Prior to MHS, Adam spent six years as the Curatorial Assistant and Collections Manager of the fashion collection at the Cincinnati Art Museum.

Threads is a biannual event, but the planning for the next event starts soon after one finishes. About 18 months out, Adam, combs through their collection of over 20,000 garments, accessories, and textiles to come up with a few options for a theme for the next event. He often does this by walking through their storeroom and taking cues from what visually sparks his interest. Then, he works with the Design Co-Chairs to narrow it down to one theme—for 2024’s event, bold design, he selected 20 or more pieces from the collection that the designers could choose from that reflected the theme. Beyond the look, each inspiration piece has a story to tell, whether about the person who wore it, the designer, or the time in which it was worn. There’s a lot of behind-the-scenes work to get the list ready, including research into each object, new photography, and write-ups that provide the historical backgrounds for the designers.

Here was the inspiration from some of this year’s pieces. On Saturday, the 13th, the designers will unveil their new pieces.

Boy’s red wool skeleton suit, 1826–1829

Skeleton suits were a popular and stylish trend in boys’ fashion from the late 18th century through the 1820s. So named because they fit close to the body, skeleton suits traditionally featured full-length trousers buttoned to a short jacket to form a single garment. Blue and green were the most popular colors, so the boy who wore this bright red wool suit would have stood out. This one-piece garment has faux jacket-front panels and buttons at the back. It was worn by a son of Jean Baptiste Sarpy, a St. Louis businessman and great-grandson of Marie Thérèse Chouteau.

Graduation dress worn by Frances Reid Jones, 1909

Although this dress doesn’t seem risqué today, it was considered quite scandalous at the turn of the century. It’s called a “lingerie dress” because the all-white aesthetic, gossamer fabrics, tucks, and lace trim resembled that era’s women’s undergarments. According to one writer in 1900, “One may or may not approve of the lingerie gowns that are so much worn morning, noon and night, but one must admire them for their dainty elegance and coolness.” When this dress was worn in 1909, lingerie dresses were popular among high school and college women. Frances Reid Jones wore this dress when she graduated from the Mary Institute in St. Louis. She was the daughter of Breckinridge and Frances Jones; Breckinridge was a prominent St. Louis lawyer and banker.

Woman’s evening gown made by Jeanne Lanvin, 1939

Known for her elegant confections, Jeanne Lanvin was an esteemed haute couture fashion designer during the first half of the 20th century. This evening gown from Lanvin’s Summer 1939 collection exemplifies her use of fabric and embellishments to create fashion-forward statements while maintaining a sophisticated aesthetic. The oversize, warp-printed feathers are whimsical, though they’re balanced by the muted tones of cream on black. The undulating clusters of coral georgette ribbons lend a pop of color and texture. It was worn by Lotawana Flateau Nims, who was married to Southwestern Bell president Eugene Dutton Nims. Lotawana would have been in her early 60s when she donned this gown.

Woman’s “Circus” dress made by Tom Blazier, ca. 1950

From clowns and acrobats to juggling and stunts, there is something for everyone at the circus. This midcentury dress, hand-painted by St. Louis artist Tom Blazier and worn by Marjorie Lesser to a theme party around 1950, features circus performers, revelers, and games on a wearable canvas. Blazier was a painter, sculptor, and interior designer based out of Clayton, who created textiles with circus prints as early as 1947. Lesser was active in the local Jewish community, working with the Women’s Division of the Jewish Federation and the National Council of Jewish Women. She was also involved in mental healthcare advocacy. Wearing this dress, she would have been the life of the party!

Woman’s dress made by Theresa Herterich, 1899–1900

This eye-catching dress is made from fabric that isn’t what it seems. At first glance it appears to be a traditional ombré, where fabric is repeatedly dip-dyed at different levels to create a gradient effect. But a closer look shows that the effect actually came from the weaving process, incorporating slightly different bands of green that shift from light to dark. The fabric, which is most prominent on the skirt, is also used in the reverse direction on the sleeves, and the ribbon trim along the skirt’s bottom is two different tones. The ensemble was made by New York City–based dressmaker Theresa Herterich. As Paris was still the arbiter of style at the turn of the century, it is likely that Herterich drew inspiration from fashion magazines and high society when she created this look.

