Gone with
the Wind
Thirty-three ornaments across twenty-four years — every gown, every scene, every unforgettable moment from the 1939 classic. Scarlett in her party dress, in the drapery gown, at Tara, on the staircase with Rhett. Patricia Andrews' meticulous sculpts bring Margaret Mitchell's enduring romance to the Christmas tree in the most comprehensive film tribute in the Keepsake catalog.
Frankly, My Dear — Twenty-Three Years of Scarlett
The Gone with the Wind Keepsake collection launched in 1996 with a three-piece miniature set: the Tara plantation (sculpted by Anita Marra Rogers), Scarlett, and Rhett — a table display or tree ornament that established the scale and ambition of what would become a twenty-four-year, thirty-three-piece tribute to the 1939 film. The formal Scarlett O'Hara numbered series began in 1997 with the first of four sequential entries, each depicting Scarlett in a different iconic costume: the burgundy party dress at Melanie's birthday party (1997), the white and green off-the-shoulder Twelve Oaks gown (1998), the white and green day dress (1999), and the famous green velvet drapery gown — "Never mind that her gown is fashioned from green velvet draperies or that the feathers in her bonnet are from an old rooster" (2000). Rhett Butler joined the collection in 1999, and from that point the collection grew to include duet scenes, the lighted Farewell Scene, porcelain Scarlett, Scarlett as Bride, Scarlett with Ashley Wilkes, Tara as its own entry, Scarlett's Christmas Dress, and the Magic sound 2011 "Almost A Kiss" — a button that plays the audio of one of the film's most memorable exchanges.
The collection ended in 2019 with "One Door Closes" — an entry whose title resonates as the collection's own conclusion, the door closing on twenty-four years of Scarlett on the tree. Thirty-three ornaments in total, the most comprehensive single-film tribute in the Keepsake catalog.
"Demanding that her waist be cinched to 'the smallest in the county' and insisting on wearing her dress in a daring off-the-shoulder style, Scarlett is sure to be the belle of the barbecue at Ashley Wilkes' plantation."
— Hallmark packaging, 1998 Scarlett O'Hara #2 — Twelve Oaks · Sculpted by Patricia AndrewsThe founding entry: the Tara plantation display piece (Anita Marra Rogers), Scarlett and Rhett in fine detail (Patricia Andrews). Can be displayed on a table or the tree. Tara measures 5.5" wide; Rhett 2.25" tall, Scarlett 2" tall. The set that launched everything.
Press the button on Scarlett's dress to hear Scarlett and Rhett in one of their most memorable moments from the film. "I'm the only man over 16 and under 60 that's around to show you a good time..." The collection's only Magic sound entry — the film's chemistry in miniature.
The scene in the radish field. Scarlett pulling a radish from the dirt, starving, raising her fist at the sky, declaring: "As God is my witness, I'll never be hungry again." The film's most quoted speech, its defining moment of defiance, rendered in miniature by Patricia Andrews.
The collection's closing entry — and a title that resonates doubly as both a scene from the film and the end of twenty-four years of Gone with the Wind ornaments. Tomorrow is another day. The last door, closing on the most comprehensive GWTW collection ever assembled.
Patricia Andrews — The Detail That Makes the Difference
Patricia Andrews joined Hallmark in 1976, landing in the Engraving Studio because of the exceptional detail in her college portfolio. Her childhood motto had been "If I have any spare time, I could be drawing," and her parents recognized her talent early enough to enroll her in an adult art class at age 8 — where she held her own and even outperformed some of the grown-ups. By 1987, she had moved to the Keepsake Ornament division, where her specific gift for capturing likeness and clothing detail made her the natural sculptor for the film and fashion-focused licenses that defined her career.
The Gone with the Wind collection is Andrews' most sustained single-license project — twenty-four years of Scarlett O'Hara across dozens of gowns, scenes, and character combinations. Her approach to each entry was the same: research first, find the perfect moment, capture it with the detail that makes the viewer recognize not just the character but the specific scene. The 1997 debut entry features real fabric netting on Scarlett's dress — a material choice that reflects Andrews' commitment to tactile accuracy, to making the ornament feel as close to the film's costume as miniature scale allows. That commitment to the specific, verifiable detail of the 1939 film is what makes the collection as a whole feel authoritative: these are not generic illustrations of a famous character but specific, researched moments from a specific film, rendered by someone who took the research seriously.
