A collection of fashion that I found fabulous, with a little bit of crazy mixed in.
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Day dress for men and women, 1847 France, Les Modes Parisiennes
Bonnet by A Partridge & Co, ca 1840 Boston, the Museum of Fine Arts, Boston
White silk bonnet, trimmed with net and lace in zig-zag pattern around edges, with pink silk ribbon arranged inside and forming ties. Label: “A Partridge and Co./Mode de Paris, 201 Washington St., Boston.”
Throwing Off Her Weeds by Richard Redgrave, 1846 UK, the Victoria & Albert Museum
A young widow is impatient to discard her black mourning clothes (known as widow’s weeds) because she has plans to marry again. The seamstress is showing her a lilac-coloured dress, a colour considered appropriate for a woman in the last phase of mourning. At this time, the mourning period for a husband was expected to be at least two years.
Originally the picture included a figure of a soldier, the widow’s new suitor, entering through the doorway. Critics thought this was vulgar, and Redgrave painted the figure out, but he kept a number of other visual clues to suggest that the woman is soon to be married again: there is a bridal bonnet in the hat-box in the foreground, and a sprig of orange blossom (a flower which was usually worn or carried at weddings) on the dressing table.
Portrait of Natalya Pavlovna Panina by Pimen Nikitich Orlov, 1840’s Russia
Classic Horror Films
edit by me / click pictures to enlarge
1. Dracula (1931)
2. Frankenstein (1931)
3. The Phantom of the Opera (1925)
4. The Mummy (1932)
5. The Invisible Man (1933)
6. The Wolf Man (1941)
7. Creature from the Black Lagoon (1954)
8. London After Midnight (1927)
9. House of Usher (1960)
10. Dr. Jekyll and Mr. Hyde (1931)
The order is not chronological or alphabetical. Truly irrelevant when you have to deal with masterpieces.
Bettie Page, Kathleen Stanley, and Bunny Yeager posing for a petticoat fashion line. Bunny shot this using a self timer c. 1950s
For this dress the designer Michele Clapton wanted a dragonscale like textured embroidery that starts to emerge on Daenerys’s costume and becomes heavier and more pronounced, growing and evolving as the season progresses.
To create this I used a North American smocking stitch. I then used a metallic thread combined with blue embroidery thread to do a stitch called “lock stitch” (a good book to find this in is "A Tale of Two Stitches" by Jan Beaney & Jean Littlejohn) in a random manner to fix and blend the smocked dragonscale onto the dress.
On the second dress I used much more of the lock stitch and started to grow the decoration down the dress.
The third and final dress is in a paper silk so has more sheen, again I applied smocked pieces to the shoulders, but add more down across the bust. Again I add the lock stitch in between, also adding pieces of Italian tubular mesh wire, which I open up slightly and use a lock stitch over the top. The decoration is heavier than on the previous dresses and grows further down trailing off down the skirt panels. The final embellishment is a few Miyuki Tila beads and Miyuki drops in matt metal patina iris on the edge of the sleeve and neck adding another scale like texture.
William John Hennessy, A Spring Fantasy, (1880)