#hussar tunic

[chic-a-gigot]

La Mode nationale, no. 64, 16 juillet 1887, Paris. No. 1. — 1. Toilette de promenade. 2. Toilette de courses. Bibliothèque nationale de France

(1) Toilette de promenade en cachemire beige. Corsage russe, froncé du bas, à longue pointe, ouvert du haut sur une chemisette en velours loutre; manches semblable. La jupe, plate, est ornée par des bandes de broderie russe, rouges, même broderie au corsage et aux manches. Draperie, très relevée de côté, formant tablier et pouf derrière.

(1) Beige cashmere walking ensemble. Russian bodice, gathered at the bottom, with a long point, open at the top over an otter velvet chemisette; similar sleeves. The skirt, flat, is adorned with bands of Russian embroidery, red, same embroidery on the bodice and sleeves. Drapery, very raised on the side, forming apron and pouf behind.

Métrage: 10 mètres cachemire grande largeur, 1m,50 velours.

Chapeau garni de surah beige, orné, sur le côté par une branche de houx.

Hat lined with beige surah, adorned on the side with a sprig of holly.

—

(2) Toilette de courses. Veste à la hussarde en drap gris beige, ornée sur devant de brandebourgs, retenus au milieu par des boutons de métal. La veste est découpée en dents pointues, sous lesquelles passe une petite bande de drap blanc; même ornement au haut du col très montant. Une longue tunique drapée, très enlevée sur le côté, forme tablier devant et long pouf droit derrière. Elle est ouverte sur une jupe plate brodée de galon mohair blanc.

(2) Shopping ensemble. Hussar jacket in beige gray cloth, adorned on the front with frogs, held in the middle by metal buttons. The jacket is cut into pointed teeth, under which passes a small strip of white cloth; same ornament at the top of the very high collar. A long draped tunic, very lifted on the side, forms an apron in front and a long straight pouf behind. It is open on a flat skirt embroidered with white mohair braid.

Métrage: 11 mèt. de drap beige léger.

Chapeau de paille, entouré par une étoffe écossaise blanche et grise, formant devant nœud à la Cadichomme.

Straw hat, surrounded by a white and gray plaid fabric, forming a Cadichomme bow in front.

#La Mode nationale #19th century #1880s #1887 #on this day #July 16 #periodical #fashion #fashion plate #cover #description #bibliothèque nationale de france #dress #bustle #promenade

[fantastictyphoonpeanut]

WSC as a young Lieutenant in the 4th Queen's Own Hussars, wearing custom khaki drill tunic with step collar and cartridge pockets.

[obeyfeline]

Blades of Savile Row hussar-style tunic.

#Blades #Blades of Savile Row

[squadron-goals]

Emergency landing

19 August 1914

Today we are back with our division after 4 days. Not much was missing and we would now be in French captivity! How it happened? A few days after my first flight I was ordered to check the observations made during the first flight, above all to establish whether the enemy was continuing the mock position built up in front of his main position on the Meuse and in which line the tips of our advanced artillery masses were located. The weather was bad: no distant visibility due to haze and fog. We took off ... and lost our way. In his over-nervousness, my pilot didn't follow my instructions; I had studied the map carefully, so we couldn't go wrong at all. To avoid clouds, the pilot swerved more and more to the south and finally had to land, on such bad terrain that the whole landing gear bent ... My first thought was: Trapped! Anger and helplessness dominated me. Where were we? The villagers who came rushing by told me that no German soldiers had yet come to this area, but that French cavalry were lying in the surrounding woods. They were as amazed by our plane as the herd of cattle that buzzed around us. In the midst of these mooing animals, my inner security also returned. Away, as fast as possible! Cross-country, we escaped through wire fences into the next forest and now, far from the road, sought our way east. I don't remember how long we wandered around. We were just very hungry and I had a belly full of anger. And all because of the momentary mood of a failing pilot! As soon as I can, I will become a pilot myself. Should my ability, my will always be dependent on another person? Should a person's weakness hinder my strength, which knows no obstacle? ... I had plenty of time to think, because the road seemed endless. The thorns kept many a piece of uniform. The forest is so dense ... Towards evening we ventured back to the main road, our revolvers ready to fire. Cautiously, we looked out in all directions: there, like an apparition of home, a German cyclist patrol was coming our way! We pulled forward. Hooray from both sides! Saved! We felt as if we had been given a new gift of life. Our first concern was our plane. The patrol leader gave us the necessary people and then we looked for our bird. Our arrival saved the village. For a hussar patrol had found my tattered tunic, which I had thrown away, and had seen the abandoned plane; they assumed that we had been ambushed by the inhabitants, which was a common occurrence in those days, and therefore wanted to hold them accountable. We now clarified. We dismounted our aircraft. After a full day's drive in a Crown Prince Army car, we landed in Liège. We were greeted joyfully by our comrades who had already given up on us. In the meantime, our troops have advanced enormously in Belgium, have occupied Brussels and are fighting in the Namur - Mons line.

