Great festival piece an enamel clover beaded bracelet - more perfect festival fashion in the link below #fashionhistory #wireless #glastonbury #coachella #fashionsky #dali #musicfestivals
ginchys.etsy.com/listing/4461...
Ensemble of a caped wrap blouse and a wraparound skirt of sheer silk crepe in brown and green floral on black background: a) shirt: capelet neckline meets CF and extends into two long waist ties; short sleeves; gathered bust; waist length; skirt: self-fabric waistband; inner R side and outer LF hook closures on waistband; three-layered skirt flares toward hem; rolled hems; calf length.
Ensemble of a caped wrap blouse and a wraparound skirt of sheer silk crepe in brown and green floral on black background: a) shirt: capelet neckline meets CF and extends into two long waist ties; short sleeves; gathered bust; waist length; skirt: self-fabric waistband; inner R side and outer LF hook closures on waistband; three-layered skirt flares toward hem; rolled hems; calf length.
Ensemble of a caped wrap blouse and a wraparound skirt of sheer silk crepe in brown and green floral on black background: a) shirt: capelet neckline meets CF and extends into two long waist ties; short sleeves; gathered bust; waist length; skirt: self-fabric waistband; inner R side and outer LF hook closures on waistband; three-layered skirt flares toward hem; rolled hems; calf length.
Ensemble of a caped wrap blouse and a wraparound skirt of sheer silk crepe in brown and green floral on black background: a) shirt: capelet neckline meets CF and extends into two long waist ties; short sleeves; gathered bust; waist length; skirt: self-fabric waistband; inner R side and outer LF hook closures on waistband; three-layered skirt flares toward hem; rolled hems; calf length.
ID: V.2021.37.28a,b
blouses (main garments); skirts (garments)
Date: Circa 1980
Artist: Akker, Koos van den; Designer
valentine.rediscoverysoftware.com/mDetail.aspx #FashionHistory
One of the best primary sources we have for Paris couture in the 1910s is Gazette du Bon Ton.
Each issue is filled with vivid print in full color, documenting leading Paris couture houses of the moment.
#FashionConservatory #GazetteduBonTon #fashionHistory #1910sFashion #FashionIllustration
Museum photo of a full body bathing suit in black, with white trim. Fabric is silk, wool and cotton. The top has loose t-shirt sleeves to the mid bicep. It is cinched in at the waist, loose fitting, with a large floppy Peter Pan style collar. The collar is trimmed with two lines of white embroidery (I think, though it may be a print). The skirt is roughly A-line, loose fitting, to the knees. It is also trimmed with two bands of white. Black leggings are worn to the ankles. Link to source: https://www.metmuseum.org/art/collection/search/86447
Bathing suit, Wanamaker's Dept Store, Pennsylvania USA, 1900
I love this style! Modern bathing suits are obviously more practical, but there's just something so lovely about these turn of the century ones. Floppy peter pan collars really make everything better.
#fashionsky #fashionhistory #TheMet
One for all the #Quaker history folks, as well as #DressHistory and #FashionHistory 👇🗃️
Front view of a short pink satin evening cape with metallic embellishment centre front an over the shoulders. It has a high chiffon frilled collar
Side view of the pink satin evening cape that shows how the metallic embellishment sits at the shoulders with the high collar prominent in silhouette
The House of Morin Blossier is one of the couture establishments to feature in Dressing the Queen. Entrepreneurial sisters, they created clothes for some of the late c19th’s most prominent public women. Queen Maud’s cape, 1897 @nasjonalmuseet.bsky.social #FashionHistory 🗃️🪡
Today's floral creation is this 1954 teal silk evening gown by James Galanos. Originally studying under Piguet, this American designer became popular in the early 1950s when he returned to the US and set up his own line, which was bought by social elites. #Fashionhistory #ootd
Paul Poiret’s hobble skirt throttled women’s stride and called it progress—by 1907, Paris was trading corsets for constriction at the ankles. Walking became a negotiation; fashion, as usual, didn’t ask permission. #FashionHistory
A deep purple velvet long sleeved jacket with deep revers that are covered with three dimensional embroidery consisting of raised pads covered with pink metallic strips appliquéd over the top and the same at the cuffs
Detail of the jacket revers of Schiaparelli’s 1937 evening jacket made from purple velvet. It shows the pink metallic appliqué and the single moulded button in the shape of a swan
Guess where I am heading tomorrow morning! I shall be soaking up the #Schiaparelli exhibition and no doubt marvelling at her artistry and collaborative endeavours. Jacket, 1937 #V&A #FashionHistory 🗃️🪡
1887 anatomical diagram of two women’s torsos, one a caricatured exaggeration of what a corseted woman is shaped like, with internal organs horrifically squeezed or enlarged and in the wrong places, the other a reasonably realistic drawing of an uncorseted woman with her organs in place. If it needs to be said, this is utter bull. Advertisers pushing pseudoscience to tear down rivals so they can sell their own products are an old phenomenon. Sadly, these old tales are still occasionally repeated by the credulous.
