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#velvet robe
thewildbelladonna · 1 year
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“I feel that there are spirits everywhere when I’m writing my songs.” —Stevie Nicks
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littlealienproducts · 2 years
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Blush Velvet Robe -1920’s by VelvetZephyr
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addictedbespoken · 1 year
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Men Wine Velvet 3Pc Robe Pant Shirt Set Regency Era Historical Christmas Role Playing Cosplay Theater Costume Colonial Period Clothing
This men's 18th century regency era historical role playing theater costume is a perfect fit for your Christmas Event look. This product is perfectly tailored by the fine craftsmen of India and the product is completely made up of premium velvet. This Product contains a floor length robe in velvet paired with black cotton regular fit pants and striped long mandarin collar shirt. We have provided various sizing as well as color options. You can even customize your own design by providing us reference pictures and we will make the sketch accordingly.
This 3Pc set include: •Wine velvet Robe finished with golden border detailing •Red paisley print satin shirt finished with black satin stripe detailing •Black cotton slim fit high waist trouser
Material & Caring: •Premium Quality Velvet, Cotton & Eco friendly material. •Dry Clean
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edsrosetattoo · 5 months
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Ah yes, the secret 3rd thing: soft velvet robe husbands 🥰🥰🥰
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2 down, about a third of one to go.
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subzeroparade · 7 months
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Hello! I really liked the clothes you designed for Laurence in the last artwork. I was wondering if it's just an alternative design to the usual one or if it's how you'll draw him from now on. Is it maybe something he wore before he started wearing the choir clothes?
Thank you anon (・‧̫・) Also you made the mistake of asking me about fashion, so - *inhales*
I’ve drawn Laurence in version(s) of the Choir garb before (you'll notice I change his sleeves a lot lol), but I normally almost never draw characters in the same outfits all the time, even if they are canon - just by virtue of being bored of it, and wanting to invent. 
The one you’re referencing was early Church, in my timeline - there’s two similar ones that I’ve more or less described in fic that are simpler, and closer to typically clerical/in-game Church garb. One of the first scenes in The Feast We Were Promised (which deals mostly with early Church timeline) is Laurence changing from the weighty, jewelled chasuble he wears in the context of ministration/communion in the Grand Cathedral into a modest black cassock to return to the Chapel of the Good Chalice down in the poorer quarters of old Yharnam. There is a certain canny strategy for the Church to remain humble in what they wear, if only to imply a sort of modesty and separation from the main religious powers of the time - there’s an established church, in this timeline, with all its pomp and splendour (because sects don’t just spring up in a religious vacuum).
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I think that changes with the founding of the Choir, and the domination of the Healing Church as the main religious organisation over time, consolidating its power on the reputation of the blood. I think the Choir garb feels like a kind of mix between clerical clothes and Byrgenwerth-style robes (this should not be surprising - Willem’s imagery in his chair is very papal). This reflects the Church’s eventual takeover of Byrgenwerth, and how the Choir is established - which is to say an "order", or faction of the Church only in name, but solely focused on using the Church’s resources to attain ascension/communion. I like to imagine that Laurence would wear a different variation of the Choir garb at the height of his power, to distinguish himself - incorporating some of these more traditional liturgical symbols, since he retains the title of vicar. 
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On the other side of the Church’s heyday, I think the more things get out of hand, the more ostentatious their dress - a sort of visual power, if you will, that negates what is happening in the streets with the coming scourge. A veneer of material splendour to mask the reality - a show of control, and mastery, even as the Church is impotent in the face of what's happening. In that sense I’d imagine Laurence wearing really ornate chasubles, or the kind of stunning cope that Lenny wears (minus the hat) in the Sistine Chapel scene in The Young Pope (which I am a big fan of). To bring it back to your first question, that white and black ensemble is a play on both real ecclesiastical garb but also specifically Lenny’s wardrobe, and his countenance when he wears it. (The costume designer, Carlo Poggioli, did a spectacular job working from the existing pieces in the Vatican museum). The red shoes in that final design above are a bit of a joke - the pope actually wears red shoes in real life, but the version on set are Louboutins and were nicknamed by Poggioli “the Ferraris” (extra inside joke - my Laurence has partly Corsican roots for obvious parallels with another historical tyrant).  