#Rudolf Berthold #Rudi on tour

[kiltsboutique]

HUSSAR NAPOLEONIC JACKET PIPING TUNIC PELISSE JIMI HENDRIX JACKET MILITARY https://www.instagram.com/p/Ckb1wB3oJcg/?igshid=NGJjMDIxMWI=

[ripplefactor]

A French Military Hussar's Tunic, 1880′s .. "The workmanship and detail on this tunic is so fragile, delicate and beautiful that I could look at it for hours. The intricacies and embroideries that were all hand-made back then make me wish I lived in another time, when clothes really were fineries."

#French Military Hussar's Tunic #1880's #intricacy #embroidery #ripplefactor #rpf2

[lordjoshallen]

Lord Josh Allen - Adam Ant Tunic From Jacket Shop

www.youtube.com/user/Lamat771

#lord josh allen #lord josh #sunglasses #shoes #Black and Gold #fashion #menswear #Mens Fashion #mens coat #mens clothing #Mens Shoes #room #luxury fashion #luxury room #the jacket shop #the jacket shop tunic #military tunic #military #hussar

[hussar4]

A GLOUCESTERSHIRE HUSSARS OFFICER'S MESS TUNIC ENSEMBLE, comprising blue jacket with blue and gold bullion trim, epaulettes, bullion trimmed scarlet waistcoat.

https://www.invaluable.com/auction-lot/a-gloucestershire-hussars-officers-mess-tunic-ens-196-c-a7348e3921

[somersetbond]

WW1 Senior NCO’s Field Grey Tunic (Atilla) of 3rd Saxon Hussar Regiment Nr20

[high-and-away]

FFXIVWrite, Prompt #14: Commend

In the far-gone days before the Empire, before a man who yearned for conquest reshaped his nation to match his iron heart, his people fought their wars while bound by other rules. Riflemen in red-tuniced ranks. Scouts to nip at the stragglers with arrowhead teeth. Men-at-arms spurring their mounts to crush the enemy vanguard; Hellsguard mercenaries on bearback, Xaela horsemen who'd strayed from the Steppe across the strait at Corvos, the hard-fought and harder-fighting men of Ilsabard's southwest, lances leveled and the wings arching out from their armor fearsome in their resplendence as they focused their loose advance into a swift sledgehammer of steel. Cannon in the back, light guns in the front, aimed to blunt offense and scatter formations, not annihilate. And alongside that inexorable tide, there had been others. Men who paid no mind to the odds, who cared nothing for their own near-certain deaths, and who thundered fierce and joyous into the midst of the enemy, sabres raised and pro Republica on their lips. Men whose bright uniforms and gold brocade said look at me, coward as they rode proudly through the gates of captured towns while girls stared and sighed and old women showered them with rose petals from the windows. It had struck some odd chord with Victoria; it resonated deep with some out-of-tune strand of her psyche, away from the booming-voiced heroes of the old epics, away from enormous turnips. Away from beautiful birds with wings of flame who brought their captors nothing but pain and sorrow. Away from fearsome old witches, with their fences made from foolish men they'd crunched between their iron teeth, away from beautiful, kind, clever girls who outfoxed them and lived to escape and be happy. She'd always told herself that it had been a fluke. The fading embers of cultural romance had drawn her to the concept, not true interest. Too many dirty hands and bloodied blades. No unsullied heroism beneath the swaggering veneer. Many of those dashing horsemen had looted and pillaged and brutalized for sport, and no carefully-varnished coat of camaraderie and noble daring can erase that. Mad as she’s beginning to suspect she is, that is a path Victoria cannot and will not follow. Nothing condemns her to blindly repeat the cruelties of the dead.

