The term “burlesque” means a literary, dramatic, or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.…
Discover the dress collection of socialite Hortense Mitchell Acton, featuring 21 dresses from the prestigious couture house Callot Soeurs.
¡¡Al rescate!! To the rescue! #Outlander #Forastera via #farfaraway site
The term “burlesque” means a literary, dramatic, or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects.…
In the Spring of 1908, three women walked onto the Longchamp racecourse in Paris and jaws dropped. The elite society event was known for debuting the latest couture creations to the public, but no one had seen fashion quite like this before. Dressed in blue, white and havane brown creations, accordi
Gail Carriger discusses the history of the Victorian bicycle suit and sportswear, how such things apepar in her books on Faith and Arsenic.
I love traditional costumes, they’re fascinating. There is usually a very long tradition and history of how the clothing became a certain way. Also, a lot of the time, every piece of the cost…
Woman's neckerchief of embroidered muslin, England, 1730-1769
The Elizabethan era of 1558–1603 is known for garments made of wool and linen that were heavy and of a striking design, including such fashion icons as the ruff and the farthingale.
An incredible number of lines from William Shakespeare's plays have become so ingrained in modern vernacular that we no longer recognize them as lines from plays at all.
I have good reason to be grateful to Edward Linley Sambourne. My original post about his street photography (Street Style 1906) has been the most popular single item on this blog and has brought in…
Perciò ogni stagione sarà dolce per te, sia che l’estate rivesta tutta la terra di verde, o che il pettirosso si posi e canti tra i fiocchi di neve sul ramo spoglio del melo molle di muschio, mentre il vicino tetto di paglia pel disgelo fumiga al sole, sia che sgrondino gocciole udite soltanto nella tregua della bufera, o che il segreto ministero del gelo lo sospenda in silenti ghiaccioli, quieti scintillando alla quieta luna. Frost at Midnight, Samuel Taylor Coleridge, 1798 Winter, Francesc Masriera, 1882 Di poesia in poesia, sempre a sfondo invernale, vorrei parlarvi oggi della moda tardo vittoriana (1870 - 1900). December 1870 Gli inverni non meno rigidi dei nostri e le abitazioni sicuramente meno confortevolmente riscaldate imponevano, seppure sul finire del XIX secolo, l'utilizzo di tessuti pesanti anche per gli abiti 'da casa', tessuti quali il velluto, il panno, il broccato e le vigogne di lana erano quelli prediletti, sempre più spesso arricchiti con pieghe, arricciature di crescente imponenza, che non erano create per vezzo, quanto piuttosto per dare spessore, peso all'abito e perciò produrre il calore necessario a riscaldare il corpo di chi lo indossava; va da sé che il metraggio necessario per confezionare un abito cresceva con la ricchezza della sua foggia perciò alle ladies più abbienti era permesso di soffrire meno il freddo, ahimè ! December 1875 Gli abiti da passeggio erano spesso corredati da inserti in pelliccia, abbelliti ed ingentiliti da mantelle più o meno lunghe e pesanti a seconda delle circostanze; indispensabili erano i manicotti, atti a proteggere le mani ed i polsi dal gelo. November 1874 February 1876 January 1877 Con l'approssimarsi degli anni ottanta le gonne rinunciano alla ricca quantità di tessuto che componeva le ampie sottovesti, preziose complici, soprattutto in inverno, nell'attenuare l'infiltrarsi del freddo, e del bustle ovvero l'armatura a stecche, talvolta imbottita, collocata posteriormente sotto la vita, ad enfatizzare le terga, per divenire sempre più avvolgenti e per sottolineare con sempre maggior intenzione ed enfasi le forme originali del corpo femminile. Winter 1878 Early 1880's December 1880 Durante questo ventennio sono pochi i mutamenti che subiscono i copricapo femminili che, sempre continuano a mantenersi di dimensioni piuttosto contenute conservando la precipua funzione di rifinire le elaboratissime acconciature, senza rinunciare a ricchi passamaneria, nastri, fiori di tessuto, fiocchi e piume. Un brusco mutamento lo subisce la moda degli anni novanta: le gonne vengono fatte a più teli, generalmente quattro o sei per allargarsi a corolla verso il fondo e le maniche acquistano sempre più importanza ... nascono le così