One of Hortense Mitchell Acton’s Callot Soeurs gowns in the Camera Verde of Villa La Pietra. The gold and silver lace at the neck, the apron skirt, and the five metallic rosettes across the chest recall the forms of a Gothic cathedral. The sleeves are made of metallic lace, now oxidized. PHOTOGRAPHS BY PARI DUKOVIC

It is likely that the New Yorker is the publication we link to the most, between its magazine and its website. If so, there is a reason. They care about stories we care about, enough to put their best writers and photographers on the task:

PortfolioMARCH 23, 2015 ISSUE

Twenty-One Dresses

BY JESSAMYN HATCHER AND PARI DUKOVIC

A number of years ago, a young painting conservator entered a forgotten storeroom in a fifteenth-century Florentine villa and stumbled on a pile of Louis Vuitton steamer trunks. She opened them and discovered a collection of exquisite dresses, the kind usually seen only in movies, or inside protective vitrines in museums. Closer inspection revealed silk labels, hand-woven with the name “Callot Soeurs.”

In the second volume of “Remembrance of Things Past,” the Narrator asks his beloved, Albertine, “Is there a vast difference between a Callot dress and one from any ordinary shop?” Her response: “Why, an enormous difference, my little man!”

A “Callot dress” is one that was made by the Paris haute-couture house Callot Soeurs—Callot Sisters. The sisters are not much remembered now: there has been no monograph on their work, and no retrospective. Yet, not long after Callot Soeurs opened their atelier, in 1895, they became one of the great names in Belle Époque fashion. Madeleine Vionnet, one of the most influential and radical designers of the twentieth century, was the sisters’ head seamstress. She ranked them higher than the self-proclaimed King of Fashion, Paul Poiret. “Without the example of the Callot Soeurs,” Vionnet said, “I would have continued to make Fords. It is because of them that I have been able to make Rolls-Royces.”

Few dresses made by Callot Soeurs have survived. So when the cache of some twenty gowns was found moldering in the trunks in the villa, it was a major discovery. The villa was La Pietra, built by a Medici banker and bought, in 1907, by Hortense Mitchell Acton, a Chicago heiress, who was the wife of Arthur Acton, an Anglo-Italian antique dealer. Their son, Sir Harold Acton, the Oxford memoirist, historian, and aesthete, bequeathed the estate to New York University, in the nineteen-nineties…

Read and view the whole presentation here.