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arthistoryanimalia · 1 year

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Another fave from The Met's #KimonoStyle show for #FrockFriday + bonus #FroggyFriday:

Fireman's Jacket (Hikeshi-banten) w/ Shogun Taro Yoshikado Japan, Edo period (1615-1868), mid-19th century Quilted cotton with tube-drawn paste-resist dyeing (tsutsugaki) with hand-painted details John C. Weber Collection

“[The jacket] features a scene popular in Kabuki & based on a print by Utagawa Kunisada (1786-1865) in which the warrior Yoshikado asks a frog sage for magical powers to avenge the murder of his father.” This is that print:

Utagawa Kunisada (Japanese, 1786-1865) "Actor Nakamura Shikan IV as Shōgun Tarō Yoshikado" 1862, 12th lunar month Publisher: Hiranoya Shinzō Dimensions: 14 9/16 × 9 3/4 in. (36.99 × 24.77 cm) (image, vertical ōban) Print (ukiyo-e / yakusha-e); Woodblock print (nishiki-e); ink and color on paper Portfolio: From Toyokuni's Drawings: A Magic Contest (Toyokuni kigō: Kijutsu kurabe 豊国揮毫　奇術競) Minneapolis Institute of Art 2016.137.2

BTW that “frog sage” is Gama Sennin, the Toad Immortal; here is another woodblock print (actually a triptych) by the same artist of the same legend:

Utagawa Kunisada (Japanese, 1786-1865) “Gama Sennin Instructing Yoshikado and Takiyasha," 1845 ôban triptych (38 x 77.5 cm)

“Gama Sennin is the toad immortal, and here they appear almost like an old woman, with their long hair fashioned from a toad-faced pelt and appearing in a toad-like body. Here the magician demonstrates their magic, causing the image of a young woman to materialize on their breath. Gama Sennin, the Toad Immortal, is based upon the Chinese Immortal Liu Hai, the Sage with the Toad on his back, a benign sage with great magical powers. Kuniyoshi has outdone himself with the cave of Gama Sennin, as all the rocklike outcroppings are comprised of frogs, and a giant frog spectre hovers over the magician. In the center panel, Yoshikado has been consulting a scroll of some sort, and looks up in surprise, his hands in the ‘astonished’ gesture that Kuniyoshi favored. The motivation of the two young people is of course vengeance for a murdered loved one. A scarce design.”

image & info via https://egenolfgallery.com/products/kuniyoshi-gama-sennin-and-frog-magic

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elijah-loyal · 5 months

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y'all i just found my 1830s waistcoat drafting sheets and mock-up pattern in the moving boxes from MONTHS ago

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fashion-from-the-past · 6 months

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Annika Caswell a student from the Wimbledon School of Art wardrobe department, dressed as Catherine Parr, next to her portrait attributed to Master John, c. 1545 in the National Portrait Gallery, London. * The students are recreating portraits dating from the Tudor period to the 19th century which have been inspiration for their lavish costumes . (Photo by Rebecca Naden - PA Images/PA Images via Getty Images)

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snailspng · 2 months

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Random PNGs, part 162.

(1. 1890s glass vase by Emile Gallé, 2. Vera Fokina with costume for Salome 1919, 3. “Flying Fish” by Amalric Walter and Henri Bergé, 4. "Chronicles of Spirit Photography" by Georgina Houghton, 5. AWA Radiolette from 1936, 6. Lily pad vase by Tiffany Studios, 7. Marine worm (errantia), 8. Green orbs, 9. 19th c. clock face.)

#png #pngs #transparent #transparents #sticker #stickers #moodboard #artboard #imageboard #162 #1900s #1920s #art nouveau

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vinceaddams · 8 months

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Early 18th (and late 17th) century fashions are so under-utilized in vampire media and I think it's a damn shame.

I don't actually think I've ever seen a single image of a vampire character in an early 18th century suit. Hardly any movies set in that era either, and hardly any historical costumers who do it. (Even my beloved gay pirate show set in 1717 takes nearly all of its 18th century looks from the second half of the century. Not enough appreciation for baroque fashion!!)

Yes I love late 18th century fashion as much as anyone, and 19th century formal suits are all very well and good, but if you want something that says old, dead, wealthy, and slightly dishevelled, then the 1690's-1730's are where it's at.

(Retrato del Virrey Alencastre Noroña y Silva, Duque de Linares, ca. 1711-1723.)