dette maniche a sbuffo chiamate anche gigot o maniche a zampa di montone, composte di quattro teli (la maggior parte delle maniche oggi sono tagliate da un unico pezzo), che venivano imbottite dal gomito fino all'altezza della spalla per mantenerne la forma così importante verso l'alto. Winter 1893 January 1895 Winter 1896 Winter 1896 Skating Fashion Winter 1899 Walking Dresses E come avrete sicuramente notato i cappelli acquistano in ampiezza per divenire veri e propri accessori separati dall'acconciatura che perde in imponenza e volume per farsi piuttosto larga ed ondulata piuttosto che intrecciata. Ed eccoci così giunti in fondo al nostro excursus con uno degli ultimi modelli vittoriani, risalente all'anno 1900, che vi mostra come le gonne, fatte con tessuti sempre più leggeri che più si prestano al movimento, dal cachemire alla flanella, diventano insieme con l'esaltazione del petto, il punto di forza di questa nuova silhouette ... dicevo che questo è certamente uno dei modelli conclusivi di un'epoca da che con il 1901 si eclissa, con la dipartita della Regina Vittoria il 22 gennaio, quella vittoriana ed inizia quella edoardiana, all'insegna delle Gibson Girls. Vi auguro con tutto il mio affetto di trascorrere un sereno inverno, confortati dal calore delle vostre dimore e dall'affetto dei vostri cari, che il vostro focolare domestico scaldi i vostri cuori e vi doni la quiete interiore che questa stagione, di generale torpore e riposo della Natura, suggerisce anche al nostro animo. A presto ♥ Bibliografia: Stella Blum, Victorian Fashions and Costumes from Harper's Bazar, 1867-1898, Dover Publications, 1974 Alison Gernsheim, Victorian and Edwardian Fashion: A Photographic Survey (Dover Fashion and Costumes), Dover Publications, 1982 Kristina Harris, Victorian Fashion in America: 264 Vintage Photographs (Dover Fashion and Costumes), Dover Publications, 2002 Lucy Johnston, Nineteenth Century Fashion in Detail, Victoria & Albert Museum, 2009 Note: Tutte le stampe di moda qui pubblicate sono state attinte dalle seguenti riviste femminili del tempo: THE MILLINER AND DRESSMAKER LES MODES PARISEIENNES: PETERSON'S MAGAZINE L'Elégance Parisienne The Englishwoman's Domestic Magazine Journal des Demoiselle Le Monde Elégant The Queen NOVEAUTES PARISIENNES De Gracieuse Therefore all seasons shall be sweet to thee, Whether the summer clothe the general earth With greenness, or the redbreast sit and sing Betwixt the tufts of snow on the bare branch Of mossy apple-tree, while the nigh thatch Smokes in the sun-thaw; whether the eave-drops fall Heard only in the trances of the blast, Or if the secret ministry of frost Shall hang them up in silent icicles, Quietly shining to the quiet Moon. Frost at Midnight, Samuel Taylor Coleridge, 1798 - picture 1 - Winter, Francesc Masriera, 1882 From poetry to poetry, always in a winter background, I want to talk to you today of late Victorian fashion (1870-1900). - picture 2 - December 1870 Winters no less rigid than nowadays and houses certainly less comfortably heated than ours imposed, still in the late XIXth century, the use of heavy fabrics for the clothes even for staying at home, fabrics such as velvet, cloth, brocade and vicuña wool were those beloved, increasingly enriched with folds, curls of grandeur, that weren't made by boast, but rather to give thickness, weight to the dress and therefore to produce the heat needed to warm up the body of the lady who wore it; it goes without saying that the lenght needed to sew a dress grew with the richness of its shape so to more wealthy ladies was allowed to suffer less cold, alas! - picture 3 - December 1875 The walking dresses were often accompanied by fur inserts, embellished and refined with capes more or less long and more or less heavy depending on the circumstances; they were indispensable muffs, designed to protect hands and wrists from frost. - picture 4 - November 1874 - picture 5 - February 1876 - picture 6 - January 1877 With the approach of the 80's skirts give up the rich amount of fabric that composed the wide petticoats, precious accomplices, especially in winter, in attenuating the infiltration of cold, - picture 7 and the bustle - picture 8 an armor made of slatted sometimes padded, placed posteriorly below the waist, to emphasize their backs, to become more and more enveloping and to undelnine more and more, with intention