C. 1800 robe à l'Athénienne. Although neoclassical styles were a norm during the Directory and Consulate eras, the dresses that took the classical ideal to the extreme was a fashion phenomena among only very few privileged French ladies. As I'm not tied to any re-enactment group or persona, I felt curious about experimenting with that extreme. To those not very familiar with the high waisted era, I'd like to emphasize that this would not be a suitable outfit for most historic events, like a Jane Austen Ball for example.
And if you are not sure about the dress code, I would strongly recommend wearing a shift, stays, stockings and shoes with the rest of your outfit. But if you are not bound by any dress code, this style will make up as a most delightfully comfortable little white dress. The dress without the shawl. Construction: I looked through a bunch of portraits of ladies dressed in the Merveilleuse style when I was deciding the design. Then I made the v-neck front piece and attached it to the waist tape as well. Embers – 1876 Visiting Gown | A Damsel in This Dress. This particular frock has long been on my ‘to do ‘list. One of the ‘love at the first sight’ thingd – the moment I opened Harper’s Bazar on that page, I fell in love in the elegant lines of the frock, beautifully accentuated by the trim. I simply had to do it… The original fashion plate and the description: Getting the colours and trims right was always going to be tricky – and indeed, the gown was finished much later than I had planned as I couldn’t get the trims to play with the fabric.
I wanted to keep the original colouring of the gown – grey, black and crimson/red, and if possible to get the trim patterned as well. The fabric was easy – looking through my James Hare swatches I stumbled upon the booklet with Connaught silk ( wool and silk blend) and their graphite was just perfect. Trims – well, that was tricky indeed! Well, after buying a few lots online, i realized that it didn’t work – the trims that looked perfect on the screen turned out to be too gold, or too orange or too brown. The Swedish national gown in the 18th century. This is the year of the Swedish national gown for me, so I thought it wouldn't be amiss with a more throughout post about it than I have done before.
I am leaving the men's suit out of it, but I can tell you that though the ladies weren't that keen on their gown, the suit was rather a success. The idea of a national suit was something that cropped up all around Europe in the 18th century, but it was only in Sweden that it was actualized. Gustaf III felt strongly about the subject and there are very strong indications that he designed them himself. If he didn't, he sure did have a lot of influence over the process, because the suit was certainly made to fit his preferences for clothes that weren’t too tight and with the handy cape that hid some slight deformities in his body. His interest in history and historical fashion is also evident. The women's gown consisted of three parts, a sleeveless bodice, a petticoat worn over pocket hoops and a robe.
The court gown The common gown. Ozer la tournure ! Eh ! Comme prévu un post en retard sur mon dernier projet achevé depuis mon déménagement. J'ai attendu quelques semaines avant de me remettre à coudre mais ça y est, la machine est relancée. Relancée grâce à la fête d'anniversaire de mon cavalier de danse ancienne Il avait choisi un très joli thème pour sa soirée: un grand bal à la cité d'Oz. Autrement dit il fallait aller voir du côté du vert, de l'émeraude et du spectaculaire. Je venais juste (heureusement) de faire une mise à niveau en regardant le film original et le Fantastique Monde d'Oz sorti il y a peu. J'ai d'abord envisagé la robe d'Evanora: Les plumes c'était ok, la mousseline aussi et le corset 1900 aurait été parfait pour avoir une belle silhouette mais j'ai renoncé devant le nombre de sequins qu'il m'aurait fallu coudre (oui parce que je n'aime pas les coller) et le travail d'ajustage qui aurait été énorme...
Donc, dans un deuxième temps je suis allée chercher des sources dans la comédie musicale Wicked: A bientôt ! Lovely Simple American Civil War Era Cotton Dress. From the seller: A charming 1860’s cotton print dress. The fabric has a burgundy stripe pattern on a cream colored background. The bodice has a dropped shoulder line that is trimmed with two layers of small ruffles. The neck and sleeve cuffs are trimmed in the same manner. The armsyces and waist are piped. The bodice is lined with cotton and has a front button closure. There is one missing button. From Me: I'm thinking about 1864 for this one, give or take a year. Joyscat - Зеленый полосатик для Белочки. American Duchess. Green Martha. Lady Malina. Monday, January 6, 2014, 1:08 PM Late 14th century ladies' headdresses – the basics Many of the haircuts we wear today do not correspond well with medieval reenactment. This is not a problem, even for those not having a waist-long and wrist-thick braids :) 1. The 'St Birgitta's Huva' or 'St Birgitta's Cap' is a great foundation for many of the 14th century styles (it can be easily found in 13th century sources, too).
