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#fashion history exhibition
professorpski · 1 year
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Blue for a Wedding: An 1872 Dress at the Grand Rapids Public Museum
This blue silk dress was offered up in the Fashion and Nature exhibition to point out yet another natural resource that was used for fashion: mother of pearl. You can see in the mannequin’s hands one such shell punched through with holes, each hole having been made into a button. Before plastic, mother of pearl was an easily found and satisfyingly decorative way to make buttons. And you can find all sorts of vintage mother of pearl in antique stores and online.
This was a wedding dress which tells you that not everyone married in white at the time. Although you will notice the touches of white lace at the collar and at the edges of the wide sleeves. These both drew attention to the face and hands and showed off a bit of luxury. Of course, the rich silk of the dress shows off luxury as well.
This dress offers such typical elements of Victorian women’s clothing: the tight bodice through the waist, the large and long flared skirt, and multiple kinds of decorative embellishment: including ribbon, fringe, and lace. The ribbon follows the cut of the dress and emphasizes the narrowness of the waist by swooping in from the shoulders along with the fringe. The ribbon also swoops around the sleeves and then around the overskirt as well along with the fringe. There is also a swirl of ribbon creating a little ornament on the sleeve just after the elbow. And, of course, do not forget the mother-of-pearl buttons shutting the dress. And this was far from the most ornamented of Victorian gowns. In fact, this is one of the simpler ones. They really liked to gussy up a dress in the mid to late 19th Century.
You can see it for yourself at Fashion and Nature running now at the Grand Rapids Public Museum: https://www.grpm.org/fashion-and-nature/
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resplendentoutfit · 2 months
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The painting: Claude Monet (French, 1848-1928) • Women in the Garden • 1866 • Musée d’Orsay, Paris
The Dress: Day Dress • American • 1862–64 • White cotton piqué with black soutache • The Metropolitan Museum of Art, New York
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The Painting: Claude Monet (French, 1848-1928) • Portrait of Madame Gaudibert • 1868
The outfit: French ensemble • 1865/67 • Gray silk faille with cashmere shawl from India • Usually worn over the shoulders or in the crook of the arms • Metropolitan Museum of Art
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The painting: Paul-Albert Bartholomé (French, 1848-1928) • In the Greenhouse • 1881 (the sitter is Bartholomé's wife)
The dress: Sewn from white cotton printed with purple stripes and dots, this summer gown was made by an unknown French seamstress around 1880.
These three paintings and their companion outfits were part of a large exhibition, Impressionism, Fashion, and Modernity, at The Metropolitan Museum of Art, New York, February, 2013.
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otmaaromanovas · 9 months
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Two evening dresses worn by Tsarina Alexandra Feodorovna, on display at the Hermitage Amsterdam
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Photos taken at the "Jewels! The Glitter of the Russian Court" exhibition, by Jane023 
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phrynefishersfrocks · 8 months
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Phryne's third outfit of "Murder Under the Mistletoe" (Season 2, Episode 13) is a festive ski suit, with a red and white coat, cream pants, and tall leg warmers.
Appropriate to the holiday, Miss Fisher's coat is a rich red and mink checkerboard patterned wool and faille. It has a white insert down the front with eleven buttons with beveled centers and a pointed tip. Two inserts of main fabric, also with pointed ends, are seen beneath each arm, ending at her hip and connecting the longer sections of the front and back. A jaunty belt in the same fabric attached with white buttons at the back adds visual interest and balance to the coat. Her cuffs are trimmed with white faux fur and triangular wool faille flaps are attached to the base, which is an original 1920's skiwear design to ensure visibility in the snow.
Her cream pants are woollen twill, split and buttoned slightly above her calf. Long wool leg warmers with red stripes at the top and ankle add a layer of warmth and fashion to her look.
Prior to the twentieth century, skiing as a sport was dominated by men, and women's skiwear was limited to long, heavy skirts. After the first winter Olympics in 1924, specialized skiwear garments became widely popular, and it became acceptable for women to don the much more functional trousers on the slopes.
Phryne finishes her ensemble with red patent leather ski shoes, designed to snap into wooden skis, and a pair of clear crystal earrings.
Season 2, Episode 13 - "Murder Under the Mistletoe"
Screencaps from here, promotional photos from the official Facebook (x, x), costume exhibition photos from Bobbin & Baste and the Paramatta Sun, skiwear research from PowderHound.
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fleursscaptives · 1 month
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some items owned by lady ottoline morrell, from the "bring no clothes" exhibition
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pagansphinx · 5 months
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John Singer Sargent • La Carmencita (Carmen Dauset Moreno) • 1890 • Musée d'Orsay (image courtesy of Wikipedia)
La Carmencita was included in the exhibition Fashioned by Sargent, which I attended yesterday at the Museum of Fine Arts in Boston, Massachusetts.
