The low-waisted, full-skirted “robe de style” introduced by designer Jeanne Lanvin in 1915 remained popular throughout the 1920s, featuring a hemline well above the ankles. This silhouette provided a softer, feminine approach to the flapper dress, even without the built-in thigh hoops of Lanvin’s creation. These two party dresses echo that softness, with a swingy approach to pattern and embellishment.
The luxurious light aqua satin charmeuse gown is enhanced by gold and silver lace around the shoulders and the deep hem of the gathered skirt. The low waistline is corded and tucked up in scallops in front. On the left shoulder is a bright pink silk rose corsage. The dress has a side snap placket and is lined with an underdress of apricot silk and silver lame. This stunning dress was worn by Louise Moore Erwin (1895-1952) of Atlanta and Kentucky.
The black chiffon dress has a low waist with cording and a gathered skirt, longer in back – popular throughout the decade. It has a snap closure on the left side. The front is ornamented with gold and silver sequins arranged as ribbons and bows with pink and purple ribbon roses sprinkled on. The hem is edged with the same sequins. There is a gold lamé bow with streamers down the center back, dotted with ribbon flowers. The dress came to the Museum from Mr. & Mrs. Ashby Farrow of Charleston and may have been worn by his mother, Adelaide Lennerton Ferguson Farrow to a Saint Cecelia Ball here.
TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday
~ The Mentor: A Little Book for the Guidance of Such Men and Boys as would Appear to Advantage in the Society of Persons of the Better Sort, by Alfred Ayres, 1884
via Hathi Trust Digital Library
We, Hermia, like two artificial gods,
Have with our needles created one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key;
As if our hands, our sides, voices, and minds,
Had been incorporate. So we grow together,
Like to a double cherry, seeming parted,
But yet an union in partition,
Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart;
Two of the first, like coats in heraldry,
Due but to one, and crowned with one crest.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
Helena of Shakespeare’s A Midsummer Night’s Dream (1600).
“When Celia in As You Like It asked, ‘shall we be sunder’d’ by harsh circumstances, Helena’s is a more psychological question—‘And will you rent our ancient love asunder?’—which clearly echoes the Anglican marriage ceremony, with its ‘Those whom God hath joined together, let no man put asunder.’ She is not accusing Hermia here of taking her man, but of something rather more subtle: letting men into the secret garden of girls’ love.”
Inseparable: Desire Between Women in Literature by Emma Donoghue, reviewed at the Lesbrary.
(via fuckyeahlesbianliterature)
I maintain that the most feels-inducing moment in As You Like It is when Rosalind (as Ganymede) asks Celia to pretend to marry her to Orlando and she says “I cannot say the words.”
ROSALIND
Why then, can one desire too much of a good thing?
Come, sister, you shall be the priest and marry us.
Give me your hand, Orlando. What do you say, sister?
ORLANDO
Pray thee, marry us.
CELIA
I cannot say the words.
ROSALIND
You must begin, ‘Will you, Orlando—’
CELIA
Go to. Will you, Orlando, have to wife this Rosalind?
And most editors gloss “I cannot say the words” with a note about how Celia is nervous about blasphemy, or trying to warn Rosalind that she’s taking the game too far, or some other nonsense.
And Rosalind knows Celia loves her, and pretends to misunderstand her, and makes her play the game. And then Celia starts talking in prose because she just. Can’t.
don’t mind me, just sharing some gorgeous photos of Anne Hathaway as Viola in the Public’s Twelfth Night, 2009
reblogging myself for carmarthen
Now I’m super jealous of how cute Anne Hathaway’s Cesario costume is.
(via shredsandpatches)
Source: reconditarmonia
Rehearsal at The Rose Theater in Blue Lake, MI. We’re not wearing costumes yet, but holy crap, look at this space!
It also smells really good.
Sometimes, like when we’re trying to do original practices Shakespeare in a giant proscenium auditorium, I really miss the Blackfriars. But then I think, this is right in my back yard.
Too bad we’re not doing Earnest anymore.
(via amoderndandy)
Source: mariedauphine
Manfully resisting the compelling urge to buy this wicked cute “Onomatopattern” cardigan from Threadless. Comic book SFX!!
This cardigan is such a classy incarnation of the bold comic onomatopoeia attire that’s usually featured here. This would be perfect for adding a subtle touch of Batman ‘66 charm into your daytime wardrobe.
