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Haydée, ou Le secret - французская опера 1847 года. Это картины в костюмах Александра Лакоши, 1847 г.
This book showcases the striking printed-cotton textiles made in Russia specifically for export to Central Asia.
Syrian woman’s silk abaya street dress from Aleppo Technically a combined skirt and attached shawl, this type of fine woven silk is called 'meydaniyyeh' in local Aleppo/Gaziantep terminology. Often referred to as an ... | rugrabbit.com
Ensemble | The Metropolitan Museum of Art
1. Αστική Ενδυμασία από τα Ιωάννινα. Αρχοντική φορεσιά του 19ου αι. Ανήκε στην Κυρά Φροσύνη, θρυλική αρχόντισσα των Ιωαννίνων. 2. Ιωάννινα, νυφική φορεσιά, λεπτομέρεια, 18ος αιώνας. Εθνικό Ιστορικό Μουσείο, Αθήνα Φωτογραφία: Ασημίνα Βούλγαρη
woven silk, 1800s, Persian
Description Up until the baroque era, Polish nobility wore styles that were a combination of Western European, German and Italian influences. However, in late 16th century a distinctive Polish style emerged, connected to the ideology and culture of Sarmatism. It would continue well into 18th century, dying somehow after the Partitions. Men would wear oriental-looking clothes (because of the supposed Sarmatian heritage): -Żupan - a long, tailored inner garnment, closed in the front with buttons -Kontusz - outer robe, that could be worn over the żupan. It had long, flowing sleeves with slits in the front. -Kontusz sash - a cloth sash tied over the kontusz. It was made of a 3 to 4.5 m long material and could be folded in a number of ways. The more wealthy the wearer, the better materials he would use for the sash. The most expensive ones were made from silk and gold. -Popular headwear was a kalpak, a fur hat decorated with heron feather. -Men would always be ready to stab each other, so they wore decorative sabres -They also wore shalwars and high boots, often yellow. They also usually sported voluminous mustache. Except from the court, almost all nobility would follow this fashion. Some men wore European styles, but they were usually considered "traitors". Women's fashion was less defined. They usually wore Western fashions, with some Polish decorations. In 18th century the female version of kontusz appeared and was mixed with the French fashions. One thing that never really came to Poland were the towering hairstyles of 1770s.
Le XVIIIe! Attention, message trèèèès long! Il est majoritaire dans mes créations et même si j'essaye de me diversifier (et que je n'entre plus dans toutes mes tenues), il restera je pense assez longtemps majoritaire. The 18th century is the major part of my wardrobe and even though I try to diversify me (and that all my outfits no longer fit me), I think it will stay long enough majority. * Robe à la française en taffetas pêche, inspirée d'un portrait de Madame de Pompadour: Robe à la française of peach taffeta, inspired by a portrait of Madame de Pompadour. Robe à la française, juin 2010, © Marie Laure Colomban pour la photo Une robe à la française en taffetas (synthétique qui ne tombe pas bien hélas!) fait pour la Journée Grand Siècle 2010. Falbalas et ruchés en taffetas et mousseline de soie teintée au thé. Réalisée en une semaine pour la Journée Grand Siècle à Vaux le Vicomte en 2010, elle a gagné le prix du meilleur costume dans la catégorie couple. Je la porte encore pour danser, accessoirisée un peu différemment. A dress of synthetic Taffeta (which does not fall well alas) done for the 2010 Journée Grand Siècle. Trimming with taffeta and chiffon stained tea. Made in one week for the for the Journée Grand Siècle, she won the prize for best costume in the couple category. I still wear it to dance, accessorized a little differently. Coiffure haute et chapeau vs coiffure en "tête de mouton" ou petit bichon. Pouf vs "tête de mouton". *Robe à la polonaise en satin duchesse ivoire, d'après Le Concert de Trinquesse, 2009. Dress à la polonaise of duchess satin, after The Concert, by Trinquesse. Réalisée en 2009, je l'ai portée avec différentes coiffures. La photo a été prise lors du premier Grand bal de Versailles en juin 2011. * Robe à la polonaise à danser, satin rose (corps et jupe), satin de coton vert de gris (manteau), 2011. Pour danser, je voulait quelque chose de pratique, court et léger. J'ai donc réalisé cette tenue d'après un panneau décoratif (j'en étais tombée amoureuse). Le jupon est jaune et la jupe peut être portée relevé. Dress à la polonaise of pink satin (stays and skirt), green