As for Ludwig, I almost always give him a different outfit - even in plainclothes - but I like the idea that he only starts wearing that pseudo-Executioner’s garb after the Cainhurst massacre (in my timeline, anyway). I always try to add a little element of armour to his clothing and to distinguish him from both the clergy and other Church-affiliated folk, be they Prospectors or Hunters. Beyond actual historical sources, I’m obsessed with Jany Temime’s work in House of the Dragon, and so you’ll find traces of the Kingsguard armour in Ludwig’s overall look, but without making it too medieval. 
I also have a headcanon (developed alongside some mutuals) that the blindfold part of the Choir cap is a very late introduction, during the scourge. In my work Laurence’s disdain for Willem’s dumbfuck pope hat is evident, and so there’s none of that shutting-your-eyes-to-the-world stuff - until most everyone’s eyes, including his, start to change by way of the scourge. 
Anyway tldr I like playing dress-up with them. 
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dynamitekansai · 6 months
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la_redvelvet: Last night was unforgettable! Feels so good to be back 🥣. Thank you to everyone for all the amazing messages and support . Big thank you to everyone that played a huge role in my recovery . Feeling so blessed. Thank you @tonyrkhan for being a big part of me living my dreams and making this comeback. LFG!!! Time to keep cookin 🔥🥣🍰 📸: Thank you @bozdtwd for capturing this special night 💕
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chicinsilk · 5 months
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"Esther"
Christian Dior Haute Couture Collection Fall/Winter 1952-53.
Brown tulle evening dress. Strapless bodice, full skirt applied with velvet roundels embroidered with gold bugle beads and tiny sequins, the roundels segment and enlarge as they move down the skirt interspersed with godets of vermical bugle beads, two petticoats in tulle give fullness to the skirt.
(top) Model : Renée Breton. Photo Georges Saad.(below) Model : Marie-Thérèse. Photo Philippe Pottier.
Christian Dior Collection Haute Couture Automne/Hiver 1952-53.
Robe de soirée en tulle marron. Corsage sans bretelles, jupe ample appliquée avec des cocardes de velours brodées de perles de clairon dorées et de minuscules paillettes, les cocardes se segmentent et s'agrandissent à mesure qu'elles descendent la jupe entrecoupée de godets de perles de clairon vermicalaires, deux jupons en tulle donnent de l'ampleur à la jupe.
(en haut) Modèle : Renée Breton. Photo Georges Saad.(dessous) Modèle : Marie-Thérèse. Photo Philippe Pottier.
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thewildbelladonna · 1 year
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“They’d like to wrap me in velvet robes of gloom
Does anyone know my name?”