and emphasis, the original forms of the feminine body. - picture 9 - Winter 1878 - picture 10 - Early 1880's - picture 11 - December 1880 During these twenty years they were few the changes suffered by lady's hats, as they always continue to remain rather small in size while preserving the main function to finish the elaborate hairstyles, without sacrificing rich trimmings, ribbons, fabric flowers, bows and feathers. - picture 12 - picture 13 - picture 14 An abrupt change undergoes the fashion of the 90's: the skirts are made by four or six gore, to widen flared towards the bottom and the sleeves are becoming increasingly important ... they were born the over-sized puffy sleeves also called gigots, or leg-o-mutton sleeves. They were often made from four separate pieces of fabric (most sleeves nowadays are cut from one piece) which were padded from the elbow up to the shoulder to keep their shape so important upward. - picture 15 - Winter 1893 - picture 16 - January 1895 - picture 17 - Winter 1896 - picture 18 - Winter 1896 Skating Fashion - picture 19 - Winter 1899 Walking Dresses And as you may have noticed hats earns amplitude to become genuine accessories completely separate from the hairstyle who loses in grandeur and volume to be rather large and undulating instead of braided. - picture 20 - picture 21 And here we have thus arrived at the end of our excursion with one of the last Victorian models, dating 1900, - picture 22 showing you how the skirts, made by ever lighter fabrics which are best suited to the movement, from cashmere to flannel, become, together with the exaltation of the chest, the strong point of this new silhouette ... I said that this is certainly one of the models which were conclusive of an era that will be eclipsed by 1901, with the departure of Queen Victoria on January 22nd, the Victorian era, when the Edwardian one is going to begin in the name of the Gibson Girls. I wish you with all my love to spend a relaxing winter, comforted by the warmth of your homes and by the affection of your loved ones, that may your hearth warm your hearts and give you the inner peace that this season, of general torpor and rest of Nature, also suggests to our mind. See you soon ♥ Bibliography: Stella Blum, Victorian Fashions and Costumes from Harper's Bazar, 1867-1898, Dover Publications, 1974 Alison Gernsheim, Victorian and Edwardian Fashion: A Photographic Survey (Dover Fashion and Costumes), Dover Publications, 1982 Kristina Harris, Victorian Fashion in America: 264 Vintage Photographs (Dover Fashion and Costumes), Dover Publications, 2002 Lucy Johnston, Nineteenth Century Fashion in Detail, Victoria & Albert Museum, 2009 Notes: All the fashion plates published here have been drawn by the following women's magazines of the time: THE MILLINER AND DRESSMAKER LES MODES PARISEIENNES: PETERSON'S MAGAZINE L'Elégance Parisienne The Englishwoman's Domestic Magazine Journal des Demoiselle Le Monde Elégant The Queen NOVEAUTES PARISIENNES De Gracieuse LINKING WITH: VINTAGE CHARM PARTY HOMESTEAD BLOG HOP
This piece is a wearable art. It is an actual 1950's inspired rain coat, made of 100% polyurethane, black color. The skirt is expendable, really wide, can be worn with a hoop skirt underneath, but doesn't have to. This is an art piece, was made as part of an art show in 2009. It also is part of series "Femme Fatal" Measurements: chest 36", waist 27", sleeve length 26", all over center back length 58". Center front closure (snaps) at the waist area. Please, let me know if you have any questions. Thanks!
sassy: adjective ˈsa-sē impudent, lively, spirited, vigorous, distinctively smart and stylish, showing no respect for people in authority, saucy, pert, confident, chic. "Maggie in snorkeling gear", October 1958, Montego bay, Jamaica. From the third of three small "ektachrome transparencies
teaandtrixiefranklin: “cuties!! ”
Ellis Island served as the United State’s largest immigration station, processing up to 12 million people between 1892 and 1954. These historical photos were taken between 1906 and 1914 by…
I ♡ Vintage Photos
Some time ago, no doubt you know, (and if you don’t, I’ll tell you so) I decided to re-shoot my La Betulia Liberata photo. La Betulia Liberata is Mozart’s operatic setting of the …
Photograph of Kate Vaughan as Lady Teazle in School for Scandal, Vaudeville Theatre, 1886, Guy Little Collection.
