The Costume Researcher
“Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.”
Coco Chanel
I created this blog with the intention of collecting and sharing images gathered in the practice of researching costumes for the creative process. I will also include images collected for different theater productions and research projects of my own.
Costume Research 1880’s fashion
I'm currently working on my pictorial research for “The Vibrator play” by Sarah Ruhl, set in 1880's New York
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Photo reblogged from The Ancient World
Necklace, 330-300 BCE, Ancient Greece (?)
The Hermitage Museum
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Photo reblogged from I would argue
This bronze hoplite’s helmet of the Corinthian type is inscribed with the name Dendas. perhaps the person who dedicated it in a sanctuary around the year 500 BC. Such helmets afforded good protection to the wearer but they severely restricted vision and hearing, causing the hoplites’ reliance on the coherence of their formation.
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Photoset reblogged from Virgin/Eunuch/Other
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Photo reblogged from I would argue
Kore, from the Acropolis, Athens, Greece, ca. 520–510 BC. Marble. Acropolis Museum, Athens. Archaic sculptors delighted in rendering the intricate asymmetrical patterns created by the cascading folds of garments like the Ionian chiton and himation worn by this smiling Acropolis kore.
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Photo reblogged from throw some shit into the wind
Sappho is, quite simply, the bomb. The more I read about her, the more respect and admiration I gain for her.
It’s a shame more of her work didn’t survive.
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Link reblogged from Ebooks - megaupload, rapidshare, hotfile, filesoni
ISBN: 1966669361 Publisher: Ashgate Author: Amy Wygant Description: Bringing together the previously disparate fields of historical witchcraft, reception history, poetics, and psychoanalysis, this innovative study shows how the glamour of the historical witch, a spell that she cast, was set… -
Photoset reblogged from The Ornamented Being
c. 1878-82
The Met says: The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
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Photo reblogged from My Ear-Trumpet Has Been Struck By Lightning
Fred Walters, a somewhat troubled artist associated with the Pre-Raphaelite Brotherhood. Photograph by Lewis Carroll, presumably after 1857 when Walters lost his right arm after falling off a ladder while drunk.
Submitted by notwisleybuttoowell
Intense artist=sexy
What a guy!
“Hello ladies…”
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Photoset reblogged from The Ornamented Being
I find it interesting that there are actual people wearing the costumes!
c.1880
The Met says: The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
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Photoset reblogged from The Ornamented Being
BE STILL MY HEART! The BONNET!
Mme. Uoll Gross
c. 1885
The Met says:This dress was designed to be worn in an open top carriage which, at the time, was a social event and everyone had to dress the part.The bustle silhouette, although primarily associated with the second half of the 19th century, originated in earlier fashions as a simple bump at the back of the dress, such as with late 17th-early 18th century mantuas and late 18th- early 19th century Empire dresses. The full-blown bustle silhouette had its first Victorian appearance in the late 1860s, which started as fullness in skirts moving to the back of the dress. This fullness was drawn up in ties for walking that created a fashionable puff. This trendsetting puff expanded and was then built up with supports from a variety of different things such as horsehair, metal hoops and down. Styles of this period were often taken from historical inspiration and covered in various types of trim and lace. Accessories were petite and allowed for the focus on the large elaborate gowns. Around 1874, the style altered and the skirts began to hug the thighs in the front while the bustle at the back was reduced to a natural flow from the waist to the train. This period was marked by darker colors, asymmetrical drapery, oversize accessories and elongated forms created by full-length coats. Near the beginning of the 1880s the trends altered once again to include the bustle, this time it would reach its maximum potential with some skirts having the appearance of a full shelf at the back. The dense textiles preferred were covered in trimming, beadwork, puffs and bows to visually elevate them further. The feminine silhouette continued like this through 1889 before the skirts began to reduce and make way for the S-curve silhouette.
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Photoset reblogged from The Ornamented Being
This is very interesting!
This is the description of the first costume: Emile Pingat (1820–1901), Paris, Skirt and polonaise, 1885. Velvet, beads, silk, glass. Collection of Shelburne Museum. 2010-75
Emile Pingat has taken a page from the 18th century, adapting a classical men’s court ensemble and feminizing it. Instead of breeches that match the coat, there is a long velvet skirt finished with a ruffle. The apparent waistcoat is not a separate garment but instead is constructed as two decorative panels set into the coat. Pingat has updated the style and beauty of aristocratic men’s clothing by adding the small pointed zigzag motif in the embroidery. This one-of-a-kind colonial revival style dress would have been worn to a ball or masquerade with appropriate accessories that could have included a wig, fan, and shoes.
I spent the last thirty minute looking for a similiar photo! ”The 18th Century Back in Fashion” exhibit, Palace of Versailles. Victorian take on 18th century dress.
