"As I fix my eyes on an object or allow them to wander, or else wholly submit myself to the event, the same color appears to me as the surface color being in a definite location in space and extending over an object, or else it becomes an atmospheric color and diffuses itself all around the object. Or I may feel it in my eye as a vibration of my gaze; or finally, it may pass on to my body a similar manner of being, fully pervading me, so that it is no longer entitled to be called a color."
- Maurice Merleau-Ponty, 1962
This poignant quote by philosopher Maurice Merleau-Ponty encapsulates the essence of our project: "Plumes and Pixels - Art Inspired by a Vintage Headwear." It speaks to the subjective nature of perception and the transformative power of art and technology in shaping our understanding of the world around us.​
During the digitization of specimens from the Academy of Natural Sciences of Drexel University's collection, a single artifact captured our attention – a vintage headwear adorned with a bird of paradise. This unique piece, produced in the early 20th century, embodies the complex aesthetics of an era where elegance and excess often came at the expense of the natural world. Inspired by this remarkable find, Digital Media graduate students from Drexel University's Westphal College of Media Arts & Design, under the guidance of professors Emil Polyak and Kathi Martin, embarked on a mission to create a digital twin of this specimen. Employing advanced computational photography and 3D reconstruction techniques, they successfully captured the intricate details and vibrant colors of this historic headwear, fashioned from a once-living creature. Supported by a grant from the Museum Innovation Fund, the project was later presented to the public at the Kennett Library, which hosted an art exhibition and talk highlighting this innovative work.
PLUMES
Deep within the lush rainforests of Papua New Guinea, Indonesia, and northeastern Australia, a remarkable family of birds has captured the hearts and minds of people for centuries. The birds of paradise, belonging to the family Paradisaeidae, are renowned for their stunning plumage, elaborate courtship displays, and incredible diversity. With 39 species in 17 genera, these birds are a testament to the wonders of nature.
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From the plain-looking paradise-crow to the flamboyant Raggiana bird of paradise, each species is unique in its own way. The majority of these birds are found in the dense rainforests of eastern Indonesia, Papua New Guinea, and eastern Australia. Their habitats provide them with a diet rich in fruits and arthropods, which they need to sustain their vibrant colors and energetic displays.
One of the most striking features of the birds of paradise is the plumage of the males. In most species, the males are sexually dimorphic, meaning they look different from the females. The males often have long, elaborate feathers extending from their beaks, wings, tails, or heads, which they use to attract mates during courtship displays.
The colors of their feathers are truly breathtaking, ranging from deep reds and oranges to vibrant yellows and iridescent greens. The colors of the birds of paradise are produced by different pigments and structures in their feathers. Phaeomelanin, a pigment, gives the main feathers their reddish-brown hue, while carotenoids are responsible for the yellow and light orange colors on the head and afterfeathers. The black plumage on the breast is caused by melanosomes, and air-filled melanin granules create the metallic green sheen. In addition to the main feathers, birds of paradise have a secondary layer of feathers called afterfeathers, which are distributed around the tail. These feathers are usually yellow, fluffy, and lightweight, and are often used in fashion products.
Birds of paradise have long been a source of fascination for people around the world. They were first introduced to the Western world in the early 16th century by Magellan's crew, who brought specimens back from the East Indies. Since then, these birds have inspired countless works of art, from paintings and poetry to fashion designs. The use of feathers as adornments dates back even further, with evidence suggesting that Neanderthals used bird feathers for decorative purposes as far back as 44,000 years ago. This discovery was made through archaeological investigations at the Grotta di Fumane in northern Italy, where bones of 22 bird species with no practical or culinary value were found alongside stone tools.