Scarlett — Party Dress, 1997 (#1)
The first numbered entry in the Scarlett O'Hara series — Scarlett in her burgundy party dress at Melanie's birthday party, 4½" tall, sculpted by Patricia Andrews with real fabric netting on the skirt. The packaging captured the scene: "Pretty as a picture in her ruffled dress, Miss Scarlett steals the attention of every man in the room. But there is only one beau for this belle. Dearest Ashley." The real fabric detail is the ornament's most distinctive feature — a material choice that elevates the piece from representation to something that can be touched and felt as well as seen.
Shop Scarlett #1 — Party Dress 1997 →
Scarlett in Green Drapery Dress #4 (2000) · Almost A Kiss Magic Sound (2011) · Tara (2017)
Tomorrow Is Another Day — And Another Gown
Gone with the Wind (1939) runs nearly four hours and covers the full arc of the American Civil War and Reconstruction through the lives of Scarlett O'Hara and the people of Tara plantation. It remains one of the highest-grossing films in history when adjusted for inflation — a love story, a war story, a story about survival and stubbornness and a woman who refuses to accept the terms that history has handed her. Scarlett's defining quality is not charm or beauty or wit, though she has all three — it is her absolute refusal to give up on what she wants, even when what she wants is wrong for her, even when what she wants destroys everything around it.
The Keepsake collection captures Scarlett's range across her gowns and scenes because the film itself telegraphs its story through its costumes. The burgundy party dress is Scarlett at her most confident and most oblivious. The green velvet drapery dress is Scarlett at her most resourceful and most determined, fashioning finery from what poverty has left her, refusing to let Rhett Butler see her desperation. The white dress entries show different facets of the same character across different moments of the story. Each gown is a chapter. Patricia Andrews, over twenty-four years, sculpted the complete wardrobe.
Thirty-three entries. The most comprehensive single-film Keepsake collection ever assembled. As God is her witness, the complete collection is here.
Tips for the Collection
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01The 1996 three-piece Tara set is the collection's founding display piece. With the Tara plantation as the centerpiece and Scarlett and Rhett as accompanying figures, the 1996 set is the collection's most architecturally ambitious entry — designed for table display as much as the tree. It is the set that established the scale and ambition of everything that followed.
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02Display the four numbered Scarlett series entries (1997–2000) together. Party Dress (#1), Twelve Oaks (#2), White and Green Dress (#3), and the Green Drapery Gown (#4) form the formal Scarlett O'Hara series — four consecutive entries, each a different famous costume, the complete formal arc of the character's wardrobe across the film's four key scenes. Together they read as a fashion history of Scarlett O'Hara in miniature.
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03The 2011 Almost A Kiss Magic sound entry is the collection's most interactive piece. Press the button to hear the film's audio — the exchange between Scarlett and Rhett that defines their dynamic. Position it where visitors will find and press it. For any Gone with the Wind fan, hearing those specific voices from a small ornament on the Christmas tree is the collection's most distinctive experience.
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04The 2015 "As God Is My Witness" is the collection's most emotionally powerful entry. The radish field. The fist at the sky. The declaration that she'll never be hungry again. It is the film's defining moment of will — not the romance but the survival — and Patricia Andrews' sculpt of that specific scene is the entry that best captures what the film is actually about beyond its love story.
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05All 33 Gone with the Wind ornaments, 1996 through 2019, are at Already Christmas. The complete collection — Tara to the final door closing in 2019 — is assembled. Every gown, every scene, every unforgettable moment from the 1939 classic. The wardrobe is complete.
Every Gone with the Wind Keepsake — 1996 to 2019
Every gown. Every scene. Twenty-four years of Scarlett, Rhett, and Tara. Click any entry to shop.
Tara, 1996 — the plantation in miniature, Scarlett and Rhett beside it. The burgundy party dress in 1997. The drapery gown in 2000. Almost A Kiss in 2011, with the audio of one of cinema's great exchanges. As God is My Witness in 2015 — the fist at the sky, the declaration that she'll never be hungry again. One Door Closes in 2019.
Tomorrow is another day. The complete collection — all thirty-three — is here.
✦ Part of our Collection: Hallmark Licensed Film Classics, Explored ✦