Bibliothèque mondiale du cheval

« Man has always assigned a special place to the horse in the hierarchy of the animal kingdom. Esteemed for elegance of line and proportion, for speed, intelligence, and strength, this majestic creature has been, at least until this century, central to virtually all human occupations —agriculture, commerce, travel, and warfare — and even today is associated with many of our most beautiful sporting events and noblest ceremonial occasions. The physical alliance between man and the horse extends to a special symbolic relationship for, in mastering the art of equitation, man invests himself with precisely those attributes of grace and power for which horses are known.
Throughout history the splendor of equestrian attire has reflected man’s desire to emulate the nobility of the horse. Unlike other costumes designed and worn to achieve a merely fashionable effect, riding clothes have always shared a unique quality, regardless of their place or period of origin. Because of the specific functions they serve, riding costumes require above all superior design, materials, and workmanship —a harmonious blend of efficient cut, durabiliry, and meaningful decoration— the essence of true style. As they indicate social status and incorporate contemporary fashion, the clothing and accessories of the horseman make an important statement about the era in which they evolved.
In many ways the world of the horse constitutes the epitome of social decorum, not only in the age of chivalry, to which the horse gave its name, or in the eighteenth century, when Beau Brummel turned the riding habit into high fashion for all gentlemen, but in our own time as well, when forms of dress traditionally associated with equestrian activity —the cutaway and top hat, the hacking jacket and high boots, the three-piece suit and blue jeans— are considered appropriately stylish even for those who have never sat upon a horse.
For cach of the past ten years, Diana Vreeland, as Special Consultant to The Costume Institute, has selected key periods in the history of costume and fashion for the Museum’s annual exhibition. That she should choose the theme of "man and the horse" is a natural extension of her lifelong commitment to the definition of style of the highest order. At every stage in the selection and preparation of costumes, accessories, and equipment, Mrs. Vreeland has had the support of lenders, many of them fine horsemen and horsewomen whose enthusiasm for the realization of this rich display has made the exhibition possible.
and Thomas Ryder, editor of The Carriage Journal and an important contributor to the revival of the sport of coaching. Their essays, together with the abundant illustrations, proside the historical and social context for many of the costumes to be seen in the exhibition. […]. » Présentation de l’éditeur (1984)