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"We know that the use of bird feathers was very widespread and that humans have always attributed a broad and complex value to this practice, ranging from social significance and games to the production of ornamental and ceremonial objects." (Peresani, Choi, 2011). Bird of paradise feathers were used to adorn the helmets of European medieval knights and the headdresses of Papuans in New Guinea. At George Washington’s suggestion, his military wore feathers in their ceremonial hats which identified the rank of the soldier. A hat can elevate style, revealing personality. The intricate plumage of exotic birds inspired some of the over-the-top embellishments of the Rococo style. It was then when contemporaries of Marie Antoinette piled the hair of their wigs as high as possible and topped it with an entire stuffed bird, sometimes inside a nest. Status declared, if not assured, knowing the fate of some of those heads.
OUR FASHIONABLE ARTIFACT
No documented provenance of our hat exists. It resides in the exhibition collection of the Academy of Natural Sciences (ANS), referred to as a ‘misfit’ since it does not fit any of the ANS collection categories. Without a known date of creation, fashion styles are difficult to pinpoint in time as fashion periods overlap, personal style can keep a garment fashionable beyond the commercial time frame and vintage references are incorporated into new designs. This makes dating of the piece a challenge. The bird atop the hat is a bird of paradise the hunting of which was outlawed in 1918, so we assumed before then.
Style in the Gilded Age, 1870-1890, the height of bird taxidermy on hats, was driven by excess - the hourglass female body shape, big hair, big hats to cover the big hair and big feathers on the hats, simultaneously representing conspicuous consumption, grandiose displays of wealth, and man’s conquer of nature. This hat style continued through the Victorian and Edwardian periods. In 1914, when war broke out in Central Europe, clothing in general became more practical and less ornamental. The first automobiles appeared and “hats the size of a small coffee table decorated with flurries of feathers suddenly seemed ridiculous and impractical! (Sills)”
The hat under the bird in our artefact is 9x7.48 inches, considerably smaller in scale than that of examples from previous periods. The cap is covered in gold silk, pleated and twisted, reminiscent of a turban, a style which gained popularity with the work of Paul Poiret in the 1910s and remained in fashion through the 1940s. In the 20s, short, bobbed hair, close to the head, allowed women to wear the skull cap, closer to the head, as in our example. The interior is lined with crepe backed satin, a textile that signified luxury in the 1930s and 40s.
MARTHA TODD
The final clue to the provenance was in the tag, attributing the creation to Martha Todd, a fine millinery store. Through research in the Newark Public Library's online archive, we discovered that Martha Todd was married to John Gillespie, one of the city's most prominent gentlemen at the time. Records show that John passed away at the age of 63.
The Newark Evening News | Historic Newspapers
As we delved into the history of Todd's store, we found the first printed advertisements appearing in 1941. The store had a show space and workrooms where the millinery pieces were crafted. Based on the size of the newspaper columns, the store appears to have been a small business compared to other advertisements that occupied larger spaces. However, the content of the ads reveals that Todd offered a diverse range of products and services. She showcased seasonal collections, ready-made and made-to-order hats, and even provided restyling services for old hats, allowing customers to bring their own furs and fabrics. Todd also advertised bridal and mothers' collections, which were likely fashionable ensembles of the era. Additionally, she collaborated with other designers, such as Ben Silverberg, to create limited-edition collections. These partnerships likely brought fresh perspectives and added an air of exclusivity to her store's offerings.
To promote her store, Todd actively participated in luncheons and fashion shows. These events not only showcased her latest designs but also served as a way to attract potential customers. Furthermore, regular sales and clearances were held between seasons, suggesting that her target customers were not exclusively high-class individuals. Based on an advertisement found from July 1969, it appears that the store was in operation for 32 years, indicating that it likely opened in 1937. Todd's ability to sustain her business for such a lengthy period is a testament to her skill, adaptability, and understanding of the market and her clientele's needs.
We shared our images and research with Clare Sauro, Chief Curator of Drexel’s Robert and Penny Fox Historic Costume Collection. She states: “The label is consistent with the 1940s date and stylistically it fits with the period immediately after the war, circa 1948 or so.” In the 40s stockpiles of early feathers were being used in contemporary styles, influenced by the chic women depicted wearing hats in films of the era. Smaller hats with less ostentatious adornment, one pheasant feather as opposed to the feathers of an entire bird were la mode, finally safeguarding the existence of these beautiful creatures.