The gallery card:
Sargent was entranced with the twenty- one-year-old Spanish dancer Carmen Dauset Moreno, better known as La Carmencita, who performed in music halls and private settings in the United States, Europe, and South America. Billing herself "the pearl of Seville," she danced the bolero, a style that shares some aspects of classical ballet. She was especially admired for her whirling, twisting movements, often revealing more of her legs than some felt proper; she had a "fatal earthiness," according to one society columnist. Sargent found her "bewilderingly superb," and saw her perform on multiple occasions in New York, where he painted her in a borrowed studio. He depicted this vivacious dancer standing still, perhaps before the action or at its end. Her liveliness is encapsulated in his paint-swaths of golden yellow overlaid with dabs of white and gray that shimmer against the dark background, just like the beads and spangles on her dress.
Displayed nearby was the actual dress which I was able to photograph, albeit hastily.
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Photo credit: Pagan Sphinx Photography
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fatemy-friend · 3 months
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collaged my lampshade today - peace and love on planet earth etc etc
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morporkian-cryptid · 1 year
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Welcome to
🇯🇵Elliott's Japan Trivia Corner!🇯🇵
Where you can learn random stuff about Edo-era Japan (and sometimes other periods) from your local neurodivergent nerd ✌️✨️
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So y'all have heard of Kabuki right? If you haven't, it was the more popular form of theatre during Edo (by opposition to the more intellectual nō theatre), and it's got awesome makeup and fun flashy costumes.
Like a lot of cool things, it was created by women, who where then slowly driven out of it by men 🙃 But it was also super queer! 🏳️‍🌈🏳️‍⚧️
Kabuki originated from female travelling entertainers, then later welcomed male actors. Plays mostly happened in the pleasure districts, and they eventually kinda merged with prostitution. Long story short, if theatre-goers really fancied one of the actresses, they could go home with her for a reasonable fee 💸
The shogun, who didn't like many things and especially did not like fun, decided that this was unacceptable. And that the best course of action was obviously to ban women from performing kabuki.
Wanna guess what happened ?
That's right. The exact same thing continued, but with male prostitutes instead 👍 Good job, shogun.
Male actors playing female roles were called onnagata, and they were considered an ideal of feminine grace and beauty, that all the Edo-era women tried to copy. Which, if you've ever been to a drag show, is pretty understandable imho 💅
(Some onnagata apparently stayed in feminine attire even off-stage, which I personally cannot interpret differently than "Me? 🏳️‍⚧️Trans🏳️‍⚧️?? Noooooo, you misunderstand, I'm just reeeaaallyyy into method acting! 🤞")
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fashionsfromhistory · 2 years
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Suit
The Walter Bugbee Company
1901
The MET (Accession Number: 2009.300.830a–c)
Currently on view: In America: An Anthology of Fashion
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fashionbooksmilano · 11 months
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Roberta di Camerino
i disegni : 1955-1975
Vittorio Sgarbi
Marsilio, Venezia 1985, 73 pagine, Italiano/Inglese, ISBN   9788876930089  
euro 350,00
email if you want to buy :[email protected]
Hanno nomi come Fatima, Mosaico, Manuelita, Gaston Gatsby e Dream. Sono gli schizzi di Giuliana Coen Camerino, che era solita disegnare partendo direttamente dai corpi delle modelle, degli anni che vanno dal 1955 al 1975. Vengono dall'archivio storico della maison Roberta di Camerino.  La selezione è rappresentativa della stilista che ha rivoluzionato la moda internazionale già negli Anni 70.  La sua “firma”?   Mutuare, dalla pittura, la tecnica del trompe l’oeil e applicarla ai tessuti.
09/05/23
orders to:     [email protected] ordini a:        [email protected] twitter:          fashionbooksmilano instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano
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greeneyedbugs · 6 months
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I’m not sure that is even legible but here’s a little drawing of a tartan Vivien Westwood suit and some interesting stuff about tartan and sexuality!!
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professorpski · 1 year
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Suits Can Be So Much Fun: 1960 Suit at Fashion and Nature
When many people think of suits, they think boring. But women’s suits from the early to late 20th Century were sometimes tons of fun. They came in all kinds of styles and fabrics, always being an important part of women’s wardrobes for office work and city outings. During the 1950s, they were often fitted through the waist, just like dresses were. You see here a simple, unfitted shape which was the early 1960s fashion and a straight skirt just below the knee.
This bright pink suit dates to 1960 according to the curators of Fashion and Nature at the Grand Rapids Public Museum. It has no label apparently which I find interesting. Is the label simply missing or was this custom made for someone? We do know it is made of mohair fabric which comes from the fibers of the angora goat which means it is soft and fuzzy. Mohair sweaters became an important fashion in sweaters in the late 1950s and early 1960s, so the fiber was trending. And the matching trim is actual fox fur which signaled luxury then.
The result is a stunningly playful suit perfect for an evening party. The shape itself is simple, but the color and the trim turn it into something dramatic. Keep this in mind as you consider making evening wear. A suit pattern, matched with the right fabric, could make something wonderful. So says a woman who is pondering making a suit jacket out of an old gold wool and silk suiting that has spent far too long in her sewing room.
