Kragstövel av ofärgat koläder. Stövelns längd motsvarar idag storlek 41 - Livrustkammaren - 34855 - Category:1650s fashion - Wikimedia Commons
1650s British bodice (Manchester Art Gallery - Manchester Art Gallery - Manchester, Lancashire UK). From pinterest.com/pocketmuseum/17th-century-fashion/.
1650s Eleonora Gonzaga by Frans Luyckx (Nationalmuseum - Stockholm Sweden). From Wikimedia; size doubled.
Déjà vu? It's a well-known fact that fashions work in cycles. Sometimes the cycle is obvious, like the current resurgence of 1950s and 1960s fashion or the 1970s love of reinterpreting Renaissance and Edwardian styles. Usually the fashions aren't directly copied, but tweaked to some degree to match modern tastes/trend/sizes. It intrigued me when I…
Subasta Online de Pintura de Alta Época. Amplio abanico de piezas en subasta para los coleccionistas y amantes del arte más exigentes
*** INTRODUCTION: Welcome to a brief summary of a recent talk I gave at the Westcoast Elizabethan Clothing Symposium entitled: "Wearing vs Styling: Accessorizing to Create a Period Look". As it says on the tin, the talk focused primarily on the use (and sometimes the misuse) of accessories. Accessories are, hands down, my favourite part of historical costuming. They are the little details that really finish off an outfit while also making it something unique to the wearer. They give a specificity of time, place, and context to historical clothing in a way that few other things can. However, they often tend to be treated as an afterthought or rushed to completion at the last minute…or even overlooked altogether. So as a corrective, this presentation aims to re-center accessories as an integral element of historical costuming and focuses on how we can use them to elevate our historical impressions, breathe new life into old garments, and expand our wardrobe without breaking the bank. Because (and this is the best part) accessories also allow you to cheat...and create a fuller, more period look without a ton of extra cost and labour. *** Transcribing the entire talk in a single post would be far too long and ungainly, so for ease of use I've divided it into three sections which describe how accessories are: ~ Elevative ~ Cost Effective ~ Transformative (Caveat: Because this is primarily based on my own experiments --successes and failures-- it’s going to focus exclusively on female presenting clothing of the middle and lower classes. However the principles discussed will hopefully be helpful and relevant for all aspects of the period.) Enjoy! ***
Sir Peter Lely 1618-1680, Portrait of a Lady, III, 201
1600-1650, the Netherlands - Leather mules
Lady Whitmore wears a negligeé without waistline in this Lely portrait.
1660s Dutch Ensemble The Bodice (you are here) The Huik (not yet posted) Everything Else (not yet posted) Just to introduce this with a general idea of what the final will look like: I was inspired by Gabriel Metsu’s paintings of a woman cooking, and from there branched out to other Dutch artists of the…
The Paine estate offers four acres of gardens including native plants and flowers, creative combinations, and major seasonal displays of bulbs and annuals.