FASHION AND THE PLUMES TRADE
In Papua, New Guinea, a significant resource for the bird of paradise atop our hat, their feathers were regarded as guardians of the community, insuring fertility to the women and conferring invulnerability to warriors who wore them to battle. The feathers were displayed in headdresses worn in dances that conjured up the birds of paradise as a celebration of the survival and prosperity of the entire community. The people in New Guinea and nearby islands began trading the feathers with the Portuguese in the 1600s, who provided them to the wealthy and powerful in Europe and the near east as symbols of authority, made greater by the brilliance and rarity of the feathers.
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The trade in bird-of-paradise feathers and other exotic plumes was deeply intertwined with colonial exploitation. Indigenous peoples in New Guinea and nearby islands traded these feathers with Portuguese and other European traders, who then supplied them to the wealthy in Europe and the Near East. This trade highlighted the unequal power dynamics of colonialism, where natural resources from colonized regions were extracted and commodified for the benefit of European elites.
Feathers were seen as exotic and were often used to evoke images of far-off, unspoiled lands. This fascination with the exotic was a significant aspect of 19th-century fashion, where feathers from birds like egrets, herons, and birds-of-paradise were used to create a sense of mystery and allure. Feather pelerines, for example, were fashionable garments that embodied themes of exoticism and the natural world, often linked to the idea of uncorrupted, precolonial civilizations.
The use of exotic feathers in fashion not only reflected the unequal power dynamics of colonialism but also perpetuated stereotypes and romanticized notions of "primitive" cultures. The demand for these feathers fueled the exploitation of both natural resources and indigenous peoples, while simultaneously reinforcing a Eurocentric view of the world that positioned non-Western cultures as exotic and inferior.​​
A FRENZY FOR FEATHERS
From 1905 to 1920, 30,000 – 80,000 bird of paradise skins were exported annually from New Guinea and the Moluccas to the feather auctions of London, Paris, and Amsterdam. This massive trade in exotic bird feathers was part of a larger trend in the millinery industry, which reached its peak in the 1880s during the Gilded Age. The Industrial Revolution had improved production speeds, and feathered hats became a status symbol for a new mass market. The impact of this trade on bird populations was devastating. In his calculations of the cost of feathered adornment, biologist Malcom Smith concludes, "No other human garment has had such a devastating and worldwide impact on wildlife as the hat" (Sills, 2020). According to historian Douglas Brinkley, "more than 5 million birds were being massacred yearly to satisfy the booming North American millinery trade", wiping out dense colonies of snowy egrets, white ibises, and great blue herons (Brinkley, 2009).
The plunder, peaking in spring with migration and mating, peak plumage season, was vicious. Mature birds were killed and skinned, leaving orphaned hatchlings to a bleak demise. "It was a common thing for a rookery of several hundred birds to be attacked by the plume hunters, and in two or three days utterly destroyed," wrote William Hornaday, director of the New York Zoological Society and formerly chief taxidermist at the Smithsonian (Souder, 2013). In winter 1886, Good Housekeeping, the American and British lifestyle magazine, recorded, "At Cape Cod, 40,000 terns have been killed in one season by a single agent of the hat trade." On Cobb's Island along the Virginia Coast, an "enterprising" New York businesswoman bagged 40,000 seabirds —at 40 cents apiece — to meet the demands of a single hat-maker (Weeks, 2015).
CONSERVATION
In the 1890s, wealthy women conservationists, led by Boston socialites Harriet Hemenway and her cousin Minna Hall, rallied to protect American bird life by boycotting this feathered millinery and led to the forming of state Audubon Societies, re-branding the wearing of exotic bird feathers a 'brand of ignorance' rather than a signifier of style and social status.