This diagram is reproduced all over fashion history and I think I've found its origin
It’s not just bogus, IT’S ADVERTISING
Out to frighten women away from rival products and towards the advertiser's “totally-not-corsets-honest"
Source: digirepo.nlm.nih.gov/ext/dw/10176...
🗃️🪡
#FashionHistory
Found another English court dress parade float, from 1796.
The requirement that ladies at the royal court must wear huge panniers under their skirts, even as the fashionable silhouette had changed utterly, led to some boggling constructs.
🗃️🪡
#FashionHistory
"Бальцо флорентійки" Образ жінки доби італійського Ренесансу (XV ст.). Про це свідчить складна зачіска з пучком на потилиці та косами на скронях, що є типові для періоду.
"The Florentine Balzo" Tarrying in the glorious Florence, in the year of 1450, I encountered Master Girolamo, a great virtuoso of the coiffeur’s arts. And so it befell that I was destined to behold how, with his own hands, he fashioned a balzo for a Florentine donna. His hands moved with deftness and without wavering, while his voice resounded nearby, like a panegyric and an incantation all at once: 'Hearken, forestiero, to render a true balzo, take a light frame of wire or willow, of a round likeness, such as a maiden’s sieve. Wrap it in precious silks or embroidered velvet. But above all — the hair! Thou must entwine it cunningly around that hoop, so that no end be seen. Add thereto perle — white pearls, and golden ribbons, that it may glisten like Phoebus over the Arno. And upon the nape, twist a tight knot, nodo, and adorn the temples with braids, for without them a lady is no lady, but merely a simple burgher.' And while he spake thus, she arose before me — with a countenance calm and proud, like the silence of marble chambers. Her balzo was born before my very eyes, coil upon coil, like a symbol that hath neither beginning nor end. And in that same instant, not sundering the act from the contemplation, I carved her image in metal — as if the future were not overtaking the past, but all ages converged at one point, beneath my hands. And whether I was a guest there, or but an instrument of that inscrutable providence — I wot not. For all that was and shall be, exists altogether. And this Florentine woman is no recollection nor phantom, but a living hypostasis of eternity, which I was fated to behold — and to engrave.