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junotter · 1 month
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sometimes researching for avatar redesigns has you 6 layers deep into the Japan's Meiji era allies wiki
#im trying to mess with some of the stuff that feels weird about the ways the fire nation is depicted idk#like i do not feel optically it is good for like them to be so heavily based on japan's imperialist actions#while dressed in clothes that come from places japan colonized#but i dont want it to just be solely japanese though i did draw zuko and azula in hakama but its largely cause i wanted to draw hakama#and like the only place with strong japanese influence being kiyoshi island and my own frustration with the modern day samurai depiction#i think fundamentally it isnt a choice that had as much thought as i am putting in put into it but it does raise an eyebrow for me#anyway i think keeping the thai influence is fine despite the brief invasion japan had into thailand due to thailand then allying with japa#and further allying with the axis due to allying with japan#ugh and ive been told not to think this much about it because its fiction but its also fiction so so so heavily based on real places#and when you base fiction on real cultures you fall into some unintentional pitfalls#i also fucking hate the royal fire nation robes they look so meh and the most costumey out of everything in the show#they look like heavy blankets despite being a supposedly hot nation#theres ways to have heavy robes (heian era japan) but they look like i make them out of fleece and velvet blankets#back to kiyoshi island i think the really only aesthetically japanese reference in the show being an island of noble warriors is lame#plus over done#it feels like nowadays theres a lot of people who get all whiney about people saying fire nation is based off japan#but like dude the creators in the comics and korra like go even more into the japanese influence and clearly it was the original intentions#also i do think you could do some pretty interesting world building by having say there be an older cultural influence on kiyoshi island#from the fire nation especially if the place is established as a central port area then you tie in some okinawan or even hawaiian reference#and gives an explanation that makes sense to why kiyoshi stands out from the rest of the earth kingdom you have long term cultural trading#and it establishes interesting relationships even pre kiyoshi time thereby drawing back onto some real historic references#cause for awhile ryukyu china and japan used to be this trading triangle which could explain some of these various influences going on#i think you can get a really interesting harmony when you create the fire nation out of a mix of japan and thailand#i mean both have these floating buildings due to living on some pretty wet lands and theres harmony in that mix#god i did see one person go like “fire nation is more based on china because theres a lot of red and red is important in china”#my brother in christ red is also important in japan#red is important in like many many asian cultures#i mean of course a lot of that importance stems from china and cultural exchange with china but idk kinda silly to say with your whole ches#like if you want to bring china in then the dragons are the biggest thing like sure some mythos has dragons in japan#but a lot of those comes from china in some way
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empirearchives · 1 month
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Ceremonial clothes of the great Rabbi Yossef David Sintzheim at the Grand Sanhedrin of Napoleon in 1807.
The Grand Sanhedrin was a Jewish high court convened in Europe by Napoleon to give legal sanction to the principles expressed by an assembly of Jewish notables in answer to the twelve questions submitted to it by the government. The name was chosen to imply that the Grand Sanhedrin had the authority of the original Sanhedrin that had been the main legislative and judicial body of the Jewish people in classical antiquity and late antiquity.
Yossef David Sintzheim was the chief rabbi of Strasbourg, president of Napoleon’s Sanhedrin, and one of the most famous French rabbis under Napoleon I.
He was the first chief rabbi of France and his burial in the Père Lachaise cemetery attests to his importance in the eyes of his generation. Himself from a line of rabbis, he devoted his life to study, married Cerf Berr’s sister around 1765 and in 1785 became rector of the Yeshivah of Bischheim. Forced to flee during the Terror, he subsequently became rabbi of Strasbourg and after being designated to participate in the assembly of notables convened by Napoleon in 1806, he was named president of Napoleon’s Sanhedrin. The inventory of Sintzheim’s effects at his death lists four rabbi’s robes, one in silk and the others velvet, as well as 2 horned hats. Its owner, Rabbi Nathan Rephael Auerbach, a direct descendant of Yossef David Sintzheim, attested that these clothes were passed down from generation to generation until they reached him.
(Ader-Paris)
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akwardmarthy · 6 months
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Now that ofmd season 2 is over I can confidently say that I’m gonna miss it! Not just because of the show itself but because it gave me something to look forward to each Thursday. A small highlight of the weekday. A ritual even. And now that it’s over I don’t know what to do now!
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disarmluna · 1 year
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Halpern SS23 LFW
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chicinsilk · 1 year
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US Vogue September 15, 1957
Marie-Hélène Arnaud wears a very dressy white cut-velvet short evening dress with sleeves almost to the elbow. The bodice: molded like a velvet skin. The size is marked with a velvet hand made with clusters of faux rubies. By Lanvin-Castillo. Hairstyle by Alexandre de Paris.
Marie-Hélène Arnaud porte une robe de soirée courte en velours coupé blanc, très habillée, avec des manches presque jusqu'au coude. Le corsage : moulé comme une peau de velours. La taille est marquée d'une main de velours faite avec des grappes de faux rubis. Par Lanvin-Castillo. Coiffure par ALexandre de Paris.
Photo Roger Prigent
vogue archive
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ionlylikemycat · 2 years
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i don’t understand how you can watch 11 hours and 55 minutes of lord of the rings and not want to fuck aragorn
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