The curtailing of the feather supply began with the Lacey Act of 1900, which prohibited trade in wildlife, fish, and plants that have been illegally taken, possessed, transported, or sold. In 1903, Pelican Island in Florida became the first federal bird reservation, by executive order of President Theodore Roosevelt. The Weeks-McLean Act of 1913 prohibited the spring hunting and marketing of migratory birds and the importation of wild bird feathers for women's fashion. Eventually, the Migratory Bird Treaty Act of 1918 — which made it "unlawful to pursue, hunt, take, capture, kill, possess, sell, purchase, barter, import, export, or transport any migratory bird" — effectively put an end to the omnipresent bird and feather hats.
Today, the birds-of-paradise face new challenges, including habitat loss due to deforestation and climate change, as well as continued illegal trade. Conservation organizations and local communities in regions where these birds live, which are primarily dense rainforests, such as in Papua New Guinea and parts of Indonesia and Australia, are working together to protect their habitats and ensure their survival. Spreading awareness and engaging local communities in conservation efforts is crucial. By promoting ecotourism and birdwatching, organizations are providing alternative sources of income, reducing the need for destructive land use practices and hunting. For example, in Raja Ampat, Indonesia, local guides offer birdwatching tours to see the Red Bird of Paradise and the Wilson Bird of Paradise, contributing to the local economy and raising awareness about the importance of conservation. Strengthening and enforcing wildlife protection laws remains a priority. In Papua, the governor declared a ban on the use of bird-of-paradise parts for anything other than traditional ceremonies, aiming to curb hunting and the souvenir trade. This policy reflects a broader trend of implementing and enforcing regulations to protect these birds.
The conservation of birds-of-paradise requires a multifaceted approach, combining habitat protection, community engagement, and strict enforcement of wildlife protection laws. While significant progress has been made since the 1920s banning movement, the ongoing threats of habitat destruction, climate change, and illegal trade necessitate continued and enhanced conservation efforts. By working together, conservationists, governments, and local communities can ensure the survival of these extraordinary birds for future generations. The fashion industry owes a great debt to the planet and its inhabitants. The digital twins, artworks and computational experiments we have produced in this project pay homage to the beautiful avian victims of haute style. The 3d interactives provide a noninvasive means for investigation of the millinery confection and reflection on nature’s sacrifice.
References: Andaya, L. Y. (2017). *Flights of fancy: The bird of paradise and its cultural impact.* Journal of Southeast Asian Studies, 48(3), 372–389. doi:10.1017/S0022463417000546 Bekoff, M. (2020). *Hats: The deadly history of who we put on our heads.* Psychology Today. https://www.psychologytoday.com/us/blog/animal-emotions/202001/hats-the-deadly-history-who-we-put-our-heads Birds of Paradise. (n.d.). http://www.taxidermy4cash.com/plumes.html Brinkley, D. (2009). *The Wilderness Warrior: Theodore Roosevelt and the Crusade for America.* HarperCollins. Choi, C. Q. (2011). *Neanderthals wore colorful feathers, study suggests.* Live Science. https://www.livescience.com/12938-neanderthals-bird-feathers-symbolic.html Ehrman, E. (2018). *Fashioned from nature.* V&A Publishing, pp. 97-98. Environmental Sustainability in the Fashion Industry. (2024). https://www.genevaenvironmentnetwork.org/resources/updates/sustainable-fashion/ Feathered Victorian Hats Decimated Several Species. (2019). Racing Nellie Bly. https://racingnelliebly.com/strange_times/feathered-victorian-hats/ Feathers, Fur, and Face Paint: Jiwaka and Western Highlands, Papua New Guinea. (2020, February 6). Ursula’s Weekly Wanders. https://www.ursulasweeklywanders.com/travel/feathers-fur-and-face-paint-jiwaka-and-western-highlands-papua-new-guinea/ Good Housekeeping. (1887). *Winter of 1886-1887 issue.* Job, H. K. (1905). *Wild wings: Adventures of a camera-hunter among the larger wild birds of North America on sea and land.