"Бальцо флорентійки" Перебуваючи у славетній Флоренції, лєта 1450-го, стрів я майстра Джіроламо, великого віртуоза справ куаферських. І сталося-бо так, що судилося мені видїти, як власноруч він споруджував бальцо для донни флорентійської. Руки його діяли вправно й без сумніву, а голос лунав поруч, мов панегірик і закляття водночас: "Слухай-но, forestiero, аби вчинити істинне бальцо, візьми каркас легкий із дроту чи лози, круглої подоби, як ото дівоче сито. Обмотай його шовками коштовними або оксамитом гаптованим. Але найпаче — волосся! Мусиш його навколо того обруча хитромудро обплести, аби жодного краю не виднілося. Додай до того perle — перлів білих, та стрічок золотих, щоби блищало, мов феб над Арно. А на потилиці закрути пучок тугий, nodo, та косами скроні прикрась, бо без них пані — не пані, а так, міщанка проста". І поки він глаголав теє, поставала переді мною вона — з лицем спокійним і гордим, мов тиша мармурових чертогів. Бальцо її народжувалося просто на моїх очах, коло за колом, немов символ, що не має ані початку, ані краю. І в ту ж саму хвилю, не відділяючи дійства від созерцання, карбував я її лик у металі — так, ніби не грядуще наздоганяло минувшину, а всі часи сходилися в одній точці, під моїми руками. І чи був я там гостем, чи лиш оруддям того незбагненного провидіння — не відаю. Бо все те, що було і буде, існує купно. І ця флорентійка — не спомин і не мара, а жива іпостась вічності, яку мені випало побачити — і закарбувати.
🇬🇧 The artwork is created using the hand-embossing technique on metal. Materials: aluminum, acrylic, bronze powder, plastic (base), fire and milk patination. Size: 10×13 cm with the frame (inner size — 7×10 cm). Accompanied by a bilingual information plaque on a jute string. 🇺🇦 Картина виконана в техніці ручного тиснення на металі. Матеріали: алюміній, акрил, пудра бронзи, пластик (основа), патинування вогнем та молоком. Розмір: 10×13 см з рамкою, (внутрішній — 7×10 см). Доповнена двомовною інформаційною табличкою на джутовій нитці.
"The Florentine Balzo"
A woman from the era of the Italian Renaissance (15th c.). The elaborate hairstyle with a bun at the nape and braids on the temples is characteristic of that period's fashion.
#patinaart #metalembossing #repousse #fashionhistory #handmade #renaissancefashion
Here we have this 1953 Balmain evening dress. The cream silk with an imposed a black floral design and an elaborate black train. So lovely and classically Balmain. #ootd #Fashionhistory
One of the best fashion couples: David Bowie and Iman
#fashionsky #photosky #promosky #fashionhistory
Hat of black velvet and white lace trimmed with lace butterfly and flower applique: puffed crown; wide brim, tapered B; fully lined.
Hat of black velvet and white lace trimmed with lace butterfly and flower applique: puffed crown; wide brim, tapered B; fully lined.
Hat of black velvet and white lace trimmed with lace butterfly and flower applique: puffed crown; wide brim, tapered B; fully lined.
ID: V.72.55.06
hats
Date: 1950-1953
Artist: Sara Sue; Designer ||Miller & Rhoads; Retailer ||Miller & Rhoads
valentine.rediscoverysoftware.com/mDetail.aspx #FashionHistory
Partial view of the back of Balmain’s draped aqua evening dress pleated into layers at he back of the waist an secured with a bow
Front full length view of the aqua chiffon evening dress with broad shoulder straps and sculpted bodice
Back view of the fitted aqua chiffon evening dress with its many layered an pleated effects
Both structured and soft, Pierre Balmain took a defined firmly silhouette and then blurred the edges with his pleated aqua chiffon. The fuller shape of the early #1950s has reduced to this sleeker line later in the decade @metmuseum.org #FashionHistory 🗃️🪡
"Муза Версаля" Жіночий портрет. Франція, кінець XVIII ст. Висока зачіска з 3 квітами та сукня з глибоким вирізом поєднуються з виразним поглядом, створюючи театральний образ епохи рококо.
"Muse of Versailles" A Parsuna of a Noble Lady.France, the twilight of the eighteenth century — the heyday of the whimsical and most resplendent Rococo. I behold a maiden with a magnificent tower of hair, adorned like a flowering garden, bedecked with ribbons and fragile blossoms that tremble at every breath. From the depths of the hall, light and playful motifs resound — music filled with amours and capricious delight, as if it were the very soul of the age. And it seems to me that her figure is no mere spectator, but a part of that theater, where every gesture is a role, and every glance a veiled confession. Her raiment, with its deep decolletage in harmony with her imperious gaze, reveals not only beauty but a certain audacity inherent to an epoch where play and truth entwine as one. Verily, she is the Versailles Muse, a living icon of grace, of theatrical pageantry and ineffable refinement. And I could not withstand — I have etched her likeness in metal, so that the radiance of her beauty might flame eternally through the ages, granting solace and imperishable hope to every heart.