The hussars have an old and honored history. Hers is cheaply printed and beneath the notice of anyone but herself, but she’s torn half the pages out of it already. No more apologies. No more parroting accusations that she's a worthless mistake who should never have been born and will never be worth anything. No more grappling with the voice in her head insisting that what she plans to do is suicidally insane. No more watching her friends die for her. No more hesitation. No more cowardice. No more fear. Victoria passed the point of no return long ago, and were the shredded pages of her story real she would stand defiantly before the fire and watch them burn. Why not excise the darker paragraphs, and write something more clear-eyed to atone for them? Even then, Victoria doubts despite herself. Whoever may survive in Garlemald will not see her as a hero, no matter how hard she plays at being one. She can be poised and noble and gracious until she's blue in the face and there will still be those who will hate her for what she is and what she isn't. No more fear, she had told herself, knowing full well that it would haunt her anyway. It's as much a part of her as some cancerous organ. The stage is set, the cast is ready, and still it waits for her in the wings. What part is even left for her to play? Is she Vasileia, returning home with flame-eyed skull in hand to let its merciless gaze burn her tormentors to ash? Or is she the black rider she hid from, trailing a cloak of night with every hoofbeat heralding the end? How will the wolf-children and walking wounded of Garlemald see her? She's not sure anymore.

#FFXIVWrite #FFXIVWrite2021 #what I planned to do: spend all day writing #what I actually did: fall into a rabbit hole of Russian folklore and -then- write #you can probably tell where half of my headcanons about Garlemald proper come from and I'm not sorry #god I have one more to do for credit please kill me #look Zadnor has Garlean cavalry anyway and we know jack shit about Ilsabard at large #I will include winged hussars if I damn well please #Garlemald is basically Extra Terrible Fantasy Tsarist Russia so it's not that big of a stretch #to assume that Fantasy Poland is around there somewhere #my writing #also yes historical cavalrymen were pretty awful a lot of the time #This Darkest Of Nights

[dukeofriven]

Fashion Report: Adventure Comics #247

So now we must turn to that most important segment of this review: fashion. How can anyone hope to understand how the future was if they don’t concern themselves with the fashions folks will one-day have been going to wear?

In other words: what will we wear were the future what it wasn’t? So glad you asked.

Cosmic Boy, Lightning La- I mean Boy, and Saturn Girl. These three are the Legion’s founding members, the First Triumvirate, the Three Musketeers, the Three Caballeros if the Caballeros were white people from the future and not three vaguely-racist bird caricatures.  Admittedly, in this first comic they represent the Super Hero Club, not the Legion of Super-Heroes, but these are mere details: this is our trio, friends, our core.

Cosmic Boy 

Cosmic Boy begins the series essentially wearing what will be his costume for years to come:

A pink astro-turtleneck with an open black bolero and white blobs around the chest - later art will show them to be little domes of... something. In future issues he’ll drop the odd blue slacks he’s wearing here for some colour-matching pink tights, but his legwear aside, this is pretty darn close to ‘Cos Classic’ - in 1958 real spacemen wore pink. One day it will be the 70s, and then we’ll see just hw cutting-edge-progressive Cos’ fashion can be, but I’m a big softie for all these classic 50s designs. Of note: on the cover of this issue he’s shown wearing that fishbowl helmet. He’s seeing holding it once within the issue itself, but to my knowledge outside this issue it is the helmet’s only appearance. Lightning La.. er... Boy

Lightning “Boy” (as he is called here) is a bit farther-on from his ‘classic’ costume: in his debut he’s rocking the primary colours of light, which is a little eye-watering. I swoon for high hussar collars, but I am particularly drawn to his shoulders, where he is sporting the ‘rings pauldrons’ of 50s futurism that were used so often in Futurama.

