New York · United States
Mourning Keepsakes: Victorian Hairwork Arrives in Brooklyn
From Missouri to Brooklyn: preserving Victorian mourning crafts
Memorial Threads in Glass and Gold
The practice of weaving human hair into commemorative keepsakes reached its zenith during the nineteenth century. Families preserved locks from both the living and the deceased, transforming fragile strands into intricate adornments, framed wreaths, and three-dimensional tableaux. On 27 September, approximately fifty such objects will enter public display at the Morbid Anatomy Library in Brooklyn, offering visitors a tangible encounter with nineteenth-century grief rituals.
The exhibition occupies gallery walls and glass vitrines, presenting items that range from delicate pendant charms to expansive shadowboxes adorned with gilt frames. Accompanying many pieces are archival photographs and handwritten annotations detailing the identities, origins, and passing dates of the individuals represented. Some inscriptions carry profound emotional weight, recording sentiments such as enduring sorrow for lost parents or spiritual anticipation of reunion. The hair itself spans a natural spectrum, from pale blonde to deep charcoal, meticulously knotted into botanical forms, musical instruments, religious symbols, and protective talismans. Artisans frequently augmented these compositions with glittering beads, metallic filaments, silk ribbons, avian feathers, textile petals, cotton batting, devotional prints, and occasionally, miniature infant footwear. The polished surfaces of the display cases inevitably capture visitor reflections, creating an unsettling dialogue between the observer and the material remnants of those who have passed.
Curating a Shuttered Archive
This particular assembly originates from Leila's Hair Museum, a privately operated institution located in western Missouri that recently ceased operations. The archive was established by Leila Cohoon, a professional stylist and educator who passed away in 2024. Beginning in the mid-twentieth century, Cohoon embarked upon extensive journeys to acquire roughly three thousand antique examples of the craft. Her freestanding building, situated near commercial strip developments, became densely populated with hanging specimens that covered nearly every available surface. Beyond preservation, she dedicated considerable effort to documenting traditional construction methods, running instructional workshops, and publishing scholarly notes on the subject.
Historian and educator Karen Bachmann once characterised Cohoon's former venue as the premier global repository for the discipline, praising its exceptional breadth and density. Following the closure, Cohoon's granddaughter, Lindsay Evans, has systematically distributed the holdings across numerous cultural organisations throughout the United States. Notable recipients include the Metropolitan Museum of Art, the American Folk Art Museum, and the Smithsonian's National Museum of American History. To secure specific acquisitions for Brooklyn, Bachmann collaborated with Joanna Ebenstein, the founding creative director of Morbid Anatomy, who travelled to Missouri to evaluate and select works alongside Evans.
Logistics of Preservation
Ebenstein emphasised that the curatorial intention was to construct a condensed narrative reflecting Cohoon's eclectic vision. The installation deliberately contrasts highly elaborate sculptural arrangements with modest hair fragments preserved within simple pendants, transparent domes, and miniature dioramas. Through this juxtaposition, the library aims to demonstrate how deeply embedded these personal archives were within daily domestic routines. Moving the selected pieces required careful coordination. Dave and Shannon Herman, founders of Brooklyn's City Reliquary, undertook the physical transfer, fabricating bespoke foam mounts to protect each fragile specimen during the cross-country journey. Witnesses noted that severe storm clouds gathered behind them as they departed Missouri, an atmospheric coincidence that resonated with the melancholic nature of the materials being relocated.
Evans acknowledged the complex emotions surrounding the dissolution of her grandmother's institution, yet expressed optimism regarding the broader accessibility now afforded to the public. She observed that the Brooklyn presentation faithfully echoes the original aesthetic sensibilities of the Missouri space, noting that Cohoon would undoubtedly approve. For decades, the founder prioritised visibility and genuine appreciation over institutional hoarding, ensuring that these intimate artefacts would continue to provoke contemplation rather than remain confined to private storage.
Museums mentioned
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