* Houghton, Mifflin & Co. No Egrets: The Story of Fashion and Feathers Through Books. (2020, October 15). Biodiversity Heritage Library. https://blog.biodiversitylibrary.org/2020/10/fashion-and-feathers-through-books.html Prints of The Capture of Marovoay by the French, Madagascar, 19th-20th century. (n.d.). Media Storehouse Photo Prints. Souder, W. (2013). *How two women ended the deadly feather trade.* Smithsonian Magazine. https://www.smithsonianmag.com/science-nature/how-two-women-ended-the-deadly-feather-trade-23187277/ State Library of New South Wales. (n.d.). *Birds of paradise.* https://www.sl.nsw.gov.au/stories/papua-new-guinea-forty-years-independence/birds-paradise The Metropolitan Millinery Importer | Toque | American | The Metropolitan Museum of Art. (n.d.). https://www.metmuseum.org/art/collection/search/156820 The Rococo Style – An Introduction. (n.d.). Victoria and Albert Museum. https://www.vam.ac.uk/articles/the-rococo-style-an-introduction Weeks, L. (2015). *Hats off to women who saved the birds.* NPR. https://www.npr.org/sections/npr-history-dept/2015/07/15/422860307/hats-off-to-women-who-saved-the-birds
PIXELS
3D Gaussian Splatting
for Complex Natural Specimen Digitization
We present an innovative application of 3D Gaussian Splatting for digitizing a vintage bird of paradise headwear, demonstrating unprecedented capture of intricate feather structures and iridescent surfaces. This work advances digital preservation techniques for challenging natural artifacts that hold significance across multiple disciplines, including ornithology, fashion history, and ecology. Our specimen, adorned with feathers from the bird of paradise (Paradisaea minor), exemplifies the unique challenges in preserving objects with complex structures and optical properties. By combining computational photography techniques with 3D Gaussian Splatting, we create a high-fidelity digital twin that captures not only the physical form but also the subtle interplay of different feather types and angle-dependent iridescence. This method offers new possibilities for non-invasive study and appreciation of delicate natural specimens while also addressing the pressing need for advanced preservation techniques in natural history and cultural heritage domains.
Our approach to creating a high-fidelity digital twin of the bird of paradise headwear specimen combines advanced computational photography techniques with the 3D Gaussian Splatting (3DGS) method. For data acquisition, we employed a Single Camera Multi-Light (SCML) setup, incorporating cross-polarization techniques to reduce unwanted specular reflections. This approach is particularly crucial for capturing the intricate feather structures of our specimen. The hardware configuration consisted of a Sony A7R IV camera equipped with a Sony GM f1.4 24mm lens, operated at f16, 1/125s, and 100 ISO. A HOYA HD3 Circular HRT Polarizer was attached to the lens to control light polarization. Illumination was provided by four Godox DP600IIIV Studio Flashes with softboxes, each fitted with linear polarization filters.
The core of our approach lies in the application of 3D Gaussian Splatting to the captured image data. We utilized existing 3DGS technology, adapting it to the specific challenges presented by our complex natural specimen in a museum context. Our focus was on identifying the effectiveness of this technology and understanding its place and purpose in museum digitization efforts. The process involved training the 3DGS model on our comprehensive image dataset, and iteratively refining the representation to best capture the visual characteristics.
Post-processing steps were crucial in refining our digital twin. We applied various optimization techniques to ensure that the final model accurately represented the fine details while maintaining computational efficiency. The resulting 3DGS model was then optimized for real-time interaction, allowing for dynamic exploration of the specimen from multiple angles and zoom levels. Throughout this process, we adhered to best practices for optimizing interactive 3D models, balancing visual fidelity and computational efficiency to enhance user experience.
This approach not only preserves the physical attributes of the specimen with remarkable detail but also encapsulates its complex visual properties, providing a more convincing digital representation for interdisciplinary study and appreciation. The digital twin we’ve created offers a non-invasive means for investigation of this millinery artifact, allowing for reflection on nature’s sacrifice for human fashion while safeguarding the original specimen.