He’ll drop both the design and the colour scheme going forward, so get your fill while it lasts. Saturn Girl

Saturn Girl is an interesting case, because this is essentially her classic costume: the mandarin collar, the simple long-sleeved tunic, and the high-waisted skirt with black belt, but there’s some big departures too. Most importantly is the colour scheme: this yellow/green/black combination pops on the page, and it is interesting to wonder what might have been had she stuck with it. I’m a big fan of the yellow stripe down the arms, an eye-catching bit of piping work.

She’s wearing green gauntlet gloves here. In the future gloves will come and go usually depending on the whim of the colourist (are her hands skin-toned or left white?), so these gauntlets stand-out as something she won’t come back to any time soon, but what really strikes me is that the poor thing appears to be jet-packing around the sky in bare legs, with only some socks and some black slip-ons for protection. At least it is not heels. In the future there will be heels, and I will be angry and miserable. But it is not this day. This day are sensible black slip-ons good for her.

One last SG note: I love her 20th-century disguise, with this high... ruff collar? with a ribbon. It’s cute. This Amazing Dude

Last and most-importantly, we have the Superboy Teacher from the School Of The Future. First - inexplicable that a school would teach kids about Superboy instead of Superman, right? Guess they don’t want to disturb the timeline. What amtters, though, is this guy’s look. Lime-green frilled shirt with a magenta waistcoat with a big collar AND matching trousers? It’s heaven. The future will have been going to be amazing, you guys. And look at that distinguished lock of white in the hair.

This is the man of the future and I want to BE HIM. He has a red-headed colleague who makes a cameo later with an all-magenta suit but it’s just not the same.

This has been your fashion report for Adventure Comics #247

#Riven Reads The Legion #Legion of Super Heroes #LSH #DC #DC Comics #comics #comic books #sci-fi #superboy #supergirl #cosmic boy #lightning lad #Saturn girl #clark Kent #Rokk Krinn #Garth Ranzz. Imra Ardeen #Long Live The Legion! #futurama #hermes conrad

[mia-paintings]

Portrait of John Woodyeare, Pompeo Girolamo Batoni, 1750, Minneapolis Institute of Art: Paintings

Portrait of John Woodyeare Pompeo Girolamo Batoni was the preeminent portrait painter in Rome in the 1700s and was celebrated for his lively, flattering likenesses. His clients included emperors and popes, but his bread and butter were people like John Woodyeare: young British gentlemen, milordi, traveling through Rome on their grand tours. Woodyeare was just twenty-two when he visited Rome and had this portrait painted. The picture omits the antique marbles and city views Batoni inserted into his later souvenir portraits and focuses instead on Woodyeare’s debonair appearance and clothes. Gentlemen like Woodyeare still carried swords, but otherwise his clothing—a gold-braided green tunic, fur-trimmed jacket, and purple sash—is fanciful and probably inspired by the exotic uniforms of the hussar soldiers of continental Europe. Size: 38 1/2 x 28 1/4 in. (97.79 x 71.76 cm) (canvas) 46 1/4 x 36 1/4 x 4 1/4 in. (117.48 x 92.08 x 10.8 cm) (outer frame) Medium: Oil on canvas

https://collections.artsmia.org/art/2541/

#artsmia #minneapolisinstituteofart #pompeogirolamobatoni

[victoriansword]

Uniform and Court Sword for an Officer of the Yorkshire Hussars, Early 20th Century

An Edwardian Full Dress Part Uniform to 2nd Lieutenant Cecil Foster Yorkshire Hussars, comprising a blue wool tunic with silver cord frogging, silver ball and half ball buttons, silver lace stand-up collar and Austrian knots at the cuffs, a scarlet wool waistcoat with silver ball buttons, three pairs of blue wool trousers with silver lace side stripes, two gold cord cap lines, a crimson and gold bullion waist belt and olives, a scarlet wool pouch with raised silver bullion thread embroidered badge, scarlet morocco cover and silver lace crossbelt, a pair of rowell spurs, two pairs of box spurs, a court sword with shell guard to the gilt brass stirrup hilt, with gilt brass mounted leather scabbard, a tin cased busby plume of black and scarlet egret feathers, contained in a black japanned tin trunk with part of a campaign chair, a pair of shoe trees, an associated gold and scarlet lace waist belt, cross belt with silver prickers, chains and slide, two sword slings, a steel scabbard and a leather sword slip.