For more on the Grand Rapids exhibition, go here: https://www.grpm.org/fashion-and-nature/
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resplendentoutfit · 2 months
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Boston Museum of Fine Arts Installation view of Fashioned by Sargent Singer Sargent exhibition, 2023 •▪︎(American-British, 1866-1925) • Portrait of Sybil Sassoon • 1922 • Dress: House of Worth
The painting of socialite Lady Sassoon hangs near a display showcasing the exact dress she wore for the portrait. Sargent captures not only the dress but more importantly, the manner and bearing of his subject. Whether she actually wore those grand pearls and large pendant, I don't know. Sargent was known to embellish his portraits to include details and the draping of dress fabrics to suit the aesthetic he aimed for. Moreover, his draping and repositioning of dress fabrics was done to showcase his talent for painting shadows and light, particularly white. In the Sassoon portrait Sargent puts this talent to good effect in his treatment of the off-white cape that is part of her elaborate dress.
I scoured the internet for information about the House of Worth dress Sybil Sassoon wore for this sitting. I wanted to know specifics about the materials of the dress, as I was unable to photograph the gallery card near the display case. I came up short.
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After looking at this excellent photo taken by Lilie Marshall (Around the World with Lilie, Travel and Life Blog) I'm certain that the fabric is black velvet. The bright magenta lining of the high collar and the trim around the peplum waist and cuffs could be either velvet or satin. The wide bands down the front of the dress are, obviously, richly embroidered; perhaps with gold metallic thread or appliqué.
Sources: my own retelling of what I learned about Sargent's portraits attending the exhibition Fashioned by Sargent at the MFA and reading my art books. The photos are not mine. Though I took photos at the exhibition, the ones relevant to this portrait and dress didn't turn out well enough to publish. Credit is given for Lilie Marshall's photo and a link provided above to her blog post. Check it out – Lilie strikes a great pose in front of Madame X!
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John Singer Sargent (American-British, 1866-1925) • Portrait of Sybil Sassoon, Countess of Rocksavage (later Sybil Cholmondeley, Marchioness of Cholmondeley) • 1922
Sybil Sassoon bio on Wikipedia
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Christian Lacroix: Costumier
EXHIBITING FASHION
Start Date: 03 JUNE 2007
End Date: 11 NOVEMBER 2007
Venue: CENTRE NATIONAL DU COSTUME DE SCENE
Location: MOULINS, FRANCE
Curator: CHRISTIAN LACROIX AND DELPHINE PINASA
Designer: MICHEL ALBERTINI
Couture
Designer Histories
How does a great couturier dress the stage? How does a magician of colours, a lover of shimmering fabrics, a sculptor of shapes and volumes, an alchemist of laces, braids, ruches and other frivolities transform artists by giving their dress to the characters of choreographic works, lyrical and theatrical performances performed on the biggest national and international stages?
For more than twenty years, even before the creation of his fashion house, Christian Lacroix has been working with constant happiness behind the scenes of theatre workshops, combining the science of haute couture technique and artisanal know-how, tips and tricks of the stage, respect for the works and personal sensitivity.
Christian Lacroix likes to evoke his first steps in sewing, while from his early years, returning from the theatre, he reinterpreted the costumes he had just seen on the set.
As an echo to this initial vocation, the Center national du costume de scène is organizing the first major event around the work of Christian Lacroix for the show.
This exhibition presents more than 200 costumes and models of costumes created by Christian Lacroix and performed in specialized sewing workshops in the performing arts. A panorama of more than twenty-five ballet, theatre and opera productions, among which:
For the ballet: “Gaité parisienne”, choreography by Mikhaïl Barysnikov for the American Ballet Theatre in New York; “Les Anges ternis”, choreography by Karole Armitage; “Shéhérazade”, choreography by Blanca Li for the Opéra national de Paris; “Cinderella” at the Vienna Opera; “La Valse des bonbons”, for Austrian television.
For the theatre: “Chantecler” , directed by Jean-Luc Tardieu for the Maison de la Culture in Nantes; “Otello et Phèdre”, two productions by Anne Delbée for the Théâtre 14 and the Comédie-Française in Paris; “Les Caprices de Marianne”, directed by Lambert Wilson at the Bouffes du Nord.
For the opera: “Carmen” , directed by Antoine Bourseiller at the Arènes de Nîmes; “Cosi fan tutte”, “Il Re pastore”, “Eliogabalo”, three operas directed by Vincent Boussard for the Théâtre de la Monnaie in Brussels.
Images courtesy of Centre National du Costume de Scene
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vaathigroup · 2 years
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shimako · 1 month
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Christian Dior - Designer of Dreams
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if like me, you are fascinated by the behind the scenes, the restauration, the fashion history and what goes into preparing a huge fashion exhibition...I think you will love this video. I was lucky enough to see this exhibit in Paris, and a year later to see another version of it in London at the V&A, and I must say I've never untill and sice had a more immersive and mind blowing experience while visiting an exhibit.
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