ART
We reversed the traditional inspiration flow between digital and traditional art, with artists producing non-digital artworks inspired by advanced digital processes and scientific concepts. This oscillation between digital and physical realms encourages exploration beyond pixels, fostering a renewed appreciation for materiality and scientific observation. The intersection of science and art, often termed SciArt, represents a fertile ground for innovative educational approaches. As digital technologies continue to reshape both scientific inquiry and artistic expression, there is a growing need for educational methodologies that bridge these seemingly disparate domains. The "Plumes and Pixels" project emerges as a response to this need, offering a unique approach to integrating cutting-edge digital techniques and traditional art forms within the context of scientific exploration. By oscillating between high-tech digital processes, exemplified by 3DGS, and hands-on traditional art techniques, "Plumes and Pixels" pushes artists beyond the confines of pixel-based thinking. It rekindles an appreciation for materiality and direct observation, skills that are increasingly valuable in an age dominated by digital interfaces.
Arefeh Ahmadi
Arefeh Ahmadi’s Unseen Shadows collection: Arsenic- King of Poisons AS 33 – 74.92, Fall, ACT2.
Arefeh Ahmadi's "Arsenic- King of Poisons AS 33 – 74.92" delved into the paradoxical role of arsenic in preservation. By incorporating the chemical structure of arsenic and natural arsenic rock, Ahmadi created a piece that bridges scientific knowledge with artistic interpretation, exploring the tension between life, death, and timelessness.
In "Fall," the artist depicted a bird sinking into mud, its wings outstretched helplessly. The use of earthy colors and textured brushstrokes effectively conveyed the struggle against entrapment, reflecting on the fragility of freedom and the consequences of human actions on nature.
"ACT 2 - Captive Bird" by the same artist explored the interplay of light and shadow. By embracing darkness as an entity with its own weight and meaning, the piece invited viewers to consider the transformative power of contrast, bridging da Vinci's observations on shadow with contemporary digital experiences.
Darren Woodland, Jr.
Darren Woodland’s collection: The Aviator, Canopy, Flight of the Navigator.
Darren Woodland, Jr.'s digital prints in the Feathered Futurism and Digital Dreams Collection showcased a unique blend of historical aesthetics and contemporary digital techniques. "The Aviator" fused Art Deco design with 3D geometric complexity, while "Canopy" paid homage to Art Nouveau's flowing lines. "Flight of the Navigator" imaginatively combined avian elements with retro-futuristic mechanical components.
Rghad Balkhyoor
Rghad Balkhyoor's collection: Threads of Nature, Paradise Plundered.
"Threads of Nature" and "Paradise Plundered," part of the Woven Narratives Collection, employed nuno felting to create textural narratives. "Threads of Nature" used striking red threads to symbolize human desire against a backdrop of earthy tones, while "Paradise Plundered" incorporated muted grays and thin red lines to evoke the complex history of bird preservation and exploitation.
PLUMES AND PIXELS ART EXHIBITION
Kennett Library, Kennett Square, PA June 11 2024.
Poster design by Arefeh Ahmadi.
Arefeh Ahmadi, Rghad Balkhyoor, Darren Woodland​
Varun Mahadev, Arefeh Ahmadi, Rghad Balkhyoor
Varun Mahadev, Arefeh Ahmadi
Emil Polyak, Kathi Martin
Nate Rice, Pedro Raposo, Rachelle Kaspin, Marina McDougall, Christopher Manna, Abdulrahman Alhamdan, Cindy Li, Junfeng Liu, Tarun Pathak, Dorsa Charkhian, Sasan Bahrami, Maha Alzahrani, Saffron Buscemi.​
"Plumes and Pixels" was made possible with the support and funding from the Academy of Natural Sciences of Drexel University through the Museum Innovation Fund. The Kennett Library generously provided the venue for the art exhibition and talk.