"Муза Версаля" Парсуна панни шляхетної.Франція, вечір віку вісімнадцятого — час розквіту химерного та препишного Рококо. Споглядаю діву з велеліпною вежею волосся, мов сад квітучий убраною, оздобленою стрічками та крухими квітами, що тремтять від кожного дихання. Десь у глубині залу лунають легкі, грайливі концепти — музика, сповнена амурів та примхливої насолоди, мов сама душа того часу. І ввижається мені, що постать її — не просто глядачка, а частка тієї комедії, де кожен жест — це роль, а кожен погляд — затаєне зізнання. Шати її з вирізом глибоким, що з поглядом владним у злагоді перебуває, відкриває не лише красу, а й певну зухвалість, притаманну епосі, де гра і істина сплітаються воєдино. Воістину, вона — Муза Версальська, жива ікона грації, дійства театрального та невимовної вишуканості. І не зміг я встояти — закарбував її лик у металі, аби сяйво її вроди вічно пломеніло крізь віки, даруючи розраду й нетлінну надію кожному серцю.
🇬🇧 The artwork is created using the hand-embossing technique on metal. Materials: aluminum, acrylic, bronze powder, plastic (base), fire and milk patination. Size: 10×13 cm with the frame (inner size — 7×10 cm). Accompanied by a bilingual information plaque on a jute string. 🇺🇦 Картина виконана в техніці ручного тиснення на металі. Матеріали: алюміній, акрил, пудра бронзи, пластик ( основа), патинування вогнем та молоком. Розмір: 10×13 см з рамкою, (внутрішній — 7×10 см). Доповнена двомовною інформаційною табличкою на джутовій нитці.
"Muse of Versailles"
Female portrait. France, late 18th c. A high flower-adorned hairstyle and deep-neckline gown combine with the expressive gaze creating a theatrical image of the rococo era.
#embossing #repoussé #fashionhistory, #Versailles #Late18thCentury #RococoEra #ЖіночийПортрет
A photograph of a skirt and blouse ensemble. The blue grey skirt is a full circle construction and has colourful appliqué motifs across its surface. The blouse is a small blue and white check
A black and white photograph of Princess Elizabeth wearing the skirt an blouse ensemble whilst dancing with a partner at a square dance in 1951
This was a lovely inclusion in Queen Elizabeth II: Her Life in Style. A poodle skirt by Californian designer Juli Lynne Charlot featuring her signature appliquéd figures and animals. The Princess wore it to a square dance in Ottawa in 1951, a carefree moment captured here #RCT #FashionHistory 🗃️🪡
Fashion and costume designer Oleg Cassini was born in Paris #OnThisDay in 1913. He designed this evening skirt and top of chartreuse silk faille embroidered with crystal beads and sequins for First Lady Jacqueline Kennedy in 1961. JFK Library collection. #fashionhistory
A collage of men in skinny jeans from the 2010s. By Claude TRUONG-NGOC - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=29224972
As the 2000s skater style of baggy jeans ended we were faced with the strange phenomenon of skinny jeans on men. The use of spandex in the denim and the return of tailored cuts gave us one of the most puzzling, yet imo fun fashions in recent times. thoughts? #fashion #style #fashionhistory
Full length view of the front of a burgundy silk slip dress that is covered with self coloured lace forming shoulder straps, ruching at the hips and falling into a long skirt
Back view of the c1940 burgundy lace evening dress showing the silk bow that catches the fabric from centre back at the waist
Side view of the c1940 burgundy lace evening dress which shows how the arrangement of the lace over the slip forms different sheer sections and layers
She is poised, ready for the music to start and for her heels to tap out the rhythm that will herald the start of the weekend. Her gown is both solid and sheer and floats in wine coloured lace. C1940 #goldsteinmuseum #FashionHistory 🗃️🪡
Discover something you may not realize about shoes at beyondosaurus.com/shoes ( #shoes, #feet, #podiatry, #podiatrist, #fashion, #fashionHistory, #history, #clothing)
Ensemble comprised of dress and coat of white cotton and rayon blend novelty weave and pink rayon trimmed with self-cord rosettes: a) dress: open halter-style neckline; CB zipper closure; fitted high waisted bodice; flaring A-line skirt; above-knee length; partially lined; b) coat: A-line chemise cut; high round neck; long sleeves; CF snap closure; above-knee length; fully lined.