satin cotton (dress), 2011. I wanted something practical, light and short to dance. So I made this dress after a decorative painting panel. The underskirt is of yellow taffeta and the skirt could be worn up. J'ai ensuite réalisé un manteau dans une chute de satin de coton qui me restait, pour faire plus habillé. I then made a dress off green cotton satin. * Habit d'homme dit "léopard", fin années 1770 ( 2013, justaucorps en cours) Le gilet est celui de l'habit paré (voir plus bas), culotte en fourrure imprimée léopard. Le justaucorps sera en taffetas de soie bleue. Man outfit said to be« leopard », late 1770 (2013, ongoing for the coat) The waistcoat is from the habit pare (see below), breeches of printed fur. The coat is from blue silk taffeta. *Habits parés en satin de coton vert de gris, 2010: J'ai d'abord réalisé ces ensembles, fin années 1770-début 1780 pour les Journées de la Marquise d'Arcelot. Les photos ci-dessous ont été prises à la journée Grand Siècle de Vaux. Monsieur: habit et culotte en satin de coton vert de gris, broderies argent à la main. Gilet de satin duchesse ivoire, brodé de fil d'argent, fils de coton vert et sequins argents. Madame: robe à la française tardive de satin de coton vert de gris, broderies à la main de coton vert et ivoire, applications de motifs, broderie au ruban de soie, sequins argents. “Habits parés” of green cotton satin, late 1770-1780, 2010 I first made these outfits for the Journée de la Marquise d’Arcelot. The photos below were taken at the Journée Grand Siècle à Vaux. Monsieur: coat and breeches of green cotton satin, silver handmade embroidery. Waistcoat of ivory duchess satin, embroidered with silver sequins and thread. Madame: late robe à la française of green satin cotton. Hand embroideries of green and ivory cotton, applications, silk ribbon embroidery, silver sequins. * Robe dite "fausse polonaise", 2007 et 2011 Ma première robe XVIIIe! Basée sur un modèle anglais, elle a des plis fourreaux dans le dos. Ce modèle n'ayant apparemment pas été porté en France et pour d'autres raisons techniques, j'ai décidé de la transformer en polonaise en 2011. Je l'ai retroussée, lui ai cousu des falbalas en bas de la jupe et sur le devant du corsage pour simuler une ouverture. Elle est en coton imprimé, dit Toile de Jouy. Dress called "fake polonaise", 2007 and 2011 My first 18th c. dress! Based on an English model, it’s a mantua. This model apparently was not worn in France and for other technical reasons, I decided to turn it into a robe à la polonaise in 2011. I sewed up the skirt, flounces down the skirt and on the front of the bodice to simulate an opening. It is in cotton, said Toile de Jouy. La première version. La deuxième version, un peu plus correcte historiquement. *Robe en chemise, années 1780, 2007-2008: Robe en voile de coton blanc. A l'origine, elle allait avec un chapeau de paille simple et une ceinture noire. Dress in white cotton voile. Originally, I worn it with a simple straw hat and a black belt. In 2001, I realized (very!) fast a kind of pink taffeta Levite and a belt to go with. I wear it very regularly, especially when the weather is hot! En 2001, j'ai réalise (très!) vite-fait une sorte de manteau lévite en taffetas rose et une ceinture pour aller avec. Je la porte encore très régulièrement, surtout pour les sorties lorsqu'il fait chaud! * Robe à l'anglaise en coton rayé violine, années 1780, 2008-2009: Cette robe est en fait une reproduction d'une robe conservée au Musée Galliera que j'ai pu voir en réserves. Elle n'a malheureusement été publiée qu'en noir et blanc (photo en bas). Son décor est dit "à la harpie", fait de tissu identique à la robe et de faux épis de blés. J'ai malheureusement perdu presque toutes les photos que j'avais fait à l'époque. Toujours est-il que j'étais tombée en arrêt devant cette robe en me disant que je ne trouverais jamais un tissu similaire, mais je suis tombée un jour sur un tissu très proche au Marché Saint-Pierre. Robe à l’anglaise of striped purple cotton, 1780s 2008-2009: I short, this dress is actually a reproduction of a dress preserved at the Musée Galliera I could see storage. It has unfortunately been published in black and white (picture below). This dress has almost a twin sister at the LACMA! Robe à l'anglaise, décor à la harpie, GAL 1958.50.5 a/b Robe à l'anglaise, décor à la harpie, GAL 1958.50.5 a/b Il se trouve que cette robe à une soeur presque jumelle au LACMA! Pour la voir la vraie couleur, très proche