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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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).
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.
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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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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"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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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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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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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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