#sword #swords #court sword #smallsword #small-sword #small sword #uniform #uniforms #british #british army #edwardian #antique #antiques

[cuirassier]

Russian cavalry, plate by Fred & Lilian Funken

1 - Soldier of the Life Guard Hussar regiment in a campaign dress, 1835

2 - Standard bearer of the Life Guard Dragoon regiment, 1835

3 - Soldier of the Life Guard Hussar regiment, 1827

4 - Cossacks, 1860

5 - Soldier of the Life Guard Cossack regiment, 1860

6 - Soldier of the Life Guard Horse Grenadier regiment, 1850

7 - Officer of the Life Guard Hussar regiment, 1855

8 - Dragoon NCO, 1890

The parade astrakhan cap and the tunic with hook-and-eye closure were introduced in 1882 and were practically the same for the whole army. With the exception of the Life Guards, all line cavalry regiments were converted to dragoons.

9 - Trumpeter of the Life Guard Lancer regiment, 1835

10 - Dragoon, 1882

#History #cavalry #Russia #dragoon #hussar #lancer #cossack #1835 #1855 #1860 #1882 #1890

[trinuviel]

A Bad Fit. Some thoughts on Daenerys Targaryen’s white costume in season 8 (part 2)

I’ve previously written a rather long essay on the white and red fur coat that Daenerys Targaryen will wear in season 8 of Game of Thrones. However, with the new trailer out and new photos as well, I’ve noticed several new details and since what was supposed to be a short addendum to the original post has turned out to be rather long, I’ve decided to make a second post on the subject - a continuation and elaboration of the points I made in the original post.

THE COLOUR RED

When the very first image of Daenerys’ updated fur coat surfaced, a lot of details couldn’t be seen because of the pose where she had the side with the shoulder fur facing the camera. The addition of red was very eye-catching detail and in a discussion @lostlittlesatellites speculated that the lining of the coat might have changed from grey to red as well. The new photos turned out to confirm her speculations!

And it isn’t just the side-laced flap that is lined, it is the entire coat!

The addition of the red colour makes this outfit even more visually striking but in terms of symbolism, red isn’t such a good colour for her because it connects her to Viserys:

With Dany in particular, finally we’re getting the [Targaryen] red. She was a confused woman, she was wandering … trying to seek something. And now she’s finally got her armor, she’s finally got everything, and she can finally echo the style of her brother with the extended shoulders and the red and the symbolism. He always had the big Targaryen [sigil] on his chest and now she’s got the big chain with the dragon’s heads on it.” (Michele Clapton to the Insider)

“I think it’s quite interesting that we finally see her embracing her brother’s ambition,” Clapton says. “What does that say?You’re seeing the beginning of something. We’re not at the end yet and I think it’s very important at this moment that we start seeing who she is.” (Michele Clapton to Uproxx)  

At this point in the story every detail conveys meaning, everything about the costumes are symbolic according to the costumier Michele Clapton:

We try to be really symbolic about everything everyone wears now.” (Michele Clapton, Insider)

Thus, when it comes to Dany the colour red symbolizes not just her House in general but her brother and his ambition in particular - and any parallel to Viserys has a negative symbolic value considering just how awful and selfish he was. 

Clapton used red rather sparingly in Dany’s season 7 costumes, the most overt use was the silk sash that was pleated to look like dragon scales.

The red accents aren’t immediately eye-catching because they are so discrete, additions made with embroidery and beading. Neither are these subtle accents very conspicuous against the dark charcoal base colour of the costumes. However, when you pair red with white, the effect is quite different!