de l'originale. * Robe à l'anglaise rayée blanche, années 1780, 2009-2010: Une robe toute simple en coton blanc, rayure tissée, très pratique car elle passe en machine! Striped white cotton robe à l'anglaise, 1780's, 2009-2010. I wear it with different hats (white or my favorite Gainsborough hat). I love this dress because it could be wash at the washing machine! Portée ici avec chapeau blanc et ceinture rose ou alors avec un "picture hat", autrement dit un chapeau à la Gainsborough: * Caraco à la pierrot en toile imprimée et jupe en mousseline de coton, années 1780, 2008: Pierrot of printed cotto and skirt of white cotton voile, 1780's, 2008. *Robe en coton imprimé, dite Indienne, vers 1785, 2009: Dress called Indienne of printed cotton and huge hat circa 1785, 2009. * Une demi-redingote en coton rayée rouge et blanc, 1789, 2008: Feue la robe redingote en coton, 2008 Une robe redingote (en fait une demi redingote car ouverte devant sur la jupe), en coton blanc et rouge. Pas très bien coupée, elle va finir recyclée en costume de bain 1900 sous peu! Le chapeau a été fait pour l'occasion et je le mets toujours (mon précieuuuuux!). A redingote of striped red and white cotton.I am not pleased whith it and it will be recycled very soon into a 1900 bathing suit! Th hat was made for this dress and I still wear it (my preciouuuuus one!) * Un habit de voyage en velours de coton (noir) et moire de soie (bleue), 1789, 2008: La jupe est en chintz bleu. A travel suit of black cotton velvet and blue silk moire, 1789, 2008. The skirt is of blue chintz. * Habit d'homme, vers 1789, 2009: Gilet en soie rouge, habit en mélange (coton) gris anthracite, culotte imitation peau ou coton noir, chemise en coton. Porté avec perruque ou chapeau, etc. Male outfit, circa 1789, 2009. Red silk waistcoat, dark grey coat, breeches of fake leather or black cotton. Worn with hat or wig. * Robe de cour russe, années 1790, 2012: Soie rayée or et blanche, frange d'or. Il s'agit en fait d'une robe à la Turque, qui servi de robe de cour sous Catherine II de Russie, selon sa volonté. Après l'occidentalisation du costume par Pierre le Grand en 1701, Catherine II a essayé de lancer une mode "nationale" de cour. D'après mes recherches, ce type de robe était proche des robes à la turque: une ouverture en diagonale sur le corsage, de petites manches laissant apparaître des manches longues, un manteau de robe d'un seul tenant sans couture à la taille. Finalement un peu comme une robe à la polonaise, mais avec des petites manches et non retroussée. Pour voir des robes à la turque, cliquer ici. Les particularités des robes russes semblent être les suivantes: des rayures, à la fois sur la jupe et le manteau de la robe, un décor de franges et une ceinture. En tout cas, elles figurent sur nombre de portraits. Pour ce qui est du patron de la robe, c'est un peu une autre histoire. Mais pour mon bonheur, il se trouve qu'il reste une de ces robes. Elle a appartenu à l'une des petites filles de Catherine II, la grande-duchesse Ekaterina Pavlovna, elle est conservée au palais de Pavlovsk. Nous avons eu la chance de la voir à l'exposition Fastes de cour à Versailles. La notice, ainsi que le schéma que j'en avais fait, m'ont permis d'y voir un peu plus clair. La robe est composée de trois pièces: un corps baleiné, une jupe sur paniers et un manteau de robe agrafé, dont les pans de la ceinture sont cousus aux coutures du dos des épaules. Le manteau de robe est effectivement coupé d'un seul tenant comme on le voit sur ce détail d'une robe robe de cour russe fin XVIIIe (celle-ci a appartenu à la bru de Catherine II, la future impératrice Maria Féodorovna). Ici plus de photos. Russian court dress, 1790, 2012. Actually, it's a robe à la turque. Catherine the Great decided to created a national dress in the late 18th century. Made of three pieces: boned bodice, skirt and dress. Avec Mlle de L'Isle qui porte également une robe à la Turque.. *Ensemble olive, vers 1792, 2008: Pierrot à petites basques et taille légèrement haute, dentelle ancienne et jupe en taffetas bronze. Hight waisted pierrot circa 1792,antic lace and taffeta skirt. Photo prise au château d'Arcelot (21) par Thérèse du Mesnil *Costume folklorique de fête du Nord de la Russie, fin XVIIIe siècle, 2012: Sarafane (robe à bretelles) de brocard rouge décoré de dentelle d'or, chemise à manches longues (dolgorouki), kokochnik "couronna" (coiffe des jeunes filles) entièrement brodé de perles d'eau douce et perles de