On this pic I look a bit stupid cause I've put on The Cap without a mirror.. so there's the second photo to show you how it looks when worn properly (on this one I have 2 small cushions which I use when I want to add some volume to my hair – it can be worn without them). 2. 3. I hope that this helps :) Cheers! Saturday, January 4, 2014, 10:43 AM Ladies' headdresses – what NOT to wear in 14th and 15th century These are the evergreens of late 14th and early 15th century reenactment. To the point. 1. That's the most common mistake. 2. 3. Ok, so we are one step further. Lady evangeline bunbury | Edwardian Clothes Every Day. Textile Sample Book. The Shadow of My Hand. The Couture Courtesan. Goldstickerei oder broderie en rapport. Nach dem Appetithäppchen kommen nun endlich handfestere Bilder. Ich bin dabei Goldapplikationen zu sticken die einmal auf einen Just-au-corps sollen.
Im 18.Jh. nannte man das "broderie en rapport" die konnte man beim Sticker seines Vertrauens fertig erwerben und dann damit ein fertiges Kleidungsstück verzieren. Leider kann man heutzutage nicht mehr in den Laden spazieren und sich ein Motiv aussuchen und darum heißt es "selbermachen"! After the little teaser I will now show you more substatial photos.At the moment I'm making goldwork that shall be appliquèd to a just-au-corps one day. In the 18th century it was called "broderie en rapport", you could buy this ready-made a the embroiderer and then embellish a finished garment with it. It's a pity that today you can't just walk into a shop and buy something like this, and therefore I have to diy. Zunächst habe ich ein Motiv freihand gezeichnet und dann mit Kreidepapier auf Seidentaft übertragen. After that I filled two areas with plate. The Fashionable Past. Wearing my veil | Katafalk - Cathrin Åhlén.
I thought thought that I would share with you how I put on my veil and wimple, my modern me have short hair, bangs and piercings, very non medieval of me. I start of by braiding the front part of my hair, I try to pull the braids forward a bit, that makes them look better later on. One braid on each side, at my temples. The last hair I pull back, as you can see there is not really that much hair, I wish I had long hair, but I am far to lazy to wait for it to grow out so I crop my hair every autumn, so in summer it is slightly longer than in these pictures. Then it is time for the St. Stuff the bangs inside. The St. And then cross in the front and put over the back of your head. When I wear my St. I make a small pleat in each end.
Then I pin it to my cap. Here you see that I have pulled the braids to the front, this makes sure that they are visible when the wimple comes on. Then I take my wimple, it is 115*50 cm and is hemmed with a thin double folded hem. I put the wimple under my chin. Katherine's Journal. Cathy Hay's Livejournal - Cathy Hay's Livejournal. The Couture Courtesan.
My Blog // A Fractured Fairytale. Kleidung um 1800. Before the Automobile. The Aristocat. A Fashionable Frolick. In the Long Run. Festive Attyre. The Couture Courtesan. Costumes. Romantic History. JennyLaFleur. Costumière hystérique. Le Corset (1908) La bibliothèque libre. bookLe Corset (1908)Docteur Ludovic O’Followell1908VLe Corset (1908)O'Followell - Le corset, 1908.djvuO'Followell - Le corset, 1908.djvu/1. Ciel Mes Épingles. Quand je lis qu’on ne peut pas avoir de sources sur la manière dont les femmes portaient leurs sous-vêtements sur la deuxième moitié du XIXme.Et que je viens de passer un an à noter toutes celles que je trouve. Méchante avec les truffes, moi ? Non, j’vois pas. Quand on essaie de t’expliquer que le bag-lining c’est histo. Quand certaines couturières te font juste perdre tous tes moyens. Quand on t’explique c’est dur de faire une robe XVIIe, parce que c’est vraiment presque quasiment impossible de trouver des sources avant la majorité de Louis XIV.
Quand tu retournes sur un forum de costumiers où tu n’as pas mis les pieds depuis près de 8 mois. Quand on t’explique que le rembourrage des vestes masculines à la poitrine au XVIIIme, c’est pas expliqué dans les livres. Quand tu essayes d’expliquer à des débutantes de qu’elles croient voir chez les playmobils VS la réalité. Quand on t’explique qu’on fait du costume pour claquer sur les photos.