Notice how the red stripes have even been widened in comparison with the corresponding grey stripes in the season 7 version of this costume. This makes the red much more noticeable.

When you then add all the red accessories - the gloves, the ascot and the sash - then the red colour is very prominent visually, even though it is still used as an accent to a neutral base colour.

A MISMATCH

I’ve previously mentioned that the addition of a silken sash to a fur coat looks rather ridiculous and out of place in the frozen North. However, after watching the trailer, I noticed that Dany has also changed the placement of the sash compared to how she wore it in season 7 where it was draped over her shoulder and fastened to her dragon chain - the chain that symbolizes her ambition and her authority. Now, the sash is no longer looped into the chain above the three headed dragons. Instead it its fastened on the back of the coat, underneath the shoulder blade.

It is a rather awkward placement that undermines the gravitas of the sash as a symbol of authority. @lostlittlesatellites has mentioned that in the South sashes draped across the body are often used as a symbol of authority in male characters like Tywin Lannister.

The sash fastened at the shoulder seems to be the Targaryen variation of this sartorial custom as we see Viserys wear something similar in the exact same way in season 1. Now, however, the sash of authority has been displaced by Dany’s one-sided shoulder-fur. I’ve previously mentioned that Dany dons this element, which is completely new to her wardrobe, as an attempt to fit in at Winterfell. Remember that the fur cape is used as a symbol of authority in the North. That is why Sansa always wears her fur cape, even indoors when Jon is away:

But there is one part of her look that's positive, Clapton says, and is a sign of her ambition. "Sansa's cape, for instance, represents Ned and her desire to take on more of a leadership role at Winterfell," she said. (Michele Clapton, Elle)

It makes sense for Dany to add this element to her costume because she wants to be accepted in the North as their leader. However, it clashes with the Targaryen sash both in colour and silhouette - and the sash has been reduced to an inconsequential and insubstantial pennant-like addition that flutters impractically in the harsh winds of winter:

(GIF by @snowsource)

In short, it is impractical and it looks ridiculous. She tries to combine two very different styles of dress and ends up with a mismatch.

There’s another, more personal, aspect to Dany’s new shoulder-fur. She isn’t just adopting a garment that is associated with authority in the North, she is also trying to match Jon’s silhouette. However, since the shoulder-fur isn’t a full cape draped over bother shoulder but rather worn across one shoulder as the pelisse of a hussar, her costume only partly matches Jon’s silhouette.

There’s a kind of deceptive quality to this aspect of the costume because while it is clear that this element is to bind them together as a cohesive couple on the visual plane, it is a visual harmony that only works from one single angle!

The pic set above illustrates how Jon and Dany really don’t match as a couple in terms of the visuals, even when their fur-clad shoulders face the same direction, the contrast in colour separates them. Their silhouettes don’t match from the other sides and the contrast is also driven home in other ways. Dany’s outfit is rather fancy - with beaded embellishments, silver jewellery and silken accessories whereas Jon is wearing a somewhat battered and worn leather tunic beneath his cloak.

Visually, Daenerys and Jon don’t really match each other through their costumes. I generally try to avoid making comparisons that fuel shipwars in my essays but, unfortunately, the best way to demonstrate how a couple can look like a visually cohesive unit is this photo of Jon and Sansa from season 6:

As you can see, there’s a stark difference between how two couples look together. Whilst Jon and Dany visually contrast each other in several different ways as I’ve outlined above, Jon and Sansa form a visually cohesive unit because their costumes match on several levels. Firstly, their silhouettes match perfectly since they both wear the same type of cloak where the fur is draped across both shoulders. They also match in terms of colour. They both wear the dark and murky colours of the North. Furthermore, Jon’s brownish fur matches Sansa’s red hair while her grey and black fur matches Jon’s black hair. Their costumes also match in terms of the level of formality. Sansa is wearing an embellished dress in velvet and Jon is wearing studded leather armour decorated with a rhomboid pattern. It is the exact same type of leather armour that both Ned (Lord of Winterfell) and Robb (King in the North) wore. it is a far cry from the worn leather tunic that laces up the front that he wears with Dany.