nacre. Manchettes de brocard rouge brodé de perles d'eau douce et de nacre. North Russian folkloric dress, late 18th c., worn for holidays, 2012. Sarafan (dress with straps) of red brocade decorated with gold lace, long-sleeved shirt (Dolgoruky), kokohnik "curonna" (headdress for maiden ) fully embroidered with freshwater pearls and pearl beads. Cuffs of red brocade embroidered with freshwater pearls and mother of pearl. *Zupan de taffetas rouille, fin XVIIIe, 2012: Zupan (ou zoupan) polonais de taffetas rouille. J'ai également cousu un kontusz de velours moutarde pour aller par dessus, mais je n'ai pas de photo d'assez bonne qualité. Polish Zupan Polish of rust taffeta, late 18th century, 2012. I also sewed a mustard velvet kontusz , but I do not have good enough pictures. *Robe Directoire, vers 1797, 2007 En coton blanc brodé.Taille haute, ouverture devant croisé et épinglé. 1797 dress of white embroidered cotton. Hight waist, closure on the front. Portée pour la première fois à la journée Grand Siècle en 2007. Silhouettes avec Fanny de Temps d'Elegance à gauche Docteur Who au aussi été à l'époque Regency! La suite au prochain épisode! See you next time!
Salve, I have been asked about the riding outfit of the Achaemenid Great King Cyrus the Great , hence I decided to do a little entry on the so called Median Cloak - kandys or kantuš, that essentially it was a riding coat of the Persians and ... the Eurasian steppe horsemen. A cameo gem showing a kandys clad mounted warrior attacking a chariot But first about Cyrus or rather his tomb, for it is a list of garments and weapons found there when Alexander entered the tomb, some 200 years after Cyrus' death (Persian clothing in general ), according to the Arrian's depiction of the Cyrus tomb (Anabasis, 6.29.6) - which in my opinion is the closest depiction on the Great King riding costume (via one of the best books on the reconstructed Achaemenid Persian army by prof. Sekunda and illustrator Simon Chew) : there we have: a kandys (Median cloak), tunics of Babylonian workmanship and some other tunics, Median anaxyrides (pants); colors of these garments - hyacinth(dark blue) and purple, and perhaps yellow (from saffron); neck torques (gold), akinaka (short swords), earrings of gold. Therefore, I daresay he would not wear the Elamite/Persian robe when mounted. On his head he would wear a form of a Persian hood (tiara or kyrbasia) or kitaris, perhaps bound with a blue diadem with a white decoration (from Curtius' description in Historiae Alexandri Magni) Kandyses from Persepolis Encyclopedia Iranica has a nice entry on the subject but in it strongly disclaims any connection between etymology of 'kantus' and Polish-Hungarian 'Kontusz' in their entry on 'candys' - so it may be so in etymological sense but clearly there is a connection between the Polish-Hungarian garments and Median kandys. Sergey Yatsenko, in his work ''Costume of the Ancient Eurasia (the Iranian-Speaking Peoples)'' Moscow 2006, writes that kandys was a long garment with sleeves longer than one's arms (sleeves like the Hungarian hussar jacket), that it had a turn down collar, and it had a pair or ribbons or strings at the neck/collar to tie it up on one's chest or shoulders. Sleeves of the Persians seemed to have been narrow whereas the sleeves of the Saka/Scythian kandys/riding coat were wide (vide UkokPlateau) Furthermore dr Yatsenko writes that kandys was an ancient Indo-Iranian garment, and the ancestors of the Persians already had a special, thicker, parade-like fur coat. Persian riding coat seemed to have been a thinner one, a cloak with sleeves. But is was a garment worn by the Persian kings and warriors/nobility at hunt and at war (as described by Xenophon ). Polish scholar of garments and costumes, Maria Gutkowska-Rychlewska, ventures to say (page 44-5), in her book the ''History of Costumes '' Ossolineum 1968, that kandys, shown on the silver figurine (below in a line drawing), looks as if it was sewn from leather or even tanned skins, with the fur inside the garment. She adds that the garment was always shown with long narrow sleeves, and in some heavier kandyses, eg from Oxus treasure, they had the entire front lapels decorated with fur, while around the neck there was a hood or a collar. They wore kandys hanging it off the shoulders, with ribbons or strings tied in front, holding it on one's trunk. Light purple kandys might have been the particular king's coat. Light kandys in Greek art . Famous satrap