There was so much dark velvet, and so many little metallic buttons & buttonholes. Blood red linings were VERY fashionable in this era, no matter what the colour of the rest of the suit was.

(Johann Christoph Freiherr von Bartenstein by Martin van Meytens the Younger, 1730's.)

The slits on the front of the shirts are super low, they button only at the collar, and it's fashionable to leave most of the waistcoat unbuttoned so the shirt sticks out, as seen in the above portraits.

(Portrait of Anne Louis Goislard de Montsabert, Comte de Richbourg-le-Toureil, 1734.)

Waistcoats are very long, coats are very full, and the cuffs are huge. But the sleeves are on the shorter side to show off more of that shirt, and the ruffles if it has them! Creepy undead hands with long nails would sit so nicely under those ruffles.

(1720's-30's, LACMA)

Embroidery designs are huge and chunky and often full of metallic threads, and the brocade designs even bigger.

(1730's, V&A, metal and silk embroidery on silk satin.)

Sometimes they did this fun thing where the coat would have contrasting cuffs made from the same fabric as the waistcoat.

(Niklaus Sigmund Steiger by Johann Rudolf Huber, 1724.)

Tell me this look isn't positively made for vampires!

(Portrait of Jean-Baptiste de Roll-Montpellier, 1713.)

(Yeah I am cherry-picking mostly red and black examples for this post, and there are plenty of non-vampire-y looking images from this time, but you get the idea!)

And the wrappers (at-home robes) were also cut very large, and, if you could afford it, made with incredible brocades.

(Portrait of a nobleman by Giovanni Maria delle Piane, no date given but I'd guess maybe 1680's or 90's.)

(Circle of Giovanni Maria delle Piane, no date given but I'd guess very late 17th or very early 18th century.)

Now that looks like a child who's been stuck at the same age for a hundred years if I ever saw one!

I don't know as much about the women's fashion from this era, but they had many equally large and elabourate things.

(1730's, Museo del Traje.)

(Don't believe The Met's shitty dating, this is a robe volante from probably the 1720's.)

(Mantua, c. 1708, The Met. No idea why they had to be that specific when they get other things wrong by entire decades but ok.)

(Portrait of Duchess Colavit Piccolomini, 1690's.)

(Maria van Buttinga-van Berghuys by Hermannus Collenius, 1717.)

Sometimes they also had these cute little devil horn hair curls that came down on either side of the forehead.

(Viago in drag Portrait of a lady, Italian School, c. 1690.)

Enough suave Victorian vampires, I want to see Baroque ones! With huge wigs and brocade coat cuffs so big they go past the elbow!

#long post #vampires #fashion #history #18th century #17th century #someday. SOMEDAY I will make a black/red/dark orange/metallic gold 1720's suit #I've got nearly all the materials I just need to:#1. Learn how to make early 18th century metallic thread buttons‚ preferably without having to buy the super expensive kind of thread #2. get a wig and style it appropriately

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resplendentoutfit · 1 month

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The Carrick Coat

James Tissot (French, 1836-1902) • On the Ferry Waiting • c.1878 • Private collection

A Carrick or Garrick (in Great Britain) is an overcoat with three to five cape collars, worn by both men and women primarily for travel and riding, in the 19th century.

Artist unknown. Costume Parisien. Chapeau de Velours. Carrick et Guêtres de Drap., 1816. Hand-coloured engraving. London: Victoria and Albert Museum

Sources:

Fashion History Timeline

Metropolitan Museum of Art

#art #painting #james tissot #french artist #art history #fashion history #art & fashion #the resplendent outfit blog #carrick coat #19th century fashion trends #19th century art #oil painting #fine art #victorian fashion #victorian era #19th century fashion

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clove-pinks · 7 months

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N.B. the illustration identifies A, C, and D as "wide-awakes of felt and straw," B as a top hat, E as a "nautical hat," F and H as straw hats, G as "hemispherical hat or 'bolinger' (1859)," I as "old-fashioned beaver hat," and J as "cap for country wear." From Handbook of English Costume in the 19th Century by Phillis Cunnington and C. Willett Cunnington.