A close-up of the print:
WANT
Source: Threadless
Michele Caragher
Embroidered details in Game of Thrones
‘Michele Carragher is a London-based Hand Embroiderer and Illustrator who has been working in costume on film and television productions for over 15 years. She studied Fashion Design at The London College of Fashion, where the course incorporated design, pattern cutting, garment construction, embroidery, millinery and illustration. At the same time she attended a three year evening course in Saddlery at Cordwainers College learning skills in leatherwork.
After leaving college Michele worked in Textile Conservation, repairing and restoring historical textiles for private collectors and museums, specialising in hand embroidery. She then moved into a career in costume for film and television, initially working as a Costume Assistant/Maker on productions such as the BBC’s Our Mutual Friend, ITV’s David Copperfield and Mansfield Park. She soon gravitated towards the decoration and embellishment of costumes, using skills in hand embroidery and surface decoration, taking inspiration from the many historical textiles she had encountered working as a Textile Conservator.
The first production that saw her undertake the role of a Principal Costume Embroiderer was for HBO’s 2005 Emmy Costume award-winning production of Elizabeth 1. Her most recent work has been on HBO’s 2012 Costume award-winning television series Game of Thrones, working on all three seasons.
As a Costume Embroiderer Michele specialises in hand embroidery and surface embellishment, using traditional hand embroidery techniques, smocking, beading and surface decoration. She works directly onto the completed garment or starts with motifs and textures on silk crepeline/organza, which are applied to the costume and then worked into once on the actual garment. She also works on existing machine embroidery designs that are not too dense, adding some hand stitching and beading to give a more authentic, hand-finished look.
Michele finds hand embroidery has more flexibility and diversity than that of embroidery created by machine, as there is a greater variety of thread choice and colours to use. It is also possible to work more easily on garments that are already constructed. However, machine embroidery in combination with hand work can be very useful when completing many repeats by creating light outlines or a less dense machine stitch, work can then be completed by hand and again can be carried out on a finished garment.
Michele is a highly creative Costume Embroiderer, producing original designs as well as working closely to a costume designer’s brief to create their desired look.’
Text and images from http://www.michelecarragherembroidery.com
Everyone just take a minute to appreciate the huge amount of work that goes into the detail of these costume. They are just amazing
(via thealligatorschild)
Source: grimsperation
ALL THE PARTS YOU CAN REMEMBER - english history in folk songs
tracks:
01. wat tyler - fairport convention ◦ 02. the agincourt carol - the young tradition ◦ 03. the story of the scullion king - steeleye span ◦ 04. with her head tucked underneath her arm - broadside electric ◦ 05. fotheringhay - fairport convention ◦ 06. an old song on the spanish armada - the city waites ◦ 07. the world turned upside down - oysterband ◦ 08. the return to london (from “freeborn john”) - rev hammer ◦ 09. london mourning in ashes - ewan maccoll ◦ 10. duke of marlborough - maddy prior ◦ 11. the vicar of bray - john potter & lucie skeaping with the broadside band ◦ 12. captain kidd - great big sea ◦ 13. turpin hero - eliza carthy ◦ 14. the victory - steeleye span ◦ 15. boney was a warrior - jack shit ◦ 16. the triumph of general ludd - chumbawamba ◦ 17. peterloo - the oldham tinkerskey to historical events:
01. The Peasants’ Revolt, 1381 ◦ 02. Battle of Agincourt, 1415 ◦ 03. Uprising of Lambert Simnel, 1487 ◦ 04. Execution of Anne Boleyn, 1536 ◦ 05. Execution of Mary Queen of Scots, 1587 ◦ 06. Defeat of the Spanish Armada, 1588 ◦ 07. The Diggers, 1649 ◦ 08. Career of John Lilburne, 1638-57 ◦ 09. Great Fire of London, 1666 ◦ 10. Career of John Churchill, 1st Duke of Marlborough, 1678-1722 ◦ 11. Changes in government and religion, 1660-1714 ◦ 12. Career of William Kidd, 1695-1701 ◦ 13. Career of Dick Turpin, 1730-39 ◦ 14. Battle of Trafalgar, 1805 ◦ 15. Career of Napoleon Bonaparte, 1799-1815 ◦ 16. Mythical career of Ned Ludd, 1800s ◦ 17. Peterloo Massacre, 1819
A collection of inspiration, sources, references and thoughts from an actor and costumer specializing in Shakespeare and Early Modern English drama.