Datames who is thought to have reformed the Persian army in IV BC century. So called Alexander Sarcophagus of Sidon: .. . . Kandys is visible in the Partian art eg coins of various Parthian kings, we know from the description of Carrhae battle that the eventually victorious Parthians and Sarmatians fighting for Rustam Suren that they had coats (perhaps leather ones) to cover their armor. . . . Commagene king's kandys Sassanian King Bahram II and figures wearing coats fastened with clasps Sassanian grafito from Persepolis - showing a kandys on a horseman( more coats in the link to Calieri's article) Roman riding coat from Egypt VII century AD some primary sources (websites in the links) for the Achaemenid era: Xenophon's Cyropaedia [1.3.2] [...]Cyrus had recognized in Astyages his mother's father, being naturally an affectionate boy he at once kissed him, just as a person who had long lived with another and long loved him would do. Then he noticed that his grandfather was adorned with pencillings beneath his eyes, with rouge rubbed on his face, and with a wig of false hair--the common Median fashion. For all this is Median, and so are their purple tunics, and their mantles, the necklaces about their necks, and the bracelets on their wrists, [8.1.40] We think, furthermore, that we have observed in Cyrus that he held the opinion that a ruler ought to excel his subjects not only in point of being actually better than they, but that he ought also to cast a sort of spell upon them. At any rate, he chose to wear the Median dress himself and persuaded his associates also to adopt it; for he thought that if any one had any personal defect, that dress would help to conceal it, and that it made the wearer look very tall and very handsome. [8.3.13] Next after these Cyrus himself upon a chariot appeared in the gates wearing his tiara upright, a purple tunic shot with white (no one but the king may wear such a one), trousers of scarlet dye about his legs, and a mantle all of purple. He had also a fillet about his tiara, and his kinsmen also had the same mark of distinction, and they retain it even now. [8.3.14] His hands he kept outside his sleeves.1 With him rode a charioteer, who was tall, but neither in reality nor in appearance so tall as he; at all events, Cyrus looked much taller. [8.3.10] And all the cavalry-men had alighted and stood there beside their horses, and they all had their hands thrust through the sleeves of their doublets, just as they do even to this day when the king sees them. The Persians stood on the right side of the street, the others, the allies, on the left, and the chariots were arranged in the same way, half on either side. Xenophon's Anabasis [8] But it seemed to him that they took their time with the work; accordingly, as if in anger, he directed the Persian nobles who accompanied him to take a hand in hurrying on the wagons. And then one might have beheld a sample of good discipline: they each threw off their purple cloaks where they chanced to be standing, and rushed, as a man would run to win a victory, down a most exceedingly steep hill, wearing their costly tunics and coloured trousers, some of them, indeed, with necklaces around their necks and bracelets on their arms; and leaping at once, with all this finery, into the mud, they lifted the wagons high and dry and brought them out more quickly than one would have thought possible. Plutarch's Artaxerxes V. Again, when he was hunting once and Teribazus pointed out that the king's coat was rent, he asked him what was to be done. And when Teribazus replied, "Put on another for thyself, but give this one to me," the king did so, saying, "I give this to thee, Teribazus, but I forbid thee to wear it." Teribazus gave no heed to this command (being not a bad man, but rather light-headed and witless), and at once put on the king's coat, and decked himself with golden necklaces and women's ornaments of royal splendour. Everybody was indignant at this (for it was a forbidden thing); but the king merely laughed, and said: "I permit thee to wear the trinkets as a woman, and the robe as a madman.'' Some examples from the early modern era, they give a feel of how these riding coats hung on or off the shoulders: Polish- Hungarian noblemen in their beautiful garments, .. .. Grodno Hussars and their 'pelisses' - XIX century *Images from Wikipedia Commons, Archive.org, Gallica and other digital sources, and my little sketch of a Roman riding coat from Egypt.