#hats #19th century #victorian #historical men's fashion #1850s #1860s #fashion #polls

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metmuseum · 17 days

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Veil. mid-19th century. Credit line: Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, Gift of the Brooklyn Museum, 2009; Ella C. Woodward Memorial Fund, 1932 https://www.metmuseum.org/art/collection/search/170428

#aesthetic #art #abstract art #art museum #art history #The Metropolitan Museum of Art #museum #museum photography #museum aesthetic #dark academia

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can0n-fodder · 11 months

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One of the things I've noticed about the debate on historical accuracy in costume in period films is that the "artistic license" and "reimagining" lines are reserved almost entirely for dramas in which women make up the main characters. In which actresses are being made up to appeal to modern beauty ideals, which is-- contrary to claims -- the real reason behind costumers and makeup artists rejecting historical accuracy. No one wants to see Dakota Fanning with a plucked back hairline and lead white face paint. No one wants a size 2 actress in a REAL 18th c. corset, which actually increases your waistline.

When historical accuracy is no longer sexy to the modern taste, that's when it gets disregarded, or laughingly dismissed as "restrictive" and boring.

You know when historical accuracy in aesthetics is NOT dismissed? War movies. Period set films in which men are the main characters. Those costumers and makeup artists will take a GQ hotest man of the year and happily transform him into a groaty, muttonchops sideburns 19th century colonialist without blinking. They will even dye the mustache hair near his face yellowed so it looks like he had a life time of tobacco use. They will track down antique clothes and copy them to the thread, they will film with actual antiques in the actors' hands. No effort spared to make that trek through the 1910s Amazon look accurate. And why?

Because men looking sexy is not a requirement. It's not important enough to damage the integrity of the film. But women being unattractive? That's too much.

#historical dramas #costume dramas #historical accuracy #It's gotten even worse since Netflix

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subzeroparade · 6 months

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What's a ballet with real snazzy costume work, in your humble and/or professional opinion? c:

Oh, you’ve activated my trap card - asking about costume design and ballet and not expecting me to barf up the entirety of my PhD. I’ve also done work on the ballet blancs costumes (Giselle and La Sylphide specifically) but they are interesting on a theoretical level and not so much visually, so I’ll skip that.

So here are some personal favs of mine - the highlights, if you will. Caveat: long post, and mostly limited to the work of the Ballets Russes, because they are my longtime obsession and I think (and have argued) for their role in fundamentally changing stage and costume design (to say nothing of dance, and George Balanchine can sit the fuck down). I didn’t put that in my thesis but I wanted to.

Anyway tldr in the first decade of the 20th century a troupe of dancers from the Russian Imperial Ballet (later the Mariinsky) travelled through Europe under impresario Serge Diaghilev, for what became known as the Saisons Russes, or Russian Seasons. They performed both opera and ballet, and are probably best remembered today (if at all) as the troupe that danced the premier of Stravinsky’s Rite of Spring and caused a riot at the Theatre des Champs Elysées. The eminent artists that worked with them include Debussy, Cocteau, Picasso, Chanel - and these are only a few recognisable names. But my focus was primarily on the Russian roots of the ballet, in their visual language and presentation of gender and nationality, more precisely around the work of artist Leon Bakst and dancer Vaslav Nijinsky.

Second image of Nijinsky from Le Dieu Bleu, and Bakst’s set design from Scheherazade (1911). These are mainly photos and scans I have from the year I spent in the archives of the Palais Garnier (the Paris Opera) where all the good stuff is.

The crux of why these costumes are insanely interesting to me is because they are very specific to their time - they are a product of a resurgence in nationalist interests in Russian art (Diaghilev ran Mir Isskustva and worked with Savva Mamontov before he organised the BR) as well as a carefully crafted, highly artificial presentation of Otherness, expressly destined for export to the west. French audiences in the first decade of the 20th century (because there is a stark cut-off at the beginning of WW1) still had an appetite for Orientalism, despite their flagging colonial power. What the Russians brought them was compelling mix of performative Orientalism just vague enough to be appealing and fantastical, visually intriguing, and refreshing to a society that had otherwise come to recognise itself as decadent, fallen “victim” to modernity. In the athletic virtuosity of Russian bodies, Bakst’s exotic visual language and the soaring music of Rimsky-Korsakov and Stravinsky, the French devoured what they deemed a sort of noble savagery (yes, that kind). Despite the oversaturation of Orientalism in painting throughout the 19th century, the French identified a kind of masculine vigour and freedom in these live performances they found they themselves lacked, and longed for. Primitivism, as demonstrated in myriad ways by the BR, was for them a way to reconnect with a virility that they felt modernity had stolen, or at the very least, weakened. If you think this sounds eerily akin to the discourse around mounting desire for war to “cleanse” or “reset” Europe during that same period, you are right.