Woman’s sandals made by Brown Shoe Company, 1952

These sassy wedge sandals feature a gold finish and a peekaboo hole in the heel. The model, known as Reckless, came in different colors of velvet and even leopard print. Made by Brown Shoe Company, they were sold under the brand name Risqué. St. Louis was one of the nation’s largest centers of footwear production during the 20th century. Manufacturers created shoes for men, women, and children in all styles and prices. Brown was perhaps the city’s best-known company, and it still has a presence in Clayton as Caleres. In addition to Risqué, Brown has launched numerous brands over the years, including Naturalizer, Buster Brown, and Life Stride.

Man’s ensemble worn by Robert Mullin, 1971

The mid-1960s ushered in the “peacock revolution,” when men could break away from subdued colors and stuffy suits, and dress just as flashy as women. This ensemble is a great example of the ’60s peacocks moving toward the ’70s disco dancers. Robert “Bob” Mullin worked at a department store and bought this stylish outfit, even though it was a bit out of his comfort zone. He only wore it a few times, including to a new year’s party and even as a Halloween costume years later. Mullin recalled, “I felt a bit self-conscious wearing this vest and pants, but when one is 22 years old, one likes to try something a bit wild.”

Man’s jacket used by the Katherine Dunham troupe, 1946

Katherine Dunham was a renowned dancer, choreographer, anthropologist, and educator who brought dances of the African diaspora to the world. Her husband, John Pratt, designed costumes for the majority of her works, creating garments that were just as expressive as the dancers’ movements. Whether the choreography featured a Yoruba ceremonial dance or jazz steps of the Black South, Pratt’s designs blended cultural nuances with lively fabrics and embellishments. This silver-thread-embroidered jacket is a dazzling example of Pratt’s eye-catching style. It was worn by one of the carnival kings during the “Haitian Roadside” scene in 1946’s Bal Nègre.

Woman’s dress made by Teal Traina, 1967

Gloria Goldblatt wore this colorful dress to an evening reception following her son’s bar mitzvah in 1967 at United Hebrew Temple—the building that today is the Missouri Historical Society’s Library & Research Center. For the ceremony, Goldblatt wore a traditional dress and jacket in pastel shades (which are also part of the MHS Collections) but later made a statement in this vivid minidress by Teal Traina Inc. The designer may have been inspired by Evelyn Jablow’s “Fold-Up Dress for a Portable Society,” which was featured in a 1964 Saturday Evening Post story about the future of interior design and fashion.

Drag queen costume worn by Candy Principle, ca. 1995

Drag performers’ costumes have evolved over time. Early entertainers, often known as female impersonators, tended to purchase off-the-rack women’s garments to create their persona. Amplified by shows like RuPaul’s Drag Race, today’s performers gravitate toward custom looks that are glitzy and glamorous. This pink gown tells both stories—it’s a store-bought dress that’s been altered to create a stunning new look. It was worn by Candy Principle, a successful St. Louis–based drag artist who has been performing for some 30 years. She is a member of the House of Principle, a leading African American drag house that originated in St. Louis. When Principle first wore this gown for a local pageant, it was in its original white color. She later had the dress dyed pink, and a Chicago designer made the bustle for added drama.

Following are some introductions and greetings from four of this year’s professional designers.

Professional designer, Manuel Garcia.

Professional designer, Everett Johnson.

Professonal designer, Yasi Fayl.

Professionalk designer, Mary Crogier Vauje.

Fun snapshots from past THREADS galas.

About the Missouri Historical Society

The Missouri Historical Society (MHS) has been active in the St. Louis community since 1866. Today, it serves as the confluence of historical perspectives and contemporary issues. MHS operates the Missouri History Museum, Library & Research Center, and Soldiers Memorial Military Museum. MHS is funded by the St. Louis City and County taxpayers through the Metropolitan Zoological Park and Museum District (ZMD) and by private donations. To find our more, please visit their site.