Ensemble comprised of dress and coat of white cotton and rayon blend novelty weave and pink rayon trimmed with self-cord rosettes: a) dress: open halter-style neckline; CB zipper closure; fitted high waisted bodice; flaring A-line skirt; above-knee length; partially lined; b) coat: A-line chemise cut; high round neck; long sleeves; CF snap closure; above-knee length; fully lined.
Ensemble comprised of dress and coat of white cotton and rayon blend novelty weave and pink rayon trimmed with self-cord rosettes: a) dress: open halter-style neckline; CB zipper closure; fitted high waisted bodice; flaring A-line skirt; above-knee length; partially lined; b) coat: A-line chemise cut; high round neck; long sleeves; CF snap closure; above-knee length; fully lined.
Ensemble comprised of dress and coat of white cotton and rayon blend novelty weave and pink rayon trimmed with self-cord rosettes: a) dress: open halter-style neckline; CB zipper closure; fitted high waisted bodice; flaring A-line skirt; above-knee length; partially lined; b) coat: A-line chemise cut; high round neck; long sleeves; CF snap closure; above-knee length; fully lined.
ID: V.98.03.02a,b
ensembles (costume); dresses (garments); coats (garments)
Date: 1966
Artist: Thalhimer's; Retailer
valentine.rediscoverysoftware.com/mDetail.aspx #FashionHistory
A selection of Queen Elizabeth II’s evening gowns from the 1950s and 1960s on display in the King’s Gallery
Two rows of the Queen’s signature dress and coat combinations arranged in a rainbow of shades. Included are the matching hats
A photograph of the Queen’s wedding dress arranged with its long embroidered train and veil
Two silver lamé children’s dresses by Lanvin worn by the Queen and her sister Princess Margaret
Phew, what a day! Much fun was had but it all started with the press view at The King’s Gallery and the spectacular exhibition Queen Elizabeth II: Her Life in Style. Just a few images here of the more than 200 on display #RCT #FashionHistory 🗃️🪡
This #ootd is a little unusual, but for me is very spring-like. It's an 1836 dress from England. It is made of cotton with alternating blue and a geometrical floral strips. The flowers however are highly abstract and look to be influenced by folkart. #Fashionhistory
This month in #FashionHistory In April of 1883, Eliza King & the Rational Dress Association championed comfortable, practical clothing for Victorian women, challenging restrictive corsetry & heavy garments. 🧵
Ruffs reach peak absurdity in England in 1597, with starched collars ballooning to dinner-plate size—so impractical that authorities start regulating width, trying (and failing) to rein in excess. #FashionHistory
a pair of women's leggings in galaxy print, a common print from the 2010s fashion scene.
One of the strangest #styletrends and #fashiontrends from the 2010s was the galaxy print. With screen printing, NASA photos, and social media this print was everywhere. With Artemis II heading out to space are we in for a resurgence?
#fashionhistory #fashion
Fashion designer Marc Jacobs was born #OnThisDay in 1963. He designed this white halterneck dress with sculpted sweetheart bustline and asymmetric skirt for his Fall 2024 RTW collection. Ariana Grande wore it on the November 2024 cover of Vanity Fair. Sold by Juliens Auctions. #fashionhistory