A few of Bakst’s lesser known designs from the archive, for context (including a reprod by Barbier which I don’t have the OG of but is saved in my Bakst folder so please take my word for it). I have a thousand more of these but tumblr has an image limit per post 😤

Tamara Karsavina, who often performed with Nijinsky, and one of my most beloved historical figures. The existence of a strong classical ballet cirruculumin the UK today is in part thanks to her.

One of her most famous roles, as the Firebird:

Nijinsky is by far the most interesting figure to come out of the BR. He combined virtuosity and strength (that most audiences identified as masculine) with a glittering, joyful, and expressive queerness on stage (and off). Some of his greatest roles are expressly feminine in their costume design: Le Spectre de La Rose, for example.

There’s a colorised version of this out there where you can see every pink rose petal on him.

While others are much more decorative but still markedly Orientalist (or Russian-Orientalist): Le Dieu Bleu, La Peri, Les Orientales, L’Oiseaux de Feu.

This last image above is not, the last I saw it, in a private collection. It hangs above the vestibule of the Palais Garnier archives (also Napoleon’s private hangout room) where it faces the sort of “diptych” version that features Karsavina, and on occasion I would stand below them and weep quietly).

Either way, there is an argument to be made about Nijinsky’s physicality and, more importantly nationality as a kind of avenue of permission through which the French could admire both his beauty and athleticism and even, to a degree, imagine themselves in his place while still maintaining that safe distance of Otherness.

But I would argue that his greatest role was the Golden Slave in Scheherazade, a wild, erotic orientalist fantasy that has little to nothing to do with the actual tale of Scheherazade. In it, Nijinsky - bejewelled, wild, ecstatic, (and yeah often in blackface) - cavorts with Zobeide, the Sultan’s favourite, in a very sexually explicit storyline. Both characters are equally decorative in their costumes, and both, in real life, were recognisably queer(ed) figures. It’s Scheherazade in particular that helped accelerate an obsessive trend in fashion (Paul Poiret was at the centre) for Orientalist design. Bakst himself did some silhouettes that are hard to distinguish from his costume design, and through the remarkable illustrations by Paul Iribe, Georges Lepape and Georges Barbier, we can see some of the blatant repetition of motif and silhouette in these ensembles that are designed, among other things, to be worn to the theatre.

3rd and 5th are depictions of costumes of the Firebird and Zobeide respectively; the rest are fashion plates. This doesn’t even include the lampshade dress - which I don’t have a handy picture of, but have seen in real life - that is a pretty blatant melange of the Firebird and Zobeide, as designed by Poiret. Below is one of my favourite examples: A woman in a lampshade-style dress, standing against a backdrop not unlike Bakst’s set design above, attended by a archetypal oriental servant wearing Nijinsky’s Golden Slave costume.

These motifs also proliferated in advertisements and in all kinds of other consumer products (perfumes, for example, and decorative objects). Thus, there’s a performative aim in wearing these designs that I read as a sort of pseudo-kinetic empathy (and can funnnily enough probably be compared to cosplay). There is an attempt here to channel what is being presented onstage, to reenact it, to physically embody it, in the way that fashion is, at its core, a tool through which to construct identity. That the French pulled inspiration from an openly queer man leaping across the stage dripping in jewels, and from femme fatal-style odalisques, says a lot about the visual and cultural impact the BR had on the theatre-going public at the time.

You can see in these fan designs by Paquin some pretty obvious references to the BR aesthetic: L’apres-midi d’un faune, Daphnis et Chloe, Scheherazade, even a little Le Pavillon d’Armide in that first one.

Nijinsky was not the only one to queer the stage: despite not being a dancer trained to the level of the BR troupe, Ida Rubinstein, no doubt purposefully channelling Sarah Bernhardt, was also a beloved stage presence, whether as the sly harem favourite Zobeide or as the strikingly androgynous St Sebastian, gayest of saints.