As the final touch of unity, Jon and Sansa both wear the same symbol: the direwolf sigil of their House. 

This detail is even repeated in the following season where they both wear two direwolves facing each other, symbolizing their partnership as leaders of the North. And just like their costumes matched in season 6, so did they once again match in season 7 (x).

In summation, Dany and Jon simply don’t match on the visual level, and even when they seem to match somewhat it is deceptive because Dany’s costume is a mismatch of her Targaryen style with a few added elements of the Northern aesthetic. 

Since everything regarding the costumes is symbolic according to Clapton, this sartorial mismatch between Jon and Dany is significant and meaningful. 

Jon and Dany are foils to each other. Their personalities, ambitions, morals and the way they act as leaders are complete opposites and the show has made that clear on several occasions (for one example see this essay). The mismatching clothes work as a visual expression of these fundamental differences between these two persons - and costume design is, to paraphrase Michele Clapton “a story told in cloth.”

One curious aspect of this particular costume is the fact that while the white fur coat looks very impressive from the front, it presents quite another image from the back.

When seen from the back, you immediately notice that the outfit looks somewhat “busy”. There are too many elements that visually compete with each other. Thus, the flimsy red sash visually competes with the split skirt, which looks cumbersome and not as fluid and elegant as the season 7 version of the coat.

The addition of the shoulder-fur and the way that it is worn as a pelisse also skewers the overall silhouette of the outfit.

The fur pelisse give the entire outfit a lop-sided quality where one of Dany’s shoulders seem higher than the other because of the fur. Furthermore, you can see how the Northern silhouette that the pelisse creates stands in a stark contrast to the triangular silhouette of the other shoulder, which signifies her Targaryen style/heritage. The difference in silhouettes creates an asymmetry that isn’t pleasing to the eye.

Daenerys is trying to combine two very different styles/silhouettes in one single costume and all she ends up with is a mismatch. From the back it looks like two completely different garments have been combined - and this is actually quite a accurate image of the dilemmas that characterizes Dany’s narrative arc - the struggle between her ambition to conquer Westeros and her need to be seen as a saviour (which is now connected to her infatuation with Jon). 

This dilemma was the driving narrative of season 7 where she refused to help Jon Snow save mankind unless she could put her conquest on hold without losing ground. In season 7 she avoided making the hard choice between her two desires but the audience knows that Cersei has no intention of honouring that truce, which means that Dany will have to face what will be her ultimate choice: Will she stay in the North and help save the world even if she looses her foothold in the South or will she abandon the North after Cersei’s betrayal and Jon’s competing claim to the Iron Throne is revealed?

In that sense, the split skirt is a curiously apt metaphor for the direction that Daenerys’ narrative has taken. Dany avoided to make the hard choice between altruism and selfishness - but the narrative has been set up so that she cannot both have her cake and eat it too. She will be forced to choose - and we’ll just have to wait and see whether she makes the right choice.

#game of thrones #costume design #anti-jonerys #michele clapton #anti-daenerys #not really anti but I don't have the patience and energy to deal with fragile stans

[barbucomedie]

Northumberland Hussars Imperial Yeomanry Officer’s Tunic of the British Empire dated to 1902 on display at the Discovery Museum in Newcastle

During the Second Boer War a Royal Warrant was issued allowing the use of the Imperial Yeomanry to bolster the British Army in South Africa after a string of defeats during “Black Week” It was after the war the regiment’s name changed reflecting the fact that many of the soldiers had served with the Imperial Yeomanry. They also added the battle honour “South Africa 1900-1902″ to their cap badge.

The Imperial Yeomanry was a volunteer force traditionally made up of middle class and traditional yeomanry sources (land owning nobility). However in the later 19th Century there were a significant number of working class volunteers. 

Photographs taken by myself 2018

#uniform #cavalry #fashion #art #20th century #edwardian #military history #boer war #british empire #england #english #discovery museum #newcastle #barbucomedie