A quick guide to making an 18thc outfit.All you will need to make any of the 18thc outfits shown is a needle ,thread, cellotape scissors,something to make small holes with for the lacing cord . T…
I have good reason to be grateful to Edward Linley Sambourne. My original post about his street photography (Street Style 1906) has been the most popular single item on this blog and has brought in…
.css-1sgivba{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-bottom:var(--chakra-space-2);} .css-cosgki{font-size:16px;font-weight:var(--chakra-fontWeights-bold);} Product Type: Photographic Print Print Size: 18" x 24" Finished Size: 18" x 24" .css-1336n79{display:-webkit-box;display:-webkit-flex;display:-ms-flexbox;display:flex;-webkit-align-items:center;-webkit-box-align:center;-ms-flex-align:center;align-items:center;-webkit-flex-direction:row;-ms-flex-direction:row;flex-direction:row;gap:0.5rem;margin-top:var(--chakra-space-8);margin-bottom:var(--chakra-space-8);} Product ID: 13881171A
I'm a bit delayed in getting my lining re-fit, since I want to make sure I capture as much info during the process as I can to share with you, so while you're waiting on that, I thought I'd talk a bit about what I mean when I say "a medieval silhouette" when we're looking specifically at fitting plus-size bodies. Since I'm focused specifically on the early 15th century for this current project, that's the time period I'm going to speak directly to. From BL MS Harley 4431, The Queen's Book, Christine de Pizan, 1410-1414. Modern women, particularly those in the United States, come in a huge array of shapes and sizes. Our diets and lifestyle contribute to that in many ways. Not many of us live a hands-on existence anymore, performing every daily challenge from scratch, the hard way. If you own a car, for example, the trek to your local grocery store is made infinitely easier. Women who are lean are typically so because they work specifically to be that way- not necessarily because their genetics and lifestyle naturally aligned that way from birth to today. There are always exceptions, but those women are a lucky few. Medieval women probably didn't have a metabolic advantage to good health across the board, but if the surviving imagery is any indication, there certainly wasn't an obesity crisis in 1420 France. Sway back posture, round abdomen, high small breasts, small waist, long, lean arms and neck, narrow build. These are the features of the ideal female body as depicted in early 15th century manuscripts. There were real women out there that looked at least somewhat like this, and every other woman did her best to look as close to it as possible. Not much has changed on that front, really. Not everyone was successful, and a few examples from the era give us some clues as to what non-ideally framed women may have looked like. From BnF MS Latin 7907 A, The Comedies of Terence, Publius Terentius, circa 1400-1407. It can be a bit tricky to recognize plus-size medieval women, since they are often depicted in a very similar manner to pregnant women. In many cases, looking at the context of the image will give the answer. In the case of the two images above, from a book of comedies written by the Roman poet, Publius Terentius, the women are both of a lower class and more advanced age than the main characters of their stories. The woman on the left, Sophrona (from the play Phormio), is the nurse of a well-born Athenian girl. The woman on the right, Lesbia (from the play Andria), is a midwife. As a large woman, it is encouraging to find these images. While they are most definitely not intended to be complimentary in the context of the medieval manuscript (nor are they particularly offensive), they do offer a great point of reference. Their size -the fullness of their breast and bellies and their number of chins- is not an obstacle to their attempts at wearing the newest fashions appropriate to their rank. Sophrona wears a pretty fashionable outfit for the time (sometime around 1405). Her winged hood indicates that she is aware and on top of civilian fashion trends, since that particular style of hood came into use right at the turn of the century. Her dress is obviously a fitted gown, showing her curves and tight on her arms. Her belt indicates her class- peasant women wore belts to facilitate hiking their skirts up when needed. She is also wearing layers- a pale green skirt is seen where she's lifted the outer skirt. Lesbia, at a lower rank than Sophrona, wears a veil in a fashion more typical of the 14th century. Her dress, however, is still fitted. You can see that the fabric around her torso is not very tight, but that is also appropriate to her station and occupation. These women are not rejects of fashion. They are not wearing "plus-size" costumes because they do not fit within the perimeters of the ideal or norm. So neither should the modern plus-size woman doing medieval recreation! I think the depiction of Sophrona is a great plus-size ideal for recreating the medieval silhouette. Her bust, is supported, but not gravity defying. Her trunk is defined as best it can be as a narrowing just under her bust. The roundness of her belly (perhaps the only portion of her body even close to the ideal) is highlighted in a flattering manner (though it is hard to tell just were the flaring of the skirt starts because of her belt). If you'd like to see what this silhouette looks like on a recreation, I urge you to look at this photo. Going into my fitting, Sophrona is my muse. She may not be the ideal, but her shape is still lovely, and more importantly, attainable.
Explore MADAME - VINTAGE - tumblr : antique-royals' 798 photos on Flickr!