This is not to say there haven’t been wonderful and brilliant costume designs since - and quite a few known fashion designers working alongside dance companies, to great success or otherwise. I will, however, shoutout my favourite contemporary work: Akram Khan’s Giselle, which has everything and yet nothing to do with Adolph Adam’s 1842 piece. I don’t even want to post pictures because the costumes of the nobles (the landowners, in this very apocalyptically late-stage capitalist version) are so fucking breathtaking in relation to the overall design, and their entrance itself is probably one of the most spectacular parts of the ballet, that all I can say is just see it. Or buy the dvd. What Khan does gesturally is beyond words, what Vincenzo Lamagna does with Adam’s original score is visceral and haunting and churns my insides. I make a point to see it live at least once a season when it’s touring with the ENB, and I will do so until it leaves the repertory or until I die. It’s my contemporary Scheherazade. It’s a gesamtkunstwerk.

Tldr Leon Bakst is one of the greatest costume designers of the 19th and 20th century and criminally underrated.

It’s not ballet, and it’s not the sumptuous costumes from Boris Godunov, but as a bonus here’s my favourite image of opera star Fedor Chaliapine as Ivan the Terrible.

#Thank you for the enclosure enrichment #And for coming to the tldr of my thesis #ballets russes #vaslav nijinsky #Leon bakst #fashion design #academic indulgence hour #Art history

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jeannepompadour · 3 months

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Marie-Louise Arconati-Visconti, 1872

#1872 #1870s #19th century #photography #19th c. costume #costume #mdpcostume #france #19th c. france

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harminuya · 11 months

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19th c. Armenian women's costume from Gyumri, The State Historical Museum of Russia.

#armenia #armenian #armenianblog #taraz #embroidery #gyumri #traditonal clothing #folk clothing

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aguacerotropical · 11 months

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we’ve barely seen Marquis Machina aka Sir Francis Varney but im already obsessed with him just bc i find his source material so intriguing. Varney the Vampire, or the Feast of Blood was the mid 19th C pulp serialization that popularized vampires and set some of their characteristics, such as fangs and superhuman strength.

but my favorite one is that Varney became tied to a human family and often regarded his condition as a curse. (sound familiar?)

From what I’ve seen of the Marquis Machina, he is also much more interested in humanity than other vampires, particularly Ruthven. He actively supported Vanitas in the Gévaudan arc and kept him out of Ruthven’s clutches, who tried to send him to a curse-bearer in Bretagne as a distraction.

Similarly, his whole thing is building automatons, human technology that vampires usually despise, as noted by Noé in this panel:

His costumes are also really funny

hope we get more backstory on this quirky little dude soon.

#sorry for the pink annotations. too lazy to screenshot them w/o my comments #marquis machina #vnc #vanitas no carte #the case study of vanitas

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irregularcollapse · 6 months

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i was already excited for your upcoming captive prince fanfic and then i saw your tags on that corset ad, about corsetry and binding as sensory grounding and got even more excited somehow!! i've logged many an hour wearing corsets in my historical costuming and i find sensation very comforting. some costumers describe a well fitted corset feeling like a good hug, even! i can't wait to see what journey you take us on this time 💜

Ahh I’m so glad!! This is a concept that was in EIAT a little bit, but will be in the upcoming fic a lot more obviously. I’ve always interpreted Laurent’s laced clothing as being part of his defences, as a way for him to feel protected, secure, and in control.

My brain is not 100% functional today (bit of the old fibro fog) but to my mind it’s like, the link between having power/freedom/autonomy taken away, having his sanity questioned through gaslighting and abuse, being triggered by feelings of confinement/lack of control versus attempting to reclaim and assert that control, to feel tethered and safe, and the power of giving control over willingly. Not to mention the literal physical protection, the complexity of the clothing and all the layers being a barrier (armour!) of sorts that is difficult to remove and requires not only time, but learning. Then also being completely covered in an effort to deflect an objectifying gaze, etc. etc.

Then ALSO the intimacy of Damen being the only one who is allowed to touch the laces, and to give that tactile relief as well.

But ALSO ALSO historical romances with many layers to remove = delayed gratification = very erotic, obviously.

So, 19th C. setting, men’s clothing being layered in that time period anyway, plus this secret added layer which no one sees that is, as you say, giving this constant reminder of comforting containment—a good hug.

Not to mention the theme of captivity—mentally captive, emotionally captive, held captive in a place, being captivated, seeking freedom from captivity, positive and negative connotations etc. etc.

This is word vomit lol my brain is all over the place!! Hopefully you get what I mean!!!

Also omg if you have any resources/info as a costumer that may help me to get the corseting (and costuming generally) accurate, then! Please! Would love the input in this area 🖤

#asks #my writing #captive prince #should say that the corsetry and associated themes will not be solely Laurent’s domain here #a storm that took everything fic

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